® ® ® Avid Media Composer and NewsCutter Effects and Color Correction Guide
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MediaLog, MediaMatch, MediaMix, Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MicroTrack, MIDI I/O, Midiman, Mix Rack, MixLab, Moviebox, Moviestar, MultiShell, NaturalMatch, NewsCutter, NewsView, Nitris, NL3D, NLP, Nova, NRV-10 interFX, NSDOS, NSWIN, Octane, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Ozone, Ozonic, Painterly Effects, Palladium, Personal Q, PET, Pinnacle, Pinnacle DistanTV, Pinnacle GenieBox, Pinnacle HomeMusic, Pinn
Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Avid Training Services . . . . . . . . . .
Chapter 3 Applying and Customizing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Applying Dissolve Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Working with the Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Adjusting Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Preserving Effect Transitions in the Timeline . . . . . . . . . . .
Updating and Promoting AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Assigning Multiple Tracks in Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Using AVX Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Using the Client Monitor to Preview a Plug-In Effect . . . . . . . . . . . . . . . . . . . . . . . 192 Troubleshooting AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 8 Layered and Nested Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Working with Imported Graphics and Animation . . . . . . . . . . . . . . . . . . . . . . . . . . 265 Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Submaster Editing . . . . . . . . . . . . . . . . .
Stabilizing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 Reviewing and Adjusting a Stabilized Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 Guidelines for Using Multiple Trackers When Stabilizing . . . . . . . . . . . . . . . . . . . . 353 Using the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 Making Adjustments to the Region Stabilize Region of Interest . . . . .
Editing a Text String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 Formatting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 Creating Graphic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402 Creating Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 14 Working with the SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459 Understanding the SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460 How the SubCap Effect Handles Caption Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . 461 Applying the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 Entering Caption Text Directly in the Effect Editor . . . . . . . . . . . .
Understanding PlasmaWipe Frame and Border Effects. . . . . . . . . . . . . . . . . . . . . 564 Applying and Adjusting PlasmaWipe Frame and Border Effects . . . . . . . . . . . . . . 566 Creating Custom PlasmaWipe Border and Frame Effects . . . . . . . . . . . . . . . . . . . 567 Using PlasmaWipes with HD Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569 Chapter 17 Effects Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 18 Effects Parameter Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621 Color Parameter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622 Common 2D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623 Film Effects Blowup Parameter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634 Generator Effect Parameters . . . . . . . . . . . . . . . . .
Chapter 22 Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843 Overview of Safe Color Limits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843 Safe Color Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844 Understanding the Graphical View of Safe Color Settings. . . . . . . . . . . . . . . . . . . 846 Understanding Safe Color Warnings . . . . . . . . . . . . . .
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.
Symbol or Convention Meaning or Action (Windows), (Windows only), (Macintosh), or (Macintosh only) This text indicates that the information applies only to the specified operating system, either Windows or Macintosh OS X. Bold font Bold font is primarily used in task instructions to identify user interface items and keyboard sequences. Italic font Italic font is used to emphasize certain words and to indicate variables. Courier Bold font Courier Bold font identifies text that you type.
Accessing the Goodies Folder Accessing the Goodies Folder Avid supplies a Goodies folder located on the editing application DVD. Access the Goodies folder by browsing the DVD. This folder contains programs and files you might find useful when trying to perform functions beyond the scope of your Avid editing application. The information in the Goodies folder is provided solely for your reference and as suggestions for you to decide if any of these products fit into your process.
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
1 Effects Concepts and Settings Segment Effects You apply segment effects to an entire clip or group of clips in a sequence. For example, you might apply a Color Effect to several segments in a sequence to tint those segments, suggesting that the action they contain is taking place in the past. Segment effects fall into two subgroups: • Single-layer You apply a single-layer segment effect to a segment on one video track. A single-layer segment effect only needs one stream of video to create its effect.
Types of Effects Nested Effects You apply nested effects inside other effects on the same video layer. Effect nesting allows you great flexibility to apply multiple effects to the same segment in a sequence. For example, you might want to apply a color effect within an existing Picture-in-Picture effect. To do this, you can nest the color effect inside the Picture-in-Picture. For more information, see “Layered and Nested Effects” on page 251.
1 Effects Concepts and Settings AVX Plug-In Effects Avid editing applications support the Avid Visual Extensions (AVX™) standard. AVX is a cross-platform technology that allows software effect modules (plug-ins) to be dynamically linked to an Avid editing application. Some effects that Avid supplies with your Avid editing application use the AVX technology, while others do not. In general, you work in exactly the same way with both types.
Color Coding on Effect Icons 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. If you do not have Avid input/output hardware attached, you must render all effects before you perform a digital cut. • How complex your sequence is, and especially how your effects are layered on multiple video tracks.
1 Effects Concepts and Settings 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 (right) until they are rendered. All colored dots disappear in the Timeline when you render effects.
Working with Effects in HD and in Progressive Frame Projects To display the Effect Palette: t In the Project window, click the Effects tab. To resize the Effect Palette: t Click the lower right corner of the palette, drag the palette to the size you want, and release the mouse button. To display effect templates saved to a bin in the Effect Palette: 1. Open the bin containing the effect templates. 2. If the Effect Palette is not already open, in the Project window, click the Effects tab. 3.
1 Effects Concepts and Settings Effects Considerations for HD Projects Effects that use square geometry automatically use the correct pixel aspect ratios. These effects include Titles, Box Wipes, and certain paint modes like Mosaic. Effects such as Color Correction, Color Effect, and Luma keys automatically use the correct color space (ITU-709 for HD). n The Safe Color Limiter effect converts from 709 to 601 color space before limiting unsafe colors, and then converts back to 709 color space.
Changing Timeline View Settings for Effects n PAL output with pulldown also duplicates certain frames but is less likely to exhibit perceptible temporal artifacts since fewer frames require duplication. Motion effects that you create in 24p or 25p projects, such as Variable Speed effects, might also look different from motion effects that you create in interlaced projects. For more information on 24p or 25p motion effects, see “Considerations for Motion Effects in Progressive Projects” on page 209.
1 Effects Concepts and Settings To change the Timeline settings: 1. In the Timeline window, click the Fast Menu button, and then do one of the following: t To display all effect icons in the Timeline, select Effect Icons. t To display all effect icons except Dissolve icons, select Effect Icons and deselect Dissolve Icons. t To display no effect icons, deselect Effect Icons. Dissolve Icons appears dimmed and is now unavailable. 2.
Setting Effect Grid Options Setting Effect Grid Options You can display a grid in the Effect Preview monitor in Effect mode to guide you as you create and adjust effects. For information on using the grid, see “Understanding the Effect Grid” on page 81. The Grid Settings dialog box lets you customize the grid. To set the default grid values, do one of the following: t In the Settings list of the Project window, double-click Grid.
1 Effects Concepts and Settings 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.
Setting Effect Aperture Options To change the effect aperture: 1. In the Settings list in the Project window, double-click General. The General Settings dialog box opens. 2. Select one of the following Effect Aperture options: Option Description ITU 601 (720x 486) Select this setting when you are using uncompressed media or mixed resolutions. This is the default setting. DV25 (720 x 480) Select this setting when you are using DV media exclusively. 3. Click OK.
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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
2 Basics of Effects Editing Applying Effects From the Effect Palette You can apply effects either to transitions or to segments. Most effects are only suitable for one of these applications. For example, you cannot apply every effect in the Effect Palette to a transition. For more information on the use of an individual effect, see the reference information for the effect in “Effects Reference” on page 573.
Applying Effects 4. Release the mouse button when the selection box includes all the transitions you want. Your Avid editing application highlights the transitions that you select, and the position indicator moves to the first transition. 5. (Option) Shift+click any transition to deselect it. 6. In the Effect Palette, double-click the icon for the effect that you want to apply to the transitions. your Avid editing application applies the effect to the selected transitions in the Timeline.
2 Basics of Effects Editing 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. In the Effect Palette, double-click the icon for the effect that you want to apply to the segments. Your Avid editing application applies the effect to the selected segments in the Timeline. Using the Fade Effect Button You can use the Fade Effect button to create basic fades for segment effects.
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 (editing mode on NewsCutter systems), Trim mode, or Effect mode. To delete a single effect: 1.
2 Basics of Effects Editing Your Avid editing application removes the effect. 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 181.
Sizing Effects to Fit the Media Sizing Effects to Fit the Media Transition effects usually require additional frames of source media beyond those you edit into the sequence. For example, if a dissolve begins 15 frames before the cut point between clips, your Avid editing application needs 15 frames of video from before the cut point on the incoming clip to create the beginning of the dissolve. When you edit and apply effects, be aware that you might need these extra frames.
2 Basics of Effects Editing Entering Effect Mode After you add an effect to a sequence, you must enter Effect mode to change the parameters of the effect. To enter Effect mode, do one of the following: t Click the Effect Mode button. t Select Toolset > Effects Editing. Your Avid editing application opens the Effect Editor and the Record monitor becomes the Effect Preview monitor.
Adjusting Effects The Effect Preview monitor displays the selected effect in the sequence where the position indicator is located in the Timeline. The position bar below the Effect Preview monitor represents the length of the selected effect, not of the entire sequence. For some effects, the Effect Preview monitor displays tools that let you adjust the effect directly in the monitor.
2 Basics of Effects Editing t Select a color for a parameter that uses color by clicking the parameter’s Color Preview window, dragging the eyedropper to the Effect Preview monitor, and releasing the mouse button over the color you want to use. 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.
Updating and Reverting Existing Effects in Sequences The following table summarizes the types of effects that you can update or revert to their original format: Effect Type Description Standard keyframe effects 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.
2 Basics of Effects Editing To update standard keyframe effects or color corrections by loading a sequence: 1. Load the sequence, for example, by dragging it to a monitor. The Update Sequence dialog box opens. If the sequence contains standard keyframe versions of effects that are now available in advanced keyframe versions, a message informs you that you must update the effects.
Working with Effect Templates To save a sequence with reverted color corrections that you can open in older versions of Avid editing applications: 1. Select the sequence in a bin. 2. Right-click the sequence, and select Revert Effects. A message box appears. 3.
2 Basics of Effects Editing 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 3. Open the parameter group you want to change. For example, the following illustration shows the Position parameter group. 4. Click the effect template icon in the bin or in the Effect Palette, and drag it to the specific parameter group in the Effect Editor. 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.
2 Basics of Effects Editing The name of the new template uses a suffix indicating that it is a promoted template. If the original template is named MyColorEffect, the promoted copy is named, for example, MyColorEffect.Promoted.01. Both the original template and the promoted copy are available in the bin. 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.
Playing Effects 3. Click the Play button or press the space bar. Play continues until the end of the effect, or until you click the Play button or press the space bar again. To play an effect in a continuous loop in Effect mode: 1. Move the position indicator in the Timeline to the effect you want to play. 2. Click the Play Loop button. Play begins at the start of the effect and continues until you press the space bar. To play an outline preview of an effect in Effect mode: 1.
2 Basics of Effects Editing n If you do not have Avid input/output hardware connected to your system, you must render all effects before performing a digital cut. Software-only systems ignore unrendered effects during a digital cut. For example, unrendered transition effects play as cuts. Using Render On-the-Fly for Effect Preview When you preview effects in a sequence, you can use Render On-the-Fly to control how your Avid editing application displays frames with effects.
Basics of Effects Rendering Basics of Effects Rendering The topics in this section provide basic information about rendering effects in Avid editing applications, along with instructions for rendering effects manually. You can also render effects with the help of the ExpertRender feature. ExpertRender determines which effects you need to render for successful playback of a sequence. For more information, see “ExpertRender” on page 158.
2 Basics of Effects Editing One useful way to minimize rendering time is to use the Submaster effect by applying it to a track above layered effects and rendering only the Submaster effect. For more information, see “Submaster Editing” on page 276. n When you render an audio effect on an AMA media clip, all audio media files are written as PCM (MXF), regardless of what you set for the audio file format. Rendering Effects You have the following options for rendering effects: • Render a single effect.
Basics of Effects Rendering The Render Effect dialog box opens. 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.
2 Basics of Effects Editing The Render Effects dialog box opens. 4. Click the Drive button, and select a drive on which to store the rendered effects. The Effect Source Drive selection refers to the drive where the media on the outgoing shot of a transition resides. 5. Click OK. For information on displaying the estimated time required for the render, see “Displaying Estimated Render Time” on page 57.
Basics of Effects Rendering The Render Effects dialog box opens. 4. Click the Drive button, and select a drive on which to store the rendered effect. The Effect Source Drive selection refers to the drive where the media on the outgoing shot of a transition resides. 5. Click OK. For information on displaying the estimated time required for the render, see “Displaying Estimated Render Time” on page 57.
2 Basics of Effects Editing Clearing Rendered Effects When you have one or more effects in a sequence that you want to return to unrendered status, you can clear the rendered effects within a range marked by IN and OUT points. Clearing rendered effects does not delete the effects or their precomputes, but it disassociates the precomputes from the sequence so that the effects appear unrendered. If you want to restore the renders after clearing them, you can use the Undo feature.
Basics of Effects Rendering The Clear Renders dialog box opens. 4. Select the appropriate options: Option Description Skip Motion Effects Retains all motion effects in the marked range. Skip Unknown Effects Retains all effects with blank effect icons in the marked range. 5. Click OK. Your Avid editing application clears all rendered effects between the IN and OUT points. The effect icons in the Timeline change from rendered to unrendered (the render dot appears in all cleared renders).
2 Basics of Effects Editing 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). To restore cleared effects, do one of the following: t Select Edit > Undo. The cleared effects are restored only if Clear Renders was the previous action. t Select Edit > Undo/Redo List, and then select Clear Renders.
Basics of Effects Rendering To rerender multiple effects using IN and OUT points: 1. Select all tracks that contain effects you want to render. 2. Mark an IN point before the start of the first effect you want to render in your sequence, and then mark an OUT point after the last effect you want to render. 3. Hold down the Shift key and select Clip > Render In/Out. For more information, see “Rendering Effects” on page 54. n You can also rerender effects using the shortcut menu Render commands.
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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 35.
3 Applying and Customizing Effects Applying a Dissolve Effect Using the Transition Parameters You can create a Dissolve effect by using the Transition parameters that display in Trim mode and in the Effect Editor. Enter the duration for the effect, and your Avid editing application adds the Dissolve effect to the sequence.
Applying Dissolve Effects To add a fade (dissolve): 1. Move the position indicator to a clip where you want the dissolve to end or begin. Your Avid editing application uses the location of the position indicator to begin or end the dissolve.
3 Applying and Customizing Effects t Click Cancel. Your Avid editing application does not create any dissolves. Working with the Quick Transition Dialog Box The following topics provide instructions and information for using the Quick Transition button and the Quick Transition dialog box to apply basic transition effects without using the Effect Palette or entering Effect mode. • Detailed information about the graphical controls in the Quick Transition dialog box.
Working with the Quick Transition Dialog Box 1 Element Description Track Selection buttons Let you specify the tracks to which you apply the effect. When you open the Quick Dissolve dialog box, all tracks selected in the Timeline are also selected in the dialog box by default. However, selecting tracks in the Quick Dissolve dialog box does not affect track selection in the Timeline itself.
3 Applying and Customizing Effects 68 Element Description 4 Handle on outgoing media The amount of handle available for each piece of media is indicated as a darker area on the graphic. If you have multiple transitions between an In point and an Out point, the handle refers to the transition closest to the position indicator (see “Using the Quick Transition Button to Apply Effects to Multiple Transitions” on page 72).
Working with the Quick Transition Dialog Box Using the Quick Transition Button You can use the Quick Transition button to apply the following transition effects without using the Effect Palette and to adjust them for position and duration without entering Effect mode: • Dissolve and Film Dissolve • Fade to Color, Fade from Color, and Film Fade • Dip to Color The Quick Transition button appears on the Tool palette, in the Timeline top toolbar, and in the FX tab of the Command palette.
3 Applying and Customizing Effects The Quick Transition dialog box opens. 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 66. 3.
Working with the Quick Transition Dialog Box 6. Adjust the position of the effect relative to the cut point by doing one of the following: t Click the Position menu, and select a command to have the effect end at the cut point, center on the cut point, or start at the cut point. t Click the Position menu, select Custom, and then type a number in the Start text box to specify how many frames before the cut point you want the effect to begin.
3 Applying and Customizing Effects 10. Do one of the following: t To add the effect without rendering it, click Add. t To add the effect and render it, click Add and Render. Your Avid editing application adds the effect to the selected transition and the selected tracks in the sequence, or, if you select Apply to All Transitions (In -> Out), to all transitions between the In and Out points on the selected tracks.
Working with the Quick Transition Dialog Box To adjust the length of the effect: 1. Do one of the following: t To adjust the length of the effect without changing its start point, move the pointer over the right edge of the effect. t To adjust the length of the effect without changing its end point, move the pointer over the left edge of the effect. The pointer changes to a resizing arrow. 2. Do one of the following: t To lengthen the effect, drag away from the effect icon in the center.
3 Applying and Customizing Effects Repositioning the Dissolve Effect with the Quick Transition Alignment Buttons You can use the alignment buttons below the graphical display in the Quick Transition dialog box to quickly reposition an effect so that it either ends at the cut, is centered on the cut, or starts at the cut. The buttons have the same effect as the Ending at Cut, Centered on Cut, and Starting at Cut commands in the Position menu.
Preserving Effect Transitions in the Timeline Preserving Effect Transitions in the Timeline This topic describes the behavior of clips with transition effects when you trim and move them in the Timeline. Segment Editing When you move a segment with a transition effect into filler, the effect remains with the segment. Your Avid editing application does not remove the effect. When you move a segment with a transition effect into another segment, the effect remains with the stationary segment.
3 Applying and Customizing Effects Replacing an Effect in Effect Mode You can replace an existing effect in Effect mode. However, some effects cannot replace other effects. For example, some segment effects, such as the Mask effect, cannot replace transition effects. In addition, two-track effects, such as wipes, cannot replace three-track effects, such as matte keys. To replace an effect: 1.
Using the Effect Preview Monitor 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). n If the effect you expect does not appear in the Effect Preview monitor, make sure that you have selected the Record Track Monitor button in the Track Selector panel.
3 Applying and Customizing Effects 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. Alt+click (Windows) or Option+click (Macintosh) to delete the selected keyframe. Step Backward One Frame Moves the position indicator one frame backward.
Using the Effect Preview Monitor To enter or leave Big Effect mode: 1. If your Avid editing application is not in Effect mode, enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. 2. Alt+click (Windows) or Option+click (Macintosh) the Effect Mode button. If your Avid editing application is in the default Effect mode, it enters Big Effect mode.
3 Applying and Customizing Effects Displaying Safe Title and Safe Action Guidelines in Monitors Many effects can utilize the outer edges of the viewing screen area. If you are editing material that will be viewed on screens with more limited viewing areas, such as standard televisions, you can use the Safe Title and Safe Action options to provide visual guidelines in the Effect Preview monitor that replicate the actual viewable area on a standard television screen.
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.
3 Applying and Customizing Effects The Grid parameter category in the Effect Editor lets you customize the grid display for an individual effect. Grid parameters set in the Effect Editor apply only to that effect and temporarily override the current settings in the Grid Settings dialog box. For more information on the parameters available with the Grid parameter category, see “Grid” on page 629.
Using the Effect Preview Monitor To enable display of position coordinates: 1. In the Settings tab of the Project window, double-click Grid. The Grid Settings dialog box opens. 2. Select Show Position Info, and then click OK. 3. Enable the Effect Grid as described in “Displaying the Effect Grid in Effect Mode” on page 82. To display position coordinates in Effect mode: 1. Deselect all tools in the Effect Editor (including the Outline/Path button and the Selection tool for Intraframe effects).
3 Applying and Customizing Effects 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.
Using the Effect Preview Monitor n You generate film cut lists and change lists with Avid FilmScribe. For general information on using Avid FilmScribe, see the Avid FilmScribe Help. You can also generate effect information in a cut list by using the Previsualization Marker Tool in the Paint Effect. For more information, see “Using the Previsualization Marker Tool for Film Projects” on page 507. To include coordinate information in a cut list: 1. Enable the Effect Grid before you generate the list.
3 Applying and Customizing Effects To move an enlarged image within the Effect Preview monitor: 1. Click within the boundaries of the Effect Preview monitor. 2. Press and hold Ctrl+Alt (Windows) or Command+Option (Macintosh). The pointer changes to a hand. 3. Drag the hand in any direction to reposition the image within the Effect Preview monitor. n You can also enlarge the frame in the Source monitor and move the frame around by pressing and holding Ctrl+Alt (Windows) or Command+Option (Macintosh).
Using the Effect Editor In Source/Record and Color Correction modes (editing and Color Correction modes on NewsCutter systems), 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.
3 Applying and Customizing Effects n If the Effect Editor is already open and active, select the segment or transition effect to display the effect’s parameters in the Effect Editor. Understanding Parameters in the Effect Editor Effect parameters are values that define the appearance of an effect. For example, you can set parameters that control the size and position of a Picture-in-Picture effect.
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 89
3 Applying and Customizing Effects The following table describes the buttons that all effects have in common. Additional buttons appear in the Effect Editor, depending on the effect used. For example, if you are working with a 3D effect, a set of 3D-specific buttons appears along the right side of the Effect Editor. For more information on 3D-specific Effect Editor buttons, see “Working with 3D Effects” on page 363.
Using the Effect Editor Button or Control Location in Effect Editor Description HQ Right side Appears when a 3D effect has the HQ (Highest Quality) rendering option. Click to select the HQ implementation or the standard implementation with which to render the effect. The button is green when the HQ implementation is selected. For more information, see “Rendering 3D Effects Using the HQ (Highest Quality) Option” on page 176.
3 Applying and Customizing Effects Selecting a Parameter from a Menu in the Effect Editor Some effects have parameters that you select from a menu (advanced keyframes) or from a Fast menu (standard keyframes). For example, border types for 3D effects are in the same menu. To select a parameter from a menu: t Click the menu or the Fast Menu button, and then select a parameter.
Using the Effect Editor To activate a parameter that has a slider: t Click the slider. The slider changes to pink. To change the value of a parameter that has a slider, use any of the following methods: t Move the slider with the mouse. t Use the Left Arrow or Right Arrow key to change the value by –1 or +1. t Press the Ctrl key and use the mouse scroll wheel to change the value by increments of –1 or +1.
3 Applying and Customizing Effects Accessing Additional Parameters for an Effect Some effects have additional parameters that control their operation. For example, the Grid effect has additional parameters in which you set the number of columns and rows in the wipe. When an effect has additional parameters, the Other Options button appears next to the effect name or in a parameter group.
Using the Effect Editor 2. Press and hold the mouse button, then drag the eyedropper to the Effect Preview monitor, and release the mouse button 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. To open the Windows Color dialog box: t Click the Other Options button next to a color parameter. The Windows Color dialog box opens.
3 Applying and Customizing Effects 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. t Type numeric values for each color component in the color selection text boxes. The new color appears in the left side of the Color|Solid box. 3.
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.
3 Applying and Customizing Effects Example of wireframe display in the Effect Preview monitor. The image area shows a background image on track V1 and a wire frame outlining the foreground image on track V2. 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.
4 Working with Keyframes Advanced Keyframes Advanced keyframes let you establish independent keyframes for each keyframeable parameter in an effect, which provides flexibility and control for sophisticated effects adjustments. Most effects use advanced keyframes. When an effect uses advanced keyframes, each keyframeable effect parameter has a separate keyframe track that opens to display a keyframe graph where you can set and customize keyframes.
Track Types for Advanced Keyframes Standard Keyframes Some effects use standard keyframes, which apply to every parameter in an effect. The Effect Editor does not include keyframe graphs or any other mechanism for manipulating keyframes, so you need to use the position bar of the Effect Preview monitor for such operations as adding, selecting, and moving keyframes. You still use the Effect Editor to make parameter adjustments that affect selected keyframes.
4 Working with Keyframes Track Type Description Parameter track This track shows the keyframes for the individual parameter. Parameter tracks are lighter in color than parameter group tracks. You can open individual parameter tracks to fine-tune the parameter values in a keyframe graph. n Advanced keyframe functions are available even when a keyframe graph is closed to show only the keyframe parameter track.
Viewing Advanced Keyframe Graphs To open a keyframe graph: t Click the triangular opener. The keyframe parameter track opens to display a keyframe graph. Triangular openers and keyframe graphs in the Effect Editor. When the triangular opener points down, the associated keyframe graph is open. Understanding Keyframe Graphs In keyframe graphs, the horizontal axis represents the length of the effect and the vertical axis represents the range of parameter values. The graph area itself is very dark grey.
4 Working with Keyframes In the following illustration, the Radius keyframe graph is active and is highlighted with a darker grey background. 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.
Viewing Advanced Keyframe Graphs To change the height of a keyframe graph: 1. Position the pointer over the bottom border of the keyframe graph that you want to change. The pointer changes to a vertical resizing pointer. 2. Click the edge of the graph, and drag it up or down. The height of the keyframe graph gets smaller or larger.
4 Working with Keyframes Top to bottom: horizontal scale bar, vertical scale bar, and Zoom to Curve Height button in the Effect Editor To zoom in or out horizontally on a keyframe graph: t Drag the horizontal scale bar to the right (to zoom in) or to the left (to zoom out). The view in the keyframe graph expands or contracts horizontally to show more or less detail. Keyframe graph zoomed out (left) and zoomed in horizontally.
Viewing Advanced Keyframe Graphs Keyframe graph at default vertical zoom (the graph shows the full range of parameter values) 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.
4 Working with Keyframes Zoom to Curve Height also takes account of the horizontal zoom setting of the graph. If a graph is zoomed in horizontally on a small time range in an effect, for example, Zoom to Curve Height scales the curve vertically while maintaining the horizontal zoom. By combining horizontal zooming and the Zoom to Curve feature, you can quickly make a keyframe graph easier to work with, even when keyframes are very close together and their parameter values are similar.
Manipulating Advanced Keyframes To scroll the view in a keyframe graph horizontally: t Drag the scroll thumbwheel to the left or to the right. The view in the keyframe graph scrolls so that part of the view disappears on one side and more comes into view on the other side. To scroll the view in a keyframe graph horizontally or vertically: 1. Alt+click (Windows) or Option+click (Macintosh) the keyframe graph. The pointer changes to a hand. 2.
4 Working with Keyframes Understanding Advanced Keyframe Display When you add a keyframe to a parameter, corresponding keyframe indicators appear in the effect track, in the parameter group track, and in the Effect Preview monitor. The following illustration shows the result after keyframes are added to the Position parameters H Pos and V Pos.
Manipulating Advanced Keyframes Remember that a keyframe indicator in a parameter group track or in the effect track does not necessarily indicate that a keyframe exists at that point in time for every parameter in the group or in the effect. The keyframe indicator in the parameter group track or in the effect track might be the parent of one keyframe, or of several, or of a keyframe for every keyframeable parameter in the group or in the effect.
4 Working with 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 t Select another command from the Add Keyframe Mode menu. For more information on the command selections, see “Keyframe Mode Menu Commands” on page 116. Active keyframe indicators appear at the position indicator in all appropriate tracks. For more information on where keyframe indicators appear, see “Understanding Advanced Keyframe Display” on page 110.
4 Working with Keyframes To delete advanced keyframes by using the Add Keyframe buttons: 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 In the Effect Editor or in the Effect Preview monitor, press and hold the Alt key (Windows) or the Option key (Macintosh), and then click the Add Keyframe button.
Manipulating Advanced Keyframes To remove redundant keyframes: 1. Right-click one of the following: t The effect track. 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.
4 Working with Keyframes Keyframe Mode Menu Commands The Add Keyframe Mode and Delete Keyframe Mode menus provide commands that control how parameters are added or deleted when you use the Add Keyframe buttons in the Effect Editor or in the Effect Preview monitor. The same set of commands also appears in the Effect Editor shortcut menu. When you select a command in one of these menus it becomes the default command when you add or delete keyframes using the Add Keyframe buttons.
Manipulating Advanced Keyframes Add Keyframe Mode and Delete Keyframe Mode Menu Commands (Continued) Command Description Add to Active Group (Add Keyframe Mode menu) Adds keyframes to or removes selected keyframes from the parameter tracks or keyframe graphs of all parameters that are in the same parameter category as the active parameter.
4 Working with 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.
4 Working with Keyframes Selecting and Deselecting Advanced Keyframes You can select one or more keyframes at any level of the keyframe track hierarchy — open keyframe graphs, parameter tracks, parameter group tracks, or the effect track. When you select keyframes in parameter group tracks or in the effect track, you also select all the keyframes in the group or in the effect at that point in time. To select a keyframe: t Click the keyframe. The keyframe changes to pink.
Manipulating Advanced Keyframes To deselect all keyframes in a track, do one of the following: t With a parameter enabled (for example, the slider for the parameter is highlighted), select Edit > Deselect All Keyframes. All keyframes in the enabled parameter’s parameter track are deselected. t Right-click a parameter track, a parameter group track, or the effect track, and select Deselect All Keyframes.
4 Working with Keyframes To move multiple keyframes: 1. Click one of the keyframes to select it. 2. Ctrl+click additional keyframes to add them to the selection. 3. Do one of the following: t Drag one of the keyframes up or down in the keyframe graph to change the parameter value of all the keyframes by the same relative amount without changing their positions in time.
Manipulating Advanced Keyframes • You can move a keyframe outside the time boundaries of the keyframe graph, so that the effect behaves as if parameter values are changing before the beginning or after the end of the effect. This works only for the time at which a keyframe occurs; you cannot move a keyframe to a parameter value outside the maximum or minimum value for the parameter.
4 Working with 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 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. To align the reference keyframe to the position indicator: t Right-click an open keyframe graph, a parameter track, a parameter group track, or the effect track, and select Align Keyframes. The reference keyframe moves to the position indicator.
4 Working with Keyframes The following illustrations shows several examples (the second keyframe is the reference keyframe in all cases). 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 Before (left) and after (right) slipping keyframes. The reference keyframe moves to the position indicator and other keyframes move relative to the reference keyframe. 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.
4 Working with Keyframes To copy and paste multiple selected advanced keyframes: 1. Ctrl+click (Windows) or Shift+click (Macintosh) multiple keyframes to select them. You can select multiple keyframes within a single parameter or across several parameters. 2. Select Edit > Copy, or press Ctrl+C (Windows) or Command+C (Macintosh). 3. Do one of the following: t Move the position indicator to the location where you want to paste.
Manipulating Advanced Keyframes Examples of Copy and Paste Operations on Advanced Keyframe Parameters The following illustrations show the effects of the various copy and paste operations that you can perform on advanced keyframe parameters. For more information and step-by-step instructions for copying and pasting advanced keyframe parameters, see “Copying and Pasting Advanced Keyframe Parameters” on page 127.
4 Working with Keyframes Copying and Pasting Keyframes in Multiple Parameters Before (left) and after (right) copying and pasting keyframes that you select in multiple keyframe graphs. Your Avid editing application pastes the leftmost selected keyframe at the new location of the position indicator, and preserves the offset of other keyframes from the leftmost one.
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.
4 Working with Keyframes Advanced Keyframe Interpolation Options The following table describes the interpolation options available for 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.
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.
4 Working with Keyframes Before (left) and after (right) dragging asymmetrically. Dragging the left handle up and to the left causes the left side to rotate and increase in length. The right side rotates but does not change in length. • Independently: Dragging a direction handle changes both the length and rotation of the selected handle. The opposite handle does not change. You do this by “breaking” the handle. Before (left) and after (right) dragging independently.
Manipulating Advanced Keyframes For example, suppose you make an adjustment using independent direction handles, and then move the cursor away from the keyframe. To continue using independent direction handles, click the direction handle and make further adjustments. To change the adjustment method from independent to symmetrical, Alt+click (Windows) or Option+click (Macintosh) the direction handle. 5. Continue adjusting the direction handles to achieve the effect you want.
4 Working with Keyframes Controlling Advanced Keyframe Behavior with Trimmed Effects You can use the Elastic and Fixed commands in the shortcut menu for the keyframe track to control how advanced keyframes adjust when you change the length of an effect by trimming. When you use the Elastic option, your Avid editing application scales the keyframes to fit the new duration.
Manipulating Advanced Keyframes The following illustrations show an example of the difference between elastic and fixed keyframes. 02:00 02:18 03:04 03:29 Two-second clip with four keyframes 01:00 01:27 02:21 03:29 The same clip, trimmed out to add 1 second at the head (shaded area) and using elastic keyframes. The time between keyframes stretches. 01:00 02:00 02:18 03:04 03:29 The same clip, trimmed out to add 1 second at the head (shaded area) and using fixed keyframes.
4 Working with Keyframes When Extrapolate is enabled, your Avid editing application extrapolates — that is, estimates more values for — the parameter values at the start and end of an effect using the values at the bracketing keyframes. Parameter values continue to change over time. Your Avid editing application calculates new values using the interpolation option in effect for that parameter.
Manipulating Advanced Keyframes In either case, you do not have an explicitly defined value outside the bracketing keyframes. Extrapolate and Hold can save you the trouble of individually setting new values for each parameter whenever you make changes to the position of keyframes or the length of the effect.
4 Working with Keyframes Setting Extrapolate or Hold for an Effect Parameter To set Extrapolate or Hold for a parameter: t Right-click the keyframe track, and select Extrapolate or Hold. The display changes to reflect the new setting. Controls and Settings for Advanced Keyframes This topic provides reference information for the following parts of the advanced keyframes user interface: • Effect Editor controls that are specific to advanced keyframes. • The shortcut menu for the keyframe track.
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 111 and “Deleting Advanced Keyframes” on page 113.
4 Working with Keyframes To display the Effect Editor shortcut menu: t Right-click the Effect Editor outside the keyframe track area. The Effect Editor shortcut menu opens. 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.
Controls and Settings for Advanced Keyframes Because the Motion Effect Editor uses advanced keyframes, the shortcut menu for the Motion Effect Editor and the shortcut menu for keyframe tracks are nearly identical. The differences stem from the multiple tracks available in the Effect Editor. In the following table, the listed commands appear in both menus unless otherwise stated. Control Description Add Keyframe Adds a keyframe at the position indicator. See “Adding Advanced Keyframes” on page 111.
4 Working with Keyframes Control Description Shelf, Linear, Spline, Bézier Defines how parameter changes occur at keyframes. See “Controlling Parameter Changes at Keyframes” on page 131. Fixed Elastic Defines how your Avid editing application moves keyframes when you trim an effect. Elastic keyframes change the time at which they occur when you trim an effect, in proportion to the new effect length. Fixed keyframes do not change.
Controls and Settings for Advanced Keyframes The following table describes the options for the Effect Editor shortcut menu and the Effect Editor settings dialog box. 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.
4 Working with Keyframes Option Description Set Position To Keyframe When this option is selected, when you click a keyframe, your Avid editing application moves the position indicator to the keyframe. When this option is deselected, when you click a keyframe, the position indicator does not move. Deselecting this option lets you align a keyframe to the position indicator. See “Understanding the Align Keyframes and Slip Keyframes Commands” on page 124.
Working with Standard Keyframes Working with Standard Keyframes You can manipulate standard keyframes in the following ways: • You can add standard keyframes at any point in the effect’s position bar. • You can delete any standard keyframe that you create, but you cannot delete the starting and ending keyframes your Avid editing application creates. • You can select one or more standard keyframes. A keyframe indicator changes to pink when selected.
4 Working with Keyframes To delete a standard keyframe: 1. In the position bar below the Effect Preview monitor, click the keyframe indicator. The keyframe indicator changes to pink when selected. 2. Do one of the following: t Press the Delete key. t Alt+click (Windows) or Option+click (Macintosh) the Add Keyframe button. To select one keyframe: t In the position bar below the Effect Preview monitor, click the keyframe indicator.
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 Shift+click (Macintosh) multiple keyframe indicators.
4 Working with Keyframes 150
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 50 and “Basics of Effects Rendering” on page 53. It also provides information on managing your effect media files.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files Understanding Real-Time Effects Processing To display a frame from a sequence that has a video effect applied, your Avid editing application must calculate the result of the effect at that frame. For example, to display the midpoint frame from a dissolve, your Avid editing application must calculate, for each pixel in the frame, a 50 percent blend between the color and luminance values in the outgoing clip and those in the incoming clip.
Real-Time Playback of Video Effects Understanding Real-Time Playback Information in the Timeline When your Avid editing application is unable to maintain real-time playback of an effects sequence, colored bars appear in the timecode track of the Timeline when playback ends. The following illustration shows a typical set of colored bars. Colored bars in the Timecode track of the Timeline These bars provide you with information about the difficulties your Avid editing application had during playback.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files Options for Controlling Real-Time Effects Playback When your Avid editing application is unable to maintain real-time playback of an effects sequence, there are a number of ways you can attempt to ensure that the sequence plays back successfully in real time. Start Playback Earlier in the Sequence If possible, start playback earlier in the sequence, before the effects that are causing difficulties begin.
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.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files In either case, you can improve system performance by decreasing the number of real-time streams that your Avid editing application uses during playback. Use the Video Display Settings dialog box to change the number of real-time streams, as described in “Controlling Real-Time Effects Processing” on page 156. Optimize your Drive Striping Proper drive striping increases the speed at which your Avid editing application retrieves media.
Real-Time Playback of Video Effects To set the number of real-time streams: 1. In the Project window, click the Settings tab. The Settings list appears. 2. Double-click Video Display. The Video Display Settings dialog box opens. 3. In the Stream Limit text box, type the number of real-time streams you want your Avid editing application to use for playback. By default, this dialog box displays the maximum number of streams supported by your Avid editing application. 4. Click OK.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files n Some older versions of Avid editing applications used the blue-dot mode feature to turn real-time effects off and on in software-only configurations. The replacement for this feature in current versions of Avid editing applications is the Realtime Encoding feature. For more information, see "Playing Back to a DV Device" in the Help.
ExpertRender Understanding ExpertRender When you render effects by using the Render at Position or Render In/Out command, your Avid editing application renders all effects in the selected material — all effects on the enabled tracks at the position or all effects on the enabled tracks between the marked IN and OUT points.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files ExpertRender is particularly useful in the following circumstances: n • If you attempt to preview a sequence with effects and your Avid editing application is not been able to maintain real-time playback, you can use ExpertRender to help you render the minimum amount of material necessary to achieve successful playback for previewing.
ExpertRender To render effects by using the ExpertRender command: 1. Select all tracks in the Timeline that contain effects you want ExpertRender to analyze. 2. Do one of the following: t To render at position, move the position indicator to the effects in the Timeline. t To render between IN and OUT points, mark IN and OUT points around the effects. 3. Select Clip > ExpertRender at Position or Clip > ExpertRender In/Out.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files If there is not enough room on the drive, your Avid editing application displays a message box that gives you the following choices: Option Description Continue Attempt to render the effect anyway, in case there might be enough room on the drive. Stop Stop the rendering process and return to the Render Effect dialog box, and then select another drive before continuing.
ExpertRender 3. Select Clip > ExpertRender In/Out. The Expert Render dialog box opens and indicates the number of red indicator ranges that require rendering to achieve real-time preview of effects. 4. Do one of the following: 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.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files t If you are preparing for a digital cut, select Prepare effects for Digital Cut. The message in the Expert Render dialog box changes to indicate the number of effects that ExpertRender has identified for rendering in order to create a digital cut. Using this option renders all the effects necessary for successful output of the marked region of the Timeline.
ExpertRender Modifying ExpertRender Results You can modify the results of an ExpertRender analysis, removing effects that you do not want to render and adding others that you do want to render. 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.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files 5. Click the Drive button, and select a drive for the rendered media. The Effect Source Drive selection refers to the drive where the media on the outgoing shot of a transition resides. 6. Click OK. For information on displaying the estimated time required for the render, see “Displaying Estimated Render Time” on page 57.
Creating and Using Render Settings Considerations When Using ExpertRender When you work with ExpertRender, you should be aware of the following aspects of its operation: • ExpertRender operates on all selected tracks in the Timeline, including any enabled tracks that might be above the currently monitored track. To view the material that you are submitting to ExpertRender accurately in the monitor window, make sure that you are monitoring the topmost selected track in the sequence.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files 4. Select Edit > Duplicate. 5. Name the setting by doing the following: a. Click the custom name column (in between the setting name and the setting type identifier). b. Type a name. c. Press Enter (Windows) or Return (Macintosh). 6. Select options for the new Render setting as described in the table “Render Settings Options” on page 169.
Render Settings Options Render Settings Options The following table describes the options available in the Render Setting dialog box. Option Suboption Render Completion Sound Description Defines a sound that your Avid editing application plays once the rendering process is complete. This is useful when you are rendering multiple effects. None Disables the rendering completion sound. This is the default. System Beep The rendering completion sound matches the sound set for your operating system.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files Option Suboption Description Interpolated Field Creates a second field for the effect by combining scan line pairs from the first field in the original media. This option calculates the motion effect at the field level rather than the frame level. Because your Avid editing application considers all fields and does not disturb the original order of fields, the smoothest effect results.
Using Partial Render Option Suboption Description Blended VTR (Timewarp only) Creates a second field for the effect by shifting selected video fields of the original media by a full scan line, then blending (averaging) 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.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files This feature is especially useful if you have to interrupt a long render of a single effect, such as a Submaster effect. 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.
Using 16-Bit Processing Support for Rendered Effects Using 16-Bit Processing Support for Rendered Effects You can choose to render most effects using a bit depth of 16 or a bit depth of 8. 16-bit rendering provides greater precision and better color quality when working with 10-bit resolutions. For example, if you apply a color effect to a clip that contains a gradient (such as a wide, soft border), you notice a difference if you zoom in on the rendered effect.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files To set the bit depth for rendered effects: 1. Select Tools > Media Creation. The Media Creation dialog box opens. 2. Click the Render tab. 3. Set the Effects Processing bit depth option to one of the following: 174 Option Description 8-bit Use this option when rendering time is more important than image quality, or if you are mainly working with effects that do not support 16-bit precision.
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.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files 4. Select Clip > Clear Renders In/Out. The Clear Renders dialog box opens. 5. Deselect Skip Motion Effects and Skip Unknown Effects. 6. Click OK. To purge precomputes from all sequences: 1. Select Tools > Media Tool. The Media Tool Display window opens. 2. Select All Drives to select all media drives. 3. Select Current Project to select the current project.
Rendering 3D Effects Using the HQ (Highest Quality) Option The additional quality that you achieve using the HQ rendering option depends on the effect and the footage you use to create the effect. For example, HQ rendering can often improve the quality of an effect that dynamically resizes an image or an effect on a clip with a lot of motion. n If an effect supports 16-bit processing, you can achieve additional quality by turning on HQ rendering along with 16-bit processing.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files n Once your Avid editing application begins rendering, it changes all affected HQ settings to the Effects Quality Render Using value in the active Render setting. If you cancel the render, HQ settings for individual effects do not revert to their previous values. For example, suppose you apply several effects to a sequence and use the HQ button in the Effect Editor to select HQ rendering for some but not all the effects.
Rendering Effects for the Media Station XL To use the Render to Media Station command: 1. Select all tracks in the Timeline that contain effects you want the Render to Media Station command to analyze. 2. Do one of the following: t To render at position, move the position indicator to the effects in the Timeline. t To render between IN and OUT points, mark IN and OUT points around the effects. 3. Select Clip > Render to Media Station. The Render to Media Station dialog box opens. 4.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files 6. Click OK. The Render to Media Station command analyzes the selected effects and highlights the effects that require rendering by your Avid editing application. The Render Effects for Media Station dialog box opens and indicates how many of the effects submitted require rendering. 7. Click the Drive menu, and select a drive for the rendered media.
Managing Effect Media Files t Click Continue to attempt to render the effects anyway, in case there might be enough room on the drive. The selected effects render. n To display the estimated rendering time, press the T key on the keyboard. Press the T key again to clear the display. Press the P key to view the percent rendered. To cancel a Render to Media Station command during the modification process, do one of the following: t Click in the timecode (TC) track to move the position indicator.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files Your Avid editing application overwrites or automatically deletes a media file from your drive only if you: • Render an effect two or more times with the Render Effect button. • Close the project before either an Auto-save or a manual save occurs. In this case, your Avid editing application automatically saves the last-rendered effect and deletes the earlier, unreferenced versions.
Managing Effect Media Files 2. Select an effect item in the bin. In the following illustration, a rendered effect clip is selected. n You can reveal media files for only one item in a bin at a time. 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.
5 Playing Effects, Rendering Effects, and Managing Effect 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. Do one of the following: t Click OK 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. On Windows systems only, some Avid editing applications can use Avid input/output hardware and an Avid plug-in for Adobe After Effects® to view After Effects compositions on an external (client) monitor. • Understanding AVX Plug-Ins • Freeing Memory Used by AVX 1.x Plug-ins • Installing AVX Plug-ins • Locating the AVX 1.
6 Working with Plug-In Effects Your Avid editing application supports both 1.x and 2.0 versions of the AVX standard. AVX 2.0 supports advanced keyframes and allows plug-in vendors to take advantage of 16-bit effects processing, while AVX 1.x does not. AVX 2.0 plug-ins automatically use advanced keyframes, so you do not need to promote them. A particular AVX 2.0 effect might or might not support 16-bit processing.
Installing AVX Plug-ins Installing AVX Plug-ins Most AVX plug-ins have an installation program that installs the plug-ins automatically in the correct AVX Plug-In folder when you follow the installation instructions. c If an AVX plug-in has an installation program, always use the program to install the plug-ins. For more information, see the documentation for the plug-in. Some AVX plug-ins do not have an installation program and you must install them. To install AVX plug-ins manually: 1.
6 Working with Plug-In Effects Locating the AVX 1.x Plug-Ins Folder (Windows Only) This topic applies only to AVX 1.x plug-ins. The AVX2_Plug-Ins folder is always in the same location. For more information, see “Installing AVX Plug-ins” on page 187. When your first install your Avid editing application, you can select a location for the AVX_Plug-Ins folder. The default path is: C:\Program Files\Avid\AVX_Plug-Ins If you accept this location for the AVX_Plug-Ins folder, you install AVX 1.x plug-ins here.
Updating and Promoting AVX Plug-ins The Directory entry for HKEY_LOCAL_MACHINE\SOFTWARE\Avid Technology\AVX Plug-ins in the Registry Editor Updating and Promoting AVX Plug-ins You can upgrade an AVX 1.x plug-in to a newer AVX 1.x plugin, or upgrade an AVX 2.0 plug-in to a newer AVX 2.0 plug-in. You can promote some AVX 1.x plug-ins to an AVX 2.0 version if you have both versions of the plug-in installed on your system. You can also promote all promotable AVX 1.x plug-ins in a sequence to AVX 2.
6 Working with Plug-In Effects To upgrade an AVX 1.x plug-in to a newer AVX 1.x plug-in or an AVX 2.0 plug-in to a newer AVX 2.0 plug-in: 1. Uninstall the old version of the plug-in. 2. Install the new version in your AVX2_Plug-Ins or AVX_Plug-Ins folder. Your Avid editing application upgrades existing effects in sequences to be compatible with the new version.
Assigning Multiple Tracks in Plug-in Effects Assigning Multiple Tracks in Plug-in Effects Some plug-in effects take an arbitrary number of tracks as input. Your Avid editing application lets you select the number of video inputs from the AVX Optional Inputs dialog box. n For more information on the multiple track capabilities of a plug-in, see the documentation for that plug-in. To assign multiple tracks to a plug-in effect by using the AVX Optional Inputs dialog box: 1.
6 Working with Plug-In Effects Some plug-in effects let you adjust an image by using controls that appear as overlays, such as handles and wire frames, in the Effect Preview monitor. You access these overlays by clicking the Outline/Path button at the bottom of the Effect Editor. In some cases, you can then access further controls by clicking buttons on the right side of the Effect Editor that are similar to the buttons available in standard Avid 3D effects.
Troubleshooting AVX Plug-Ins Plug-In Does Not Appear in the Effect Palette AVX plug-ins have a plug-in icon in the Effect Palette and in the Timeline. If the plug-in icon does not appear in the Effect Palette after installation, the plug-in might be in the wrong folder. For more information, see “Locating the AVX 1.x Plug-Ins Folder (Windows Only)” on page 188 and “Installing AVX Plug-ins” on page 187. Plug-In Does Not Load AVX plug-ins might not load correctly for a variety of reasons.
6 Working with Plug-In Effects Missing Effect Categories in the Effect Palette If plug-in effect categories are not visible in the Effect Palette, either they are not installed correctly or you might have an incorrect version of the AVX Library. Check the Console window for a message that states that AVX was disabled. • If AVX was not disabled, quit your Avid editing application, reinstall the plug-ins, and restart your Avid editing application.
Working with the Avid After Effects EMP Plug-In (Windows Only) To install the Avid After Effects EMP plug-in: 1. On the system that runs After Effects, quit all Windows applications. 2. Insert the Avid editing application CD-ROM into the CD-ROM drive. If the installer does not automatically start after you insert the CD-ROM, do the following: a. Double-click the My Computer icon. b. Double click the CD-ROM icon. c. Double-click Launch.exe to start the Installer. 3.
6 Working with Plug-In Effects Considerations for Using the Avid After Effects EMP Plug-in (Windows Only) You use the Avid After Effects EMP plug-in mainly to preview colors, objects, and anti-aliased text on an NTSC or PAL monitor without having to export the composition to your Avid editing application. The Avid After Effect EMP plug-in accurately converts colors produced in After Effects to color values that can be displayed on an NTSC or PAL monitor.
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.
7 Creating and Customizing Motion Effects Understanding Motion Effects Motion effects divide into two main categories, traditional motion effects (sometimes known as source-side motion effects) and Timewarp effects. Traditional Motion Effects You create a traditional Freeze Frame, Variable Speed, or Strobe Motion effect by generating a new clip with specific motion characteristics from an original clip that you open in the Source monitor. You then edit the motion effect clip into your sequence.
Creating Traditional Motion Effects Creating Traditional Motion Effects You can create the following kinds of traditional motion effects: • Freeze Frame For more information, see “Creating a Traditional Freeze Frame Effect” on page 199 and “Creating a Rolling Clip That Freezes” on page 201. • Variable Speed For more information, see “Creating a Traditional Variable Speed Effect” on page 201 and “Using the Fit to Fill Button to Create a Variable Speed Effect” on page 204.
7 Creating and Customizing Motion Effects 4. (Option) If you are using two-field or uncompressed media, select Two Field Freeze Frames, and then select one of the following: Option Description Using Duplicated Field Your Avid editing application uses a single field to create the effect. This reduces the vertical resolution of the image by one-half, but is often the best option if the source footage contains rapid motion.
Creating Traditional Motion Effects 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. For an example that uses the Timewarp effect instead of a traditional freeze frame, see “Speed Graph Example: Creating a Rolling Clip That Freezes” on page 229. To create a rolling clip that freezes: 1. Edit the clip into the sequence. 2.
7 Creating and Customizing Motion Effects To create a Variable Speed effect: 1. (Option) If you require a fixed duration for the clip based on a segment in the sequence, mark the segment in the Timeline with IN and OUT points. n You can use the Fit to Fill button to create a motion effect of fixed duration. See “Using the Fit to Fill Button to Create a Variable Speed Effect” on page 204. 2.
Creating Traditional Motion Effects 7. (Option) If you are using two-field or uncompressed media, select Two Field Freeze Frames, and then select one of the following: n Option Description Duplicated Field Your Avid editing application creates the effect using one field. Both Fields Your Avid editing application creates the effect using both fields.
7 Creating and Customizing Motion Effects Motion Effect icon and Variable Speed clip name suffix on a Variable Speed clip in the bin Using the Fit to Fill Button to Create a Variable Speed Effect You can create a Variable Speed effect that is automatically sized to fit a marked IN to OUT duration in a sequence by clicking the Fit to Fill button. The Fit to Fill button, in the Edit tab of the Command palette, performs an overwrite edit and uses a Variable Speed motion effect to fill the marked duration.
Creating Traditional Motion Effects To create a Strobe Motion effect: 1. (Option) If you want to use only part of the source clip for the effect, mark IN and OUT points in the Source monitor. 2. 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. 3. Do the following: a.
7 Creating and Customizing 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 601. 7.
Playing and Rendering Motion Effects Playing and Rendering Motion Effects This section provides information on playback capabilities for traditional motion effects, and on your options for rendering and rerendering motion effects. Playback Capabilities for Traditional Motion Effects Some motion effect clips play in real time when edited into a sequence. You must render others before they can play.
7 Creating and Customizing Motion Effects • You might need to render or rerender motion effects when you edit them into a sequence and perform trims or apply transition effects. This kind of effect appears with a blue dot in the Timeline after the changes that cause it to require rendering. (Previously, it appeared with no colored dot in the Timeline (if it had been rendered) or with a green dot in the Timeline (if it previously played in real time).
Playing and Rendering Motion Effects The motion effect type that your Avid editing application uses when it renders a motion effect depends on the setting for the Motion Effects Render Using option or the Timewarp Effects Render Using option in the active Render setting. If the option is set to Original Preference (the default setting), your Avid editing application makes no change to the type of motion effects when it renders them.
7 Creating and Customizing Motion Effects Understanding Timewarp Effects Timewarp effects provides a powerful and flexible alternative to traditional motion effects. You apply Timewarp effects to segments in a sequence, and then use keyframes and other controls in the Motion Effect Editor to control the speed and the position of any image in the effect.
Understanding Timewarp Effects Understanding Speed and Position Controls for Timewarp Effects The Timewarp effect provides two ways to control motion: speed and position. You display the Speed graph and the Position graph in the Motion Effect Editor. The Speed control resembles traditional motion effects because you determine how fast you want the clip to play and change the speed accordingly. The Motion Effect Editor displays the speed of the source (input speed) at output time in the Speed graph.
7 Creating and Customizing Motion 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.
Creating Timewarp Effects Creating Timewarp Effects You create a Timewarp effect by dragging the Timewarp effect icon from the Effect Palette. You can also promote a traditional motion effect to a Timewarp effect. For more information, see “Promoting a Traditional Motion Effect to Timewarp” on page 213. To apply a Timewarp effect from the Effect Palette: 1. Create a sequence in the Record monitor. For information about creating a sequence, see “Creating and Editing Sequences” in the Help. 2.
7 Creating and Customizing Motion Effects For more information, see “Using the Motion Effect Editor” on page 215. The Motion Effect Editor opens. The Promote button appears in the Motion Effect Editor. The Speed, Strobe and Duration values for the motion effect appear in the appropriate text boxes in 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.
Using the Motion Effect Editor Using the Motion Effect Editor You customize Timewarp effects by using the Motion Effect Editor. You do not have to be in Effect mode to use the Motion Effect Editor, and you do not have to close the Motion Effect Editor to use other modes. You can, for example, use the Motion Effect Editor while in Trim mode. n You cannot create a traditional motion effect with the Motion Effect Editor open.
7 Creating and Customizing Motion Effects n The Motion Effect button appears in the Tool palette and in the Timeline top toolbar. You can also map the Motion Effect button from the Command palette to another button or to the keyboard. For more information, see the following topics in the Help: “Using the Tool Palette,” “Displaying the Timeline Top Toolbar,” and “The Command Palette.” 3. Click either the Speed Graph Display button or the Position Graph Display button.
Scaling a Graph Display in the Motion Effect Editor Scaling a Graph Display in the Motion Effect Editor Each graph in the Motion Effect Editor has a Value scale slider and a Position scale slider. You use these sliders to scale the graph view up or down to see more or less detail. For the Speed graph, the Value scale slider controls the Percent Speed (vertical) axis, and the Position scale slider controls the Output Position (horizontal) axis.
7 Creating and Customizing Motion Effects 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. Drag the hand in any direction to reposition the view within the graph display. Using the Source Anchor Frame Your Avid editing application needs to know the Source Anchor Frame to completely determine the results of Speed graph settings.
Using Adaptive Deinterlacing Using Adaptive Deinterlacing Adaptive deinterlacing is an additional processing option for Timewarp and Motion Adapter effects. The Adaptive Deinterlace Source check box is available in the Motion Effect Editor when all of the following are true: • The Source parameter value is Interlaced. • The Output parameter value is Progressive. • The Type parameter value is one of the following: Both Fields, Blended Interpolated, Blended VTR.
7 Creating and Customizing Motion Effects Motion Effect Editor Reference The initial appearance of the Motion Effect Editor depends on whether there is no motion effect, a Timewarp effect, or a traditional motion effect in the segment at the position indicator. The following illustration shows the three possibilities.
Motion Effect Editor Reference Motion Effect Editor Components (Continued) Component n Description 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. Promote to Timewarp button Click to promote a traditional motion effect to a Timewarp effect. See “Creating Timewarp Effects” on page 213. Edit Graph menu Click to activate a control graph with which to customize the Timewarp effect.
7 Creating and Customizing Motion Effects 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 247.
Motion Effect Editor Reference The following table describes the buttons that always appear in the Motion Effect Editor toolbar. Motion Effect Editor Toolbar Buttons Button Description Render Effect Renders the Timewarp effect with the selected rendering option. Remove Effect Removes the Timewarp effect. Match Frame Finds and displays the frame in the source material that matches the frame in the Timewarp effect.
7 Creating and Customizing Motion Effects Rendering Options for Timewarp Effects For information on selecting a rendering option, see “Using the Motion Effect Editor” on page 215. Option Description Duplicated Field Displays a single field in the effect. For two-field media, this reduces the information stored by half because it drops one field of the image, resulting in a lower quality image. For single-field media, this is usually the best choice because of its speed.
Rendering Options for Timewarp Effects Option Description Interpolated Field Creates a second field for the effect by combining scan line pairs from the first field in the original media. This option calculates the motion effect at the field level rather than the frame level. Because your Avid editing application considers all fields and does not disturb the original order of fields, the smoothness of the rendered effect is second only to FluidMotion.
7 Creating and Customizing Motion Effects 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.
Timewarp Speed Graph Reference Motion Effect Editor Speed Graph Components Component Description 1 Anchor text box Displays the timecode of the Source Anchor Frame. For more information, see “Using the Source Anchor Frame” on page 218. 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 218.
7 Creating and Customizing Motion Effects n The Fast menu that appears when you click the Fast Menu button in the Speed graph toolbar is the same as the shortcut menu that appears when you right-click the Speed graph. The menu is described in “Shortcut Menus for Keyframe Tracks and the Motion Effect Editor” on page 142. Timewarp Position Graph Reference The following illustration shows the activated Position graph.
Timewarp Effect Examples Motion Effect Editor Position Graph Components (Continued) Components Description 3 Active keyframes The keyframes to which your Avid editing application applies any changes you specify. Active keyframes are pink. 4 Input Position text box Indicates the input position (timecode in the source clip) at the active keyframe. You can change the input position by moving keyframes vertically or by typing a number in the Input Position text box.
7 Creating and Customizing Motion Effects You create a freeze frame with a Timewarp effect by cueing to the image in your sequence that you want to freeze and adding a keyframe to set the speed of the clip to 0% at that point. When you want motion to resume, add a keyframe at that timecode and set the speed of the clip to 100%.
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.
7 Creating and Customizing Motion Effects n You move Timewarp keyframes directly in the same way you move keyframes in keyframe graphs. See “Moving Advanced Keyframes” on page 121. 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 To change the time at which the freeze frame starts: 1. Click the keyframe indicator at which the freeze frame ends. 2. Shift+click the keyframe indicator at which the freeze frame starts. 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.
7 Creating and Customizing Motion Effects To change the length of the freeze frame, without changing the starting time, do one of the following: t Alt+Shift+click (Windows) or Option+Shift+click (Macintosh) the second keyframe indicator, and drag it to its new position. Dragging to the left shortens the freeze frame, while dragging to the right lengthens it. t Type a new ending timecode in the Output Position text box.
Timewarp Effect Examples To customize an effect with the Position graph: 1. Apply a Timewarp effect, and set up the Motion Effect Editor as described in “Using the Motion Effect Editor” on page 215, with the following specifics: a. Click the Edit Graph menu, select Position, and then click the Position Graph Display button to open the Position graph. b. Click the Motion Effect Editor Fast Menu button, and select an interpolation option.
7 Creating and Customizing Motion Effects Position Graph Example: Reverse Motion While the Motion Effect category contains a Reverse Motion template for the Timewarp effect, setting up reverse motion directly in a clip demonstrates how the Position graph works in this basic effect. You can use the same technique to create reverse motion in part of a clip instead of across the entire clip.
Timewarp Effect Examples In the Speed graph, a straight line crosses the graph at 100% speed. 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.
7 Creating and Customizing Motion Effects In the Position graph, a straight line descends across the graph, mapping the effect’s starting time to the clip’s ending time, and the effect’s ending time to the clip’s starting time, effectively reversing the clip. The effect plays back in reverse motion. 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.
FluidMotion Workflow By definition, artifacts appear only in intermediate images that FluidMotion creates. The bracketing images, whether frames or fields of original material, do not have artifacts. You use FluidMotion Edit to make corrections either by incorporating motion information from other parts of the image or clip or by directly manipulating the artifact’s motion vectors. FluidMotion performs motion estimation based on the original source frames.
7 Creating and Customizing Motion Effects Using FluidMotion Edit An artifact occurs when your Avid editing application makes an incorrect estimation about the motion for a region of pixels. FluidMotion Edit provides a variety of methods for dealing with artifacts. In general, you define a region around an artifact and then modify the way FluidMotion creates new material from the source material within that region. FluidMotion does not alter the way it creates new material outside defined regions.
Using FluidMotion Edit For general information on working with the Effect Editor, see “Using the Effect Editor” on page 87. 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.
7 Creating and Customizing Motion Effects To view vectors as colors: 1. In the Display parameter category, click the Fast Menu button, and select Color Warp 50%. 2. (Option) Deselect Show Vectors to see the color vectors and the underlying image more clearly. 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%.
Example of Correcting FluidMotion Artifacts Example of Correcting FluidMotion Artifacts In this example, a table tennis ball crosses a net. FluidMotion creates one artifact where the ball crosses the net and a second artifact directly above the first at the edge of the table. Example of FluidMotion artifacts: details of the bracketing images (left and right) and the intermediate image (center) with artifacts created by FluidMotion.
7 Creating and Customizing Motion Effects To fix the artifacts: 1. In the Effect Editor, click the Fast Menu button in the Mode parameter category, and select Set Vector. 2. Select the Oval tool, and draw ovals around the areas containing the artifacts. Your Avid editing application automatically sets the Vector X and Vector Y values to 0 within the new objects. This removes all motion information from within the regions.
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.
7 Creating and Customizing Motion Effects 5. Render the effect, and click the Play Loop button to review the rendered effect. 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.
Timewarp Preset Effects Timewarp Preset Effects The Timewarp effect category contains several preset effects that you apply directly to clips in a sequence. The effects are set up as templates but you can modify them using the Motion Effect editor. The following table describes these effects. For information on using the FluidFilm templates, see “FluidFilm Preset Effects” on page 247. For details on using the other templates, see “Timewarp Effects” on page 611.
7 Creating and Customizing Motion Effects n You can also use the templates as a starting point to create a video look from sources originally shot on film by switching the input and output format values. Applying a Film Look to a Video Clip A common scenario involves a show that is shot on film and edited at 30i where you want to incorporate some video clips into the Timeline. You can process the video clips with the FluidFilm template to generate a look similar to the film footage.
Setting Source and Output Options for Format Conversion with Timewarp Effects Setting Source and Output Options for Format Conversion with Timewarp Effects You can use the Motion Effect editor to convert formats when creating a Timewarp effect. You need to match the Source format option to the format of the original source material. For example, if the material was shot on a 30i camera, select Interlaced as the Source format.
7 Creating and Customizing Motion Effects 2. Click the Output menu, and select an output format. See the table in step 1 above. 3. (Option) Select Adaptive Deinterlace Source. For more information, see “Using Adaptive Deinterlacing” on page 219. 4. Click OK. n 250 For best results when performing a format conversion, use the FluidMotion render option and view the resulting footage on a client monitor.
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.
8 Layered and Nested Effects Key Effect Type Description Matte Replaces one part of the video image with another video image or graphic based on the location of a high-contrast image known as a matte. You create a matte key using the Matte Key effect or an imported Matte Key clip. For reference information on all key effects, see “Key Effects” on page 595.
Key Effects Understanding SpectraMatte Analysis Displays The SpectraGraph™ display for the SpectraMatte effect shows how the effect operates on the entire CbCr color space. This helps you see how the effect is working and what further adjustments you might need to make. You can also display the alpha matte that the effect is generating. This lets you see clearly which pixels from the foreground image are being keyed in or out, and how pixels on the edge of the matte are being blended.
8 Layered and Nested Effects The range of colors that the SpectraMatte effect is currently keying out from your foreground image is also keyed out from this swatch, revealing a black background in its place. The range of colors that the effect is currently retaining from the foreground image appears as fully opaque color. The range of colors that the effect is currently blending between foreground and background appears as partially transparent color.
Key Effects 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. You activate the alpha matte display using controls in the Matte Analysis category in the Effect Editor. For more information, see “Key: SpectraMatte Effect” on page 597.
8 Layered and Nested Effects This topic explains how the SpectraMatte effect calculates the key color wedge from some of the main parameter values you set. For detailed information about all of the SpectraMatte effect’s parameters, see “Key: SpectraMatte Effect” on page 597. 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.
Key Effects Creating a SpectraMatte Effect To create a SpectraMatte Key effect: 1. Create a sequence with two video layers. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. 2. Edit the background image onto track V1 and the foreground image onto track V2. 3. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. 4. In the Effect Palette, click the Key category. 5.
8 Layered and Nested Effects 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. 8. Fine-tune the key by enabling and adjusting additional parameter categories as necessary.
Key Effects Understanding the Chroma Key Effect and the RGB Keyer Effect The Chroma Key and RGB Keyer effects do not create as high a quality key as the SpectraMatte effect. However, they provide backwards compatibility with older Avid editing applications. If you are moving sequences between different versions of Avid editing applications, use the Chroma Key or RGB Keyer effect. Otherwise, try the higher quality SpectraMatte effect. n You can promote a Chroma Key effect to the SpectraMatte effect.
8 Layered and Nested Effects RGB Keyer Effect The RGB Keyer effect is a non-real-time plug-in effect that includes additional parameters for fine-tuning the edges of the key and for applying post-key color correction (correction applied to the foreground image without affecting the key itself). You cannot promote the RGB Keyer effect to 3D.
Key Effects 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.
8 Layered and Nested 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 Matte Key effect uses three layers of video to create the effect. The bottom layer is the background image, the middle layer is the foreground image, and the top layer contains the matte or alpha channel. To create a Matte Key effect: 1. Create a sequence with three video layers. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. 2. Edit the background image onto track V1 and the foreground image onto track V3. 3.
8 Layered and Nested Effects Working with Real-Time Moving Mattes If you import a moving matte as a 32-bit QuickTime file or a graphic sequence, your Avid editing application handles the effect in real time. Your Avid editing application treats a QuickTime file with embedded alpha as a moving matte if it has more than one frame. The basic procedure for importing a moving matte is described in “Importing Files” in the Help.
Working with Imported Graphics and Animation Using the Color Effect to Prepare a High-Contrast Image This topic describes how to enhance high-contrast images for use in creating Matte Key effects. You can also import a graphic image with an alpha channel and use it as a Matte Key effect. For more information, see “Working with Imported Graphics and Animation” on page 265. To create a high-contrast image from available footage: 1. Apply the Color Effect to the clip.
8 Layered and Nested Effects Imported graphics in a bin: graphic master clip with no alpha channel (top), and Matte Key Effect clip with alpha channel (bottom) 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. To import animation with an alpha channel, you must use another supported format.
Working with Imported Graphics and Animation To edit a Matte Key clip into the sequence: 1. Edit the main video sequence. 2. Add a new track above the tracks in the sequence by selecting Clip > New Video Track. n You must edit Matte Key clips onto an upper track to achieve the keying effect. If you edit a Matte Key clip onto track V1, for example, the image is keyed over black unless track V1 contains nested tracks. 3.
8 Layered and Nested Effects Nesting Effects You can place effect tracks inside one another to better combine multiple images and effects. This involves a process known as nesting, which lets you use the Timeline to step into a track, perform a series of editing operations, and then step out to view and render the effect as one segment on the track. Example of nested layers in a Timeline. Tracks 1.1, 1.2, and 1.3 hold effects nested inside the Submaster effect on track V1. Tracks 2.1 and 2.
Nesting Effects Another use of nesting is to constrain one effect using another effect. For example, you can use the Circle Shape Wipe effect to constrain an image posterization inside a region. 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.
8 Layered and Nested Effects To expand a nested effect, do one of the following: t In Effect mode, double-click the nested effect. t In Source/Record mode (editing mode in NewsCutter), click one of the segment tools on the Timeline palette, and then double-click the nested effect. Segment tools in the Timeline palette 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.
Nesting Effects 2. Click one of the segment tools on the Timeline palette, and then double-click the segment. Segment tools in the Timeline palette The segment opens to reveal the nested tracks. 3. Edit new footage into the nested tracks, and apply additional effects as necessary. In this example, a series of clips is edited onto nested track 1.2, with dissolves applied between the shots. The 3D Picture-in-Picture effect applies to the entire nested dissolve sequence. 4.
8 Layered and Nested Effects 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. For example, if you have a Picture-in-Picture effect with a Color Correction effect nested inside it, you can see both effects and their parameters in the Effect Editor, as shown in the following illustration.
Nesting Effects Changing the Order of Nested Effects You can change the order of most nested effects in the Effect Editor. To change the order of nested effects: t Drag the effect icon for the effect you want to move to the position you want it to occupy in the nest. 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.
8 Layered and Nested Effects A simple example of changing the order of nested effects. In the original order, the SubCap effect is nested inside the Flop, so the text in the image is reversed. Changing the order of the two effects in the Effect Editor corrects the problem. Nesting a Matte Key Effect A Matte Key effect uses three layers of video to create the effect. To nest a Matte Key effect: 1. Create a sequence with the background video on track V1.
Nesting Effects 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. Click one of the segment tools on the Timeline palette. Segment tools in the Timeline palette 6. Double-click the Matte Key Effect icon in the segment. The Timeline expands to display three nested tracks (1.1, 1.2, and 1.3). By default, nested track 1.3 contains the same image segment as track V2. Nested track 1.2 is empty (foreground filler track).
8 Layered and Nested Effects 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 596.
Submaster Editing n You can nest up to 24 tracks inside a Submaster effect depending on the model of your Avid editing application. An edit decision list (EDL) for a sequence that contains a Submaster effect represents the contents of the Submaster effect as a single cut. To work around this, you can create a new sequence with the contents of the Submaster effect and generate a separate EDL for that sequence. To apply the Submaster effect to a multilayered sequence: 1. Select Clip > New Video Track. 2.
8 Layered and Nested Effects To apply the Submaster effect to multiple short clips: 1. Select Clip > New Video Track. 2. On the new video track, create one add edit before and another after the group of clips. 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. 5.
Collapsing Layers into a Submaster Effect To collapse layers into a submaster effect: 1. Select all the tracks you want to collapse. The tracks must be adjacent. 2. Mark an IN point and an OUT point around the area you want to collapse. 3. Click the Collapse button. Depending on the model of your Avid editing application, the Collapse button might appear by default in the Timeline top toolbar or in the Tool palette. It is also available from the Command palette.
8 Layered and Nested Effects 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 To perform a video mixdown: 1. Select the Record Track Monitor button in the Track Selector panel for the highest track you want to include in the video mixdown. n Video Mixdown collapses the selected track and all tracks under it. If you want to perform a video mixdown of only one track, select the track for solo monitoring by Ctrl+clicking (Windows) or Shift+clicking (Macintosh) the Record Track Monitor button. For more information, see “Patching Tracks” in the Help. 2.
8 Layered and Nested Effects 282
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 309.
9 Working with Camera Effects n A Reformat effect works on all tracks below the track to which you apply it. For example, if you apply the effect above a title track, the titles become reformatted as well. If you do not want to reformat the titles, apply the effect below the title track. The following table describes the three Reformat effects, other than Pan and Scan, that reformat media to new aspect ratios. For reference information on these effects, see “Reformat Effects” on page 605.
Working with the Pan and Scan Effect The Pan and Scan effect lets you pan across your media and select what portion of the media you want to retain for output. If necessary, you can use keyframes to adjust the effect. You can use Pan and Scan on any type of project.
9 Working with Camera Effects Applying the Pan and Scan Effect Because the Pan and Scan effect controls the aspect ratio of your final output, you must apply the effect to your entire sequence. Apply the Pan and Scan effect to its own video track after you finish editing the sequence. n n You might want to place a Pan and Scan effect directly on a video segment. For more information, see “Combining the Pan and Scan Effect with Transition Effects” on page 294.
Working with the Pan and Scan Effect 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. Setting these ratios correctly is the most important part of using Pan and Scan.
9 Working with Camera Effects The Effect Editor opens. 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.
Working with the Pan and Scan Effect 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. In Source/Record mode (editing mode on NewsCutter systems), 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.
9 Working with Camera Effects The following illustration shows the Effect Grid with Show Safe Action, Show Thirds, and Show Axes selected. n Safe Title/Safe Action and Thirds grid marks are based on the Target aspect ratio and are displayed inside the wire frame. Other grid markings are displayed as normal across the entire monitor. You can open the Grid Settings dialog box by clicking the Other Options button in the Grid parameter category of the Effect Editor.
Working with the Pan and Scan Effect To save wire-frame settings for the Pan and Scan effect: t In the Effect Editor, open the Actions parameter category and click Establish Origin. To reset the wire frame for the Pan and Scan effect: t In the Effect Editor, open the Actions parameter category and click Reset to Origin. Reset to Origin is useful for quickly centering the wire frame after you move it.
9 Working with Camera Effects To subdivide a Pan and Scan effect: 1. If your Avid editing application is not in Effect mode, enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. 2. Move the position indicator to the Pan and Scan effect. 3. Click the Record Track buttons in the Track Selector panel for the video tracks to use as the subdivision guide.
Working with the Pan and Scan Effect To scale the wire frame, do one of the following: t Click one of the wire frame’s handles, and drag it to the position you want. t Click the triangular opener for the Scaling parameter category in the Effect Editor, and use the slider controls to adjust the wire frame’s height and width. 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.
9 Working with Camera Effects 2. If you see a problem with the panning, stop playback by doing one of the following: t Click the Play button or the Play Loop button. t Press the space bar. 3. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. 4. Adjust the Pan and Scan effect. If your sequence needs many adjustments: 1. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
Working with the Pan and Scan Effect You can set Pan and Scan parameters for the starting and ending keyframes of the entire segment string and insert additional keyframes wherever you need to fine-tune the panning. However, this approach works only if the panning does not vary among the segments in the string. If panning needs to vary greatly from segment to segment, you might need to handle Pan and Scan on a segment-by-segment basis.
9 Working with Camera Effects Using Avid Pan & Zoom The Avid Pan & Zoom effect provides capabilities similar to a motion control camera using high-quality digital processing. You can move around a still image, with extensive keyframe control over the location and magnification of the field of view. The Avid Pan & Zoom effect uses a downsized proxy image as its source while you are manipulating and previewing the effect, which provides excellent speed and response to your parameter and keyframe changes.
Using Avid Pan & Zoom 2. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. The Effects Editing toolset appears. 3. In the Effect Palette, click the Image category. 4. Click the Avid Pan & Zoom icon, and drag it to the placeholder segment you created in step 1. The Avid Pan & Zoom parameters appear in the Effect Editor. 5. In the Effect Editor, click the Other Options button. A file selection dialog box opens. 6.
9 Working with Camera Effects n If you select a file that your Avid editing application does not recognize as an image file, your Avid editing application takes no action and no error message appears. For more information, see “Using Avid Pan & Zoom” on page 296. The placeholder segment name does not change (the name of the image file does not appear in the segment). 7. Customize the Avid Pan & Zoom effect using the procedures described in the following topics.
Using Avid Pan & Zoom Adjusting the Field of View for an Avid Pan & Zoom Image The field of view is the part of the source image that you select to create the final image. It is represented in the Effect Preview monitor by a gray rectangle superimposed on the source image. You can zoom in or out on the source image, and pan over it.
9 Working with Camera Effects Example of zooming and panning in the Avid Pan & Zoom effect. In Source Display Mode (left) the field of view rectangle is reduced in size and isolates one part of the image. In Target Display Mode (right) you see the resulting magnified image. n The Avid Pan & Zoom effect automatically preserves the clip’s aspect ratio. The Avid Pan & Zoom effect also uses any aspect ratio you select from the Clip menu.
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.
9 Working with Camera Effects To create a path with constant velocity: 1. Create an Avid Pan & Zoom effect. For more information, see “Applying the Avid Pan & Zoom Effect” on page 296. 2. Add keyframes to define the path you want the effect to take. 3. At each keyframe, set the Velocity In and Velocity Out parameters to Constant.
Using Avid Pan & Zoom Controlling Path Changes at Keyframes for an Avid Pan & Zoom Effect The Path parameter controls how the Avid Pan & Zoom effect interpolates Position parameter changes at keyframes. To set the Path parameter: t Click the Path Fast Menu button, and select one of the following options from the Fast menu. - Linear interpolation creates straight-line changes from one keyframe to the next. 8 4 7 3 1 5 2 6 Linear interpolation (abrupt changes of direction at each keyframe).
9 Working with Camera Effects 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 Rendering (Filtering) Options for Avid Pan & Zoom The following table describes the options available in the Filtering parameter category for the Avid Pan & Zoom effect. The options are ranked from fastest render and lowest quality image to slowest render and highest quality image. You might not always want the sharpest possible result. Images with many sharp edges might look better with a softer rendering.
9 Working with Camera Effects Selecting the Background for an Avid Pan & Zoom Effect You can select a field of view from the original image that does not fill the entire screen. The Background parameter determines what appears outside the field of view. n The Background parameter is not keyframeable. To select the background: 1. Click the Background Fast Menu button, and select Color or Video. Option Description Color Lets you select a background color.
Using Avid Pan & Zoom To compensate for pixel aspect ratio differences: t Click the Source Has Square Pixels button in the Advanced parameter category. When Source Has Square Pixels is on, the Avid Pan & Zoom effect makes the calculations necessary to produce results compatible with rectangular pixels. This is the default setting. When Source Has Square Pixels is off, the Avid Pan & Zoom effect does not change the pixel shape but does apply the aspect ratio in effect for the project.
9 Working with Camera Effects 308 Option Description 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. Free Current Cache The effect frees all memory used for image storage and then reverts to 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.
10 Motion Tracking and Stabilization • Guidelines for Using Multiple Trackers When Stabilizing • Using the Region Stabilize Effect • Making Adjustments to the Region Stabilize Region of Interest • Editing Segments That Use Tracking Data • Reusing Existing Tracking Data • Copying and Pasting Tracking Data • Conforming Symphony Meridien Sequences with Tracking Data • Examples of Effects Using Motion Tracking Understanding Motion Tracking This topic includes conceptual information that helps y
Understanding Motion Tracking Uses of Motion Tracking One common use for motion tracking is to replace a moving area in one image with new material. For example, you can track the motion of a distinctive area on a vehicle and then use that data to replace an advertising sign on the vehicle or to replace or blur the license plate.
10 Motion Tracking and Stabilization Workflow for Motion Tracking The following workflow outlines the main stages of the motion tracking process and indicates where to find more detailed information and procedures for each stage. Motion tracking provides considerable workflow flexibility. As you become a more experienced user of motion tracking, you can modify the order of these stages or merge them together to suit your editing style and the requirements of a particular project. 1.
Effects and Effect Parameters That Use Tracking Data 6. Play back the effect. 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 347. 7. If necessary, continue to adjust the tracking information or other effect parameters until you are satisfied with the look of the effect.
10 Motion Tracking and Stabilization The following table provides a complete list of the effects and effect parameters that can use tracking data. For reference information on these effects and their parameters, see “Effects Reference” on page 573 and “Effects Parameter Reference” on page 621.
Understanding the Tracking Interface The following illustration shows the tracking controls for the Position parameter category in both standard keyframes and advanced keyframes.
10 Motion Tracking and Stabilization Tracking Controls in the Tracking Window The Tracking window has the following main features: • An area containing controls for setting up and performing tracking, controlling the display of tracking data, and modifying tracking data • A timeline representation of each tracker for the current effect For more information, see: • “Opening The Tracking Window” on page 316 • “Tracking Window Components” on page 317 The following illustration shows the Tracking wind
Tracking Window Components Tracking Window Components The following table describes the components of the Tracking window and indicates where to find more detailed information. Tracking Window Components Control Description Start Tracking Starts a tracking operation from the current location of the position indicator. For more information, see “Generating Tracking Data” on page 331. New Tracker Creates a new tracker. For more information, see “Creating and Mapping Trackers” on page 324.
10 Motion Tracking and Stabilization Tracking Window Components (Continued) Control Description 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. The button is purple when active and gray when inactive.
Setting Up an Effect for Tracking Tracking Window Components (Continued) Control Description Tracker Name text box (Tracker timeline displays, Effect Editor) Shows the name of the tracker and lets you change the name. For more information, see “Creating and Mapping Trackers” on page 324. Tracker timeline (Tracker timeline displays) Shows information about the tracking data in the tracker. Color coding indicates the status of the data.
10 Motion Tracking and Stabilization Applying an Effect for Motion Tracking You apply an effect for motion tracking in the same way that you apply any effect that either operates on a multilayer sequence or lets you draw a foreground object on top of a video layer. For more information, see “Applying Effects” on page 35.
Preparing to Generate Tracking Data Enabling Tracking in the Effect Editor The first step in creating tracking data is to enable tracking for an effect parameter in the Effect Editor. Once you do this, other tracking controls become available.
10 Motion Tracking and Stabilization To enable tracking for the Position, Rotation, or Scaling parameters in 3D Warp effects: t Open the Position, Rotation, or Scaling category, and then click the enable button for the Position Tracking, Rotation Tracking, or Scale Tracking subcategory. Your Avid editing application creates an appropriate number of trackers (one for Position, two for Rotation or Scaling) and maps them to the parameter.
Preparing to Generate Tracking Data 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. Once you enable tracking for a parameter, the Tracking window opens.
10 Motion Tracking and Stabilization When you work in the Tracking parameter, you can use any number of trackers up to a total of four. The following table describes the kinds of motion that you can control with a given number of trackers. Number of Trackers Description One Controls position on the X and Y axes only. Use one tracker if you want your effect to move in only two dimensions on the plane of the screen. Two Controls position, scaling, and rotation.
Preparing to Generate Tracking Data To create a new tracker manually: 1. In the Tracking window, click the New Tracker button. For more information, see “Opening The Tracking Window” on page 316. A new tracker timeline display appears in the bottom area of the Tracking window. The tracker name uses the next letter of the alphabet that is not already in use, up to the letter D. If all of the letters A through D are in use, the name of any subsequent new trackers is “Untitled Tracker.” 2.
10 Motion Tracking and Stabilization To enable or disable all trackers at once: t Alt+click (Windows) or Option+click (Macintosh) the Enable Tracker button for any tracker. To enable or disable a tracker in the Effect Editor: t n Click the Enable button for the appropriate tracker selector.
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 337. 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.
10 Motion Tracking and Stabilization Tracking works most successfully on an area of the image that is easily distinguishable from its surroundings. For example, a bright dot tracks extremely well if darker material surrounds it. You often need to scrub through the entire clip to determine which areas are good candidates for tracking. To represent the movement you want to track accurately, you must consider the geometry of the motion that you want to achieve.
Preparing to Generate Tracking Data Size the Search Area box so that it is as small as possible while remaining large enough to encompass the movement of the target area from one frame or field to the next. You often need to scrub through the clip you are tracking to check how much a prospective target area moves from one frame or field to another.
10 Motion Tracking and Stabilization Understanding Tracking Engines The term tracking engine refers to the calculation methods that your Avid editing application uses to recognize a moving pattern and generate data for it. The following table describes the tracking engines available in your Avid editing application. Tracking Engine Description Correlation Tracker This tracking engine is often the best first choice for tracking motion in an image.
Generating Tracking Data Generating Tracking Data You can generate tracking data for any number of the available trackers in a single operation. You can generate tracking data for the entire length of the segment, or for any part of the segment starting from the location of the position indicator. This lets you stop tracking at any point in the segment and resume later, or retrack over any part of the segment whenever you need to do so.
10 Motion Tracking and Stabilization 3. Click the Tracking button. Your Avid editing application begins to generate tracking data. As the tracking operation proceeds: n - The Effect Preview monitor displays each frame or field on which tracking is being performed, and shows the tracking data point for that frame or field as a cross. - Your Avid editing application updates the timeline for each tracker to indicate the status of the tracking data over time.
Offset Tracking Understanding Offset Tracking Motion tracking is simplest when you can track a single distinct area for the full length of a segment. For example, if the side of a moving bus is visible throughout the segment, you can select any area or set of areas on the side of the bus and track them throughout the segment. Other situations are more complex.
10 Motion Tracking and Stabilization Your Avid editing application creates a new region that extends from the location of the position indicator to either the start of the next tracker region or the end of the timeline. The start of the new region appears as a vertical bar in the tracker timeline. Tracker Region boundaries in a tracker timeline To delete a tracker region for a tracker: 1. In the tracker’s timeline, move the position indicator to any location within the region. 2.
Understanding Tracking Data 3. Begin generating tracking data, as described in “Generating Tracking Data” on page 331. 4. When the target area disappears, stop tracking by pressing the space bar. 5. (Option) If necessary, step back a few frames or fields in the segment until the position indicator is on the last frame or field with a good tracking data point. 6. Right-click in the tracker timeline and select Add New Tracker Region.
10 Motion Tracking and Stabilization 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. Left to right: Reference Frame Marker, starting Display Marker, vertical bar marking start of new region, and ending Display Marker. The following table describes the display options.
Customizing the Display of Tracking Data Customizing the Display of Tracking Data You can customize how your Avid editing application displays tracking data in the following ways: • You can enable or disable display for each tracker. • You can customize the color used to display each tracker. • You can control how many of the tracking data points display. • You can control whether the Effect Preview monitor shows tracking data or shows the results of applying the tracking data to the effect.
10 Motion Tracking and Stabilization Option Description All Displays every data point for each enabled tracker. This is the default option. Shows the points for the current frame or field as flashing crosses. To choose Tracking Data or Effect Results display: t n In the Display Tracking Data area of the Tracking window, select the option you want to use from the Display menu.
Understanding the SteadyGlide and Smoothing Options for Tracking Understanding the SteadyGlide and Smoothing Options for Tracking Your Avid editing application provides two options for processing tracking data to smooth the motion it represents. You can turn these options on or off at any time, and you can control the amount of smoothing they provide. The original set of tracking data points is not changed in any way by the processing.
10 Motion Tracking and Stabilization 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 Selecting, Deleting, and Moving Tracking Data Points You can manipulate tracking data points in the Effect Preview monitor in the following ways that are described in this topic: • You can find a specific data point • You can select individual data points or ranges of data points. • You can delete points. • You can move one or more points.
10 Motion Tracking and Stabilization To select a single data point and move to the frame or field for that point: t Double-click the point in the Effect Preview monitor. The point is highlighted with a circle in the monitor and with a flashing cross, the corresponding part of the tracker timeline display changes to white, and your Avid editing application automatically moves to the frame or field for that point.
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.
10 Motion Tracking and Stabilization 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.
Stretching a Range of Tracker Data Points The following illustration shows this behavior. This illustration represents data points (dots) created by tracking an area (the rectangle containing the triangle) across a series of frames. For the first half of the process, the object is tracked accurately. During the second half of the process, a small amount of error is introduced, and by the end the data point lags behind the object somewhat.
10 Motion Tracking and Stabilization The following illustrations show these two behaviors. Stretching a range of points by moving one end. The point at the other end of the range becomes the anchor while you drag the moving point. After the stretching process, all the selected points are relocated proportionally between the point you have dragged and the anchor point. Stretching a range of points by moving a point in the middle of the range. Both end points become anchors while you drag the moving point.
Playing Effects That Use Tracking Data To limit the effect of Position tracking data to a single axis: 1. In the Effect Editor, open the Position parameter category and the Tracking subcategory. 2. Select either X Tracking Only or Y Tracking Only from the menu. Playing Effects That Use Tracking Data Once you have generated tracking data and have modified it to create acceptable sets of data points, you can play the effect to check its movement over time.
10 Motion Tracking and Stabilization 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 n Clips that contain extreme camera motion might be hard to stabilize successfully because they must be resized substantially to remove exposed edges. As a result, you might lose so much of the image information that the clip is no longer useful. Stabilizing an Image This topic describes how to use the Stabilize effect or the 3D Warp effect to stabilize an image.
10 Motion Tracking and Stabilization You can stop the tracking process at any time by pressing the space bar or by clicking anywhere in your Avid editing application’s interface. This lets you set different tracking options, and then track and stabilize manually. 2. Review the stabilized effect and, if necessary, make parameter adjustments. For more information, see “Reviewing and Adjusting a Stabilized Image” on page 351. To stabilize a segment manually: 1.
Reviewing and Adjusting a Stabilized Image 3. In the Tracking window, choose a tracking engine from the Tracking Engine menu. The easiest way to stabilize an image is to use the FluidStabilizer tracking engine, which does not require you to set up regions of interest. If FluidStabilizer does not provide you with good results, you can track using one of the other tracking engines. For more information on the tracking engines and how they work, see “Understanding Tracking Engines” on page 330. 4.
10 Motion Tracking and Stabilization • Position and Scaling parameters Although in most cases Auto-Zoom provides good positioning and scaling results, you might want to make manual adjustments to the Position and Scaling parameters. For information on how to stabilize an image, see “Stabilizing an Image” on page 349. To review the look of a stabilized effect: t In the Effect Editor, click the Play Loop button.
Guidelines for Using Multiple Trackers When Stabilizing 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. However, multiple trackers might introduce unnecessary additional motion that is detrimental to the final look of the clip, so you should use them only when they are absolutely necessary.
10 Motion Tracking and Stabilization 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 8. (Option) Select Progressive Source: a. Click the triangular opener for the Options parameter category. b. Select Progressive Source. Select Progressive Source if your footage was captured or converted to progressive footage (not interlaced). If your sources are progressive, selecting Progressive Source produces smoother results.
10 Motion Tracking and Stabilization Editing Segments That Use Tracking Data Once tracking data exists for a segment, you can edit that segment in a number of standard ways without losing the tracking data and having to retrack. Segment Editing with Segments That Use Tracking Data Tracking data persists during Segment editing. For example, if you shift the position of a segment that contains tracking data, or copy a segment to another point in your sequence, the data is still available.
Reusing Existing Tracking Data Adding Transition Effects to Tracked Segments If you add a transition effect to a tracked segment, you usually need to track the additional frames that the transition requires. For example, if you add a standard one-second, centered-on-cut dissolve at the beginning of a tracked segment, the dissolve uses one-half-second of new material from the tracked segment’s master clip.
10 Motion Tracking and Stabilization 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. No other background clip is likely to contain exactly the same movement.
Conforming Symphony Meridien Sequences with Tracking Data To copy and paste tracking data within the same effect: 1. Enable the trackers you want to copy in the Tracking window. 2. Do one of the following: t Select Edit > Copy. t Press Ctrl+C (Windows) or Command+C (Macintosh). 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.
10 Motion Tracking and Stabilization Example 1: Replacing the License Plate on a Moving Vehicle This example uses motion tracking to track the license plate on a truck and then replace the plate with an imported graphic. The license plate in the footage is white and the surrounding areas of the truck are generally dark, so the exact corners of the license plate are good targets for the tracking operation.
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.
10 Motion Tracking and Stabilization The first frame of the clip. The original video (left) shows the target white dots on the wand. The finished effect (right) shows the image with the Paint object added. 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.
11 Working with 3D Effects You can create 3D effects in the following three ways: • Apply the 3D Warp effect from the Blend category in the Effect Palette. This option lets you create a 3D effect from scratch and have access to the full range of 3D effect parameters. For more information, see “Applying the 3D Warp Effect” on page 364. • Apply one of the effects from the Xpress 3D Effect category in the Effect Palette.
Using Xpress 3D Effects 4. Drag the 3D Warp Effect icon to a transition or a segment in the Timeline. The 3D Warp Effect icon appears in the Timeline as shown in the following illustration. 5. In the Timeline, move the position indicator to the 3D Warp effect. Using Xpress 3D Effects The Effect Palette contains an Xpress 3D Effect category with four effects (3D Ball, 3D PIP, 3D Page Fold, and 3D Slats).
11 Working with 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. n You can use the Shape menu in the Effect Editor to switch between the 3D shapes, but the name of the effect in the Effect Editor does not change when you change the shape.
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 262.
11 Working with 3D Effects 4. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. 5. Apply changes to additional parameters to achieve the effect you want. Real-Time Playback of 3D Effects In most circumstances, 3D effects play in real time, subject to the normal limitations on real-time playback described in “Real-Time Playback of Video Effects” on page 151.
Understanding 3D Geometry and Degrees of Rotation In the discussions of 3D effects in this document, the terms X, Y, and Z refer to the three axes or dimensions of the image that you can manipulate in the 3D effect’s coordinate space: • X refers to the image’s left/right direction (values increase from left to right). • Y refers to the image’s up/down direction (values increase from bottom to top). • Z refers to the image’s front/back dimension (values increase from back to front).
11 Working with 3D Effects 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 Manipulating 3D Effects Directly You can perform a number of operations on an image by clicking buttons in the Effect Editor and dragging handles attached to the image in the Effect Preview monitor. This is similar to the procedures you use to directly manipulate 2D effects; some additional manipulations are possible, however, when working with 3D effects.
11 Working with 3D Effects The following illustrations show the handles for several image manipulation buttons. Image manipulation handles. Top, left to right: Scale, Position, and Axis. Bottom, left to right: X, Y, and Z Rotation. When scaling, use the side handle to scale in X only, the top handle to scale in Y only, and the corner handle to scale in X and Y at the same time. To see the path an image takes on the screen: t Click the Outline/Path button.
Applying 3D Effects: Examples Tips for Creating 3D Effects The following tips apply to the examples in this section: • Creating the sequence: Transition effects require only a two-clip sequence. Some of the segment effects require at least two tracks. • Avoiding Insufficient Source errors: Several of these examples assume that you are creating a transition effect centered on the cut between the incoming and outgoing video.
11 Working with 3D Effects 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 3. Open and enable the Highlight parameter category. 4. Use keyframes to animate the Curl parameter in the Shape parameter category. 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 99. 5. Click the Play button or the Play Loop button to preview the effect. Play (left) and Play Loop (right) buttons 6.
11 Working with 3D Effects Creating a Cropped Foreground Effect This example shows how to adjust 3D Warp parameters and apply them repeatedly as a template to create a consistent band of foreground segments — scaled and cropped with a soft border shadow — across a background.
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 94. Width: 40, Soft: 100, H (hue): 0, S (saturation): 0, L (luminance): 255 6.
11 Working with 3D Effects Corner Pinning an Image Corner pinning is a way of precisely positioning a foreground image over an image in the background video track, with matching perspective. You “pin” the foreground image onto the background image and adjust the corners to give the desired perspective. This example shows the background and foreground videos used to create a segment transition using corner pinning. The segment starts with the foreground image “pinned” onto the video monitor in the scene.
Applying 3D Effects: Examples 4. Position, scale, and rotate your image if necessary. For best results, adjust the Position, Scale, and Rotate parameters before you use Corner Pin. The center of the image for Corner Pin scale and rotation adjustments will be closer to the apparent center of the image, and you can get the results you want more easily. 5. Position the corners using one of the following methods: t Use the Corner Pin button: a.
11 Working with 3D Effects 6. Click the Play button or the Play Loop button to review your edit. Play (left) and Play Loop (right) buttons To return a corner to the default position: 1. In the Corner Pin parameter category, click the button for the corner you want to reset. 2. Alt+click (Windows) or Option+click (Macintosh) the Corner Pin Enable button.
Applying 3D Effects: Examples 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. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. If you want the stamp to be in the foreground, it must be on the top track. 3. Add the track with your stamp image to the segment. 4.
11 Working with 3D Effects 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 597. 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.
12 Creating Titles • Revising a Title in a Bin • Creating and Using Title Templates • Working with Multiple Title Formats • 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.
Using Marquee 3. Do one of the following: t To use Marquee, click Marquee. Marquee opens. For information on Marquee, see “Using Marquee” on page 385. t To use the Title tool, click Title Tool. The Title tool opens. The Text tool is automatically selected, and the pointer becomes an I-beam, ready for entering text. If you know you want to create only Marquee titles or only standard titles for the current session, select Persist before you click Marquee or Title Tool.
12 Creating Titles Overview of Title Creation in the Title Tool The following is an overview of the tasks you perform to create a title with the Title tool: • Set up the drawing environment. For example, you can choose whether to display a color background or a frame of video from your sequence. You can also use safe colors or safe title and action guidelines, or apply a grid for the placement of objects. For more information, see “Understanding the Drawing Environment” on page 392.
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.
12 Creating Titles The Title tool has the following major components: • A video background based on a sequence or a color background that you create. When your project uses the 16:9 aspect ratio, the Title tool uses the 16:9 aspect ratio also, and saved titles appear correctly in the monitors. For more information, see “Understanding the Drawing Environment” on page 392 and “Setting Up the Drawing Environment” on page 394. • The title or graphic in the foreground that you create.
Toolbar Reference for the Title Tool Component Description 1 Selection tool Changes the pointer to an arrow and lets you select text or objects for operations. For more information, see “Using the Selection and Text Tools” on page 390. 2 Text tool Changes the pointer to an I-beam and lets you enter text. For more information, see “Using the Selection and Text Tools” on page 390 and “Creating Text” on page 395.
12 Creating Titles Component Description 11 Line attribute tools Let you change the corners of boxes, line and border thickness, and arrowhead styles. For more information, see “Modifying Box Corners, Lines, and Borders on Title Objects” on page 412. 12 Templates button Lets you create a standard format for text and graphics that you use regularly. The template prevents you from changing the position, colors, shadows, or graphics, which ensures consistency.
Using the Selection and Text Tools 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. To use the Text tool: t Click the Text tool, click anywhere within the text object, and begin typing. An I-beam pointer indicates your position within the text.
12 Creating Titles Understanding the Drawing Environment This topic describes aspects of the display of titles and their backgrounds in the Title tool, as well as the display of visual guides that can help you as you create titles. For information on how to control these display features, see “Setting Up the Drawing Environment” on page 394. You can set or change these features at any time during your work on a title.
Understanding the Drawing Environment Alignment Grid You can display an alignment grid to help you position text and objects. The visible grid is not part of the title, and your Avid editing application does not store it when you save the title. The snap grid is an invisible grid that helps position and connect objects. The snap grid has four lines for each line in the visible grid. Each square in the grid is subdivided by four invisible vertical and horizontal grid lines.
12 Creating Titles Setting Up the Drawing Environment Use the following procedures to set up the display of titles and their backgrounds in the Title tool, as well as the display of visual guides that can help you as you create titles. For more information, see “Understanding the Drawing Environment” on page 392. To switch the display of anti-aliased titles on or off: t Select Object > Preview. A check mark indicates that Preview mode is enabled.
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.
12 Creating Titles To copy and paste text into the Title tool: 1. In a word processor or text editor, open the text file and select the text. 2. Select Edit > Copy. 3. In the Title tool in your Avid editing application, click the Text tool in the toolbar. The pointer becomes an I-beam. 4. Click the position in the frame where you want to add text. An insertion point appears. 5. Select Edit > Paste. The pasted text takes on the attributes currently set in the Title Tool toolbar.
Editing a Text String Editing a Text String To edit an existing text string; 1. Click the Text tool, and click anywhere in the text. 2. Perform any of the following tasks: t Use the arrow keys to move around within the text string. t Type additional characters. t Press Enter (Windows) or Return (Macintosh) to insert a line return. t Drag to select characters. t Use the Cut, Copy, and Paste commands from the Edit menu. t Use the Delete key.
12 Creating Titles Setting Default Text Attributes When you start your Avid editing application and open the Title tool, it uses default text attributes. You can change the defaults at any time. Changes you make to the default text attributes apply until you quit your Avid editing application. To change the default text attributes: 1. Click the Selection tool. 2. Click in the Title tool but do not select any text. 3. Change any of the text attributes.
Formatting Text 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. Point Size text box (left) and Point Size button (right) in Title Tool toolbar To change the point size, do one of the following: t Click the Point Size button, and select a standard point size from the menu.
12 Creating Titles 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 manually with the arrow keys: 1. Click the Text tool in the toolbar. 2. Click between a character pair, or select a group of characters to be kerned. 3. Press the Alt key (Windows) or Option key (Macintosh), and use the Left Arrow key or the Right Arrow key to increase or decrease the kerning. To adjust kerning with predefined sizes: 1. Select the text. 2.
12 Creating Titles Adjusting Leading Leading controls the line spacing between lines in a title. Leading is measured in points, from baseline to baseline of the lines of text. The Title tool uses the leading that is built into the font as the default. Positive leading values add space and negative values decrease space. You might want to add leading for sans serif, tall, or boldface fonts, and for fonts with a strong vertical emphasis.
Creating Graphic Objects To draw a square or a rectangle: 1. Click the Square and Rectangle tool in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create an object. Shift-drag to constrain the object to a square. Example of a rectangle drawn over a video background To draw a circle or an oval: 1. Click the Oval tool in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create an object.
12 Creating Titles Creating Rolling and Crawling Titles You can create title text and graphics that roll up the screen or crawl across the screen. You can refine the motion after you edit the title into your sequence. 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.
Creating Rolling and Crawling Titles Page Count Limits for Rolling and Crawling Titles Rolling and crawling titles form pages in the Title tool that are similar to the pages you create with a word processor. A page in a rolling or crawling title is a unit the size of a PAL, NTSC, or HD frame. The following table lists the page limits for different projects.
12 Creating Titles Using Auto Size Mode for Rolling and Crawling Titles Auto Size mode adds or removes pages automatically as you add, delete, or reformat the text. Auto Size mode is on by default when you click the Rolling Title button or the Crawling Title button. You can turn off Auto Size mode if you want to add extra pages before or after the text (for example, to make room for additional title elements). For more information, see “Working with Pages in Rolling or Crawling Titles” on page 408.
Creating Rolling and Crawling Titles 3. Do one of the following: t Click the Rolling Title button to enter Rolling Title mode. t Click the Crawling Title button to enter Crawling Title mode. 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.
12 Creating Titles Using the Make Crawl Command to Position a Crawling Title After you enter and edit your crawling title text, you can transform the title into a single-line text object and position it on the lower third of the screen. To position a crawling title: t Select Object > Make Crawl.
Creating Rolling and Crawling Titles To go to a different page: 1. Click the Page Number text box. 2. Do one of the following: t Type a page number for a specific page. t Use the Up Arrow and Down Arrow keys to cycle through the page numbers. 3. Press Enter (Windows) or Return (Macintosh). The selected page appears. To add pages: 1. If Auto Size mode is on (a check mark appears next to Auto Size Mode in the Object menu), turn it off by choosing Object > Auto Size Mode.
12 Creating Titles 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 and Manipulating Title Objects Modifying and Manipulating Title Objects You can modify or manipulate title objects in a variety of ways: • You can round the corners of a box, adjust the width of lines and text borders, or add arrowheads to lines. For more information, see “Modifying Box Corners, Lines, and Borders on Title Objects” on page 412. • You can change or blend colors in any title object.
12 Creating Titles Modifying Box Corners, Lines, and Borders on Title Objects You can use the line attribute tools to round the corners of a box, adjust the width of lines and text borders, or add arrowheads to lines. The following illustration shows the line attribute tools.
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.
12 Creating Titles To remove a border: t Click the Border Width button, and select the Remove Border option (the first item on the list). To add arrowheads to a line: 1. Select a line. 2. Click the Arrowhead button, and do one of the following: t Select a standard arrowhead style. t Select the Edit Arrowhead option (the last item on the list), and specify a custom arrowhead as described in the following procedure.
Understanding Color and Transparency Controls in the Title Tool 4. Click the handle on the arrowhead, and drag it vertically or horizontally to resize and reshape it. The shape of the arrowhead is in proportion to the line width. 5. Click OK. The line changes to show the new arrowhead shape. To remove an arrowhead: 1. Select a line. 2. Click the Arrowhead button 3. Select the Remove Arrowhead option (the first item on the list).
12 Creating Titles • The Color and Transparency Blend tools appear when you select a Fill or Border Color Selection box or Transparency Level box. You can use these tools to blend two colors in a text or graphic object or in a border to create a color gradient, and to specify the direction of the blend. You cannot blend the shadow for a title object. - If you select a Color Selection box, the top boxes show the two colors that create the blend.
Selecting Colors and Setting Transparency 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. Shadow (Shad) Applies the color to the selected object’s shadow.
12 Creating Titles t To use the eyedropper, drag the pointer to the Eyedropper icon and release the mouse button. The pointer changes to the eyedropper. Click the color you want from anywhere in the window to apply the color to the selected object. t To use the Windows Color dialog box or the Macintosh Colors panel, drag the pointer to the Round Button icon under the eyedropper, and release the mouse button. The Windows Color dialog box or the Macintosh Colors panel opens.
Selecting Colors and Setting Transparency 5. Click the Blend Direction box, and drag clockwise or counterclockwise to achieve the effect you want. As you rotate the pointer, the position of the two colors rotates. The change takes effect as soon as you release the mouse button. 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.
12 Creating Titles Adding Shadows to Title Objects You can add a depth shadow or drop shadow to any text or graphic object. A depth shadow extends from the edges of the object, as though the object were three-dimensional. A drop shadow is offset from the object itself, as though cast by a light source. You can place the shadow anywhere within the title without restriction. The following illustration shows an example of depth and drop shadows. You can adjust the color or transparency of a shadow.
Adjusting Shadows on Title Objects Adjusting Shadows on Title Objects You can adjust the color and transparency for a shadow using the same procedures you use to adjust color and transparency for title objects themselves. For more information, see “Selecting Colors and Setting Transparency” on page 417. You can also control the amount of softening or blurring on shadows you create in the Title tool. The value that you set applies immediately to any selected title.
12 Creating Titles 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. Type a number in the Shadow Softness text box to represent a degree of softening. 4. Click Apply. The Title tool applies the softness value to the selected title objects. 5. Repeat steps 3 and 4 until you are satisfied with the effect. 6. Click OK. To adjust shadow softness on-the-fly, using the Up Arrow and Down Arrow keys: 1.
Manipulating Title Objects Manipulating Title Objects You can manipulate title objects in the following ways using commands in the Edit, Object, and Alignment menus: • You can cut, copy, and paste title objects. • You can select all objects at once, and deselect any selected objects. • You can change the layering order of 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.
12 Creating Titles To adjust the layering of objects in a title: 1. Click the Selection tool, and click an object. 2. Do one of the following: t To bring an object to the top layer, select Object > Bring To Front. t To send an object to the bottom layer, select Object > Send To Back. t To move an object forward one layer, select Object > Bring Forward. t To move an object back one layer, select Object > Send Backward. To group objects: 1.
Manipulating Title Objects To align objects to the frame: 1. Click the Selection tool, and click an object or Shift+click multiple objects. 2. Do one of the following: t Select Alignment > Align To Frame Left. t Select Alignment > Align To Frame Right. t Select Alignment > Align To Frame Top. t Select Alignment > Align To Frame Bottom (Shift+Ctrl+Z). t Select Alignment > Center in Frame Horiz. (Shift+Ctrl+C). t Select Alignment > Center in Frame Vert.
12 Creating Titles The Title tool distributes the objects evenly between the position of the first object you select and the position of the last object you select. This command is especially useful for aligning objects diagonally or for roughly positioning a group of objects and then lining them up without spreading them out to the edges of the safe title area. Saving Titles You can save a title and then exit the Title tool immediately.
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.
12 Creating Titles 5. Create another title. 6. Select File > Save Title as, and repeat steps 2 to 5 for each subsequent title that you create. Your Avid editing application loads titles into the Source monitor as they are saved, so the most recently saved title always appears in the Source monitor. 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 3. Save the title with the same name and media parameters (bin, drive, and resolution) by choosing File > Save Title. The revised Title Effect clip replaces the previous clip in the bin. The clip also appears in the Source monitor. The Title tool remains open. You can continue creating additional titles, or select File > Close. 4. Save the title with a new name or change any of the media parameters (bin, drive, and resolution) by doing the following: a.
12 Creating Titles 3. Click the Templates menu, and select Save Template. The Save Template dialog box opens. 4. Type a name for the template. 5. Click Save. By default, the Title tool saves the template in a Title_Templates folder within the Settings folder for your Avid editing application, but you can save it elsewhere. 6. Close the Title tool, and click Don’t Save in the dialog box. To use a title template: 1. Open the Title tool by doing one of the following: t Select Clip > New Title.
Working with Multiple Title Formats n You cannot save other imported titles and graphics in multiple formats. They are resized along with the video signal when you generate output in a format different from the native project format. This might affect the finished look of the title or graphic. Multiple format titles must be unrendered. When you create a digital cut, you can select the appropriate format. This feature works only for unrendered titles. Rendered titles play in the original rendered format.
12 Creating Titles If you are working with media downconverted to center cut or letterbox, save the title as 4:3. In this case the titles appear centered, within the 4:3 center cut. Multiformat options in the Save Title dialog box n When you first save a title after starting your Avid editing application, only the native format is selected in the Save Title dialog box.
Saving and Recalling Title Styles Title styles save only the parameters that control the appearance of text or graphic objects in the Title tool. If you want to save the entire contents and layout of a title, including specific title objects themselves, use a title template. For more information, see “Creating and Using Title Templates” on page 429. The following illustration shows the location of the two buttons that let you select and define title styles.
12 Creating Titles The Title Style Sheet dialog box opens. The following illustration shows an example. 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 435. The Title tool uses the values from the currently selected object or from the current defaults if no object is selected. 5.
Saving and Recalling Title Styles Title Style Sheet Options The Title Style Sheet dialog box lets you create templates for the Title tool. Style sheets let you define and select basic text and drawing parameters that you can use with the Title tool. The following table describes the components of the Title Style Sheet dialog box. Component Description Check boxes Select the current attributes of the object that you want to include in the style.
12 Creating Titles Recalling a Title Style You can recall a title style and use its attributes as the defaults in subsequent Title tool sessions. To recall title style attributes using the Title Styles tear-off menu: 1. In the Title tool, click the Styles button to display the Title Styles tear-off menu. The menu contains a scaled visual representation of each style. Arrows on the right and left let you scroll back and forth. 2.
Saving and Recalling Title Styles 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.
12 Creating Titles Exporting a Title as a Graphics File To export a title as a PICT graphics file: 1. With the Title tool open, select File > Export Title. The Export Pict As dialog box opens. 2. Select the location where you want to export the file, type a file name, and click Save. The Title tool saves the title.
13 Editing with Titles This chapter provides information on editing titles created in the Title tool or in Marquee into sequences.
13 Editing with Titles Displaying Title Clips and Frames in Bins When the Title tool or Marquee saves a title, it creates a Title Effect clip and saves it in the bin you select. One media object, referred to as a precompute, has references to the RGB and alpha channel information. Every time you make a change, your Avid editing application creates two additional media files. The original media files are not changed.
Editing a Title into a Sequence Editing a Title into a Sequence There are three basic methods for editing a title into a sequence: • Mark edit points and then splice or overwrite the title into the sequence. For more information, see “Splicing or Overwriting a Title into a Sequence” on page 441. • Mark edit points, and then drag the title directly into the sequence. For more information, see “Dragging a Marked Title into a Sequence” on page 442.
13 Editing with Titles 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. For rolling and crawling titles, set no marks and move the position indicator to the beginning of the clip if you want to use the full roll. 6. Mark IN and OUT points in the sequence. 7. Ensure all other Record Track buttons are deselected in the Track Selector panel. 8.
Editing a Title into a Sequence 2. (Option) Select Clip > 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.
13 Editing with Titles Dragging an Unmarked Title into a Sequence If you are not concerned about the OUT point for your title, or if you plan on trimming the Title effect later, you can quickly drag the unmarked Title effect directly into the Timeline. To apply a Title effect to a sequence without adding marks: 1. Load the sequence into the monitor window. For more information, see “Creating and Editing Sequences” in the Help. n You must place titles on a track above the video that forms the background.
Removing a Title Removing a Title To remove a title segment: 1. Move the position indicator to the segment containing the Title effect. 2. Use the Track Selector panel to select the track containing the Title effect and to deselect all other tracks. 3. Click the Mark Clip button under the monitor. IN and OUT points appear surrounding the Title effect. 4. Click one of the segment tools in the Timeline palette to remove the segment.
13 Editing with Titles Fading a Title You can use the Fade Effect button to fade a title. A dialog box opens that lets you enter the number of frames to fade up and fade down without opening the Effect Editor. Rather than adding Dissolve effects that require rendering, you can use the Fade Effect button to quickly create keyframes in the title with the proper level settings for playback in real time. You can access the keyframes in the Effect Editor.
Adjusting Title Effect Parameters n c Rolling titles might jitter at certain speeds. You can trim the duration slightly to fix the problem. If you trim your rolling title very short, it scrolls very fast and cannot display in real time, so you must render it. The maximum speed for an unrendered rolling title is one screen per second. To trim the duration of a rolling title or a crawling title: 1.
13 Editing with Titles The Effect Editor displays the parameter controls. 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 87. For information on specific Title effect parameters, see “Title Effects” on page 617. t Use multiple keyframes to gradually change keyframeable parameters over time. For more information, see “Working with Keyframes” on page 99.
Revising a Title in a Sequence Revising a Title in a Sequence If you want to revise a title after you edit it into a sequence, you must reopen the title in the Title tool directly from the sequence rather than revise the Title Effect clip in the bin. To change a title in a sequence: 1. Click the Title Effect segment in the sequence to select it. 2. If you are not in Effect mode, enter Effect mode, for example, by selecting Toolset > Effects Editing.
13 Editing with Titles To save the title with a new name or parameters: 1. Select File > Save Title as. A message box opens, asking if you want to save the title and exit the Title tool. 2. Click Save. The Save Title dialog box opens. 3. Rename the title, or select other options from the Bin, Drive, and Resolution menus. n You cannot select Fast Save when revising a title in a sequence. 4.
Replacing Fill Tracks in a Title Replacing Fill Tracks in a Title You can replace the fill track of Title effects with video or graphics. The moving video or graphic effect then appears inside the title itself, keyed over the background. To replace the fill track: 1. In the Timeline toolbar, click the Step In button to step into the effect. 2. Load the video you would like to use as replacement filler into the Source monitor. 3.
13 Editing with Titles You can re-create title media that is edited into a sequence in the Timeline, or you can create media for unrendered (Fast Saved) titles in a bin. For more information on Fast Save for titles, see “Saving Titles” on page 426. c The Re-create Title Media command removes any nested edits inside a title, and replaces them with the new title’s graphic and alpha tracks. Re-creating Title Media from the Timeline To re-create title media from the Timeline: 1.
Re-creating Title Media Creating Media for Unrendered Titles in a Bin To create media for unrendered titles in a bin: 1. In the bin, select the titles for which you want to generate media. To quickly select all the unrendered titles in the active bin, select Bin > Select Unrendered Titles. 2. Select Clip > Create Unrendered Title Media. The Create Unrendered Title Media dialog box opens. 3. Select a drive on which to store the title media. 4.
13 Editing with Titles Re-creating Title Media With Multiple Formats You can use the Re-create Title Media command to re-create title media with different aspect ratios just as you can use it to re-create title media at different resolutions. An efficient workflow for multiple format titles involves creating titles and saving them initially in the native format, and then using the Re-create Title Media command to generate another aspect ratio if needed once editing is complete.
Troubleshooting Titles Troubleshooting Titles The following topics describe errors that might occur when working with Title effects and includes recommendations for resolving the problems. 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.
13 Editing with Titles Handling a Wrong Format Message for a Title If you see an image in a monitor that says Wrong Format, the resolution of the Title effect is not compatible with the resolution of the video clips in the sequence. You can determine the resolution of the video clip, and then regenerate the title at the same resolution as the video clip. To determine the resolution of the current video clip: 1. Open the bin containing the sequence. 2. Select Bin > Set Bin Display. 3.
Troubleshooting Titles Controlling Character Mapping for Title Text Recent versions of Avid editing applications use different default character mappings from older versions. Some text objects might not display correctly when you open or edit them in the current version of your Avid editing application. In particular: • Greek text objects created in older versions do not display correctly in recent versions.
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14 Working with the SubCap Effect This chapter provides information on the SubCap™ captioning and subtitling effect.
14 Working with the SubCap Effect Understanding the SubCap Effect You use the SubCap effect to add text to the video in your sequences, either by entering text directly or by importing text from files formatted in standard captioning formats. The SubCap effect composites text and any background effects such as drop shadows or background boxes into the video material. The text becomes a permanent part of the finished video material and is always visible.
How the SubCap Effect Handles Caption Files You might use the SubCap effect to create text that becomes part of the finished program. Alternatively, you might use the SubCap effect to create text that provides a preview during your production process but that is replaced in the finished program by closed caption text that is encoded into the video signal. The SubCap effect has the following main features: • Support for the EBU N19 (.
14 Working with the SubCap Effect The following illustration shows this process for the file sample above: 0 1 2 3 02:00 03:00 4 5 04:18 6 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.
Applying the SubCap Effect Applying the SubCap Effect The SubCap effect is available from the Caption category in the Effect Palette. You can apply the effect in any of the standard ways, for example, by dragging the effect icon from the Effect Palette onto the Timeline. For more information, see “Applying Effects” on page 35. You apply the SubCap effect to a video track above all the other video material in your sequence.
14 Working with the SubCap Effect To apply a SubCap effect for direct text entry: 1. (Option) If necessary, create a new video track in the Timeline. For example, right-click in the Timeline and select New Video Track. 2. Ensure that the video track to which you want to apply the effect is the only selected track. 3. Move the position indicator to the point in the sequence where you want the caption text to appear. 4. Click the Add Edit button to add an edit point. 5.
Entering Caption Text Directly in the Effect Editor Entering Caption Text Directly in the Effect Editor You can enter caption text directly in the Effect Editor. Direct text entry in the Effect Editor has the following limitations: • You cannot enter line breaks (carriage returns) in the Effect Editor text box. (You can insert line breaks directly in the Edit Master Caption List dialog box.) • You can enter Unicode characters only as references.
14 Working with the SubCap Effect The “Select a file that contains caption data” dialog box opens. 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.
Adding Information to a SubCap Effect 8. Do one of the following: t If you want to proceed with the import, click Open. t If you do not want to proceed with the import, select another file to import, or click Cancel. If you click Open, your Avid editing application creates edit points and adds a new instance of the SubCap effect for each caption in the caption file. For each of these effects, your Avid editing application imports the appropriate caption text from the caption file.
14 Working with the SubCap Effect Editing Text in the Master Caption List You can view a list of all the captions in a sequence in the Master Captions List, and edit any of the captions from the list. The Master Captions List also lets you modify text in the following ways that are not available in the Caption Text text box in the Effect Editor: • Enter line breaks (carriage returns) in the text. • Type Unicode characters directly.
Synchronizing SubCap Effect Parameters and Information To adjust a SubCap effect’s parameters in the Effect Editor: 1. Move the position indicator to 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. Adjust one or more of the parameter controls in the Effect Editor.
14 Working with the SubCap Effect 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.
Exporting SubCap Effect Data to Caption Files If you export to an Avid DS caption file, only the caption text and timecode information is exported. When you export caption data to a caption file, all of the caption data in the sequence is available for export.
14 Working with the SubCap Effect 8. In the Conflicts list, select one of the following: Option Description Use Higher Track Where captions on multiple tracks overlap, your Avid editing application ignores the captions on the lower track or tracks and exports the caption on the higher or highest track. Use Lower Track Where captions on multiple tracks overlap, your Avid editing application ignores the captions on the higher track or tracks and exports the caption on the lower or lowest track. 9.
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.
14 Working with the SubCap Effect 5. Click Create. The Add New Stylesheet dialog box opens. 6. Type a name for the stylesheet in the Stylesheet Name text box, and click OK. The new stylesheet appears in the list of stylesheets. 7. Click OK. 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.
Working with SubCap Effect Stylesheets To apply a SubCap effect stylesheet: 1. Move the position indicator to the SubCap effect clip in the sequence to which you want to apply the stylesheet values, 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 apply in the stylesheet list. 6. Click Apply.
14 Working with the SubCap Effect Examples of SubCap Effect Parameter Adjustments This topic provides two examples of caption text formatting. The examples illustrate and compare the effect of certain parameter changes on the appearance of caption text. They are not intended to represent an ideal finished look. For more information on SubCap effect parameters, see “Adjusting SubCap Effect Parameters” on page 468 and “Generator Effect Parameters” on page 634.
Examples of SubCap Effect Parameter Adjustments Parameter Value Box Width Fixed Width (Wrap), Width 590 Padding Vertical 2, Horizontal 3 Row Spacing 0 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.
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15 Intraframe Editing This chapter provides information on the intraframe editing features of your Avid editing application.
15 Intraframe Editing Your Avid editing application draws vector-based objects on the screen when you use Intraframe effects. Vector-based objects are composed of mathematically described lines and Bézier curves. You can edit vector-based graphics with greater control and efficiency than you can bitmapped objects, which are drawn on the screen as a pattern of pixels. For more information, see “Working with Vector-Based Objects” on page 497.
Rendering Intraframe Effects Scratch Removal Effect The Scratch Removal effect lets you remove scratches or other flaws by replacing them with clean material from elsewhere in the same frame or from another nearby frame. The Scratch Removal effect includes the same tools for drawing objects and painting brush strokes found in the Paint Effect, together with specific controls for selecting clean replacement material. For more information, see “Understanding Scratch Removal” on page 519.
15 Intraframe Editing Applying the Paint or AniMatte Effect to a Sequence To apply the Paint Effect or AniMatte effect to a sequence: 1. Load a sequence into the Record monitor. For information, see “Creating and Editing Sequences” in the Help. 2. Enter Effect mode by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. 3.
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.
15 Intraframe Editing 1 Component Description Effect parameter categories Enable you to change the parameters of an effect. The same categories are available for both the Paint Effect and the AniMatte effect, with the following exceptions: • The AniMatte effect includes a Swap Src (swap sources) button in the Foreground parameter category that enables you to swap the foreground and background video images for matte keys composed of multiple video tracks.
Using the Intraframe Drawing Tools Component Description 10 Painting tool and Editing tool buttons Enable you to paint shapes or draw mattes on frames in a sequence with freehand capability or with preset shapes. 11 Tracking Tool button Opens the Tracking Window, allowing you to generate and modify motion tracking data. For more information, see “Motion Tracking and Stabilization” on page 309. 12 Previsualization Marker tool Available in film projects.
15 Intraframe Editing When you work with a Paint or AniMatte effect in Effect mode, the pointer is the normal arrow when you select tools and options from the Effect Editor. However, once you select a paint or editing tool and position the pointer over the Effect Preview monitor, the pointer changes to a crosshair. This indicates that you can begin to paint or draw a matte on the frame.
Using the Intraframe Drawing Tools 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 94. When you use the Brush tool to paint an object, you can select a color quickly from a video segment.
15 Intraframe Editing 5. Position the pointer over the image in the Effect Preview monitor. The pointer becomes a crosshair. 6. Press and hold the mouse button, and drag to paint freehand style on the video background. 7. Release the mouse button when you have finished painting the object. 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.
Using the Intraframe Drawing Tools 4. Click a control point, and drag it to change the shape of the brush head. 5. Repeat step 4 with other anchor points until you have the shape you need. n For brush shapes with rounded edges and curves, such as the oval, the ellipse, and the circle, clicking an anchor point creates direction bars and handles that enable you to edit the Bézier curve. For information on working with Bézier curves, see “Working with Vector-Based Objects” on page 497.
15 Intraframe Editing To use a brush template: t Click the template in the bin, drag it to the Brush Preview window, and release the mouse button. The brush in the Brush Preview window assumes the same parameters as the brush template you saved to the bin.
Using the Intraframe Drawing Tools As you drag, you describe the diagonal of the rectangle or oval. The rectangle or oval’s anchor point is the point at which you start to drag. For example, if you drag to the right and down, the rectangle or oval is anchored to its upper left corner. 5. Release the mouse button to complete the shape. 6. (Option) Adjust the object’s parameters.
15 Intraframe Editing 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. Click in the frame where you want to place the initial control point. n The control points do not appear as tiny rectangles while you are painting the object. 4. Click in the frame where you want to place the next control point.
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.
15 Intraframe Editing 6. Continue to create additional lines and curves. 7. When you are satisfied with the shape of the object, double-click in the frame to create the final control point or click the initial control point. The object becomes 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 Selecting and Deselecting Intraframe Objects You can select one or more Intraframe objects, for example to move them in the frame, rescale them, or change their parameters. When a segment contains multiple objects, you can use buttons to change your selection from one object to another. To select an object: t Click the Selection tool, and click an object. Selection handles appear around the object.
15 Intraframe Editing To move an object: t Click anywhere within the object’s outline, and drag the object to a new location. To rescale an object, do one of the following: t Click one of the selection handles and drag. t Press and hold the Alt key (Windows) or Option key (Macintosh) while you click one of the selection handles, and drag to rescale the object from its center. Selection handles on a rectangular object To change the color of an object: 1.
Working with Vector-Based Objects 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. Also, vector-based objects are not subject to problems such as artifacting when you rescale them.
15 Intraframe Editing A control point associated with a smooth join or a corner join describes a Bézier curve. Clicking a control point makes it the active join. Tangents called direction bars appear on each side of the control point associated with a Bézier curve. At the end of each direction bar is a direction handle. Direction bar with direction handles Dragging a direction handle changes the way the segments pass through the control point to define the curve.
Working with Vector-Based Objects Experimenting with Bézier Curves and Direction Handles This topic provides two procedures that you can use to practice using Bézier curves and their direction handles. In the first procedure, you create a rectangle using the Rectangle tool, and then transform the rectangle into a circle by converting the straight-edge joins at the corners of the rectangle to smooth joins.
15 Intraframe Editing The straight-edge join becomes a smooth join with direction bars and handles. 9. Working in a counterclockwise direction, Alt+click (Windows) or Option+click (Macintosh) each control point until they have all been transformed into smooth joins. The resulting shape is a circle. The control point at the top right of the circle is the active join and displays direction bars and handles.
Working with Vector-Based Objects To experiment with the direction handles: 1. Click the bottom direction handle, and drag away from the control point to increase the length of the direction bar. Notice how the curve changes. Also, the direction bar and segment on the opposite side of the control point move in unison with the direction bar you are dragging. The control points adjacent to the active join serve as anchor points for the segments that compose the curve.
15 Intraframe Editing 4. Shift+click the direction handle to revert the direction bars to their previous functionality. 5. Click the bottom direction handle, and drag it in a counterclockwise direction. Notice how the curve changes as you drag the direction bar. Example of rotating a direction handle without changing its length. 6. When you have finished experimenting, adjust the direction bar so that the object again resembles a circle.
Working with Vector-Based Objects To transform a smooth join into a corner join: 1. Alt+click (Windows) or Option+click (Macintosh) the bottom direction handle. Although you might not notice it immediately, the smooth join is transformed into a corner join. 2. Drag the direction handle away from the control point.
15 Intraframe Editing Reference for Modifying Lines and Curves in Intraframe Objects The following table summarizes how you can use the mouse and the modifier keys on the keyboard to modify lines and Bézier curves (smooth joins or corner joins). 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.
Working with Vector-Based Objects Adding and Removing Control Points Placing more control points on an object enables the object to trace more detailed images. For example, if a segment of an object does not follow a curved section on a frame as well as you would like, and adjusting the control points and direction bars does not help, you can add a new control point. Avid recommends that you remove a control point if the object does not need the control point to adequately define its shape.
15 Intraframe Editing To remove multiple control points: t Shift+click the control points, and then press the Delete key. Your Avid editing application attempts to reconstruct the object so that it does not change. The results you see might vary because of the internal mechanics and geometry of Bézier curve technology. However, adding and then removing the same control point should not dramatically change the curve of that section of an object.
Using the Previsualization Marker Tool for Film Projects To move or “nudge” control points in 1-pixel increments: 1. Click a control point to select it, or Shift+click additional control points to move them as a group. 2. Nudge the control point or points using one of the following techniques: c t To nudge selected control points to the left, press the Left Arrow key or the Trim Left key. t To nudge selected control points to the right, press the Right Arrow key or the Trim Right key.
15 Intraframe Editing n You generate optical lists with Avid FilmScribe. For general information on using Avid FilmScribe, see the Avid FilmScribe Help. To add a Previsualization Marker effect to a sequence: 1. Enable the Effect Grid and set the appropriate parameters for image scan size, aspect ratio, and film format. For more information, see “Displaying the Effect Grid in Effect Mode” on page 82. 2.
Manipulating Intraframe Objects Top to bottom: grid information, keyframe number and reference numbers, and color and coordinate information for two separate markers Manipulating Intraframe Objects Intraframe effects include editing tools and additional parameters that enable you to perform the following operations: • Move objects individually or in groups. For more information, see “Moving Intraframe Objects” on page 510. • Reshape objects.
15 Intraframe Editing 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 To reshape an object: 1. Click the Selection tool, and click an object or matte. 2. Do one of the following: t Click the Reshape tool. t Double-click the selected object. The outline of the object becomes highlighted, and control points appear. n To drag the control points only, Alt+click (Windows) or Option+click (Macintosh) the Reshape tool to hide the direction handles. 3.
15 Intraframe Editing Rotating Intraframe Objects You can select an object or matte and rotate it around the Z axis. You can also change the rotation of an object over time by rotating the object on an individual keyframe basis. For more information, see “Changing Intraframe Object Parameters over Time” on page 514. To rotate an object or matte around the Z axis: 1. In the Effect Editor, click the Z-Rotation tool. 2. Click the object you want to rotate.
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.
15 Intraframe Editing Changing Intraframe Object Parameters over Time You can animate an intraframe object by changing parameters on an individual keyframe basis. The following parameters are keyframeable: Parameter For more information: Position of an object on screen See “Moving Intraframe Objects” on page 510.
Layering, Grouping, and Locking Intraframe Objects Layering with the AniMatte effect works much as it does with the Paint Effect, but the image that appears in the foreground of an AniMatte effect is the video that you have chosen to key in or key out. Even though your Avid editing application renders matte keys starting with the highest track in a multilayer matte key, compositing of multiple AniMatte effects in the same segment occurs in the foreground and is not destructive to the video background.
15 Intraframe Editing To group painted objects or mattes: 1. Click the Selection tool, and click an object. If the object or matte is hidden by other objects, use the Outline/Path feature to locate it as described in the first procedure in this topic. 2. Shift+click any additional objects you want to include in the group. 3. Select Object > Group. The objects become grouped together, and you can manipulate the group as if it were a single object. To ungroup painted objects or mattes: 1.
Exporting a Matte Key Created With the AniMatte Effect You can use the exported PICT file in the following ways: • Import the file back into your Avid editing application to create a real-time Matte Key clip that you can edit into a sequence. You can use this clip as a garbage matte or promote the clip to 3D. • Open the file in a third-party graphics application, edit the file, and import the file back into your Avid editing application.
15 Intraframe Editing To import the matte key into your project: 1. Select the bin into which you will import the PICT file, and select File > Import. The Select files to Import dialog box opens. 2. Select Graphic Files from the Files of Type menu. 3. Click Options. 4. In the Alpha area, click one of the following to select an alpha channel option: - Use Existing - Invert Existing - Ignore Depending on your needs, you might have to select Invert Existing.
Scratch Removal Scratch Removal Your Avid editing application includes tools for fixing flaws such as dropout in video frames or defects in film-originated footage. You can replace a flaw with clean material from the same frame or field or from other nearby frames or fields. Understanding Scratch Removal The workflow for removing a flaw involves the following main steps: 1. Isolate the flawed material in a new segment. 2. Apply an Intraframe effect. 3.
15 Intraframe Editing 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 Options for Removing Flaws You can often remove a flaw by replacing it with a clean area from the same frame or field. For example, you can replaces a flaw on a uniform background such as sky by copying another portion of the sky over the flaw. When you remove a flaw by using material from the same frame that contains the flaw, you can see both the flaw and all the available clean material as you work.
15 Intraframe Editing Detecting Video Dropout in 24p or 25p Material Because of the way some Avid editing applications handle the display of 24p or 25p material, you might not be able to see video dropout when you use the default Fast Frame Display mode. To ensure that you can see dropout when you are working with 24p or 25p material, turn off Fast Frame Display mode by selecting Special > Fast Frame Display. (When Fast Frame Display is deselected, there is no check mark beside it in the menu.
Scratch Removal If the Frame Processing button is deselected (gray), your Avid editing application uses field processing. The Frame/Field parameter slider is labeled Field and is calibrated in one-field increments from –10 to +10. For more information on frame and field processing, see “Frame and Field Processing” on page 519. n When you are working with single-field material, the Frame Processing button does not appear in the Effect Editor.
15 Intraframe Editing 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. Your Avid editing application creates a two-frame segment ending at the frame marked by the position indicator and applies the Scratch Removal effect to that segment.
Scratch Removal Removing a Flaw By Drawing a Shape Once you isolate a flaw and apply an Intraframe effect to it, you can remove the flaw by replacing it with a clean area of video. The best way to do this is usually to draw a shape that covers the flaw and fill the shape with replacement material. An alternative method is to draw a shape over your selected replacement material and then drag the replacement over the flaw.
15 Intraframe Editing 10. Use the Horizontal, Vertical, and Frame/Field sliders in the Effect Editor to select an area of replacement material to fill the object in the image and replace the flaw. The replacement material appears in the object, replacing the flaw. For more information on using the Horizontal, Vertical, and Frame or Field parameter sliders, see “Using the Scratch Removal Positioning Parameters” on page 529. 11.
Scratch Removal To remove a flaw by selecting replacement material and then dragging it over the flaw: 1. Isolate the flaw, and apply the Paint Effect or Scratch Removal effect by using the procedures described in “Isolating a Flaw” on page 523. 2. If you are not in Effect mode, enter Effect mode, for example, by choosing Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. The Effect Editor opens. 3. Select the segment if it is not already selected. 4.
15 Intraframe Editing 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. For more information, see “Intraframe Example: Animating a Matte Key Effect” on page 542, “Image: Paint Effect” on page 592, and “Key: AniMatte” on page 595. 12.
Scratch Removal 5. (Option) Select frame or field processing. For more information, see “Selecting Frame or Field Processing When Using Scratch Removal” on page 522. 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.
15 Intraframe Editing Offset Fast Menu button in the Effect Editor The following table shows the default settings. Parameter Default setting Frame/Field 0 Offset From Start 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.
Scratch Removal Examples of Scratch Removal Parameter Settings The following examples illustrate several different settings for the Scratch Removal positioning parameters.
15 Intraframe Editing Example 2: Replacement Material from a Two-Frame Relative Offset Parameter Setting Vertical 0 Horizontal 0 Frame/Field +2/+4 Offset Relative In this example, the area of the rectangle covering the scratch (left) is replaced by the same coordinate area of the frame two frames (four fields) ahead (right). Each frame or field in the segment uses replacement material from two frames (four fields) ahead.
Intraframe Editing Examples 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. You can select From Start or From End from the Offset Fast menu in this way to cover a flaw in several frames with clean material from a single frame.
15 Intraframe Editing To colorize the example image: 1. If you are not in Effect mode, enter Effect mode, for example, by choosing Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. 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 9. In the Magic Mask category, click the Enable button. Enable button for Magic Mask in the Effect Editor Your Avid editing application activates the Magic Mask. The default key color for Magic Mask might not match the color in your selection, so the color is not yet applied to the white area of the window. Effect applied before selecting Magic Mask key color. The color effect does not appear. 10.
15 Intraframe Editing 11. Click the Outline/Path button to switch between viewing the image with or without the effect. Effect applied with key color selected from the image 12. Adjust the Magic Mask parameters, such as Gain and Soft (softness), to fine-tune the effect. Your Avid editing application applies the colorization effect to areas where the rectangle shape extends beyond the window area in the image. You can quickly convert the rectangle to a polygon and adjust its shape around the window.
Intraframe Editing Examples 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.
15 Intraframe Editing 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. When you are satisfied with the shape of the matte, release the mouse button.
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 627. 13. Render the effect to play it back in real time.
15 Intraframe Editing 4. Drag the AniMatte Effect icon from the Effect Palette to the upper track in the Timeline. 5. Press the Home key to go to the beginning of the clip. Ensure both the first and last keyframes are selected. 6. 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. 7. Click the Curve tool. 8.
Intraframe Editing Examples 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. Click the Swap Src button to restore your effect to a matte that keys in your selection. 13.
15 Intraframe Editing Intraframe Example: Animating a Matte Key Effect This topic is a continuation of the example that is created by following the procedure in “Intraframe Example: Creating a Matte Key Effect” on page 539. When you have moving video, you must use animation to change the shape and location of the matte in order to follow the changes of the video over the course of the segment. Foreground and background layers (left) and the composite image (right).
Intraframe Editing Examples 2. If you are not in Effect mode, enter Effect mode, for example, by choosing Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. The Effect Editor opens. 3. Adjust the matte outline as follows: t Click the Reshape tool, and drag control points to change the shape. You can also Shift+click multiple control points for repositioning as a group. For information, see “Adding and Removing Control Points” on page 505.
15 Intraframe Editing To create an organic matte wipe: 1. Create a sequence that contains a transition (an incoming and an outgoing segment). For more information, see “Creating and Editing Sequences” in the Help. Outgoing segment (left) and incoming segment (right) 2. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. The Effect Editor opens. 3.
Intraframe Editing Examples 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. Your Avid editing application highlights the last keyframe indicator, and deselects the first keyframe. 11.
15 Intraframe Editing 14. (Option) To soften the edges of the wipe, adjust the Feathering parameters. For more information, see “Feathering” on page 627. 15. Render the effect to play it back in real time. For more information, see “Rendering Intraframe Effects” on page 481. 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.
Working with the Blur Effect and Mosaic Effect The following buttons appear on the right side of the Effect Editor for the Blur and Mosaic effects. Button Description Selection tool Selects an object so you can change its parameters, move it, or delete it. With the Shift key pressed, selects multiple objects. Z-rotation tool Rotates an object around the Z axis. Reshape tool Lets you reshape objects by manipulating anchor points at locations where new curves begin or straight lines intersect.
15 Intraframe Editing 5. Click in the Effect Preview monitor and drag to create an object. A wire-frame outline of the object appears, and the default Blur or Mosaic effect appears in the Effect Preview monitor. The following illustration shows a Mosaic effect in an oval object. To modify the attributes of blur and mosaic objects: 1. Click the Selection tool, and click the object you want to change. 2.
Working with the Blur Effect and Mosaic Effect Parameter Description Blur Visible or Mosaic Visible Switches the effect on and off in the Effect Preview monitor. 4. Use the Z-Rotation and Reshape tools to customize the shape of the blur or mosaic object: Parameter Description Z-rotation Lets you rotate the object around a Z axis by manipulating the resize handles. Reshape Lets you create an irregular object by moving the resize handles individually.
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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 • Using PlasmaWipes with HD Projects Understanding PlasmaWipe Effects PlasmaWipe effects are two-stream, real-time effects that use gradient image bitmap
16 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
16 PlasmaWipe Effects Using PlasmaWipe Effects To use a PlasmaWipe effect: 1. Apply the PlasmaWipe effect to a transition or segment. 2. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 42. The Effect Editor opens. 3. Adjust parameters (and add keyframes if necessary) in the Effect Editor.
Creating Gradient Images for PlasmaWipe Effects The following tips apply to working with gradient images: • Keep the graphic smooth without too many hard edges. This increases the number of levels (gradients) and creates a smoother wipe. • Do not use dithering or antialiasing because they might add artifacts to the wipe. For example, when a graphics application performs antialiasing, it smooths out the edge of a line by blending the colors along the edge.
16 PlasmaWipe Effects The following illustration shows a gradient image modified by two separate distortion operations. Left to right: Gradient image, image with Swirl filter applied, and image with Ripple filter applied 4. (Option) Perform image operations to create different effects. For example, you can copy different gradient images to separate layers and experiment with blending the layers. n For information on blending layers, see your Photoshop documentation. 5.
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 559. 8. Click OK. 9.
16 PlasmaWipe Effects 7. Click Brush Presets, and select a wide pencil shape, for example 100 pixels or higher. You can also create a custom brush. 8. Close the Brushes palette. 9. Set Opacity to 100%. 10. Start anywhere in the image and draw back and forth across the image, covering the entire image from top to bottom. This creates a wide pencil mark that changes the color from white to black. Draw the line as if you are painting the wipe backwards from white to black.
Creating Gradient Images for PlasmaWipe Effects Using the Histogram to Analyze PlasmaWipe Images The Histogram palette in Adobe Photoshop shows the distribution of grayscale value for your PlasmaWipe image. Other graphics tools also typically provide a histogram display. The wider the range of gradient values (levels), the smoother the resulting animation. For example, the following illustrations show two histograms. The one with the wide range of gradient values creates a smoother animation.
16 PlasmaWipe Effects Adjustments such as Equalize might result in a histogram that has a wide range of gradients but that has many gaps in the values. In a short wipe effect the gaps are not noticeable. In a long effect, the gaps might create doubled frames in the animation. You can use a blur filter such as Gaussian Blur to smooth out the range. For more information, see your Adobe Photoshop documentation.
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.
16 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.
Creating Gradient Images for PlasmaWipe Effects levels for your folders in order to organize your effects. Your Avid editing application system displays the full path as part of the name in the effect category. The following illustration shows the Effect Palette with the full default path in the effect category. (Macintosh only) If you create additional folders for your own custom PlasmaWipe effects, back them up before you run the PlasmaWipes installer to replace or update the PlasmaWipes folder.
16 PlasmaWipe Effects To adjust an existing effect while your Avid editing application is running: 1. Edit the older version of the effect into a sequence. 2. Locate the PlasmaWipes folder and replace the old effect with the new effect in the appropriate folder. 3. In the Timeline bottom toolbar, click the Video Quality menu button and select a lower video quality. 4. Click the effect icon in the Timeline and move the position indicator to update the effect in the Timeline. 5.
Understanding PlasmaWipe Frame and Border Effects Frame and border effects are in the PlasmaWipe Avid Borders category of the Effect Palette. Border effects let you darken the edges and corners of an image or give a tint or shadow to the sky as though the image were shot through a lens filter. Border effects include the following: • Round Border • Soft Sky • Soft Window • Square Border Frame effects allow for textured, colored frames and have the word Frame in their name.
16 PlasmaWipe Effects Applying and Adjusting PlasmaWipe Frame and Border Effects To apply a PlasmaWipe frame effect or border effect: t Drag the effect icon from the Effect Palette to the segment in the Timeline. To apply a PlasmaWipe frame or border effect to an existing DVE such as a Picture-in-Picture effect: 1. Apply the Picture-in-Picture effect to a clip in the Timeline. 2. Double-click the effect’s icon in the Timeline.
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.
16 PlasmaWipe Effects To create a custom frame graphic: 1. Create a new file with the following characteristics: n - Image size: 720 pixels (width) by 540 pixels (height) - Resolution: 72 pixels/inch (you can use any resolution) - Mode: Grayscale The 720x540 size ensures that the original image has a 4:3 aspect ratio. This lets you create a frame that fits correctly within the video image. 2. Display the Photoshop grid to allow for precise placement of the frame and interior area.
Using PlasmaWipes with HD Projects 8. Modify the grayscale image and apply filter effects as necessary. 9. Color the inside of the frame black. 10. If you want background video to appear around the frame, color that area white. 11. Flatten the image to remove extra layers. 12. Make a copy of the image. 13. Save one copy as 720x486 (for NTSC) and another as 720x576 (for PAL) as described in “Saving a PlasmaWipe Image for PAL and NTSC” on page 561.
16 PlasmaWipe Effects To install the HD versions of the PlasmaWipes effects: 1. Navigate to the HDPlasmaWipes folder in the Goodies folder on your Avid editing application installation disk. 2. For 1080i and 1080p projects, copy the contents of the 1920x1080 folder to the following location: (Windows) C:\Program Files\Avid\Avid editing application\Supporting Files\ Plasma Wipes\1920x1080\Avid\Custom Macintosh HD/Applications/Avid editing application/Supporting Files/ Plasma Wipes/1920x1080/Avid/Custom 3.
Using PlasmaWipes with HD Projects To create new HD PlasmaWipe effects: 1. Create a new PlasmaWipe effect file at either 1920x1080 or 1280x720 resolution. Either copy one of the existing HD PlasmaWipe effect files or create a new file using the proper resolution. For more information, see “Creating Gradient Images for PlasmaWipe Effects” on page 554. 2. Save the effect and store it in the corresponding Custom folder. For example, if you create a file named MyPlasmaWipe.
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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 35. For reference information on parameters for effect adjustment, see “Effects Parameter Reference” on page 621.
17 Effects Reference Reference information includes: • An illustration of the effect’s icon • A description of the effect • Information on where to apply the effect (to transitions, single-layer segments, or multilayer segments) Effects that you can apply to transitions have active transition parameters available at the bottom of the Effect Editor. For more information, see “Transition Parameters” on page 633 • Indication of the real-time status of the effect, where appropriate.
Blend Effects Blend Effects Blend effects are general two-channel 2D effects, except for 3D Warp. (Two specialized blend effects are also available for creating a film look. For more information, see “Film: Film Dissolve and Film Fade” on page 582.) Blend: 3D Warp Provides direct access to a full set of parameter categories for making 3D and other advanced adjustments to effects. For information on using the 3D Warp effect, see “Applying the 3D Warp Effect” on page 364.
17 Effects Reference Blend: Dip to Color, Dissolve, Fade from Color, and Fade to Color Dip to Color fades from the outgoing video to any color and then fades up to the incoming video. Dissolve blends images from the outgoing video with the incoming video over time. Fade from Color fades from any color to incoming video. Fade to Color fades from the outgoing video to any color.
Blend Effects Blend: Superimpose Blends the image from the top video track (where you apply the effect) with the image from the bottom video track over time. The Foreground Level slider controls the blend percentage over time. When Level=100, only the top image is visible, and when Level=0, only the bottom image is visible.
17 Effects Reference 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 620. Incoming video begins as a box and wipes out the outgoing video as the box expands to fill the screen.
Conceal Effects Conceal Effects Conceal effects use a predefined path to overlap one video channel over the other. n For examples of similar effects, see “Comparison of Similar Effects” on page 620. Incoming video slides on top of the outgoing video.
17 Effects Reference Edge Wipes Edge Wipes wipe an edge across the screen to reveal one video channel on top of the other. Incoming video begins at the edge or center of the screen and moves out to wipe away the outgoing video.
Film Effects Film Effects Film effects emulate many of the effects an optical house can produce. 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.
17 Effects Reference Film: Blowup Modifies the size and portion of an image. Apply to Single-layer segments Promotes to 3D Bit depth processing 8-bit and 16-bit RGB processing Available Parameter categories Background Color; Blowup; Crop; Grid (not available for all project types) Illustrations Original image (left) and Blowup effect Film: Film Dissolve and Film Fade The Film Dissolve effect blends the outgoing frame to the incoming frame over time.
Generator Effects Generator Effects Generator effects let you add subtitle, captioning, timecode, or production comment text to your video. Generator: SubCap Lets you add caption or subtitle text to the video in your sequences. For more information, see “Working with the SubCap Effect” on page 459. You cannot keyframe SubCap parameters and you cannot promote the SubCap effect.
17 Effects Reference Illusion FX Effects The Illusion FX category contains a variety of transition and segment effects. Illusion FX effects use the AVX plug-in architecture. Most Illusion FX effects have an Input Parameters parameter category containing controls that vary from one Illusion FX effect to another. For more information, see “Illusion FX Effect Parameters” on page 644.
Illusion FX Effects • Pattern Generator creates a clip using a solid color, a variety of color bars, or a grid. The frames can be numbered automatically, and a circle can be animated. This effect is useful for testing purposes. • Pinch pinches the image in toward, or pushes it out from a user-defined point. You can control the amount of distortion and the area affected. • Radial Blur blurs the image inward or outward from a user-defined point, and around a user-defined rotation.
17 Effects Reference 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.
17 Effects Reference 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 Bit depth processing 8-bit only RGB processing Available Parameter categories For all effects: Input Parameters; Border; Grid (not available for all project types) For FluidMorph: Source 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.
17 Effects Reference Image: Blur Effect and Mosaic Effect The Blur Effect applies a blur effect to a selected area that you can animate and edit on one frame or a series of frames. This is useful for distorting or disguising part of an image. The Mosaic Effect applies a tile effect to a selected area that you can animate and edit on one frame or a series of frames. This is useful for distorting or disguising part of an image.
Image Effects Image: Color Effect Modifies the luminance, chroma, color style (posterized or solarized), and color gain of the segment. You can use the Color Effect to perform keyframeable color corrections.
17 Effects Reference 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 Illustration Left to right: original image, Resize effect with reduced image, Resize effect with enlarged image Image: Safe Color Limiter Lets you limit the color values of video material to a specific range, for example, to meet safe color standards set by a broadcaster. For more information, see “Working with the Safe Color Limiter Effect” on page 853.
17 Effects Reference Image: Stabilize Lets you eliminate unwanted motion in a video clip, such as motion from an unstable camera or even more subtle motion such as that introduced during the telecine process as a result of gate weave. For more information, see “Stabilizing an Image” on page 349.
Key Effects Key Effects Key effects combine two or more video streams, using components from one of the streams. The Chroma Key and Luma Key effects share a Key parameter category. For more information, see “Key Effects Key Parameters” on page 697. 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.
17 Effects Reference Key: Luma Key Replaces part of the video image with another video image based on luminance Apply to Multilayer segments Promotes to 3D Bit depth processing 8-bit and 16-bit RGB processing Available Parameter categories Key; Foreground; Scaling; Position; Crop; Grid (not available for all project types) Illustration Left to right: key image, background image, and Luma Key effect Key: Matte Key A three-layer track effect.
Key Effects Key: RGB Keyer Replaces part of the video image with another video image based on color. The key color in the video on the higher track is replaced with the video from the lower track. You can also perform post-key color correction with the RGB Keyer.
17 Effects Reference Illustration Left to right: background image, key image, and SpectraMatte effect L-Conceal Effects L-Conceal effects overlap one video channel over another, using a predefined L-shaped path. Incoming video slides vertically over one half of the screen and then slides horizontally to fill the remaining half of the screen.
Matrix Wipes 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 626. Incoming video begins as blocks or bands that follow a pattern while wiping out the outgoing video. You can customize the grid size by clicking the Other Options button.
17 Effects Reference 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 199.
Peel Effects Motion Effect: Variable Speed and Strobe Motion Variable Speed creates a new clip with slow motion, fast motion, or reverse motion. Strobe Motion creates a new clip with stuttering effect. The Strobe Motion effect can be used in combination with the Variable Speed effect. Apply to Clip marked with IN and OUT points in the Source monitor Real-time status Real-time or non-real-time, dependent on the type of motion being represented.
17 Effects Reference Illustrations Top: outgoing image (left) and incoming image (right) Bottom, left to right: middle of effect for Bottom Left Corner, Right to Left, and Top Right Corner 602
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 551. The preset PlasmaWipe effects are grouped into the following categories: • Borders lets you apply a variety of edge treatments to effects.
17 Effects Reference Push Effects Push effects move one video channel to fill the screen while the other video channel is pushed out of the screen. n For examples of similar effects, see “Comparison of Similar Effects” on page 620. Incoming video pushes out outgoing video starting from a corner or side of the screen. The border is on the incoming video.
Reformat Effects Reformat Effects Reformat effects let you reformat media to different aspect ratios, for example, when you need to reformat a film aspect ratio for television programming. The 14:9 Letterbox, 16:9 Letterbox, and 4:3 Sidebar effects resize the media to conform to the aspect ratio you select. Pan and Scan lets you select a portion of the media to reformat.
17 Effects Reference Sawtooth Wipes Sawtooth wipes create a transition between shots, using a jagged edge like the teeth of a saw. All Sawtooth Wipe effects share custom grid parameters, accessible from the More Options button. For more information, see “Custom Grid” on page 626. Incoming video appears with a sawtooth edge and expands to fill the screen. .
Shape Wipes Shape Wipes Shape Wipes reveal one video channel on top of another video channel, using a growing or moving geometric shape. Some Shape Wipe effects have custom grid parameters, accessible from the More Options button. For more information, see “Custom Grid” on page 626. Incoming video uses a geometric shape to fill the screen and wipe out the outgoing video.
17 Effects Reference 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.
Spin Effects 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). Incoming video then expands from that line until it fills the screen. Border appears only on the incoming video.
17 Effects Reference Squeeze Effects Squeeze effects expand a video channel from a single point or line until it fills the screen, obscuring the second video channel. n For examples of similar effects, see “Comparison of Similar Effects” on page 620. Incoming video squeezes over the outgoing video, beginning as a point or line at a specific location on the screen and expanding to fill the screen.
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 210.
17 Effects Reference Timewarp: 0% To 100% and 100% to 0% 0% to 100% is a template for the Timewarp effect that ramps motion in a sequence from 0% (freeze frame) to 100% (full speed). 100% to 0% is a template for the Timewarp effect that ramps motion in a sequence from 100% (full speed) down to 0% (freeze frame). These two effects are the inverse of one another. Apply the effect to a sequence in the Record monitor, and customize it using the Motion Effect Editor.
Timewarp Effects 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. Use this effect in PAL projects.
17 Effects Reference Illustrations Speed Graph and Position Graph default settings for Pulldown Insertion Speed Graph and Position Graph default settings for Pulldown Removal 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 238.
Timewarp Effects Illustration Speed Graph and Position Graph default settings for Reverse Motion Timewarp: Speed Boost and Speed Bump Speed Boost and Speed Bump are templates for the Timewarp effect. Speed Boost starts out at half speed, reaches approximately double speed at the midpoint, and returns to half speed at the end. Speed Bump starts out at full speed, slows to approximately half speed at the midpoint, and returns to full speed at the end.
17 Effects Reference 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 238.
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).
17 Effects Reference Title Effects: Title For information on creating titles, see “Creating Titles” on page 383.
Xpress 3D Effects Xpress 3D Effects Xpress 3D effects provide a limited set of parameter categories for creating basic 3D effects that are fully compatible with Avid Xpress editing applications that include a 3D effects option. Xpress 3D effects provides basic 3D PIP and 3D shape effects that are compatible with Avid Xpress editing application. Four effects are available.
17 Effects Reference 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 622. 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 623.
18 Effects Parameter Reference Color Parameter Controls Many effect include parameter controls that let you select a color, for example, to color a border or a background. These controls let you define a color in three ways: • You can use your operating system’s color controls (the Windows Color dialog box or the Macintosh Colors panel). • You can use an eyedropper tool to select a color from an image. • You can use parameter sliders to define a color.
Common 2D Effect Parameters Parameter Description B (blue) Specifies the blue component of an RGB color definition. Values range from 0 (no blue) to 255 (maximum amount of blue). Common 2D Effect Parameters This section describes, in alphabetical order, 2D effect parameters that are common to multiple effects across at least two effect categories. Acceleration Acceleration adjusts the speed of an effect over time by having the effect ease in and ease out of every keyframe.
18 Effects Parameter Reference The Avid Pan & Zoom effect and the Illusion FX Pattern Generator effect have Background parameters that provide similar capabilities to the Background Color parameters. For more information, see “Background Parameters” on page 676 and “Pattern Generator Effect Background, Number, and Circle Parameters” on page 660. Border Border lets you specify the color, softness, and width of a border, for example, on the incoming image in a transition.
Common 2D Effect Parameters Brush Brush enables you to define the shape, size, and softness of the brush for creating brush strokes on an image. You can also customize the shape and rotate the head of the Brush tool to create a variety of new effects. This parameter is not keyframeable. Brush is available in the following effects: Image: Paint Effect, Image: Scratch Removal, Key: AniMatte, FluidMotion Edit for Timewarp Effects.
18 Effects Parameter Reference For information on the 3D equivalent of this parameter category, see “Crop (3D)” on page 729. 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 Feathering adds soft edges to a painted object or a matte key. Adding a soft edge can make a composited object look more natural against the background. Feathering is available in the following effects: Image: Blur Effect and Mosaic Effect, Image: Paint Effect, Image: Scratch Removal, 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.
18 Effects Parameter Reference Foreground Foreground sets the relative amount of the effect to be displayed over time. The set of available parameters varies depending on the effect. For information on the 3D equivalent of this parameter category, see “Foreground (3D)” on page 732. Parameter Description Level Controls the opacity of the foreground image. Values range from 0 (transparent) to 100 (opaque). For PlasmaWipe effects, Level controls the amount of the effect at any given point.
Common 2D Effect Parameters Grid Grid defines the Effect Grid associated with an effect. Grid parameters set in the Effect Editor override settings in the Grid Settings dialog box for that effect only. This parameter is not keyframeable, and is not available in all project types. Parameter Description Enable button Turns the local Grid effect on or off . If you disable the local Grid effect, your Avid editing application uses the global settings defined in the Grid Settings dialog box.
18 Effects Parameter Reference Parameter Description Transfer menu Specifies how the film was transferred to video as follows: • Full Aperture — The transfer includes everything that is visible in the frame. • Academy — The transfer does not include the sound track area on the left side of the film. Magic Mask Magic Mask lets you apply effects across a series of frames, using the chroma and luma values as the criteria for edge detection.
Common 2D Effect Parameters Parameter Description Soft (softness) Increases or decreases the amount of softness applied to a color selection and contiguous pixels that fall within a specified tolerance. The tolerance you adjust with the Soft slider is relative to the RGB values of the color picked in the selection. Values range from 0 to 63. Position Position sets the horizontal and vertical position of the effect.
18 Effects Parameter Reference Scaling Scaling resizes the effect by adjusting height and width. For information on the 3D equivalent of this parameter category, see “Scaling (3D)” on page 739. Parameter Description X Stretches or compresses the width of the effect. Values range from 0 to 400, where 100 indicates 100% scaling (normal size). Y Stretches or compresses the height of the effect. Values range from 0 to 400, where 100 indicates 100% scaling (normal size).
Common 2D Effect Parameters 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.
18 Effects Parameter Reference Film Effects Blowup Parameter Blowup lets you enlarge and resposition the image. Parameter Description Field Controls the size of the image. Values range from 0 (leaves the image size unchanged) to 12 (increases the image to the maximum size). X Pos (X position) Lets you position the image horizontally on the screen. Values range from -24 to 24, where 0 is unchanged. Y Pos (Y position) Lets you to position the image vertically on the screen.
Generator Effect Parameters Category Control Description Caption Files Import Caption Opens the “Select a file that contains caption data” dialog box, which lets you Data import caption data from an EBU N19 or a DS caption file. For more information, see “Importing a Caption File” on page 465. Export Caption Opens the “Export caption data to the specified file” dialog box, which lets you Data export caption data to an EBU N19 or a DS caption file.
18 Effects Parameter Reference Category Control Description Text Shadow Sets the type of shadow used for the text. The options are: • No Shadow • Standard Shadow • Custom Shadow If you select Standard Shadow, your Avid editing application applies a default shadow offset and direction. The shadow appears a little below and to the right of the text. If you select Custom Shadow, use the Radius and Angle sliders to control the offset and direction of the shadow: • Radius controls the shadow offset.
Generator Effect Parameters Category Control Description Justify Anchor Controls the horizontal location of the anchor with respect to the box. The options are: Anchor Position • Anchor Left — the anchor is positioned at the left corner of the box (either top or bottom, depending on the value set in the Anchor Box to control). • Anchor Center — the anchor is positioned at the center of either the top or bottom edge of the box (depending on the value set in the Anchor Box to control).
18 Effects Parameter Reference 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 SubCap Effect Global Properties Tab Option Description Contacts Publisher Enter up to 32 characters of text that describe the publisher of the content, for example a company name. Country of Origin Select a country name from the list. (Your Avid editing application converts the name to a standard country code in a .stl file.
18 Effects Parameter Reference Timecode Burn-In Effect Parameters Timecode Burn-In parameters control the content and appearance of the timecode displays. Timecode Burn-In effect parameters are not keyframeable. Category Description Display 1, Display 2, Display 3 Let you add up to three timecode displays to the video. Click the Enable button for the category to activate the display. Reader menu Selects the basic type of timecode or other information for the display.
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.
18 Effects Parameter Reference Category Description Timecode Display Provides additional controls for selecting the format or source of the information that appears in the timecode displays.
Generator Effect Parameters Category Description Appearance Each Display category and the Notes Track category contain an Appearance subcategory. The Appearance subcategory contains the following subcategories and controls: • Position — Use the X and Y sliders to set the position of the display’s anchor point within the video frame. You can also position the display directly in the monitor by dragging the anchor point (located at the top left corner of the display).
18 Effects Parameter Reference Illusion FX Effect Parameters This section contains reference summaries for the effect parameters that are unique to the Illusion FX effect category. Border Parameter for Illusion FX Effects The Border parameter category is available for the following Illusion FX effects: Crystal, FluidBlur, FluidColorMap, FluidMorph, Kaleidoscope, Melt, Particle Blast, Particle Orbit, Particle Wind, Radial Blur, Ripple, Rollup, Shear, Sphere, Swirl, Twist, and Wave.
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.
18 Effects Parameter Reference Flare Effect Input 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.
Illusion FX Effect Parameters Parameter Description Lower Motion Your Avid editing application does not blur objects moving less than the Lower Threshold, Motion Threshold number of pixels between frames or fields or more than the Upper Upper Motion Threshold Motion Threshold number of pixels between frames or fields. Your Avid editing application blurs objects whose movement falls between the two values by the Blur Amount.
18 Effects Parameter Reference Parameter Description Constant Saturation Controls how much the Min Motion Threshold and Max Motion Threshold values affect the color saturation (these values always control the luminance of the image). When the Constant Saturation value is low, the Min Motion Threshold and Max Motion Threshold values strongly affect saturation as well as luminance. When the Constant Saturation value is high, the values affect saturation to a lesser degree.
Illusion FX Effect Parameters 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. When Feature Match is deselected, your Avid editing application creates the morph based on the brightness of the two images. Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter is not keyframeable.
18 Effects Parameter Reference 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 Offset Parameters Parameter Description X, Y Use the X and Y sliders to set the offset from the original source area. You can also click the corresponding marker, and drag within the image. Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable. Lightning Effect Generation, Core, and Glow Parameters Generation Parameters Parameter Description Amount Sets the proportion of the lightning to be displayed.
18 Effects Parameter Reference Core Parameters Parameter Description Width Sets the radius of the core in pixels. Color controls Selects the color for the core of the lightning. For more information on the parameter controls, see “Color Parameter Controls” on page 622. Glow Parameters Parameter Description Width Sets the radius of the glow in pixels. Color controls Selects the color for the glow surrounding the lightning.
Illusion FX Effect Parameters 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. A value of 0 has no effect, and all of the foreground clip shows. The higher the value, the more of the foreground clip melts away to reveal the background clip. Typical keyframing has a value of 0 at the first keyframe and 100 at the last keyframe.
18 Effects Parameter Reference 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 Parameter Values Result Parameter Values Turn Left: On Turn Left: On Reverse: Off Reverse: Off Swap Sources: Off Swap Sources: On Outgoing video peels off Incoming video peels off Turn Left: Off Turn Left: Off Reverse: On Reverse: On Swap Sources: Off Swap Sources: On Incoming video peels on Outgoing video peels on Turn Left: On Turn Left: On Reverse: On Reverse: On Swap Sources: Off Swap Sources: On Incoming video peels on Result Outgoing video peel
18 Effects Parameter Reference 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 Particle Orbit 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. Bumpiness Adds a shadow to the edge of the particles. Speed Sets the speed at which particles orbit.
18 Effects Parameter Reference The following illustration shows four frames from a transition effect using the values in the example. 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 Parameter Description Front Speed Controls whether the particles near the front edge (where the wind first hits) start to move before the particles at the outside edge. Front Randomness Allows particles nearest the front to move at different speeds. Speed Sets the wind speed. Speed Randomness Allows particles anywhere within the effect to move at different speeds, giving a more natural effect.
18 Effects Parameter Reference 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 Number 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 622.
18 Effects Parameter Reference Parameter Description Opacity Sets the opacity of the circle. Color controls Sets the color of the circle. For more information on the parameter controls, see “Color Parameter Controls” on page 622. Position Sets the horizontal (X) and vertical (Y) position of the circle. Pinch 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.
Illusion FX Effect Parameters 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. Position Sets the horizontal (X) and vertical (Y) center of the effect. Render Mode menu Determines whether just the center marker shows, or how the effect is rendered.
18 Effects Parameter Reference Random Blend Effect Input Parameters Parameter Description Amount Sets the amount of blend. Random Scale Sets the amount of randomness. This allows your Avid editing application to blend different portions of the image at different rates. Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter is not keyframeable.
Illusion FX Effect Parameters Generation Parameters Parameter Description Strength Sets the height of the waves. Length Sets the distance between the wave peaks. Number of Ripples Sets the number of ripples. Random Seed Sets the base number upon which all random values are calculated. Each value results in a different random effect. This parameter is not keyframeable. Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.
18 Effects Parameter Reference Rollup Effect Input 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. Curl Size Sets the size of the roll. Direction Sets the direction of the rollup. A value of 0 degrees is 3 o’clock. Positive values move counterclockwise.
Illusion FX Effect Parameters Shear Effect Input 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.
18 Effects Parameter Reference Sparkler Effect Generation, Movement, Core, and Glow Parameters Generation Parameters Parameter Description Birth Rate Sets the number of sparks generated every frame. Lifetime Sets (in frames) how long each spark lives. X, Y Sets the center of the effect. Link Speed If you keyframe the center of the effect, Link Speed causes your Avid editing application to add the movement of the center to the movement of the sparks.
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.
18 Effects Parameter Reference Sphere Effect Input 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.
Illusion FX Effect Parameters Twist Effect Input Parameters Parameter Description Amount Sets the amount of twist. X, Y Sets the center of the effect. Axis menu Click to set whether the twist applies horizontally (X axis) or vertically (Y axis). Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable. Wave Effect Input Parameters Parameter Description Amount Sets the scale of swirl. Negative values swirl the image counterclockwise.
18 Effects Parameter Reference Parameter Description Number of Waves Sets the number of waves. Wave effects are superimposed upon each other. Speed Sets the progress of the effect. Random Seed Sets the base number upon which all random values are calculated. Each value results in a different random effect. This parameter is not keyframeable. Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.
Image Effect Parameters 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. Options Parameter Show Action Safe selects or deselects the display of the safe action area. When Show Action Safe is selected, the safe action area appears as a rectangle superimposed on the field of view.
18 Effects Parameter Reference Velocity Parameters 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 300.
Image Effect Parameters Path Fast Menu The Path Fast menu selects the interpolation option for Position parameter changes at keyframes. For more information, see “Controlling Path Changes at Keyframes for an Avid Pan & Zoom Effect” on page 303. This parameter is not keyframeable. 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.
18 Effects Parameter Reference Option Description B-Spline Catmull Creates results similar to Cubic filtering when you zoom out (shrink the image) by a large amount. Creates a sharper image than Cubic filtering when you: • Stay close to the original size of the image (little zooming in or zooming out). • Zoom in past the source image resolution. Gaussian Creates an image that is relatively soft but sharper than B-Spline Catmull. Avid High Qual Creates sharp images when you zoom out.
Image Effect Parameters Parameter Description Source Has Square When this option is selected (the default), the Avid Pan & Zoom effect produces rectangular Pixels pixels. When this option is deselected, your Avid editing application makes no changes to pixel shape. For more information, see “Adjusting for Source Image Pixel Aspect Ratio and Color Levels in an Avid Pan & Zoom Effect” on page 306. Levels Controls how the effect treats the color levels in the image.
18 Effects Parameter Reference Option or Action Description Free All Caches Frees the caches for all instances of the plug-in in that sequence. Render Mode Parameter If you are working in a progressive project, click the Progressive check box in the Render Mode parameter category. Selecting this option creates a smoother animation when using progressive frames. For more information, see “Setting a Rendering Option for an Avid Pan & Zoom Effect” on page 304. This parameter is not keyframeable.
Image Effect Parameters Color Effect Parameters Luma Adjust Parameters Luma Adjust lets you manipulate the brightness and contrast of the image. 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.
18 Effects Parameter Reference Luma Range Parameters Luma Range parameters let you adjust the range of brightness from black to white. Parameter Description Fast Menu button Selects values for mapping video to alpha ranges. • 16 to 235 — This option is the default for video images. • 0 to 255 — This option lets you map normal video to alpha ranges. This is useful if you want to expand a high-contrast image to the full dynamic range.
Image Effect Parameters Luma Clip Parameters Luma Clip parameters let you determine the levels at which your Avid editing application limits the brightness or darkness in the image. Parameter Description High Clips brightness values. No pixel in the image can be brighter than the High value. The default is 235 (the broadcast value for white). Low Clips darkness values. No pixel in the image can be darker than the Low value. The default is 16 (the broadcast value for black).
18 Effects Parameter Reference Chroma Adjust Parameters Chroma Adjust parameters let you alter the hue and saturation levels of the image. 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.
Image Effect Parameters Color Style Parameters The Color Style parameters let you create posterized or solarized looks for the image. Parameter Description Post (posterization) Posterization lets you limit the number of colors in the image by controlling the number of luminance steps that display. This gives the image a graphic appearance. Values range from 0 to 25, where 0 displays all colors and 25 displays the least number of colors.
18 Effects Parameter Reference Color Gain Parameters The Color Gain parameters allow individual control of color gain for each of the three color components: red, green, and blue. Values range from 0 to 200, where 100 leaves the color unchanged, values lower than 100 increase the amount of the color, and values higher than 100 increase the amount of the color. Mosaic Effect Mosaic Parameters Mosaic lets you create a tiled effect for a selected area with horizontal and vertical controls.
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 720. Parameter Description Fast menu Provides different mode options for Intraframe editing.
18 Effects Parameter Reference Paint Effect Modes The Paint Effect provides modes that you can use to paint with a variety of styles. When you click a painting tool for the first time, the default setting is Solid mode, which enables you to paint an opaque object on the video background with a brush stroke. The illustrations in the following table show the same image in every case. This enables you to compare the different modes easily but does not necessarily illustrate the most common use of each mode.
Image Effect Parameters Mode Description Clone Duplicates an area from a frame and applies it to another area of the frame. An oval object in Clone mode that has been moved from higher in the image, taking an area of the upper part of the image with it Colorize Tints the selected area using the value in the Color parameter category. 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.
18 Effects Parameter Reference Mode Description 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. Luminance Changes the luminance in a selected area using the value of the Lum slider in the Color parameter category without affecting the saturation levels and 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.
18 Effects Parameter Reference Mode Description Add Adds color to the colors in a selected area using the value of the Color parameter category. 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.
Image Effect Parameters Mode Description Blur Blurs a selected area with horizontal and vertical controls, which distorts or disguises the area. 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.
18 Effects Parameter Reference Mode Description Gradient Dissipates the paint in a gradient. Use the Angle slider to set the direction of dissipation. 100% of the value in the Color parameter category appears at one end of the gradient, 0% at the other end. Emboss Creates a three-dimensional extrusion effect in a selected area. Use the Angle slider to adjust the direction of the extrusion.
Image Effect Parameters Mode Description Color Style Adjusts the selected area to create posterization and solarization effects. For more information, see “Color Style Parameters” on page 683. Color Gain Provides individual adjustments of the three color channels (red, green, and blue). For more information, see “Color Gain Parameters” on page 684. Color Match Provides the same Color Match control that appears in the Color Correction tool.
18 Effects Parameter Reference 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 Control Description Luma H Controls the upper limit for the luminance signal. For example, if Luma H is set to 100 IRE, any pixels with a higher luminance value are modified so that their luminance value is no higher than 100. Luminance units Controls the unit of measurement used for luminance limits: • 8 Bit — Measures on a scale from 0 to 255. • % — Measures on a percentage scale. Percentage values can be lower than 0 or higher than 100. • IRE — Measures in IRE units.
18 Effects Parameter Reference Scratch Removal Effect Scratch Parameters Scratch controls the position and appearance of replacement material that you use to cover scratches and other flaws. Frame/Field slider (top) and Frame Processing button (bottom) in the Scratch parameter category Parameter Description Opac. (opacity) Controls the opacity of the replacement material used in a Scratch Removal effect. Values range from 0 (transparent) to 100 (opaque).
Key Effect Parameters Parameter Description Offset Fast Menu button Defines the reference or zero point for the Frame or Field slider. The following three choices are available: Frame Processing button • Relative — The Frame or Field slider is set relative to the frame containing the shape that covers the flaw. • From Start — The Frame or Field slider is set relative to the first frame of the segment. This is the default.
18 Effects Parameter Reference Parameter Description Soft (softness) Determines how the bordering colors along the edge of the key appear. Colors that border the luminance or chroma specified for the key display as a blend of the foreground and the background video. The higher the Softness value, the more of the background video is blended in the border colors. Use the Soft slider to improve the appearance of the edges of the keyed areas.
Key Effect Parameters Chroma Key Profile, Secondary Key, and Spill Suppression Parameters Profile Parameter Profile provides a graphical representation of the foreground level and acceleration applied to effect keyframes: • Foreground level affects the opacity of the effect. The greater the opacity, the closer to the top of the Profile graph the keyframe appears.
18 Effects Parameter Reference 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.
18 Effects Parameter Reference Parameter Description Hue Specifies the hue or tint of the foreground elements. Hue is measured as values on a color wheel ranging from –180 to +180. Sat (saturation) Specifies the amount or intensity of the color. Values range from –100 to +100. 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.
Key Effect Parameters Matte Analysis Parameters Matte Analysis lets you display and customize analytical views of the SpectraMatte effect. The controls do not have any impact on the finished look of the effect. 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.
18 Effects Parameter Reference 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 Chroma Control Parameters Chroma Control changes how color values are calculated in the key by adjusting various aspects of the shape and edge of the key color wedge in the SpectraGraph display. 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.
18 Effects Parameter Reference 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.
18 Effects Parameter Reference Parameter Description Alpha Offset Controls the position of the blend gradient by adding an offset to the blend gradient values. Unlike Inner Softness and Outer Softness, which alter the extent of the blend gradient by moving either its inner or outer edge, Alpha Offset shifts the entire gradient. This effectively expands or contracts the whole key color wedge. Values range from -100 to +100. Negative values expand the key color wedge.
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.
18 Effects Parameter Reference 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 Matte Processing Parameters Matte Processing adjusts the alpha matte that the effect uses to generate the key by blurring or softening. This is primarily used as a way to improve the look of the edges of a key. Parameter Description Matte Blur Controls the amount of blurring that is applied to the matte. Values range from 0 to 100, where higher values result in a greater degree of blurring. The default value is 0.
18 Effects Parameter Reference You control the range of color values that are affected using the two Spill parameter controls. For details of the effect of each parameter, see the following table. In combination, the two parameters establish a zone around the key color wedge where spill correction takes place. Color values within the zone are replaced by color values on the “safe” side of the zone (away from the key color wedge), as shown by the red arrows in the following illustration.
Key Effect Parameters 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. Spill correction with Spill Saturation = 100 and Spill Angle Offset = 30. The correction is now much more obvious, with all greenish values completely eliminated.
18 Effects Parameter Reference 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 Motion Effect Parameters This topic contains reference summaries for effect parameters that are unique to traditional (source-side) motion effects. Freeze Frame Parameters You access the Freeze Frame parameters from the Clip menu. For more information, see “Creating a Traditional Freeze Frame Effect” on page 199. These parameters are not keyframeable. Parameter Description Duration Specifies the length of the Freeze Frame clip. To enter a custom duration: 1.
18 Effects Parameter Reference Parameter Description 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. This option reduces the vertical resolution of the image by one-half, resulting in a lower quality image. • Using Both Fields — Uses both fields.
Motion 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).
18 Effects Parameter Reference Reformat Effect Parameters This section contains reference summaries for effect parameters that are unique to the Reformat effect category. 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.
Reformat Effect Parameters Actions Parameters The Actions parameter category lets you control certain aspects of the Pan and Scan effect. These parameters are not keyframeable. Parameter Description Establish Origin Saves the current Scaling and Position values as a customized default setting. For more information, see “Setting an Origin in the Pan and Scan Effect” on page 290.
18 Effects Parameter Reference FluidMotion Edit Parameters for Timewarp Effects FluidMotion Edit provides tools to correct artifacts (distorted areas) that might appear in a Timewarp effect when you select the FluidMotion rendering option. The following illustration shows the default FluidMotion Edit display in the Effect Editor. n The Feathering and Brush parameters function similarly for FluidMotion Edit as they do for the AniMatte effect and Paint Effect.
FluidMotion Edit Parameters for Timewarp Effects Display Parameters Display gives you control over how your Avid editing application represents the motion information for manipulation. This parameter is not keyframeable. 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.
18 Effects Parameter Reference Mask Parameters Mask defines the width of a border around an image. FluidMotion does not use masked-out border pixels when creating new images. Use Mask to eliminate artifacts on the edge of an image caused by the black borders that are often present around the edges of NTSC and PAL images. This parameter is not keyframeable. Parameter Description T (top), B (bottom) L (left), R (right) Set the top, bottom, left, and right edges of the Mask area.
Rolling Title and Crawling Title Effect Parameters Parameter Description Opac. (opacity) Appears only in Erase mode. Sets the relative weight given by FluidMotion Edit to the adjustments you make to motion vectors in Erase mode. At 0 opacity, FluidMotion Edit does not apply your adjustments. At 100 opacity, FluidMotion Edit completely replaces its motion vectors with your motion vectors.
18 Effects Parameter Reference 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 3D parameter categories support RGB processing of color space information unless otherwise noted. For information on the hierarchical order in which your Avid editing application applies 3D parameters, see “Understanding 3D Parameter Hierarchy” on page 725. For an explanation of how to change a parameter, see “Using the Effect Editor” on page 87. For information on which 3D parameter categories are available in each 3D effect, see “Effects Reference” on page 573.
18 Effects Parameter Reference • The final effect is always the same no matter the order in which you change parameters. However, effects are easier to control if you build them from the bottom of the hierarchy up. If you rotate an object, for example, and then move the axis (a lower parameter), your object might jump off the screen. It is better to move the axis first, and then rotate the object. • Parameters operate as 2D, 3D, and post-transformation.
3D Effect Parameters Background Color (3D) Use Background Color to replace the bottom video track with a background color. For more information on the parameter controls, see “Color Parameter Controls” on page 622. You can achieve interesting effects on a two-track sequence by using a background color for the bottom track and a Luma Key effect on the top track. Border (3D) Border places a border around the image.
18 Effects Parameter Reference Parameter Description 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. Values range from 0 (hard edge) to 255 (a very soft edge), where 0 is the default.
3D Effect Parameters Parameter Description Corner subcategories Each subcategory pins one corner of the image, as follows: • Corner 1 — top left corner of the untransformed image. • Corner 2 — top right corner of the untransformed image. • Corner 3 — bottom right corner of the untransformed image. • Corner 4 — bottom left corner of the untransformed image. If the image is cropped, your Avid editing application uses the corners of the cropped image.
18 Effects Parameter Reference Crop parameter category (left) and Crop button (right) Parameter Description T (top) Crops the top edge of the image. Values range from –999 (bottom) to 999 (top). L (left) Crops the left edge of the image. Values range from –999 (left) to 999 (right). B (bottom) Crops the bottom edge of the image. Values range from –999 (bottom) to 999 (top). R (right) Crops the right edge of the image. Values range from –999 (left) to 999 (right).
3D Effect Parameters 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. • FG (foreground) Only — blurs only the foreground of a two-track or three-track effect. • Key Only — blurs only the key in a three-track effect.
18 Effects Parameter Reference Erode/Expand Erode/Expand controls the blending of the edges on 3D Warp effects. This parameter is not keyframeable. RGB processing is not available for Erode/Expand. 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.
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.
18 Effects Parameter Reference Additional Parameters for Luma Key Key Type Parameter Description Thresh (threshold) Identifies either the brightness threshold for the foreground image or the center of the luma range. Soft (luma softness) Lets you soften the edge of the cutoff line. Pixel values slightly above or below the threshold are included, depending on the softness value. Lum Range (luminance range) Turns the Range slider on or off.
3D Effect Parameters Suggested Workflow for Adjusting a Chroma Key 1. Use the eyedropper to select a hue. For best results, pick a color that is well within the field of color. 2. Adjust H Tol. (hue tolerance) to replace the hue with the background. 3. If low-saturation grays are keyed out (for example, portions of faces or clothing), try adjusting S Low (low saturation) to put them back into the foreground. 4. Use L Soft (luminance softness) to fine-tune the edges of the key. Typically the L Tol.
18 Effects Parameter Reference Parameter Description Aspct (aspect ratio) Changes the shape of the highlight from a perfect circle (0) to an oval or a band. Values range from –100 to 100, where 0 is the default. The –100 band is at right angles to the 100 band. X Moves the center of the highlight from left to right. Values range from –999 to 999, where 0 is the default. Positive values move the highlight to the right. Y Moves the center of the highlight from top to bottom.
3D Effect Parameters Parameter Description X Moves the projected screen image farther to the left or right. Values range from –999 to 999, where 0 is the default. Y Lets you view the image from a higher or lower angle. Values range from –999 to 999, where 0 is the default. Z Moves the perspective point closer to or farther from the observer. Perspective increases as the point moves inward and decreases as the point moves outward from the screen.
18 Effects Parameter Reference Parameter Description Tracker Selector menu Lets you select the tracker your Avid editing application uses to control the Position parameter. By default, when Position Tracking is enabled, your Avid editing application maps a tracker named Point A to the T1 tracker selector. Axis menu Lets you use the data for both X and Y axes or for a single axis only. For more information, see “Limiting the Effect of Position Tracking Data to a Single Axis” on page 346.
3D Effect Parameters Scaling (3D) Scaling resizes the image or effect. For information about the 2D version of this effect, see “Scaling” on page 632. 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).
18 Effects Parameter Reference Shadow Shadow places a shadow beneath an image, and lets you adjust the shadow’s offset and transparency. n Shadow, Trail, and Stamp are mutually exclusive, so you can have only one enabled at a time. Parameter Description Opac. (opacity) Changes the shadow’s opacity from 0 (transparent) to 100 (opaque), where 50 is the default. 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.
3D Effect Parameters The following illustration shows the three available shapes and the parameters available in the Shape parameter category for that shape.
18 Effects Parameter Reference 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 Angle Controls the direction of the curl or fold. Values range from –180 degrees to 180 degrees, where 45 degrees is the default. For illustrations of common angle values, see “Considerations for 3D Shape Effects” on page 744. 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.
18 Effects Parameter Reference Additional Parameters for the Slats Shape Parameter Description Ampl (amplitude) Controls the distance the shape moves. Increase the amplitude to take the effect off the screen. Angle Changes the line along which the video pieces move. Values can range from –180 to 180. Use 0 for horizontal and 90 for vertical. Freq (frequency) Controls how many copies of the shape appear on the screen.
3D Effect Parameters Examples of Page Fold Angle Values The following illustration shows how your Avid editing application interprets several angle values for the Page Fold. Experiment with incremental angle values and with changing angle values at different keyframes. Examples of Page Fold angles. Top, left to right: -45 degrees, 45 degrees, 135 degrees, -135 degrees. Bottom, left to right: -90 degrees, 0 degrees, 180 or -180 degrees, 90 degrees.
18 Effects Parameter Reference Limitations of Ball Shape Effects The following limitations apply to Ball shapes: • You cannot apply the Z perspective to a Ball. • The X and Y direct manipulation handles do not work for a Ball. Use the parameters in the Rotation parameter category instead. Once you use the sliders to rotate a Radial effect in X or Y, no direct manipulation other than XY position works. To regain access to the direct manipulation Z handle, reset the X and Y Rotation sliders to 0.
3D Effect Parameters Spill Suppression Spill Suppression replaces one color with another color. You can use Spill Suppression to correct spill in keys. 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 622. subcategories Use Key Color Uses the chroma key color as the color to replace.
18 Effects Parameter Reference Stamp Stamp lets you put a video or graphic element into an independent Stamp buffer that allows the image to remain on screen after the effect’s segment has ended. You cannot render Stamp effects. For more information, see “Creating a Stamp” on page 380. RGB processing is not available for Stamp. Two of the most common uses for Stamp are: • Real-time title builds.
3D Effect Parameters Target Target changes the X,Y positioning and sizing and lets you maintain the current perspective. Target is a post-transformation parameter. It is at the top of the hierarchy and affects objects after all the other parameters have affected it. If an object is rotated and has perspective added to it, Target moves the object without changing the relationship of the other parameters. Think of it as moving the entire 3D world where point of view does not change.
18 Effects Parameter Reference Trail Use Trail to add a trail to an effect as it moves across the screen. You do not see the trail when you step through the effect because it is a cumulative effect. You cannot render a Trail effect. RGB processing is not available for Trail. Parameter Description Decay Changes the rate of the trail’s decay, or dissipation, during the effect’s motion. Values range from 0 (a quick decay) to 100 (a slower decay), where 75 is the default.
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.
19 Understanding Color Correction Mode Automatic and Manual Color Correction You can make either automatic or manual corrections. Automatic corrections are simpler to use because your Avid editing application calculates and makes the adjustments needed to correct a problem in an image for you. Manual corrections require you to have a more detailed understanding of the color correction controls but allow for more precision and creativity.
Reasons for Making Color Corrections Reasons for Making Color Corrections Before you can make good color corrections, you need to determine which color problems are present in your video material or decide why you might alter existing color values. The two most common color problems are: • Poor contrast (or a lack of a full range of tones). For example, parts of an image that should be black are only dark gray. If an image does not have a good range of tones, details do not stand out sharply.
19 Understanding 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 one of the following: t Select Toolset > Color Correction. For more information on toolsets, see “Using Toolsets” in the Help. t Click the Color Correction Mode button, for example, in the Timeline palette.
The Color Correction Monitors When you move the position indicator to another segment in the Timeline, all three monitors update to show the new arrangement of previous, current, and next shots. 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.
19 Understanding Color Correction Mode Source Menu Commands in Color Correction Monitors Command Description Empty Displays no image (black). Entire Sequence Makes the entire sequence available in the monitor. This is useful when you want to compare shots from many different places in a sequence.
The Color Correction Monitors Command Description Waveform and Vectorscope commands These commands configure the monitor as a Waveform monitor or Vectorscope monitor. Your Avid editing application displays the information for the currently active monitor. For more information, see “Working with the Waveform Monitors and Vectorscope Monitor” on page 815.
19 Understanding Color Correction Mode 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. Several other buttons perform functions specific to color correction.
The Color Correction Tool The Client Monitor in Color Correction Mode If you have a Client monitor connected to your Avid editing application, you can see your corrections in the Client monitor. In most Avid editing applications, the dual split display also appears in the Client monitor when you have Dual Split selected for the current monitor.
19 Understanding Color Correction Mode Understanding the Group and Subdividing Tabs Your Avid editing application provides two groups of color correction controls, the HSL (Hue, Saturation, Luminance) group and the Curves group. The controls for each group are organized in a group tab. The HSL group tab has two further subdividing tabs on the left side of the tool that subdivide the controls for that group. The Curves group has no subdividing tabs.
The Color Correction Tool Displaying Group and Subdividing Tabs To display a color correction group tab: t n Click the tab in the area containing the group name. Do not click the Enable button when you want to display a color correction group tab. Click the named area of a tab to display it The tab is highlighted and moves to the front, and the specific controls for that tab appear. Before clicking the Curves tab to display it.
19 Understanding Color Correction Mode The following illustration shows an example of this kind of control over color correction groups. 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.
The Color Correction Tool To turn a control or tabbed group of controls on, do one of the following: t Click the Enable button for the control or tabbed group of controls. t Adjust any individual control that is linked to the Enable button. The Enable button highlights, and the control or tabbed group of controls becomes active. Your Avid editing application includes the adjustments in that control or group of controls when calculating the corrected color.
19 Understanding Color Correction Mode In the following illustration, the Curves tab Enable button is turned off, so none of the adjustments in the Curves tab apply to the correction. Individual controls inside the tab retain their values. You can reactivate them by clicking the Curves tab Enable button again.
The Color Correction Tool Customizing Color Correction Mode Settings You can customize the appearance and behavior of Color Correction mode by selecting options in the Correction Mode Settings dialog box. To customize Color Correction mode: 1. Do one of the following: t In the Color Correction tool, click the Correction Mode Settings button. t In the Settings tab of the Project window, double-click Correction. The Correction Mode Settings dialog box opens. 2.
19 Understanding Color Correction Mode Tab Option AutoCorrect Description Defines the automatic color corrections your Avid editing application makes when you apply the Color Correction effect from the Effect Palette. For more information, see “AutoCorrect Options” on page 827. Adding Comments to Color Correction Effects You can add comments to color-corrected segments to assist you in your work.
Working with Color Correction Effect Templates To remove a comment: 1. In Color Correction mode, move the position indicator to the segment from which you want to remove the comment. For information on entering Color Correction mode, see “Entering and Exiting Color Correction Mode” on page 754. 2. In the Color Correction tool, click the Comments button. The Comments dialog box opens. 3. Click Remove. To view or edit a comment in the Comments dialog box: 1.
19 Understanding Color Correction Mode Like templates for other effects, Color Correction effect templates save all the adjustment values for a color correction so you can apply those values quickly to another segment.
Working with Color Correction Effect Templates 2. Do one of the following: t Click the Color Correction Effect Template button, press and hold the mouse button, and then drag the effect icon to a bin. t With Active Palette selected in the Command palette, click the Save Correction button in the CC tab. t If the Save Correction button is mapped to a key, press that key. A new effect template appears in the bin, containing all the color correction adjustment values for the segment.
19 Understanding Color Correction Mode To save a Color Correction effect template in a bucket: 1. In Color Correction mode, ensure that the position indicator is in the segment that contains the settings you want to save. For information on entering Color Correction mode, see “Entering and Exiting Color Correction Mode” on page 754. 2. Alt+click (Windows) or Option+click (Macintosh) the bucket in which you want to save the template. You can click any one of the eight buckets to save to it.
Working with Color Correction Effect Templates Applying Color Correction Effect Templates To apply all adjustment values in a Color Correction effect template to the current segment, do one of the following in Color Correction mode: t Click the effect icon for the template in the bin, the Effect Palette, or the Color Correction bucket, and drag it to the monitor containing the current segment. For information on entering Color Correction mode, see “Entering and Exiting Color Correction Mode” on page 754.
19 Understanding Color Correction Mode To apply all adjustment values in a Color Correction effect template to multiple segments: 1. In editing or Effect mode, select the segment to which you want to apply the Color Correction effect template. For more information, see “Applying Effects From the Effect Palette” on page 36. 2. Open the bin that contains the Color Correction effect template. 3. Double-click the Color Correction effect template icon in the bin or in the Effect Palette.
20 Performing Color Corrections This chapter describes procedures for making color corrections, and includes complete descriptions of all controls in the Color Correction tool.
20 Performing Color Corrections 1. In Source/Record mode (editing mode on NewsCutter systems), load the sequence. 2. Enter Color Correction mode. 3. (Option) If necessary, configure the toolset and adjust Correction Mode Settings to suit the requirements of your project and editing style. For more information, see “Understanding Color Correction Mode” on page 751 and “Customizing Color Correction Mode Settings” on page 765. 4.
Using Automatic Color Corrections 11. Repeat steps 5 through 11 for each segment you want to correct. 12. When you are satisfied with the corrections throughout the sequence, exit Color Correction mode and return to other editing operations. Using Automatic Color Corrections The Color Correction tool lets you make automatic color corrections to correct contrast problems, balance color, or remove color casts by identifying areas of an image that should be color neutral.
20 Performing Color Corrections Considerations When Using Automatic Color Correction Although automatic color corrections are much simpler to learn and perform than manual corrections, practice and experience still improves your ability to correct a range of images with different color characteristics. If one set of automatic corrections does not produce good results, remove it and try a different combination.
Using Automatic Color Corrections Adjusting Contrast and Balance Automatically You can adjust the contrast and balance the color automatically for an image simply by clicking buttons. An automatic contrast adjustment expands the tonal range of the image, which usually improves sharpness and detail. An automatic balance adjustment evens out the influence of the different color channels in the image, which usually greatly reduces or even eliminates any color cast.
20 Performing Color Corrections 4. In the Curves tab of the Color Correction tool, click either the AutoBalance or the AutoContrast button. Option Description Auto Balance Makes adjustments to the Red, Green, and Blue curves to balance the colors in the image. This eliminates any color cast for most images. Auto Contrast Makes an adjustment to the Master curve to maximize the tonal range in the image.
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.
20 Performing Color Corrections The Curves tab Remove Color Cast button works by adding a point to each of the Red, Green, and Blue curves that makes the area you identify with the eyedropper color neutral. You can use the Curves tab Remove Color Cast button repeatedly to identify multiple areas that you want to be color neutral. Each new use adds another point to each of the three curves. (You can add new points up to the 16 point limit.
Using Automatic Color Corrections Correcting Color Automatically Using the Color Correction Effect You can use the Color Correction effect in the Effect Palette to apply up to three automatic color corrections at one time simply by applying the effect to selected segments just like any other Avid effect.
20 Performing Color Corrections 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. In Source/Record mode (editing mode on NewsCutter systems), Effect mode, or Color Correction mode, click the Effect tab in the Project window. 2. In the Effect Palette, click the Image category.
Using the Color Match Control For example, if you want to replace the blue sky tone in one image with that in another to match the two shots, you can use the Color Match control to pick the two colors and automate the color adjustment. For more information, see “Making a Correction with the Color Match Control” on page 783 and “Match Type Options” on page 786. When you are working in the Curves group, the Color Match control also includes the NaturalMatch™ feature.
20 Performing Color Corrections 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 5. Select the output color: a. Move the pointer over the output color swatch. The pointer changes to an eyedropper. b. Press and hold the mouse button, and then drag the eyedropper to the area of the image in the monitor from which you want to select an output value. The output color swatch in the Color Match control updates as you move the pointer in the image.
20 Performing Color Corrections Match Type Options The options available in the Match Type menu reflect the way in which color is handled in the group in which you are working. The following table describes the options available in the Match Type menu. Group Description HSL (Controls tab) • H + S + L: Your Avid editing application matches based on the hue, saturation, and luminance of the color you select in the output color swatch.
Using the Color Match Control NaturalMatch solves this problem by making calculations that compensate for the luminance and saturation qualities of the original image. The correction your Avid editing application makes when you use NaturalMatch adopts the new hue value, preserves the original luminance value, and adjusts the saturation value in relation to the other values.
20 Performing Color Corrections Saving Custom Colors to a Bin You can save a color that you select in the Color Match control as an item in a bin. For example, you might want to save a skin tone that you want to match throughout your sequence. You can then load that color back into the Color Match control whenever you need to make a match based on that color. To save a color to a bin: 1.
The HSL (Hue, Saturation, Luminance) Group Getting RGB Information Using the Color Match Control By default, the color swatches in the Color Match control display the RGB values for the selected color. This makes the Color Match control useful as an information palette to check the exact RGB value of a sample area in your image.
20 Performing Color Corrections Making Corrections Using the Controls Tab in the HSL Group The Controls tab of the HSL group includes sliders for making adjustments to hue, saturation, and luminance values. It also includes the Color Match control for making adjustments automatically, based on selected input and output color values. For more information, see “Using the Color Match Control” on page 782. The following illustration shows the Controls tab. To make a correction using the Controls tab: 1.
The HSL (Hue, Saturation, Luminance) Group 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. Left to right: Enable button, text box, direction button, slider, direction button For information on using the Enable button for a control to turn the control on or off or to reset the control to its default value, see “Working with the Enable Buttons” on page 762.
20 Performing Color Corrections Controls Tab Reference The following table describes the individual controls available in the Controls tab of the HSL tab. Control Description Hue Shifts the hues in the image around the color wheel. Values range from –180 to 180, where 0 is the default and causes no change in the image. A value of 120 shifts red to blue, and a value of –120 shifts red to green. Saturation Specifies the amount or intensity of color.
The HSL (Hue, Saturation, Luminance) Group Understanding the Hue Offsets Tab The Hue Offsets subdividing tab of the HSL group contains controls for adjusting hue and saturation values at the same time using ChromaWheel™ color wheels and linked text boxes. These controls are especially well-suited for correcting color casts in images. For more information, see “Understanding ChromaWheel Color Wheels” on page 793 and “Using the ChromaWheel Crosshair Pointers” on page 796.
20 Performing Color Corrections ChromaWheel Displays The ChromaWheel color wheels show outlines that resemble the design of a vectorscope monitor, overlaid on full-color depictions that show the color represented by each area of the wheel. n The Hue Offsets color wheels create a familiar environment for users by duplicating the general appearance of a vectorscope monitor. They are not calibrated in the same way as a vectorscope monitor.
The HSL (Hue, Saturation, Luminance) Group A ChromaWheel color wheel: hue changes as you move around the wheel, saturation increases from the center of the wheel toward the edge, and the graphical outline shows the degree values for measuring hue When you use a ChromaWheel, you use a basic principle of color theory — you can cancel out one color in an image by adding an equal amount of the opposite color on the wheel. For example, to remove a red cast, add some cyan.
20 Performing Color Corrections t Drag the crosshair pointer on the appropriate ChromaWheel. As you move the pointer in the wheel, the Hue and Amount text boxes update to display numerical values for the adjustment. For more information, see “Using the ChromaWheel Crosshair Pointers” on page 796. t Type values in the Hue and Amount text boxes for the appropriate ChromaWheel to set the offset you want. You must press Enter (Windows) or Return (Macintosh) after typing a value for it to take effect.
The Curves 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.
20 Performing Color Corrections 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 775 and “Using the Color Match Control” on page 782.
The Curves Group If you make an adjustment that moves part of the line below the 45 degree angle, you make the output values for that part of the image lower than the input values. If you make an adjustment that moves part of the line above the 45 degree angle, you make the output values for that part of the image higher than the input values. If you make an extreme adjustment to a curve so that it becomes a horizontal line, you are converting all input values to the same output value of 128.
20 Performing Color Corrections Making Corrections Using the Curves Tab To make corrections using the Curves tab: 1. If you have not already done so: a. Move the position indicator to the segment you want to correct. b. Click the Curves tab. 2. Do one or more of the following: t Use one or more of the automatic color correction buttons to adjust the ChromaCurve graphs.
The Curves Group Adjusting ChromaCurve Graphs You can have sixteen control points in a Curves tab ChromaCurve graph. Graphs must always have at least two control points. Your Avid editing application sets default control points such that input and output values are the same across the entire range of colors. To add a control point: t Click the curve line in the graph at the point where you want the new point to appear.
20 Performing Color Corrections To move a control point, do one of the following: t Click the control point and drag it to the location on the graph where you want to place the point. The curve updates as you drag the control point. t Type input and output values for the position of the control point in the Input and Output text boxes below the ChromaCurve graph. You must press Enter (Windows) or Return (Macintosh) after typing a value for it to take effect.
The Curves Group To anchor part of a curve so it does not move when you make other adjustments: 1. Place two control points at either end of the part of the curve you want to anchor. 2. Place a third control point very close to the point that separates the portion of the curve you want to anchor from the portion of the curve you want to adjust. 3. Place a fourth control point on the portion of the curve you want to adjust. Example of anchoring part of a curve.
20 Performing Color Corrections 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.
The Curves Group Examples of ChromaCurve Graph Adjustments The following illustrations show a series of simple adjustments that use the Red ChromaCurve graph in the Curves tab. You can compare the results of these adjustments to learn how curves control color across different parts of the brightness range. Each example shows the new corrected image, the curve that produces it, and one other image from the series for comparison.
20 Performing Color Corrections Adjustment 1 reduces red primarily in the shadows range (the lower part of the curve). Much of the red tone is lost from the background grass, the shirt, and the lower red signpost. The shirt loses much of its detail. The higher red signpost is relatively less desaturated, however, and some of the red highlights are still present on the clouds in the top right.
The Curves Group 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.
20 Performing Color Corrections 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 Adjustment 4 boosts red evenly across the entire luminance range but with the largest change in the midtones. Here the difference from adjustment 3 is obvious throughout the image. The most extreme differences appear in the midtone range, for example, in the hands.
20 Performing Color Corrections 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. Image from adjustment 5 (left) and result of adjustment 6 (right) Adjustment 6 boosts red primarily in the shadows range.
Keyframing Color Corrections Keyframing Color Corrections You can use the advanced keyframes interface in the Effect Editor to animate most color correction adjustments. You can: • Manipulate many color correction parameters in the Effect Editor using sliders or parameter Enable buttons. • Add and adjust keyframes for many color correction parameters in keyframe graphs, using the same methods you use for advanced keyframes in other effects.
20 Performing Color Corrections To open the Effect Editor when you are in Color Correction mode: t Click the Effect Mode button. The most convenient locations for the Effect Mode button when you are in Color Correction mode are the top right corner in the Color Correction tool and the Timeline palette. The Effect Editor opens. n When you are in Color Correction mode, the Effect Mode button simply opens the Effect Editor.
Keyframing Color Corrections Keyframeable Color Correction Parameter Reference The following table explains which color correction parameters are keyframeable and the extent of the control available for them in the Effect Editor. Parameter Types Description All parameters in the HSL > Controls tab These parameters are fully adjustable and keyframeable in the Effect Editor.
20 Performing Color Corrections Working with Keyframes in the Color Correction Monitor Keyframe markers display in the position bar below the Current monitor in Color Correction mode. In general, these keyframe markers behave like those you see in the position bar below the Effect Preview monitor when in Effect mode. For example, you can: • Click keyframe markers to select them. • Delete selected keyframes. • Alt-drag (Windows) or Option+drag (Macintosh) keyframe markers to move them.
Working with the Waveform Monitors and Vectorscope Monitor 5. Make an adjustment to the appropriate parameter in the Color Correction tool. A new keyframe appears below the Current Color Correction monitor at the location of the position indicator. If you scrub in the monitor, you see how the animated color correction changes the image over time and how the parameter control moves over time in the Color Correction tool. 6. Repeat steps 3 through 5 to create additional keyframes as necessary.
20 Performing Color Corrections Displaying a Waveform Monitor or Vectorscope Monitor To display a Waveform monitor or Vectorscope monitor: 1. Click in the monitor for which you want to display color information. The monitor becomes the active monitor. 2. In one of the other monitors, click the Source menu and select a waveform or vectorscope command. The monitor displays the selected waveform or vectorscope information.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton RGB Histogram Displays a graph that shows which RGB values in the image appear most frequently. The darkest values of red, green, and blue in the image appear as peaks on the left of the graph, and the brightest values appear as peaks on the right. 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.
20 Performing Color Corrections 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. A high red level does not mean a red image unless the green and blue levels are low.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton Vectorscope Displays chroma information without luma information as a circular graph where the center represents no chroma and chroma increases as the trace moves away from the center. All white, black, and gray parts of the image appear at the center. Areas with more saturation appear further out from the center. Images with an overall color cast produce a vectorscope trace that is generally off-center.
20 Performing Color Corrections 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. Parts of an image can have values outside the 0% to 100% range.
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.
20 Performing Color Corrections 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. An image with good contrast shows a good spread of values from darkest to lightest.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton YCbCr Parade Displays waveforms of Y, Cb, and Cr side by side. The Y in YCbCr is the same luma that the Y Waveform shows. In this display, the Y waveform shows in white on the left side. Cb and Cr are color difference signals that represent just the color information of a signal with the luma removed. Cb and Cr values can be negative or positive.
20 Performing Color Corrections • Identify problems with source video. Typical problems include: - Color levels too high or too low (see “Safe Color Limits with Waveform and Vectorscope Information” on page 852). - Missing channels in YCbCr or RGB, indicating an equipment problem or a damaged cable. - Clipping in YCbCr, RGB, or YC channels. The trace appears chopped at a certain level. If this appears at a level below the maximum, it occurred before the footage was captured.
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.
20 Performing Color Corrections Selecting AutoCorrect Options You control how your Avid editing application makes automatic corrections when you apply the Color Correction effect from the Effect Palette by choosing options in the AutoCorrect tab of the Correction Mode Settings dialog box. 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.
Using the Color Correction Effect AutoCorrect Options The following table describes the available options in the AutoCorrect tab of the Correction Mode Settings dialog box. Option Description Nothing Makes no adjustment. For example, if you only want to make two automatic corrections when you drag the Color Correction effect from the Effect Palette, set the Third Correction menu in the AutoCorrect tab to Nothing.
20 Performing Color Corrections Working with the Color Correction Effect You can work with a Color Correction effect in the same way that you work with any other effect that you apply from the Effect Palette and that appears in the Timeline with an effect icon. You can save the effect as a template by entering Effect mode, clicking the effect icon in the Effect Editor, and dragging it to a bin in the standard way. You can then apply the template to other segments in the sequence or to other sequences.
21 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.
21 Color Correction Techniques Restoring the Original Look The first task in color correction is to restore the original look of the scene, that is, to make the image match as closely as possible what an observer standing beside the camera would have perceived when the scene was shot. This is important because viewers typically have little tolerance for images that have unrealistic color values. For example, when a skin tone departs from our normal expectations of what skin should look like, we notice.
Guiding Principles for Color Correction It is good practice to make restorative adjustments before you begin adaptive adjustments. You can then build on an image that has good color characteristics. Most viewers can probably perceive the difference between a restored, well-balanced image with a strong blue tint applied and an unrestored, poorly lit image with a strong blue tint applied (and prefer the former).
21 Color Correction Techniques Do not clip any significant part of the image. You want the range between your lightest value and your darkest value to be as large as possible, but you don’t want to lose detail by reducing all your very light values to white or all your very dark values to black. Do not use intense reflected spots of light — speculars — to judge where your white point should be.
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.
21 Color Correction Techniques Achieving Shot-to-Shot Consistency The most common reason for departing from the look of the original shot is to achieve simple shot-to-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 Examples of Color Correction Problems The original images in the following examples require corrections to improve tonal range and to neutralize color casts. Each example provides the following information: • An analysis of the original image. • Step-by-step descriptions of the corrections with illustrations (including split-screen displays in some instances). • Sample RGB values that illustrate the results of the corrections.
21 Color Correction Techniques Step 1: Contrast Correction The first step of this correction adjusts the Contrast slider in the Controls tab of the HSL group. This adjustment, which sets the Contrast slider value to 11, illustrates one of the simplest ways to affect the tonal range of an image. Despite its simplicity, the correction improves the image noticeably. Compare the look of the man’s hair on either side of the split-screen dividing line.
Examples of Color Correction Problems 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. Because the image is obviously too green, the correction moves the crosshair pointer away from the green sector of the wheel. The adjustment shown is Hue:–94, Amount:11.
21 Color Correction Techniques 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. Example 2 Analysis of Original Image Uncorrected image and reference image In this example, two different cameras have been used to shoot the rock climbers.
Examples of Color Correction Problems Step 1: Blue ChromaCurve Correction The first step of this correction removes the excess blue in the image by adjusting the Blue ChromaCurve graph in the Curves tab. A control point is placed near the center of the curve because the adjustment must apply relatively evenly across the whole luminance range. The control point is then moved down to reduce blue. The input and output values for this adjustment are 142 and 104 respectively.
21 Color Correction Techniques 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. The resulting curve increases brightness throughout the image but increases it most in the highlights range.
Examples of Color Correction Problems The following illustration compares the corrected image to the reference image from the good camera. You could still fine-tune to match the shots more precisely, but the images from the two cameras are now much closer to one another.
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22 Safe Colors This chapter provides information about the Safe Colors feature of your Avid editing application.
22 Safe Colors If you are working on a program intended for broadcast, you should determine what the safe limits for composite and luminance are and type them in the appropriate areas of the Safe Color Settings dialog box. You can then instruct your Avid editing application to warn you when those limits are exceeded. For more information, see “Safe Color Settings Options” on page 844. RGB gamut refers to the intensity of each individual color channel — red, green, and blue.
Safe Color Settings Options The following table describes the available limit types, units of measurement, and types of action in the Safe Color Settings dialog box. Option Description Composite Defines safe color values for the composite video signal. Luminance Defines safe color values based on brightness. RGB Gamut Defines safe color values based on color range. Units buttons Define the units of measurement for the three types of safe color values.
22 Safe Colors 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. The following illustration shows the location of this graph within the Safe Color Settings dialog box.
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.
22 Safe Colors Safe Color Warnings in the Monitor Window When your Avid editing application is set to provide safe color warnings, warning information appears in the monitor window for any image whose color values are outside the safe range. You see an orange safe color warning triangle in the top left corner of the image, along with warning indicators for each of the safe color value types that are currently set to warn.
Managing Safe Color Warnings Safe Color Warnings in the Color Match Control If you select the Warn option for the RGB Gamut limit type, your Avid editing application displays warnings in the color swatches of the Color Match control when values exceed the limits you have set. If you use the eyedropper to select an input or output color that exceeds limits, a warning triangle appears beside the color information in the appropriate color swatch.
22 Safe Colors To turn safe color warning on or off: t Click one of the Actions buttons in the Safe Color Settings dialog box, and select Warn to turn safe color warning on or Ignore to turn safe color warning off. The top Actions button controls Composite and Luminance warnings. The bottom Actions button controls RGB Gamut warnings. To set a safe color value range for one of the value types (Composite, Luminance, or RGB Gamut): 1.
Making Adjustments to Achieve Safe Color Values 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.
22 Safe Colors Safe Color Limits with Waveform and Vectorscope Information Broadcasters or distributors often issue safe color limits for video levels. Video levels outside safe color limits are generally known as “illegal” A program with illegal levels might be rejected on technical grounds or the image quality might suffer with further processing. You might want to set reasonable limits for yourself even if you are not aware of specific limits that you must meet.
Working with the Safe Color Limiter Effect n If you are producing a master for broadcast delivery, ask for delivery specifications. To ensure you meet particular standards, use a legalizer such as the Safe Color Limiter effect or a third-party AVX™ plug-in. These instruments do not measure analog outputs. If your Avid editing system or other device uses analog connections, use an external Waveform monitor to verify levels.
22 Safe Colors Understanding the Safe Color Limiter Effect The Safe Color Limiter effect has effect parameters that control high and low color limits for luminance, composite signal, and red, green, and blue color gamut. It also lets you change the units for measuring these limits. These parameters parallel the options available in the Safe Color settings. When you first apply a Safe Color Limiter effect, its parameters default to the current limits in the Safe Color settings.
Working with the Safe Color Limiter Effect Applying the Safe Color Limiter Effect A common scenario for applying the Safe Color Limiter effect is to apply it to filler on the top track in the Timeline so that the effect acts on the entire duration of the sequence. Depending on your needs, you might also want to apply a Safe Color Limiter effect to a single segment in a sequence, or to multiple selected segments. To apply the Safe Color Limiter effect: 1.
22 Safe Colors Using the Safe Color Limiter Analysis Display An effect analysis display appears by default in the Source monitor when you apply a Safe Color Limiter effect. The following illustration shows a typical display. 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.
Working with the Safe Color Limiter Effect When you adjust the limit parameters in the Effect Editor, the analysis display updates. For example, if you adjust a limit parameter so that it permits a larger range of values, fewer pixels are highlighted in the analysis display. n If a pixel in the image falls outside current limits for multiple limit types, the analysis display uses the color for only one of the types to highlight the pixel.
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ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Index Numerics 0% to 100% Timewarp effect 612 1:66 Mask Film effect 581 1:85 Mask Film effect 581 10 bit units for color correction 765 100% to 0% Timewarp effect 612 10-bit effects processing 154, 156 14:9 Letterbox Reformat effect 605 16:9 display Color Correction monitors 754 in the Title tool 387 16:9 Letterbox Reformat effect 605 16:9 Mask Film effect 581 16-bit effects rendering 173 24p or 25p editing projects finding flaws from telecine transfer 519 3D effect parame
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Add To Open Groups command (Add Keyframe Mode menu) 116 Adding comments to color corrections 766 highlights to 3D effects 735 keyframes to keyframe graphs 111 pages to a rolling or crawling title 408 Adjusting colors for effects 94 effects 43 Pan and Scan effect 293 Render settings 167 shadow softness in titles 421 Advanced effect parameters (Avid Pan & Zoom effect) 676 Advanced keyframes Add Keyframe Mode menu and Delete Keyframe Mode menu 116 adding 111 aligning 124 and
ABCDEFGHIJKLMNOPQRSTUVWXYZ Auto Balance button (Color Correction tool) 777 Auto Contrast button (Color Correction tool) 777 Auto Size mode (Title tool) 406 Auto Size Mode command (Object menu) 406 AutoCorrect options (Correction Mode settings) 826 Automatic color correction See Color correction Automatic Color Correction effect templates update behavior 768 Automatic color corrections adjusting contrast and balance 777 considerations when using 775 differences between groups 775 order of corrections 775 ove
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Blur Effect Image effect 590 Blur effect parameters 678 Blur mode, Paint Effect example 537 Blurring images with Defocus parameters 730 Bold button (Title tool) 399 Bold command (Object menu) 399 Bold text in titles 399 Border (3D) effect parameters 727 Border effect parameters 624 Border effect parameters (Illusion FX) 644 Bottom Centered Squeeze effect 610 Bottom Left Corner Peel effect 601 Bottom Left L-Conceal effect 598 Bottom Left Squeeze effect 610 Bottom Left to To
ABCDEFGHIJKLMNOPQRSTUVWXYZ Chroma Key Key effect 595 ChromaCurve graphs (Curves group in Color Correction tool) described 797, 798 making adjustments to 801 setting color background 765 ChromaWheel controls (HSL group in Color Correction tool) correcting color cast with 793 crosshair pointers 796 setting color background 765 understanding 793 Chrominance of Color Effect 682 Circle and Oval tool (Title tool) 402 Circle effect parameters (Illusion FX Pattern Generator effect) 661 Circle Shape Wipe effect 607
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ gray point adjustments 831 neutralizing color 833 restoring an original look 830 stages of correction 831 white point adjustments 831 Color Correction Image effect 590 Color Correction mode Composer Window in, described 754 customizing 765 Effect Editor in 811 entering and leaving 754 Color Correction Mode button (Timeline) 754 Color Correction monitor keyframes 814 Color Correction monitors 16:9 display in 754 customizing image display 755 Dual Split display in 757 refere
ABCDEFGHIJKLMNOPQRSTUVWXYZ Controls tab (HSL group in Color Correction tool) controls in 792 described 790 making corrections with 790 Converting formats with Timewarp effect 249 Coordinate system for 3D effects 368 Coordinates display for effects 82 Copy command for graphic objects 423 for title elements (Edit menu) 423 Copying advanced keyframes 127, 129 keyframes 147 tracking data 358 Core effect parameters (Illusion FX Lightning effect) 652 Core effect parameters (Illusion FX Sparkler effect) 669 Corner
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Delete From Active Group command (Delete Keyframe Mode menu) 116 Delete From Active Parameter command (Delete Keyframe Mode menu) 116 Delete From All Parameters command (Delete Keyframe Mode menu) 116 Delete From Enabled Groups command (Delete Keyframe Mode menu) 116 Delete From Open Graphs command (Delete Keyframe Mode menu) 116 Delete From Open Groups command (Delete Keyframe Mode menu) 116 Delete Keyframe command (Keyframe track shortcut menu) 113 Deleting effect media
ABCDEFGHIJKLMNOPQRSTUVWXYZ Effect categories Blend 575 Box Wipe 578 Conceal 579 Edge Wipes 580 Film 581 Generator 583 Illusion FX 584 Image 589 Key 595 L-Conceal 598 Matrix Wipe 599 Motion effects 600 Peel 601 PlasmaWipe 603 Push 604 Reformat 605 Sawtooth Wipes 606 Shape Wipe 607 Spin 609 Squeeze 610 Timewarp effects 611 Title effects 617 Xpress 3D 619 Effect Editor 87, 88, 92, 93, 94, 102, 109, 116, 140, 144, 314, 321 displaying in Color Correction mode 811 for adjusting titles 447 for Intraframe editing 4
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Defocus 730 Display (Avid Pan & Zoom effect) 672 Display (FluidMotion Edit) 721 Display Options (Avid Pan & Zoom effect) 673 Erode/Expand 732 extrapolating values with advanced keyframes 137 Feathering 627 Feathering (FluidMotion Edit) 720 Filtering (Avid Pan & Zoom effect) 675 FluidMotion Edit 720 for transitions 633 Foreground 628 Foreground (3D) 732 Freeze Frame 715 Generation (Illusion FX Lightning effect) 651 Generation (Illusion FX Ripple effect) 665 Generation (Illu
ABCDEFGHIJKLMNOPQRSTUVWXYZ Scroll Position H (Crawling Title effect) 724 Secondary Key (Chroma Key effect) 699 Shadow 740 Shape 740 Size (Avid Pan & Zoom effect) 673 Skew 746 Source (Illusion FX FluidMorph effect) 648 Source Monitor Analysis (Safe Color Limiter effect) 694 Spill (SpectraMatte effect) 711 Spill Suppression (3D effects) 747 Spill Suppression (Chroma Key effect) 700 Stamp 748 Strobe Motion 716 SubCap 634 Target 749 Timecode 640 Title 723 Tracking 632, 729 Trail 750 Variable Speed 716 Velocity
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ rerendering 60 resize handles 97 revealing media files 182 Safe Color Limiter (Image category) 853 Safe Color Limiter, adjusting 855 Safe Color Limiter, analysis display 856 Safe Color Limiter, applying 855 sizing to fit media 41 SpectraMatte 252, 253, 255, 257 Stabilization 319 SubCap 459 Submaster 276, 278 Timeline View settings 29 Timewarp 210 Trim settings 30 wire frames 97 Effects (2D) PlasmaWipe 551 promoting to 3D 366 Effects (3D) adjustment handles 371 applying 364
ABCDEFGHIJKLMNOPQRSTUVWXYZ Fast Forward button (Effect Preview monitor) 77 Fast Frame Display command (Special menu) 519 Fast Menu button (Effect Editor) 92 Fast Save option for titles 426 Feathering for Blur and Mosaic effects 546 for Intraframe effects 495 using 547 Feathering effect parameters 627 Feathering effect parameters (FluidMotion Edit) 720 Field parameter for Blowup effects 634 Field processing 519 Film Dissolve Film effect 582 Film effects 1:66 Mask 581 1:85 Mask 581 16:9 Mask 581 Anamorphic Ma
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Generator effects overview of reference information 583 SubCap 583 Timecode Burn-In 583 Global Properties reference for SubCap effect 639 Glow effect for titles 421 Glow effect parameters (Illusion FX Lightning effect) 652 Glow effect parameters (Illusion FX Sparkler effect) 669 Go to Next Uncorrected Shot button (Color Correction Composer window) 758 Go to Previous Uncorrected Shot button (Color Correction Composer window) 758 Graphics imported 265 Graphics for titles dis
ABCDEFGHIJKLMNOPQRSTUVWXYZ I Illumination effect parameters (Illusion FX Ripple effect) 665 Illusion FX Background effect parameter for Pattern Generator effect 660 Border parameters 644 Center effect parameter for Kaleidoscope effect 650 Circle effect parameter for Pattern Generator effect 661 Core effect parameter for Lightning effect 652 Core effect parameter for Sparkler effect 669 Generation effect parameter for Lightning effect 651 Generation effect parameter for Ripple effect 665 Generation effect p
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Image effects Avid Pan & Zoom 589 Blur Effect 590 Color Correction 590 Color Effect 591 Flip 591 Flip-Flop 591 Flop 591 Mask 592 Mosaic Effect 590 overview of reference information 589 Paint 592 Resize 592 Safe Color Limiter 593 Scratch Removal 593 Stabilize 594 Submaster 594 Importing caption files into the SubCap effect 465 to the Avid Pan & Zoom effect 672 Indent Rows command (Effect Editor shortcut menu) 144 Input effect parameters (Illusion FX Color Mix effect) 644 In
ABCDEFGHIJKLMNOPQRSTUVWXYZ with Magic Mask 533 Intraframe objects grouping and ungrouping 514 layering 514 locking and unlocking 514 moving 510 reshaping 510 rotating along Z axis 512 scaling 512 Invert Key option 628 Inverting color effects 679 Inverting keys Full 732 IRE units for color correction 765 Iris Illusion FX effect 587 Isolating flaws for removal 523 Italic button (Title tool) 399 Italic command (Object menu) 399 Italic text in titles 399 J Join in Intraframe objects 497 Justifying title text 4
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Left to Right Push effect 604 Left to Right Squeeze effect 610 Letterboxing 283 Levels effect parameter Avid Pan & Zoom effect 676 Lightning Illusion FX effect 584 Limitations playing fast rolling titles 446 Line tool (Title tool) 402 Linear keyframe interpolation option 132 Linear Path option Avid Pan & Zoom effect 675 Linear Velocity option Avid Pan & Zoom effect 674 Lines attribute options 412 in titles 402 Locating AVX_Plug-Ins folder (Macintosh) 187 Locating AVX_Plug-
ABCDEFGHIJKLMNOPQRSTUVWXYZ Media drives speed limitations with real-time effects preview 153 Media files 181, 184 Media Station rendering effects for 178 Melt Illusion FX effect 587 Memory usage Avid Pan & Zoom effect 307 Memory usage for AVX plug-in effects 186, 192 Menu commands Add Page (Object menu) 408 Auto Size Mode (Object menu) 406 Bring Forward (Object menu) 514 Bring to Front (Object menu) 514 Copy to Page (Object menu) 408 Export Title (File menu) 438 Fast Frame Display (Special menu) 519 Group (
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ offset tracking 333, 334 overview 310 playback of effects 347 preparations for generating tracking data 320 reference frames 338 reusing data 357 selecting image areas 327 set-up 319, 326, 329 smoothing data 339, 340 trackers 323, 324, 325 tracking data 335, 337 tracking engines 330 Tracking window 316, 317 workflow 312 Movement effect parameters (Illusion FX Sparkler effect) 669 Moving advanced keyframes 121 keyframes 147 perspective point of 3D effects 736 tracking boxes
ABCDEFGHIJKLMNOPQRSTUVWXYZ Paint Effect (2D) applying 482 creating signature effect 490 described 479 example of Blur mode 537 modes 486 painting with Brush tool 487 parameters for 483 rendering 481 selecting color 487 using Magic Mask parameters 533 Paint Image effect 592 PAL (Phase Alternating Line) video frame size and safe title/action guidelines 392 Pan & Zoom See Avid Pan & Zoom effect Pan and Scan effect 284, 286, 287, 289, 290, 291, 292, 293, 294 Pan and Scan Reformat effect 605 Pan and Zoom See Avi
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Play Loop button (Motion Effect Editor) 220 Play Preview button 50 Play Preview button (Effect Preview monitor) 77 Playback video effects 151, 153, 154, 156, 157, 162 Playback capabilities for effects 51 Playback of effects Submaster restriction 594 Playing 3D effects 368 effects 50 Plug-in effects 185 Point size setting for title text 399 Point size button (Title tool) 399 Polygon shape creation 491 Polygon tool for Intraframe editing 491 Position (3D) effect parameters 7
ABCDEFGHIJKLMNOPQRSTUVWXYZ Real-Time Update command (Effect Editor shortcut menu) 144 Recalling title styles 436 Re-create Titles and Mattes command (Clip menu) 452 Re-creating multiformat titles 454 titles 451 Rectangle tool for Intraframe editing 490 Reduce button (Effect Editor) 88, 97 Reduce button (Effect Preview monitor) 77 Reference command (Color Correction monitor Source menu) 756 Reference Current command (Color Correction shortcut menu) 756 Reference frames displaying in Color Correction monitors
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ rolling or crawling titles 407 title text 396 tracking boxes 326 Restorative color correction guidelines 830 Reusing tracking data 357 Reveal File command (File menu) 182 Revealing effect media files 182 Reverse Animation option 628 Reverse Motion Timewarp effect 614 Reversing advanced keyframes 135 motion effects 201, 716 Reviewing a stabilized image 351 Revising titles in a bin 428 titles in a sequence 449 Rewind button (Effect Preview monitor) 77 RGB gamut limit type de
ABCDEFGHIJKLMNOPQRSTUVWXYZ Save Title As command (File menu) 426, 428 Save Title command (File menu) 426 Save Title dialog box 426 Saving color correction effect templates to buckets 769 effect templates 47 multiformat titles 430 multiple titles 426 partially completed renders 171 title styles 433 titles, basic procedure 426 titles, overview 426 titles, with a keyboard shortcut 426 titles, with Fast Save option 426 Sawtooth Wipe effects Horizontal Open Sawtooth 606 Horizontal Sawtooth 606 overview of refere
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Shape effects Ball 740 effect visibility 744 location of position indicator 744 Page Fold 740 Slats 740 Shape Wipe effects 4 Corners 607 Center Box 607 Circle 607 Clock 607 Diamond 607 Ellipse 607 Horizontal Bands 607 Horizontal Blinds 607 overview of reference information 607 Vertical Blinds 607 Sharpness of focus for 3D effects 730 Shear Illusion FX effect 587 Shelf keyframe interpolation option 132 Shortcuts saving titles with keyboard 426 Show Action Safe option for Av
ABCDEFGHIJKLMNOPQRSTUVWXYZ Centered Zoom 610 Horizontal Centered 610 Left Centered 610 Left to Right 610 overview of reference information 610 Right Centered 610 Top Centered 610 Top Left 610 Top Right 610 Top to Bottom 610 Stabalized image adjusting 351 Stabilization 353 overview 348 Stabilize Image effect 594 Stabilized image reviewing 351 Stabilizing images 349 Stages of typical color correction 831 Stamp (3D) clearing 380 creating 380 Stamp effect parameters 748 Standard keyframes See Keyframes Starting
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Target parameters (3D) 749 Templates color correction, applying 771 color correction, described 767 color correction, save behavior for 768 for titles 429 saving Effect Palette Color Correction effects as 828 Templates, effect See Effect templates Text copying and pasting into Title tool 395 creating in Title tool 395 title, editing 397 title, formatting 397 title, justifying 400 title, kerning 400 title, leading 402 title, repositioning 396 title, resizing 396 Text format
ABCDEFGHIJKLMNOPQRSTUVWXYZ blending transparency in 415 character mapping 457 Color Picker 417 Crawling Title button 406 creating text 395 described 387 drawing graphics 402 editing text 397 formatting text 397 opening 384 overview 386 pasting text into 395 preparing drawing environment 392, 394 repositioning text 396 resizing text 396 Rolling Title button 406 safe title/action area display 392 selecting fonts in 398 Selection tool, defined 390 setting color in 415, 417 setting point size in 399 setting tra
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ templates for 429 troubleshooting 455 typing rolling or crawling text for 406 unrendered 426 viewing Fast saved in bin 426 workflow options for crawling 404 Tonal range automatic color correction of 777 guidelines for correcting 831 Toolbars Title tool 388 Top Box Box Wipe effect 578 Top Centered Squeeze effect 610 Top Left Corner Peel effect 601 Top Left L-Conceal effect 598 Top Left Squeeze effect 610 Top Left to Bottom Right Box Wipe effect 578 Top Left to Bottom Right
ABCDEFGHIJKLMNOPQRSTUVWXYZ True Type fonts 386 Twist Illusion FX effect 584 Two-field media safe color warnings with 847 Typing text for rolling and crawling titles 406 U UnGroup command (Object menu) 423, 514 Unicode text in SubCap effect 472 Units of measurement defining for Color Correction tool 765 Unlock command (Object menu) 423, 514 Unrendered titles creating media for 453 saving 426 Update Position While Playing command (Effect Editor shortcut menu) 144 Update rate of Strobe effect 716 Upgrading AV
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Workflows color correction 773 Media Station 178 motion tracking 312 options for crawling titles 404 X X Only button (Effect Editor Position parameter) 346 X Spin Spin effect 609 X Y Z coordinate system 368 Xpress 3D effect category 365 Xpress 3D effects 619 Y Y Only button (Effect Editor Position parameter) 346 Y Spin Spin effect 609 Y Waveform command (Color Correction monitor Source menu) 756 Y Waveform display (Color Correction monitors) 816 YC Waveform command (Colo
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