® ® ® Avid Media Composer and NewsCutter Effects and Color Correction Guide
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“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.” The following disclaimer is required by Altura Software, Inc.
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Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Avid Training Services . . . . . . . . . .
Adjusting Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Modifying Transition Effects in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Preserving Effect Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Replacing an Effect in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Using the Effect Preview Monitor . . . . . . . . . . . . . . . . . .
Using AVX Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Using the Client Monitor to Preview a Plug-In Effect . . . . . . . . . . . . . . . . . . . . . . . 192 Troubleshooting AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Working with the Avid After Effects EMP Plug-In (Windows Only) . . . . . . . . . . . . . 194 Considerations for Using the Avid After Effects EMP Plug-in (Windows Only). . . .
Collapsing Layers into a Submaster Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Performing a Video Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Chapter 9 Working with Camera Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Using the Reformat Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Working with the Pan and Scan Effect . . . . . . . . . . . . . . . .
Editing Segments That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 Reusing Existing Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Copying and Pasting Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Conforming Symphony Meridien Sequences with Tracking Data . . . . . . . . . . . . . . 356 Examples of Effects Using Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . .
Modifying Box Corners, Lines, and Borders on Title Objects. . . . . . . . . . . . . . . . . 408 Understanding Color and Transparency Controls in the Title Tool . . . . . . . . . . . . 411 Selecting Colors and Setting Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 Adding Shadows to Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 Adjusting Shadows on Title Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adjusting SubCap Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Synchronizing SubCap Effect Parameters and Information . . . . . . . . . . . . . . . . . . 457 Exporting SubCap Effect Data to Caption Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 Working with Unicode Text in the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 460 Working with SubCap Effect Stylesheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Edge Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561 Film Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562 Generator Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564 Illusion FX Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564 Image Effects . .
3D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703 Chapter 19 Understanding Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 727 Overview of Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727 Reasons for Making Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728 Entering and Exiting Color Correction Mode. . . . . . . . . . . .
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 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. (Option) To save your Timeline settings, click the Timeline View Name button, select Save As, and type a view name.
Setting Effect Aperture Options To set the default grid values, do one of the following: t In the Settings list of the Project window, double-click Grid. t If the effect you are working with has a Grid parameter group, click the Other Options button for the Grid parameter group in the Effect Editor. The Grid Settings dialog box opens. For information on the Grid Settings options, see “Grid Settings” in the Help.
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. To change the effect aperture: 1. In the Settings list in the Project window, double-click General. The General Settings dialog box opens.
Setting Effect Aperture Options 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 555.
Applying Effects 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. If there is not enough incoming or outgoing media to apply the transition effect at its default length to one or more of the transitions, the Insufficient Source dialog box opens.
2 Basics of Effects Editing 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. The Fade Effect feature creates keyframes for the effect automatically. You can access the keyframes in the Effect Editor.
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 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.
Adjusting Effects When you edit and apply effects, be aware that you might need these extra frames. Editors usually allow for these extra frames by marking IN and OUT points on source clips far enough away from the beginning and end of the clip that extra frames are available for transition effects. These extra frames are commonly known as “handles.
2 Basics of Effects Editing Your Avid editing application opens the Effect Editor and the Record monitor becomes the Effect Preview monitor. If the position indicator in the Timeline is on an effect, the controls for adjusting that effect display in the Effect Editor. Understanding Effect Mode The following illustration shows the main components of Effect mode, the Effect Editor (left) and the Effect Preview monitor (right). Each property of an effect that you can control is known as an effect parameter.
Adjusting Effects picture-in-picture. A direct adjustment like this is equivalent to adjusting the effect with parameter controls in the Effect Editor, but it is often easier and more intuitive to make the adjustment directly in the monitor. For more detailed information on the Effect Preview monitor, see “Using the Effect Preview Monitor” on page 78.
2 Basics of Effects Editing t Select an alignment option for a transition effect by clicking the Transition Effect Alignment button in the Effect Editor and selecting an option from the menu. t Define a custom duration for a transition effect by clicking in the Transition Effect Duration box in the Effect Editor, typing a duration, and pressing Enter. Moving Through an Effect The position bar in the Effect Preview monitor represents only the length of the currently selected effect.
Updating and Reverting Existing Effects in Sequences 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. If an existing sequence contains standard keyframe versions of any effects that now use advanced keyframes, you must update those effects to their advanced keyframe versions.
2 Basics of Effects Editing If the sequence contains incompatible color corrections from an older version of your Avid editing application, a message informs you that you must update the color corrections. 2. (Option) If you want your Avid editing application to update sequences that you open in the future without displaying the Update Sequence dialog box, select “Do not ask again when loading a sequence.” 3. Click OK.
Working with Effect Templates 3. Do one of the following: t If the message box indicates that the sequence includes color corrections that you must modify for use in versions of Avid editing applications that do not support keyframeable color correction, click OK to save a new version of the sequence, or Cancel to take no action. If you click OK, your Avid editing application saves a new version of the sequence.
2 Basics of Effects Editing 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. n Effect icons for open bins also display in the Effect Palette.
Promoting Existing Effect Templates Promoting Existing Effect Templates In the current version of your Avid editing application, many effects use advanced keyframes only. You can no longer apply or use standard keyframe versions of those effects. You might have effect templates that you created in an older version of an Avid editing application.
2 Basics of Effects Editing Playing Effects There are several situations where you need to play effects: • While you are adjusting effects in Effect mode, you might want to play an individual effect to check its look. Depending on your needs, you might want to see the effect playing in real time and at high quality, or you might be able to accept playback at lower quality or in less than real time. Alternatively, you might only need to play an outline preview of the effect’s movement.
Playing Effects To play an 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. In the Timeline, select the effect. 2. In the position bar of the Effect Preview monitor, move the position indicator to the location where you want play to begin. 3.
2 Basics of Effects Editing 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. When Render On-the-Fly is selected, you can step through your sequence and preview any frame to check the look of the effects that apply to it, regardless of the type or number of those 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 275. 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 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. The Effect Source Drive selection refers to the drive where the media on the outgoing shot of a transition resides. 4.
2 Basics of Effects Editing 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 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 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). To clear rendered effects at position: 1.
2 Basics of Effects Editing 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 For more information, see “Rendering Effects” on page 54. n You can also rerender effects using the shortcut menu Render commands. On the Macintosh, Shift+Ctrl-click in the Timeline to display the shortcut menu, and then press and hold the Shift key while you select Render at Position or Render In/Out. On Windows, Shift+right-click in the Timeline, and then select Render at Position or Render In/Out.
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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 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 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. You cannot type a number greater than the number of frames available for the effect.
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.
Modifying Transition Effects in the Timeline Modifying Transition Effects in the Timeline If you use the Transition Manipulation button in the Smart tool, you can edit transition effects by dragging the transition handles or by moving the transition effect icon.
3 Applying and Customizing Effects t To lengthen the duration of a transition, drag the transition handle away from the effect icon in the center. You can press the Alt key (Windows) or the Option key (Macintosh) before you drag a transition handle to lengthen the duration of a transition equally in both directions. t To shorten the duration of a transition, drag the transition handle toward the effect icon in the center.
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 41. 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 610.
Using the Effect Preview Monitor 3. Enable the Effect Grid as described in “Displaying the Effect Grid in Effect Mode” on page 84. 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). Outline/Path button (left) and Selection Tool button (right) 2. Press and hold the mouse button, and drag the pointer in the Effect Preview monitor.
3 Applying and Customizing Effects 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 494. To include coordinate information in a cut list: 1. Enable the Effect Grid before you generate the list.
3 Applying and Customizing Effects 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). To access the Enlarge and Reduce buttons when you are not in Effect mode, use the Command palette, or map the buttons to your keyboard or to the user-selectable palettes.
Using the Effect Editor Step Forward One Field button (left) and Step Backward One Field button (right) As you step, the number “2” appears in the upper right corner of the image display in the Record monitor whenever field 2 of the media is displayed. The number disappears during the display of field 1 (the default display). Using the Effect Editor You use the Effect Editor to adjust the parameters for an effect and to control other aspects of effects such as how they display and how you preview them.
3 Applying and Customizing Effects 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. A number of parameters are common to many effects, such as parameters affecting size, position, or foreground level (transparency).
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 91
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 361.
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 3. When you are satisfied with the color, click Add to Custom Colors to add it to the Custom Colors palette. 4. To select a custom color from the Windows Color dialog box, click the color you want. 5. Click OK. The Windows Color dialog box closes, and your Avid editing application applies the color to the parameter in the Effect Editor. To open the Macintosh Colors panel: t Click the Other Options button next to a color parameter. The Macintosh Colors panel opens.
Manipulating Effects Directly in the Effect Preview Monitor You can define how the foreground image of a multilayer effect moves across the background video by building a motion path, or string of keyframes. You can define a motion path on multilayer video effects such as Picture-in-Picture effects. Use the wire-frame preview feature when you want to see the path an image takes on the screen. You can also use the resize handles to set the size of the effect image at each keyframe location.
3 Applying and Customizing Effects 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 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 Resizing Keyframe Graphs You can widen a keyframe graph or create space for expanding a keyframe graph vertically by resizing the Effect Editor window. You can expand or contract a keyframe graph vertically by dragging on the keyframe graph’s bottom border. t Click a corner of the Effect Editor, and drag it to resize the window. If you make the Effect Editor window wider, the keyframe track area and any open keyframe graphs also become wider.
Viewing Advanced Keyframe Graphs Zooming Keyframe Graphs You can zoom (or scale) advanced keyframe graphs in several ways: • You can zoom keyframe graphs horizontally using the horizontal scale bar at the bottom of the Effect Editor. The horizontal scale bar expands or contracts the view in the keyframe graphs centered around the position indicator. This lets you either zoom in to focus on a specific area of your keyframe graph or zoom out to display the entire keyframe graph.
4 Working with Keyframes Keyframe graph zoomed out (left) and zoomed in horizontally. In the zoomed in view, the graph shows detail of the middle of the effect’s length, and start and end keyframes are not visible. To zoom in or out vertically on a keyframe graph: t Drag the vertical scale bar down (to zoom in) or up (to zoom out). The view in the keyframe graph expands or contracts to show a smaller or larger range of parameter values.
Viewing Advanced Keyframe Graphs Zoom to Curve Height centers the keyframe graph and scales the graph vertically so that the keyframe curve fills the available viewing area. This often makes it easier to read and manipulate graphs. Keyframe graph before (left) and after (right) using Zoom to Curve Height n If the curve passing through a selected keyframe uses the Bézier interpolation option, the scaling ensures that the Bézier handles for the keyframe are also visible in the viewing area.
4 Working with Keyframes To zoom on a keyframe graph so the keyframe curve fills the available viewing area, do one of the following: t Click the Zoom to Curve Height button. t Right-click the keyframe graph and select Zoom to Curve Height. Scrolling Keyframe Graphs You can scroll the view in a keyframe graph horizontally by using the scroll thumbwheel at the bottom of the Effect Editor.
Manipulating Advanced Keyframes Manipulating Advanced Keyframes You can manipulate advanced keyframes in a wide variety of ways.
4 Working with Keyframes Top to bottom: keyframe in the effect track, keyframe in the parameter group track, new keyframes added to parameters in the Position group, new keyframe in the Effect Preview monitor’s position bar You should be aware of the following aspects of advanced keyframe display: • Keyframe indicators in the Effect Editor’s effect track or parameter group tracks are darker than those in individual parameter tracks, making it easier for you to distinguish between them.
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 117. 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 111.
4 Working with Keyframes Your Avid editing application deletes the selected 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 The Add Keyframe Mode and Delete Keyframe Mode menus mirror one another. When you change one, a corresponding change happens in the other. n Several of the menu command names include the word “group.” In these names, “group” refers to a parameter category. The default command for adding and deleting keyframes applies to the keyframes in the Effect Preview monitor’s position bar just as it does to keyframes in the Effect Editor.
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 t Alt+drag (Windows) or Option+drag (Macintosh) the keyframe to move it freely both vertically and horizontally and so change both its parameter value and its position in time. 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.
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 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. If the reference keyframe is in a parameter group track or in the effect track, all the keyframes at that point in time in the parameter group or in the entire effect move to the position indicator.
4 Working with Keyframes Before (left) and after (right) aligning keyframes with one deselected keyframe. The reference keyframe moves to the position indicator, other selected keyframes move to maintain their position relative to the reference keyframe, but the deselected keyframe does not move. Before (left) and after (right) aligning keyframes with two deselected keyframes.
Manipulating Advanced Keyframes The selected keyframes can be in graphs or on tracks (that is, the graphs that contain the selected keyframes can be open or closed). If the selected keyframes are offset from one another, the pasted keyframes preserve the offset. • Copy and paste all graph values at a specific position. This option is available both in the position bar of the Effect Preview monitor and in the keyframe graphs in the Effect Editor.
4 Working with Keyframes Your Avid editing application pastes the keyframes that you copy to the location that you select. When the keyframes you copy are offset from one another, your Avid editing application pastes the leftmost keyframe at the location that you select and pastes the other keyframes in locations that preserve the original offset. To copy and paste all parameter values at a position: 1.
Manipulating Advanced Keyframes Copying and Pasting Keyframes in a Single Parameter Before (left) and after (right) copying and pasting a keyframe in a single parameter. Notice the difference in behavior between the top and bottom graphs in the example. The top graph is not active and the keyframe is not selected, so the keyframe is not copied even though it is at the same point in time as the selected keyframe in the bottom graph.
4 Working with Keyframes Copying and Pasting All Parameter Values at a Position Before (left) and after (right) copying and pasting all parameter values at a position. In this example, a keyframe exists for one parameter at the copying location, but no keyframes exist for the other parameters.
Manipulating Advanced Keyframes Controlling Parameter Changes at Keyframes The keyframe interpolation options control how an effect parameter changes at a keyframe. Interpolation refers to the method your Avid editing application uses to calculate the rate of change and the relative smoothness of change.
4 Working with Keyframes Advanced Keyframe Interpolation Options (Continued) Interpolation Option Description Linear The parameter value ramps smoothly between keyframes but then changes abruptly at each keyframe. The change in parameter value at a keyframe happens with no ease-in or ease-out. n Spline Effects with standard keyframes always make linear parameter changes (with the exception of Spline for motion paths and Acceleration for other parameters).
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 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. The timing of events does not change.
4 Working with Keyframes Parameter values change before and after the bracketing (start and end) keyframes In the previous illustration, the blue lines represent the parameter value before and after the bracketing keyframes and show the extrapolation of the parameter value. For example, if the parameter value between the last two keyframes increases as the end of the effect approaches, the parameter value continues to increase until the end of the effect.
Manipulating Advanced Keyframes Keyframe graph before Slip Keyframes — bracketing keyframes included When you select Extrapolate, your Avid editing application estimates more values for the parameter before and after the bracketing keyframes 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.
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 113 and “Deleting Advanced Keyframes” on page 115.
4 Working with Keyframes To display the Effect Editor settings dialog box: t In the Settings tab of the Project window, double-click Effect Editor. Shortcut Menus for Keyframe Tracks and the Motion Effect Editor Advanced keyframes use two shortcut menus. The shortcut menu for the keyframe track is available from the area of the Effect Editor that displays keyframe tracks and keyframe graphs.
Controls and Settings for Advanced Keyframes Control Description Add Keyframe Adds a keyframe at the position indicator. See “Adding Advanced Keyframes” on page 113. Delete Keyframe Deletes the selected keyframe. See “Deleting Advanced Keyframes” on page 115. Remove Redundant Keyframes Removes extra keyframes that you do not need to define parameter changes. See “Removing Redundant Keyframes” on page 116.
4 Working with Keyframes Control Description Zoom to Curve Height Scales the keyframe graph so that its keyframe curve fills the available viewing area for the graph. For more information, see “Zooming Keyframe Graphs” on page 107. Reset All Graph Views Resets all graph views. This includes removing any changes to the views made using the zoom sliders or the Zoom to Curve Height feature. See “Resetting Keyframe Graph Views” on page 110.
Controls and Settings for Advanced Keyframes Option Description Large Text When this option is selected, text in the Effect Editor appears in 12-point size. When this option is deselected, text in the Effect Editor appears in the default size, 10 points (Windows) or 9 points (Macintosh). Normal (left) and Large (right) text size Thumbwheels When this option is deselected, variable controls in the Effect Editor appear as the default slider control.
4 Working with Keyframes Option Description Add Keyframe button options Select one as the default command for the Add Keyframe button. (Effect Editor shortcut menu • When you deselect Show Add Keyframe Mode Menu, clicking the Add only): Keyframe button once performs the default command. • Add Keyframes To • When you select Show Add Keyframe Mode Menu, clicking the Add Active Parameter Keyframe button twice performs the default command.
Working with Standard Keyframes Some parameter categories, however, are not keyframeable, and you can only adjust these parameters globally for the entire effect. The reference topics for each parameter in “Effects Parameter Reference” on page 603 indicate when a parameter is not keyframeable. • You can copy and paste parameters from one standard keyframe and apply them to another standard keyframe. You can also copy keyframe parameters from one effect to another effect.
4 Working with Keyframes To move a standard keyframe, do one of the following: t Alt+click (Windows) or Option+click (Macintosh) the keyframe indicator, and drag it to its new position. t Select a keyframe indicator, and click the Trim Left 1 Frame or Trim Right 1 Frame button or the Trim Left 10 Frames or Trim Right 10 Frames button.
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 and those in the incoming clip. To display frames in real time, your Avid editing application must be able to perform enough of these effect calculations per second to maintain the appropriate display rate for your project, for example 30 frames per second (fps) for NTSC video. Because your computer’s processor and memory capabilities are finite, your Avid editing application’s ability to play back effects in real time is limited.
Real-Time Playback of Video Effects 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. You can use this information to help you render only those parts of the sequence necessary to achieve real-time playback. Bar Color Description Red Marks the ranges where your Avid editing application was unable to display frames.
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 This method allows effects to display at the highest possible quality, but not in real time. 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.
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 OUT points. In most cases, your Avid editing application renders some effects that do not require rendering for successful playback, increasing the time to render and creating more precomputes than necessary. For example, the following sequence includes seven effects on two tracks. If you use the Render In/Out command on this material, you render all seven effects.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files attempt. These are the regions marked by red indicators in the timecode track of the Timeline. For more information, see “Understanding Real-Time Playback Information in the Timeline” on page 152.
ExpertRender 3. Select Clip > ExpertRender at Position or Clip > ExpertRender In/Out. ExpertRender analyzes the selected effects and highlights the effects that require rendering in the Timeline. The Expert Render dialog box opens and indicates how many of the effects require rendering. 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 for the outgoing shot of the first transition resides. 5.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files Using the ExpertRender Command After a Real-Time Playback Attempt Use the following steps when your Avid editing application has difficulty with real-time preview of effects and displays information indicators in the timecode track of the Timeline. n When you render recommended ranges in material by following this procedure, you can usually achieve analog output of the same material without further rendering.
ExpertRender t To render all the effects that ExpertRender identifies for rendering within your marked selection, select “Render entire selection.” The message in the Expert Render dialog box changes to indicate the number of effects that ExpertRender has identified for rendering across the entire selection. Using this option renders all the effects necessary for successful real-time playback of the marked region of the Timeline.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files The effects identified for rendering remain highlighted, and you can modify the set of effects to render. For more information, see “Modifying ExpertRender Results” on page 164. t Click OK. Your Avid editing application renders the highlighted effects. For information on displaying the estimated time required for the render, see “Displaying Estimated Render Time” on page 57.
ExpertRender Effects currently selected are highlighted. 4. When you are satisfied with your selections, click the Render Effect button in the Effect Editor or in the Tool palette. 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 will use the last drive selected and you do not need to follow the remaining steps in this procedure.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files Segment tools in the Timeline palette t From the Clip menu, select an ExpertRender command, and then click Cancel in the Expert Render dialog box. ExpertRender removes all its highlighting and cancels the ExpertRender process without rendering any effects.
Creating and Using Render Settings Creating and Using Render Settings You can create one or more sets of render parameters and save them as a custom Render setting. For example, you can create one setting especially for rendering single-field motion effects and another for rendering two-field motion effects. You can then activate the setting that you need at each stage of your project. To create a new Render setting: 1. In the Project window, click the Settings tab. The Settings list opens. 2.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files 2. Select the appropriate options, based on the descriptions in your Avid editing application in “Render Settings Options” on page 168, and then click OK. Render Settings Options The following table describes the options available in the Render Setting dialog box. Option Suboption Render Completion Sound Defines a sound that your Avid editing application plays once the rendering process is complete.
Render Settings Options Option Suboption 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 (the other options do not improve effect quality for single-field media). With JFIF resolutions, selecting this option causes the effect to render in the shortest amount of time.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files Option Suboption Description Blended Interpolated (Timewarp only) Blends (averages) pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, your Avid editing application creates three blended images between outgoing Image A and incoming Image B. The first blended image weights the pixels from Image A at 75% and Image B at 25%.
Using Partial Render Option Suboption Description Standard Quality Causes effects to render at Standard Quality, regardless of whether the HQ button was selected for the individual effect. Highest Quality Causes effects to render at High Quality. Using Partial Render If you interrupt a render that is not complete, your Avid editing application lets you save the completed portion of the render. You can finish the render later by resubmitting the effect for rendering.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files To customize the display of render ranges in the Timeline: 1. Click the Timeline Fast Menu button, and select Render Ranges. 2. Select one of the following from the submenu: Option Description None Turns off the display of render ranges. Partial Only Displays a red line on the portion of any partially rendered effect that is currently unrendered (but does not mark completely unrendered effects). This is the default option.
Using 16-Bit Processing Support for Rendered Effects n n If you switch from one processing bit depth to another during the course of your workflow, you might create precomputed clips that have not rendered with the quality that you need for your final output. You might need to manually purge the precomputed clips and re-render effects. For more information, see “Ensuring the Quality Level of Precomputed Clips” on page 174. Rendering times are slower when using 16-bit processing.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files Option Description Automatic Use this option if you want the media source to determine the effects resolution. Effects render at 16-bit for 10-bit media and at 8-bit for 8-bit media. This is the default. 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.
Ensuring the Quality Level of Precomputed Clips To purge precomputes from an individual sequence: 1. Open the sequence in Source/Record mode. 2. Select all audio and video tracks that contain prerendered effects. 3. Mark an IN point at the start of the sequence, and then mark an OUT point at the very end. 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.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files Rendering 3D Effects Using the HQ (Highest Quality) Option A small number of 3D effects have two rendering options, the standard hardware-assisted render and the HQ (Highest Quality) software-based render. HQ rendering produces a superior image but takes longer than standard rendering. The HQ button appears in the Effect Editor for 3D effects that have an HQ rendering option.
Rendering Effects for the Media Station XL You can easily change from standard rendering to HQ rendering for your entire sequence, once you are satisfied with your draft version, by using the Render Setting selection. You can also choose to set all effect rendering to standard if you want to reduce rendering time. For more information, see “Creating and Using Render Settings” on page 167.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files You can choose to render the effects identified by the Render to Media Station command or to modify the selections before submitting them for rendering. For more information, see “Modifying ExpertRender Results” on page 164. You can cancel a Render to Media Station command at any point during the modification process. For a multiple-track sequence, Render to Media Station begins analyzing the effects from the top track down.
Rendering Effects for the Media Station XL Option Description In/Out Selects any effects between the IN and OUT points that require rendering on your Avid editing application. This option is available only when IN and OUT points are marked. Position Selects any effects located at the position indicator that require rendering on your Avid editing application. This option is not available when IN and OUT points are marked in the sequence. 5.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files d. Click the Render Effect button. The Render Effect dialog box opens. 5. Click the Drive menu, and select a drive for the rendered media. The Effect Source Drive is the location of the media for the outgoing shot of a transition. 6. Click OK. If there is not enough room on the drive, a message box opens. 7.
Managing Effect Media Files Managing Effect Media Files Your Avid editing application lets you view effect media files and select them for deletion. You can quickly find or delete an effect media file from a bin, or you can use the Media tool to view all the files that relate to your project and select those you want to delete.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files To reveal effect clip, rendered effect clip, or motion effect media: 1. (Option) If you want to reveal effect media for rendered effect clips (precompute clips), display those clips in the bin by doing the following: a. Select Bin > Set Bin Display. The Set Bin Display dialog box opens. b. Select Rendered Effects and Show reference clips, and click OK. Any rendered effect clips appear in the bin.
Managing Effect Media Files (Macintosh) Your Avid editing application searches all available drives, opens the folder, and highlights related media files. 4. (Option — Windows only) If more than one media file is associated with the clip, your Avid editing application displays a message box prompting you to reveal the next file. Do one of the following: t Click OK to reveal the next file.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files 3. Press the Delete key. The Delete dialog box opens. 4. Select the appropriate check boxes for the material you want to delete, and then click OK. For more information, see “Deleting Items from a Bin” in the Help.
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 effects. For example, when you apply a plug-in effect to a sequence, the plug-in effect icon appears in the Timeline. You can also save and apply effect templates based on 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.
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 manually. To install AVX plug-ins manually: 1.
6 Working with Plug-In Effects (Windows only) If the plug-in effects do not appear in the Effect Palette after installation, see “Troubleshooting AVX Plug-Ins” on page 192. 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.
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 Your Avid editing application upgrades existing effects in sequences to be compatible with the new version. When you select one of the effects, the existing parameter values for the effect appear in the Effect Editor or in the plug-in’s own user interface. If the new version of the plug-in has new or redesigned parameter controls, your Avid editing application sets these controls to their default settings for existing effects.
Using AVX Plug-In Controls To assign multiple tracks to a plug-in effect by using the AVX Optional Inputs dialog box: 1. Drag the plug-in icon to the Timeline. If the plug-in supports a variable number of input tracks, the AVX Optional Inputs dialog box opens. 2. Click the Number of Tracks menu, select the number of video inputs, and then click OK. For more information on nested effects, see “Nesting Effects” on page 267.
6 Working with Plug-In Effects Using the Client Monitor to Preview a Plug-In Effect Some plug-in vendors let you preview the effect in the client monitor. This lets you see how the effect will look in your Avid editing application while you are working on the effect in the plug-in interface. The effect does not play smoothly but you can view the results frame by frame. Depending on the vendor’s implementation this might apply to HD as well as SD projects.
Troubleshooting AVX Plug-Ins If a correctly located plug-in does not load, check the plug-in documentation for information on required supporting files. Your Avid Editing Application Cannot Render the Plug-In If your Avid editing application cannot render the plug-in, the plug-in might have expired. If you have problems rendering a plug-in effect, check the Console window. Some plug-ins write information about the failure to the Console window.
6 Working with Plug-In Effects Working with the Avid After Effects EMP Plug-In (Windows Only) Some Avid editing applications let you use the Avid After Effects EMP (External Monitor Preview) plug-in with your Avid input/output hardware to view an Adobe After Effects composition on an external NTSC or PAL monitor. This lets you see how the composition will look in your Avid editing application while you are working on the composition in After Effects.
Considerations for Using the Avid After Effects EMP Plug-in (Windows Only) n The installer creates a Plugin/Avid folder to store the Avid After Effects EMP plug-in. Do not change the name of this folder. To enable the Avid After Effects EMP plug-in: 1. Start After Effects. 2. Select Edit > Preferences > Avid External Monitor Settings. 3. Select one of the following options: Option Description NTSC Use if you have an external NTSC monitor connected to your system.
6 Working with Plug-In Effects Composition Settings To view the image exactly as you will see it in your Avid editing application, select one of the following resolutions for your After Effects composition: • NTSC D1 • NTSC DV • PAL D1/DV If you use another resolution, After Effects resizes the image when it displays it on the external monitor. This might cause some softening of the image.
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 All of the values change to reflect the rate you specify. 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 581. 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 The Motion Effect Editor opens. 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 Initial appearance of the Motion Effect Editor when no effect (left), a Timewarp effect (center), or a traditional motion effect (right) is in the segment at the location of the position indicator. Motion Effect Editor Components Component Description Timewarp Effect icon Drag the icon to a bin to create a Timewarp Effect template from the current settings in the Speed graph and Position graph.
Motion Effect Editor Reference Motion Effect Editor Components (Continued) Component Description Edit Graph menu Click to activate a control graph with which to customize the Timewarp effect. You can work with either the Speed graph or the Position graph but not both at once. • Speed • Position n The Motion Effect Editor applies information only from the active control graph.
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.
Rendering Options for Timewarp Effects Motion Effect Editor Toolbar Buttons (Continued) Button Description Play Loop Plays the Timewarp effect in a loop. Play Plays the Timewarp effect from the current position in the effect’s position bar. Trim Mode You can trim out or trim in material while the Motion Effect Editor is active. For more information, see “Working in Trim Mode” in the Help.
7 Creating and Customizing Motion Effects 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. (The other options do not improve effect quality for single-field media.) Timewarp effects that you create using Duplicated Field render in the shortest amount of time.
Rendering Options for Timewarp Effects Option Description Blended Interpolated Blends, or averages, pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, your Avid editing application creates three blended images between outgoing Image A and incoming Image B. The first blended image weights the pixels from Image A at 75% and Image B at 25%. The second blended image weights the pixels from Image A at 50% and Image B at 50%.
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 144. 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 123. Notice the line in the Position graph. At the beginning of the effect, the line shows that input position (timecode in the source) and output position (timecode in the effect) are changing at the same rate. The effect plays at 100% speed until the freeze frame. At that point, the line becomes flat.
Timewarp Effect Examples 3. Do one of the following: t Alt+Shift+click (Windows) or Option+Shift+click (Macintosh) the first keyframe indicator, and drag it to its new position. t Type a new start timecode in the Output Position text box. The keyframes move together to the new position. The freeze frame now starts and ends at the new keyframe positions.
7 Creating and Customizing Motion Effects Strobe Motion Using the Timewarp Effect Strobe motion is essentially the same for the Timewarp effect as for a traditional motion effect. To create a Strobe Motion effect by using the Timewarp effect: 1. Apply a Timewarp effect, and set up the Motion Effect Editor as described in “Using the Motion Effect Editor” on page 215. 2. Type the strobe motion rate in frames in the Strobe text box.
Timewarp Effect Examples Changes you make to the Position graph are reflected in the Speed graph. Having the Speed graph open gives you a visual check on how your changes affect the speed of the result. The Speed graph opens, and the Speed Graph Display button changes. 3. Where you want to have a particular part of the source appear at a fixed time in the effect, move the position indicator to that timecode in the Output Position axis, and add a keyframe.
7 Creating and Customizing Motion Effects To create reverse motion in a clip: 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 Motion Effect Editor Fast Menu button, and select Linear or Bézier as the interpolation option. The Bézier interpolation option eases the parameter change in and out at each keyframe.
Timewarp Effect Examples 4. Reverse the starting timecode and ending timecode by doing the following: a. Click the first keyframe indicator, and either drag the indicator up the Input Position axis until it is even with the last keyframe indicator, or type the original ending timecode in the Input Position text box. If you drag, the Input Position text box changes until it reaches the timecode for the last frame of the source.
7 Creating and Customizing Motion Effects Understanding FluidMotion Timewarp Effects The FluidMotion rendering option for Timewarp effect creates very smooth rendered effects. FluidMotion uses an interpolation algorithm that creates intermediate images by morphing the motion across the bracketing images.
Using FluidMotion Edit 5. Use the Effect Editor and the Effect Preview monitor to step through the effect to the first frame that contains artifacts. 6. Fix the artifacts on that frame, and render the effect again. Your Avid editing application renders only the part of the effect that has changed. 7. Determine whether you need to continue to work on the current frame or move on to the next frame. 8. Each time you fix an artifact, render the effect again.
7 Creating and Customizing Motion Effects To open FluidMotion Edit: 1. In the Motion Effect Editor, click the Type menu, and then select FluidMotion. The Edit FluidMotion Vectors button appears in the Motion Effect Editor next to the Type menu. 2. Click the Edit FluidMotion Vectors button. If your Avid editing application was not in Effect mode, it enters Effect mode and the Effect Editor opens. FluidMotion Edit appears in the Effect Editor.
Using FluidMotion Edit Notice the motion vectors around the rope and the child’s hand. The length of a vector arrow represents the speed at which a pixel moves between Image A and Image B, and the arrow’s orientation shows the direction of motion. To view vectors as colors: 1. 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.
7 Creating and Customizing Motion Effects To define a region for FluidMotion Edit: 1. In the Display parameter category, click the Fast Menu button, and then select Warp 50% or Color Warp 50%. Warp 50% shows the image generated by FluidMotion that is halfway between source material Image A and Image B. Color Warp 50% shows the same image, with an overlay of motion vector colors. 2. (Option) Select Show Vectors to display the motion vector arrows. 3.
Example of Correcting FluidMotion Artifacts The artifacts in this example: without vector display (left), with vector arrow display (center), and with vector color display (right). You can view artifacts by stepping through the effect while keeping the Display Fast menu in the Effect editor set to Warp 50% or Color Warp 50%. This shows the images created at the halfway point between the source images. To view the corresponding source images, change the Display Fast menu to Image A or Image B.
7 Creating and Customizing Motion Effects Bracketing images (left and right) with blended intermediate frame (center) after use of the Oval tool. If you play the effect now, the image of the ball over the net fades out as the image of the ball under the net fades in. We need to add motion information back into the image so we can view the moving ball. 3.
Example of Correcting FluidMotion Artifacts Color Preview window and Vector thumbwheels in the Effect Editor n You can use the eyedropper to view Vector X and Vector Y information in the image even if Color Warp 50% is not enabled. d. Release the mouse button over the yellow portion of the top of the net (to the left of the oval). Your Avid editing application applies the motion information to the oval and the yellow vector color display appears inside the oval. 5.
7 Creating and Customizing Motion Effects 7. In the Mode parameter category, click the Fast Menu button, and select Erase. 8. Add some feathering to create a smooth transition between the motion within the polygon and the motion in the oval. The illustration below shows the result of setting Bias to 92, and both Feathering X and Feathering Y to 5. For more information, see “Intraframe Editing” on page 467. 9. Render the effect, and play the result.
FluidFilm Preset Effects Effect Description Pulldown Insertion and Pulldown Removal Inserts or removes pulldown in a sequence. Reverse Motion Creates a reverse motion effect at 100% speed. Speed Boost Creates an effect that starts out at half speed, reaches approximately double speed at the midpoint, and returns to half speed at the end. Speed Bump Creates an effect that starts out at full speed, slows to approximately half speed at the midpoint, and returns to full speed at the end.
7 Creating and Customizing Motion Effects Applying a Film Look to an Entire Sequence You can use the FluidFilm templates to apply a film look to an entire interlaced sequence by doing one of the following: • Mix down the entire sequence and apply a FluidMotion effect to the resulting master clip. Your Avid editing application might produce artifacts between the original cuts. If this happens, you can use FluidMotion Edit to set the motion vectors for the entire frame to zero at the cut points.
Setting Source and Output Options for Format Conversion with Timewarp Effects If your source material includes repeated progressive frames, such as animation or video from a consumer digital photo camera, select Progressive Repeated as the Source format In some circumstances, adaptive deinterlacing might improve the image quality of the output. To set source format and output format options: 1. In the Motion Effect Editor, click the Source menu, and select your source format.
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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 575.
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 appears as fully opaque color. The range of colors that the effect is currently blending between foreground and background appears as partially transparent color. For more information on how the effect calculates these color ranges based on your input, see “How the SpectraMatte Effect Calculates Key Color Values” on page 255. Superimposed on the color swatch is a vectorscope-style display that shows the distribution of color values in the foreground image.
Key Effects The alpha matte display is particularly useful for checking and adjusting how foreground and background pixels are being blended at the edges of the matte. Refining this blend is often important to create a natural-looking composite of foreground and background. As you adjust parameter controls that affect the position and extent of the blend, the alpha matte display updates to show the result of your adjustments. The following illustration shows a typical alpha matte display.
8 Layered and Nested Effects The basic size and position of the wedge is defined by the following parameters: • The hue set by the Key Color parameters defines the position of the wedge around the swatch. In the following illustration, the key color is green, so the wedge falls in the green part of the swatch. • The saturation value set by the Chroma Control Key Saturation parameter defines the location of the center point of the wedge.
Key Effects 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 41. 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.
Nesting Effects 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. Play the sequence, and mark an IN point and an OUT point where you want to overlay the graphic. 4. Load a Matte Key clip into the Source monitor. Mark an IN point toward the center of the clip if it is a still.
8 Layered and Nested Effects 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 2.2 are additional nested layers inside the first nest. Depending on the model of your Avid editing application, you can edit up to 24 video track layers, and you can additionally nest (stack inside) up to 24 more video tracks within each layer.
Nesting Effects Stepping Into and Out of Nested Effects You can step into an existing nested effect for editing. When you step into the effect, your Avid editing application replaces the full sequence in the Timeline with just the tracks that make up the nested effect. You can then add new tracks, monitor individual tracks, edit source material into the tracks, and apply and adjust effects on the nested tracks. You can step into any segment effect in this way.
8 Layered and Nested Effects 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. To step out of the nested effect t Double-click the effect’s icon in the Timeline. Creating a Simple Nested Effect This example involves nesting a sequence of clips with dissolves inside another segment effect. To create the nest: 1.
Nesting Effects 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. Double-click the main track for the nested effect (V2 in this example) to close the nested tracks again.
8 Layered and Nested Effects Foreground and nested effect in the Timeline (top) and in the Effect Editor (bottom) If you have nested standard keyframe effects in a sequence, the Effect Editor shows only one effect at a time. If you have a mix of standard keyframe and advanced keyframe effects in a nest, effects below the standard keyframe do not show in the Effect Editor unless you step into the nest.
Nesting Effects When you release the mouse button, the order of the effects changes in the Effect Editor and in the Timeline. Changes to the appearance of the image appear in the Effect Preview monitor. For example, the following illustration shows the results of changing the order of a Flip effect and a Subcap effect. 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.
8 Layered and Nested 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.
Submaster Editing 9. Click one of the segment tools on the Timeline palette, and double-click track V2 to collapse the nested tracks. 10. Click the Record Track Monitor button for track V2 in the Track Selector panel. Tracks V1 and nested track 1.1 become visible through the high-contrast image on track 1.3. For information on Matte Key parameters, see “Key: Matte Key” on page 577.
8 Layered and Nested Effects The Submaster effect does not render each track separately, so you cannot play each track individually, and the blue dot remains in the effect icon. If you delete or modify a track below a Submaster effect, the Submaster effect becomes unrendered. n You can nest up to 24 tracks inside a Submaster effect depending on the model of your Avid editing application.
Collapsing Layers into a Submaster Effect 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.
8 Layered and Nested Effects 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. Your Avid editing application collapses the tracks into a Submaster effect on a single track. To open the nested tracks again: 1. Click one of the segment tools on the Timeline palette. Segment tools in the Timeline palette 2. Double-click the Submaster effect.
Performing a Video Mixdown 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. For information to prepare a RED clip for a video mixdown, see “Preparing your Red Clip for Transcode, Mixdown or Render” in the Help.
8 Layered and Nested Effects 4. Select a target bin, target drive, and resolution for storing the new master clip, and then click OK. A progress indicator appears. When the video mixdown finishes, a new clip appears in the bin along with the sequence, and a new media file is created on the target drive. n 280 If your sequence includes a data track, the data track will not mixdown with the video tracks.
9 Working with Camera Effects This chapter describes effects that control aspect ratio, format, or apparent camera motion in a clip. n • Using the Reformat Effects • Working with the Pan and Scan Effect • Using Avid Pan & Zoom You can also use the Stabilize and Region Stabilize effects to alter the apparent camera motion in a clip in order to eliminate unwanted camera motion. For more information, see “Motion Tracking and Stabilization” on page 307.
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 586.
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 292.
Working with the Pan and Scan Effect Whenever you change aspect ratios, you must decide which part of an image to retain for the final output and which part to discard. The Pan and Scan aspect ratios specify the size of the incoming image and determine how much of that image you retain for your final output. You must set two ratios: • Source ratio specifies the aspect ratio of your incoming media. • Target ratio specifies the aspect ratio of the final output.
9 Working with Camera Effects 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 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. The Grid Settings dialog box controls the size, position, and display of a variety of grids.
Working with the Pan and Scan Effect 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. n If you have not set a custom origin, clicking Reset to Origin returns to the default values for the Target aspect ratio.
9 Working with Camera Effects 3. Click the Record Track buttons in the Track Selector panel for the video tracks to use as the subdivision guide. Subdivide Effect divides Pan and Scan based on the segment boundaries of the selected tracks underneath the Pan and Scan track. 4. In the Actions parameter category, click Subdivide Effect. Your Avid editing application divides the Pan and Scan effect into multiple effects. n n Subdivide Effect works on the selected Pan and Scan effect, not on the entire track.
Working with the Pan and Scan Effect To position the wire frame, do one of the following: t Click inside the wire frame, and drag it to a new position. Movement is restricted to the most important axis. For example, if you go from a wide aspect ratio (16:9) to a narrow aspect ratio (4:3), you can drag the wire frame from side to side. If you go from 4:3 to 16:9, you can drag the wire frame up and down. t Shift-click inside the wire frame, and drag it to a new position.
9 Working with Camera Effects If your sequence needs many adjustments: 1. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 41. 2. Use the Go To Next Edit and Go To Previous Edit buttons to step from one Pan and Scan effect to the next. Go To Next Edit (left) and Go To Previous Edit (right) buttons The Go To Next Edit and Go To Previous Edit buttons appear on the Command palette.
Using Avid Pan & Zoom To place Pan and Scan effects in the segments: 1. After subdividing the Pan and Scan effect, select the Pan and Scan effect above the segment string. For more information, see “Subdividing the Pan and Scan Effect” on page 289. 2. Press the Delete key to remove the Pan and Scan effect. 3. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 41. 4. In the Effect Palette, click the Reformat category. 5.
9 Working with Camera Effects Most images you use with Avid Pan & Zoom come from digital cameras, scanners, or third-party graphics applications such as Adobe Photoshop®. If the image comes from a video source, you might need to set parameters in the Advanced parameter category to enable the effect to compensate appropriately. For more information, see “Adjusting for Source Image Pixel Aspect Ratio and Color Levels in an Avid Pan & Zoom Effect” on page 304.
Using Avid Pan & Zoom 5. In the Effect Editor, click the Other Options button. A file selection dialog box opens. 6. Navigate to the file containing your image, and click OK. Your Avid editing application associates the image file with the effect, and superimposes the image on the placeholder segment. The image appears in the Effect Preview monitor.
9 Working with Camera Effects Controlling Your View of an Avid Pan & Zoom Image The Display parameter lets you select how you view the image while you work. You can view a scaled representation of the entire Source image while you draft the effect, or the result (Target) of your pan and zoom settings to preview the final look of the effect. You can use the Show Action Safe option in the Display Options parameter category to provide a visual guideline for the viewable area on a standard television screen.
Using Avid Pan & Zoom Field of view display for Avid Pan & Zoom effect: field of view rectangle (outer rectangle), Safe Action area (inner rectangle), and crosshair (center) n If your final image will display on screens with limited viewing areas, you should turn on the Safe Action area display as a guideline while you work. For information on the Safe Action area, see “Controlling Your View of an Avid Pan & Zoom Image” on page 296.
9 Working with Camera Effects 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. To pan over the source image, do one of the following: t Using either Source Display mode or Target Display mode, click the crosshair, and drag it to a new location. t Use the X and Y Position parameters. The Position parameters refer to the center of the field of view.
Using Avid Pan & Zoom When you change the position of a keyframe, the time it takes the effect to move from that position to the position of the next keyframe also changes. This is usually the result you want, but if you want a constant speed across a number of key frames you can use this method. Alternatively, you can make the calculations manually and place the keyframes accordingly. To set the Velocity parameter: 1. Click the keyframe indicator for the keyframe you want to adjust. 2.
9 Working with Camera Effects When you use Constant for Velocity In and Velocity Out, the position at which you placed a keyframe in the Timeline is not necessarily the time at which the Avid Pan & Zoom effect applies the keyframe’s parameters. The effect applies the parameters at the time calculated by the effect to achieve a constant velocity for the path you created. When you use the Constant option, your Path parameter selection can affect the result of changes you might make to the effect.
Using Avid Pan & Zoom 8 4 7 3 1 5 2 6 Linear interpolation (abrupt 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. - Spline interpolation smooths out changes at keyframes to create a more natural movement. 8 4 7 3 1 5 2 6 Spline interpolation (gradual changes of direction at each keyframe).
9 Working with Camera Effects n If you combine a Spline path with Constant velocity, when you move a keyframe, the path recalculation might result in a change to the velocity of the effect. Setting a Rendering Option for an Avid Pan & Zoom Effect The rendering option you select for the Avid Pan & Zoom effect determines the quality of the rendered result. The various filtering options let you trade off the clarity or sharpness of the resized image and the speed at which the effect renders.
Using Avid Pan & Zoom Option Description Cubic Results in sharper images than Quadratic filtering although they are still fairly soft. B-Spline Catmull Lets you shrink an image (zoom out) by a large amount. B-Spline Catmull produces a sharper image than Cubic filtering when you stay close to the original size of the image (very little zooming in or zooming out) or when you enlarge the image (zoom in) past the source image resolution.
9 Working with Camera Effects Adjusting for Source Image Pixel Aspect Ratio and Color Levels in an Avid Pan & Zoom Effect The Advanced parameter category provides controls to compensate for differences in pixel aspect ratio and in color levels between the source image and the video output. Digital cameras and scanners, common sources for the Avid Pan & Zoom effect, use square pixels. Computer monitors and HD video formats also use square pixels. SD video formats, however, use non-square pixels.
Using Avid Pan & Zoom To control the amount of memory used to store images: t Click the Cache Fast Menu button, and select an option from the Fast menu. Option Description Video Resolution The effect stores a source image at a reduced pixel resolution that uses about 1 MB per image. Use Video Resolution if you have many images in your sequence and you need to limit how much memory they occupy. Image Resolution The effect stores a source image at its original resolution.
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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 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 344. 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 Effect Available Parameters Picture-in-Picture (2D) Position, Scaling Paint Tracking AniMatte Blur Effect Mosaic Effect Scratch Removal Spot Color Correction (Symphony only) Stabilize Position, Scaling, Tracking Matte Key effect (applied from Key category in the Position, Scaling Effect Palette) Imported Matte Key clip (2D) Position, Scaling Titles (2D) Position, Scaling 3D Warp (including promoted Picture-in-Picture effects, keys, 3D Xpress shape effects, a
Understanding the Tracking Interface Examples of tracker controls in an effect with standard keyframes (left), and in an effect with advanced keyframes (right) For more information, see: • “Effects and Effect Parameters That Use Tracking Data” on page 311 • “Enabling Tracking in the Effect Editor” on page 319 • “Creating and Mapping Trackers” on page 322 Tracking Controls in the Effect Preview Monitor The Effect Preview monitor displays tracking controls that you can manipulate directly.
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 314 • “Tracking Window Components” on page 315 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 328. New Tracker Creates a new tracker. For more information, see “Creating and Mapping Trackers” on page 322.
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 322. 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 Number of Trackers Description Two Controls position, scaling, and rotation. Use two trackers if you want your effect to change size or rotate. Three Controls position, scaling, rotation, and skew. Skew refers to a transformation that tilts or squashes an object along one axis while retaining its orientation along the other axis. This has the effect, for example, of transforming a rectangle into a parallelogram.
Preparing to Generate Tracking Data The new tracker appears as an option in all the tracker selector Fast menus in the Effect Editor. To map a tracker manually, do one of the following, depending on the interface style in the Effect Editor: t Click the Fast Menu button for the appropriate tracker selector in the parameter, and then select the tracker you want. t Click the tracker selector in the parameter, and then select the tracker you want.
10 Motion Tracking and Stabilization Setting Up Tracking in the Effect Preview Monitor You define the region of interest (the area of an image that each tracker tracks) and the larger area it searches within by making direct adjustments to the tracking box display in the Effect Preview monitor.
Preparing to Generate Tracking Data 5. Move the position indicator to the first frame or field of the segment, or to the first frame or field of the tracker region. A tracking box display appears in the Effect Preview monitor for each tracker. For more information on tracking regions, see “Performing Offset Tracking” on page 332. To move a tracking box display in the monitor: t Click anywhere within the boxes except the adjustment handles, and drag the boxes to a new position.
10 Motion Tracking and Stabilization You do not have to track points at the exact location where you want the finished effect to appear. You can track any set of points that represent the right movement. For example, you might want to add a small sign to the door of a moving car. Since the door panel is a uniform surface you cannot track areas on it.
Preparing to Generate Tracking Data You can track either the background or foreground for a multilayer effect. You almost always want to track the background to define the movement of an effect or painted object layered above the background shot. One situation in which you must choose Track Foreground is when you are stabilizing an image using a 3D Warp effect. For more information, see “Stabilizing an Image” on page 346.
10 Motion Tracking and Stabilization Tracking Engine Description FluidTracker If you need to search a large part of your image, FluidTracker might produce good tracking data faster than the Correlation Tracker. In the following two specific situations, FluidTracker usually produces more accurate data than the Correlation Tracker: • When the points you want to track start outside the visible area of the frame. • When you are using four trackers to control the corner-pinning of an image.
Generating Tracking Data As your Avid editing application generates tracking data, it updates the tracker timeline displays to show the status of tracking data over time. For more information on the tracker timeline display, see “Understanding Tracking Data” on page 332. To generate tracking data: 1. In the Tracking window, click the Enable Tracker button for each tracker you want your Avid editing application to track.
10 Motion Tracking and Stabilization To stop a tracking operation, do one of the following: t Press the space bar. t Press Ctrl+period (Windows) or Command+period (Macintosh). t Click any element of your Avid editing application’s interface. The tracking operation stops. Offset Tracking You can use your Avid editing application’s offset tracking capabilities to create smooth effect motion from tracking data that you generate using more than one target area.
Offset Tracking Using Tracker Regions You can add one or more new tracker regions to the tracker timeline and track a new target area for each of the regions. In most cases, you use tracker regions with the offset tracking feature, so that your finished effect combines the tracking data from more than one target area into one continuous motion. For more information, see “Understanding Offset Tracking” on page 330.
10 Motion Tracking and Stabilization Go To Previous Region (left) and Go To Next Region (right) buttons Performing Offset Tracking When you start tracking from the beginning of a tracking region, your Avid editing application steps backward one frame from the region boundary before it starts tracking. This is normal behavior to ensure that motion at the region boundary is tracked correctly. To perform offset tracking: 1. Make sure that offset tracking is enabled for each tracker you plan to use.
Understanding Tracking Data Tracking Data in the Effect Preview Monitor Tracking data points display in the Effect Preview monitor. While tracking is taking place, your Avid editing application shows the location of the current tracking data point as a cross. Once tracking stops, your Avid editing application displays, by default, every point created during the tracking operation. The data point for the current frame or field displays as a flashing cross. All other data points display as solid dots.
10 Motion Tracking and Stabilization Color Description Vertical Bar Marks the start of a new tracking region. For more information, see “Offset Tracking” on page 330. Display Markers Define the beginning and end of a range of frames. When In to Out is selected in the Point Range menu, the Effect Preview monitor only shows tracking data points for this range of frames. For more information, see “Customizing the Display of Tracking Data” on page 334.
Setting the Reference Frame for a Tracker t Use the position indicator in the tracker timelines along with the Mark IN and Mark OUT buttons to define the beginning and end of the range you want. The Display Markers move to the beginning and end points you establish. 2. In the Display Tracking Data area of the Tracking window, click the Point Range menu, and then select an option.
10 Motion Tracking and Stabilization You can choose to set the reference frame to any other frame in the segment. This might be useful when trimming changes the location of the head frame for the segment, or in other circumstances where the position of the reference frame influences the final look of the effect. For example, if you set the reference frame for a Stabilize effect to the frame at the midpoint of the segment, the tracking data at that frame causes no change in the position of the image.
Using SteadyGlide or Smoothing to Process Tracking Data Smoothing Smoothing processes tracking data to smooth out the path between the tracking data points. The higher the Smoothing value you define, the smoother the path becomes. You typically use Smoothing when compositing an image or a paint object over a tracked region of a moving background, for example, when the motion of the tracked region is not completely smooth but you want the motion of the image or paint object to be smooth.
10 Motion Tracking and Stabilization The smoothing value controls the extent of the smoothing performed by both the SteadyGlide and the Smoothing options. The larger the value, the more smoothing is performed. If you are displaying tracking data in the Effect Preview monitor, the display updates to show the results from the processing. 3.
Selecting, Deleting, and Moving Tracking Data Points To isolate the point further, you can select Current in the Point Range menu in the Tracking window, so that the point for the current frame or field is the only point that appears in the Effect Preview monitor. To select a single data point: t Click the point in the Effect Preview monitor. The point is highlighted with a circle in the monitor and the corresponding part of the tracker timeline display changes to white.
10 Motion Tracking and Stabilization Selected points before deleting (left) and the result of deleting — points are repositioned in a straight line between the unselected bounding points To move a single selected data point: t Drag the point to a new location. To move a range of selected data points: t Drag any one of the points in the range to a new location.
Moving Tracker Data Points Outside the Frame Boundary Moving Tracker Data Points Outside the Frame Boundary If you track a target area that moves out of the frame, the tracking engine can no longer track the target area and generates invalid data points. You have two options to ensure consistent motion if you want your effect to move smoothly out of the frame. • You can use offset tracking to track a second target area that does not leave the frame until the end of the segment.
10 Motion Tracking and Stabilization 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.
Limiting the Effect of Position Tracking Data to a Single Axis 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.
10 Motion Tracking and Stabilization 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. n Tracking data does not alter the real-time status of an effect. If an effect is normally real time, it remains real time when it uses tracking data. If an effect normally requires rendering, it continues to require rendering when it uses tracking data.
Understanding Stabilizing 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. Objects such as buildings, telephone or light poles, and fixed objects in nature such as rocks or trees, are good candidates for tracking when you are stabilizing and you need to select a target manually.
10 Motion Tracking and Stabilization Stabilizing an Image This topic describes how to use the Stabilize effect or the 3D Warp effect to stabilize an image. The Stabilize effect uses AutoStabilize to track and stabilize an image automatically when you apply it to a single segment in the Timeline. AutoStabilize uses the tracking and effect parameter options that are most likely to result in a stable image.
Stabilizing an Image For more information, see “Reviewing and Adjusting a Stabilized Image” on page 348. To stabilize a segment manually: 1. Do one of the following: n t Apply the Stabilize effect from the Image category in the Effect Palette, then stop the tracking process that starts automatically by pressing the space bar or by clicking anywhere in your Avid editing application’s interface.
10 Motion Tracking and Stabilization 4. If you are using the Correlation Tracker or the FluidTracker, set up each tracker for tracking by selecting the region of interest. For more information, see “Preparing to Generate Tracking Data” on page 318. 5. (Option) If you are using the 3D Warp effect, in the Tracking window, choose Track Foreground from the Track Background/Foreground menu. 6. Click Start Tracking to generate the tracking data.
Guidelines for Using Multiple Trackers When Stabilizing To turn SteadyGlide processing on or off for the tracking data: t In the Tracking window, click the SteadyGlide button for the tracker, and then type a smoothing value in the Smoothing Value text box. For complete details on using SteadyGlide, see “Using SteadyGlide or Smoothing to Process Tracking Data” on page 337.
10 Motion Tracking and Stabilization If you are stabilizing a clip that shows significant changes in scaling, rotational, or other movement, or if you are using the Stabilize effect to create a special effect, you might need to use two or even more tracking points. Using the Region Stabilize Effect The Region Stabilize effect provides an alternative option for stabilizing an image.
Using the Region Stabilize Effect 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. Another approach is to shoot the scene with stabilization in mind: include an object, such as a reflective sticker, that you intend to use as your region of interest. 6.
10 Motion Tracking and Stabilization 10. (Option) Add keyframes to further refine the motion of the stabilized clip. 11. Continue to review and refine the effect until you achieve the results you want. 12. (Option) Resize and, if necessary, reposition the clip to eliminate black edges.
Editing Segments That Use Tracking Data However, if you move only the foreground layer of a multilayer effect, the tracking data remains useful only to the extent that it corresponds, or can be made to correspond, to the background layer at its new location.
10 Motion Tracking and Stabilization 3. Trim the tracked segment back in to the original edit point. 4. Add the transition effect. Reusing Existing Tracking Data You can reuse tracking data within the same effect. You can also copy and paste tracking data to another effect, as described in “Copying and Pasting Tracking Data” on page 354. Trackers that you initially create and map to one effect parameter are available for use in any other parameter in the effect that can use tracking data.
Copying and Pasting Tracking Data To copy and paste tracking data into another 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. Move the position indicator to the effect to which you want to copy the trackers. 4. Make sure that the Tracking window is active. 5. Do one of the following: t Select Edit > Paste. t Press Ctrl+V (Windows) or Command+V (Macintosh).
10 Motion Tracking and Stabilization Conforming Symphony Meridien Sequences with Tracking Data Tracking data in sequences originally created on Symphony Meridien systems is available for use when you open those sequences in your current Avid editing application. You can manipulate the data in the same ways that you can manipulate tracking data that you create in your current application. You can also add new regions to the tracker timelines, for example, to perform offset tracking.
Examples of Effects Using Motion Tracking The original materials for the example. On the left is the first frame of the video clip. The effect will replace the white license plate. On the right is the graphic for the replacement license plate. The graphic is blurred so that it will blend in with the clip. (You could do this in a graphics application or use Blur mode in the Paint Effect.) In the finished effect, a softened border is also applied to disguise the sharp edge of the graphic.
10 Motion Tracking and Stabilization 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. The size and shape of the replacement changes under the control of the tracking data in the remaining frames of the clip.
Examples of Effects Using Motion Tracking The tracking boxes located over the targets (left), and the generated tracking data points for the entire clip (right). Images from the beginning, middle, and end of the original clip (top) and the finished effect (bottom) with the Paint object.
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11 Working with 3D Effects This chapter describes procedures for creating and manipulating 3D effects.
11 Working with 3D Effects • Highlights and wipe generator • Luma key and chroma key 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 362. • Apply one of the effects from the Xpress 3D Effect category in the Effect Palette.
Using Xpress 3D Effects 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). Xpress 3D effects are fully compatible with Avid Xpress editing applications that include 3D effects capability. As a result, you can move sequences containing Xpress 3D effects to and from Avid Xpress editing applications.
11 Working with 3D Effects the 3D Slats parameters apply to the effect but the name of the effect in the Effect Editor continues to be 3D Ball. This limitation applies to all the effects in the Xpress 3D Effect category. Promoting 2D Effects to 3D Effects You can promote many 2D effects to 3D. For example, if you have a 2D Picture-in-Picture effect, you can promote the effect to 3D and add 3D features like 3D borders, drop shadow, page curls, smooth curve movement, and rotation.
Using Matte Keys with 3D Effects To create a matte key for use with 3D effects: 1. Import a graphic file containing an alpha channel. Your Avid editing application creates a Matte Key clip when you import the file. In this example, the imported graphic is a title created in Adobe Photoshop. Graphic master clip with no alpha channel (top) and Matte Key Effect clip with alpha channel (bottom) in a bin 2. Edit the Matte Key clip into your sequence as an overlay.
11 Working with 3D Effects 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. However, in the following cases, 3D effects cannot play in real time and appear in the Timeline with a blue dot: • If a 3D effect has the HQ (Highest Quality) rendering option available and you turn on that option, the effect can no longer play in real time.
Understanding 3D Geometry and Degrees of Rotation Y X0, Y0, Z0 X Z The Shape and Rotation parameters let you rotate the image around the X, Y, and Z axes. Note that you can rotate more than 360 degrees (from –720 to 720 degrees) between keyframes. The following illustration shows how angles of rotation (in degrees) are distributed around a circle.
11 Working with 3D Effects 0 +45 A A +180 –180 A –45 A Working with 3D Effects Parameters You work with 3D effect parameters in much the same way that you work with 2D effect parameters. You access, manipulate, and reset 3D effect parameters in the Effect Editor in just the same way as 2D effect parameters. You can save 3D effect adjustments as templates just as you can 2D effect adjustments.
Manipulating 3D Effects Directly For more information on direct manipulation of 2D effects, see “Manipulating Effects Directly in the Effect Preview Monitor” on page 98. Various 3D effect handle buttons appear along the right side of the Effect Editor. You determine the direction and type of manipulation performed in the Effect Preview monitor by selecting one of the image manipulation buttons in the Effect Editor.
11 Working with 3D Effects To see the path an image takes on the screen: t Click the Outline/Path button. Applying 3D Effects: Examples The topics in this section provides examples of some basic 3D transition and segment effects, including the steps and values used to create them. You can use them to practice creating 3D effects, or to get ideas for building your own effects.
Applying 3D Effects: Examples If you receive an Insufficient Source message when you apply an effect to the transition, you did not leave enough source material behind for your Avid editing application to create the transition. For more information, see “Sizing Effects to Fit the Media” on page 40. • Using the Swap Sources button: When you use the 3D Warp effect as a transition and click the effect for the first time, your Avid editing application applies the effect to the incoming video.
11 Working with 3D Effects To create the Page Fold effect: 1. Create a sequence, and apply the 3D Warp effect as described in “Applying the 3D Warp Effect” on page 362. 2. Open and enable the Shape parameter category, and select Page Fold from the menu. The default Page Fold effect appears on the incoming video. To apply the effect to the outgoing video, swap the video sources by doing the following: a. Open the Foreground parameter category, and click the Swap Sources button. b.
Applying 3D Effects: Examples 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.
11 Working with 3D Effects Parameter Category Parameter Settings 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 96. Width: 40, Soft: 100, H (hue): 0, S (saturation): 0, L (luminance): 255 6. Save the parameters as a template by dragging the effect icon from the Effect Editor to a bin. 7.
Applying 3D Effects: Examples Example of a Corner Pin effect: background and foreground video (top), and stages of the effect (bottom). The foreground video starts pinned to the monitor screen in the background image, and moves off it until it fills the frame, completing the transition. To corner pin an image: 1. Create a segment with two video tracks, placing the foreground video on the top track. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. 2.
11 Working with 3D Effects t Use the Quick Pin feature: a. In the Effect Editor, click the Corner Pin button to activate the handles. b. Press and hold the Ctrl and Alt keys (Windows), or the Command and Option keys (Macintosh), then position the pointer where you want the highlighted corner to be corner pinned, and click. The next corner is highlighted. c.
Applying 3D Effects: Examples Creating a Stamp The Stamp category of the 3D Warp effect lets you make certain effects — such as titles and Matte Key effects — remain on screen while other effects come and go, even though the effect segment itself has ended. For example, you can stamp a product or channel logo onto the lower corner to act as a type of watermark effect without adding additional layers onto the sequence. In the following example, two effects are applied sequentially on the top track.
11 Working with 3D Effects 5. Click the 3D Promote button to turn on the 3D parameters. 6. Create a keyframe at the point where you want the stamp to occur, and make sure the keyframe is selected. 7. Open and enable the Stamp parameter category, and select Stamp Image. 8. (Option) Repeat steps 6 and 7 to enable Stamp on more than one keyframe. 9. Click the Play button or the Play Loop button to review your edit. Play (left) and Play Loop (right) buttons To clear a stamp: 1.
Applying 3D Effects: Examples 5. When the eyedropper appears, drag it to the most representative area of color to be keyed and release the mouse. n When selecting a color, stay away from corners of the frame or the area immediately around the foreground because these areas might contain subtle shades of gray. When you are finished, your Avid editing application replaces the color with the video on track V1. 6.
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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 • 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 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. For the rest of your editing session, your Avid editing application automatically opens the title tool you selected. You turn off automatic selection from the Settings list — open the Marquee Title Setting dialog box and click Ask Me. To bring the Title tool to the foreground: t Select Windows > Title Tool.
12 Creating Titles You create text and graphic objects, and then apply and adjust borders, colors, transparency, and shadows as necessary. For more information, start with “Creating Text” on page 392 and “Creating Graphic Objects” on page 400. • Save the title and exit the Title tool. When you save a new title, you select a resolution that is compatible with your project and a target drive for the title media. You can also save just the styles for the title for future use.
Understanding the Title Tool Understanding the Title Tool The following illustration shows a title over a video background. Example of a title over a video background in the Title tool. The two dotted-line rectangles are the safe action area (outside) and safe title area (inside) guidelines. The Title tool has the following major components: • A video background based on a sequence or a color background that you create.
12 Creating Titles Topics throughout this chapter describe the use of these tools. For information on the two most widely-used tools, the Selection tool and the Text tool, see “Using the Selection and Text Tools” on page 388. For detailed reference information on all the tools in the toolbar, see “Toolbar Reference for the Title Tool” on page 386. • In addition, title-related menu commands appear in the File, Edit, Object, and Alignment menus.
Toolbar Reference for the Title Tool Component Description 5 Text formatting tools Let you set various text attributes such as font, font size, kerning, and leading. For more information, see “Formatting Text” on page 394. 6 Color Selection boxes Let you change the color of text and objects. For more information, see “Selecting Colors and Setting Transparency” on page 412. 7 Transparency Level boxes Let you change the transparency levels of text and objects.
12 Creating Titles Component Description 14 Crawling Title button Lets you create crawling titles. For more information, see “Creating Rolling and Crawling Titles” on page 401. 15 Rolling Title button Lets you create rolling titles. For more information, see “Creating Rolling and Crawling Titles” on page 401. Using the Selection and Text Tools The Selection tool and the Text tool are the tools you use most frequently in the Title tool.
Understanding the Drawing Environment n By default, the Text tool is active when you open the Title tool, and you can begin entering text as soon as you click in the Title tool. To switch between the Selection tool and the Text tool: t Press the Alt key (Windows) or Option key (Macintosh), and click anywhere in the Title tool. To use the Selection tool temporarily when another tool is active: t n Press and hold the Ctrl and Alt keys (Windows), or the Ctrl and Option keys (Macintosh).
12 Creating Titles Safe Colors If you plan to use your title for television broadcast, you can select the Safe Colors command from the Object menu. This command displays only low saturation colors for use in text, objects, and background. Colors with low saturation look best when combined with video. By default, Safe Colors is turned on. Safe Title and Safe Action Guidelines By default, the Title tool displays two outlined boxes to use as guidelines. The inner box is the safe title area.
Setting Up the Drawing Environment The Video Background button is green when you are creating a title for display over a video background. The background video frame is a reference that helps you position title objects relative to the video you plan to edit the title over. It does not become part of the title you create. You can edit the title anywhere else in the current sequence or in another sequence. n When you create a title with a color background, it is opaque and you cannot key it over video.
12 Creating Titles To update the video background: 1. Click the Video Background button in the toolbar to activate video background if you have not already done so. 2. Load the sequence into the Record monitor. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. 3. Move the position bar in the Timeline or in the monitor to display the new frame. 4. Click again in the Title tool to activate its window.
Sizing and Positioning Text Objects To create text: 1. Click the Text tool in the toolbar. The pointer becomes an I-beam. 2. Click the position in the frame where you want to add text. An insertion point appears. 3. Type the text. To insert a line return, press Enter (Windows) or Return (Macintosh). n Text is word-wrapped automatically as you type. You can adjust the wrapping by changing the width of the text object. For more information, see “Sizing and Positioning Text Objects” on page 393. 4.
12 Creating Titles n You can resize only the width of a text object. The height of a text object is automatically determined by the number of words and the size of text. To eliminate unused space on the right side of a left-aligned text object: t Click the middle selection handle on the right side of the text box, and drag it to the left until it is closer to the text. To reposition a text object: 1. Click the Selection tool, and click the text object. 2.
Formatting Text In addition to the text-specific formatting described in this section, you can modify or manipulate text objects in a variety of other ways. For more information, see “Modifying and Manipulating Title Objects” on page 407. While you type text, only the text color is apparent. Shadows, outlines, and other color attributes appear when you finish typing the text and click the Selection tool.
12 Creating Titles To change the font: t Click the Font Selection button, and select a font. The Title tool displays the name in the Font Selection button and uses this font for text until you change it during the editing session. n When you select a text object, the Font Selection button displays the name of the font in the text object. Changing Point Size The point size controls the size of the selected text. A point is a typographical unit of measure.
Formatting Text To make text bold or italic: 1. Select the text you want to change. 2. Do one of the following: t Click the Bold button or the Italic button. t Select Object > Bold or Object > Italic. To remove bold or italic formatting: t Repeat the procedure. 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.
12 Creating Titles Kerning text box (left) and Kerning button (right) in the Title Tool toolbar n For individual characters or selected groups of characters, the arrow keys provide the only way to adjust kerning. You can select the kerning value before you type 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.
Formatting Text Top to bottom: loose, normal, and tight kerning To adjust kerning with the text box: t Click in the Kerning text box, and type a positive or negative numerical value. Values are a percentage of the point size. t Click in the Kerning text box, and use the Up Arrow and Down Arrow keys to change the value incrementally. The kerning for the entire text object changes. Adjusting Leading Leading controls the line spacing between lines in a title.
12 Creating Titles Creating Graphic Objects You use the drawing tools to create graphic objects such as squares, rectangles, circles, ovals, and lines. After creating graphic objects, you can modify or manipulate them in a variety of ways. For more information, see “Modifying and Manipulating Title Objects” on page 407. Drawing tools in the Title Tool toolbar n By default, when you use a drawing tool and deselect the created object, the pointer reverts to the Selection tool.
Creating Rolling and Crawling Titles Shift-drag to constrain the line to a horizontal or vertical line. 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.
12 Creating Titles HD Resolution Type Page limit SD Resolution Type Page limit 1080i and 1080p Rolling 29 Rolling 67 Crawling 4 Crawling 11 Rolling 44 Rolling 56 Crawling 6 Crawling 11 720p NTSC PAL Typing more text, increasing the size of the font, or adjusting kerning and leading all affect the number of pages in the title. If you reach the page count limit while you are typing text, the title stops getting bigger and text entry stops.
Creating Rolling and Crawling Titles To switch Auto Size mode off or on: t Select Object > Auto Size Mode. A check mark indicates that Auto Size mode is on. Creating Text in a Rolling Title or a Crawling Title Before you create a rolling or crawling title, set the text formatting defaults for attributes such as font, point size, leading, and kerning. For more information, see “Setting Default Text Attributes” on page 395.
12 Creating Titles The text wraps automatically as you type. 5. When you are finished, click the Selection tool in the toolbar to select the new text object. Resizing the Width of a Rolling Title or a Crawling Title You resize titles by manipulating their object selection handles. n You can resize only the width of a rolling or crawling title. The Title tool determines the height of your title by the amount of text it contains.
Creating Rolling and Crawling Titles Working with Pages in Rolling or Crawling Titles When you first create a rolling title or a crawling title, a Page Number text box appears in the lower right corner of the Title tool. The Page Number text box reflects your current position in the title. You can go to a specific page, add and delete pages, insert blank pages, and copy or move material to a page. Page Number text box in the Title Tool toolbar To go to a different page: 1.
12 Creating Titles 2. Type a page number, and then click OK. The Title tool inserts a blank page at that page number, and moves all objects after it by one page. The Title tool inserts a page only if the left boundary of an object appears on the page whose number you typed. For example, you cannot insert a page in the middle of a long crawling title. You cannot use the Insert Page command to add a blank page to the end of a roll or crawl. To delete empty pages from a rolling or crawling title: 1.
Modifying and Manipulating Title Objects Formatting Rolling and Crawling Titles You can modify the text attributes of a rolling or crawling title with the same methods used to format still text elements: • To adjust font, point size, style, justification, kerning, and leading, see “Formatting Text” on page 394. • To create outlines surrounding the text, see “Modifying Box Corners, Lines, and Borders on Title Objects” on page 408.
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 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. Border (Bord) Applies the color to the selected object’s outline or border. The Title Tool Color Picker opens.
12 Creating Titles t To select a grayscale value, click in the grayscale selection bar. To create a blend between two colors for a title object: 1. Select text or another object. 2. Click the Color Selection box for either fill or border. The Color Blend tools appear. Color Selection boxes (left), Color Blend Selection boxes (top right), and Blend Direction box (bottom right) in the Title Tool toolbar 3.
Adding Shadows to Title Objects To control transparency level: 1. Click the appropriate Transparency Level box, depending on whether the transparency will apply to an object or will adjust a shadow or border around the selected object. The Transparency Level box displays the text “Hi” with a background that changes from black to white. A completely white background represents a fully transparent object or portion of an object. A transparency control with a slider opens.
12 Creating Titles You can adjust the color or transparency of a shadow. You can also soften (blur) shadows or create a glow effect behind a title object. For more information, see “Adjusting Shadows on Title Objects” on page 416. Shadow Depth and Direction button (top), Shadow Depth text box (bottom left), and Drop and Depth Shadow button (bottom right) in the Title Tool toolbar To apply shadows to text or objects: 1. Select text or an object. 2.
Adjusting Shadows on Title Objects The current degree of softness is always represented visually on the shadow display of the Shadow Depth and Direction button. The following illustration shows this representation for a Shadow Softness setting of 10. You can use specific softness values to create a glow or halo around a title object. For information on applying shadows to title objects, see “Adding Shadows to Title Objects” on page 415. To set a degree of softening or blurring for shadows: 1.
12 Creating Titles To adjust shadow softness on-the-fly, using the Up Arrow and Down Arrow keys: 1. Select one or more objects in the Title tool. 2. While pressing and holding the Shift and Alt keys (Windows) or the Shift and Option keys (Macintosh), press the Up Arrow and Down Arrow keys to adjust the softness value incrementally until you are satisfied with the effect. Each press of the Up Arrow key adds 1 to the shadow softness value.
Manipulating Title Objects You lock objects to make sure that changes to default settings, such as the font setting or object position, do not affect the locked objects. You might also want to lock objects so that you do not inadvertently change them while working on other objects. • You can align title objects to each other and to the frame, or distribute them evenly. Aligning to the frame and distributing refers to the safe title area.
12 Creating Titles To ungroup objects: 1. Click the Selection tool, and click a grouped object. 2. Select Object > UnGroup. Everything in the group becomes an individual object that you can move or change independently. To lock objects: 1. Click the Selection tool, and click an object. 2. Select Object > Lock. The Title tool locks the object. You cannot change the object until you unlock it. A locked object displays hollow selection handles, as shown in the following illustration. To unlock objects: 1.
Saving Titles To align objects to each other: 1. Click the Selection tool, and Shift+click or lasso multiple objects. 2. Do one of the following: t Select Alignment > Align Objects Left. t Select Alignment > Align Objects Right. t Select Alignment > Align Objects Top. t Select Alignment > Align Objects Bottom. The Title tool uses the last object you selected as the reference object to which it aligns the others.
12 Creating Titles The Fast Save option also lets you work more quickly when creating and saving multiple titles in a Title tool session. Fast Save skips the steps that create anti-aliased images from title objects. Instead, just the raw title objects (text and graphics) are saved in the bin, with the prefix “unrendered.” Fast-saved titles appear as black in the monitors and are labeled as “media offline” during editing. You can edit with the titles and then batch render them at a more convenient time.
Saving Titles 5. Click Save. The Title tool closes, and your Avid editing application loads the new title into the Source monitor. A 2-minute Title Effect clip that corresponds to the new title appears in the bin. To save multiple titles in a continuing Title tool work session: 1. Select File > Save Title. The Save Title dialog box opens. 2. Type a name to identify the title in the bin, and then select a bin, drive, and resolution from the menus.
12 Creating Titles The fast-saved titles are highlighted in the bin. Revising a Title in a Bin If you want to revise a title that has not been edited into a sequence, you can reopen the title in the Title tool directly from the bin. For information on revising a title that has been edited into a sequence, see “Revising a Title in a Sequence” on page 440. To revise a title in a bin: 1. Ctrl+double-click the Title Effect icon in the bin. The title opens in the Title tool.
Creating and Using Title Templates Creating and Using Title Templates Title templates let you create a standard format for text and graphics that you use regularly. After you set up your template, open the template, edit the text, and save the new title. The template prevents you from changing the position, colors, shadows, or graphics, which ensures consistency. You can use the Moveable Templates option in the Templates menu to change the position of a template.
12 Creating Titles 5. (Option) If you want to change the position of a template, click the Templates menu, and select Moveable Templates. Then click the Arrow buttons to move the template within the Title Tool. 6. Close the Title tool, and click Save in the dialog box. The Save Title dialog box opens. 7. Type a name for your title, and click Save. The named title appears in the bin you specify. Now you can edit the title into the sequence. For more information, see “Editing with Titles” on page 431.
Saving and Recalling Title Styles Saving a Title Style To save title parameters to a Style sheet: 1. Click the Selection tool, and click the object that you want to use as a basis for the title style. 2. Click the Save Style Parameter button. A menu opens that lets you select either an existing title style name or Save As. 3. Select Save As. The Title Style Sheet dialog box opens. The following illustration shows an example.
12 Creating Titles 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. You can modify the attributes that are associated with a saved title.
Saving and Recalling Title Styles The menu contains a scaled visual representation of each style. Arrows on the right and left let you scroll back and forth. 2. Drag the pointer to the style you want to recall, and release the mouse button. The style attributes appear in the Title tool toolbar. To recall a title style attribute using the Save Style Parameter button: t Click the Save Style Parameter button, and select a style from the menu.
12 Creating Titles To delete a style: 1. Select the style in the Project window. 2. Do one of the following: t Press the Delete key. t Select Edit > Delete. To copy a style: t Select the style in the Project window, and select Edit > Duplicate. To rename a style, do the following: t Change the name in the Project window. 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.
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 Rendered effect or precompute (left) and Title Effect clip (right) in Frame view in a bin n Bins do not display rendered effects by default. To view rendered effects in the bin, select Bin > Set Bin Display, then select Rendered Effects and “Show reference clips” in the dialog box. For more information, see “Managing Effect Media Files” on page 181.
Editing a Title into a Sequence For more information, see “Dragging a Marked Title into a Sequence” on page 434. • Place the position indicator, and then drag an unmarked title clip directly into the sequence at the location of the position indicator. For more information, see “Dragging an Unmarked Title into a Sequence” on page 435. Splicing or Overwriting a Title into a Sequence To splice or overwrite a title into a sequence: 1. Load the sequence into the monitor window.
13 Editing with Titles 7. Ensure all other Record Track buttons are deselected in the Track Selector panel. 8. Click one of the segment tools in the Timeline palette to edit the title into the sequence. Segment tools in the Timeline palette The Title Effect segment appears in the top video track. Dragging a Marked Title into a Sequence To mark a portion of a title clip and then drag the marked clip directly into the Timeline: 1. Load the sequence into the monitor window.
Editing a Title into a Sequence 5. Clear the title clip from the monitor window by choosing Clip Name > Clear Monitor. 6. Click either the Extract/Splice-in button or the Lift/Overwrite button, depending upon how you want to insert the Title effect. Extract/Splice-in button (left) and Lift/Overwrite button (right) 7. Click the Title Effect Clip icon in the bin, and drag it to the Timeline. As you drag the Title effect in the Timeline, a white outline of the title clip indicates location in the sequence.
13 Editing with Titles 4. Click either the Extract/Splice-in button or the Lift/Overwrite button, depending upon how you want to insert the Title effect. Extract/Splice-in button (left) and Lift/Overwrite button (right) 5. Click the Title Effect Clip icon in the bin, and drag it to the Timeline. As you drag the Title effect in the Timeline, a white outline of the title clip indicates location in the sequence. 6. Release the mouse button when you have the title positioned where you want it.
Replacing a Title Replacing a Title To replace a title in a sequence: 1. Click the Segment Overwrite tool in the Timeline palette. 2. Click the title segment currently in the sequence to select it. 3. Click the Mark Clip button to mark an IN point at the beginning of the title segment and an OUT point at the end of the segment. 4. Drag the new Title Effect clip from the bin to the marked segment. The new title replaces the old title. Fading a Title You can use the Fade Effect button to fade a title.
13 Editing with Titles Trimming the Duration of Rolling and Crawling Titles When you edit a title clip into a marked segment of a sequence, the clip plays back from beginning to end regardless of the duration of the segment. That is, the entire roll shrinks to fit within the duration of the marked segment in the sequence. After you edit the clip into the sequence, you can trim the duration of the segment at any time, and the title adjusts to fit.
Adjusting Title Effect Parameters To access the effect parameters for a Title effect: 1. If you are not in Effect mode, enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 41. The Effect Editor opens. 2. Click the Title Effect segment in the sequence to select it. The Effect Editor displays the parameter controls. 3.
13 Editing with Titles 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. For more information, see “Entering Effect Mode” on page 41.
Replacing Fill Tracks in a Title 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. Click Save to save the title and exit the Title tool.
13 Editing with Titles Re-creating Title Media You can use the Re-create Title Media command to: • Regenerate title media that is offline. • Generate title media for unrendered (Fast Saved) titles in a bin. • Change the resolution of a title. If you batch capture a sequence at a resolution different from the resolution at which the sequence was originally created, for example, you can use this command to re-create the titles at the new resolution.
Troubleshooting Titles 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 • Separate title clips in the sequence. • Store title and video media on separate drives, or use faster drives. Guidelines for Handling Underrun Error Messages for Titles When you edit with titles or graphics, you might experience an underrun error message because your Avid editing application could not load the graphic key in time.
Troubleshooting Titles Using Filtering for HD Titles Titles created with the Title Tool or Marquee in an HD project might display undershoots and overshoots in the SD signal after you downconvert and output a sequence. This problem might also occur with imported animated graphics that contain an alpha channel (except for QuickTime imports). You can avoid this problem by using a console command to filter HD titles and imported graphics.
13 Editing with Titles 5. Open the Title Tool, switch to a different font, and then switch back to the font you need. This action clears any cached font information and ensures that the character mapping change takes effect. For more information, see “Selecting a Font” on page 395.
14 Working with the SubCap Effect This chapter provides information on the SubCap™ captioning and subtitling effect.
14 Working with the SubCap Effect 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. The text in a SubCap effect is therefore a form of open captioning, a common industry term that refers to captioning that is always visible to the viewer. n The SubCap effect does not provide closed captioning capabilities.
How the SubCap Effect Handles Caption Files The SubCap effect has the following main features: • Support for the EBU N19 (.stl) and the Avid DS caption file formats, including the storage of metadata such as contact and program information. • Support for Unicode text entry. • Parameter control over many aspects of text appearance, including fonts, colors, line length, and line spacing.
14 Working with the SubCap Effect 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. For the first effect, the text reads “Bob, are you there?” For the second effect, the text begins “Yes, Sam.
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 4. Click the Add Edit button to add an edit point. 5. Move the position indicator to the point in the sequence where you want the caption text to disappear. 6. Click the Add Edit button to add an edit point. 7. In the Project window, click the Effect tab, and then select the Caption category. 8. Drag the SubCap effect to the segment in the Timeline created by the two Add Edits. To apply a SubCap effect for import of a subtitles file: 1.
Importing a Caption File • On the Macintosh, you might need to change the default system font to a font that supports all the characters you want to enter. For more information, see “Editing Text in the Master Caption List” on page 456 and “Working with Unicode Text in the SubCap Effect” on page 460. To enter caption text directly in the Effect Editor: 1. Move the position indicator to the SubCap effect to which you want to add text, and ensure that the track containing the effect is selected. 2.
14 Working with the SubCap Effect 5. Navigate to the location of the caption file you want to import. 6. From the Files of type menu (Windows) or the Enable menu (Macintosh), select the file type of the caption file you want to import: - EBU N19 - Avid DS 7. In the list of files, select the caption file you want to import.
Adding Information to a SubCap Effect 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.
Examples of SubCap Effect Parameter Adjustments 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.
14 Working with the SubCap Effect For more information on SubCap effect parameters, see “Adjusting SubCap Effect Parameters” on page 456 and “Generator Effect Parameters” on page 616. Example 1 This example uses a single box as background for the entire text, a custom shadow, and keeps the Avid default settings for padding and row spacing.
Examples of SubCap Effect Parameter Adjustments Example 2 This example uses a separate box for each row of the text, does not use a shadow, and uses custom values for padding and row spacing that allow the boxes to frame the text more elegantly than Example 1.
14 Working with the SubCap Effect 466
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 485.
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 505.
15 Intraframe Editing Remember these concepts as you use multiple objects and key modes in combination and layer them to generate new effects in a sequence. You can also combine the AniMatte effect with the Paint Effect to create custom effects. 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.
Effect Editor Reference for the Paint and AniMatte Effects 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. For basic information on working with the Effect Editor, see “Using the Effect Editor” on page 89.
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 307. 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 96. When you use the Brush tool to paint an object, you can select a color quickly from a video segment.
15 Intraframe Editing The default shape of the brush head changes to your selection. 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.
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 485.
15 Intraframe Editing Saving and Applying Brush Templates You can save a template of a custom brush to a bin so that you can reuse the parameters of the brush with an Intraframe effect. To save a brush template: 1. In the Brush category, click the Brush Template icon, and then drag it to a bin. A brush template appears in the bin, and the name of the template defaults to Brush. 2.
Using the Intraframe Drawing Tools Creating Rectangular and Oval Shapes To paint with the Rectangle or Oval tool: 1. In the Effect Editor, click the Rectangle or Oval tool. Rectangle tool (left) and Oval tool (right) 2. In the Effect Editor, select a paint mode or key mode and parameters. 3. Position the pointer where you want to begin painting in the frame. 4. Press and hold the mouse button, and drag to create the rectangle or oval. As you drag, you describe the diagonal of the rectangle or oval.
15 Intraframe Editing The general workflow for working with the Polygon tool is: 1. Visualize the shape and position of the object you want to create. 2. Determine a location in the frame to begin painting, and click that location to create the initial control point. 3. Click additional control points as you continue to define the shape of the object. Try to create the object with as few control points as possible. Fewer control points simplify your work if you need to modify the object later. 4.
Using the Intraframe Drawing Tools To create an object with curved 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, and release the mouse button. 4. Move the pointer to the location where you want to place the next control point. 5. Click and hold the mouse button to begin creating the first curved segment.
15 Intraframe Editing 11. (Option) Adjust the parameters of the object. To create a straight line following a curved segment: 1. Create one or more curved segments as described in the previous procedure. 2. Move the pointer to the location where you want to begin painting the straight line. 3. Click and then release the mouse button to create the control point. 4. Move the pointer to the location where you want the straight-line segment to end. 5.
Using the Intraframe Drawing Tools To paint with the Curve tool: 1. In the Effect Editor, click the Curve tool. 2. Select a paint mode or key mode and parameters in the Effect Editor. 3. Position the pointer where you want to begin painting in the frame. 4. Press and hold the mouse button, and drag the pointer as you paint a freehand curved shape on the frame. 5. When you are satisfied with the shape of the object, release the mouse button to complete the curved object. 6.
15 Intraframe Editing t Press the Delete key. t Select Edit > Delete. To undelete an object: t Select Edit > Undo. Changing the Parameters of Intraframe Objects You can change the parameters of an object you have already painted. Select the object (see “Selecting and Deselecting Intraframe Objects” on page 483), and perform any of the following procedures. To move an object: t Click anywhere within the object’s outline, and drag the object to a new location.
Working with Vector-Based Objects To add feathering to an object’s edges: 1. Click the triangular opener for the Feathering parameter category. 2. Adjust the Bias, Hor (horizontal), and Vert (vertical) sliders. Working with Vector-Based Objects Intraframe effects are vector-based objects. Vector-based objects have several advantages over bitmapped objects. For example, you can create and edit vector-based objects with much greater precision than you can bitmapped objects.
15 Intraframe Editing Left to right: straight-edge join, smooth join, and corner join A control point associated with a smooth join or a corner join describes a Bézier curve. Clicking a control point makes it the active join. Tangents called direction bars appear on each side of the control point associated with a Bézier curve. At the end of each direction bar is a direction handle.
Working with Vector-Based Objects - “Reference for Modifying Lines and Curves in Intraframe Objects” on page 491 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 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. 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.
Working with Vector-Based Objects 2. Drag the direction handle toward the control point to shorten the direction bar. Notice how the curve changes as you shorten the direction bar. 3. Shift+click the direction handle, and then drag it away from the control point. Notice that the length of the direction bar on the opposite side of the control point does not change. This prevents the height of its associated segment from changing.
15 Intraframe Editing Creating a Corner Join on an Intraframe Object The painting tools do not create corner joins by default, but you can change an existing smooth join into a corner join. The procedure in this topic assumes you are starting with an object like the one created by following the procedure in “Experimenting with Bézier Curves and Direction Handles” on page 487.
Working with Vector-Based Objects 4. When you are finished experimenting, Alt+click (Windows) or Option+click (Macintosh) the direction handle. The control point reverts to a smooth join. 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).
15 Intraframe Editing Methods of Modifying Intraframe Lines and Curves (Continued) Illustration Description Action Corner join: Drag one direction handle so that the direction bar on the opposite side of the control point moves independently of the bar on the opposite side of the control point. You do not have to press any of the modifier keys. Click one of the direction handles, and drag it.
Working with Vector-Based Objects Any changes you make to a control point, such as moving it or changing the angle of the associated curve, affect the keyframes you have selected in the segment. If you change a control point at a selected keyframe or add a keyframe to make changes, the changes are interpolated between the selected keyframe and adjacent keyframes. To remove a control point: t Click the control point, and press the Delete key.
15 Intraframe Editing All other selected control points move in unison. To deselect the group, click any unselected control point. To move all control points manually: t Press Ctrl+A (Windows) or Command+A (Macintosh) to select all control points, and then drag one of the selected control points. All other control points move in unison. To deselect the group, click outside the object to deselect it. To move or “nudge” control points in 1-pixel increments: 1.
Using the Previsualization Marker Tool for Film Projects For example, the optical editor’s assignment is to create an airplane that flies through the scene. The optical editor can use keyframe information from the optical list to plot the exact path of the effect as it moves through the scene. The marker’s position at each keyframe is described with coordinates derived from the Effect Grid. Position is described in terms of compass coordinates and X, Y coordinates.
15 Intraframe Editing The following illustration shows the presentation of Previsualization Marker information in a cut list. 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.
Manipulating Intraframe Objects 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. Release the mouse button when the object is positioned in the location you want.
15 Intraframe Editing n To drag the control points only, Alt+click (Windows) or Option+click (Macintosh) the Reshape tool to hide the direction handles. 3. Edit the shape of the object or matte: t Click one or more of the object’s control points and drag. For information on moving control points, see “Moving Control Points” on page 493. t Edit the object by manipulating the direction bars at one or more control points.
Manipulating Intraframe Objects Center of rotation (+) and Z-Rotation handle The + on the rotation handle marks the default center of the Z axis for the object. You can click the + and drag it anywhere on the screen to change the center of the object’s rotation. 3. Click the rotation handle and drag the mouse to rotate the object in either a clockwise or a counterclockwise direction. Scaling Intraframe Objects You can rescale any object or matte that you create.
15 Intraframe Editing t Alt+click (Windows) or Option+click (Macintosh) any selection point, and drag to rescale the object, using the center of the object as the anchor. Changing Intraframe Object Parameters over Time You can animate an intraframe object by changing parameters on an individual keyframe basis. The following parameters are keyframeable: Parameter For more information: Position of an object on screen See “Moving Intraframe Objects” on page 496.
Layering, Grouping, and Locking Intraframe Objects Layering, Grouping, and Locking Intraframe Objects Intraframe effects include tools for navigating and adjusting layers of intraframe objects, for grouping objects for performing operations on several objects at once, and for locking objects to prevent further changes. When you paint on a frame, the paint appears as an object in the foreground, seeming closer to you in three-dimensional space than the video frame.
15 Intraframe Editing t To move the object one layer forward, click the Bring Forward button in the Effect Editor or select Object > Bring Forward. t To move the object one layer backward, click the Send Backward button in the Effect Editor or select Object > Send Backward. t To move the object to the front of the layers (appearing closest to you in three-dimensional space), Alt+click (Windows) or Option+click (Macintosh) the Bring Forward button in the Effect Editor or select Object > Bring to Front.
Exporting a Matte Key Created With the AniMatte Effect Exporting a Matte Key Created With the AniMatte Effect You can create a matte with the AniMatte effect and export it as a high-contrast matte without leaving Effect mode. The exported image is a high-contrast 32-bit PICT file that includes an alpha channel. 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.
15 Intraframe Editing The Export PICT As dialog box opens. 6. Select the location where you want to save the PICT file, and then click Save. Your Avid editing application saves the PICT file to the location you selected. 7. If necessary, open the PICT file in a third-party application and make changes to the file. 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.
Scratch Removal 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. Use the Intraframe drawing tools and effect parameters to draw a shape that covers the flaw, and fill the shape with clean replacement material. 4. (Option) If the flaw persists over several frames or fields, use keyframes to adjust the covering shape so it continues to cover the flaw as the footage moves.
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 For more information on frame and field processing, see “Frame and Field Processing” on page 505. n When you are working with single-field material, the Frame Processing button does not appear in the Effect Editor. Isolating a Flaw If you need to correct a flaw on a single frame, you can use the Scratch Removal button to quickly create a two-frame segment and apply the Scratch Removal effect. n The Scratch Removal button appears by default on the Tool palette.
15 Intraframe Editing 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 An alternative method is to draw a shape over your selected replacement material and then drag the replacement over the flaw. This works well when you are taking replacement material from the same frame that contains the flaw. For more information, see “Removing a Flaw By Dragging Replacement Material” on page 512. To remove a flaw by drawing a shape over it and filling the shape with replacement material: 1.
15 Intraframe Editing Original flaw (left) seen with a shape drawn around it, and the final effect (right) where clean material from a nearby frame appears within the shape 12. (Option) Animate the shape that contains the replacement material using keyframes to follow movement and changes in the frames of footage. For example, you can resize, reshape, and reposition the shape over time, or you can use the Object Visible button to control when the shape is visible.
Scratch Removal 3. Select the segment if it is not already selected. 4. (Option) If you are working with the Paint Effect, do the following: a. Click the triangular opener next to the Mode parameter category. b. Click the Fast Menu button, and select Scratch Removal. 5. Click the triangular opener next to the Mode parameter category (Paint Effect) or the Scratch parameter category (Scratch Removal effect). 6. (Option) Select frame or field processing.
15 Intraframe Editing Removing Flaws Covering More Than One Frame or Field You can use IN and OUT points to define multiple frames or fields of video that contain a scratch and then use the Scratch Removal button to quickly create a Scratch Removal effect that covers the scratched frames or fields together with the clean frame or field immediately before them.
Scratch Removal n The Scratch Removal positioning parameters reference the part of the clean frame that corresponds to the shape you draw by default. In most cases, you do not need to make any adjustments to these parameters to cover the scratch successfully. 8. (Option) Use the Feathering parameters to help blend the replacement material into the surrounding area. 9. Render the effect to play it back in real time. For more information, see “Rendering Intraframe Effects” on page 469.
15 Intraframe Editing Parameter Default setting 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 Parameter Setting Frame/Field 0 Offset Relative 250px 250px In this example, the effect replaces the area of the rectangle covering the scratch (bottom left) with material from the area of the clean rectangle in the same frame or field (top right). Each frame or field in the segment uses replacement material from the same relative position in its own frame or field.
15 Intraframe Editing 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 Intraframe Editing Examples The topics in this section provide examples of how to use Intraframe techniques. Intraframe Example: Colorizing with Magic Mask You can use the Magic Mask effect to apply effects across a series of frames, using the chroma and luma values as the criteria for edge detection. Magic Mask is primarily useful for localized colorization, which enables you to create garbage mattes and various chroma effects.
15 Intraframe Editing In other applications of Magic Mask, you might select another mode such as Lighten, Darken, or Colorize. 6. Click the Rectangle tool (or another shape tool) in the Effect Editor, click in the Effect Preview monitor, and drag to draw a box surrounding the window region. 7. Open the Color category, and, using standard methods, select a color to apply to the window region. For more information on selecting a color, see “Adjusting a Color Parameter for an Effect” on page 96. 8.
Intraframe Editing Examples Effect applied before selecting Magic Mask key color. The color effect does not appear. 10. In the Magic Mask parameter category, click in the Color Preview window, drag the pointer to the colored area of the window in the image, and then release the mouse button. Your Avid editing application sets the Magic Mask key color to the color you selected, and applies the effect. 11. Click the Outline/Path button to switch between viewing the image with or without the effect.
15 Intraframe Editing To reshape the rectangle: 1. Double-click the rectangle to select it and display its control points. 2. Drag the control points at the corners of the rectangle one at a time to surround the window area. New shape restricts the Magic Mask effect to the window area Intraframe Example: Applying the Paint Effect to Regions of a Clip The Paint Effect includes a number of modes for applying special effects to traced regions of an image.
Intraframe Editing Examples To apply the blur: 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 41. The Effect Editor opens. 2. From the Image category, drag the Paint Effect icon to the segment of footage in the sequence. 3. Select the segment if it is not already selected. The Paint Effect parameters appear in the Effect Editor.
15 Intraframe Editing 9. In the Effect Preview monitor, click the last keyframe indicator to select the keyframe. Check the shape of the traced area around the woman, and adjust control points as necessary to make an accurate outline. 10. Before creating new keyframes to further animate the traced outline, apply the blur to the first and last keyframes to ensure a smooth effect across all keyframes: a. In the Effect Preview monitor, click the first keyframe indicator to select it. b.
Intraframe Editing Examples Intraframe Example: Creating a Matte Key Effect When you apply the AniMatte effect and create a matte key, the shape and location of the matte remain fixed over the course of the segment. The parameters of the matte are the same at both the first and last keyframes in the segment. To apply a two-layer matte key: 1. For this two-layer effect, edit the image you want to use as the background onto one track and the image you want to use as the foreground onto the track above.
15 Intraframe Editing In this example, a series of shapes are drawn to key out all areas of the foreground image 11. In the Foreground parameter category, click the Swap Src (swap sources) button to check the traced outline. The foreground and background footage are reversed in the key. This lets you easily spot areas where the outline encroaches on the foreground image. In this example, swapping sources on one of the shapes reveals edges from the foreground image 12.
Intraframe Editing Examples 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 525. 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).
15 Intraframe Editing 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 492. t Edit the object by manipulating the direction bars at one or more control points. For information, see “Reference for Modifying Lines and Curves in Intraframe Objects” on page 491.
Intraframe Editing Examples 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 41. The Effect Editor opens. 3. Apply the AniMatte effect to a transition as described in “Applying the Paint or AniMatte Effect to a Sequence” on page 470. 4. In the Mode parameter category, click the Fast Menu button, and select Key In. 5.
15 Intraframe Editing 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. Click the matte wipe within its borders and drag it so that it covers the frame in the Record monitor. Make sure to position the leading edge of the wipe so that it is beyond the left border of the frame. 12.
Working with the Blur Effect and Mosaic Effect Working with the Blur Effect and Mosaic Effect The Blur effect and Mosaic effect, found in the Image category, let you obscure part of an image by distorting the pixels within a defined area. The Blur effect and Mosaic effect act as intraframe effects. The Blur parameter category for the Blur effect is the same as the one that appears for the Blur mode of the Paint Effect.
15 Intraframe Editing Button Description Reshape tool Lets you reshape objects by manipulating anchor points at locations where new curves begin or straight lines intersect. Inserts additional control points. Bring Forward Brings an object one layer forward on the screen. Send Backward Sends an object one layer backward on the screen. Rectangle tool Creates a square or rectangle object. The pointer changes to a crosshair when clicked. Oval tool Creates a circle or oval to create an object.
Working with the Blur Effect and Mosaic Effect To modify the attributes of blur and mosaic objects: 1. Click the Selection tool, and click the object you want to change. 2. Use the Feathering parameter category to adjust the appearance of the outline of the object: Parameter Description Hor (horizontal) Adjusts the range of pixels along the X axis to which the effect applies. Vert (vertical) Adjusts the range of pixels along the Y axis to which the effect applies.
15 Intraframe Editing 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. Bring Forward and Send Backward Apply when objects overlap. You use the buttons to define which object appears closer to the viewer.
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 41. 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 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. Save the image as a raw image file as described in “Saving a PlasmaWipe Image for PAL and NTSC” on page 545.
Creating Gradient Images for PlasmaWipe Effects 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 542. 8. Click OK. 9. Save the image as a raw image file as described in “Saving a PlasmaWipe Image for PAL and NTSC” on page 545.
16 PlasmaWipe Effects 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. When the wipe plays, the darkest parts of the image are replaced by incoming video first.
Creating Gradient Images for PlasmaWipe Effects Histogram examples: image that does not use all available gradient values (left) and image that does use all available values (right) A horizontally smooth histogram results in an animation that does not have abrupt changes. If the histogram has a wide vertical range, the wipe might come in quickly and then slow down. The following illustrations show two histograms.
16 PlasmaWipe Effects Example of a histogram with gaps Testing a PlasmaWipe Animation You can use the following procedure in Adobe Photoshop to preview the animation for your gradient image. This example uses the Horiz Twirl image from the PlasmaWipes folder. To test an animation: 1. Select Image > Adjustments > Brightness/Contrast. The Brightness/Contrast dialog box appears. The following illustration shows the image and the Brightness/Contrast dialog box. 2.
Creating Gradient Images for PlasmaWipe Effects 4. Move the Brightness slider from left (-100) to right (+100) to view the animation. The following images show three stages of the animation. Saving a PlasmaWipe Image for PAL and NTSC This sample procedure is for use with Adobe Photoshop and assumes that you have created a PAL version of your image (720x576 pixels), for example, as described in “Creating a Custom Image for a PlasmaWipe Effect” on page 539. To save a gradient image: 1.
16 PlasmaWipe Effects 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. Name the file as described in step 4. c The name you choose for the image becomes the name of the effect that appears in the Effect Palette. Ensure you use exactly the same name for the PAL and NTSC versions of the file. 6.
Creating Gradient Images for PlasmaWipe Effects 3. Copy your images to the new folders. 4. Restart your Avid editing application. Your new effects appear in the Effect Palette. n If you move sequences that use your new wipes to another system, you must copy the wipes to that other system. You must maintain the same folder structure on each system that uses your effects.
16 PlasmaWipe Effects 5. Click the Video Quality menu button and select a higher video quality. Your Avid editing application replaces the effect with the new version. Understanding PlasmaWipe Frame and Border Effects PlasmaWipe frame and border effects let you add a variety of edge treatments to a clip. The following illustrations show several examples. Top left: Stone Frame Medium effect. Top right: Stone Frame Large effect applied to a resized and repositioned Picture-in-Picture effect.
Applying and Adjusting PlasmaWipe Frame and Border Effects Frame effects allow for textured, colored frames and have the word Frame in their name. There are three versions of each: • Large places a frame around the entire image and is intended for use with DVE effects such as picture-in-picture (PIP) effects. • Medium and Small remain centered in the image and cannot be resized or repositioned. Frame effects are segment effects only.
16 PlasmaWipe Effects 3. Drag the frame or border effect icon from the Effect Palette to the upper track in the nested effect. 4. Double-click the Picture-in-Picture effect icon again to step out of the nested effect. 5. Adjust the parameters for the Picture-in-Picture effect. n The Frame Large effects are designed for use with DVEs such as the Picture-in-Picture effect. To adjust a frame effect or border effect: 1. (Option) If the effect is part of a nested effect, step into the effect. 2.
Creating Custom PlasmaWipe Border and Frame Effects Creating Custom PlasmaWipe Border and Frame Effects For border effects such as Soft Sky or Square Window, you can use the technique described in “Creating Gradient Images for PlasmaWipe Effects” on page 538. Frame effects have the following unique requirements: • You must use an image with a 4:3 aspect ratio to create the frame graphic. For example, start with a 720x540 pixel image.
16 PlasmaWipe Effects n 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. Use a grid size of one gridline every 36 pixels. 3. Create a frame graphic using the grid lines as a guide. 4. Modify the grayscale image and apply filter effects as necessary. 5. Color the inside of the frame black. 6.
Using PlasmaWipes with HD Projects n Select the Nearest Neighbor resampling option to avoid blending between the black, white, and gray areas of the image.
16 PlasmaWipe Effects n You must copy the 720x486 files. The 1020x1080 and 1280x720 versions require these files. 5. Restart your Avid editing application and open the Effect palette. The new HD PlasmaWipe effects appear in the Effect palette under the PlasmaWipes categories. 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.
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 603.
17 Effects Reference • Indication of the real-time status of the effect, where appropriate. All standard Avid effects are real-time effects unless otherwise noted in this chapter. For more information, see “Playing Real-Time Effects” on page 51. • Information on whether you can promote the effect (to 3D or SpectraMatte) For more information, see “Promoting 2D Effects to 3D Effects” on page 364 and “Promoting a Chroma Key Effect to the SpectraMatte Effect” on page 262.
Blend Effects 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 362. Apply to Transitions, single-layer segments, or multilayer segments Real-time status Real-time in most circumstances. For more information on real-time playback for 3D effects, see “Real-Time Playback of 3D Effects” on page 366. Bit depth processing 8-bit and 16-bit.
17 Effects Reference Blend: Picture-in-Picture Creates a picture within a picture. Video on the top layer, where you apply the effect, appears inside the video on the bottom layer. On a transition, the incoming video appears inside the outgoing video.
Box Wipes Box Wipes Box Wipes use an expanding box shape to create transitions to the incoming video. n For examples of similar effects, see “Comparison of Similar Effects” on page 601. Incoming video begins as a box and wipes out the outgoing video as the box expands to fill the screen.
17 Effects Reference 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 601. Incoming video slides on top of the outgoing video.
Edge Wipes 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.
17 Effects Reference 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.
Film Effects 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. It has preset parameters that emulate film’s response to light when dissolving to another (nonblack) picture. The Film Fade effect blends to the incoming frame over time. It has preset parameters that emulate film’s response to black material. Use this effect for fade-ins and fade-outs.
17 Effects Reference 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 447. You cannot keyframe SubCap parameters and you cannot promote the SubCap effect.
Illusion FX Effects Several Illusion FX effects share a Border effect parameter category that has different controls from the Border parameter category in other effect types. For more information, see “Border Parameter for Illusion FX Effects” on page 626.
17 Effects Reference • 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.
Illusion FX Effects Illustrations Top, left to right: examples of Color Mix, Crystal, and Film Grain. Center, left to right: examples of Flare, Kaleidoscope, and Lightning. Bottom, left to right: examples of Motion Blur, Pattern Generator, and Pinch Top, left to right: examples of Radial Blur, Ripple, and Sparkler. Center, left to right: examples of Sphere, Swirl, and Twist.
17 Effects Reference Illusion FX: Transition Effects — Iris, Melt, Pagecurl, Particle Blast, Particle Orbit, Particle Wind, Random Blend, Rollup, Shear Ten Illusion FX effects are transition effects. FluidMorph is described separately in the final table in this topic. The following are the remaining transition effects: • Iris wipes the foreground clip away to reveal the background clip, using a circle that radiates out from the center. You can control the softness of the edge of the circle.
Illusion FX Effects Illustrations Top, left to right: examples of Iris, Melt, and Pagecurl Center, left to right: examples of Particle Blast, Particle Orbit, and Particle Wind Bottom, left to right: examples of Random Blend, Rollup, and Shear Illusion FX: FluidBlur, FluidColorMap, and FluidMorph FluidBlur creates a motion blur. The amount of blur is based on the amount of motion in the clip. Only objects that are moving from one frame to the next are blurred.
17 Effects Reference 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.
Image Effects 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.
17 Effects Reference 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.
Image Effects 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.
17 Effects Reference 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 823.
Key Effects 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 346.
17 Effects Reference Key: AniMatte Enables you to generate custom matte effects that you can apply to a segment or transition in a sequence. You can use a variety of brushes and painting tools to create matte effects that you can animate. For examples of the AniMatte Effect, see “Intraframe Editing” on page 467.
Key Effects 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.
17 Effects Reference 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.
L-Conceal Effects 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.
17 Effects Reference 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 608. 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.
Motion Effects Illustrations Top: outgoing image (left) and incoming image (right). Center, left to right: middle of effect for Grid, One-Way Row, and Speckle. Bottom: middle of effect for Spiral (left) and Zig-Zag (right) Motion Effects Freeze Frame, Variable Speed, and Strobe Motion effects are traditional (source-side) motion effects that you create as new clips. For more information, see “Creating Traditional Motion Effects” on page 199. For other motion effects, see “Timewarp Effects” on page 592.
17 Effects Reference 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. For more information, see “Playback Capabilities for Traditional Motion Effects” on page 207. Parameters Available in the Motion Effect dialog box. For more information, see “Variable Speed and Strobe Motion Parameters” on page 695.
Peel Effects 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 583
17 Effects Reference 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 535. The preset PlasmaWipe effects are grouped into the following categories: • Borders lets you apply a variety of edge treatments to effects.
Push Effects 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 601. Incoming video pushes out outgoing video starting from a corner or side of the screen. The border is on the incoming video.
17 Effects Reference 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.
Sawtooth Wipes 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 608. Incoming video appears with a sawtooth edge and expands to fill the screen. .
17 Effects Reference 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 608. Incoming video uses a geometric shape to fill the screen and wipe out the outgoing video.
Shape Wipes 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.
17 Effects Reference 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.
Squeeze Effects 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 601. 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.
17 Effects Reference 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.
Timewarp Effects 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.
17 Effects Reference 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.
Timewarp Effects 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.
17 Effects Reference 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.
Timewarp Effects Illustrations Speed Graph and Position Graph default settings for Speed Boost Speed Graph and Position Graph default settings for Speed Bump Timewarp: Timewarp Apply the effect to a sequence in the Record monitor, and customize it using the Motion Effect Editor. For more information, see “Understanding FluidMotion Timewarp Effects” on page 238.
17 Effects Reference Timewarp: Trim to Fill Trim to Fill is a preset effect using the Timewarp effect that changes the playback speed to a constant rate. You can change the rate by trimming the clip. Apply the effect to a clip in the Timeline. Your Avid editing application displays the current speed in the Timeline along with the clip name. The default speed is 100%. To change the speed, enter Trim mode and trim the effect shorter (faster) or longer (slower).
Xpress 3D Effects Title Effects: Title For information on creating titles, see “Creating Titles” on page 381.
17 Effects Reference Xpress 3D effects provides basic 3D PIP and 3D shape effects that are compatible with Avid Xpress editing application. Four effects are available. • 3D Ball • 3D PIP • 3D Page Fold • 3D Slats Once you apply one of the effects, you can switch to another shape by making a selection from the menu in the Shape parameter category, or you can switch to 3D PIP by turning off the Shape parameter category.
Comparison of Similar Effects Comparison of Similar Effects Four effect categories have similar results: Box Wipe, Conceal, Push, and Squeeze. Examples of these effects are shown here to assist you in using these effects.
17 Effects Reference 602
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 604. 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 605.
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 656 and “Pattern Generator Effect Background, Number, and Circle Parameters” on page 640. 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 707. Parameter Description T (top) Removes video from the top of the inner or incoming video. Values range from 0 (top of the screen) to 999 (bottom of the screen). B (bottom) Removes video from the bottom of the inner or incoming video. Values range from –999 (top of the screen) to 0 (bottom of the screen). L (left) Removes video from the left side of the inner or incoming video.
Common 2D Effect Parameters Feathering is available in the following effects: Image: Blur Effect and Mosaic Effect, Image: Paint Effect, Image: Scratch Removal, 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. Adjusting bias is especially effective when you trace an element on the screen with the Paint Effect.
18 Effects Parameter Reference 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. As you increase the value, the effect reveals more incoming video. Swap Sources Swaps the image source for the foreground and background layers of the effect.
Common 2D Effect Parameters 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. Type menu Selects one of the following grid types: • Square • Standard Film • Academy The Academy grid includes a safety margin on the left that is used for adding the optical sound track.
18 Effects Parameter Reference 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. After you pick a color with the eyedropper, you can adjust the Hue, Sat, and Lum sliders to fine-tune the color selection. Magic Mask is available in the following effects: Image: Paint Effect, Key: AniMatte. Parameter Description Color controls Let you select a color from the video background and then refine it.
Common 2D Effect Parameters Position Position sets the horizontal and vertical position of the effect. For information on the 3D equivalent of this parameter category, see “Position (3D)” on page 715. Some other effects have position parameter categories that differ from the standard Position parameter category.
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 717. 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 453. 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 Tab Option Description Editor’s Name Editor’s Contact Details Translator’s Name Translator’s Contact Details Enter up to 32 characters of text in each of these text boxes to record information about the editor and translator for the content. For example, you might enter an e-mail address or telephone number in the Contact Details text boxes.
18 Effects Parameter Reference Category Description Reader menu Selects the basic type of timecode or other information for the display. The following options are available: • Timecode • Source Timecode The timecode of the source clip at the current location. If there are multiple clips on different tracks in the timeline, you can use the Source Track menu to select the clip whose timecode you want to display, as described in the Timecode Display row of this table.
Generator Effect Parameters Category Description Type menu Selects an option to control how your Avid editing application calculates the timecode to display. These are equivalent to options available in the Tracking Information menus above the monitors (for more information, see “Tracking Format Options” in the Help). Depending on your selection in the Reader menu, options in the Type menu might not be relevant or might result in an unchanged display.
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 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 Parameter Description 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. Values range from 0 (no lightning) to 100 (complete lightning bolt). Typical keyframing has a value of 0 at the first keyframe and 100 at the last keyframe.
18 Effects Parameter Reference 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 604. 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 Parameter Description Strength Sets the strength of the distortion. The higher the value, the greater the distortion. 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. Swap Sources Specifies whether to apply the effect to incoming or outgoing video.
18 Effects Parameter Reference The following table describes the possible Pagecurl parameter combinations and shows an example of the results.
Illusion FX Effect Parameters Particle Blast Effect Input Parameters Parameter Description Amount Sets the progression of the effect. The larger the difference in the Amount value between keyframes, the faster the effect happens. Size Sets the radius of the particles. Spacing Sets the space between the center of the original position of the particles. This parameter is not keyframeable.
18 Effects Parameter Reference 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.
Illusion FX Effect Parameters Particle Wind Effect Input Parameters Parameter Description Amount Sets the progression of the effect. The larger the difference in the Amount value between keyframes, the faster the effect happens. Size Sets the radius of the particles. Spacing Sets the space between the center of the original position of the particles. This parameter is not keyframeable.
18 Effects Parameter Reference Parameter Description 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. Acceleration Controls how quickly a particle reaches the full speed of the wind. The higher the value, the more quickly the particle reaches full speed. Angle Sets the source direction of the wind.
Illusion FX Effect 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. Axis menu Determines whether color bars are drawn horizontally (X axis) or vertically (Y axis).
18 Effects Parameter Reference Parameter Description 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 604. Position Sets the horizontal (X) and vertical (Y) position of the center of the number. Circle Parameters Parameter Description Size Sets the radius of the circle.
Illusion FX Effect Parameters 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. Size Sets the diameter of the affected area. Position Sets the horizontal (X) and vertical (Y) center of the effect. Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.
18 Effects Parameter Reference Parameter Description Render Mode menu Determines whether just the center marker shows, or how the effect is rendered. Locate shows the center marker — use this option while setting up the center. • Locate • Render Low Quality • Render Medium Quality • Render High Quality Random Blend Effect Input Parameters Parameter Description Amount Sets the amount of blend. Random Scale Sets the amount of randomness.
Illusion FX Effect Parameters Parameter Description Wave Speed Sets how fast the waves move. Ripple Spread Sets the width of the ripple from the inner ring to the outer ring. Reflections When Reflections is selected, waves reflect off the edges of the image, as though hitting a wall. 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.
18 Effects Parameter Reference Parameter Description Color controls Sets the color of the light. For more information on the parameter controls, see “Color Parameter Controls” on page 604. Angle Sets the source direction of the light. A value of 0 degrees is 3 o’clock. Positive values move counterclockwise. Rollup Effect Input Parameters Parameter Description Amount Sets the proportion of each clip that displays.
Illusion FX Effect Parameters 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 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 Parameter Description Size Sets the diameter of the circle as a normalized proportion of the vertical size of the image. X, Y Sets the center of the effect. Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable. Swirl Effect Input Parameters Parameter Description Amount Sets the scale of swirl. Negative values swirl the image counterclockwise. Positive values swirl it clockwise.
Illusion FX Effect Parameters Parameter Description 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. Positive values swirl it clockwise. Minimum Size, Maximum Size Sets the minimum wavelength and the maximum wavelength. Horizontal Factor, Vertical Factor The amount of horizontal distortion and vertical distortion.
18 Effects Parameter Reference Image Effect Parameters This section contains reference summaries for the effect parameters that are unique to the Image effect category. Avid Pan & Zoom Effect Parameters Other Options Button The Other Options button opens a file selection dialog box that lets you specify the image file for the Pan & Zoom effect. For more information, see “Using Avid Pan & Zoom” on page 293. This parameter is not keyframeable.
Image Effect Parameters Size Parameter The Zoom Factor slider in the Size category controls how far you zoom into or out from the source image. Values range from 0.1 to 20. At 0.1, your Avid editing application scales down the image to one-tenth the size of the original. At 1, your Avid editing application applies no magnification to the source image. At 20, your Avid editing application scales up the image to 20 times the size of the original.
18 Effects Parameter Reference Parameter Description Velocity In Controls the rate of movement from the selected keyframe to the midpoint between the selected keyframe and the next keyframe (the first half of the time between keyframes). • Linear — Makes no modification to the pan and zoom movement. Apparent camera movement begins immediately with no ease in.
Image Effect Parameters Option Description Linear Creates straight-line changes from one keyframe to the next. Spline Smooths out changes at keyframes to create a more natural movement. A Spline path is smooth through all points. If you move a point the effect recalculates the entire path. n If you combine a Spline path with Constant velocity, when you move a keyframe, the path recalculation might result in a change to the velocity of the effect.
18 Effects Parameter Reference Option Description Avid Ultra Qual Creates extremely sharp images when you zoom out, but has the longest rendering time. Background Parameters These parameters are not keyframeable. Parameter Description Background Fast Menu button Click to select what the effect uses outside the field of view if your image does not fill the entire screen. Color — Lets you select a color using the color controls.
Image Effect Parameters Parameter Description Levels Controls how the effect treats the color levels in the image. • RGB — Use this option (the default) for images with a black level of 0 and a white level of 255. Most images you import (except those from a video source) use these values. Your Avid editing application maps colors in the source image to video black and white levels, which are 16 and 235 respectively.
18 Effects Parameter Reference 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 302. This parameter is not keyframeable. Blur Effect Blur Parameters Blur lets you blur a selected area with horizontal and vertical controls.
Image Effect Parameters Parameter Description Bright (brightness) Changes the brightness of the image. Values range from –100 to +100, where 0 indicates no change, –100 darkens the image, and +100 brightens the image. Left to right: original image (Brightness=0), adjustment to Brightness -50, adjustment to Brightness +50 Cont (contrast) Controls the contrast of light and dark areas in the image.
18 Effects Parameter Reference 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. For example, use this value when you want to convert video to alpha for Matte Key effects.
Image Effect Parameters 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). You do not normally adjust these value when preparing video for broadcast.
18 Effects Parameter Reference Parameter Description Invert Reverses the colors in both Hue and Saturation so that all colors display as their complement. 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.
Image Effect Parameters 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.
18 Effects Parameter Reference Parameter Description Fast menu Provides different mode options for Intraframe editing. For information about the available modes, see “Paint Effect Modes” on page 664. Opac. (opacity) Sets the transparency level of a painted object created with the Paint Effect. Values range from 0 (makes a painted object transparent) to 100 (makes an object opaque).
Image Effect Parameters Mode Description Solid Applies paint as a solid color superimposed on the video background. Solid mode with Opacity set to 75% Erase Removes paint from a frame. (Inverts the key in an AniMatte effect.) A rectangular object in Erase mode that removes paint from the oval object beneath it Outline Creates an outline that is useful for tracing images in a frame. Clone Duplicates an area from a frame and applies it to another area of the frame.
18 Effects Parameter Reference Mode Description 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. Saturation Changes the saturation in a selected area using the value of the Sat slider in the Color parameter category without affecting the luminance levels and the hue.
Image Effect Parameters Mode Description 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. Darken Only Reduces the luminance levels in a selected area only if the result would be darker than the background color.
18 Effects Parameter Reference Mode Description 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. Lighten Increases the luminance levels in a selected area using the value of the Amount slider. Luminance in the selected oval is increased by 50. Add 668 Adds color to the colors in a selected area using the value of the Color parameter category.
Image Effect Parameters Mode Description Subtract Removes color from the colors in a selected area using the value of the Color parameter category. Invert Inverts the RGB values of the colors in a selected area. Mosaic Applies a tile effect to a selected area with horizontal and vertical controls, which distorts or disguises the area. Blur Blurs a selected area with horizontal and vertical controls, which distorts or disguises the area.
18 Effects Parameter Reference Mode Description Median Takes the nine values surrounding each pixel, ranks them, and replaces the pixel with the value in the middle, creating a slight softening effect. Median filters are often used to remove noise from an image. Unsharp Mask Sharpens a selected area of an image to create more defined edges with horizontal and vertical controls. Gradient 670 Dissipates the paint in a gradient. Use the Angle slider to set the direction of dissipation.
Image Effect Parameters Mode Description Emboss Creates a three-dimensional extrusion effect in a selected area. Use the Angle slider to adjust the direction of the extrusion. Scratch Removal Replaces scratched or otherwise flawed areas of a frame with clean material from a nearby source. For more information, see “Understanding Scratch Removal” on page 505. Color Adjust Adjusts the brightness, contrast, hue, and saturation of the selected area.
18 Effects Parameter Reference Paint Effect Color Parameters Use these controls in conjunction with one of the Paint Effect modes to colorize your selection. For more information on the parameter controls, see “Color Parameter Controls” on page 604. This parameter is not keyframeable. Safe Color Limiter Parameters 422 Safe Parameter 422 Safe controls how the effect handles chroma sub-sampling when limiting colors, offering a choice between performance and guaranteed accuracy.
Image Effect Parameters Composite/Luma Levels Parameters Composite/Luma Levels controls how limits for composite signal and luminance are measured and set. For more information, see “Understanding the Safe Color Limiter Effect” on page 823. Control Description Enable button When the Enable button is turned on, the effect limits the video so that it is within the limits for composite or luminance set with the Composite L, Composite H, Luma L, and Luma H sliders.
18 Effects Parameter Reference Control Description Enable button When the Enable button is turned on, the effect limits the video so that it is within the limits for RGB color levels set with the RGB Gamut L and RGB Gamut H sliders. When the Enable button is turned off, the effect does not take account of the RGB color level limits. RGB Gamut L Controls the lower limit for RGB color gamut.
Image Effect Parameters Parameter Description Hor (horizontal) Defines the position of the replacement material relative to the shape you have drawn on the horizontal axis of the frame. Negative values indicate the number of pixels the replacement material is to the left of the shape, positive values the number of pixels to the right. The default value is 0. Vert (vertical) Defines the position of the replacement material relative to the shape you have drawn on the vertical axis of the frame.
18 Effects Parameter Reference Key Effect Parameters This section contains reference summaries for the effect parameters that are unique to the Key effect category. Key Effects Key Parameters Key selects the primary key color to be replaced by video in the Chroma Key and Luma Key effects. This parameter is not keyframeable Parameter Description Color controls Define the key color. For more information on the parameter controls, see “Color Parameter Controls” on page 604.
Key Effect Parameters Parameter Description Fast menu Provides the following two modes for the AniMatte effect: • Key In — For two-track video effects, displays the image on the higher track (foreground) within the matte selection while revealing the image on the lower track (background) outside the matte selection. For single-track matte wipes, displays the incoming segment within the matte selection.
18 Effects Parameter Reference Secondary Key Parameters Secondary Key selects a second background color to key out. For example, the floor in a blue-screen shot or a green-screen shot might be a shade slightly different from the background. You can select the floor color as your secondary color and key it out. This parameter is not keyframeable. For a description of each parameter, see “Key Effects Key Parameters” on page 676.
Key Effect Parameters Chroma Key Parameters Chroma Key lets you fine-tune the key effect. This parameter is not keyframeable. 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.
18 Effects Parameter Reference Parameter Description Erode Decreases or “erodes” the outer edges of the blurred matte key. Color Correction Parameters Color Correction lets you perform post-key color correction of the foreground elements in the Chroma Key effect.
Key Effect Parameters Bypass on (left) and off (right) Key Color Parameters Key Color defines the color from the foreground image that you want to replace with the background image. For more information on the parameter controls, see “Color Parameter Controls” on page 604. The SpectraMatte effect uses the color you select as the basis for defining a range of color values to use in the key. In the SpectraGraph display, this range appears as a wedge keyed out of the CbCr swatch.
18 Effects Parameter Reference Parameter Description SpectraGraph Shows the SpectraGraph display, which shows the color values in the foreground image superimposed on a CbCr color swatch, in the Effect Preview monitor. For more information on the alpha matte display, see “Understanding SpectraMatte Analysis Displays” on page 253. This parameter is off by default.
Key Effect Parameters Parameter Description SpectraGraph Source Monitor menu Controls how effect information displays in the Source monitor. SpectraGraph Brightness • Source Monitoring - Off — the Source monitor does not display an analysis view. • SpectraGraph in Source Monitor — shows the SpectraGraph display in the Source monitor. This is the default menu selection. • Alpha in Source Monitor — Shows the alpha matte display in the Source monitor.
18 Effects Parameter Reference 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.
Key Effect Parameters Parameter Description Key Saturation Controls the saturation level at which keying begins. In the SpectraGraph display, the Key Saturation value is the point of the key color wedge. Higher Key Saturation values move the wedge out from the center of the CbCr swatch. Unlike the Key Sat Line parameter, Key Saturation does not change the basic shape of the key wedge.
18 Effects Parameter Reference Parameter Description Inner Softness Controls the extent of the blend gradient by adjusting where the gradient begins to increase from 0 (full transparency of foreground values). In the SpectraGraph display, this is visible because this changes where the solid black area of the key color wedge ends and the blended area begins. Values range from 0 to 100.
Key Effect Parameters Parameter Description 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. Positive values contract the key color wedge.
18 Effects Parameter Reference Parameter Description Luma Curve Modifies the alpha value of blended pixels by adding an offset based on their luminance. Your Avid editing application uses a graph that you create in the advanced keyframe graph area for the Luma Curve parameter to calculate the offset. For example, you can use this parameter to increase the transparency level of very bright pixels so that they are more completely keyed out while leaving darker pixels unaffected.
Key Effect Parameters Parameter Description Suppress Shadow Lets you remove shadows cast by foreground subjects onto areas of key color such as blue or green screens by increasing the saturation value of pixels for the purposes of calculating the key. The darker the pixel, the more the saturation value is increased. The change in saturation value is used only while calculating the key and does not affect the appearance of the image. Values range from 0 to 100.
18 Effects Parameter Reference 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. Use the menu to control how the blurring applies: • Blur — Adds blurring to both the inside and the outside of the matte edge. • Erode — Adds blurring to the inside of the matte edge only. • Dilate — Adds blurring to the outside of the matte edge only.
Key Effect Parameters 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.
18 Effects Parameter Reference 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.
Key Effect Parameters Parameter Description Spill Saturation Controls the saturation level at which spill correction begins. In the SpectraGraph display, this parameter defines the point of the spill correction zone that surrounds the key color wedge, as shown in the following illustration. Values range from 0 to 100, where 0 is the current Key Saturation parameter value and 100 is 0 saturation (the center point of the CbCr swatch). Diagram of the spill correction zone surrounding the key color wedge.
18 Effects Parameter Reference 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.
Motion Effect Parameters 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. This option is especially useful when there is motion in the footage.
18 Effects Parameter Reference Parameter Description Render 2-Field Motion These options are available for two-field media in interlaced projects only. Effect Using • Duplicated Field — Uses a single field. For two-field media, this reduces the information stored by half because it drops one field of the image, resulting in a lower quality image. For single-field media, this is usually the best choice because of its speed (the other options do not improve effect quality for single-field media).
Reformat Effect Parameters 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.
18 Effects Parameter Reference 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 288.
FluidMotion Edit Parameters for Timewarp Effects n The Feathering and Brush parameters function similarly for FluidMotion Edit as they do for the AniMatte effect and Paint Effect. For more information, see “Feathering” on page 608 and “Brush” on page 607. For information on adjusting a parameter with a thumbwheel, see “Changing a Parameter with a Slider in the Effect Editor” on page 94.
18 Effects Parameter Reference Parameter Description Fast menu Selects which image appears in the Effect Preview monitor and the way in which your Avid editing application displays motion vectors. Show Vectors • Color Warp 50% — Displays the image (frame or field) that your Avid editing application creates halfway between outgoing Image A and incoming Image B as a grayscale image with a color overlay.
FluidMotion Edit Parameters for Timewarp Effects Mode Parameters Mode appears in FluidMotion Edit and in the Intraframe editing tools. For more information on the Mode parameter category for the Intraframe editing tools, see “Paint Effect Mode Parameters” on page 663. This parameter is not keyframeable. Parameter Description Fast menu Determines how FluidMotion applies Vector X and Vector Y values to motion vectors in the area you are editing. Opac.
18 Effects Parameter Reference Rolling Title and Crawling Title Effect Parameters Position Parameters Crawling titles have a Y parameter in the Position parameter category. Use this parameter to move a crawling title up or down in the frame. The number range refers to the position of the title relative to the middle of the screen: • At 0, the middle of the title is aligned with the middle of the screen.
3D Effect Parameters leftmost position) places the top of the roll off the bottom of the screen. The highest positive number (the slider at its rightmost position) places the bottom of the roll off the top of the screen. To reverse the direction of a roll or crawl, adjust the keyframes to reverse the slope of the keyframe graph (so that it slopes down rather than up).
18 Effects Parameter Reference Target Higher Perspective Position Rotation Axis Scaling Crop Lower • Lower parameters in the hierarchy, for example, Crop, do not affect higher parameters, for example, Rotation. In an effect that has both rotation and cropping, for example, the same four edges are always cropped the same way no matter what angle you select for the rotation. • Higher parameters always take into account lower parameters in the hierarchy when processing.
3D Effect Parameters Axis parameter category (left) and Axis button (right) Parameter Description X Moves the center of rotation along the X axis (right or left). Values range from –999 to 999, where 0 is the center of the X axis. Y Moves the center of rotation along the Y axis (up or down). Values range from –999 to 999, where 0 is the center of the Y axis. Z Moves the center of rotation along the Z axis (towards or away from the viewer).
18 Effects Parameter Reference Parameter Description Other Options button Opens the Windows Color dialog box or the Macintosh Colors panel for precise color selection. For more information, see “Adjusting a Color Parameter for an Effect” on page 96. Hue Identifies the border color. Hue is measured as values on a color wheel ranging from 0 to 255. The start (0) and ending (255) values are both red. Sat (saturation) Specifies the amount or intensity of the color.
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 is at the bottom of the 3D parameter hierarchy, so it always crops the same four edges of the object regardless of the object’s orientation. Cropping works only in 2D space so that 3D parameters such as Rotation and Position, which are higher in the hierarchy, take effect later in the processing. You do not need to adjust cropping before the other parameters, but it is often difficult to crop edges after other 3D transformations.
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 Parameter Description Filter Specifies how many pixels on each side of the edge are smoothed. Values range from 1 to 7 (1 pixel on each side to 7 pixels on each side). Center Controls the amount of erosion or expansion your Avid editing application applies to the edges. Erosion shrinks the edges, and expansion enlarges the edges. Values range from 0 (maximum erosion) to 255 (maximum expansion). Soft (softness) Controls the slope of the edges.
3D Effect Parameters Parameters Common to All Key Types Parameter Description Type menu Lets you select one of the following key types: • Full Key — Use to create dissolves (using the Opac parameter) or to switch an effect from one video track or segment to another (using the Swap Sources button). This is the default option. You cannot rotate the key independently of the image. • Luma Key — Use to replace portions of the foreground video with the background video based on brightness or luminance.
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 343.
3D Effect Parameters Scaling (3D) Scaling resizes the image or effect. For information about the 2D version of this effect, see “Scaling” on page 614. 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 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. Values range from –100 to 0, where –50 is the default.
3D Effect Parameters Top to bottom: Page Fold, Ball, and Slats Shape types 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.
18 Effects Parameter Reference Parameter Description Highlight menu Controls highlighting. Select one of the following: • Auto Highlight — Lets your Avid editing application control the highlighting. You need to enable highlighting in the Highlight parameter category in order for highlights to appear. You can also vary the intensity of the highlight in the parameter category. Your Avid editing application positions the shape automatically. This option does not apply to the Ball shape.
3D Effect Parameters Additional Parameters for the Ball Shape Parameter Description Radius Changes the size of the ball. Values range from 0 to 100. Curve Gives the ball a 3D effect. A value of 0 looks like a flat circle (you can use this as a Circle Wipe). Higher values give more depth to the ball’s shape. Values range from 0 to 100. X Pos (X position) Moves the shape to the right or left in relation to the image. The values range from –999 to 999, where 0 is the center of the image.
18 Effects Parameter Reference Considerations for 3D Shape Effects Shape Effects and the Location of the Position Indicator When you apply a shape effect, what you see in the Effect Preview monitor depends on the location of the position indicator in the clip. If the position indicator is at the start or end of the clip it might look as if the effect is missing. Softening the Edges of a Page Fold To soften the edges of a Page Fold effect, enable the Border parameter and adjust the Soft slider.
3D Effect Parameters Controlling the Image on the Flap of a Page Fold Use the Show Top Only and Show Bottom Only commands in the Tuck and Flap menu when you want to control the image in the flap or top. You commonly use these with two video channels. One channel shows the top and the other shows the bottom (the flap). For example, if you want an opaque top and a partially transparent flap, set a transparency value for the video channel containing Show Bottom Only. Use the Opac.
18 Effects Parameter Reference 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 604. subcategories Use Key Color Uses the chroma key color as the color to replace.
3D Effect Parameters Two of the most common uses for Stamp are: • Real-time title builds. Reveal multiple text, graphic, and video elements and stamp them over or under the foreground image when they come to rest. Once the image is stamped, you can add more layers. • Video montage. Bring in a variety of video images, where each one stays in place as you continue to add new ones. n The Stamp, Shadow, and Trail parameters are mutually exclusive, so you can enable only one at a time.
18 Effects Parameter Reference You can use Target in many cases as a global parameter. If you create an effect and want the whole effect to move higher across the frame or to appear inside another frame, such as a television on a set, use Target to move it. It is also good for offsetting another track slightly if you want to use a black graphics image as a drop shadow. Parameter Description X Moves the image along the screen’s X axis (horizontally). Values range from –999 to 999, where 0 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.
Entering and Exiting Color Correction Mode 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. • Poor color balance (or a color cast). For example, parts of an image that should be pure white are instead pinkish, or parts that should be pure blue are instead greenish-blue.
19 Understanding Color Correction Mode The Color Correction Monitors The monitor window in Color Correction mode displays three monitors that let you compare several shots and analyze your images as you correct. The Client monitor is also an important tool for color correction work. Understanding Color Correction Monitors In Color Correction mode, the monitor window contains three monitors.
The Color Correction Monitors In most respects, the monitors in Color Correction mode work like other monitors in your Avid editing application. For example, operations such as activating monitors, showing and hiding the video, displaying timecode information, and using the position bar are the same. For more information, start with “Viewing and Marking Footage” in the Help.
19 Understanding Color Correction Mode Command Description Reference Locks the current frame (the frame the position indicator is on) in the monitor. When the other monitors update as you navigate in the Timeline, this frame continues to display as a reference. This is useful if you want to use a specific place in your sequence as a reference against which to compare all other shots, for example, a segment that contains optimal skin tones.
The Color Correction Monitors Uncorrected image (left, with triangular adjustment handles) and corrected image in a monitor with Dual Split active in Color Correction mode To resize the box that contains the split-screen image: t Drag one of the box’s triangular handles in the monitor. Using Monitor Buttons in Color Correction Mode Some of the buttons beneath the monitors in Color Correction mode have the same functions as they do in other modes.
19 Understanding Color Correction Mode Using the Play Loop Button in Color Correction Mode The Play Loop button has a specialized function in Color Correction mode. The Play Loop button does not appear in the monitor window but does control the playback of material in the monitors. You can access the Play Loop button from the Play tab of the Command palette or from the keyboard if you map it to a keyboard location.
The Color Correction Tool Components of the Color Correction tool in its default configuration. Top left: group tabs. Top right: Color Correction Tool buttons. Bottom, left to right: subdividing tabs, slider controls and Enable buttons, Color Match control and Color Correction buckets. 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.
19 Understanding Color Correction Mode 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.
The Color Correction Tool Example of control over Color Correction groups. The Green and Blue ChromaCurve graphs are adjusted, but the Curves tab is turned off (the Enable button is off in the tab at the top), so the graph adjustments do not currently apply to the segment. Because the HSL tab is turned on, any adjustments in the HSL tab do currently apply to the segment, even though the HSL controls are not currently visible.
19 Understanding Color Correction Mode 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.
The Color Correction Tool Using the Color Correction Tool Buttons In addition to the Enable buttons, and specific control buttons within groups, the Color Correction tool has a group of buttons on the right side that control several important operations. Color Correction Tool buttons. Left to right: Effect Mode button, Color Correction Effect Template button, Correction Mode Settings button, Safe Color Settings button, Comments button. Use these buttons to: • Switch to Effect mode.
19 Understanding Color Correction Mode 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.
The Color Correction Tool 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 798. Adding Comments to Color Correction Effects You can add comments to color-corrected segments to assist you in your work.
19 Understanding Color Correction Mode 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 729. 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.
Working with Color Correction Effect Templates current segment, or you can apply the values for the controls in a single tab in the Color Correction tool by dragging the template onto the tab that contains the group of controls you want to change. You can also apply a Color Correction effect template to multiple segments at once by selecting the segments and then double-clicking the effect template icon in the bin or in the Effect Palette. To do this, you must be in editing or Effects mode.
19 Understanding Color Correction Mode 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. The new effect template is identified in the bin by its effect icon. By default, your Avid editing application names the template using the clip name of the segment.
Working with Color Correction Effect Templates 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 729. 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.
19 Understanding Color Correction Mode t Select the template in the bin or the Effect Palette, and then press Enter (Windows) or Return (Macintosh). t Click the appropriate Color Correction bucket. t If you have mapped the Color Correction bucket to the keyboard, press the appropriate key. Your Avid editing application applies all the Color Correction adjustments in the template to the segment that is the current location of the position indicator.
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 only one color correction pass, you should make that pass using Source relationships. If your needs for the project change, you can still make a second set of corrections using Program relationships. 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.
Using Automatic Color Corrections For more information, see “Keyframing Color Corrections” on page 782. 10. (Option) Add a comment for the correction. 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.
20 Performing Color Corrections Automatic color corrections operate within normal limits for legal video levels. For example, an automatic color correction does not make an adjustment that takes a significant area of an image beyond legal luminance levels.
Using Automatic Color Corrections subdividing tab of the HSL tab are often better for more extreme problems such as bad lighting conditions. However, there are no rules that cover all situations. If automatic correction in one color correction group does not yield good results, remove it and try a correction in the other group. Adjusting Contrast and Balance Automatically You can adjust the contrast and balance the color automatically for an image simply by clicking buttons.
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 characteristics of the area you select and then adjusts color correction controls to make that area color neutral. For step-by-step instructions, see “Using the Remove Color Cast Buttons” on page 754. Remove Color Cast buttons provide more precise control over color cast removal than Auto Balance buttons because their adjustments are limited either by luminance range or by the impact that they have on existing curve graphs.
20 Performing Color Corrections The effect of each added point on the image as a whole varies depending on the shape of the entire curve. In general, each new point affects the image most in areas with similar luminance values to the area you identify with the eyedropper, and affects the image least in areas with very different luminance values. Using the Remove Color Cast Buttons To use a Remove Color Cast button: 1. Enter Color Correction mode, for example, by selecting Toolset > Color Correction. 2.
Using Automatic Color Corrections You determine which automatic color corrections your Avid editing application makes by setting options in the AutoCorrect tab of the Correction Settings dialog box. A common setting that often solves most basic color problems applies two automatic corrections, one to correct contrast and one to correct color balance. The procedure in this topic describes how to set up this setting.
20 Performing Color Corrections To correct multiple segments with the Color Correction effect: 1. In Source/Record mode (editing mode on NewsCutter systems) or Effect mode, select the segments in the Timeline that you want to correct. For more information on selecting multiple segments, see “Selecting and Deselecting Segments” in the Help. 2. Click the Effect tab in the Project window. 3. In the Effect Palette, click the Image category. 4. Double-click the Color Correction Effect icon.
Using the Color Match Control Because the Color Match control can display the RGB color values for any point in an image, it is also useful as an information palette that lets you check how far the colors in an area of an image depart from the color values you want to achieve. For more information, see “Getting RGB Information Using the Color Match Control” on page 762. Making a Correction with the Color Match Control The following illustration shows the Color Match control.
20 Performing Color Corrections For complete information on the Correction Mode Settings dialog box, see “Customizing Color Correction Mode Settings” on page 740. 4. Select the input color (the color to be replaced): a. Move the pointer over the input 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 input value.
Using the Color Match Control 6. Click the Match Type button, and select a Match Type to determine the type of match your Avid editing application makes. The options available in the Match Type menu depend on the group in which you are working. For more information on Match Type options, see “Match Type Options” on page 759. 7. Click the Match Color button to make the correction. Your Avid editing application adjusts the current segment and resets the group controls to reflect the adjustment.
20 Performing Color Corrections Group Description Curves • Master: Your Avid editing application matches based on the luminance of the color in the output color swatch. • R + G + B: Your Avid editing application matches based on the values of all three color channels of the color in the output color swatch. • NaturalMatch: Switches the NaturalMatch feature on and off. Choose NaturalMatch to select or deselect the NaturalMatch feature.
Using the Color Match Control Top left: uncorrected image. This image is very gray and shows poor skin tones. The RGB values at the center of the man’s forehead are R: 61, G: 62, B: 66 — an almost completely neutral gray. Top right: reference image. This image shows much better color, including good skin tones (RGB values of R: 110, G: 70, B: 56) and a better color for the canvas of the tent. You can use the Color Match control to make the color characteristics of the two shots match better.
20 Performing Color Corrections The color appears in the bin as a rectangular color swatch icon. Your Avid editing application assigns the color a name based on the current Saved Color Labels settings in the Correction Mode Settings dialog box. For more information, see “Customizing Color Correction Mode Settings” on page 740. Examples of custom color swatches as they appear in a bin 2. (Option) If you want to rename the custom color, click the existing name in the bin and type a new name.
The HSL (Hue, Saturation, Luminance) Group The HSL group also lets you specify an offset for the hue of an image, which is especially useful for correcting a color cast. For example, when an object in an image that should be a neutral gray appears tinged with a color, you can use the offset adjustment to restore the correct gray color. You can make Hue Offset adjustments in three different luminance ranges — highlights, midtones, and shadows. This gives you more precise control over color cast corrections.
20 Performing Color Corrections For more information, see “Using the Sliders in the Controls Tab of the HSL Group” on page 764 and “Controls Tab Reference” on page 765. t Use the Color Match control to make a correction by selecting input and output colors. For more information, see “Using the Color Match Control” on page 756. Using the Sliders in the Controls Tab of the HSL Group The following illustration shows the components of the HSL controls. Components of a control in the Controls tab.
The HSL (Hue, Saturation, Luminance) Group 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.
20 Performing Color Corrections 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 766 and “Using the ChromaWheel Crosshair Pointers” on page 769.
The HSL (Hue, Saturation, Luminance) Group 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. ChromaWheel Crosshair Pointers Each ChromaWheel control contains a crosshair pointer that identifies the currently selected point on the wheel. Each pointer has a distinctive appearance to help you distinguish them from one another.
20 Performing Color Corrections 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. To remove a yellow cast, add some blue.
The HSL (Hue, Saturation, Luminance) Group 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 769. t Type values in the Hue and Amount text boxes for the appropriate ChromaWheel to set the offset you want.
20 Performing Color Corrections Hue Offsets Tab Reference The following table describes the individual controls available in the Hue Offsets tab of the HSL tab. Control Description Gain Adjusts the gain or white point for the image. Values range from 0 to 200, where 100 represents the unchanged image.
The Curves Group enable the equivalent slider in the HSL group and the tab hierarchy containing it. For more information on the function of these controls, see “Controls Tab Reference” on page 765 and “Hue Offsets Tab Reference” on page 770. 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.
20 Performing Color Corrections The default curve (before you make any adjustments) is an ascending 45 degree straight line, because input and output values are the same across the entire range. The control points for the two ends of the curve are set by your Avid editing application, but you can change their location. 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.
The Curves Group For examples showing how various curves affect an image, see “Examples of ChromaCurve Graph Adjustments” on page 777. 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.
20 Performing Color Corrections To select a control point: t Click the control point you want to select. A circle appears around the control point to indicate that it is the active control point. Active control point (top) and inactive control point (bottom) 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.
The Curves Group t Click in one of the text boxes, then press the Ctrl key and use the mouse scroll wheel to change the value by small increments. t Click in one of the text boxes, then press the Ctrl and Shift keys (or the Ctrl and Alt keys) and use the mouse scroll wheel to change the value by increments of -10 or +10. To delete a control point: 1. Select the control point you want to delete. A circle appears around the control point. 2.
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 example, NaturalMatch is selected and the calculation is not complicated by other control points, so the new point is created at the exact location of the crosshair marker. The Green input and output values from the color swatches appear in the Input and Output text boxes below the graph. Examples of ChromaCurve Graph Adjustments The following illustrations show a series of simple adjustments that use the Red ChromaCurve graph in the Curves tab.
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 Image from adjustment 2 (left) and result of adjustment 3 (right) 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.
20 Performing Color Corrections Image from adjustment 3 (left) and result of adjustment 4 (right) 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.
The Curves Group Image from adjustment 4 (left) and result of adjustment 5 (right) Adjustment 5 boosts red primarily in the highlights range. The most noticeable difference is in the crop in the background. In adjustment 4, which boosts red more in the lower ranges, the crop looks more orange. In adjustment 5, which boosts red very little in the shadows range, the crop looks more yellow-green.
20 Performing Color Corrections Image from adjustment 5 (left) and result of adjustment 6 (right) Adjustment 6 boosts red primarily in the shadows range. In comparison with adjustment 5, there is much more red and orange in the darker parts of the image (for example the crop in the lower right and the lower part of the shirt). The clouds, however, have much less of a red highlight.
Keyframing Color Corrections • Automatically add keyframes by moving the position indicator below the Current monitor and then adjusting any keyframeable color correction parameter. • Check how your animated color corrections are working by scrubbing through clips in Color Correction mode. Color correction parameter controls and graphs update as you scrub to show the parameter values at each point in the clip.
20 Performing Color Corrections To enter Color Correction mode from Effect mode: t Click the Color Correction Mode button, for example, in the Timeline palette. The Color Correction mode layout appears and the Effect Editor remains open. To enter the standard Effect Mode layout from Color Correction mode: t Click the Effect Mode button. To create a Color Correction toolset that includes the Effect Editor: 1. Select Toolset > Color Correction. 2. Click the Effect Mode button. 3.
Keyframing Color Corrections Parameter Types n Description Advanced keyframe graphs use a larger range of numerical values for Hue parameters than the Color Correction tool. In the Effect Editor, values range from -360 degrees to +360 degrees. In the Color Correction tool, values range from -180 degrees to +180 degrees. Hue adjustments in the Effect Editor might display with different numerical values from those in the Color Correction tool, even though the color represented is the same.
20 Performing Color Corrections Consider adding a starting keyframe to more than one parameter, for example, to all of the parameters in the group you want to adjust. You then have a starting point for further adjustments to any parameter. You can use the Remove Redundant Keyframes command when you complete your adjustments to remove any keyframes that have no effect on the finished appearance. 2.
Working with the Waveform Monitors and Vectorscope Monitor Waveform monitors display all the information for the current field or frame overlaid in the waveform. Each left-to-right trace in the waveform represents one scan line. If you see a bright object on the left side of the image, you see its peak on the left side of the waveform. A bright object in the top left of the image produces the same waveform if it is in the bottom left of the image.
20 Performing Color Corrections Command Descripton Quad Display Displays the following waveform and vectorscope information in a single monitor (clockwise from the top left corner): • YC Waveform • Vectorscope • RGB Histogram • RGB Parade For information on each display, see its individual entry in this table.
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 Typical problems include: - Color levels too high or too low (see “Safe Color Limits with Waveform and Vectorscope Information” on page 821). - 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. - Images imported at the wrong level settings.
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 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. HSL Auto Balance Makes adjustments to the three ChromaWheels to balance the colors in the image. This is the equivalent of clicking the Auto Balance button in the Hue Offsets subdividing tab of the HSL tab.
20 Performing Color Corrections If color corrections that you did not apply from the Effect Palette are in the same segment — indicated by colored lines if Color Correction is selected in the Timeline Fast menu — you cannot delete those corrections in Effect mode. To remove those color corrections, you must enter Color Correction mode and use the Remove Effect button.
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 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. Even when the final image is intentionally a distortion of reality, it is useful to restore the original look before you make subsequent alterations.
Guiding Principles for Color Correction Stages of Color Correction A typical color correction for a shot might include the following main stages of adjustment: • Correcting the tonal range (or contrast ratio). • Neutralizing color casts. • Achieving consistency between the shots in a sequence. • Achieving a final look. Different kinds of projects lead to different emphases among these stages and might even make some unnecessary. Different working habits also affect how you handle these stages.
21 Color Correction Techniques You have a number of choices for controls to use to make white point and black point adjustments, including the Gain and Offset sliders in the Hue Offsets subdividing tab of the HSL group and the Master curve in the Curves tab. You can set all of these controls automatically using the Auto Black, Auto Contrast, and Auto White buttons. If necessary, you can begin with an automatic correction and then fine-tune the adjustment manually.
Guiding Principles for Color Correction other images, you might not have any gray color at all, but you will probably have some other area where even a small departure from neutral color is noticeable. Human skin is the most common example. Or you might choose to focus on an area where you know the true color, such as a person’s hair.
21 Color Correction Techniques to make shot-to-shot corrections. If you expect to need Program relationships for significant finishing adjustments that apply across all the segments in your sequence, you should stay with Source relationships when making shot-to-shot adjustments. Achieving a Final Look Some projects might require final adjustments to create a finished look.
Examples of Color Correction Problems Example 1 Analysis of Original Image Uncorrected image This image has two obvious problems. First, it lacks contrast and detail because it does not have a full tonal range. A correction will improve sharpness and detail in areas such as the shirt and the man’s hair. Second, the image has a strong yellow-green cast. This leads in particular to a very unnatural skin tone.
21 Color Correction Techniques Split screen: uncorrected image and image after Contrast correction Step 2: ChromaWheel Correction The second step of this correction removes the color cast by making a single adjustment on the Midtones ChromaWheel control on the Hue Offsets tab of the HSL group. 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.
Examples of Color Correction Problems Split screen: uncorrected image and image after both corrections Alternative Techniques There are several alternate ways to make the tonal range adjustments to this image. You could use the Gain, Gamma, and Setup sliders as an alternative to the basic adjustment on the Contrast slider. You could also use the Master ChromaCurve graph in the Curves tab.
21 Color Correction Techniques 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.
Examples of Color Correction Problems 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.
21 Color Correction Techniques Though these samples might not be from precisely the same part of the helmet in all three cases, they clearly confirm the nature of the correction. They indicate a relative gain in red and green levels, a reduction in blue levels, and a much closer match with the levels in the reference frame. Alternative Techniques You could make the Blue ChromaCurve graph correction in the Hue Offsets tab or even with a series of adjustments to the HSL sliders in the Controls tab.
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 814. RGB gamut refers to the intensity of each individual color channel — red, green, and blue.
Understanding the Graphical View of Safe Color Settings Option Description Units buttons Define the units of measurement for the three types of safe color values. Click the Composite Units button and select either IRE or mVolts (millivolts). Click the Luminance and RGB Gamut buttons and select from the following options: • 8 Bit: Measures the adjustment on a scale from 0 to 255. • % (percent): Measures the adjustment on a percentage scale. Percentage values can be lower than 0 or higher than 100..
22 Safe Colors Safe Color Settings graph in the Safe Color Settings dialog box The graph shows colored bars that represent the current low and high levels for each limit type. The colors are the same as those used to display safe color warnings in the monitors. It also displays gray vertical lines that represent the default high and low levels for each limit type.
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 In this example of a Color Match swatch for an intense white color, both the Red and Green levels exceed the High RGB Gamut setting of 235 and warning triangles appear. The Blue value remains just within the limit. Managing Safe Color Warnings You turn safe color warning on or off, and set the range of values your Avid editing application should consider safe, in the Safe Color Settings dialog box.
22 Safe Colors To set a safe color value range for one of the value types (Composite, Luminance, or RGB Gamut): 1. Click the Units button for the value type you want to set in the Safe Color Settings dialog box, and select a unit of measurement for your values. 2. Type low and high values in the text boxes for the value type. For example, you might enter values supplied by a broadcaster or encoder.
Safe Color Limits with Waveform and Vectorscope Information 4. Under the Master ChromaCurve graph, type 235 in both the input text box and the output text box. The control point moves to 235, 235. Your Avid editing application adjusts RGB values above 235 down to 235. To bring composite levels within safe limits: 1. First adjust luminance and RGB levels using the previous procedures. If composite levels do not fall within safe limits, continue with step 2. 2. Click the Curves tab. 3.
22 Safe Colors Use Y Waveform to see the black and white levels of your image. Sometimes, particularly with white levels, keeping the white peaks within the 100% limit does not produce a pleasing level for the rest of the image. This is particularly common with backlit subjects, where the sky or a window is in the background and the lighting on the foreground is insufficient. In these cases, you might want to adjust for the foreground and leave the background too bright.
Working with the Safe Color Limiter Effect Display Component Value Display Color RGB Parade Red Legal Red Illegal White Legal Green Illegal White Legal Blue Illegal White Green Blue Working with the Safe Color Limiter Effect In addition to the safe color warning system, you can also limit colors to safe ranges by applying the Safe Color Limiter effect.
22 Safe Colors The following information provides important additional details on how the Safe Color Limiter effect operates: • The Safe Color Limiter automatically takes variations in broadcast formats into account, for example the differences between PAL and NTSC material, and the difference in the setup offset between NTSC and NTSC-J.
Working with the Safe Color Limiter Effect By default, when the Effect Editor is open, the effect changes the display in the Source monitor to an analysis mode that highlights pixels in the image that fall outside the current safe color limits. For more information on using and understanding this display, see “Using the Safe Color Limiter Analysis Display” on page 825. 4. If necessary, enter Effect mode and adjust effect parameters in the Effect Editor.
22 Safe Colors Color Description Red Indicates pixels that fall outside RGB gamut limits for red. Green Indicates pixels that fall outside RGB gamut limits for green. Blue Indicates pixels that fall outside RGB gamut limits for blue. In the illustration above, the pixels highlighted in yellow have color values that fall outside the composite limits currently being used by the effect. When you adjust the limit parameters in the Effect Editor, the analysis display updates.
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Index Numerics 0% to 100% Timewarp effect 593 1:66 Mask Film effect 562 1:85 Mask Film effect 562 10 bit units for color correction 740 100% to 0% Timewarp effect 593 10-bit effects processing 154, 156 14:9 Letterbox Reformat effect 586 16:9 display Color Correction monitors 730 in the Title tool 385, 385 16:9 Letterbox Reformat effect 586 16:9 Mask Film effect 562 16-bit effects rendering 172 24p or 25p editing projects finding flaws from telecine transfer 505 3D effect p
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Add To Open Groups command (Add Keyframe Mode menu) 117 Adding comments to color corrections 741 highlights to 3D effects 713 keyframes to keyframe graphs 113 pages to a rolling or crawling title 405 Adjusting colors for effects 96 effects 43 Pan and Scan effect 291 Render settings 167 shadow softness in titles 416 Advanced effect parameters (Avid Pan & Zoom effect) 656 Advanced keyframes Add Keyframe Mode menu and Delete Keyframe Mode menu 117 adding 113 aligning 126 and
ABCDEFGHIJKLMNOPQRSTUVWXYZ Auto Balance button (Color Correction tool) 751 Auto Contrast button (Color Correction tool) 751 Auto Size mode (Title tool) 402 Auto Size Mode command (Object menu) 402 AutoCorrect options (Correction Mode settings) 798 Automatic color correction See Color correction Automatic Color Correction effect templates update behavior 743 Automatic color corrections adjusting contrast and balance 751 considerations when using 749 differences between groups 749 order of corrections 749 ove
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Blur Effect Image effect 571 Blur effect parameters 658 Blur mode, Paint Effect example 522 Blurring images with Defocus parameters 708 Bold button (Title tool) 396 Bold command (Object menu) 396 Bold text in titles 396 Border (3D) effect parameters 705 Border effect parameters 606 Border effect parameters (Illusion FX) 626 Bottom Centered Squeeze effect 591 Bottom Left Corner Peel effect 582 Bottom Left L-Conceal effect 579 Bottom Left Squeeze effect 591 Bottom Left to To
ABCDEFGHIJKLMNOPQRSTUVWXYZ ChromaCurve graphs (Curves group in Color Correction tool) described 770, 771 making adjustments to 773 setting color background 740 ChromaWheel controls (HSL group in Color Correction tool) correcting color cast with 766 crosshair pointers 769 setting color background 740 understanding 766 Chrominance of Color Effect 661 Circle and Oval tool (Title tool) 400 Circle effect parameters (Illusion FX Pattern Generator effect) 642 Circle Shape Wipe effect 588 Clear Monitor command (Cli
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ neutralizing color 804 restoring an original look 801 stages of correction 803 white point adjustments 803 Color Correction Image effect 571 Color Correction mode Composer Window in, described 730 customizing 740 Effect Editor in 783 entering and leaving 729 Color Correction Mode button (Timeline) 729 Color Correction monitor keyframes 785 Color Correction monitors 16:9 display in 730 customizing image display 731 Dual Split display in 732 reference frame display in 731 So
ABCDEFGHIJKLMNOPQRSTUVWXYZ described 763 making corrections with 763 Converting formats with Timewarp effect 248 Coordinate system for 3D effects 366 Coordinates display for effects 84 Copy command for graphic objects 418 for title elements (Edit menu) 418 Copying advanced keyframes 128, 130 keyframes 148 tracking data 354 Core effect parameters (Illusion FX Lightning effect) 634 Core effect parameters (Illusion FX Sparkler effect) 649 Corner Pin effect parameters 706 Corner pinning an image 374 Correcting
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Delete From All Parameters command (Delete Keyframe Mode menu) 117 Delete From Enabled Groups command (Delete Keyframe Mode menu) 117 Delete From Open Graphs command (Delete Keyframe Mode menu) 117 Delete From Open Groups command (Delete Keyframe Mode menu) 117 Delete Keyframe command (Keyframe track shortcut menu) 115 Deleting effect media files 183 keyframes 148 keyframes from keyframe graphs 115 pages from rolling or crawling titles 405 tracking data points 338 Demoting
ABCDEFGHIJKLMNOPQRSTUVWXYZ Film 562 Generator 564 Illusion FX 564 Image 570 Key 575 L-Conceal 579 Matrix Wipe 580 Motion effects 581 Peel 582 PlasmaWipe 584 Push 585 Reformat 586 Sawtooth Wipes 587 Shape Wipe 588 Spin 590 Squeeze 591 Timewarp effects 592 Title effects 598 Xpress 3D 599 Effect Editor 89, 89, 90, 90, 94, 95, 96, 104, 110, 117, 142, 146, 312, 319 displaying in Color Correction mode 783 for adjusting titles 438 for Intraframe editing 470 nested effects 271 transition parameters 64 Effect Editor
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Feathering 608 Feathering (FluidMotion Edit) 698 Filtering (Avid Pan & Zoom effect) 655 FluidMotion Edit 698 for transitions 615 Foreground 609 Foreground (3D) 710 Freeze Frame 694 Generation (Illusion FX Lightning effect) 633 Generation (Illusion FX Ripple effect) 645 Generation (Illusion FX Sparkler effect) 648 Generator 616 Glow (Illusion FX Lightning effect) 634 Glow (Illusion FX Sparkler effect) 649 Grid 610 Highlight 713 Highlight Color 714 holding values in keyframe
ABCDEFGHIJKLMNOPQRSTUVWXYZ Source Monitor Analysis (Safe Color Limiter effect) 672 Spill (SpectraMatte effect) 690 Spill Suppression (3D effects) 724 Spill Suppression (Chroma Key effect) 678 Stamp 724 Strobe Motion 695 SubCap 616 Target 725 Timecode 621 Title 702 Tracking 614, 707 Trail 726 Variable Speed 695 Velocity (Avid Pan & Zoom effect) 653 Effect Preview monitor 42, 44, 78, 79, 81, 82, 83, 87, 98, 111, 312, 324 Effect templates 47, 69 displaying in Effect Palette 26 Effect templates for color correc
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ sizing to fit media 40 SpectraMatte 252, 253, 255, 257 Stabilization 317 SubCap 447 Submaster 275, 277 Timeline View settings 29 Timewarp 210 Trim settings 30 wire frames 98 Effects (2D) PlasmaWipe 535 promoting to 3D 364 Effects (3D) adjustment handles 368 applying 362 applying 3D Warp 362 compatibility between Avid applications 363 coordinate system for 366 creating Chroma Key 378 creating Corner Pin 374 creating cropped foreground 373 creating Page Curl 371 creating Sta
ABCDEFGHIJKLMNOPQRSTUVWXYZ Feathering effect parameters (FluidMotion Edit) 698 Field parameter for Blowup effects 616 Field processing 505 Film Dissolve Film effect 563 Film effects 1:66 Mask 562 1:85 Mask 562 16:9 Mask 562 Anamorphic Mask 562 Blowup 562 Film Dissolve 563 Film Fade 563 Mask 562 overview of reference information 562 Film Fade Film effect 563 Film Grain Illusion FX effect 565 Film projects position information 85 Filtering effect parameter (Avid Pan & Zoom effect) 655 Finding tracking data po
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Go to Next Uncorrected Shot button (Color Correction Composer window) 733 Go to Previous Uncorrected Shot button (Color Correction Composer window) 733 Graphics imported 265 Graphics for titles displaying grid for 389, 391 Graphics in titles drawing 400 Graphics tablet 473 Gray point adjustments guidelines for 803 Greek language Title tool 445 Green dot 25 in Timeline 53 Grid for title alignment 389, 391 snapping to in Title tool 391 Grid button (Effect Editor) 82, 84 Grid
ABCDEFGHIJKLMNOPQRSTUVWXYZ Circle effect parameter for Pattern Generator effect 642 Core effect parameter for Lightning effect 634 Core effect parameter for Sparkler effect 649 Generation effect parameter for Lightning effect 633 Generation effect parameter for Ripple effect 645 Generation effect parameter for Sparkler effect 648 Glow effect parameter for Lightning effect 634 Glow effect parameter for Sparkler effect 649 Illumination effect parameter for Ripple effect 646 Input effect parameter for Color Mi
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Paint 573 Resize 573 Safe Color Limiter 574 Scratch Removal 574 Stabilize 575 Submaster 575 Importing caption files into the SubCap effect 453 to the Avid Pan & Zoom effect 652 Indent Rows command (Effect Editor shortcut menu) 146 Input effect parameters (Illusion FX Color Mix effect) 626 Input effect parameters (Illusion FX Crystal effect) 627 Input effect parameters (Illusion FX Film Grain effect) 627 Input effect parameters (Illusion FX Flare effect) 628 Input effect pa
ABCDEFGHIJKLMNOPQRSTUVWXYZ Inverting color effects 658 Inverting keys Full 710 IRE units for color correction 740 Iris Illusion FX effect 568 Isolating flaws for removal 509 Italic button (Title tool) 396 Italic command (Object menu) 396 Italic text in titles 396 J Join in Intraframe objects 485 Justifying title text 397 K Kaleidoscope Illusion FX effect 565 Kerning title text 397 Kerning button (Title tool) 397 Key Color effect parameters (RGB Keyer effect) 678 Key Color effect parameters (SpectraMatte e
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Linear Path option Avid Pan & Zoom effect 654 Linear Velocity option Avid Pan & Zoom effect 653 Lines attribute options 408 in titles 400 Locating AVX_Plug-Ins folder (Macintosh) 187 Locating AVX_Plug-Ins folder (Windows) 188 Lock command (Object menu) 418, 501 Locked objects hollow handles indicating 418 Locking and unlocking Intraframe objects 501 objects in titles 418 Lower Left Diagonal Edge Wipe effect 561 Lower Right Diagonal Edge Wipe effect 561 Lowlight Color effec
ABCDEFGHIJKLMNOPQRSTUVWXYZ Add Page (Object menu) 405 Auto Size Mode (Object menu) 402 Bring Forward (Object menu) 501 Bring to Front (Object menu) 501 Copy to Page (Object menu) 405 Export Title (File menu) 430 Fast Frame Display (Special menu) 505 Group (Object menu) 501 Insert Page (Object menu) 405 Lock (Object menu) 501 Move to Page (Object menu) 405 Re-create Titles and Mattes (Clip menu) 442 Remove Page (Object menu) 405 Send Backward (Object menu) 501 Send to Back (Object menu) 501 UnGroup (Object m
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ tracking engines 327 Tracking window 314, 315 workflow 310 Movement effect parameters (Illusion FX Sparkler effect) 649 Moving advanced keyframes 123 keyframes 148 perspective point of 3D effects 714 tracking boxes 324 tracking data points 338 Multiformat titles 282 Multilayer effects (3D) 3D Matte Key 364 Multiple tracks in AVX plug-in effects 190 mVolt (millivolt) units for color correction 740 N NaturalMatch described 760 example of use 760 Nested effects 267, 269, 270
ABCDEFGHIJKLMNOPQRSTUVWXYZ Panning Avid Pan & Zoom effect 296, 653 keyframe graphs 110 Parameters Blur effect 532 Mosaic effect 532 Parameters (2D) Acceleration 531 Blur effect 531 Feathering 531, 532 Mosaic effect 531 Paint Effect 470 Parameters (3D) accessing 361 adjustment handles 368 Target 725 Parameters for effects 89, 90, 94, 95, 96, 96 See Effect parameters Partial render 171 Particle Blast Illusion FX effect 568 Particle Orbit Illusion FX effect 568 Particle Wind Illusion FX effect 568 Paste comman
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Position effect parameters 613 Position effect parameters (Rolling Title and Crawling Title effects) 702 Position Graph display button (Timewarp effect) 215 Position graph for Timewarp effects activating 215 scale bars 217 Position H effect parameter (14:9 Letterbox Reformat effect) 697 Position information for film projects and effects 85 Posterization of Color Effect 662 Post-key color correction 260 Precompute for title effect clip 431 Preview command (Object menu) 389
ABCDEFGHIJKLMNOPQRSTUVWXYZ overview of reference information 586 Pan and Scan 586 Region Stabilize effect 350, 352 Remove Color Cast buttons (Color Correction tool) 752 Remove Effect button 39 Remove Effect button (Color Correction Composer window) 733 Remove Redundant Keyframes command (Keyframe track shortcut menu) 116 Removing redundant keyframes 116 titles from a sequence 436 Removing color casts guidelines for 804 Render at Position command (Clip menu) 54, 60 Render Effect button 54 Render Effect butto
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ RGB Keyer Key effect 578 RGB Levels effect parameters (Safe Color Limiter effect) 673 RGB levels option Avid Pan & Zoom effect 656 RGB Parade command (Color Correction monitor Source menu) 731 RGB Parade display (Color Correction monitors) 787 RGB values displaying with the Color Match control 762 Right Box Box Wipe effect 559 Right Centered Squeeze effect 591 Right to Left Conceal effect 560 Right to Left Peel effect 582 Right to Left Push effect 585 Ripple Illusion FX ef
ABCDEFGHIJKLMNOPQRSTUVWXYZ Scratch effect parameters (Scratch Removal effect) 674 Scratch removal finding flaws from telecine transfer 505 frame or field processing 508 isolating flaws 509 parameter setting examples 516 removing flaws 510, 512 selecting clean material 505 using effect parameters 515 using IN and OUT points 514 using nearby frame or field 505 within single frame or field 505 workflow for 505 Scratch Removal button 509 Scratch Removal effect (2D) described 467 Scratch Removal Image effect 574
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ advanced keyframe graph display 104 Single-field step 88 Size effect parameter (Avid Pan & Zoom effect) 653 Size of effect adjusting 725 Sizing effects 40 Skew effect parameters 723 Slats Shape effect 718 Slider controls (Effect Editor) 94 Slip Keyframe command (shortcut menu for keyframe track) 128 Slipping advanced keyframes 126 Slow motion effect 201 Smooth Selected Points button (Tracking window) 315 Snap to Grid command (Alignment menu) 391 Soft shadows adding to titl
ABCDEFGHIJKLMNOPQRSTUVWXYZ Step Backward One Field button (Effect Preview monitor) 79, 88 Step Forward One Field button (Effect Preview monitor) 79, 88 Step In button (Timeline) 269 Step Out button (Timeline) 269 Stepping two-field media 88 Stretch Points Mode button (Tracking window) 315 Stretching tracking data points 341 Strobe Motion effect 204 Strobe Motion effect parameters 695 Strobe Motion Motion effect 581 Stylesheets for SubCap effect 461 SubCap effect adding information and custom data 455 adjust
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Thumbwheels command (Effect Editor shortcut menu) 146 Timecode Burn-In Generator effect 564 Timeline adjusting effects 74 changing nested effect order 272 color coding for effects 25 deleting effects 39 dragging titles into 434, 435 effect icon display 29 expanding nested effects 269 real-time playback information bars 152, 153 Timeline Settings dialog box 153 Timeline View Name button (Timeline) 29 Timewarp effect creating 213 customizing 215 Timewarp effects 0% to 100% 5
ABCDEFGHIJKLMNOPQRSTUVWXYZ adjusting in Effect Editor 438 adjusting using keyframes 438 aligning 418 applying styles 429 bold text in 396 color of background 390 copying or moving objects to 405 crawling, defined 401 creating a glow or halo effect 416 creating color background for 390 creating media for unrendered 443 creating rolling or crawling 401 distributing 418 dragging into Timeline 434, 435 editing into a sequence 432 effect clips, described 431 exporting as a graphics file 430 fading 437 fast savin
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ preparing to generate 318 reusing 354 smoothing 337 Tracking effect parameters 614, 707 Tracking engines described 327 Tracking information 81 Tracking window 314, 315 setting up tracking 326 Tracks video, as background in Title tool 390 Tracks of video gain levels 676 swapping 3D effects on 710 swapping background and foreground (3D) 370 Trail effect parameters 726 Training services 19 Transition Corner Display button 74 Transition Effect Alignment button 64 Transition Ef
ABCDEFGHIJKLMNOPQRSTUVWXYZ displaying 787 Vectorscope monitors (Color Correction) using to achieve safe color limits 821 Vectorscope monitors (Color correction) described 787 guidelines for use 795 Velocity effect parameter (Avid Pan & Zoom effect) 653 Vertical Blinds Shape Wipe effect 588 Vertical Edge Wipe effect 561 Vertical Open Edge Wipe effect 561 Vertical Open Sawtooth Sawtooth Wipe effect 587 Vertical Sawtooth Sawtooth Wipe effect 587 Vertical zoom slider for keyframe graphs 107 Video background, up
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Zoom to Curve Height button (Effect Editor keyframe graphs) 108 Zooming Avid Pan & Zoom 296 Avid Pan & Zoom effect 653 Effect Preview monitor 98 keyframe graphs 107 Z-Rotation 532 Z-rotation tool for intraframe effects 498 858
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