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Table Of Contents

Title Page
Contents
Using This Guide
- Symbols and Conventions
- If You Need Help
- Accessing the Goodies Folder
- Avid Training Services
Effects Concepts and Settings
- 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 Settings for Effects
- Setting Effect Grid Options
- Setting Effect Aperture Options
Basics of Effects Editing
- Applying Effects
  - Applying Effects From the Effect Palette
  - Using the Fade Effect Button
- 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 and Customizing Effects
- Applying Dissolve Effects
  - Applying a Dissolve Effect Using the Transition Parameters
  - Adding Dissolves with the Head Fade and Tail Fade Buttons
- Working with the Quick Transition Dialog Box
- Adjusting Transitions in the Timeline
- Modifying Transition Effects in the Timeline
- Preserving Effect Transitions in the Timeline
- Replacing an Effect in Effect Mode
- Using the Effect Preview Monitor
- Stepping Through Field-Based Media
- Using the Effect Editor
- Manipulating Effects Directly in the Effect Preview Monitor
Working with Keyframes
- Understanding Keyframes
- Track Types for Advanced Keyframes
- Viewing Advanced Keyframe Graphs
- Manipulating Advanced Keyframes
- Controls and Settings for Advanced Keyframes
- Working with Standard Keyframes
Playing Effects, Rendering Effects, and Managing Effect Media Files
- Real-Time Playback of Video Effects
- ExpertRender
- Creating and Using Render Settings
- Render Settings Options
- Using Partial Render
- Using 16-Bit Processing Support for Rendered Effects
- Ensuring the Quality Level of Precomputed Clips
- Rendering 3D Effects Using the HQ (Highest Quality) Option
- Rendering Effects for the Media Station XL
- Managing Effect Media Files
Working with Plug-In Effects
- Understanding AVX Plug-Ins
- Freeing Memory Used by AVX 1.x Plug-ins
- Installing AVX Plug-ins
- Locating the AVX 1.x Plug-Ins Folder (Windows Only)
- Updating and Promoting AVX Plug-ins
- Assigning Multiple Tracks in Plug-in Effects
- Using AVX Plug-In Controls
- Using the Client Monitor to Preview a Plug-In Effect
- Troubleshooting AVX Plug-Ins
- Working with the Avid After Effects EMP Plug-In (Windows Only)
- Considerations for Using the Avid After Effects EMP Plug-in (Windows Only)
Creating and Customizing Motion Effects
- Understanding Motion Effects
- Creating Traditional Motion Effects
  - Creating a Traditional Freeze Frame Effect
  - Creating a Rolling Clip That Freezes
  - Creating a Traditional Variable Speed Effect
  - Using the Fit to Fill Button to Create a Variable Speed Effect
  - Creating a Traditional Strobe Motion Effect
- Playing and Rendering Motion Effects
- Understanding Timewarp Effects
- Creating Timewarp Effects
- Promoting a Traditional Motion Effect to Timewarp
- Using the Motion Effect Editor
- Scaling a Graph Display in the Motion Effect Editor
- Using the Source Anchor Frame
- Using Adaptive Deinterlacing
- Motion Effect Editor Reference
- Rendering Options for Timewarp Effects
- Timewarp Speed Graph Reference
- Timewarp Position Graph Reference
- Timewarp Effect Examples
  - Speed Graph Example: Creating a Rolling Clip That Freezes
  - Speed Graph Variations: Moving Keyframes
  - Strobe Motion Using the Timewarp Effect
  - Customizing an Effect with the Position Graph
  - Position Graph Example: Reverse Motion
- Understanding FluidMotion Timewarp Effects
- FluidMotion Workflow
- Using FluidMotion Edit
- Example of Correcting FluidMotion Artifacts
- Timewarp Preset Effects
- FluidFilm Preset Effects
- Setting Source and Output Options for Format Conversion with Timewarp Effects
Layered and Nested Effects
- Key Effects
- Working with Imported Graphics and Animation
- Nesting Effects
- Submaster Editing
- Collapsing Layers into a Submaster Effect
- Performing a Video Mixdown
Working with Camera Effects
- Using the Reformat Effects
- Working with the Pan and Scan Effect
- Using Avid Pan & Zoom
Motion Tracking and Stabilization
- Understanding Motion Tracking
- Workflow for Motion Tracking
- Effects and Effect Parameters That Use Tracking Data
- Understanding the Tracking Interface
- Opening The Tracking Window
- Tracking Window Components
- Setting Up an Effect for Tracking
- Preparing to Generate Tracking Data
  - Enabling Tracking in the Effect Editor
  - Understanding Tracker Selectors and Tracker Function
  - Creating and Mapping Trackers
  - Enabling, Disabling, and Deleting Trackers
  - Setting Up Tracking in the Effect Preview Monitor
  - Guidelines for Positioning and Resizing Tracking Boxes
  - Setting Up Tracking in the Tracking Window
  - Understanding Tracking Engines
- Generating Tracking Data
- Offset Tracking
  - Understanding Offset Tracking
  - Using Tracker Regions
  - Performing Offset Tracking
- Understanding Tracking Data
- Customizing the Display of Tracking Data
- Setting the Reference Frame for a Tracker
- Understanding the SteadyGlide and Smoothing Options for Tracking
- Using SteadyGlide or Smoothing to Process Tracking Data
- Selecting, Deleting, and Moving Tracking Data Points
- Moving Tracker Data Points Outside the Frame Boundary
- Stretching a Range of Tracker Data Points
- Limiting the Effect of Position Tracking Data to a Single Axis
- Playing Effects That Use Tracking Data
- Understanding Stabilizing
- Stabilizing an Image
- Reviewing and Adjusting a Stabilized Image
- 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
Working with 3D Effects
- Understanding 3D Effects
- Applying the 3D Warp Effect
- Using Xpress 3D Effects
- Promoting 2D Effects to 3D Effects
- Using Matte Keys with 3D Effects
- Real-Time Playback of 3D Effects
- Understanding 3D Geometry and Degrees of Rotation
- Working with 3D Effects Parameters
- Manipulating 3D Effects Directly
- Applying 3D Effects: Examples
Creating Titles
- Opening the Title Tools
- Using Marquee
- Overview of Title Creation in the Title Tool
- Installing Fonts for Use in the Title Tool
- Understanding the Title Tool
- Toolbar Reference for the Title Tool
- Using the Selection and Text Tools
- Understanding the Drawing Environment
- Setting Up the Drawing Environment
- Creating Text
- Sizing and Positioning Text Objects
- Editing a Text String
- Formatting Text
  - Setting Default Text Attributes
  - Selecting a Font
  - Changing Point Size
  - Making Text Bold or Italic
  - Justifying Text
  - Kerning Text
  - Adjusting Leading
- Creating Graphic Objects
- Creating Rolling and Crawling Titles
  - Using Auto Size Mode for Rolling and Crawling Titles
  - Creating Text in a Rolling Title or a Crawling Title
  - Resizing the Width of a Rolling Title or a Crawling Title
  - Using the Make Crawl Command to Position a Crawling Title
  - Scrolling Through a Rolling Title or a Crawling Title
  - Working with Pages in Rolling or Crawling Titles
  - Formatting Rolling and Crawling Titles
- Modifying and Manipulating Title Objects
- Modifying Box Corners, Lines, and Borders on Title Objects
- Understanding Color and Transparency Controls in the Title Tool
- Selecting Colors and Setting Transparency
- Adding Shadows to Title Objects
- Adjusting Shadows on Title Objects
- Manipulating Title Objects
- Saving Titles
- Revising a Title in a Bin
- Creating and Using Title Templates
- Saving and Recalling Title Styles
  - Saving a Title Style
  - Title Style Sheet Options
  - Recalling a Title Style
  - Confirming Function Key Mapping of Title Styles
  - Applying Title Styles to Text Objects
  - Managing Title Styles
- Exporting a Title as a Graphics File
Editing with Titles
- Displaying Title Clips and Frames in Bins
- Editing a Title into a Sequence
- Removing a Title
- Replacing a Title
- Fading a Title
- Setting Marks in a Rolling or Crawling Title
- Trimming the Duration of Rolling and Crawling Titles
- Adjusting Title Effect Parameters
- Revising a Title in a Sequence
- Replacing Fill Tracks in a Title
- Rendering Titles
- Re-creating Title Media
  - Re-creating Title Media from the Timeline
  - Creating Media for Unrendered Titles in a Bin
- Troubleshooting Titles
Working with the SubCap Effect
- Understanding the SubCap Effect
- How the SubCap Effect Handles Caption Files
- Applying the SubCap Effect
- Entering Caption Text Directly in the Effect Editor
- Importing a Caption File
- Adding Information to a SubCap Effect
- Editing Text in the Master Caption List
- Adjusting SubCap Effect Parameters
- Synchronizing SubCap Effect Parameters and Information
- Exporting SubCap Effect Data to Caption Files
- Working with Unicode Text in the SubCap Effect
- Working with SubCap Effect Stylesheets
- Examples of SubCap Effect Parameter Adjustments
Intraframe Editing
- Understanding the Intraframe Effects
- Rendering Intraframe Effects
- Applying the Paint or AniMatte Effect to a Sequence
- Effect Editor Reference for the Paint and AniMatte Effects
- Using the Intraframe Drawing Tools
- Working with Vector-Based Objects
- Using the Previsualization Marker Tool for Film Projects
- Manipulating Intraframe Objects
- Layering, Grouping, and Locking Intraframe Objects
- Exporting a Matte Key Created With the AniMatte Effect
- Scratch Removal
- Intraframe Editing Examples
- Working with the Blur Effect and Mosaic Effect
  - Effect Editor Reference for the Blur Effect and Mosaic Effect
  - Creating and Modifying Blur and Mosaic Effects
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
Effects Reference
- Blend Effects
- Box Wipes
- Conceal Effects
- Edge Wipes
- Film Effects
- Generator Effects
- Illusion FX Effects
- Image Effects
- Key Effects
- L-Conceal Effects
- Matrix Wipes
- Motion Effects
- Peel Effects
- PlasmaWipe Effects
- Push Effects
- Reformat Effects
- Sawtooth Wipes
- Shape Wipes
- Spin Effects
- Squeeze Effects
- Timewarp Effects
- Title Effects
- Xpress 3D Effects
- Comparison of Similar Effects
Effects Parameter Reference
- Color Parameter Controls
- Common 2D Effect Parameters
- Film Effects Blowup Parameter
- Generator Effect Parameters
- Illusion FX Effect Parameters
- Image Effect Parameters
- Key Effect Parameters
- Motion Effect Parameters
- Reformat Effect Parameters
  - 14:9 Letterbox Position H Parameter
  - Pan and Scan Aspect Ratios and Actions Parameters
- FluidMotion Edit Parameters for Timewarp Effects
- Rolling Title and Crawling Title Effect Parameters
- 3D Effect Parameters
Understanding Color Correction Mode
- Overview of Color Correction
- Reasons for Making Color Corrections
- Entering and Exiting Color Correction Mode
- The Color Correction Monitors
- The Color Correction Tool
- Working with Color Correction Effect Templates
Performing Color Corrections
- General Workflow for Making Color Corrections
- Using Automatic Color Corrections
- Using the Color Match Control
- The HSL (Hue, Saturation, Luminance) Group
- The Curves Group
- Keyframing Color Corrections
- Working with the Waveform Monitors and Vectorscope Monitor
- Applying Color Corrections to an Entire Sequence
- Using the Color Correction Effect
Color Correction Techniques
- Guiding Principles for Color Correction
- Examples of Color Correction Problems
  - Example 1
  - Example 2
Safe Colors
- Overview of Safe Color Limits
- Safe Color Settings Options
- Understanding the Graphical View of Safe Color Settings
- Understanding Safe Color Warnings
- Managing Safe Color Warnings
- Making Adjustments to Achieve Safe Color Values
- Safe Color Limits with Waveform and Vectorscope Information
- Working with the Safe Color Limiter Effect
Using Avid Artist Color
- Installing EuControl Software and Configuring the Avid Artist Color
- Using Artist Color
- Editing Without Entering Color Correction Mode
- Avid Artist Color Soft Keys
- Customizing Avid Artist Color Controls
- Avid Artist Color Controls
- Controller Application Sets
Index

22 Safe Colors

This chapter provides information about the Safe Colors feature of your Avid editing application.

• Overview of Safe Color Limits

• Safe Color Settings Options

• Understanding the Graphical View of Safe Color Settings

• Understanding Safe Color Warnings

• Managing Safe Color Warnings

• Making Adjustments to Achieve Safe Color Values

• Safe Color Limits with Waveform and Vectorscope Information

• Working with the Safe Color Limiter Effect

Overview of Safe Color Limits

Your Avid editing application can warn you when the color values in your sequence fall outside

of a range that you specify. Your Avid editing application can also limit all or part of your

sequence to the safe color range that you specify. Your Avid editing application lets you set three

different types of safe color limits — for the composite signal range, for the luminance range,

and for the RGB gamut.

Typically, safe color limits are useful to ensure that your sequence stays within a range of values

acceptable for broadcast or for additional processing such as DVD encoding, or more generally

to ensure that colors display well on television screens.

Most broadcasting companies set specific limits for the composite signal and the luminance

range. Programs that do not meet these limits are not normally accepted for broadcast. For

example, a typical set of limits for broadcast in the United States might restrict the composite

signal to a range from –20 IRE to 110 IRE and limit the maximum luminance to approximately

100 IRE..

The composite signal for a program intended for broadcast should never exceed 120 IRE, which

is the highest level that can be broadcast.