® ® Avid Media Composer | Software Effects and Color Correction Guide
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Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Symbols and Conventions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Avid Training Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Working with the Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Adjusting Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Modifying Transition Effects in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Preserving Effect Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Replacing an Effect in Effect Mode . . . . . . . .
Using AVX Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Using the Client Monitor to Preview a Plug-In Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Troubleshooting AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Chapter 8 Creating and Customizing Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . 188 Understanding Motion Effects . . . . . . . . . . . . . .
Chapter 10 Working with Camera Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Using the Reformat Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Working with the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 Using Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Copying and Pasting Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342 Examples of Effects Using Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343 Chapter 12 Working with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 Understanding 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 Applying the 3D Warp Effect . . . . . .
Adding Shadows to Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 Adjusting Shadows on Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 Manipulating Title Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402 Saving Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Working with Unicode Text in the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 Working with SubCap Effect Stylesheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446 Examples of SubCap Effect Parameter Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . 448 Chapter 16 Intraframe Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451 Understanding the Intraframe Effects . . . . . . . . . . . .
Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550 Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556 L-Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559 Matrix Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Entering and Exiting Color Correction Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707 The Color Correction Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708 The Color Correction Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715 Working with Color Correction Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Safe Color Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881 Understanding the Graphical View of Safe Color Settings . . . . . . . . . . . . . . . . . . . . . . 882 Understanding Safe Color Warnings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884 Managing Safe Color Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 885 Making Adjustments to Achieve Safe Color Values . . .
Using This Guide This guide provides conceptual information and step-by-step instructions for the effects and color correction features of your Avid® editing application. It also provides reference information for every effect and effect parameter available in your application. Unless noted otherwise, the material in this document applies to the Windows® and Mac OS® X operating systems.
If You Need Help 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.
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2 Effects Concepts and Settings This chapter describes concepts you should understand before you begin creating effects and common settings adjustments that affect how you work with effects: • Types of Effects • Real-Time Effects and Non-Real-Time Effects • Color Coding on Effect Icons • Understanding the Effect Palette • Displaying and Adjusting the Effect Palette • Working with Effects in HD and in Progressive Frame Projects • Changing Timeline View Settings for Effects • Adjusting Trim Set
Types of Effects 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 241.
Real-Time Effects and Non-Real-Time Effects 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.
Understanding the Effect Palette In the Effect Palette (left), green dots indicate real-time effects. (Real-time effects might not be playable in real time depending on system resources and the complexity of your sequence.) Non-real-time effects have no dot in the Effect Palette. Non-real-time effects have a blue dot in the Timeline (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 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. Click the bin name below the effect category list to view the effect templates in the bin.
Working with Effects in HD and in Progressive Frame Projects 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).
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 200.
Adjusting Trim Settings for Effects t To display no effect icons, deselect Effect Icons. Dissolve Icons appears dimmed and is now unavailable.sd 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.
Setting Effect Aperture Options In a project that uses only DV media, it is useful to switch to the DV 25 aperture setting. In a project using uncompressed or mixed resolution media, use the ITU 601 aperture. To change the effect aperture: 1. In the Settings list in the Project window, double-click General. The General Settings dialog box opens.
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.
3 Basics of Effects Editing This chapter provides basic procedures for creating, adjusting, playing, and rendering effects: • Applying Effects • Deleting Effects in a Sequence • Sizing Effects to Fit the Media • Adjusting Effects • Updating and Reverting Existing Effects in Sequences • Working with Effect Templates • Promoting Existing Effect Templates • Playing Effects • Basics of Effects Rendering Applying Effects You apply most effects to video material after you edit it into a sequence
Applying Effects To apply an effect to a single transition or to a single segment in the Timeline, do one of the following: t Click the effect’s icon in the Effect Palette, drag the icon over the transition or segment in the Timeline, and release the mouse button. t In Effect Mode, click the transition, and then double-click the effect’s icon in the Effect Palette. t Select the segment in the Timeline, and then double-click the effect’s icon in the Effect Palette.
Applying Effects 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. For more information, see “Sizing Effects to Fit the Media” on page 38.
Applying Effects 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. n The Fade Effect button appears in the FX tab of the Command palette and, for some Avid editing applications, in the Tool Palette.
Deleting Effects in a Sequence Deleting Effects in a Sequence You can delete transition effects from a sequence in Source/Record mode, Trim mode, or Effect mode. To delete a single effect: 1. Move the position indicator to the Timeline segment containing the effect’s icon. 2. If there are multiple tracks that contain effects at the same position in the Timeline, select only the track that contains the effect you want to delete. In this example, only track V3 is selected. 3.
Sizing Effects to Fit the Media To delete multiple segment effects: 1. If you are not in Effect mode, click one of the segment tools on the Timeline palette. Segment tools in the Timeline palette 2. Shift+click each segment that contains a segment effect you want to delete. 3. Do one of the following: t Click the Remove Effect button. t Press Delete. Sizing Effects to Fit the Media Transition effects usually require additional frames of source media beyond those you edit into the sequence.
Adjusting Effects Your Avid editing application sets the duration of the effect to fit the available media. If you have selected an alignment, your Avid editing application attempts to preserve it. To change the alignment or duration of the transition effect, see “Applying a Dissolve Effect Using the Transition Parameters” on page 59. Adjusting Effects After you apply an effect to a transition or segment in your sequence, you can adjust its appearance and operation.
Adjusting Effects Each property of an effect that you can control is known as an effect parameter. For example, a Picture-in-Picture effect has a Position parameter that controls where the picture-in-picture is located on the screen. The Effect Editor displays controls that let you adjust each of an effect’s parameters, as well as other buttons that help you adjust effects. As different effects have different sets of parameters, the Effect Editor display changes depending on the effect you select.
Adjusting Effects You can find more detailed information elsewhere in this guide. For example, for full details of how to use effect adjustment controls, see “Applying and Customizing Effects” on page 58. For details of the parameters available for a specific effect, see the reference information for that effect in “Effects Reference” on page 535. To make basic effects adjustments: 1. Enter Effect mode, for example, by clicking the Effect Mode button.
Updating and Reverting Existing Effects in Sequences To move to a different point in an effect, do one of the following: t Click a location in the position bar to move the position indicator to that location. t Drag the position indicator to a location in the position bar. Updating and Reverting Existing Effects in Sequences If you are working with a sequence that already contains effects, you might need to update some of those effects.
Updating and Reverting Existing Effects in Sequences Effect Type Description Color Correction You must update color corrections in sequences created in older versions of Avid editing applications that did not support keyframeable color correction before you can work with them in the current version. Color corrections in recent versions store parameter information differently to support keyframing.
Updating and Reverting Existing Effects in Sequences To update effects and color corrections in a sequence using the Update Effects command: 1. Select the sequence in a bin. 2. Right-click the sequence, and select Update Effects. The Update Sequence dialog box opens. Messages inform you if the sequence contains standard keyframe effects or color corrections that require updating.
Working with Effect Templates Working with Effect Templates If you apply an effect and make a set of adjustments to it, you might want to be able to quickly recreate the same look elsewhere in your sequence or project. Your Avid editing application lets you save an effect with its parameter settings as a template. You can then apply the template to other effects or video clips at any time. You can save any effect to a bin as an effect template. You can also save a segment effect with its source media.
Working with Effect Templates To save a segment effect with its source media, or save a title effect as a keyframe-only template: t Press and hold the Alt key (Windows) or Option key (Macintosh) while you drag the effect icon from the Effect Editor to a bin. To rename an effect template: t In the bin, click the template name below the icon and type a new name. To apply a specific parameter from an effect template: 1. In the Timeline, select an effect transition or segment. 2.
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.
Playing Effects Playing Effects There are several situations where you need to play effects: • While you are adjusting effects in Effect mode, you might want to play an individual effect to check its look. Depending on your needs, you might want to see the effect playing in real time and at high quality, or you might be able to accept playback at lower quality or in less than real time. Alternatively, you might only need to play an outline preview of the effect’s movement.
Playing Effects To play an 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.
Playing Effects 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 157.
Basics of Effects Rendering 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. • Render multiple effects at a particular point in the Timeline (for example, effects on several stacked video tracks).
Basics of Effects Rendering n To prevent the Render Effects dialog box from opening, press and hold the Alt key (Windows) or Option key (Macintosh) when you click the Render Effect button. Your Avid editing application uses the last drive selected and you do not need to follow the remaining steps in this procedure. 3. Click the Drive button, and select a drive for the rendered media. 4. Click OK.
Basics of Effects Rendering 2. Select Run in Background. 3. Click OK. The render operation is performed in the background. You can continue working in the editing application without having to wait for the background operation to complete. When the effects are rendered, the sequence will link to the new pre-computes and the effect icons in the Timeline will reflect the rendered state. 4.
Basics of Effects Rendering If you want to clear one or more effects at a particular point in the Timeline (for example, effects on several stacked video tracks), you can clear just the rendered effects at that position. You can also choose to clear all rendered effects except motion effects and any effects that your Avid editing application does not recognize (third-party plug-in effects that are not installed on your system).
Basics of Effects Rendering Option Description 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. Move the position indicator to the effects in the Timeline. 2.
Basics of Effects Rendering Rerendering Effects In some situations you need to rerender an effect that you have already rendered. For example, you might have rendered a series of effects at a low resolution, and now need to rerender them at a higher resolution. This situation might occur if you are working with multiple resolutions. For more information, see “Using MultiRez and Dynamic Relink” in the Help. n You cannot use ExpertRender to rerender effects. To rerender a single effect: 1.
4 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 33.
Applying Dissolve 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.
Working with the Quick Transition Dialog Box t Click Skip Track. Your Avid editing application does not create a dissolve on the track with insufficient source material but does create dissolves on any other selected tracks with sufficient source material. t Click Cancel. Your Avid editing application does not create any dissolves.
Working with the Quick Transition Dialog Box 1 2 3 5 1 6 7 4 8 9 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.
Working with the Quick Transition Dialog Box Element Description Position menu Lets you specify where to position the effect: • Ending at Cut • Centered on Cut • Starting at Cut • Custom Duration Lets you set the duration of the transition effect (in frames). The duration depends on the amount of available footage. Start n frames before cut Lets you specify how far before the cut (in frames) the transition effect begins. The number of frames depends on the amount of available footage.
Working with the Quick Transition Dialog Box Element Description Target drive Lets you select the drive where you store the effect if you choose to render it. The default Effect Source Drive is the drive where the media on the outgoing shot of a transition resides. Apply to All Transitions Applies the transition effect to all transitions between the In point and the Out point.
Working with the Quick Transition Dialog Box example, lassoing a track selector to reverse the current track selection — also work in the Quick Transition dialog box, with the exception of Ctrl+A and Shift+Ctrl+A to select and deselect all tracks. Creating a Transition with the Quick Transition Dialog Box To create an effect by using the Quick Transition button: 1. Move the position indicator to the transition in the Timeline. 2. Click the Quick Transition button. The Quick Transition dialog box opens.
Working with the Quick Transition Dialog Box 5. Set the transition duration by doing one of the following: t Type the duration in frames in the Duration text box. You cannot type a number greater than the number of frames available for the effect. t Click either the left or right edge of the Dissolve Effect icon and drag it to change the duration. The graphical display changes to reflect the new duration.
Working with the Quick Transition Dialog Box 9. (Option) If you have In and Out points marked in your sequence, do one of the following: n t Select Apply to All Transitions (In -> Out) to overwrite all existing transition effects between the In and Out points. t Select both options to avoid overwriting any existing transition effects. The Skip Existing Transition Effects option is useful when you want to add a number of dissolves to a sequence that already has transition effects. 10.
Working with the Quick Transition Dialog Box Adjusting a Transition Effect by Dragging in the Quick Transition Dialog Box You can control the length or position of the transition effect by dragging in the graphical display. 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.
Adjusting Transitions in the Timeline n You cannot drag an effect beyond the ends of the handles on the media because you cannot create a transition unless both incoming and outgoing media are available for every frame of the transition. You also cannot drag an effect beyond the cut point. For information about preserving transition effects, see “Preserving Effect Transitions in the Timeline” on page 72.
Modifying Transition Effects in the Timeline n The Transition Corner Display feature is only available in some Avid editing applications, and only when you are in Big Trim mode. To ensure that you enter Big Trim mode, select “Never use Small Trim mode” in the Features tab of the Trim Settings dialog box. For more information, see “Trim Settings” in the Help. To customize transition effect parameters, see the procedures in “Transition Parameters” on page 592.
Modifying Transition Effects in the Timeline 3. Do one of the following: 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 The monitor display changes to a Transition Corner display, showing you six frames that you can use as reference points when trimming a transition effect. n You cannot drag an effect beyond the ends of the handles on the media because you cannot create a transition unless both incoming and outgoing media are available for every frame of the transition. You also cannot drag an effect beyond the cut point.
Replacing an Effect in Effect Mode Cutting or Extracting When you cut or extract a clip with a transition effect, the effect remains in the Timeline. Your Avid editing application does not remove the effect. For information about extracting, see “Lifting, Extracting, and Copying Material” in the Help. Replacing an Effect in Effect Mode You can replace an existing effect in Effect mode. However, some effects cannot replace other effects.
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.
Using the Effect Preview Monitor Toolbar Buttons in the Effect Preview Monitor You can use toolbar buttons in the Effect Preview Monitor to control effect position and adjustment. The following table describes these buttons. The Effect Editor also contains controls that you use to adjust and preview effects. For more information, see “Effect Editor Controls” on page 84. Button Description Rewind Places the position indicator at the first frame or field of the sequence.
Using the Effect Preview Monitor Button Description Enlarge Enlarges the size of the image in the Effect Preview monitor. n You can also Ctrl+click (Windows) or Command+click (Macintosh) in the Effect Preview monitor to enlarge the image. Mapping User-Selectable Buttons in Effect Mode You can customize the buttons that are available in Effect mode by mapping user-selectable buttons directly from the Command palette to the Tool palette or to the area below the Effect Preview monitor.
Using the Effect Preview Monitor You can also display safe title and safe action guidelines in other monitor types and in the Title tool. For information on displaying guidelines in the Title tool, see “Setting Up the Drawing Environment” on page 375. To display the Safe Title and Safe Action guidelines in the Effect Preview monitor: t n Click the Grid button in the Effect Editor. You can customize the type of grid displayed by the Grid button.
Using the Effect Preview Monitor You can use the Effect Grid to: • Display the aspect ratios for film categories such as standard film, Academy, Super 35 mm, and Anamorphic, as well as the 4:3 safety area for the 16:9 aspect ratio. • Show coordinate information to track the exact location of an effect in the frame. • Use the snap-to-grid feature to easily position effects.
Using the Effect Preview Monitor To switch between the Effect Grid and the Safe Title/Safe Action guidelines: t Press the Alt key (Windows) or Option key (Macintosh), and click the Grid button until the appropriate grid is displayed. To remove the display of either the Effect Grid or the Safe Title/Safe Action guidelines: t Click the Grid button without pressing the Alt key (Windows) or Option key (Macintosh).
Using the Effect Preview Monitor To display position coordinates in Source/Record mode: t Move the pointer to the Record monitor, press and hold the mouse button, and move the mouse. Obtaining Position Information in a Film Project Some Avid editing applications let you use the Effect Grid to include position information in a cut list for the Paint and AniMatte effects on a keyframe-by-keyframe basis.
Using the Effect Preview Monitor Example of Blowup Effect information in a cut list. Top: Grid information. Bottom, left to right: Keyframe number, Field parameter value, and Compass coordinates. n You generate film cut lists and change lists with the Lists Tool . For general information See “Using the Lists Tool” on page 1116.. You can also generate effect information in a cut list by using the Previsualization Marker Tool in the Paint Effect.
Stepping Through Field-Based Media 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.
Using the Effect Editor A number of parameters are common to many effects, such as parameters affecting size, position, or foreground level (transparency). You can adjust these parameters once for the entire effect, or you can use the Effect Editor along with keyframes to change the effect parameter over time. Other parameters can be adjusted only once for the entire effect, regardless of keyframe selection. Not all effect parameters apply to all effects.
Using the Effect Editor 1 2 3 4 12 5 6 7 8 9 10 11 1 Triangular opener 5 Parameter name 9 Transition Effect Duration box 2 Effect name and icon 6 Render Effect button 10 3D Promote button 3 Parameter group (parameter 7 category) Outline/Path button 11 Show/Hide Keyframe Graph button 4 Parameter adjustment slider 8 Transition Effect Alignment button 12 Additional buttons (exact set depends on the effect 85
Using the Effect Editor 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 347.
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 173.
Using the Effect Editor 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 Use the mouse scroll wheel to change the value by increments of –1 or +1. t Press the Shift key, and use the Left Arrow key or Right Arrow key to change the value by –10 or +10.
Using the Effect Editor To turn a parameter on or off using a parameter Enable button: t Click the Enable button. Parameter Enable buttons, when the parameter is active (left) and when the parameter is inactive (right) 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.
Using the Effect Editor To select a color using the eyedropper: 1. Position the pointer over the Color Preview window to activate the eyedropper. Example of Color Preview window with eyedropper active 2. Click the mouse button, then drag the eyedropper to the Effect Preview monitor, and click on the color you want to select from the video image. Your Avid editing application updates the parameter’s numeric values, and the selected color appears in the Color Preview window.
Using the Effect Editor The Windows Color dialog box opens. 3 4 1 5 6 2 7 1 Default color choices 4 Current color 2 Custom colors palette 5 Color|Solid box 3 Color matrix 6 Color slider 7 Color Selection text boxes To use the Windows Color dialog box: 1. To select a color from the Basic colors palette, click the color you want. 2.
Manipulating Effects Directly in the Effect Preview Monitor To open the Macintosh Colors panel: t Double-click the swatch next to a color parameter. The Macintosh Colors panel opens. Select the appropriate icon at the top of the Colors panel to display the method you want to use for selecting the color. Options include RGB sliders, a crayon box, an HSV (hue, saturation, luminance) color wheel, a Web-safe color picker (Name), and CMYK (cyan, magenta, yellow, and black) sliders.
Manipulating Effects Directly in the Effect Preview Monitor Create keyframes where you need them, make sure that the appropriate keyframe is selected, and then manipulate the wire frame and handles in the Effect Preview monitor. Drag the wire frame to reposition the effect. Drag the resize handles to resize the image — the top handle adjusts the height of the effect image, the side handle adjusts the width, and the corner handle adjusts width and height together, maintaining the aspect ratio.
Manipulating Effects Directly in the Effect Preview Monitor Example of a motion path in the Effect Preview monitor. Each dot on the path represents the location of the center of the PIP at a keyframe. The center handle and the resize handles are highlighted.
5 Working with Keyframes This chapter describes how to use keyframes to change the behavior of an effect over time. • Understanding Keyframes • Track Types for Advanced Keyframes • Viewing Advanced Keyframe Graphs • Manipulating Advanced Keyframes • Controls and Settings for Advanced Keyframes • Working with Standard Keyframes Understanding Keyframes A keyframe is a point in an effect at which you can set parameters.
Understanding Keyframes 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.
Understanding Keyframes Top to bottom: effect track (gray), parameter group tracks (darker blue), parameter tracks (lighter blue), and an open keyframe graph 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.
Track Types for Advanced Keyframes Track Types for Advanced Keyframes Track Type Description Effect track The keyframes in this track correspond to the keyframes in the Effect Preview monitor. When you select a keyframe in the effect track, the system automatically selects all of the keyframes at that point in time in the effect (all the keyframes directly under that keyframe in the Effect Editor). This makes it easy to move, delete, or perform other operations on many keyframes at the same time.
Viewing Advanced Keyframe Graphs The Show/Hide Keyframe Graphs button is highlighted when the keyframe graphs are visible. Opening Keyframe Graphs You open a keyframe graph by using the triangular opener to the left of the parameter track. n You do not have to open a keyframe graph to set and manipulate advanced keyframes.
Viewing Advanced Keyframe Graphs You can scale and scroll a keyframe graph both horizontally and vertically, for example to concentrate on one part of the effect’s length or one part of its parameter value range. When you do this, the boundaries of the keyframe graph might not be visible. For more information, see “Zooming Keyframe Graphs” on page 102 and “Scrolling Keyframe Graphs” on page 105. The active keyframe graph is highlighted using a darker background.
Viewing Advanced Keyframe Graphs 2. Click the edge of the graph, and drag it up or down. The height of the keyframe graph gets smaller or larger. Before (left) and after (right) vertical resizing 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.
Viewing Advanced Keyframe Graphs Top to bottom: horizontal scale bar, vertical scale bar, and Zoom to Curve Height button in the Effect Editor To zoom in or out horizontally on a keyframe graph: t Drag the horizontal scale bar to the right (to zoom in) or to the left (to zoom out). The view in the keyframe graph expands or contracts horizontally to show more or less detail. Keyframe graph zoomed out (left) and zoomed in horizontally.
Viewing Advanced Keyframe Graphs Keyframe graph zoomed in (left) and zoomed out vertically. The zoomed in view shows a reduced range of parameter values, and the zoomed out view shows an extended range of parameter values. Using Zoom to Curve Height with Keyframe Graphs The Zoom to Curve Height feature provides a quick way to focus on part of the keyframe graph. Zoom to Curve Height centers the keyframe graph and scales the graph vertically so that the keyframe curve fills the available viewing area.
Viewing Advanced Keyframe Graphs The same keyframe graph after horizontal zooming and scrolling (left) and after using Zoom to Curve Height. After horizontal zooming alone, the curve remains flat and hard to read. After using Zoom to Curve Height, the zoomed in part of the graph is easy to see and interpret, and keyframes are easy to adjust. 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.
Manipulating Advanced Keyframes To reset the view in a keyframe graph: t Right-click the keyframe graph, and select Reset All Graph Views. The keyframes appear centered in the keyframe graph. Manipulating Advanced Keyframes You can manipulate advanced keyframes in a wide variety of ways.
Manipulating Advanced 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 n • Keyframe indicators in the Effect Preview monitor’s position bar behave in the same way as keyframe indicators in the effect track of the Effect Editor. When you select a keyframe indicator in the Effect Preview monitor, the corresponding keyframe indicator in the effect track and all keyframes at that point in time in the effect are also selected. • The Effect Editor displays controls for each parameter group even if you have not added keyframes for each parameter.
Manipulating Advanced Keyframes You can use the Effect Editor shortcut menu to set a default Add Keyframe command that controls where keyframes are added when you use the Add Keyframe button in the Effect Editor or in the Effect Preview monitor. For more information, see “Shortcut Menu and Settings for the Effect Editor” on page 144. n You cannot add keyframes to parameters that are not keyframeable (for example, the Fixed Aspect parameter).
Manipulating Advanced Keyframes Active keyframe indicators appear at the beginning and the end of the effect in all appropriate tracks. For more information on where keyframe indicators appear, see “Understanding Advanced Keyframe Display” on page 106. To add a keyframe by using the Add Keyframe button in the Effect Editor: 1. Move the position indicator to the point where you want to add a keyframe. 2. In the Effect Editor, click the Add Keyframe button. The Add Keyframe Mode menu opens.
Manipulating Advanced Keyframes Your Avid editing application adds one or more keyframes as determined by the current default command for adding keyframes in the Effect Editor shortcut menu. For more information on this default and how to change it, see “Shortcut Menu and Settings for the Effect Editor” on page 144. Active keyframe indicators appear at the position indicator in all appropriate tracks.
Manipulating Advanced Keyframes Your Avid editing application deletes any selected keyframes that are affected by the current default Delete Keyframe Mode menu command. For example, if Delete From Open Graphs is the current default, your Avid editing application deletes any selected keyframes in open keyframe graphs.
Manipulating Advanced 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. (Option) If you want to keep a safe copy of your sequence with all of the existing keyframe data, duplicate the sequence. For more information, see “Duplicating, Copying, and Moving Clips and Sequences” in the Help for your Avid editing application. 2. Select the sequence in a bin. 3.
Manipulating Advanced Keyframes Add Keyframe Mode and Delete Keyframe Mode Menu Commands Command Description Add to Active Parameter (Add Keyframe Mode menu) Adds a keyframe to or removes selected keyframes from the parameter track or keyframe graph for the active parameter only.
Manipulating Advanced Keyframes Add Keyframe Mode and Delete Keyframe Mode Menu Commands (Continued) Command Description Active group (left, containing the active parameter) and keyframes added when you use the Add to Active Group command (right). In this case, the Hue, Sat, and Lum parameters each have a new keyframe.
Manipulating Advanced Keyframes Add Keyframe Mode and Delete Keyframe Mode Menu Commands (Continued) Command Description Add to Open Groups (Add Keyframe Mode menu) Adds keyframes to or removes selected keyframes from the parameter tracks or keyframe graphs of all parameters in groups that are currently open, whether or not the group is enabled.
Manipulating Advanced Keyframes Add Keyframe Mode and Delete Keyframe Mode Menu Commands (Continued) Command Description Add to Open Graphs (Add Keyframe Mode menu) Adds keyframes to or removes selected keyframes from all open keyframe graphs, whether or not the group is enabled. Delete From Open Graphs (Delete Keyframe Mode menu) This command lets you add or delete keyframes from any custom grouping of parameters. Open the keyframe graph for each parameter, and then use the command.
Manipulating Advanced Keyframes Add Keyframe Mode and Delete Keyframe Mode Menu Commands (Continued) Command Description Add to All Parameters (Add Keyframe Mode menu) Adds keyframes to or deletes selected keyframes from the keyframe tracks or keyframe graphs for every keyframeable parameter in the effect.
Manipulating Advanced Keyframes To select all keyframes in a track: t Right-click a parameter track, parameter group track, or effect track, and select Select All Keyframes. To deselect a keyframe: t Ctrl+click the keyframe. To deselect all keyframes but one in a track: t Click the keyframe you want to remain selected. The keyframe indicator you click changes to pink. All other keyframes in the track appear gray and are deselected.
Manipulating Advanced Keyframes This topic describes methods for moving keyframes by dragging in the Effect Editor or in the Effect Preview monitor. You can also move keyframes to the location of the position indicator by using commands on the shortcut menu for the keyframe track. For more information, see “Understanding the Align Keyframes and Slip Keyframes Commands” on page 122. For additional information, see “Considerations When Moving Advanced Keyframes” on page 121.
Manipulating Advanced Keyframes With two keyframes selected in a parameter, Alt-drag (or Option-drag) the top keyframe. The keyframe you drag moves in both time and value. The second keyframe moves in time only. Considerations When Moving Advanced Keyframes You should be aware of the following when you are moving advanced keyframes: • You can move keyframes by dragging at all levels of the keyframe track hierarchy — open keyframe graphs, parameter tracks, parameter group tracks, and the effect track.
Manipulating Advanced Keyframes New keyframe indicators appear in the effect track, in the Effect Preview monitor’s position bar, in the parameter group track, and in the group track for the Color parameter subcategory. • 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.
Manipulating Advanced Keyframes You can use Align Keyframes and Slip Keyframes within a single keyframe track by selecting a single active keyframe. You can also use Align Keyframes and Slip Keyframes to bring several parameters into alignment, by selecting an active keyframe in more than one parameter and then choosing where you invoke the shortcut menu. See “Selecting and Deselecting Advanced Keyframes” on page 118.
Manipulating Advanced Keyframes Before (left) and after (right) aligning a keyframe to the position indicator. In this example, an intervening keyframe limits the movement of the selected keyframe. Align Keyframes exhibits more complex behavior when you have multiple keyframes selected in one keyframe graph. If you select all keyframes in one keyframe graph, Align Keyframes is equivalent to Slip Keyframes.
Manipulating Advanced Keyframes Before (left) and after (right) aligning keyframes with two deselected keyframes. The reference keyframe moves to the position indicator, the other selected keyframe moves to maintain its position relative to the reference keyframe, but the deselected keyframes do not move. Slipping Advanced Keyframes In the following procedure, the reference keyframe of any keyframe track is the keyframe you activated most recently in that keyframe track.
Manipulating Advanced Keyframes This option is available both in the position bar of the Effect Preview monitor and in the keyframe graphs in the Effect Editor. This option does not require a keyframe in any parameter at the location you are copying from. Your Avid editing application takes all the parameter values at the copying location and uses them to create new keyframes (or replace existing ones) at the pasting location.
Manipulating Advanced Keyframes To copy and paste all parameter values at a position: 1. Do one of the following, either in the position bar below the Effect Preview monitor, or in the keyframe graphs in the Effect Editor: t Move the position indicator to the location from which you want to copy values. t Click a keyframe at the location from which you want to copy values. 2.
Manipulating Advanced Keyframes 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.
Manipulating Advanced Keyframes Copying and Pasting Keyframes in Multiple Parameters Before (left) and after (right) copying and pasting keyframes that you select in multiple keyframe graphs. Your Avid editing application pastes the leftmost selected keyframe at the new location of the position indicator, and preserves the offset of other keyframes from the leftmost one.
Manipulating Advanced Keyframes Before (left) and after (right) copying and pasting all parameter values at a position. In this example there are no existing keyframes at the copying location. Your Avid editing application uses the parameter values at the copying location to create new keyframes with those values at the pasting location. Controlling Parameter Changes at Keyframes The keyframe interpolation options control how an effect parameter changes at a keyframe.
Manipulating Advanced Keyframes Advanced Keyframe Interpolation Options Interpolation Option Description Shelf The parameter value does not change between keyframes and then changes abruptly to the new value. Some applications call this Hold. Use Shelf to hold a parameter value for a fixed length of time. For example, you can use Shelf with the Position parameters to create a Picture-in-Picture that appears to “pop” to a new location at each keyframe.
Manipulating Advanced Keyframes Advanced Keyframe Interpolation Options (Continued) Interpolation Option Description Spline The parameter value changes smoothly at each keyframe, creating a simple ease-in or ease-out effect. Spline is sometimes called Natural Spline or Cardinal Spline because the line representing the parameter value always goes precisely through each keyframe.
Manipulating Advanced Keyframes Adjusting Parameter Values in the Effect Editor Adjusting parameter values when using advanced keyframes works as it does with other effects. You can modify parameter values using the parameter sliders or you can enter numeric information using the keyboard to modify the active parameter. You can also change the values for the active parameter using one of the keyboard shortcuts. For more information, see “Changing a Parameter with a Slider in the Effect Editor” on page 88.
Manipulating Advanced 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.
Manipulating Advanced Keyframes When you use the Elastic option, your Avid editing application scales the keyframes to fit the new duration. For example, if you trim out the start of a keyframed 2-second effect segment so that its length increases to 3 seconds, the gap between each of the keyframes increases by 50% and the original animation takes place over 3 seconds. Elastic is the default behavior for a parameter, and is also the behavior for standard keyframes.
Manipulating Advanced Keyframes 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. Selecting Elastic Keyframes or Fixed Keyframes To select elastic keyframes or fixed keyframes: t Right-click the keyframe graph, parameter track, or parameter group track whose keyframes you want to affect, and select Fixed or Elastic.
Manipulating Advanced Keyframes 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. Similarly, if the first keyframe is not at the very beginning of the clip, your Avid editing application extrapolates the parameter value from the start of the effect up to the first keyframe.
Manipulating Advanced Keyframes Keyframe graph after Slip Keyframes with Extrapolate enabled, The parameter value changes before the bracketing keyframe. When you select Hold, your Avid editing application uses only the parameter values at the bracketing keyframes to set values before and after the bracketing keyframes. The parameter values are the same from the start of the effect to the first keyframe, and again from the last keyframe to the end of the effect.
Controls and Settings for Advanced Keyframes 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. • The Effect Editor shortcut menu and the Effect Editor Settings dialog box.
Controls and Settings for Advanced Keyframes Control Description Horizontal scale bar Zooms (or scales) the view of keyframe graphs horizontally so that you can focus in on a particular part of a graph. For more information, see “Zooming Keyframe Graphs” on page 102. Scroll thumbwheel Scrolls the view of keyframe graphs horizontally so that part of the view disappears on one side and more comes into view on the other side. For more information, see “Scrolling Keyframe Graphs” on page 105.
Controls and Settings for Advanced Keyframes To display the Effect Editor settings dialog box: t In the Settings tab of the Project window, double-click Effect Editor. Shortcut Menus for Keyframe Tracks and the Motion Effect Editor Advanced keyframes use two shortcut menus. The shortcut menu for the keyframe track is available from the area of the Effect Editor that displays keyframe tracks and keyframe graphs.
Controls and Settings for Advanced Keyframes Control Description Add Keyframe Adds a keyframe at the position indicator. See “Adding Advanced Keyframes” on page 108. Delete Keyframe Deletes the selected keyframe. See “Deleting Advanced Keyframes” on page 111. Add Start and End Keyframes Adds keyframes at the first and last frames of your effect. See “Adding Advanced Keyframes” on page 108. This option does not apply to the Motion Effect Editor.
Controls and Settings for Advanced Keyframes Control Description Shelf, Linear, Spline, Bézier Defines how parameter changes occur at keyframes. See “Controlling Parameter Changes at Keyframes” on page 130. Fixed Elastic Defines how your Avid editing application moves keyframes when you trim an effect. Elastic keyframes change the time at which they occur when you trim an effect, in proportion to the new effect length. Fixed keyframes do not change.
Controls and Settings for Advanced Keyframes Option Description Indent Rows When this option is selected, parameter rows are indented from the parameter category row, and any parameter subgroups are indented again. When this option is deselected, the left edges of parameter rows line up with the parameter category row. Indented (left) and non-indented (right) parameter rows Large Text When this option is selected, text in the Effect Editor appears in 12-point size.
Working with Standard Keyframes Option Description Set Position To Keyframe When this option is selected, when you click a keyframe, your Avid editing application moves the position indicator to the keyframe. When this option is deselected, when you click a keyframe, the position indicator does not move. Deselecting this option lets you align a keyframe to the position indicator. See “Understanding the Align Keyframes and Slip Keyframes Commands” on page 122.
Working with Standard Keyframes • You can select one or more standard keyframes. A keyframe indicator changes to pink when selected. For a quick way to jump to the next or previous keyframe indicator, use the Fast Forward and Rewind buttons on the Effect Preview Monitor toolbar. • You can move a standard keyframe that you create to another position in the position bar below the Effect Preview monitor. You cannot move the starting and ending keyframes.
Working with Standard Keyframes To select multiple keyframes: t In the position bar below the Effect Preview monitor, Shift+click the keyframe indicators that you want to select. To select all keyframes in the effect’s position bar, do one of the following: t Press Ctrl+A (Windows) or Command+A (Macintosh). t Press and hold Ctrl+Alt (Windows) or the Command key (Macintosh), and click one keyframe indicator.
Working with Standard Keyframes Your Avid editing application pastes the parameters that you copy to the keyframes that you select.
6 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 48 and “Basics of Effects Rendering” on page 51. It also provides information on managing your effect media files.
Real-Time Playback of Video Effects 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.
Real-Time Playback of Video Effects Start Playback Earlier in the Sequence If possible, start playback earlier in the sequence, before the effects that are causing difficulties begin. This lets your Avid editing application begin processing some of the effects frames before it must display them, decreasing the chance of difficulties with playback.
Real-Time Playback of Video Effects n Processing of 3D Warp effects is also affected by the Highest Quality option. For more information, see “Rendering 3D Effects Using the HQ (Highest Quality) Option” on page 173. Render using the Expert Render Command Render those parts of the sequence where your Avid editing application had difficulties during playback. Your Avid editing application marks these parts of the sequence in the Timeline.
Real-Time Playback of Video Effects If your sequence contains multiple short clips with multiple real-time effects or images with a high level of complexity, you might exceed the capacity of your hardware to play these in real time, even if these effects do not normally exceed the real-time playback capabilities of your Avid editing application. This results in Video Underrun error messages. In this case, render some of the intermediate effects before playing the sequence.
Real-Time Playback of Video Effects Playing Effects Back at Different Video Qualities The Video Quality Menu button in the Timeline bottom toolbar lets you control the quality (display resolution) of the video playback. This feature lets you trade off video quality with smooth playback of real-time effects. If you notice missing frames or choppy video during real-time playback, switch to a lower quality setting.
ExpertRender ExpertRender ExpertRender determines which effects need to be rendered to achieve successful playback of a sequence. You can use the ExpertRender feature in the same way that you use the standard Render commands. You can use the ExpertRender at Position command or you can mark IN and OUT points and then use the ExpertRender In/Out command. For more information, see “Using the ExpertRender Command” on page 159.
ExpertRender A sequence with four effects (top) and the results of an ExpertRender analysis of this sequence. Only one of the effects needs to be rendered for successful output. ExpertRender helps to solve the problem of unnecessary rendering by analyzing all the effects in selected material and determining which effects you need to render to achieve successful playback. You can choose to render the effects identified by ExpertRender or to modify the selections before submitting them for rendering.
ExpertRender situation, you do not need to render effects on the lower tracks separately. Depending on the complexity of your sequence, ExpertRender might save you both time and storage space by eliminating unnecessary rendering and precomputes. n On systems without Avid input/output hardware, you must render all effects before performing a digital cut. • In most circumstances, ExpertRender enables you to render material quickly, easily, and with a high degree of storage efficiency.
ExpertRender 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. Do one of the following: t Click Cancel. Your Avid editing application removes all ExpertRender highlighting and cancels the ExpertRender process without rendering any effects. t Click Modify Selection.
ExpertRender 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 n If you do not have Avid input/output hardware connected to your system, you must render all effects before performing a digital cut. Software-only systems ignore unrendered effects during a digital cut. For example, unrendered transition effects play as cuts. 5. 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. 6.
ExpertRender If you render the results of an ExpertRender analysis without making any modifications, the material you submitted to ExpertRender usually plays back successfully in real time. If you render recommended ranges, the material plays back successfully for preview purposes. If you render the entire selection, the material plays back successfully for output. To modify the results of an ExpertRender analysis: 1.
ExpertRender If there is not enough room on the drive, your Avid editing application displays a message box that gives you the following choices: Option Description Continue Attempt to render the effect anyway, in case there might be enough room on the drive. Stop Stop the rendering process and return to the Render Effect dialog box, and then select another drive before continuing. Your Avid editing application renders the highlighted effects.
Creating and Using Render Settings Considerations When Using ExpertRender When you work with ExpertRender, you should be aware of the following aspects of its operation: • ExpertRender operates on all selected tracks in the Timeline, including any enabled tracks that might be above the currently monitored track. To view the material that you are submitting to ExpertRender accurately in the monitor window, make sure that you are monitoring the topmost selected track in the sequence.
Render Settings Options 4. Select Edit > Duplicate. 5. Name the setting by doing the following: a. Click the custom name column (in between the setting name and the setting type identifier). b. Type a name. c. Press Enter (Windows) or Return (Macintosh). 6. Select options for the new Render setting as described in the table “Render Settings Options” on page 166. To activate a Render setting: t In the Settings tab of the Project window, click in the column to the left of the setting name.
Render Settings Options Option Suboption Motion Effects Render Using and Timewarp Effects Render Using Description These two menus determine the processing method when you render or rerender existing motion effects and Timewarp effects. Original Preference Causes effects to render using the type they were when originally created. Duplicated Field Displays a single field in the effect.
Render Settings Options Option Suboption Description VTR-Style Creates a second field for the effect by shifting selected video fields of the original media by a full scan line. This technique is similar to that used by high-quality professional video decks when playing footage at less than normal speed. This option also creates the motion effect at the field level rather than the frame level.
Using Partial Render Option Suboption Render Completion Sound Description Defines a sound that your Avid editing application plays once the rendering process is complete. This is useful when you are rendering multiple effects. None Disables the rendering completion sound. This is the default. System Beep The rendering completion sound matches the sound set for your operating system. Render Sound The rendering completion sound is a customized sound.
Using 16-Bit Processing Support for Rendered Effects 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 Rendering times are slower when using 16-bit processing. Turning on HQ (highest quality render mode) for a 3D effect can also add additional rendering time. For more information on HQ, see “Rendering 3D Effects Using the HQ (Highest Quality) Option” on page 173. To set the bit depth for rendered effects: 1. Select Tools > Media Creation. The Media Creation dialog box opens. 2. Click the Render tab. 3.
Ensuring the Quality Level of Precomputed Clips Ensuring the Quality Level of Precomputed Clips Before you export or output your sequence, you must ensure that all your precomputed clips have been rendered using the desired quality settings. Your Avid editing application cannot always recognize that it needs to re-render effects when you change a quality setting. You must manually purge and re-render precomputed clips to ensure that all effects render with the desired quality.
Rendering 3D Effects Using the HQ (Highest Quality) Option 5. Deselect Skip Motion Effects and Skip Unknown Effects. 6. Click OK. To purge precomputes from all sequences: 1. Select Tools > Media Tool. The Media Tool Display window opens. 2. Select All Drives to select all media drives. 3. Select Current Project to select the current project. n You can select multiple projects if you also want to clear pre-computes in other projects. 4. Deselect Master Clips and Media Files. 5. Select Precompute Clips.
Rendering 3D Effects Using the HQ (Highest Quality) Option n If an effect supports 16-bit processing, you can achieve additional quality by turning on HQ rendering along with 16-bit processing. See “Using 16-Bit Processing Support for Rendered Effects” on page 170. To select HQ rendering for an individual effect: 1. In Effect mode, move the position indicator to the effect you want to select. If HQ rendering exists for the effect, the HQ button is available in the Effect Editor. 2. Click the HQ button.
Managing Effect Media Files For example, suppose you apply several effects to a sequence and use the HQ button in the Effect Editor to select HQ rendering for some but not all the effects. In the active Render setting, you set Effects Quality Render Using to Highest Quality. You set an IN point and an OUT point, and select Clip > Render In/Out.
Managing Effect Media Files Revealing Effect Media Files You can reveal the media files associated with effect clips (titles and matte keys), rendered effect clips (precompute clips), and motion effects so that they are visible in their folders on the desktop. You can then verify information about the media files, delete them directly from the folder, or perform other standard file management operations. To reveal effect clip, rendered effect clip, or motion effect media: 1.
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.
Managing Effect Media Files For more information, see “Deleting Items from a Bin” in the Help.
7 Working with Plug-In Effects You can use AVX plug-in effects to add new effects or to update existing effects. This chapter describes how to work with these plug-in effects. • Understanding AVX Plug-Ins • Freeing Memory Used by AVX 1.x Plug-ins • Installing AVX Plug-ins • Locating the AVX 1.
Freeing Memory Used by AVX 1.x Plug-ins Processing Support for Rendered Effects” on page 170. Some vendors let you promote AVX 1.x plug-ins to an AVX 2.0 version. For more information, see “Updating and Promoting AVX Plug-ins” on page 183. In general, AVX plug-ins are resolution-independent and automatically scale to the resolution of the clip. If an older AVX plug-in does not scale correctly with HD resolutions, please contact the plug-in vendor.
Installing AVX Plug-ins Some AVX plug-ins do not have an installation program and you must install them manually. To install AVX plug-ins manually: 1. Quit your Avid editing application. c Do not add or remove plug-ins while your Avid editing application is running. 2. Copy the plug-in files from the software vendor’s folder to the corresponding AVX Plug-Ins folder located on your Avid system. t (Windows) You must install AVX 2.0 plug-ins in the following folder: C:\Program Files\Avid\Avid editing appl
Locating the AVX 1.x Plug-Ins Folder (Windows Only) 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 180. When your first install your Avid editing application, you can select a location for the AVX_Plug-Ins folder. The default path is: C:\Program Files\Avid\AVX_Plug-Ins If you accept this location for the AVX_Plug-Ins folder, you install AVX 1
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.
Assigning Multiple Tracks in 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 257.
Using the Client Monitor to Preview a Plug-In Effect 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 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. Also, some plug-ins might report the problem as a message in the Bin or in the Edit monitor.
8 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.
Understanding 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 190 and “Creating a Rolling Clip That Freezes” on page 192. • Variable Speed For more information, see “Creating a Traditional Variable Speed Effect” on page 192 and “Using the Fit to Fill Button to Create a Variable Speed Effect” on page 195.
Creating Traditional 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. Using Both Fields Your Avid editing application uses both fields to create the effect.
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 220. To create a rolling clip that freezes: 1. Edit the clip into the sequence. 2.
Creating Traditional Motion Effects 2. (Option) If you want to use only part of the source clip for the motion effect, mark IN and OUT points in the Source monitor. 3. Click in the Source monitor to activate it. n If you do not activate the Source monitor, clicking the Motion Effect button does not open the Motion Effect dialog box. If the Record monitor is active, clicking the Motion Effect button opens the Motion Effect Editor for Timewarp effects. 4. Do the following: a.
Creating Traditional Motion Effects n Option Description Both Fields Your Avid editing application creates the effect using both fields. Interpolated Field Your Avid editing application creates a second field for the effect by combining scan line pairs from the first field in the original media. 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.
Creating Traditional 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.
Playing and Rendering Motion Effects n For more information on these options, see “Motion Effect: Variable Speed and Strobe Motion” on page 561. 7. (Option) If you are using two-field media, and a specific motion effect type is set as the Motion Effects Render Using option in the active Render setting (in the Settings list), your Avid editing application automatically selects that type in the Motion Effect dialog box, makes all other types unavailable, and displays the Ignore Render Setting check box. 8.
Playing and Rendering Motion Effects Effect Type Description Freeze Frame Clips play in real time regardless of their type or duration. No icon appears on a Freeze Frame clip in the Timeline. Variable Speed, forward motion Clips play in real time and appear with a motion effect icon and a green dot in the Timeline. The motion effect icon indicates the type of the effect. Variable Speed, reverse motion Clips cannot play in real time and play as filler (black image) until you render them.
Playing and Rendering Motion Effects The Partial Render feature lets you render only those parts of the Motion Effect clip that have been changed by your editing. The Render Ranges command in the Timeline Fast menu lets you see which parts of the motion effect require rendering. For more information, see “Using Partial Render” on page 169. • You need to rerender motion effects when you recapture media at a different resolution.
Playing and Rendering Motion Effects If you render motion effects after recapturing at a new resolution, or if you have another reason for wanting to change the type of all motion effects, ensure you have set the type you want in the active Render setting. Changes to motion effect types are permanent changes to both the Motion Effect clip and its associated media. You can return to the old motion effect type only by rerendering.
Understanding Timewarp 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.
Understanding Timewarp Effects Understanding Keyframe Interpolation Options for Timewarp Effects You select a keyframe interpolation option to define the way the Timewarp effect changes speed or position in a clip. This selection determines the rate of change and the relative smoothness of change at keyframes. For example, you can create an effect in which all changes occur abruptly, or you can choose to smooth out all changes.
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 204. 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.
Using the Motion Effect Editor For more information, see “Using the Motion Effect Editor” on page 205. 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 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. To create a traditional motion effect, close the Motion Effect Editor and follow the procedure in “Creating Traditional Motion Effects” on page 190.
Using the Motion Effect Editor 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.
Using the Source Anchor Frame 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.
Motion Effect Editor Reference 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. Speed Graph display button Click to open or close the Speed 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.
Motion Effect Editor Reference Motion Effect Editor Components (Continued) Component Description Output menu Click to select the Output format for a rendered Timewarp effect. If you are creating a regular motion effect, you can use the same value as for the Source format. You also have the option of performing a format conversion on the effect. This lets you create a film look from interlaced video sources. For more information, see “FluidFilm Preset Effects” on page 238.
Rendering Options for Timewarp Effects Motion Effect Editor Toolbar Buttons (Continued) Button Description 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. The following table describes the buttons that appear in the Motion Effect Editor toolbar below the active control graph.
Rendering Options for Timewarp 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%.
Timewarp Speed Graph Reference Option Description FluidMotion Analyzes the motion between outgoing Image A and incoming Image B, and interpolates intermediate frames pixel-by-pixel. The motion generated by FluidMotion is the smoothest of all the rendering options. Timewarp effects that you create using FluidMotion are the slowest to render. n When you step through a sequence with a Timewarp effect, your Avid editing application can take a noticeable amount of time to update the Effect Preview monitor.
Timewarp 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 209. 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 209.
Timewarp Position Graph Reference n The Fast menu that appears when you click the Fast Menu button in the Speed graph toolbar is the same as the shortcut menu that appears when you right-click the Speed graph. The menu is described in “Shortcut Menus for Keyframe Tracks and the Motion Effect Editor” on page 142. Timewarp Position Graph Reference The following illustration shows the activated Position graph.
Timewarp Effect Examples Motion Effect Editor Position Graph Components (Continued) Components Description 3 Active keyframes The keyframes to which your Avid editing application applies any changes you specify. Active keyframes are pink. 4 Input Position text box Indicates the input position (timecode in the source clip) at the active keyframe. You can change the input position by moving keyframes vertically or by typing a number in the Input Position text box.
Timewarp Effect Examples 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 As you drag the position indicator in the Position graph, the output timecode shows in the upper left corner of the Position graph. 6. In the toolbar below the Speed graph, click the Add Keyframe button. A keyframe indicator appears at the position indicator in the Speed graph. 7.
Timewarp Effect Examples 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. It remains flat for the length of the freeze frame because the timecode in the source does not change.
Timewarp Effect Examples 3. Do one of the following: t Alt+Shift+click (Windows) or Option+Shift+click (Macintosh) the first keyframe indicator, and drag it to its new position. t Type a new start timecode in the Output Position text box. The keyframes move together to the new position. The freeze frame now starts and ends at the new keyframe positions.
Timewarp Effect Examples 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 205. 2. Type the strobe motion rate in frames in the Strobe text box. For example, a rate of 5 causes every fifth frame to be held for five frames before updating.
Timewarp Effect Examples 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. For more information, see “Adding Advanced Keyframes” on page 108. A keyframe indicator appears on the green line at the position indicator. 4.
Timewarp Effect Examples 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 205 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.
Understanding FluidMotion Timewarp 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.
Using FluidMotion Edit 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.
Example of Correcting FluidMotion Artifacts 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.
Example of Correcting FluidMotion Artifacts 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.
Timewarp Preset Effects 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 451. 9. Render the effect, and play the result. After you remove the artifact at the Warp 50% position, all intermediate frames between Image A and Image B reflect the change.
FluidFilm Preset Effects Effect Description 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. Trim to Fill Plays at a constant speed.
Setting Source and Output Options for Format Conversion with Timewarp Effects The 2:3 cadence might be off between adjacent clips depending on whether the clip starts on an A, B, C. or D frame. If this is a problem, use the mixdown method instead. n The FluidMotion rendering option can take a long time to process an entire sequence.
Setting Source and Output Options for Format Conversion with Timewarp Effects Project Type Corresponding Source Option Possible Output Options Interlaced Progressive, Film with pulldown 30 fps progressive Progressive Interlaced, Film with pulldown 30 fps interlaced with 2:3 pulldown Film with pulldown Interlaced, Progressive Repeated progressive frames Progressive Repeated Interlaced, Progressive, Film with pulldown Interlaced Progressive 25 fps progressive Progressive Interlaced Repeated
9 Layered and Nested Effects This chapter describes how to apply multilayer effects to your sequence. Layered effects consist of two or more layers of video that play back simultaneously with effects such as Picture-in-Picture, Superimpose, or Submaster applied to the tracks. Nested effects consist of one or more effect layers that are contained within another effect on the same video layer.
Key Effects 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 556.
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.
Key Effects 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 245. Superimposed on the color swatch is a vectorscope-style display that shows the distribution of color values in the foreground image.
Key Effects 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. How the SpectraMatte Effect Calculates Key Color Values The SpectraMatte effect calculates a range of color values that are either completely or partially keyed out from the foreground image.
Key Effects The basic size and position of the wedge is defined by the following parameters: • The hue set by the Key Color parameters defines the position of the wedge around the swatch. In the following illustration, the key color is green, so the wedge falls in the green part of the swatch. • The saturation value set by the Chroma Control Key Saturation parameter defines the location of the center point of the wedge.
Key Effects 3. Enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. 4. In the Effect Palette, click the Key category. 5. Drag the SpectraMatte icon from the Effect Palette to the clip on track V2. Your Avid editing application adds the SpectraMatte Key effect. 6. Move the position indicator to the segment containing the effect in the Timeline. The Effect Editor displays parameters for adjusting the SpectraMatte effect.
Key Effects 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 n You can promote a Chroma Key effect to the SpectraMatte effect. For more information, see “Promoting a Chroma Key Effect to the SpectraMatte Effect” on page 252. The Chroma Key effect and the RGB Keyer effect are typically used with a foreground image shot in front of a highly saturated color screen that is keyed against a background image. This topic explains the basic differences between these color-based key effect options.
Key Effects Use the RGB Keyer when working with full-screen chroma key footage that does not require parameter adjustments such as repositioning or scaling, or when you need the RGB Keyer’s post-key color correction capabilities to better match the foreground to the background. Creating a Chroma Key Effect or RGB Keyer Effect To create a Chroma 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.
Key Effects Your Avid editing application selects the primary key color, and the key takes effect. 9. Fine-tune the key by enabling additional parameter categories and then adjusting parameters as necessary. For more information on specific parameters, see the reference information in “Key Effects” on page 556. 10. (Option) Perform post-key color correction by adjusting the hue, saturation, and value of the foreground elements using the Color Correction parameters in the Effect Editor.
Key Effects Promoting a Chroma Key Effect to the SpectraMatte Effect You can promote a Chroma Key effect to the SpectraMatte effect. Because of the differences in the way the two effects work, existing parameter adjustments in the Chroma Key effect might not all move forward to the SpectraMatte effect. The primary key color does always move forward correctly to the SpectraMatte effect.
Key Effects The 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.
Key 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 To create a high-contrast image from available footage: 1. Apply the Color Effect to the clip. For more information, see “Applying Effects” on page 33. 2. Enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. 3. Change the Luma Range to 0 to 255. 4. Drag the Sat (saturation) slider under Chroma Adjust all the way down to remove all color saturation from the image. 5.
Working with Imported Graphics and Animation To edit an imported master clip into the sequence: 1. Create the sequence, and then load a graphic clip into the Source monitor. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. 2. In the Source monitor, mark an IN point at the start of the clip and an OUT point to specify the duration of the graphic. 3. In the sequence, mark an IN point where you want the graphic clip to begin. 4.
Nesting Effects Your Avid editing application keys the graphic over the video on the lower tracks. 7. Adjust effect parameters in the Effect Editor, if necessary, using procedures described in “Using the Effect Editor” on page 83. 8. (Option) If the keyed portions of the images are the reverse of the intended effect, open the Foreground parameter category and click the Invert Key button. For more information, see the reference information in “Foreground” on page 587. 9.
Nesting Effects Nested effects have the same playback capabilities and constraints as any other effects that you apply to a sequence. However, because of the complexity you create when you layer effects in nests, nested effects are a good example of a situation where you might need to render or change video display settings to achieve acceptable playback. n Some effects do not work well together when nested.
Nesting Effects Expanding Nested Effects in the Timeline You can expand an existing nested effect for editing within the Timeline. You can then add new tracks, edit source material into the tracks, and apply and adjust effects on the nested tracks. You can expand any segment effect in this way. n You cannot monitor individual tracks when you expand nested tracks in the Timeline. To monitor individual tracks within a nested effect, see “Stepping Into and Out of Nested Effects” on page 258.
Nesting Effects p 2. Click one of the segment tools on the Timeline palette, and then double-click the segment. Segment tools in the Timeline palette The segment opens to reveal the nested tracks. 3. Edit new footage into the nested tracks, and apply additional effects as necessary. In this example, a series of clips is edited onto nested track 1.2, with dissolves applied between the shots. The 3D Picture-in-Picture effect applies to the entire nested dissolve sequence. 4.
Nesting Effects Nested Effects in the Effect Editor Nested effects on a segment are fully available in the Effect Editor if the effects use advanced keyframes. You can open and manipulate the available parameters and keyframe graphs for any nested effect at any time. For example, if you have a Picture-in-Picture effect with a Color Correction effect nested inside it, you can see both effects and their parameters in the Effect Editor, as shown in the following illustration.
Nesting Effects Before (left), during (center), and after changing the order of nested effects. In this example, the SubCap effect is moved above the Color Effect and Flop effects. If you attempt a change in order that is not possible, a message box opens that explains why you cannot make the change. For example, you cannot change the order of nested effects if the result would not provide enough video inputs for the effect.
Nesting Effects A simple example of changing the order of nested effects. In the original order, the SubCap effect is nested inside the Flop, so the text in the image is reversed. Changing the order of the two effects in the Effect Editor corrects the problem. Nesting a Matte Key Effect A Matte Key effect uses three layers of video to create the effect. To nest a Matte Key effect: 1. Create a sequence with the background video on track V1.
Nesting Effects 4. Drag the Matte Key Effect icon from the Effect Palette to the segment on track V2. 5. Click one of the segment tools on the Timeline palette. Segment tools in the Timeline palette 6. Double-click the Matte Key Effect icon in the segment. The Timeline expands to display three nested tracks (1.1, 1.2, and 1.3). By default, nested track 1.3 contains the same image segment as track V2. Nested track 1.2 is empty (foreground filler track). Nested track 1.1 (background video) is also empty.
Submaster Editing 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 557. Submaster Editing The Submaster effect is a single-track segment effect, available in the Image category of the Effect Palette. You can apply the Submaster effect to a track above layered or nested effects and then render only the Submaster.
Submaster Editing To apply the Submaster effect to a multilayered sequence: 1. Select Clip > New Video Track. 2. On the new video track, create one add edit before and another after the group of clips to be submastered. Add edits on track V5 bracket a group of clips on V4 For more information on add edits, see “Working with Add Edits (Match Frames)” in the Help. 3. In the Effect Palette, click the Image category. 4. Drag the Submaster Effect icon to the space between the add edits you created in step 2.
Collapsing Layers into a Submaster Effect 5. Render the Submaster effect, as described in “Basics of Effects Rendering” on page 51. Collapsing Layers into a Submaster Effect The Collapse feature lets you build your effect at the topmost level. When you are finished, you collapse the layers automatically into one Submaster effect. This is useful for simplifying a sequence with complex compositing.
Performing a Video Mixdown 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. To collapse a sequence (alternative procedure): 1. Click one of the segment tools on the Timeline palette. Segment tools in the Timeline palette 2. Select the segments you want to collapse. 3. Click the Collapse button.
Performing a Video Mixdown n For information to prepare a RED clip for a video mixdown, see “Preparing your Red Clip for Transcode, Mixdown or Render” in the Help. Video mixdown is similar to the Collapse feature, but the end result is different: • With the Collapse feature, you collapse the tracks into a Submaster effect. After you collapse the tracks, you are still able to step in to the Submaster effect and work on the individual elements.
Performing a Video Mixdown 4. Select a target bin, target drive, and resolution for storing the new master clip, and then click OK. A progress indicator appears. When the video mixdown finishes, a new clip appears in the bin along with the sequence, and a new media file is created on the target drive. n If your sequence includes a data track, the data track will not mixdown with the video tracks.
10 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 296.
Working with the Pan and Scan Effect 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 565.
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.
Working with the Pan and Scan Effect n When you place the Pan and Scan effect below multiformat titles, you might not see the titles with the correct Target aspect ratio as you work. For example, if you are reformatting from 4:3 to 16:9, titles appear distorted in the Client monitor. When you output the sequence at 16:9 by using the Digital Cut tool, select the 16:9 aspect ratio and the titles are sized correctly during the digital cut.
Working with the Pan and Scan Effect Selecting the Source and Target Aspect Ratios for the Pan and Scan Effect In Effect mode, the Pan and Scan effect displays a white wire frame in the Effect Preview monitor. This wire frame lets you select the portion of the media that appears in your output. The Pan and Scan aspect ratios determine the size and shape of the wire frame. Setting these ratios correctly is the most important part of using Pan and Scan.
Working with the Pan and Scan Effect 3. Move the position indicator to the Pan and Scan effect. 4. In the Effect Editor, click the triangular opener for the Aspect Ratios parameter category. 5. Set the Source aspect ratio to the ratio of your source material. 6. Set the Target aspect ratio to the ratio of the final output.
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, 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.
Working with the Pan and Scan Effect 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.
Working with the Pan and Scan Effect 3. Click the Record Track buttons in the Track Selector panel for the video tracks to use as the subdivision guide. 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.
Working with the Pan and Scan Effect 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. You can move the wireframe in all directions.
Working with the Pan and Scan Effect If your sequence needs many adjustments: 1. Enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. 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 279. 2. Press the Delete key to remove the Pan and Scan effect. 3. Enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. 4. In the Effect Palette, click the Reformat category. 5.
Using Avid Pan & Zoom 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 294.
Using Avid Pan & Zoom 5. In the Effect Editor, click the Other Options button. A file selection dialog box opens. 6. Navigate to the file containing your image, and click OK. Your Avid editing application associates the image file with the effect, and superimposes the image on the placeholder segment. The image appears in the Effect Preview monitor.
Using Avid Pan & Zoom 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 286.
Using Avid Pan & Zoom 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.
Using Avid Pan & Zoom When you use the Constant option, your Path parameter selection can affect the result of changes you might make to the effect. - If you select Linear for the Path parameter, moving keyframes or changing the Position parameters does not affect the velocity of the effect’s path. - If you select Spline for the Path parameter, moving keyframes or changing the Position parameters might affect the velocity of the effect’s path.
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).
Using Avid Pan & Zoom 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.
Using Avid Pan & Zoom Adjusting for Source Image Pixel Aspect Ratio and Color Levels in an Avid Pan & Zoom Effect The Advanced parameter category provides controls to compensate for differences in pixel aspect ratio and in color levels between the source image and the video output. Digital cameras and scanners, common sources for the Avid Pan & Zoom effect, use square pixels. Computer monitors and HD video formats also use square pixels. SD video formats, however, use non-square pixels.
Using Avid Pan & Zoom 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.
11 Motion Tracking and Stabilization You can track the motion of a selected area in an image over time. You can then use the tracking data to control the motion of an effect such as a Picture-in-Picture or to stabilize an image to compensate for camera motion.
Understanding Motion Tracking • 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 • Examples of Effects Using Motion Tracking Understanding Motion Tracking This topic includes conceptual information that helps you to understand how tracking works and when you might want to use it
Workflow for Motion Tracking many cases, especially when the motion of the vehicle is complex, using tracking data to control the movement of the foreground replacement is much quicker than using keyframes to define the movement by hand. For an example of this use of motion tracking, see “Examples of Effects Using Motion Tracking” on page 343. Sometimes a shot is designed from the outset with motion tracking in mind. A director might attach a target to the moving vehicle so that you can track it easily.
Workflow for Motion Tracking 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. (Option) Before you begin working with the motion tracking tools, develop a general concept and design for the effect you want to create.
Effects and Effect Parameters That Use Tracking Data Effects and Effect Parameters That Use Tracking Data You can enable tracking and use tracking data for most segment effects that can move over time, including Picture-in-Picture, keys, Intraframe™ effects, titles, and all 3D effects. In some cases, you must promote an effect to 3D to access tracking for the effect or to access the full range of tracking options.
Understanding the Tracking Interface Effect Available Parameters Paint Tracking AniMatte Blur Effect Mosaic Effect Scratch Removal Spot Color Correction (Media Composer | 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, and titles) Position, Rotat
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 300 • “Enabling Tracking in the Effect Editor” on page 308 • “Creating and Mapping Trackers” on page 311 Tracking Controls in the Effect Preview Monitor The Effect Preview monitor displays tracking controls that you can manipulate directly.
Opening The Tracking Window 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 303 • “Tracking Window Components” on page 304 The following illustration shows the Tracking window.
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 317. New Tracker Creates a new tracker. For more information, see “Creating and Mapping Trackers” on page 311.
Tracking Window Components 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. For more information, see “Enabling, Disabling, and Deleting Trackers” on page 312.
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 311. Tracker timeline (Tracker timeline displays) Shows information about the tracking data in the tracker. Color coding indicates the status of the data.
Preparing to Generate Tracking Data 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 33.
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.
Preparing to Generate Tracking Data 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 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. For more information on the Tracking window, see “Tracking Window Components” on page 304.
Preparing to Generate Tracking Data Number of Trackers Description 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. Use three trackers if you want your effect to skew in this manner. Four Controls position, scaling, rotation, skew, and perspective.
Preparing to Generate Tracking Data 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. Enabling, Disabling, and Deleting Trackers You can enable and disable trackers as necessary.
Preparing to Generate Tracking Data 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 320. 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.
Preparing to Generate Tracking Data 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 334.
Generating Tracking Data Tracking Engine Description FluidTracker If you need to search a large part of your image, FluidTracker might produce good tracking data faster than the Correlation Tracker. In the following two specific situations, FluidTracker usually produces more accurate data than the Correlation Tracker: • When the points you want to track start outside the visible area of the frame. • When you are using four trackers to control the corner-pinning of an image.
Generating Tracking Data 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. To enable all trackers at once, Alt+click (Windows) or Option+click (Macintosh) the Enable Tracker button for any tracker. 2. Move the position indicator to the location where you want to start generating tracking data.
Offset Tracking 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. This lets you track motion successfully when a single target area is not available for the full duration of a segment. Understanding Offset Tracking Motion tracking is simplest when you can track a single distinct area for the full length of a segment.
Offset Tracking To add a new tracker region for a tracker: 1. In the tracker’s timeline, move the position indicator to the location where you want the new region to start. 2. Right click in the tracker’s timeline, and select Add New Tracker Region. Your Avid editing application creates a new region that extends from the location of the position indicator to either the start of the next tracker region or the end of the timeline.
Understanding Tracking Data 2. In the first frame or field of your segment, set up a tracker for your first target area, as described in “Preparing to Generate Tracking Data” on page 307. 3. Begin generating tracking data, as described in “Generating Tracking Data” on page 317. 4. When the target area disappears, stop tracking by pressing the space bar. 5.
Customizing the Display of Tracking Data Example of the tracker timeline display. Left to right: Reference Frame Marker, starting Display Marker, vertical bar marking start of new region, and ending Display Marker. The following table describes the display options. Color Description Black Line at top of timeline Tracking data exists for this part of the segment, and the data points for this part of the segment are not currently selected in the Effect Preview monitor.
Customizing the Display of Tracking Data To turn the tracking display on or off for a tracker: t In the Tracking window, click the Enable Tracker button for the appropriate tracker. The Enable Tracker button is purple when the display is on. n Alt+click (Windows) or Option+click (Macintosh) the Tracking Box Display button for any tracker to turn the display on or off for all trackers at once.
Setting the Reference Frame for a Tracker (when the current data point always shows as a cross). When you play an effect with tracking data, for example, by clicking the Play button in the Effect Preview monitor, you always see the results of the effect. Setting the Reference Frame for a Tracker The reference frame for a tracked segment is the frame at which the tracking data makes no change to the appearance of the effect.
Understanding the SteadyGlide and Smoothing Options for Tracking SteadyGlide SteadyGlide™ processes tracking data to reduce abrupt, jittery movements without affecting underlying motion. SteadyGlide is particularly useful for stabilizing unwanted camera motion without eliminating desirable motion. You typically use SteadyGlide with the Stabilize effect, or with Stabilize Tracking turned on for an effect parameter in the 3D Warp effect.
Using SteadyGlide or Smoothing to Process Tracking Data Using SteadyGlide or Smoothing to Process Tracking Data To use SteadyGlide or Smoothing: 1. In the tracker timeline, click the SteadyGlide button or the Smoothing button. SteadyGlide (left) and Smoothing (right) buttons The button is purple when the processing option is turned on. n SteadyGlide and Smoothing are mutually exclusive processing operations. You cannot perform both SteadyGlide and Smoothing at the same time.
Selecting, Deleting, and Moving Tracking Data Points Unlike SteadyGlide or Smoothing processing, these adjustments change the tracking data itself. You can only reverse them by using your Avid editing application’s Undo feature, or by retracking to generate a new set of tracking data points.
Selecting, Deleting, and Moving Tracking Data Points To delete one or more selected data points: t Press the Delete key. Your Avid editing application repositions the selected data points along a straight line between the two unselected points that bound the selected points. The data points remain fully functional. They display in the Effect Preview monitor at their newly calculated locations, and they remain available for you to modify further.
Moving Tracker Data Points Outside the Frame Boundary Before (left), during (center), and after (right) moving a selected range of data points. The points move as a group and maintain their positions with respect to one another. 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.
Stretching a Range of Tracker Data Points The following illustration shows this behavior. This illustration represents data points (dots) created by tracking an area (the rectangle containing the triangle) across a series of frames. For the first half of the process, the object is tracked accurately. During the second half of the process, a small amount of error is introduced, and by the end the data point lags behind the object somewhat.
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.
Playing Effects That Use Tracking Data 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.
Stabilizing an Image 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 336. 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.
Reviewing and Adjusting a Stabilized Image 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 307. 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 326.
Using the Region Stabilize Effect 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 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.
Making Adjustments to the Region Stabilize Region of Interest 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 the tracking data to follow the background area (perhaps by selecting all the points and moving them a little). If you shift the effect segment substantially, or even place it over a different background clip, the tracking data remains available but has no practical use. n Sometimes it might be useful to create a multilayer effect with motion tracking as a nested effect.
Reusing Existing Tracking Data 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 342. 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. For example, you might create a single tracker with the default Point A name in the Position parameter category.
Examples of Effects Using Motion Tracking 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). The trackers appear in the Tracking window below any existing trackers. For example, if you are pasting into an effect that has trackers T1 and T2, the pasted trackers are numbered T3 and T4. 6.
Examples of Effects Using Motion Tracking Example 1: Replacing the License Plate on a Moving Vehicle This example uses motion tracking to track the license plate on a truck and then replace the plate with an imported graphic. The license plate in the footage is white and the surrounding areas of the truck are generally dark, so the exact corners of the license plate are good targets for the tracking operation.
Examples of Effects Using Motion Tracking The location of the four tracking boxes at the four corners of the license plate (left), and the tracking data points generated for the four trackers. As the truck moves into the distance and the plate gets smaller, the points move closer together. Images from the beginning, middle, and end of the original clip (top) and the finished effect. The replacement plate is positioned and sized manually in the first frame of the clip.
Examples of Effects Using Motion Tracking The first frame of the clip. The original video (left) shows the target white dots on the wand. The finished effect (right) shows the image with the Paint object added. The tracking boxes located over the targets (left), and the generated tracking data points for the entire clip (right). Images from the beginning, middle, and end of the original clip (top) and the finished effect (bottom) with the Paint object.
12 Working with 3D Effects This chapter describes procedures for creating and manipulating 3D effects.
Applying the 3D Warp Effect • 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 348. • 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.
Promoting 2D Effects to 3D Effects n You can use the Shape menu in the Effect Editor to switch between the 3D shapes, but the name of the effect in the Effect Editor does not change when you change the shape. For example, when you are editing a 3D Ball effect, you can change the shape to 3D Slats. All of 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.
Real-Time Playback of 3D Effects You can promote real-time 2D Matte Key effects (graphics imported with alpha channel) to 3D Warp, and apply additional parameters, such as Shape Wipe effects, or X, Y, and Z positioning. You cannot promote matte keys created using the Matte Key effect from the 2D Effect Palette to a 3D matte key. To create a matte key for use with 3D effects: 1. Import a graphic file containing an alpha channel.
Understanding 3D Geometry and Degrees of Rotation However, in the following case, 3D effects cannot play in real time and appear in the Timeline with a blue dot: • If you are working with HD media, the following 3D effects cannot play in real time: - 3D Shape effects (Ball, Page Fold, Slats), whether applied from the Xpress 3D effect category or by selecting from the Shape parameter category in the 3D Warp effect. - Titles promoted to 3D. - Imported moving Matte Key effects promoted to 3D.
Understanding 3D Geometry and Degrees of Rotation 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. 0 –45 – + +45 +90 –90 –135 +135 –180 +180 A positive number of degrees refers to a clockwise rotation; a negative number of degrees refers to a counterclockwise rotation.
Working with 3D Effects Parameters 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. You can use the Enlarge and Reduce buttons to zoom in and out on the Effect Preview monitor just as you can with 2D effects.
Applying 3D Effects: Examples To manipulate a 3D effect handle in the Effect Preview monitor: 1. If your Avid editing application is not in Effect mode, enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. 2. In the Effect Editor, click one of the image manipulation buttons to activate the specific handles. 3. Click the handles, and drag them to manipulate the image. 4.
Applying 3D Effects: Examples • For reference information on all 3D effects parameters and controls, see “Effects Parameter Reference” on page 581. • For basic information about editing a sequence, see “Creating and Editing Sequences” in the Help. In addition to re-creating the examples in this section, you can experiment with the default shape effects. For more information, see “Shape” on page 695.
Applying 3D Effects: Examples Example of a Page Fold effect with highlight and lowlight: outgoing and incoming video sources (top) and stages of the effect (bottom) To create the Page Fold effect: 1. Create a sequence, and apply the 3D Warp effect as described in “Applying the 3D Warp Effect” on page 348. 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.
Applying 3D Effects: Examples 4. Use keyframes to animate the Curl parameter in the Shape parameter category. Set a value of 0 (no curl) on a keyframe at the start of the effect and a value of 100 on a keyframe at the end of the effect. For more information, see “Working with Keyframes” on page 96. 5. Click the Play button or the Play Loop button to preview the effect. Play (left) and Play Loop (right) buttons 6. (Option) Use the Transition parameters to adjust the length of the effect.
Applying 3D Effects: Examples To create a foreground band of footage: 1. Build the sequence with the background footage on the bottom track and the foreground footage on the top track. In this example, dissolves are added between a series of foreground segments. 2. Apply the 3D Warp effect to one segment of the top video track. 3. Enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. 4.
Applying 3D Effects: Examples This example shows the background and foreground videos used to create a segment transition using corner pinning. The segment starts with the foreground image “pinned” onto the video monitor in the scene. The image then moves off the TV and eventually fills the screen. Example of a Corner Pin effect: background and foreground video (top), and stages of the effect (bottom).
Applying 3D Effects: Examples c. Click the Corner Pin button a second time to turn off the handles. 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.
Applying 3D Effects: Examples 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 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. (Option) If your Avid editing application includes the 3D Spill Suppression parameter category, use Spill Suppression if necessary to remove spill in the foreground image. 7.
13 Creating Titles You can create titles in your Avid editing application using either the classic Avid Title tool or the Marquee® Title tool. Titles can incorporate text, graphic objects, imported graphics, and video. This chapter provides information on using the Title tool to create titles. n You cannot create titles with the Avid Title tool and Marquee Title tool if you are working with a higher than HD project. You can use the NewBlue® Titler Pro bundled with the editing application.
Opening the Title Tools • 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 • 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 Marquee opens. For information on Marquee, see “Using Marquee” on page 367. t To use the Title tool, click Title Tool. The Title tool opens. The Text tool is automatically selected, and the pointer becomes an I-beam, ready for entering text. If you know you want to create only Marquee titles or only standard titles for the current session, select Persist before you click Marquee or Title Tool.
Installing Fonts for Use in the Title Tool 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 376 and “Creating Graphic Objects” on page 383. • 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 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. When your project uses the 16:9 aspect ratio, the Title tool uses the 16:9 aspect ratio also, and saved titles appear correctly in the monitors.
Toolbar Reference for the Title Tool 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 372. For detailed reference information on all the tools in the toolbar, see “Toolbar Reference for the Title Tool” on page 370. • 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 378. 6 Color Selection boxes Let you change the color of text and objects. For more information, see “Selecting Colors and Setting Transparency” on page 396. 7 Transparency Level boxes Let you change the transparency levels of text and objects.
Using the Selection and Text Tools Component Description 14 Crawling Title button Lets you create crawling titles. For more information, see “Creating Rolling and Crawling Titles” on page 384. 15 Rolling Title button Lets you create rolling titles. For more information, see “Creating Rolling and Crawling Titles” on page 384. 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).
Understanding the Drawing Environment 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.
Setting Up the Drawing Environment 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. You cannot create rolling or crawling titles with a color background.
Creating Text The background updates to reflect the current contents of the Record monitor. To create a title that appears over an opaque color background: 1. (Option) Click the Video Background button to switch off the video background if it was previously turned on. 2. Click and hold on the Background Color (Bg) window. The Title Tool Color Picker dialog box opens. 3. Use the Title Tool Color Picker dialog box, eyedropper, Windows Color dialog box, or Macintosh Colors panel to select a color.
Sizing and Positioning Text Objects 4. When you finish typing, click the Selection tool in the toolbar to deselect the text object. To copy and paste text into the Title tool: 1. In a word processor or text editor, open the text file and select the text. 2. Select Edit > Copy. 3. In the Title tool in your Avid editing application, click the Text tool in the toolbar. The pointer becomes an I-beam. 4. Click the position in the frame where you want to add text. An insertion point appears. 5.
Editing a Text String t Use commands in the Alignment menu to position the text. For more information, see “Manipulating Title Objects” on page 402. Editing a Text String To edit an existing text string; 1. Click the Text tool, and click anywhere in the text. 2. Perform any of the following tasks: t Use the arrow keys to move around within the text string. t Type additional characters. t Press Enter (Windows) or Return (Macintosh) to insert a line return. t Drag to select characters.
Formatting Text Setting Default Text Attributes When you start your Avid editing application and open the Title tool, it uses default text attributes. You can change the defaults at any time. Changes you make to the default text attributes apply until you quit your Avid editing application. To change the default text attributes: 1. Click the Selection tool. 2. Click in the Title tool but do not select any text. 3. Change any of the text attributes.
Formatting Text Point Size text box (left) and Point Size button (right) in Title Tool toolbar To change the point size, do one of the following: t Click the Point Size button, and select a standard point size from the menu. t Double-click in the text box, type a point size between 5 and 999, and then press Enter (Windows) or Return (Macintosh). t Click in the text box, and use the Up Arrow and Down Arrow keys to change the value incrementally.
Formatting Text Text justification buttons in the Title Tool toolbar To justify the text, do one of the following: t Click the left text justification button to align text with the left side of the text object. t Click the center button to center the text. t Click the right button to align text with the right side of the text object. Kerning Text Kerning improves the appearance of titles by controlling the amount of space between characters.
Formatting Text To adjust kerning with predefined sizes: 1. Select the text. 2. (Option) Click the Kerning button, and select Pair Kerning to eliminate excessive space between some character pairs. Pair kerning works only on fonts that support kerning tables (for example, Palatino). 3.
Creating Graphic Objects Leading text box in the Title Tool toolbar To set leading: t Click in the Leading text box, and type a number to indicate the leading value you want. The Title tool adjusts leading immediately. Creating Graphic Objects You use the drawing tools to create graphic objects such as squares, rectangles, circles, ovals, and lines. After creating graphic objects, you can modify or manipulate them in a variety of ways.
Creating Rolling and Crawling Titles To draw a circle or an oval: 1. Click the Oval tool in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create an object. Shift-drag to constrain the object to a circle. To draw a line: 1. Click the Line tool (slanted line) in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create a line. Shift-drag to constrain the line to a horizontal or vertical line.
Creating Rolling and Crawling Titles n You cannot save a rolling or crawling title with a color background even though you can set the Title tool to display a color background while you create the title. To place your rolling or crawling title over a color background, you must export the background as a PICT file, reimport it (with Ignore Existing Alpha selected in the Import dialog box), edit it into your sequence, and then edit your title onto a new layer above the background graphic.
Creating Rolling and Crawling Titles Workflow Options for Creating Crawling Titles Rolling titles scroll in the direction of the roll as you type the text, but crawling titles do not scroll horizontally in the direction of the crawl during typing. When you create crawling text, consider the following workflow options: • Type the text first as a rolling title.
Creating Rolling and Crawling Titles t Select Tools > Title Tool Application. The Title tool opens. 2. Click the Text tool in the toolbar. 3. Do one of the following: t Click the Rolling Title button to enter Rolling Title mode. t Click the Crawling Title button to enter Crawling Title mode.
Creating Rolling and Crawling Titles Using the Make Crawl Command to Position a Crawling Title After you enter and edit your crawling title text, you can transform the title into a single-line text object and position it on the lower third of the screen. To position a crawling title: t Select Object > Make Crawl.
Creating Rolling and Crawling Titles t Type a page number for a specific page. t Use the Up Arrow and Down Arrow keys to cycle through the page numbers. 3. Press Enter (Windows) or Return (Macintosh). The selected page appears. To add pages: 1. If Auto Size mode is on (a check mark appears next to Auto Size Mode in the Object menu), turn it off by choosing Object > Auto Size Mode. The Add Page command is not available when Auto Size mode is on. 2. Select Object > Add Page.
Modifying and Manipulating Title Objects For more information on Auto Size mode, see “Using Auto Size Mode for Rolling and Crawling Titles” on page 386. To copy or move an object to a title page: 1. Create a text block or any other title object. 2. Select the object. 3. Do one of the following: t Select Object > Copy to Page. The Copy to Page dialog box opens. t Select Object > Move to Page. The Move to Page dialog box opens. 4. Type a page number, and then click OK.
Modifying Box Corners, Lines, and Borders on Title Objects • You can add and adjust drop or depth shadows for any title object. For more information, see “Adding Shadows to Title Objects” on page 399 and “Adjusting Shadows on Title Objects” on page 400. • You can modify the transparency level of any title object or of its shadow. For more information, see “Selecting Colors and Setting Transparency” on page 396.
Modifying Box Corners, Lines, and Borders on Title Objects t Specify a custom corner radius by doing the following: a. Select the Custom Radius option (the last item on the list). The Enter New Corner Radius dialog box opens. b. Type a whole number (in pixels) into the dialog box. The maximum custom radius is 200. c. Click OK. 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.
Modifying Box Corners, Lines, and Borders on Title Objects Border Width button and options, including Remove Border option (top) and Custom Width option (bottom) 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.
Understanding Color and Transparency Controls in the Title Tool The Arrowhead Size dialog box opens. Arrowhead handle in the Arrowhead Size dialog box 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.
Understanding Color and Transparency Controls in the Title Tool Left to right: Color Selection boxes, Transparency Level boxes, and Color and Transparency Blend tools in the Title Tool toolbar • The Color Selection boxes control fill (Fill), shadow (Shad), and border (Bord) color, respectively. These boxes provide access to the Title Tool Color Picker dialog box, which enables you to do the following: - Select a color from the Title Tool Color Picker.
Selecting Colors and Setting Transparency Example of a transparency blend (left) created with the Transparency Blend tools (right) Selecting Colors and Setting Transparency To select a color for a title object: 1. Select a text or graphic object. If you do not select an object, the color is applied to the next object you create. 2. Press and hold the mouse button with the pointer over one of the Color Selection boxes in the toolbar: Box Description Fill Applies the color to the selected object.
Selecting Colors and Setting Transparency n 2 Eyedropper 5 Color selection bar 3 Open the Windows Color dialog box or the Macintosh Colors panel 6 New Color window You can drag the Color Picker from the toolbar to create a floating palette. 3. Select a color: t To select from the Title Tool Color Picker, drag the pointer along the color selection bar to the color you want, and then move the pointer down into the shade selection palette to select a shade.
Selecting Colors and Setting Transparency Example of a gradient blend (left) created with the Color Blend tools (right) 5. Click the Blend Direction box, and drag clockwise or counterclockwise to achieve the effect you want. As you rotate the pointer, the position of the two colors rotates. The change takes effect as soon as you release the mouse button. To control transparency level: 1.
Adding Shadows to Title Objects Adding Shadows to Title Objects You can add a depth shadow or drop shadow to any text or graphic object. A depth shadow extends from the edges of the object, as though the object were three-dimensional. A drop shadow is offset from the object itself, as though cast by a light source. You can place the shadow anywhere within the title without restriction. The following illustration shows an example of depth and drop shadows.
Adjusting Shadows on Title Objects Adjusting Shadows on Title Objects You can adjust the color and transparency for a shadow using the same procedures you use to adjust color and transparency for title objects themselves. For more information, see “Selecting Colors and Setting Transparency” on page 396. You can also control the amount of softening or blurring on shadows you create in the Title tool. The value that you set applies immediately to any selected title.
Adjusting Shadows on Title Objects To adjust shadow softness on-the-fly, using the Soft Shadow text box: 1. Select one or more objects in the Title tool. 2. Select Object > Soften Shadow. 3. Type a number in the Shadow Softness text box to represent a degree of softening. 4. Click Apply. The Title tool applies the softness value to the selected title objects. 5. Repeat steps 3 and 4 until you are satisfied with the effect. 6. Click OK.
Manipulating Title Objects Manipulating Title Objects You can manipulate title objects in the following ways using commands in the Edit, Object, and Alignment menus: • You can cut, copy, and paste title objects. • You can select all objects at once, and deselect any selected objects. • You can change the layering order of title objects. The last object created occupies the top layer, but you can move objects forward or backward within the screen area. • You can group and ungroup title objects.
Manipulating Title Objects To adjust the layering of objects in a title: 1. Click the Selection tool, and click an object. 2. Do one of the following: t To bring an object to the top layer, select Object > Bring To Front. t To send an object to the bottom layer, select Object > Send To Back. t To move an object forward one layer, select Object > Bring Forward. t To move an object back one layer, select Object > Send Backward. To group objects: 1.
Manipulating Title Objects To align objects to the frame: 1. Click the Selection tool, and click an object or Shift+click multiple objects. 2. Do one of the following: t Select Alignment > Align To Frame Left. t Select Alignment > Align To Frame Right. t Select Alignment > Align To Frame Top. t Select Alignment > Align To Frame Bottom (Shift+Ctrl+Z). t Select Alignment > Center in Frame Horiz. (Shift+Ctrl+C). t Select Alignment > Center in Frame Vert.
Saving Titles This command is especially useful for aligning objects diagonally or for roughly positioning a group of objects and then lining them up without spreading them out to the edges of the safe title area. Saving Titles You can save a title and then exit the Title tool immediately. Alternatively, you can save a title and then continue creating titles, using the Save As command to save each additional title separately.
Saving Titles 2. Click Save. The Save Title dialog box opens. 3. Type a name to identify the title in the bin, and then select a bin, drive, and resolution from the menus. If you are saving a new title, the resolution you select becomes the default for future new title saves. You can also use the Media Creation dialog box to set the resolution and drives for titles. For more information, see “Media Creation Settings” in the Help. 4. Select or deselect Fast Save (Unrendered), depending on your needs.
Revising a Title in a Bin To save a title and place it between In and Out marks in the Timeline: 1. Make sure you have an In and Out mark in your Timeline. 2. Select File > Save Title. The Save Title dialog box opens. 3. Enter a name for the title. 4. Select the Place in Timeline (In -> Out) option. 5. Select the track where you want to place the title. The tracks listed are based on the tracks available for the current sequence. 6. Click Save.
Creating and Using Title Templates 2. Edit the title, using the techniques described in “Editing with Titles” on page 415. 3. Save the title with the same name and media parameters (bin, drive, and resolution) by choosing File > Save Title. The revised Title Effect clip replaces the previous clip in the bin. The clip also appears in the Source monitor. The Title tool remains open. You can continue creating additional titles, or select File > Close. 4.
Saving and Recalling Title Styles 3. Click the Templates menu, and select Save Template. The Save Template dialog box opens. 4. Type a name for the template. 5. Click Save. By default, the Title tool saves the template in a Title_Templates folder within the Settings folder for your Avid editing application, but you can save it elsewhere. 6. Close the Title tool, and click Don’t Save in the dialog box. To use a title template: 1.
Saving and Recalling Title Styles You can also assign a title style to one of the function keys on your keyboard. You can then recall that style by pressing the appropriate function key. Title styles save only the parameters that control the appearance of text or graphic objects in the Title tool. If you want to save the entire contents and layout of a title, including specific title objects themselves, use a title template. For more information, see “Creating and Using Title Templates” on page 408.
Saving and Recalling Title Styles Top to bottom: Sample window, Function Key text box, and Style Name text box in the Title Style Sheet dialog box 4. Select the parameters that you want to include in the style using the information in “Title Style Sheet Options” on page 411. The Title tool uses the values from the currently selected object or from the current defaults if no object is selected. 5. (Option) Type a function key number in the Function Key text box to assign the style to a function key.
Saving and Recalling Title Styles Component Description 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. Use the check boxes to specify the attributes to save. Function Key text box (Option) Lets you designate a function key that you can use to apply the title style. Style Name text box This name appears in the Style list in the Title tool and in the Settings list.
Saving and Recalling Title Styles 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. To recall a title style attribute using a function key: t Press the appropriate function key. The style attributes appear in the Title Tool toolbar.
Exporting a Title as a Graphics File 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.
14 Editing with Titles This chapter provides information on editing titles created in the Title tool or in Marquee into sequences.
Editing a Title into a Sequence 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 175.
Editing a Title into a Sequence For more information, see “Dragging a Marked Title into a Sequence” on page 418. • 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 419. 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.
Editing a Title into a Sequence 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.
Removing a Title Your Avid editing application adds the next video track for the sequence to the Timeline. For example, if the sequence includes only V1, your Avid editing application adds V2. 3. Move the position indicator to the location where you want the Title effect to begin. 4. Click either the Extract/Splice-in button or the Lift/Overwrite button, depending upon how you want to insert the Title effect. Extract/Splice-in button (left) and Lift/Overwrite button (right) 5.
Replacing a Title Segment tools in the Timeline palette n The Title effect remains in the bin. To remove the Title effect from the bin, select the effect in the bin and press the Delete key. 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.
Trimming the Duration of Rolling and Crawling Titles You can mark IN and OUT points of rolling or crawling titles in the Source monitor to change the start and finish points. For example, you might want the title to start with the screen full of text rather than start off screen. You can play and mark a rolling or crawling title clip in the Source monitor by using standard procedures. For more information, see “Controlling Playback” in the Help.
Adjusting Title Effect Parameters Adjusting Title Effect Parameters After you edit a title into a sequence, you can open the Effect Editor and refine the title with keyframe control over effect parameters. You can also promote a 2D title to 3D in the same way that you promote other effects from 2D to 3D. For more information, see “Promoting 2D Effects to 3D Effects” on page 350.
Revising a Title in a Sequence 3. Do one or more of the following to work with the Title effect parameters: t n Adjust Title effect parameters by using basic techniques described in “Using the Effect Editor” on page 83. For information on specific Title effect parameters, see “Title Effects” on page 577. t Use multiple keyframes to gradually change keyframeable parameters over time. For more information, see “Working with Keyframes” on page 96.
Revising a Title in a Sequence 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 clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. The Effect Editor opens. 3. Click the Edit Title button. A dialog box opens, asking if you want to promote the title to Marquee.
Replacing Fill Tracks in a Title 4. Save the title. To save the title with the same name and media parameters: 1. Select File > Save Title. A message box opens, asking if you want to save the title and exit the Title tool. 2. Click Save. The Title tool closes. The revised Title Effect clip replaces the previous clip in the sequence and the Source monitor and saves the new title to the bin. To save the title with a new name or parameters: 1. Select File > Save Title as.
Rendering Titles Rendering Titles Rolling and crawling titles are non-real-time effects. You must render them before they will play back in real time. You might also need to render static titles in some circumstances, particularly when they are layered with other titles or other effects, or when the overall complexity of the sequence limits real-time playback for your system. For more information on rendering Title effects, see “Basics of Effects Rendering” on page 51.
Troubleshooting Titles 6. Select a resolution for the re-created titles. n The default drive and resolution are defined in the Titles tab of the Media Creation dialog box. For more information, see “Media Creation Settings” in the Help. 7. Click OK. Your Avid editing application re-creates the title media file. Creating Media for Unrendered Titles in a Bin To create media for unrendered titles in a bin: 1. In the bin, select the titles for which you want to generate media.
Troubleshooting Titles If you experience a playback problem with a title, do one or more of the following: • Render the title or underlying effects. For more information, see “Basics of Effects Rendering” on page 51. • For a rolling title, slow the roll by extending the duration of the clip. For more information, see “Trimming the Duration of Rolling and Crawling Titles” on page 422. • Separate title clips in the sequence. • Store title and video media on separate drives, or use faster drives.
Troubleshooting Titles To correct a title’s resolution to match the resolution used in the video clips in the sequence, use the procedure described in “Re-creating Title Media” on page 427. 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).
Troubleshooting Titles 4. Select or deselect “Use Classic Character Mapping.” 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 379.
15 Working with the SubCap Effect This chapter provides information on the SubCap™ captioning and subtitling effect.
Understanding 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.
How the SubCap Effect Handles Caption Files 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 33. You apply the SubCap effect to a video track above all the other video material in your sequence.
Entering Caption Text Directly in the Effect Editor 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. (Option) If necessary, create a new video track in the Timeline.
Importing a Caption File For more information, see “Editing Text in the Master Caption List” on page 440 and “Working with Unicode Text in the SubCap Effect” on page 445. 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. If it is not already open, open the Effect Editor, for example, by clicking the Effect Mode button. 3.
Importing a Caption File 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.
Adjusting SubCap Effect Parameters 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. For more information, see “Working with Unicode Text in the SubCap Effect” on page 445. To edit text in the Master Caption List: 1.
Synchronizing SubCap Effect Parameters and Information For general information on working with parameter controls in the Effect Editor, see “Effect Editor Controls” on page 84. For reference information on the parameter controls for the SubCap effect, see “SubCap Effect Parameters” on page 594. Synchronizing SubCap Effect Parameters and Information In most circumstances, you probably want the formatting and the additional information stored in all the SubCap effect clips in a sequence to be the same.
Exporting SubCap Effect Data to Caption Files 5. For each effect parameter or information type in the list, select one of the following: Option Description Clip Changes to this item remain unique to the current effect clip and are not copied to any other SubCap effect clips in the sequence. Track Changes to this item are copied to any other SubCap effect clips on the track containing the current clip, but not to those on any other tracks in the sequence.
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.
Working with Unicode Text in 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.
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.
Working with SubCap Effect Stylesheets 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.
Examples of SubCap Effect Parameter Adjustments 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. The following are the important parameter values that contribute to the look of the example: Parameter Value Font Face Arial Black Font Size 20 Text Shadow Custom (Radius 0.5, Angle 5.5) Text Alignment Center Box Color and Opacity R, G, and B all 95, Opacity 0.
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.
16 Intraframe Editing This chapter provides information on the intraframe editing features of your Avid editing application.
Understanding the Intraframe Effects “Working with Vector-Based Objects” on page 468. Changes you make to an Intraframe effect are not limited to an individual frame. Any object you paint and any changes you make to it appear for the duration of the segment or clip. In most cases, you can change the parameters of the effect between keyframes, for example, to change the shape of the object or reposition it over time. You can create multiple paint or matte shapes within a single effect.
Rendering Intraframe Effects more information, see “Understanding Scratch Removal” on page 487. Blur Effect and Mosaic Effect The Blur effect and Mosaic effect let you obscure parts of an image by distorting pixels. The Blur parameter category for the Blur effect is the same as the one that appears for the Blur mode of the Paint Effect. The Mosaic parameter category for the Mosaic effect is the same as the one that appears for the Mosaic mode of the Paint Effect.
Applying the Paint or AniMatte Effect to a Sequence Applying the Paint or AniMatte Effect to a Sequence To apply the Paint Effect or AniMatte effect to a sequence: 1. Load a sequence into the Record monitor. For information, see “Creating and Editing Sequences” in the Help. 2. Enter Effect mode by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. 3.
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 83.
Effect Editor Reference for the Paint and AniMatte Effects 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 296. 12 Previsualization Marker tool Available in film projects.
Using the Intraframe Drawing Tools n After you use the Rectangle, Oval, Polygon, and Curve tools, your Avid editing application reverts to the Selection tool, and the pointer changes to an arrow. After you use the Brush tool, it remains the active tool, and the pointer remains a crosshair. Understanding Intraframe Modes The Paint Effect includes a wide variety of modes that offer many creative and corrective possibilities.
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 90. When you use the Brush tool to paint an object, you can select a color quickly from a video segment.
Using the Intraframe Drawing Tools 5. Position the pointer over the image in the Effect Preview monitor. The pointer becomes a crosshair. 6. Press and hold the mouse button, and drag to paint freehand style on the video background. 7. Release the mouse button when you have finished painting the object. Creating a Custom Brush Head You can change the brush head to a custom shape by modifying the brush head in the Brush Preview window. To create a custom brush head: 1.
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 468.
Using the Intraframe Drawing Tools To use a brush template: t Click the template in the bin, drag it to the Brush Preview window, and release the mouse button. The brush in the Brush Preview window assumes the same parameters as the brush template you saved to the bin.
Using the Intraframe Drawing Tools 5. Release the mouse button to complete the shape. 6. (Option) Adjust the object’s parameters. Creating Shapes with the Polygon Tool You can use the Polygon tool to paint a variety of create objects and mattes composed of straight-line segments, curved segments, or a combination of both. To take full advantage of the Polygon tool, you should be familiar with the concepts behind vector-based graphics.
Using the Intraframe Drawing Tools 4. Click in the frame where you want to place the next control point. Your Avid editing application draws a straight-line segment between the initial control point and the control point you just created. n Segments appear as wire frames until you finish painting the object. 5. Click in the frame to create additional control points that further define the shape of the object. A straight-line segment appears between each pair of adjacent control points. 6.
Using the Intraframe Drawing Tools 6. Drag the pointer, which is attached to the direction handle, to adjust the direction and height of the curved segment. 7. Release the mouse button when you are satisfied with the height and angle of the curved segment. 8. Move the pointer to the next location where you want to create a curved segment. 9. Repeat steps 3 to 8 to create additional curves if needed. 10.
Using the Intraframe Drawing Tools 7. When you are satisfied with the shape of the object, double-click in the frame to create the final control point or click the initial control point. The object becomes closed. 8. (Option) Adjust the parameters of the object. Creating Freehand Curved Objects With the Curve tool, you can trace curved objects with freehand capability. To paint with the Curve tool: 1. In the Effect Editor, click the Curve tool. 2.
Using the Intraframe Drawing Tools To select multiple objects, do one of the following: t Shift+click additional objects with the Selection tool. t Drag a lasso around the objects you want to select. When you select multiple objects, one set of selection handles appears around all the objects, which enables you to move, rescale, or otherwise change the parameters of all the selected objects simultaneously.
Working with Vector-Based Objects Selection handles on a rectangular object To change the color of an object: 1. Click the triangular opener for the Color parameter category. 2. Adjust the Hue, Sat (saturation), and Lum (luminance) sliders. 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.
Working with Vector-Based Objects The Elements of Vector-Based Objects The objects you paint, the matte keys you draw, and the brush templates that appear in the Brush Preview window include a control point at the midpoint of each line or curve, also known as a join. The portion of the line or curve on each side of the control point is called a segment. The control point controls the direction of each segment as it passes through the join.
Working with Vector-Based Objects Straight-edge joins do not display direction bars and handles when you click them. Reshaping an Intraframe Object with Straight Edges To reshape an object composed of one or more straight edges, do one or more of the following: t Click the Selection tool, click the object to select it, click the Reshape tool, and then drag one or more control points.
Working with Vector-Based Objects 7. Click the Reshape tool, or double-click the object. Each corner of the rectangle displays a control point. 8. Alt+click (Windows) or Option+click (Macintosh) the control point at the top left corner of the rectangle. The straight-edge join becomes a smooth join with direction bars and handles. 9. Working in a counterclockwise direction, Alt+click (Windows) or Option+click (Macintosh) each control point until they have all been transformed into smooth joins.
Working with Vector-Based Objects To experiment with the direction handles: 1. Click the bottom direction handle, and drag away from the control point to increase the length of the direction bar. Notice how the curve changes. Also, the direction bar and segment on the opposite side of the control point move in unison with the direction bar you are dragging. The control points adjacent to the active join serve as anchor points for the segments that compose the curve.
Working with Vector-Based Objects Example of rotating a direction handle without changing its length. 6. When you have finished experimenting, adjust the direction bar so that the object again resembles a circle. 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.
Working with Vector-Based Objects 3. Drag the direction handle in a counterclockwise direction. Notice how the segment changes as you drag the direction bar. 4. When you are finished experimenting, Alt+click (Windows) or Option+click (Macintosh) the direction handle. The control point reverts to a smooth join.
Working with Vector-Based Objects Methods of Modifying Intraframe Lines and Curves (Continued) Illustration Description Action Transform a straight-edge join (left) into a smooth join (right). Alt+click (Windows) or Option+click (Macintosh) the control point. To change it back to a straight-edge join, Alt+click (Windows) or Option+click (Macintosh) the smooth join. Transform a smooth join (left) into a corner join (right). Alt+click (Windows) or Option+click (Macintosh) one of the direction handles.
Working with Vector-Based Objects Unnecessary number of control points (left) and minimum number of control points (right) for describing the curve To add a control point: 1. Click the Selection tool, and click the object. 2. Do one of the following: t Click the Reshape tool. t Double-click the object. 3. Click the selected object where you want to add a new control point. A new control point appears and is calculated so that the object does not change dramatically in shape.
Working with Vector-Based Objects To move to an adjacent control point: 1. Click a control point. 2. Do one of the following: t Click the Fast Forward button to move in a clockwise fashion to the next control point. t Click the Rewind button to move in a counterclockwise fashion to the next control point. Moving Control Points Before you select control points for moving, first click the Selection tool, and click the object to display the control points.
Using the Previsualization Marker Tool for Film Projects t c To nudge selected control points down, press the Alt key (Windows) or the Option key (Macintosh) and the Right Arrow key, or press the Trim Right key. The Effect Preview monitor must be the active window for arrow key movement of control points to work. Additionally, if your arrow keys are mapped to another function, such as Step Back and Step Forward, this feature might not function properly.
Manipulating Intraframe Objects A marker appears in the frame. 6. Use keyframes to move the marker throughout the segment. To add more markers: t Repeat steps 2 to 5 in the previous procedure. To delete a marker: t Click the marker to highlight it, and then press the Delete key. 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 Reshaping Intraframe Objects The Reshape tool lets you modify the shape of a painted object or matte on the screen using several different techniques. These procedures require some familiarity with vector-based graphics. For more information, see “Working with Vector-Based Objects” on page 468. n n You can use keyframes to change the shape of an intraframe object over time. For more information, see “Changing Intraframe Object Parameters over Time” on page 482.
Manipulating Intraframe Objects 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 477. t Edit the object by manipulating the direction bars at one or more control points. For information on editing straight-line segments and curved segments, see “Reference for Modifying Lines and Curves in Intraframe Objects” on page 474. Rotating Intraframe Objects You can select an object or matte and rotate it around the Z axis.
Manipulating Intraframe Objects You can also use keyframes to change the scale of an intraframe object over time. For more information, see “Changing Intraframe Object Parameters over Time” on page 482. To rescale an object or matte: 1. In the Effect Editor, click the Selection tool. 2. Click the object you want to rescale. The object outline becomes highlighted, and four selection points appear around the object. 3.
Layering, Grouping, and Locking Intraframe Objects Parameter For more information: Position of an object on screen See “Moving Intraframe Objects” on page 479. Shape of an object See “Reshaping Intraframe Objects” on page 480 Z-axis rotation of an object See “Rotating Intraframe Objects” on page 481 Scale or relative size of an object See “Scaling Intraframe Objects” on page 481 Feathering See “Feathering” on page 586. Foreground level See “Foreground” on page 587.
Layering, Grouping, and Locking Intraframe Objects To locate objects or mattes with the Path function: 1. In the Effect Editor, click the Outline/Path button. Each object painted on the frame appears as a wire frame. 2. Select an object, and change its location or parameters. 3. Click the Outline/Path button to return to default viewing mode. To change the layer order of an object or matte: 1. Click the Selection tool, and click an object on the screen.
Exporting a Matte Key Created With the AniMatte Effect n You can also group together groups of objects. If you then click the new group and select UnGroup, all objects become ungrouped completely. To lock a painted object, matte, or group: 1. Click the Selection tool, and click an object or group. If the object is hidden by other objects, use the Outline/Path feature to locate it as described in the first procedure in this topic. 2. Select Object > Lock. To unlock a painted object, matte, or group: 1.
Exporting a Matte Key Created With the AniMatte Effect To export a matte key created with the AniMatte effect: 1. Use the AniMatte effect to create a matte key. For more information, see “Applying the Paint or AniMatte Effect to a Sequence” on page 454. 2. If your Avid editing application is not in Effect mode, enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. 3.
Scratch Removal The PICT file appears as a Matte Key effect clip in the bin you selected. 8. Click the Source/Record Mode button below the Timeline. 9. Load the Matte Key effect clip into the Source monitor. The clip appears in the Source monitor as a black-and-white, high-contrast image. 10. Edit the matte key into the sequence as described in “Working with Imported Graphics and Animation” on page 255.
Scratch Removal n The Scratch Removal button appears by default on the Tool palette. You can also map the Scratch Removal button from the Command palette to the keyboard or to a button. For more information, see “Using the Tool Palette” and “The Command Palette” in the Help. A 1 B 2 1 2 Example of frame-based processing. Frame A is the clean frame and frame B is the flawed frame.
Scratch Removal processing always results in at least one instance where material from an odd field is copied to an even field, or vice versa. Depending on the nature of your video material, this might result in a slight jitter on playback. 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.
Scratch Removal 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 487. 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.
Scratch Removal 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 To remove a flaw by drawing a shape over it and filling the shape with replacement material: 1. Isolate the flaw, and apply the Paint Effect or the Scratch Removal effect by using the procedures described in “Isolating a Flaw” on page 491. 2. If you are not in Effect mode, enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. The Effect Editor opens. 3. Select the segment if it is not already selected. 4.
Scratch Removal 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.
Scratch Removal 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. When you draw a shape to cover the scratch, your Avid editing application fills that shape with clean material in every frame or field of the effect.
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 453.
Scratch Removal These settings correctly reference the clean frame or field whenever you use the Scratch Removal button to apply the Scratch Removal effect. The settings reference the clean frame when you use the Scratch Removal button without marking IN and OUT points to remove a scratch on a single frame or field. They also reference the clean frame when you use the Scratch Removal button with IN and OUT points to remove a scratch or other flaw that repeats across more than one frame or field.
Scratch Removal 250px 250px In this example, the effect replaces the area of the rectangle covering the scratch (bottom left) with material from the area of the clean rectangle in the same frame or field (top right). Each frame or field in the segment uses replacement material from the same relative position in its own frame or field.
Intraframe Editing Examples Example 3: Replacement Material from a Single Clean Frame Parameter Setting Vertical 0 Horizontal 0 Frame/Field 0 Offset From Start 1 2 3 4 In this example, the area of the rectangle covering a scratch in several frames is replaced by the area of the clean rectangle in the first frame of the segment. If the same parameter settings are used throughout the segment, then every frame in the segment references the first frame of the segment.
Intraframe Editing Examples In this example, the goal is to colorize the window area through which we see the athletes walking to the pool. The odd shapes in the window area would normally make this task extremely time consuming, but because the region is high contrast with a consistent off-white color, Magic Mask makes the job simple. To colorize the example image: 1. If you are not in Effect mode, enter Effect mode, for example, by clicking the Effect Mode button.
Intraframe Editing Examples 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 90. 8. (Option) Click the Outline/Path button so you have an unobscured view of the object you want to colorize. Adjust the size and shape of the box as necessary. 9. In the Magic Mask category, click the Enable button.
Intraframe Editing Examples 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. Effect applied with key color selected from the image 12.
Intraframe Editing Examples New shape restricts the Magic Mask effect to the window area Intraframe Example: Applying the Paint Effect to Regions of a Clip The Paint Effect includes a number of modes for applying special effects to traced regions of an image. This example describes using keyframes with the Blur mode to gradually blur a region of the clip. The effect gives the impression that the background is losing focus while the rest of the image is unaffected.
Intraframe Editing Examples 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. n The next task is to trace the background region around the woman in the foreground to apply the effect. Because the woman moves during the clip, you must animate the traced shape by using keyframes. 4. Press the Home key to go to the beginning of the clip.
Intraframe Editing Examples c. Drag the Hor (horizontal) and Vert (vertical) sliders to 0. d. Click the last keyframe indicator to select it. e. Drag the Hor (horizontal) and Vert (vertical) sliders to 50. Your Avid editing application applies the Blur mode effect. 11. Click elsewhere in the Effect Preview monitor’s position bar to check the traced outline. Make adjustments as necessary. n As you adjust control points, your Avid editing application automatically creates new keyframes. 12.
Intraframe Editing Examples For more information, see “Entering Effect Mode” on page 39. The Effect Editor opens. 3. In the Effect Palette, click the Key parameter category. 4. Drag the AniMatte Effect icon from the Effect Palette to the upper track in the Timeline. 5. Press the Home key to go to the beginning of the clip. Ensure both the first and last keyframes are selected. 6. In the Effect Editor, click the Reduce button to view the image in the Effect Preview monitor at 75 percent.
Intraframe Editing Examples The foreground and background footage are reversed in the key. This lets you easily spot areas where the outline encroaches on the foreground image. In this example, swapping sources on one of the shapes reveals edges from the foreground image 12. Click the Swap Src button to restore your effect to a matte that keys in your selection. 13. Animate the effect as described in “Intraframe Example: Animating a Matte Key Effect” on page 508.
Intraframe Editing Examples Foreground and background layers (left) and the composite image (right). In this example, the matte shape is animated to follow the movement of the men in the foreground footage. To animate a Matte Key effect: 1. Under the monitor, click the Step Forward button or the Step Backward button as many times as necessary to park on a frame in which the matte no longer provides a clean key due to the motion of the foreground or background image. 2.
Intraframe Editing Examples For information, see “Reference for Modifying Lines and Curves in Intraframe Objects” on page 474. t Click the Swap Src button if necessary to swap the view of the foreground and background images to examine edges. t Reposition the matte if necessary by selecting the shape and dragging it with the Selection tool. As you adjust control points, your Avid editing application automatically creates new keyframes. 4.
Intraframe Editing Examples 2. Enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. 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 454. 4. In the Mode parameter category, click the Fast Menu button, and select Key In. 5.
Working with the Blur Effect and Mosaic Effect 12. In the Effect Preview Monitor toolbar, click the Enlarge button three times to restore the video image to 100 percent. 13. Click in the middle of the Effect Preview monitor’s position bar to view the edge of the wipe. 14. (Option) To soften the edges of the wipe, adjust the Feathering parameters. For more information, see “Feathering” on page 586. 15. Render the effect to play it back in real time.
Working with the Blur Effect and Mosaic Effect Effect Editor Reference for the Blur Effect and Mosaic Effect You control the Blur and Mosaic effects by using the following parameters in the Effect Editor: Parameter Description Acceleration Adjusts the effect’s speed from one keyframe to the next when the Blur or Mosaic object moves within a segment. Feathering Adds soft edges to a Blur or Mosaic object. Modifying the outline can make an object stand out from or blend into the background.
Working with the Blur Effect and Mosaic Effect Creating and Modifying Blur and Mosaic Effects To create a Blur or a Mosaic effect: 1. Click the Effect Mode button. 2. In the Effect Palette, click the Image category. 3. Drag the Blur Effect icon or the Mosaic Effect icon to a segment in the sequence. Blur Effect icon (left) and Mosaic Effect icon (right) 4. Click either the Rectangle tool or the Oval tool. Rectangle tool (left) and Oval tool (right) 5.
Working with the Blur Effect and Mosaic Effect Parameter Description Fixed Aspect Locks the horizontal and vertical sliders so that they move in unison. This controls how smoothly the effect blends with the background image. Anti-alias Reduces the jaggedness of the edges of the object. 3.
Working with the Blur Effect and Mosaic Effect 5. Drag the center handle of the object to match the movement of the image in the clip. Your Avid editing application automatically adds a keyframe each time you drag the object to a new position.
17 PlasmaWipe Effects • Understanding PlasmaWipe Effects • Folder Structure for PlasmaWipe Effects • Using PlasmaWipe Effects • Creating Gradient Images for PlasmaWipe Effects • Understanding PlasmaWipe Frame and Border Effects • Applying and Adjusting PlasmaWipe Frame and Border Effects • Creating Custom PlasmaWipe Border and Frame Effects Understanding PlasmaWipe Effects PlasmaWipe effects are two-stream, real-time effects that use gradient image bitmaps to create wipes and segment effects.
Understanding PlasmaWipe Effects Top, left to right: outgoing image, gradient bitmap image, and incoming image. Center: stages of the gradient image as the Level parameter value changes from near black to near white. Bottom: sample frames of the transition effect that result from the gradient image stages above them. You can use PlasmaWipe effects on transitions to create custom wipes. You can use PlasmaWipe effects on segments as static wipes.
Folder Structure for PlasmaWipe Effects Folder Structure for PlasmaWipe Effects The installer for your Avid editing application automatically installs the PlasmaWipe effects. Several PlasmaWipe effect categories appear in the Effect Palette, and a PlasmaWipes folder is created in the SupportingFiles folder of your Avid editing application. The following shows the default locations for the folder: c • (Windows) drive:\Program Files\Avid\Avid editing application\ SupportingFiles\PlasmaWipes • (Macintosh
Using 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 clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. 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.
Creating Gradient Images for 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.
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 524. 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 527.
Creating Gradient Images for 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.
Creating Gradient Images for 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 521. To save a gradient image: 1.
Creating Gradient Images for 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.
Understanding PlasmaWipe Frame and Border 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.
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.
Creating Custom PlasmaWipe Border and Frame 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.
Creating Custom PlasmaWipe Border and Frame Effects 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. After you create the frame graphic, save it as the correct size for PAL or NTSC as described in “Saving a PlasmaWipe Image for PAL and NTSC” on page 527. • For best results, keep distinct boundaries between the black, white, and gray portions of your image.
Creating Custom PlasmaWipe Border and Frame Effects 6. If you want background video to appear around the frame, color that area white. 7. Flatten the image to remove extra layers. 8. Make a copy of the image. 9. Save one copy as 720x576 (PAL) and another as 720x486 (NTSC) as described in “Saving a PlasmaWipe Image for PAL and NTSC” on page 527. n Select the Nearest Neighbor resampling option to avoid blending between the black, white, and gray areas of the image.
18 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 33. For reference information on parameters for effect adjustment, see “Effects Parameter Reference” on page 581. For information on RTAS effects, see “Using Audio Plug-Ins” in the Help.
Blend Effects All standard Avid effects are real-time effects unless otherwise noted in this chapter. For more information, see “Playing Real-Time Effects” on page 49. • Information on whether you can promote the effect (to 3D or SpectraMatte) For more information, see “Promoting 2D Effects to 3D Effects” on page 350 and “Promoting a Chroma Key Effect to the SpectraMatte Effect” on page 252.
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 348. 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 351. Bit depth processing 8-bit and 16-bit.
Blend Effects 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 579. Incoming video begins as a box and wipes out the outgoing video as the box expands to fill the screen.
Conceal Effects Conceal Effects Conceal effects use a predefined path to overlap one video channel over the other. n For examples of similar effects, see “Comparison of Similar Effects” on page 579. 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.
Film Effects Film Effects Film effects emulate many of the effects an optical house can produce. Film: Mask Effects — 1.66 Mask, 1.85 Mask, 16:9 Mask, Anamorphic Mask, Mask Masks out with a black background any area of the image that is not inside a specified rectangle. Five Film Mask effects are available: • 1.66 Mask — the rectangle is 1.66 times wider than it is tall. • 1.85 Mask — the rectangle is 1.85 times wider than it is tall. • 16:9 Mask — the rectangle is 16 units wide by 9 units high.
Generator 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.
Illusion FX Effects 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 432. You cannot keyframe SubCap parameters and you cannot promote the SubCap effect.
Illusion FX Effects This topic groups information for the Illusion FX effects in three tables as follows: • Segment effects (except FluidBlur and FluidColorMap) • Transition effects (except FluidMorph) • FluidBlur, FluidColorMap, and FluidMorph These three effects use high-quality blurring techniques and are non-real-time.
Illusion FX Effects • Pattern Generator creates a clip using a solid color, a variety of color bars, or a grid. The frames can be numbered automatically, and a circle can be animated. This effect is useful for testing purposes. • Pinch pinches the image in toward, or pushes it out from a user-defined point. You can control the amount of distortion and the area affected. • Radial Blur blurs the image inward or outward from a user-defined point, and around a user-defined rotation.
Illusion FX Effects Illustrations Top, left to right: examples of Color Mix, Crystal, and Film Grain. Center, left to right: examples of Flare, Kaleidoscope, and Lightning. Bottom, left to right: examples of Motion Blur, Pattern Generator, and Pinch Top, left to right: examples of Radial Blur, Ripple, and Sparkler. Center, left to right: examples of Sphere, Swirl, and Twist.
Illusion FX Effects Illusion FX: Transition Effects — Iris, Melt, Pagecurl, Particle Blast, Particle Orbit, Particle Wind, Random Blend, Rollup, Shear Ten Illusion FX effects are transition effects. FluidMorph is described separately in the final table in this topic. The following are the remaining transition effects: • Iris wipes the foreground clip away to reveal the background clip, using a circle that radiates out from the center. You can control the softness of the edge of the circle.
Illusion FX Effects Illustrations Top, left to right: examples of Iris, Melt, and Pagecurl Center, left to right: examples of Particle Blast, Particle Orbit, and Particle Wind Bottom, left to right: examples of Random Blend, Rollup, and Shear Illusion FX: FluidBlur, FluidColorMap, and FluidMorph FluidBlur creates a motion blur. The amount of blur is based on the amount of motion in the clip. Only objects that are moving from one frame to the next are blurred.
Image Effects 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.
Image Effects Image: Color Effect Modifies the luminance, chroma, color style (posterized or solarized), and color gain of the segment. You can use the Color Effect to perform keyframeable color corrections.
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.
Image Effects Illustration Left to right: original image, Resize effect with reduced image, Resize effect with enlarged image Image: Safe Color Limiter Lets you limit the color values of video material to a specific range, for example, to meet safe color standards set by a broadcaster. For more information, see “Working with the Safe Color Limiter Effect” on page 889.
Image Effects Image: Spot Color Correction (Media Composer | Symphony Option Only) Lets you apply color adjustments to selected parts of images as well as to whole images. For more information, see “(Media Composer | Symphony Option) Spot Color Correction” on page 894. The Spot Color Correction effect includes all of the color adjustment parameter categories available in the Color Effect, as well as the Color Match control.
Key Effects Key Effects Key effects combine two or more video streams, using components from one of the streams. The Chroma Key and Luma Key effects share a Key parameter category. For more information, see “Key Effects Key Parameters” on page 653. 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.
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.
Key Effects Key: RGB Keyer Replaces part of the video image with another video image based on color. The key color in the video on the higher track is replaced with the video from the lower track. You can also perform post-key color correction with the RGB Keyer.
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.
Matrix Wipes Matrix Wipes Matrix wipes reveal one video channel on top of another video channel, using blocks or bands that appear in a predefined position or path. All Matrix Wipe effects share custom grid parameters, accessible from the More Options button. For more information, see “Custom Grid” on page 586. 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 190. For other motion effects, see “Timewarp Effects” on page 572.
Peel Effects 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 197. Parameters Available in the Motion Effect dialog box. For more information, see “Variable Speed and Strobe Motion Parameters” on page 672.
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 563
PlasmaWipe Effects PlasmaWipe Effects PlasmaWipe effects use gradient image bitmaps to create wipes and segment effects. There are 64 preset effects, and you can create your own by creating new gradient images. For more information on using PlasmaWipe effects, see “PlasmaWipe Effects” on page 517. The preset PlasmaWipe effects are grouped into the following categories: • Borders lets you apply a variety of edge treatments to effects.
Reformat Effects Incoming video pushes out outgoing video starting from a corner or side of the screen. The border is on the incoming video. Eight Push effects, named for the direction in which the effect moves, are available: • Bottom Left to Top Right • Bottom Right to Top Left • Bottom to Top • Left to Right • Right to Left • Top Left to Bottom Right • Top Right to Bottom Left • Top to Bottom The effect icons for the category indicate the starting position of the effect.
Sawtooth Wipes Reformat: 14:9 Letterbox, 16:9 Letterbox, 4:3 Sidebar Reformats media to a different aspect ratio (14:9 letterbox, 16:9 letterbox, or 4:3 sidebar) by distorting the media. For more information, see “Using the Reformat Effects” on page 271.
Shape Wipes Incoming video appears with a sawtooth edge and expands to fill the screen. . Four Sawtooth Wipe effects, named for the direction in which the effect moves, are available: • Horizontal Sawtooth (moves left to right) • Horizontal Open Sawtooth • Vertical Open Sawtooth • Vertical Sawtooth (moves top to bottom) The effect icons for the category indicate the starting position of the effect.
Shape Wipes Incoming video uses a geometric shape to fill the screen and wipe out the outgoing video. Nine Shape Wipe effects, named for the shape they use, are available: • 4 Corners • Center Box • Circle • Clock • Diamond • Ellipse • Horizontal Bands • Horizontal Blinds • Vertical Blinds The effect icons for the category indicate the shape of the effect.
Spin Effects Illustrations Outgoing image (left) and incoming image (right) Top, left to right: middle of effect for 4 Corners, Center Box, and Circle. Center, left to right: middle of effect for Clock, Diamond, and Ellipse. Bottom: middle of effect for Horizontal Bands, Horizontal Blinds, and Vertical Blinds Spin Effects Spin effects rotate one or more video channels.
Squeeze Effects 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 n For examples of similar effects, see “Comparison of Similar Effects” on page 579. Incoming video squeezes over the outgoing video, beginning as a point or line at a specific location on the screen and expanding to fill the screen.
Timewarp Effects Timewarp Effects Timewarp effects are motion effects that you apply directly to segments in a sequence and customize using the Motion Effect Editor. The Timewarp effect itself is described fully in “Understanding Timewarp Effects” on page 201. The other effects in the Timewarp effect category are templates with different preset parameters for the Timewarp effect.
Timewarp Effects Illustrations Speed Graph and Position Graph default settings for 0% To 100% Speed Graph and Position Graph default settings for 100% To 0% Timewarp: FluidFilm 2:3 Cadence and FluidFilm Progressive FluidFilm 2:3 Cadence is a template for the Timewarp effect that lets you create a film look from interlaced video sources. Use this effect in NTSC projects. FluidFilm Progressive is a template for the Timewarp effect that lets you create a film look from interlaced video sources.
Timewarp Effects Timewarp: Pulldown Insertion and Pulldown Removal Pulldown Insertion is a template for the Timewarp effect that inserts 2:3 pulldown into a sequence. Pulldown Removal is a template for the Timewarp effect that removes 2:3 pulldown from a sequence. These two effects are the inverse of one another. Source material without 2:3 pulldown has the cadence AA BB CC DD, where each letter represents a field. Pulldown Insertion uses the cadence AA BB BC CD DD.
Timewarp Effects Timewarp: Reverse Motion Reverse motion is a template for the Timewarp effect that creates a reverse motion effect at 100% speed. Apply the effect to a sequence in the Record monitor, and customize it using the Motion Effect Editor. For more information, see “Understanding FluidMotion Timewarp Effects” on page 229.
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 229.
Title Effects Timewarp: Trim to Fill Trim to Fill is a preset effect using the Timewarp effect that changes the playback speed to a constant rate. You can change the rate by trimming the clip. Apply the effect to a clip in the Timeline. Your Avid editing application displays the current speed in the Timeline along with the clip name. The default speed is 100%. To change the speed, enter Trim mode and trim the effect shorter (faster) or longer (slower).
Xpress 3D Effects Title Effects: Title For information on creating titles, see “Creating Titles” on page 365.
Comparison of Similar Effects 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 Top Left to Bottom Right Box Wipe effect Top Left to Bottom Right Conceal effect Top Left to Bottom Right Push effect Top Left Squeeze effect 580
19 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 582. 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 583.
Color Parameter Controls 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.
Common 2D Effect Parameters 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” on page 633 and “Pattern Generator Effect Background, Number, and Circle Parameters” on page 618. 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 is available in the following effects: Image: Paint Effect, Image: Scratch Removal, Image: Spot Color Correction (Media Composer | Symphony Option Only), Key: AniMatte, FluidMotion Edit for Timewarp Effects. Parameter Description Path Controls the percentage of paint or the matte that is visible from the initial point of pressure to the completion of the brush stroke. Values range from 0 (no paint visible) to 100 (entire stroke visible).
Common 2D Effect Parameters 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. Values range from 0 (left side of the screen) to 999 (right side of the screen).
Common 2D Effect Parameters Feathering is available in the following effects: Image: Blur Effect and Mosaic Effect, Image: Paint Effect, Image: Scratch Removal, Image: Spot Color Correction (Media Composer | Symphony Option Only), Key: AniMatte, and FluidMotion Edit for Timewarp Effects Parameter Description Bias Increases control over the dissipation of pixels around the edges of a painted object or matte.
Common 2D Effect Parameters Parameter Description 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.
Common 2D Effect Parameters 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, Image: Spot Color Correction (Media Composer | Symphony Option Only), Key: AniMatte.
Common 2D Effect Parameters For information on the 3D equivalent of this parameter category, see “Position (3D)” on page 692. Some other effects have position parameter categories that differ from the standard Position parameter category.
Common 2D Effect Parameters For information on the 3D equivalent of this parameter category, see “Scaling (3D)” on page 694. 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). Fixed Aspect Gangs the X and Y sliders together so that they move in unison when you drag either one.
Film Effects Blowup Parameter Transition Effect Alignment button (left, with menu open below) and Transition Effect Duration box (right) in the Effect Editor Parameter Description Transition Effect Alignment Specifies the start of the transition effect relative to the cut point in the sequence. The following menu options are available: • Ending at Cut — The transition effect starts a number of frames before the cut defined by the duration, such that the effect completes at the cut point in the video.
Generator Effect Parameters 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. Values range from -18 to 18, where 0 is unchanged.
Generator Effect Parameters Category Control Description Text Appearance Color Sets the color of the text. For more information on the parameter controls, see “Color Parameter Controls” on page 582. Opacity Sets the opacity of the text. Values range from 0 (fully transparent) to 1 (fully opaque) in 0.1 increments. Font Face Sets the font used for the text. If you need support for Unicode characters, select a font that is Unicode-enabled.
Generator Effect Parameters 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).
Generator Effect Parameters Category Control Description Number of Rows of Text Controls how many rows of text are allowed for the caption. The options are: • As Many Rows as Needed — allows as many rows as are needed to accommodate the caption text and observe other settings such as box width. • Exactly N Rows — sets an exact number of rows. If there is more text for the caption than can fit in the number of rows, the overflow text is not visible.
Generator Effect Parameters Tab 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.
Generator Effect Parameters Category Description Reader menu Selects the basic type of timecode or other information for the display. The following options are available: • Timecode • Source Timecode The timecode of the source clip at the current location. If there are multiple clips on different tracks in the timeline, you can use the Source Track menu to select the clip whose timecode you want to display, as described in the Timecode Display row of this table.
Generator Effect Parameters Category Description Type menu Selects an option to control how your Avid editing application calculates the timecode to display. These are equivalent to options available in the Tracking Information menus above the monitors (for more information, see “Tracking Format Options” in the Help). Depending on your selection in the Reader menu, options in the Type menu might not be relevant or might result in an unchanged display.
Generator Effect Parameters Category Description Timecode Display Provides additional controls for selecting the format or source of the information that appears in the timecode displays. The controls vary depending on the selection you make in the Reader menu, as follows: • If Timecode, Source Timecode, Edgecode, or Source Edgecode is selected in the Reader menu, a Timecode Format menu appears that lets you select the timecode format when multiple timecode formats are available for the material.
Illusion FX 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).
Illusion FX Effect Parameters 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. Use the Left, Right, Top, and Bottom sliders to prevent black edges of the source clip from warping into the effect.
Illusion FX Effect Parameters Parameter Description 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. This parameter is not keyframeable.
Illusion FX Effect Parameters 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.
Illusion FX Effect Parameters 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.
Illusion FX Effect Parameters Kaleidoscope Effect Input, Center, and Offset Parameters Input Parameters Parameter Description Symmetry Sets the number of mirrors. Angle Sets the angle of the mirrors. Scale Sets the scale of the image. Center Parameters Parameter Description X Sets the horizontal location of the center of the mirrors. Y Sets the vertical location of the center of the mirrors.
Illusion FX Effect Parameters 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.
Illusion FX Effect Parameters Parameter Description Width Sets the radius of the core in pixels. Color controls Selects the color for the core of the lightning. For more information on the parameter controls, see “Color Parameter Controls” on page 582. 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.
Illusion FX Effect Parameters 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.
Illusion FX Effect Parameters Particle Orbit Effect Input Parameters Parameter Description Amount Sets the progression of the effect. The larger the difference in the Amount value between keyframes, the faster the effect happens. Size Sets the radius of the particles. Spacing Sets the space between the center of the original position of the particles. This parameter is not keyframeable. Bumpiness Adds a shadow to the edge of the particles. Speed Sets the speed at which particles orbit.
Illusion FX Effect Parameters Particle Wind Effect Input Parameters Parameter Description Amount Sets the progression of the effect. The larger the difference in the Amount value between keyframes, the faster the effect happens. Size Sets the radius of the particles. Spacing Sets the space between the center of the original position of the particles. This parameter is not keyframeable.
Illusion FX Effect Parameters 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).
Illusion FX Effect Parameters 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 582. 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 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.
Illusion FX Effect Parameters Random Blend Effect Input Parameters Parameter Description Amount Sets the amount of blend. Random Scale Sets the amount of randomness. This allows your Avid editing application to blend different portions of the image at different rates. Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter is not keyframeable.
Illusion FX Effect Parameters Generation Parameters Parameter Description Strength Sets the height of the waves. Length Sets the distance between the wave peaks. Number of Ripples Sets the number of ripples. Random Seed Sets the base number upon which all random values are calculated. Each value results in a different random effect. This parameter is not keyframeable. Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.
Illusion FX Effect Parameters Rollup Effect Input Parameters Parameter Description Amount Sets the proportion of each clip that displays. Values range from 0 (displays all of the foreground clip) to 100 (displays all of the background clip). Typical keyframing has a value of 0 at the first keyframe and 100 at the last keyframe. Curl Size Sets the size of the roll. Direction Sets the direction of the rollup. A value of 0 degrees is 3 o’clock. Positive values move counterclockwise.
Illusion FX Effect Parameters Parameter Description Amount Sets the proportion of each clip that displays. Values range from 0 (displays all of the foreground clip) to 100 (displays all of the background clip). Typical keyframing has a value of 0 at the first keyframe and 100 at the last keyframe. Min Width, Max Width Sets the minimum and maximum possible width of the slats. Width Randomness Controls the variety of sizes of slats.
Illusion FX Effect Parameters Parameter Description 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. Length Sets the cumulative exposure of the sparks. For example, a value of 3 produces an image that looks as though you left a virtual camera shutter open for the last three frames. Speed Bias X, Sets the bias to the direction of the sparks.
Illusion FX Effect Parameters Parameter Description Core Radius Sets the radius of the core in pixels. Glow Radius Sets the radius of the glow in pixels. Color controls Sets the color of the core or glow. For more information on the parameter controls, see “Color Parameter Controls” on page 582. Sphere Effect Input Parameters Parameter Description Amount Sets the scale of the distortion. Negative values distort the image inward. Positive values distort it outward.
Illusion FX Effect Parameters Parameter Description X, Y Sets the center of the effect. Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable. Twist Effect Input Parameters Parameter Description Amount Sets the amount of twist. X, Y Sets the center of the effect. Axis menu Click to set whether the twist applies horizontally (X axis) or vertically (Y axis). Anti-alias Sets whether or not transformed areas are smoothed.
Image Effect Parameters Parameter Description Amount Sets the scale of swirl. Negative values swirl the image counterclockwise. Positive values swirl it clockwise. Minimum Size, Maximum Size Sets the minimum wavelength and the maximum wavelength. Horizontal Factor, Vertical Factor The amount of horizontal distortion and vertical distortion. Values range from 0 (no distortion) to 100 (maximum distortion). Number of Waves Sets the number of waves. Wave effects are superimposed upon each other.
Image Effect Parameters Option Description Source Shows you the entire image scaled to fit inside the Effect Preview monitor. Use Source as you draft the effect. Target Shows you the results of your pan and zoom settings. Use Target for previewing your moves. Display Options These parameters are not keyframeable. Option Description Show Safe Action Show Action Safe selects or deselects the display of the safe action area.
Image Effect Parameters Position You control pan either by using the X and Y Position parameters or by dragging the field of view across the source image. The Position parameters refer to the center of the field of view. A Position of 0, 0 centers the field of view over the center of the image. For more information, see “Adjusting the Field of View for an Avid Pan & Zoom Image” on page 286.
Image Effect Parameters Parameter Description Velocity Out Controls the rate of movement from the midpoint between the selected keyframe and the next keyframe to the next keyframe (the second half of the time between keyframes). • Linear — Makes no modification to the pan and zoom movement . Parameters change at a constant rate up to the next keyframe. • Ease Out — Modifies the pan and zoom movement by providing a slight deceleration into the next keyframe.
Image Effect Parameters The following table ranks the Filtering menu options from fastest render and lowest quality image to slowest render and highest quality image. For more information, see “Setting a Rendering Option for an Avid Pan & Zoom Effect” on page 292. Option Description Real-Time Renders most quickly but creates a draft-quality image. Your Avid editing application always uses this option during uncompressed play. Triangle Creates fairly soft images.
Image Effect Parameters Parameter Description Background Menu Click to select what the effect uses outside the field of view if your image does not fill the entire screen. Color — Lets you select a color using the color controls. Video — Uses the video from the segment upon which you placed the Avid Pan & Zoom effect. Color controls Selects a background color. For more information on the parameter controls, see “Color Parameter Controls” on page 582.
Image Effect Parameters Cache Menu The Cache menu gives you control over the amount of memory your Avid editing application uses to store your images for playback. (A full resolution image is always used for rendering.) This parameter is not keyframeable. Option or Action Description Free Current Cache Frees all memory used for image storage and then reverts to Image Resolution. Select this option to free up memory after you render the clip.
Image Effect Parameters Parameter Description Hor (horizontal) Defines the horizontal and vertical dimensions of the blurred area. and Vert (vertical) Color Effect Parameters Luma Adjust Parameters Luma Adjust lets you manipulate the brightness and contrast of the image. Parameter Description Bright (brightness) Changes the brightness of the image. Values range from –100 to +100, where 0 indicates no change, –100 darkens the image, and +100 brightens the image.
Image Effect Parameters Luma Range Parameters Luma Range parameters let you adjust the range of brightness from black to white. Parameter Description Fast Menu button Selects values for mapping video to alpha ranges. • 16 to 235 — This option is the default for video images. • 0 to 255 — This option lets you map normal video to alpha ranges. This is useful if you want to expand a high-contrast image to the full dynamic range.
Image Effect Parameters Luma Clip Parameters Luma Clip parameters let you determine the levels at which your Avid editing application limits the brightness or darkness in the image. Parameter Description High Clips brightness values. No pixel in the image can be brighter than the High value. The default is 235 (the broadcast value for white). Low Clips darkness values. No pixel in the image can be darker than the Low value. The default is 16 (the broadcast value for black).
Image Effect Parameters Parameter Description Sat (saturation) Varies the saturation of all colors in the image. Values range from –100 to +100, where -100 removes all saturation (the image displays as grayscale) and +100 maximizes saturation. Zero is the default. 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.
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.
Image Effect Parameters Parameter Description Fast menu Provides different mode options for Intraframe editing. For information about the available modes, see “Paint Effect Modes” on page 641. 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.
Image Effect Parameters 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.
Image Effect Parameters 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 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.
Image Effect Parameters Mode Description Median Takes the nine values surrounding each pixel, ranks them, and replaces the pixel with the value in the middle, creating a slight softening effect. Median filters are often used to remove noise from an image. Unsharp Mask Sharpens a selected area of an image to create more defined edges with horizontal and vertical controls. Gradient Dissipates the paint in a gradient. Use the Angle slider to set the direction of dissipation.
Image Effect Parameters Mode Description 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 487. Color Adjust Adjusts the brightness, contrast, hue, and saturation of the selected area.
Image Effect Parameters 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 582. 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 890. 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.
Image Effect Parameters 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.
Key Effect Parameters For example, if you want to match the skin tones in an area of the image isolated using the drawing tools with skin tones in another area of the image (or in another image), you can use the Color Match control to pick the two colors and automate the color adjustment. You can also use the Color Match control within the Paint Effect by selecting Color Match mode in the Mode parameter category. For more information, see “Paint Effect Mode Parameters” on page 640.
Key Effect Parameters Parameter Description Color controls Define the key color. For more information on the parameter controls, see “Color Parameter Controls” on page 582. Gain Specifies how much of the foreground and the background video displays. Values range from 0 (shows only the foreground) to 63 (replaces all the foreground video with the background video). Soft (softness) Determines how the bordering colors along the edge of the key appear.
Key Effect Parameters Chroma Key Profile, Secondary Key, and Spill Suppression Parameters Profile Parameter Profile provides a graphical representation of the foreground level and acceleration applied to effect keyframes: • Foreground level affects the opacity of the effect. The greater the opacity, the closer to the top of the Profile graph the keyframe appears.
Key Effect Parameters Use the Spill Suppression key color to fix the following problems: • Remove background color spill from the foreground image. Color spill occurs when the background color is present in the foreground image due to backdrop reflection. • If the foreground object retains an outline of the chroma key color, you can use Spill Suppression to reduce the color effect in the outline. For a description of each parameter, see “Key Effects Key Parameters” on page 653.
Key Effect Parameters Parameter Description Show Alpha Displays the grayscale alpha channel used to apply the key effect to the foreground and background sources. Viewing the alpha channel directly lets you examine problem areas of the key while making adjustments. Spill Suppresses the spill from the key color onto foreground objects that often occurs due to color reflection in the scene. Values range from 0 to 100. Level Controls transparency of the foreground elements against the key background.
Key Effect Parameters Parameter Description Hue Specifies the hue or tint of the foreground elements. Hue is measured as values on a color wheel ranging from –180 to +180. Sat (saturation) Specifies the amount or intensity of the color. Values range from –100 to +100. Bright (brightness) Specifies the brightness level. Values range from –100 to +100. Cont (contrast) Controls the contrast of light and dark areas in the picture.
Key Effect Parameters Matte Analysis Parameters Matte Analysis lets you display and customize analytical views of the SpectraMatte effect. The controls do not have any impact on the finished look of the effect. Parameter Description Show Alpha Shows the alpha matte currently being generated by the effect in the Effect Preview monitor. This lets you check the effect of your parameter adjustments, such as the Matte Processing parameters that change the edges of the matte.
Key Effect Parameters Parameter Description SpectraGraph Source Monitor menu Controls how effect information displays in the Source monitor. SpectraGraph Brightness • Source Monitoring - Off — the Source monitor does not display an analysis view. • SpectraGraph in Source Monitor — shows the SpectraGraph display in the Source monitor. This is the default menu selection. • Alpha in Source Monitor — Shows the alpha matte display in the Source monitor.
Key Effect Parameters 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.
Key Effect Parameters Parameter Description Inner Softness Controls the extent of the blend gradient by adjusting where the gradient begins to increase from 0 (full transparency of foreground values). In the SpectraGraph display, this is visible because this changes where the solid black area of the key color wedge ends and the blended area begins. Values range from 0 to 100.
Key Effect Parameters Parameter Description 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.
Key Effect Parameters Parameter Description Luma Curve Modifies the alpha value of blended pixels by adding an offset based on their luminance. Your Avid editing application uses a graph that you create in the advanced keyframe graph area for the Luma Curve parameter to calculate the offset. For example, you can use this parameter to increase the transparency level of very bright pixels so that they are more completely keyed out while leaving darker pixels unaffected.
Key Effect Parameters Parameter Description Suppress Shadow Lets you remove shadows cast by foreground subjects onto areas of key color such as blue or green screens by increasing the saturation value of pixels for the purposes of calculating the key. The darker the pixel, the more the saturation value is increased. The change in saturation value is used only while calculating the key and does not affect the appearance of the image. Values range from 0 to 100.
Key Effect Parameters Parameter Description 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.
Key Effect Parameters Spill correction with Spill Saturation = 100 and Spill Angle Offset = 0. The correction is most evident in the blues, where greenish-blue values near the edges of the key color wedge have been replaced with bluer values. Spill correction with Spill Saturation = 100 and Spill Angle Offset = 30. The correction is now much more obvious, with all greenish values completely eliminated.
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.
Motion Effect Parameters Motion Effect Parameters This topic contains reference summaries for effect parameters that are unique to traditional (source-side) motion effects. Freeze Frame Parameters You access the Freeze Frame parameters from the Clip menu. For more information, see “Creating a Traditional Freeze Frame Effect” on page 190. 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.
Motion Effect Parameters Parameter Description Render 2-Field Motion These options are available for two-field media in interlaced projects only. Effect Using • Duplicated Field — Uses a single field. For two-field media, this reduces the information stored by half because it drops one field of the image, resulting in a lower quality image. For single-field media, this is usually the best choice because of its speed (the other options do not improve effect quality for single-field media).
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.
FluidMotion Edit Parameters for Timewarp Effects 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 278.
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 586 and “Brush” on page 584. For information on adjusting a parameter with a thumbwheel, see “Changing a Parameter with a Slider in the Effect Editor” on page 88.
FluidMotion Edit Parameters for Timewarp Effects Parameter Description Fast menu Selects which image appears in the Effect Preview monitor and the way in which your Avid editing application displays motion vectors. Show Vectors • Color Warp 50% — Displays the image (frame or field) that your Avid editing application creates halfway between outgoing Image A and incoming Image B as a grayscale image with a color overlay.
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 640. 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.
Rolling Title and Crawling Title Effect Parameters 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 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). c If you select all keyframes when changing the scroll position on a rolling or crawling title, all keyframes will be set to that position and the title will no longer move. Make sure you select the appropriate keyframes. 3D Effect Parameters This section describes all 3D parameter categories, in alphabetical order.
3D Effect Parameters 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 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).
3D Effect Parameters 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 90. 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.
3D Effect Parameters 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.
3D Effect Parameters Parameter Description Filter Specifies how many pixels on each side of the edge are smoothed. Values range from 1 to 7 (1 pixel on each side to 7 pixels on each side). Center Controls the amount of erosion or expansion your Avid editing application applies to the edges. Erosion shrinks the edges, and expansion enlarges the edges. Values range from 0 (maximum erosion) to 255 (maximum expansion). Soft (softness) Controls the slope of the edges.
3D Effect Parameters Parameters Common to All Key Types Parameter Description Type menu Lets you select one of the following key types: • Full Key — Use to create dissolves (using the Opac parameter) or to switch an effect from one video track or segment to another (using the Swap Sources button). This is the default option. You cannot rotate the key independently of the image. • Luma Key — Use to replace portions of the foreground video with the background video based on brightness or luminance.
3D Effect Parameters 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.
3D Effect Parameters 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.
3D Effect Parameters 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 331.
3D Effect Parameters Scaling (3D) Scaling resizes the image or effect. For information about the 2D version of this effect, see “Scaling” on page 591. Scaling parameter category (left) and Scale button (right) Parameter Description X Controls the width of the image by stretching or compressing it along the X axis (horizontally). Values range from 0 to 400, where 100 indicates 100 percent scaling (normal size).
3D Effect Parameters 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.
3D Effect Parameters 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.
3D Effect Parameters 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 For example, if you want an opaque top and a partially transparent flap, set a transparency value for the video channel containing Show Bottom Only. Use the Opac. slider in the Foreground parameter category to adjust transparency. Show Top Only and Show Bottom Only are also useful when you want to apply an effect such as Defocus on just the flap or the top.
3D Effect Parameters Parameter Description Target Color and Set the target and replacement colors. For more information on the parameter controls, see “Color Parameter Controls” on page 582. Replace Color subcategories Use Key Color Uses the chroma key color as the color to replace. Gain Spill Suppression affects contiguous pixels that fall within the specified color range, or tolerance, of the color you select. You adjust the tolerance with the Gain slider. Values range from 0 to 63.
3D Effect Parameters 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.
3D Effect Parameters Parameter Description X Moves the image along the screen’s X axis (horizontally). Values range from –999 to 999, where 0 is the default. Y Moves the image along the screen’s Y axis (vertically). Values range from –999 to 999, where 0 is the default. Size Scales the image and maintains the aspect ratio. Values range from 0 to 400, where 100 is the default scale of 100 percent. Trail Use Trail to add a trail to an effect as it moves across the screen.
Overview of Color Correction 20 Understanding Color Correction Mode This chapter provides an overview of the color correction capabilities of your Avid editing application, and information on how to control and customize the Color Correction user interface.
Overview of Color Correction 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. For more information, see “Performing Color Corrections” on page 743.
Reasons for Making Color Corrections (Media Composer | Symphony Option) Color Correction Effects You can make some kinds of color corrections by applying one of the color correction effects, as follows: • Apply the Color Correction effect from the Image category in the Effect Palette to quickly make automatic corrections to one or more segments without even entering Color Correction mode. For more information, see “Image: Color Correction” on page 551.
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.
The Color Correction Monitors 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.
The Color Correction Monitors Command Description Reference Locks the current frame (the frame the position indicator is on) in the monitor. When the other monitors update as you navigate in the Timeline, this frame continues to display as a reference. This is useful if you want to use a specific place in your sequence as a reference against which to compare all other shots, for example, a segment that contains optimal skin tones.
The Color Correction Monitors Adjusting the Dual Split Image Display in Color Correction Monitors You can use the Dual Split button below a monitor to split the image display so that it shows the image before and after the current color correction adjustments are applied. For more information, see “Using Monitor Buttons in Color Correction Mode” on page 711. Most Avid editing applications support the display of this split-screen view in the Client monitor as well as in the monitor window.
The Color Correction Monitors To remove the color correction on the current segment: t Click the Remove Effect button. To split the monitor display and show the image both with and without the correction applied: t Click the Dual Split button. To turn off Dual Split display: t Click the Dual Split button.
The Color Correction Monitors 4. Enter Color Correction mode, for example, by clicking the Color Correction Mode button in the Timeline palette. As you use the Composer Window buttons to move around in your sequence, the Composer window changes to display the frame marked by the marker in each segment.
The Color Correction Monitors 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 The Color Correction Tool In Color Correction mode, you adjust color using the Color Correction tool. The Color Correction tool is also where you control how much and what kind of material you are correcting at any one time. Controls in the Color Correction tool are organized in tabs. The default display shows the controls in the Hue Offsets tab within the HSL (Hue, Saturation, Luminance) tab.
The Color Correction Tool Components of the Color Correction tool in its default configuration. Top, left to right: Correction Type button, group tabs, and Color Correction Tool buttons. Bottom left: subdividing tabs. Bottom center: slider controls and Enable buttons. Bottom right: Color Match control, Color Correction buckets, and Automatic Color Correction buttons.
The Color Correction Tool (Media Composer | Symphony Option) Understanding Relationship Color Corrections Relationship color corrections define the scope of any correction you make. For example, if all the material from one source tape in your project needs the same color correction because the camera had poor white balance, you can make that correction to every segment in a sequence that you captured from that source tape in one operation.
The Color Correction Tool You can apply a relationship correcton and a color correction effect on the same segment. This results in two distinct corrections. Your Avid editing application processes the relationship correction first, and its result is the input to the color correction effect.
The Color Correction Tool The Src (Source) Clip Name relationship is designed to let you make related corrections after decomposing and recapturing by referencing the clip name. It applies a correction to the current segment and to any other segment that has the same clip name. The Source Clip Name relationship ignores the clip name extensions that are created during the decomposing and recapturing cycle.
The Color Correction Tool Understanding the Group and Subdividing Tabs Your Avid editing application provides two groups of color correction controls, the HSL (Hue, Saturation, Luminance) group and the Curves group. The controls for each group are organized in a group tab. The HSL group tab has two further subdividing tabs on the left side of the tool that subdivide the controls for that group. The Curves group has no subdividing tabs. The following illustration shows the group and subdividing tabs.
The Color Correction Tool Group tabs in the Color Correction tool. Top: a Source correction type is selected, so the Correction Type button and the active tab are green. Bottom: a Program correction type is selected, so the Correction Type button and the active tab are blue. Subdividing tabs on the left side of the Color Correction tool, shown in relation to the higher level HSL group tab. The active tabs are green. Names on the inactive tabs appear dimmed.
The Color Correction Tool Before clicking the Curves tab to display it. The Curves tab name appears dimmed, and the active HSL tab appears blue. After clicking the Curves tab to display it. The Curves tab appears blue, and the curves controls are now visible in the tab. To switch between group tabs using the keyboard: t Press the Page Up key or the Page Down key. To display an HSL subdividing tab: 1. Click the HSL group tab in the area containing the group name. 2.
The Color Correction Tool The tab name is highlighted and colored based on the correction type, and the specific controls for that tab appear. 3. (Option) If necessary, click the second-level subdividing tab in the area that contains the second-level subdivision name. You need this step when you want to display the second-level subdividing tabs within the Controls and Luma Ranges subdivisions of the HSL group. (Symphony Option) To display a group or subdividing tab using a Tab button: 1.
The Color Correction Tool 3. Click the CC tab. The Color Correction buttons appear, including the twelve Tab buttons. Color Correction tab buttons in the CC tab of the Command Palette 4. At the bottom of the Command palette, select Active Palette. 5. Alt+click (Windows) or Option+click (Macintosh) the Tab button with which you want to associate the Color Correction tab. Understanding Interaction Between Color Correction Groups It is important to understand how the color correction groups work together.
The Color Correction Tool Example of control over Color Correction groups. The Green and Blue ChromaCurve graphs are adjusted, but the Curves tab is turned off (the Enable button is off in the tab at the top), so the graph adjustments do not currently apply to the segment. Because the HSL tab is turned on, any adjustments in the HSL tab do currently apply to the segment, even though the HSL controls are not currently visible.
The Color Correction Tool Working with the Enable Buttons In the Color Correction tool, each group tab, subdividing tab, and individual control has an Enable button. In Symphony Option systems, in the Color Correction tool, each group tab, each subdividing tab and individual control within each group, and each color vector within the Secondary group has an Enable button. These buttons provide an immediate visual guide to the status of the controls while you are making corrections.
The Color Correction Tool Understanding Interaction Between Enable Buttons The Enable buttons in the Color Correction tool are linked in a hierarchical relationship that mirrors the relationship of the tabs themselves. When you change the status of an Enable button, the change can affect several levels of the hierarchy. (Symphony Option) When you turn on an individual control, for example, you automatically turn on all related Enable buttons at higher levels in the hierarchy.
The Color Correction Tool (Symphony Option) In the following illustration, the Curves tab Enable button is turned off, so none of the adjustments in the Curves tab apply to the correction. Individual controls inside the tab retain their values, so you can reactivate them by clicking the Curves tab Enable button again.
The Color Correction Tool Customizing Color Correction Mode Settings You can customize the appearance and behavior of Color Correction mode by selecting options in the Correction Mode Settings dialog box. For example, you can control which group tabs display. 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 Color Correction Tool Tab n n Levels Option Description (Symphony Option) The RGB value for a color in the Color Correction tool is not identical to the RGB value for the same color in a graphics application such as Adobe Photoshop®. For example, the 10-bit RGB values for reference black and reference white are 288 and 726 respectively. The 8-bit RGB values for reference black and reference white are 16 and 235 respectively.
The Color Correction Tool Tab Option Description Use Full Ranges (Symphony Option) When this option is selected, some histograms redraw to display the full 10-bit range of level values on the horizontal axis. The option applies to the Red, Green, Blue, and Master histograms. You then have additional headroom and footroom available for making adjustments beyond the normal range of values.
The Color Correction Tool Tab Option Description Eyedropper 3 x 3 Averaging When this option is selected, your Avid editing application calculates the color value to pick by averaging the values of a 3 x 3 sample of pixels centered on the eyedropper’s position. This is often useful for picking up a color accurately by sight because it compensates for shifts in color value from one pixel to another.
The Color Correction Tool The options for measuring units available in the Correction Mode Settings dialog box are a convenience that lets you make adjustments using the units that are most useful or familiar to you. When your Avid editing application makes the color correction adjustments, it always uses the 12-bit RGB color space and always works with the same degree of accuracy. Adding Comments to Color Correction Effects You can add comments to color-corrected segments to assist you in your work.
Working with Color Correction Effect Templates To remove a comment: 1. In Color Correction mode, move the position indicator to the segment from which you want to remove the comment. For information on entering Color Correction mode, see “Entering and Exiting Color Correction Mode” on page 707. 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 Like templates for other effects, Color Correction effect templates save all the adjustment values for a color correction so you can apply those values quickly to another segment.
Working with Color Correction Effect Templates n n You can specify which settings you apply in a template by dragging the template to the active tab in the Color Correction tool. This changes only those settings contained within that tab. Using this method, you can, for example, apply settings one tab at a time without applying any other settings that are also in the template.
Working with Color Correction Effect Templates Your Avid editing application names each template using either the clip name of the segment on which it was originally made or, if a comment is associated with that segment, the text of the comment. For more information on comments, see “Adding Comments to Color Correction Effects” on page 733. The templates are listed in the Effect Palette based on their creation time, with the most recently created template at the top of the list.
Working with Color Correction Effect Templates To permanently save a color correction effect template currently stored in a bucket: t Click the color correction icon in the bucket and drag it to a bin. For more information, see “Saving a Color Correction Effect Template to a Bucket” on page 738.
Working with Color Correction Effect Templates Your Avid editing application saves the values as a template. If the bucket was previously empty, a Color Correction icon replaces the “C” label on the bucket. Clearing Color Correction Effect Templates from Buckets You can clear a Color Correction effect template from a bucket without having to overwrite the template with a new one.
Working with Color Correction Effect Templates To apply adjustment values from a Color Correction effect template selectively to a single tab of color correction controls: 1. In the Color Correction tool, click the tab to which you want to apply the template. 2. Click the effect icon for the template in the bin, the Effect Palette, or the Color Correction bucket, drag it to the tab, and drop it anywhere in the tab. The controls in that tab update to reflect the values in the template.
(Media Composer | Symphony Option) Displaying Color Correction Information in the Timeline in the Correction Type menu. You should choose one of the following methods for applying a color correction effect template based on whether you need the relationship type of the template or the relationship type currently selected in the Correction Type menu. • When you apply the effect template by dragging it to a segment in the Timeline, the new color correction uses the relationship type of the template.
(Media Composer | Symphony Option) Understanding Color Correction Indicator Lines in the Timeline (Media Composer | Symphony Option) Understanding Color Correction Indicator Lines in the Timeline A segment in the Timeline that has Source color correction is marked with a green line at the bottom of the segment. A segment that has Program color correction is marked with a blue line at the top of the segment.
21 Performing Color Corrections This chapter describes procedures for making color corrections, and includes complete descriptions of all controls in the Color Correction tool.
General Workflow for Making Color Corrections power of the color correction tools. Even if you expect to need 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, load the sequence. 2. Enter Color Correction mode. 3. (Option) If necessary, adjust Correction Mode Settings to suit the requirements of your project and editing style.
Using Automatic Color Corrections Remember that you can make successive adjustments using several different groups of controls and selectively turn them on and off while you assess their effect on the segment. You can use the Dual Split button in the monitors to view corrected and uncorrected images side by side. 10. (Option) Use the advanced keyframe interface in the Effect Editor to animate the correction. For more information, see “Keyframing Color Corrections” on page 833. 11.
Using Automatic Color Corrections manually. For example, if the Auto Balance automatic correction in the Hue Offsets subdividing tab adjusts an image by adding yellow in the ChromaWheels, then your Avid editing application determined that the image has a blue color cast. 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 • If an Auto Contrast and Auto Balance combination improves an image but some color cast remains, you can often fine-tune the correction using one or more of the Remove Color Cast buttons. • Automatic corrections you make in the Hue Offsets subdividing tab of the HSL tab and those you make in the Curves tab do not produce identical results for most images, and sometimes produce very different results.
Using Automatic Color Corrections 3. In the Timeline or in the monitor window, navigate to the segment you want to correct. 4. (Symphony Option) In the Color Correction tool, if the Correction Type menu does not show Src Segment as the selected relationship, click the Correction Type menu and select Src Segment. Alternatively, you could select a different relationship. 5. In the Hue Offsets tab of the Color Correction tool, click one of the Automatic Color Correction buttons.
Using Automatic Color Corrections Button Icon Description (Continued) Auto Black Makes the darkest areas of the image as dark as possible. Adjusts the Setup slider control. Auto Contrast Maximizes the tonal range in the image, making the brightest areas of the image as bright as possible and the darkest areas of the image as dark as possible. Adjusts the Gain and Setup slider controls. Auto White Makes the brightest areas of the image as bright as possible. Adjusts the Gain slider control.
Using Automatic Color Corrections Each ChromaWheel Remove Color Cast button is associated with the wheel above it. When you use the button, you application adjusts only that wheel, so only the parts of the image that fall within the luminance range controlled by that wheel change.
Using Automatic Color Corrections The pointer changes to an eyedropper. 6. Continue to drag the eyedropper until it is over the part of the image you want to become color neutral, and then release the mouse button. Your Avid editing application analyzes the part of the image you have identified and adjusts the controls to remove the color cast.
Using Automatic Color Corrections Top to bottom: First Correction menu, Second Correction menu, and Third Correction menu in the Correction Mode Settings dialog box (Symphony Option) sample illustration) 2. Click the AutoCorrect tab. 3. Click the First Correction menu and select HSL Auto Contrast 4. Click the Second Correction menu and select HSL Auto Balance 5. Ensure that the Third Correction menu is set to Nothing. To correct a single segment with the Color Correction effect: 1.
Using the Color Match Control Using the Color Match Control Each Color Correction group includes a Color Match control. This control lets you quickly make a correction by selecting input and output colors from your images, from the Windows Color dialog box, or from the Macintosh® Colors panel.
Using the Color Match Control Components of the Color Match control: input color swatch (top left), output color swatch (top right), Match Type button (center), Match Color button (bottom) To make a correction using the Color Match control: 1. If you have not already done so, enter Color Correction mode, for example, by clicking the Color Correction Mode button. 2. In the Color Correction tool, click the tab that includes the Color Match control with which you want to work.
Using the Color Match Control 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. The input color swatch in the Color Match control updates as you move the pointer in the image. If “Eyedropper Picks from Anywhere in Application” is selected in the Correction Mode Settings dialog box, you can select an input color from another location in your Avid editing application using the eyedropper.
Using the Color Match Control Your Avid editing application adjusts the current segment and resets the group controls to reflect the adjustment. The corrected image displays in the monitor that contains the current segment. Match Type Options The options available in the Match Type menu reflect the way in which color is handled in the group in which you are working. The following table describes the options available in the Match Type menu.
Using the Color Match Control Option Description H+S+L Your Avid editing application matches based on the hue, saturation, and luminance of the color in the output color swatch. Hue Your Avid editing application matches based on only the hue of the color in the output color swatch. Saturation Your Avid editing application matches based on only the saturation of the color in the output color swatch.
Using the Color Match Control Option Description 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. Red Your Avid editing application matches based on only the value of the Red color channel of the color in the output color swatch.
Using the Color Match Control Option Description 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. Red Your Avid editing application matches based on only the value of the Red color channel of the color in the output color swatch.
Using the Color Match Control Option Description NaturalMatch Select NaturalMatch to select or deselect the NaturalMatch feature. When this command is selected, all the match types in the Curves and Secondary groups use NaturalMatch when making a correction and match types appear in the Color Match control with the extension (Nat). For more information on NaturalMatch, see “Understanding NaturalMatch” on page 760.
Using the Color Match Control Top left: uncorrected image. This image is very gray and shows poor skin tones. The RGB values at the center of the man’s forehead are R: 61, G: 62, B: 66 — an almost completely neutral gray. Top right: reference image. This image shows much better color, including good skin tones (RGB values of R: 110, G: 70, B: 56) and a better color for the canvas of the tent. You can use the Color Match control to make the color characteristics of the two shots match better.
The HSL (Hue, Saturation, Luminance) Group 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 729. 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 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. In Symphony Option, you can define the exact scope of each of these ranges and get visual confirmation of which parts of an image fall in each range.
The HSL (Hue, Saturation, Luminance) Group 2. (Symphony Option) Click the Controls subdividing tab in the first vertical group on the left side of the Color Correction tool. 3. (Symphony Option) Click the appropriate subdividing tab in the second vertical group on the left side of the Color Correction tool. This tab selection determines the brightness range across which your adjustments apply. The following table describes the available options.
The HSL (Hue, Saturation, Luminance) Group For information on using the Enable button for a control to turn the control on or off or to reset the control to its default value, see “Working with the Enable Buttons” on page 726. To adjust the HSL sliders, do one of the following: t Type a value in the text box, and then press Enter (Windows) or Return (Macintosh). t Drag the slider. t Click one of the direction buttons to change the value in small increments.
The HSL (Hue, Saturation, Luminance) Group Control Description Saturation Specifies the amount or intensity of color. Values range from 0 to 200, where 100 represents no change to the image, 0 represents complete desaturation (monochrome image), and 200 represents maximum saturation. This control is also available in the Curves tab as Master Saturation. In Symphony Option, when you adjust the Master Saturation slider in the Curves tab, you enable the HSL > Controls > Master tab hierarchy.
The HSL (Hue, Saturation, Luminance) Group Control Description (Symphony Option) Adjusts the setup or black point for the image. Values range from –255 to 255, where 0 Setup represents the unchanged image. The effect of the Setup control is very similar to that of the Brightness control. One important difference, however, is that the Setup control interacts with the Gain and Gamma controls, while the Brightness control interacts with the Contrast control.
The HSL (Hue, Saturation, Luminance) Group The following illustrations shows the Hue Offsets tab. ChromaWheel color wheels (left), slider controls (center), Color Match control (right), and automatic color correction buttons (across the bottom) in the HSL > Hue Offsets tab. (Symphony Option) ChromaWheel color wheels (left), Color Match control (right), and automatic color correction buttons (across the bottom) in the HSL > Hue Offsets tab.
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.
The HSL (Hue, Saturation, Luminance) Group A ChromaWheel color wheel: hue changes as you move around the wheel, saturation increases from the center of the wheel toward the edge, and the graphical outline shows the degree values for measuring hue When you use a ChromaWheel, you use a basic principle of color theory — you can cancel out one color in an image by adding an equal amount of the opposite color on the wheel. For example, to remove a red cast, add some cyan.
The HSL (Hue, Saturation, Luminance) Group t Use one or more of Remove Color Cast buttons below the ChromaWheels. For more information, see “Using the Remove Color Cast Buttons” on page 750. t Use the Color Match control to calculate an offset automatically, based on input and output colors. For more information, see “Using the Color Match Control” on page 753. t Drag the crosshair pointer on the appropriate ChromaWheel.
The HSL (Hue, Saturation, Luminance) Group For more precise control over the movement of the crosshair pointer in the central area of the wheel, press and hold the Shift key while performing the actions in this procedure. Hue Offsets Tab Reference The following table describes the individual controls available in the Hue Offsets tab of the HSL tab. Control Description Gain Adjusts the gain or white point for the image. Values range from 0 to 200, where 100 represents the unchanged image.
The HSL (Hue, Saturation, Luminance) Group This original image has a yellow cast. The swatch to the left shows the sample RGB values for an area of the ladder. There is relatively less blue than red or green in the grays of the image. You might want to restore the metal objects in the image to a more neutral gray or even change the look and mood of the image by creating a different cast. The Hue Offsets ChromaWheel color wheels provide a way to do this easily.
The HSL (Hue, Saturation, Luminance) Group This adjustment adds more blue to the original image. Metal objects in the image are now distinctly blue-gray, and the sample values from the ladder show more blue than red or green. This adjustment adds a large amount of blue to the original image. The metal objects now look very blue, and the grain elevators are so saturated in blue that they have lost a lot of detail.
The HSL (Hue, Saturation, Luminance) Group (Media Composer | Symphony Option) Understanding the Luma Ranges Tab The Luma Ranges tab lets you view and customize the luminance ranges that you use to define the highlights, midtones, and shadows in other parts of the HSL group. You make these adjustments on a Luma Ranges graph. You can view your images in three different ways while you are working in the Luma Ranges tab.
The HSL (Hue, Saturation, Luminance) Group Graph of the default luminance ranges: Shadows (left), Midtones (center), and Highlights (right) To adjust a curve, you move a control point on the curve up or down on the graph. This results in more or less of the curve being highest in the graph, which enlarges or reduces the luminance range for that curve.
The HSL (Hue, Saturation, Luminance) Group With some practice, you can control the relative impact of your adjustments in different luminance ranges very precisely. (Media Composer | Symphony Option) Adjusting Luminance Ranges To adjust luminance ranges: 1. If you have not already done so: a. Move the position indicator to the segment you want to correct. b. Click the Correction Type button and select a correction type.
The HSL (Hue, Saturation, Luminance) Group 5. Adjust the active curve by adding and adjusting control points using the procedures in “(Media Composer | Symphony Option) Manipulating Luminance Range Curves” on page 778. (Media Composer | Symphony Option) Manipulating Luminance Range Curves To add a control point to a curve: t Click the curve at the point where you want to add the point. A new control point appears with a circle around it to indicate that it is the active point.
The Channels Group Top, left to right: an original monochrome gradient image, the image in three-tone preview using default luma range settings, and the image in three-tone preview with an expanded luma range. Center, left to right: a video image, the image in three-tone preview using default luma range settings, and the image in three-tone preview with an expanded luma range. Bottom: the Luma Ranges graph used to create the expanded midtones range.
The Channels Group The Channels group is particularly useful for identifying a color channel that is deficient in some way — lacking in contrast, or noisy, for example — and repairing it by “borrowing” from another color channel. For some kinds of images, this is the only way to improve the appearance significantly.
The Channels Group 2. Preview the input image by selecting an input type in the Preview pane: Input Type Description Red Input Displays the uncorrected red channel in monochrome. Green Input Displays the uncorrected green channel in monochrome. Blue Input Displays the uncorrected blue channel in monochrome. Master Input Displays the complete uncorrected image in color. For more information on previewing options, see “Considerations When Working with Color Components” on page 783. 3.
The Channels Group Using the Channel Blending Pane The Channel Blending pane contains a set of four text boxes and buttons for each of the three RGB color channels. Each button lets you select a component type to blend into the channel. Each text box lets you define the percentage of the component to use. You use these controls in combination to create a formula for the corrected color channel.
The Channels Group Option Description Red The input red channel. Green The input green channel. Blue The input blue channel. Luma The luminance channel in the component video signal. Cr The red chroma channel in the component video signal. Cb The blue chroma channel in the component video signal. Offset A constant value that adjusts all the other values in the formula. Invert This option subtracts the component from the overall formula instead of adding it.
The Channels Group (Media Composer | Symphony Option) Examples of Channel Blending Settings The following illustrations show two representative Channel Blending settings for the red channel. The following detailed example shows how an individual channel is altered by blending. The Blue Input monochrome preview shows that the blue channel lacks contrast.
(Media Composer | Symphony Option) The Levels Group Top: Blue Input preview (left) and Blue Output preview (right). Center: blending settings. Bottom: Master Input preview (left) and Master Output preview (right). (Media Composer | Symphony Option) The Levels Group The Levels group lets you control the relative brightness or darkness of an image by defining the white point, gray point, and black point of video material.
(Media Composer | Symphony Option) The Levels Group • Move control points on a ChromaCurve graph. • Use the Color Match control to set points automatically, based on selected input and output colors. For information on the Color Match control, see “Using the Color Match Control” on page 753. The main use of the Levels group is to rebalance the color or luma range.
(Media Composer | Symphony Option) The Levels Group Understanding Input and Output Levels Adjustments Adjustments in the Levels tab change the relationship between input and output values for your image. You can make adjustments on both the input and the output side, and understanding the differences between input and output adjustments is important.
(Media Composer | Symphony Option) The Levels Group Example of a Levels adjustment that changes the Input Black Point value to 60 (all other values are defaults): unadjusted images (top) and adjusted images (bottom) An adjustment on the output side changes the total range of output steps available. For example, if you leave the input points unchanged and change the output black point to 60, you deliberately reduce the range of values in the image (220 input steps are mapped to only 176 output values).
(Media Composer | Symphony Option) The Levels Group Example of a Levels adjustment that changes the Output Black Point value to 60 (all other values are defaults): unadjusted images (top) and adjusted images (bottom) Examples of Gray Point Input and Output Adjustments Gray point adjustments work in a similar way to black and white point adjustments except that output gray point changes do not change the total output range.
(Media Composer | Symphony Option) The Levels Group Example of a Levels adjustment that changes the Input Gray Point value to 100 (all other values are defaults): unadjusted images (top) and adjusted images (bottom) If you change the output gray point to 100, you perform the opposite correction. Your Avid editing application maps input values from 16 to 128 to output values from 16 to 100, and input values from 128 to 235 to output values from 100 to 235. This darkens the image somewhat.
(Media Composer | Symphony Option) The Levels Group Example of a Levels adjustment that changes the Output Gray Point value to 100 (all other values are defaults): unadjusted images (top) and adjusted images (bottom) Making Corrections Using the Levels Tab To make corrections using the Levels tab: 1. If you have not already done so: a. Move the position indicator to the segment you want to correct. b. Click the Correction Type button and select a correction type.
(Media Composer | Symphony Option) The Levels Group n Tab Description Green Lets you adjust levels for the green channel only. Blue Lets you adjust levels for the blue channel only. Master Lets you adjust levels for all three color channels. Controls in the Composite and Luma tabs work slightly differently from those in the other Levels tabs. For more information on working with the Composite and Luma tabs, see “Working with the Composite and Luma Tabs in the Levels Tab” on page 797. 3.
(Media Composer | Symphony Option) The Levels Group Histogram example 1: In the image, large areas are very dark, and the remainder of the brightness range is relatively evenly distributed. The histogram shows a sharp spike at the very low end, a concentration of values in the lowest quartile of the graph, and a relatively even distribution in the rest of the range. Histogram example 2: In the image, there are more dark values than light, but the distribution of values is less extreme than in example 1.
(Media Composer | Symphony Option) The Levels Group Histogram example 3: In the image, there are very large highlight areas in the background and on the chicks. Most of the rest of the image is relatively, but not extremely, dark. The histogram shows sharp spikes at the high end, relative concentration in the low to middle range, and few values in the middle to high range.
(Media Composer | Symphony Option) The Levels Group An adjustment that moves part of the line below the 45 degree angle makes the output values for that part of the image lower than the input values. An adjustment that moves part of the line above the 45 degree angle makes the output values for that part of the image higher than the input values. If you make an extreme adjustment to a curve so that it becomes a horizontal line, you are converting all input values to the same output value.
(Media Composer | Symphony Option) The Levels Group Using the Controls in the Levels Tab To set black, white, and gray points with the histogram sliders: t Click the appropriate triangular slider below the histogram, and drag it to its new position. Sliders below a histogram control: Black Point (left), Gray Point (center), and White Point (rigtht) For example, if you want to move the input black point toward gray, click the Black Point slider and move it to the right.
(Media Composer | Symphony Option) The Levels Group To set black, white, and gray points with the mouse scroll wheel: 1. Click the appropriate slider or click in the appropriate text box. 2. Do one of the following: t Press the Ctrl key and use the scroll wheel to change the value in small increments. t Press the Ctrl and Shift keys (or the Ctrl and Alt keys) and use the scroll wheel to change the value in increments of -10 or +10.
(Media Composer | Symphony Option) The Levels Group You can use the Composite and Luma tabs together with the Safe Color feature to ensure that your images remain within limits. If you set the Safe Colors feature to warn you when material exceeds composite and luminance limits, parts of the image that exceed the limit appear orange in the histograms and you can use these warnings to guide your adjustments. Examples of Levels Adjustments The following illustrations show some common levels adjustments.
The Curves Group Unadjusted image (top left), adjusted image (top right), and adjustment display in the Levels tab. This examples uses a gray point adjustment to substantially increase the proportion of the tonal range that lies between gray and white. This reveals a lot more detail in the image, such as the lettering on the wall at the extreme right.
The Curves Group The Curves tab also contains four slider controls — Master Saturation, Master Gain, Master Gamma, and Master Setup. These sliders work in exactly the same way as the Saturation, Gain, Gamma, and Setup sliders in the HSL group, so you can make some HSL-type adjustments without leaving the Curves tab. When you adjust any of these sliders, you enable the equivalent slider in the HSL group and the tab hierarchy containing it.
The Curves Group 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 In each of the Red, Green, and Blue ChromaCurve graphs, the background color indicates what color in the image changes when a curve passes through that part of the graph. The upper left corner of the graph is the color of the graph name (red, green, blue) and represents complete saturation in that color. The lower right corner of the graph is the complementary color (cyan, purple, yellow). The upper right corner is white and the lower left corner is black.
The Curves Group For more information, see “Controls Tab Reference” on page 765 and “Hue Offsets Tab Reference” on page 772. Adjusting ChromaCurve Graphs You can have sixteen control points in a Curves tab ChromaCurve graph. Graphs must always have at least two control points. Your Avid editing application sets default control points such that input and output values are the same across the entire range of colors.
The Curves Group Selected control point at 100 on the input (horizontal) axis and at 69 on the output (vertical) axis t Click in one of the text boxes, and then press the Up Arrow key to increase the value or the Down Arrow key to decrease the value by small increments. t Click in one of the text boxes, then use the mouse scroll wheel to change the value by small increments.
The Curves Group Example of anchoring part of a curve. The bottom two control points define the part of the curve you want to anchor. The third point (immediately above the second) lets the rest of the curve adjust. Drag the fourth point (selected) to adjust the upper part of the curve. When you drag the new control point to adjust the curve, the portion of the curve between the first two control points does not move.
The Curves Group The crosshair marker on the Green ChromaCurve graph (left) represents the values for Green in the color swatches (center) — Input 131, Output 105. Because R+G+B is selected as the Match Type, similar crosshair markers appear in the Red and Blue graphs also. When you click the Match Color button, your Avid editing application creates a new control point and updates the curve to reflect the color match (right).
The Curves Group Uncorrected image (left) and result of adjustment 1 (right) 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 1 (left) and result of adjustment 2 (right) Adjustment 2 reduces red primarily in the highlights range (the upper part of the curve). The differences between this adjustment and adjustment 1 are most apparent in the lower signpost, which retains more redness and detail, and in the background, where the crop in the lower right retains more red tones, but the clouds in the top right have lost their red highlights.
The Curves Group 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.
The Curves Group 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.
(Media Composer | SymphonyOption) The Secondary Group 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.
(Media Composer | SymphonyOption) The Secondary Group shows three red cars and you want one of the cars to be a different color, you could use the Spot Color effect. For more information, see “(Media Composer | Symphony Option) Spot Color Correction” on page 894. The following illustration shows a typical example of a secondary color correction. The original color of the turban is changed with virtually no alteration to the color characteristics of other parts of the image.
(Media Composer | SymphonyOption) The Secondary Group 1 6 7 8 2 3 4 1 Output Vector controls 5 Selected Vectors panel 2 Input Vector controls 6 Color Match control 3 Input Vector color wheel 7 Color Selection buttons 4 Output Vector color wheel 8 5 Color Correction buckets Secondary Color Correction Workflow The workflow for secondary color correction differs slightly from that for other color correction groups because you make corrections in two distinct stages.
(Media Composer | SymphonyOption) The Secondary Group For more information, see “Understanding Secondary Color Correction Vectors” on page 815 and “Selecting Vectors” on page 821. 6. Adjust the input values of the vector until it corresponds to the color range you want to correct. For more information, see “Adjusting Input Vector Values” on page 822. 7.
(Media Composer | SymphonyOption) The Secondary Group Each vector has a boundary line and a center point. The center point marks the base hue and saturation values for the vector, while the boundary line indicates the range of hue and saturation values that the vector contains. Center points for standard vectors are filled circles. Center points for custom vectors are crosshairs.
(Media Composer | SymphonyOption) The Secondary Group Examples of hue ranges. Top: detail of the standard Red vector, which extends for 30 degrees of arc — 15 degrees either side of pure red. A narrower arc reduces the vector to a smaller range of reds. A wider arc expands the vector to include more yellow and magenta hues. Center, left to right: Red vectors of the standard width (30 degrees of arc), of reduced width (10 degrees of arc), and of expanded width (60 degrees of arc).
(Media Composer | SymphonyOption) The Secondary Group Examples of saturation ranges. Top: detail of a custom vector (number 3 in the Selected Vectors panel), which has a default saturation value of 35 and saturation width of 40. Its range excludes extremely low saturation levels and a wide range of high saturation levels. A smaller saturation width would reduce the range of color intensity included in the vector. A larger saturation width would expand the range of color intensity.
(Media Composer | SymphonyOption) The Secondary Group Secondary Vectors menu in the Features tab of the Correction Mode Settings dialog box For more information, see “Options for Secondary Color Correction Vector Display” on page 819. 4. Click OK. Options for Secondary Color Correction Vector Display The following table describes available options in the Secondary Vectors menu in the Features tab of the Correction Mode Settings dialog box.
(Media Composer | SymphonyOption) The Secondary Group Option Description Display in Color Wheels Show Standard Shows the six standard vectors (Green, Yellow, Red, Magenta, Blue, Cyan) in the color wheels of the Secondary tab. This setting also shows custom vectors that are enabled. This is the default setting. Show Custom Shows the six custom (elliptical) vectors in the color wheels of the Secondary tab. This setting also shows standard vectors that are enabled.
(Media Composer | SymphonyOption) The Secondary Group You can use Isolate both as a preview feature and as an effect in its own right. While you are making a secondary color correction, you can select Isolate to see the extent of a vector more clearly. If you leave Isolate selected as part of a finished secondary color correction, you create a special secondary color correction that isolates one color range while displaying the rest of the image as grayscale.
(Media Composer | SymphonyOption) The Secondary Group Enabling, Disabling, and Resetting Vectors You can enable and disable vectors in any combination using Enable buttons. Enable buttons for vectors function in the same way as Enable buttons elsewhere in the Color Correction tool. You can also use a vector’s Enable button to quickly reset the vector to its default values. For more information on Enable buttons, see “Working with the Enable Buttons” on page 726.
(Media Composer | SymphonyOption) The Secondary Group You might want to lock the vectors at some stage in the adjustment process to prevent the output image from showing premature color changes while you fine-tune your input vector. For more information, see “Locking Vectors While Adjusting an Input Vector” on page 824. 3. As you make your adjustments, use the Isolate feature to verify what parts of the image are currently defined by the vector.
(Media Composer | SymphonyOption) The Secondary Group Control Description Softness Sets a softness value for the vector. Values range from –255 to 255. Positive values blend the corrected color into areas of the image beyond the limits of the defined input vector. The higher the value, the further into adjacent color values the blend extends. Negative values blend the uncorrected color into parts of the area defined by the input vector.
(Media Composer | SymphonyOption) The Secondary Group To lock Input and Output Hue and Saturation controls together: t Click Lock Vectors (below the Hue and Saturation sliders). Examples of Softness Adjustments Softness is an important control for fine-tuning the effect of a secondary correction on an image. You can control the appearance of the transitional areas between a corrected part of the image and the rest of the image.
(Media Composer | SymphonyOption) The Secondary Group Further examples of Softness adjustments. Left to right: Softness is set to 128, to 255 (maximum positive value), to -128, and to -255 (maximum negative value). As positive values increase, the correction expands into more of the surrounding color and the blend from magenta back to green is more easily visible.
(Media Composer | SymphonyOption) The Secondary Group 3. Drag the tip of the syringe over the area of color you want to sample. Your Avid editing application samples every color value that the tip of the syringe passes over. The input color swatch in the Color Match control updates as you drag the syringe to show the most recently sampled color. Try to cover the area that you want to sample as fully as possible, but take care not to stray outside that area.
(Media Composer | SymphonyOption) The Secondary Group Add to Selection button (left) and Subtract from Selection button (right) n The Add to Selection or Subtract from Selection button remains selected until you explicitly deselect it by clicking it or by clicking one of the other Color Selection buttons. You can perform repeated operations with the eyedropper without having to reselect it for each operation. 3. Move the pointer over the image in the monitor. The pointer changes to an eyedropper. 4.
(Media Composer | SymphonyOption) The Secondary Group Isolate shows the effect of any output adjustment you have made to the vector. If you have made output adjustments and want to see a preview that shows only the input color range, disable the Output Vector Hue and Saturation sliders by clicking their Enable buttons. The following illustration shows a typical image and its appearance when Isolate is selected.
(Media Composer | SymphonyOption) The Secondary Group The Output Vector Hue and Saturation sliders are identical to their Input Vector equivalents. For more information, see “Input Vector Sliders” on page 823. The Output Vector Luminance slider changes the luminance value for the final color.
(Media Composer | SymphonyOption) The Secondary Group For more information, see “Making a Correction with the Color Match Control” on page 753. 3. Click the Match Type button, and select a Match Type to determine the exact nature of the match your Avid editing application makes. For more information on the options available in the Secondary group, see “Match Type Options” on page 756. 4. Click the Match Color button.
(Media Composer | SymphonyOption) The Secondary Group adjust. If you do make adjustments to multiple vectors in a segment, ensure that the inversion applies to the vector you want by making that vector the enabled vector farthest to the right in the Selected Vectors panel. To invert a vector: 1. Select the vector, and make input adjustments to it using standard methods. 2. Select Invert Last Vector in the Selected Vectors panel.
Keyframing Color Corrections Understanding How Multiple Vectors Interact If you correct more than one vector in the Secondary group, your Avid editing application applies the corrections cumulatively to the image when it plays back. The order of application moves from left to right across the Selected Vectors panel. If the color ranges of vectors overlap, the final result in the image is the cumulative result of all the corrections for the overlapping vectors.
Keyframing Color Corrections An alternative approach, particularly if you need to work frequently with the Effect Editor in Color Correction mode, is to save the Color Correction workspace in a configuration that includes the Effect Editor. To open the Effect Editor when you are in Color Correction mode: t Click the Effect Mode button.
Keyframing Color Corrections 5. Type a name for the new workspace in the Workspace Name text box. 6. Click OK. The new workspace appears in the Workspaces menu. 7. (Option) Map the Color Correction workspace menu command to your keyboard. For more information, see “Mapping Menu Commands” in the Help. Keyframeable Color Correction Parameter Reference The following table explains which color correction parameters are keyframeable and the extent of the control available for them in the Effect Editor.
Keyframing Color Corrections Parameter Types Description (Symphony Option) Parameters These parameters are not keyframeable and do not appear in the Effect Editor. in the Secondary tab that simply turn on or off (Invert Last Vector, Isolate) All parameters in the HSL > Luma Ranges and Channels tabs Working with Keyframes in the Color Correction Monitor Keyframe markers display in the position bar below the Current monitor in Color Correction mode.
Working with the Waveform Monitors and Vectorscope Monitor 3. In the Effect Editor or in the position bar below the Current Color Correction monitor, Ctrl-click (Windows) or Command+click (Macintosh) the keyframe added in step 1 to deselect it. 4. In the position bar below the Current Color Correction monitor, move the position indicator to the location where you want to set a new keyframe. 5. Make an adjustment to the appropriate parameter in the Color Correction tool.
Working with the Waveform Monitors and Vectorscope Monitor Displaying a Waveform Monitor or Vectorscope Monitor To display a Waveform monitor or Vectorscope monitor: 1. Click in the monitor for which you want to display color information. The monitor becomes the active monitor. 2. In one of the other monitors, click the Source menu and select a waveform or vectorscope command. The monitor displays the selected waveform or vectorscope information.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton RGB Histogram Displays a graph that shows which RGB values in the image appear most frequently. The darkest values of red, green, and blue in the image appear as peaks on the left of the graph, and the brightest values appear as peaks on the right. The height of a peak indicates the number of pixels of that value. The width of a peak indicates how many pixels in the image have similar values.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton RGB Parade Displays waveforms of the RGB components side by side. Because video cameras capture in RGB, this display helps to show camera problems. You can also use it for general reference to the three primary colors. RGB signals combine to create all other colors. A white area in the image appears as peaks in all three waveforms at the same relative location.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton 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.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton Y Waveform Displays a Waveform monitor with luma information. Luma is the brightness of an image without regard to color. The scale on the left is a digital level scale using a 256-step (eight-bit) range; 16 is the level for black, and 235 is the level for white. The scale on the right shows the amount of white in the image as a percentage; 0% represents black, and 100% represents white.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton YC Waveform Displays composite video information. Composite video has the C (chroma) waveform, which is derived from Cb and Cr components, riding on the Y (luma) waveform. The Y trace is green and the C waveform is a cyan (blue-green) envelope around the green trace.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton YCbCr Histogram Displays a graph showing which YCbCr values in the image appear most frequently. The height of a peak indicates the number of pixels of that value. The width of a peak indicates how many pixels in the image have similar values. The upper bar of the histogram represents Y values. The darkest values are on the left and the brightest values on the right.
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.
Applying Color Corrections to an Entire Sequence Typical problems include: - Color levels too high or too low (see “Safe Color Limits with Waveform and Vectorscope Information” on page 888). - 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.
Using the Color Correction Effect (Symphony Option) In addition to color corrections made using relationships, you can also apply color corrections using the Color Correction effect. The Color Correction effect is the only way to make some types of corrections, and it is important to understand the situations that call for a Color Correction effect rather than a relationship color correction. For more information, see “(Media Composer | Symphony Option) When to Use the Color Correction Effect” on page 848.
Using the Color Correction Effect behavior is a result of the fact that relationship color corrections are processed before most other effects. For more information, see “(Media Composer | Symphony Option) Understanding Relationship Color Corrections” on page 717. Example of relationship corrections and a Color Correction effect combined with another effect on multiple layers. Top left, original setup before color corrections.
Using the Color Correction Effect Example of a Color Correction effect applied to filler on a top track, above multiple other tracks 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.
Using the Color Correction Effect AutoCorrect Options The following table describes the available options in the AutoCorrect tab of the Correction Mode Settings dialog box. Option Description Nothing Makes no adjustment. For example, if you only want to make two automatic corrections when you drag the Color Correction effect from the Effect Palette, set the Third Correction menu in the AutoCorrect tab to Nothing.
Using the Color Correction Effect 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.
Using the Color Correction Effect 2. Move your pointer. The values in the Color Info tool display the color info for the pixels located under the pointer. 3. Right-click (Windows) or Control-click (Mac) the Color Info Tool window. The follow options appear: 4. Choose the color information you want displayed: Option Description Active only for video monitors When selected, moving the pointer over the source or record monitors will display color information in the Color Info tool.
Using the Color Correction Effect You can also access the Color Info tool by clicking the Color Info button in the Color Correction Tool.
22 (Media Composer | Symphony Option) Managing Color-Corrected Sequences This chapter provides information on how to manage sequences once you have applied color correction to them.
Updating Color-Corrected Sequences A B A B C A B C Top: sequence before the new edit. Segment A is corrected using the Source Tape relationship. Segment B is corrected using the Source Segment relationship. Middle: sequence after the new edit. Segment C is the new segment. It uses material from the same source tape as segment A. Bottom: sequence after updating. Color correction is automatically applied to segment C based on its Source Tape relationship with segment A.
Merging Color-Corrected Sequences 6. Click OK. Your Avid editing application updates the sequence and adds color correction to the appropriate new segments. If you have selected Create New Sequence, a new sequence appears in the bin with the title [OldTitle].Copy 1. You can rename the sequence to indicate more clearly that it is an updated version. Merging Color-Corrected Sequences You might want to work with two versions of a sequence at the same time.
Merging Color-Corrected Sequences n Name your copies clearly. For example, if you create two copies and also keep the original, you might use the extensions .Editor, .Colorist, and .Original to distinguish the three versions. 4. Continue to work on the two copies independently. 5. When you are ready to merge the two copies, enter Source/Record mode, for example, by clicking the Source/Record button. 6. Load one copy of the sequence into the Source monitor and the other into the Record monitor.
Color Correction Merging Example there must be overlap with the source and timecode of the segments. If more than one segment in the source monitor overlaps the source and timecode of a segment in the record monitor, then the segment with the most overlap in will be used. When merging into segments without any color correction relationships, Segment relationship merge is tried before other relationships when the Segment check box is checked in the Merge Color Correction dialog box.
Color Correction Merging Example The original sequence has seven segments that are derived from four different source tapes. For simplicity, the segments have equal lengths (one second). The following illustration shows the original sequence before any color correction. 2 1 2 3 1 4 1 Original sequence: the numbers on the segments indicate the source tape from which each segment comes The sequence now receives some initial color correction to the material from source tapes 2 and 4.
Flattening Color-Corrected Sequences 2 1 2 1 2 1 2 2 3 2 3 2 4 2 3 4 1 4 4 1 1 1 4 Top to bottom: Editor’s copy, merged sequence, and colorist’s copy Left to right on merged sequence: segment reflecting editor’s trim and colorist’s Source Tape correction for tape 1, new segments reflecting original Source Tape corrections for tapes 2 and 4, segment reflecting colorist’s Source Tape correction for tape 1 Flattening Color-Corrected Sequences You might want to convert a color-corrected
Removing Color Corrections 3. Select the Source and Program relationships you want your Avid editing application to use when deciding which segments to flatten. By default, all available relationships are selected. 4. Select Create New Sequence if you want your Avid editing application to create a new copy of the sequence and flatten segments on that copy. n If you deselect Create New Sequence, your Avid editing application flattens the existing version of the sequence.
Removing Color Corrections To remove corrections using the Remove Correction command: 1. Click the Color Correction Mode button, for example, in the Timeline palette. 2. Right-click in the Color Correction tool, and select Remove Correction. The Remove Color Correction dialog box opens. The dialog box indicates the number of segments in the sequence for each relationship category. 3.
Guiding Principles for Color Correction 23 Color Correction Techniques This chapter provides an introduction to color correction techniques. It suggests some general principles to keep in mind when you are assessing footage and making color corrections, and then presents examples of corrections to shots with typical color problems.
Guiding Principles for Color Correction The color characteristics of a given shot can depart from the look of the original scene for a number of reasons. At the time of shooting, the camera might not be correctly balanced or the scene might be imperfectly lit. During transfers (from film to tape, from one tape to another, or from tape to captured media), inconsistencies in materials, processing methods, or calibration might alter the colors.
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.
Guiding Principles for Color Correction 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 You cannot normally have such a perfect measuring device in your images, but you can select one area of each image as a target for your color neutralizing adjustments. If you focus on getting the color in that area right, color in the rest of the image should fall into place. In some images, there might be an object or area that should be neutral gray, or nearly so, and you can use that area as your principal target as you make adjustments.
Examples of Color Correction Problems Achieving Shot-to-Shot Consistency The most common reason for departing from the look of the original shot is to achieve simple shot-to-shot consistency in the finished program. If a scene in a drama that is supposed to take place at one time is shot over two days, and lighting conditions have changed from one day to the next, you probably want to adjust all the shots so they appear to be taking place at the same time.
Examples of Color Correction Problems Each example provides the following information: • An analysis of the original image. • Step-by-step descriptions of the corrections with illustrations (including split-screen displays in some instances). • Sample RGB values that illustrate the results of the corrections. • Suggestions for alternative ways to achieve similar results with the Color Correction tool.
Examples of Color Correction Problems Step 1: Contrast Correction The first step of this correction adjusts the Contrast slider in the () Master Controls tab of the HSL group. This adjustment, which sets the Contrast slider value to 11, illustrates one of the simplest ways to affect the tonal range of an image. Despite its simplicity, the correction improves the image noticeably. Compare the look of the man’s hair on either side of the split-screen dividing line.
Examples of Color Correction Problems Step 2: ChromaWheel Correction The second step of this correction removes the color cast by making a single adjustment on the Midtones ChromaWheel control on the Hue Offsets tab of the HSL group. In , the second step of this correction removes the color cast by making a single adjustment on the Master Hue Offsets ChromaWheel control in the HSL group.
Examples of Color Correction Problems Split screen: uncorrected image and image after both corrections Alternative Techniques There are several alternate ways to make the tonal range adjustments to this image. You could use the Gain, Gamma, and Setup sliders as an alternative to the basic adjustment on the Contrast slider. You could also use the Master ChromaCurve graph in the Curves tab. () This example uses simple corrections that apply across the full luminance range.
Examples of Color Correction Problems The highlight areas of this image (primarily the shirts) are not particularly bright, and the shadow areas (such as the underside of the cap brim) could be darker. Rebalancing white and black will improve contrast and sharpen the image throughout. Also, the image has a red cast, apparent in the slightly pink tone of the shirts. A good color-neutralizing correction will remove that cast without taking too much red out of the skin tones.
Examples of Color Correction Problems Step 3: Shadows Controls Tab Corrections The third step makes adjustments in the Shadows Controls tab. The adjustment values are Saturation: 66.67, Setup: –9. This makes the darkest areas of the image more nearly black and further contributes to the building of contrast in the image. Step 4: ChromaWheel Correction The fourth step neutralizes the color cast in the highlights range with a large adjustment in the Highlights ChromaWheel.
Examples of Color Correction Problems Split screen: uncorrected image and image after all corrections Alternative Techniques The Curves tab is the only other part of the Color Correction tool that allows adjustments specific to luminance ranges. You could probably achieve a similar final result in the Levels tab, but the adjustments there work on individual color channels rather than on different luminance ranges.
Examples of Color Correction Problems Step 1: Blue ChromaCurve Correction The first step of this correction removes the excess blue in the image by adjusting the Blue ChromaCurve graph in the Curves tab. A control point is placed near the center of the curve because the adjustment must apply relatively evenly across the whole luminance range. The control point is then moved down to reduce blue. The input and output values for this adjustment are 142 and 104 respectively.
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.
Examples of Color Correction Problems 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.
24 Safe Colors This chapter provides information about the Safe Colors feature of your Avid editing application.
Safe Color Settings Options 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 881. 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..
Understanding the Graphical View of Safe Color Settings 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.
Managing Safe Color Warnings The following illustration shows a typical warning indicator display. Safe Color warning indicators for monitors. In this example, the Composite (yellow), Red, and Green levels exceed the current limits at the high end, while the Red and Green levels also exceed the current limits at the low end. The Luminance (white) and Blue levels are within limits.
Making Adjustments to Achieve Safe Color Values For more information about the Safe Color Settings dialog box, including information about safe color value ranges and unit types, and about the graphical display of safe color settings that appears at the bottom of the dialog box, see “Safe Color Settings Options” on page 881 and “Understanding the Graphical View of Safe Color Settings” on page 882. The following illustration shows the Safe Color Setting dialog box.
Making Adjustments to Achieve Safe Color Values n You can also use the Safe Color Limiter effect to achieve safe color values automatically. For more information, see “Working with the Safe Color Limiter Effect” on page 889. To bring luminance within safe limits: 1. Click the Controls subdividing tab in the HSL group. The Controls tab opens. 2. Click the Enable button for the HSL group and the Controls subdividing tab. 3. Click the Enable button for Clip Low and Clip High controls to activate them. 4.
Safe Color Limits with Waveform and Vectorscope Information t In the Master ChromaCurve graph, Shift+click the lower left control point, and drag it up the curve until the composite low warning turns off. Safe Color Limits with Waveform and Vectorscope Information Broadcasters or distributors often issue safe color limits for video levels.
Working with the Safe Color Limiter Effect n If you are producing a master for broadcast delivery, ask for delivery specifications. To ensure you meet particular standards, use a legalizer such as the Safe Color Limiter effect or a third-party AVX™ plug-in. These instruments do not measure analog outputs. If your Avid editing system or other device uses analog connections, use an external Waveform monitor to verify levels.
Working with the Safe Color Limiter Effect Understanding the Safe Color Limiter Effect The Safe Color Limiter effect has effect parameters that control high and low color limits for luminance, composite signal, and red, green, and blue color gamut. It also lets you change the units for measuring these limits. These parameters parallel the options available in the Safe Color settings. When you first apply a Safe Color Limiter effect, its parameters default to the current limits in the Safe Color settings.
Working with the Safe Color Limiter Effect To apply the Safe Color Limiter effect: 1. Set the default safe color limits you want the Safe Color Limiter effect to use. For more information, see “Managing Safe Color Warnings” on page 885. 2. (Option) If you want to apply the effect across the entire duration of the sequence, add a new video track in the Timeline, for example, by selecting Clip > New Video Track. 3.
Working with the Safe Color Limiter Effect The effect analysis display has two layers. The background layer is a copy of the image with luminance reduced to allow the foreground information to stand out clearly. The foreground layer highlights those pixels in the image whose color values fall outside the limits currently being used by the effect — that is, pixels that are being modified by the effect.
Working with the Safe Color Limiter Effect n If a pixel in the image falls outside current limits for multiple limit types, the analysis display uses the color for only one of the types to highlight the pixel. As a result, for example, you might adjust the RGB gamut limits so that a pixel no longer has a blue highlight and find that the display highlights the pixel using yellow. This is because that pixel is still being limited by the composite limits.
25 (Media Composer | Symphony Option) Spot Color Correction This chapter provides information on using the Spot Color Correction effect and using color adjustment modes in the Paint Effect.
Making Corrections Using the Spot Color Correction Effect You can also make color adjustments to Intraframe objects using various modes in the Paint Effect. For more information, see “Using Paint Effect Modes for Color Adjustment” on page 896. However, you can apply only one kind of adjustment to a selected area using the Paint Effect. Using the Spot Color Correction effect, you can enable several kinds of color adjustments at the same time.
Using Paint Effect Modes for Color Adjustment 4. Click the Effect Mode button to enter Effect mode. 5. From the Effect Editor, select a drawing tool, such as the Polygon tool. 6. Use the drawing tool to define the area on the image that you want to correct. For more information on working with the Intraframe drawing tools, see “Intraframe Editing” on page 451. 7. Adjust parameters in the Effect Editor until you are satisfied with the look of your correction.
Using Paint Effect Modes for Color Adjustment 7. In the Mode parameter category, click the Fast Menu button, and select one of the following color adjustment modes: - Luma Adjust - Luma Range - Luma Clip - Chroma Adjust - Color Style - Color Gain - Color Match 8. Adjust the parameters in the Mode parameter category until you are satisfied with the look of your correction. For information on Paint Effect modes, see “Image: Paint Effect” on page 553. 9.
26 Using Avid Artist Color This section includes topics that provide information on configuring and using Avid Artist Color with your Avid editing application. Avid Artist Color employs the EUCON™ (Extended User Control) protocol, which allows for integrated control of your Avid editing application and EUCON-compatible devices. You can use the device with your Avid editing application to adjust the color characteristics of video material that you have edited into a sequence.
Installing EuControl Software and Configuring the Avid Artist Color Installing EuControl Software The EuControl application controls your Artist Series controller and communicates with your Avid editing application. You must install EuControl before you use any Artist Series controller.
Installing EuControl Software and Configuring the Avid Artist Color EUCON icon in the notification area t (Macintosh) Click the EUCON icon in the dock, and then select Window > EuControl Settings. The EuControl Settings dialog box opens. b. Click the Surfaces tab, and then click Update Firmware. If there is updated firmware for your Artist Series controller, EuControl automatically downloads it. c. Follow the on-screen instructions to install the new firmware. 4. Shut down your system. 5.
Installing EuControl Software and Configuring the Avid Artist Color To configure your Avid editing application for an Artist Series controller: 1. Double-click Controller Settings in the Settings list of the Project window. The Controller Settings dialog box opens. 2. Select Controller > EUCON Controller. 3. Click OK. Configuring Ethernet Connections (Macintosh) You can connect your Artist Series controller to either the Ethernet 1 or Ethernet 2 port on your Macintosh system.
Installing EuControl Software and Configuring the Avid Artist Color 4. Click the Network Interfaces menu and select either Ethernet 1 or Ethernet 2, depending on which Ethernet port you want to use for your Artist Series controller. 5. Close the Euphonix dialog box. 6. Select the Apple menu > System Preferences. 7. In the Internet & Wireless area, click Network. The Network dialog box opens. 8. Click the Action menu and select Set Service Order. The Service Order dialog box opens. 9.
Installing EuControl Software and Configuring the Avid Artist Color n Avid does not recommend setting up static IP addresses unless you have experience in configuring network properties. To set a static IP address (Avid Artist Control): 1. Press and hold the Page Left and Page Right keys while you press and release the Power button. The Network Setup screen appears on the Touchscreen. 2. Touch Use DHCP (Obtain IP Address automatically).
Installing EuControl Software and Configuring the Avid Artist Color 5. Touch OK to save this static IP address. Turn off the controller and then turn it on to use the new IP address. You can touch Cancel at any time to discard changes made to the IP address. To set a static IP address (Avid Artist Transport): 1. Press and hold the two soft keys on the left while you press and release the Power button. Hold down the soft keys until the Use DHCP screen appears in the display. 2.
Installing EuControl Software and Configuring the Avid Artist Color 2. Turn the knob underneath the display clockwise to change the Use DHCP value from yes (default) to no. You can use the SEL and ON keys instead of the knob to decrease or increase the value, respectively. 3. Press the Page Right key or the Top key to move the cursor to the next screen. 4. Use the knob to set the value of the IP Address field. 5. Repeat step 3 and step 4 to adjust all values of the IP Address and the Subnet Mask fields.
Installing EuControl Software and Configuring the Avid Artist Color To connect an Artist Series controller to your system: 1. Connect your Artist Series controller to your system and turn on the power for the device. 2. Start your Avid editing application. 3. Do one of the following: t (Windows) Double-click the EUCON icon in the notification area. EUCON icon in the notification area t (Macintosh) Click the EUCON icon in the dock, and then select Window > EuControl Settings.
Installing EuControl Software and Configuring the Avid Artist Color t To add all controllers listed in the All Surfaces list — which lists all devices available on your subnet — select All Surfaces. This setting is useful when you are the only person running EuControl on your network. t To add only those controllers listed in the My Surfaces, select My Surfaces Only. Since only one user at a time can control a surface, this avoids claiming surfaces needed by other users on your network.
Using Artist Color A check mark appears in the Attached column in the My Workstations list. The workstation can now access the Artist Series controllers connected to EuControl. 8. Close the EuControl Settings application.
Using Artist Color To adjust the sensitivity of the Avid Artist controls: 1. Press the Nav button, and then press the Setup soft knob. The LED display changes to show the control categories on the Artist Color. 2.
Using Artist Color To make HSL adjustments with the Artist Color: 1. Move the position indicator to the segment in the Timeline you want to correct. You can use the navigation controls on the Artist Color to move the position indicator in the Timeline. 2. If your Artist Color does not display the HSL group functions, press the Nav button, and then press the left Soft Knob to activate the HSL group in the Color Correction tool.
Using Artist Color Using the controls on the Artist Color, you can add control points on the graphs and then use the trackwheels and trackballs to adjust the red, green, and blue point graphs. These graphs give you precise control over color and luminance adjustments without having to use the Color Correction tool.
Using Artist Color (Media Composer | Symphony Option) Using Avid Artist Color to Adjust Channels, Levels, and Secondary Corrections You can use the Artist Color to access the advanced controls in the Color Correction tool, including the following: • The Channels group defines each output color channel (red, green, blue) by blending different input color components in various proportions.
Using Artist Color As you turn the knob, the LED display updates the value of the parameter. These values also display in the Color Correction tool. 4. Turn the appropriate trackball to modify the appropriate color correction on your segment. Not all controls in these groups are mapped to trackwheels and trackballs. To see your segment with and without your color corrections, do the following: t Press the F3 (Toggle Color Correction Effect (On/Off) button.
Using Artist Color To clear a Color Correction effect template from a bucket, do the following: t Move the position indicator to any uncorrected segment in the Timeline and then press the appropriate Copy button. All values of the selected controls are cleared. The Paste button below the bucket is unlit, indicating an empty bucket. To apply a Color Correction effect template saved as a bucket, do the following: t Press the appropriate Paste button.
Using Artist Color • • Pressing or locking the Shift button allows you to navigate through the footage that displays in the three color correction monitors using the trackwheels and trackballs. - The trackwheels allow for frame-by-frame positioning (jogging), depending on how fast you turn the wheel right (clockwise) or left (counterclockwise). Use the trackwheel when you want to locate a specific frame by jogging through footage.
Editing Without Entering Color Correction Mode Control Shift Control Play Play Editing Without Entering Color Correction Mode You can use your Artist Color to perform some standard editing functions when you are not in Color Correction mode. When you exit Color Correction mode, you can set In and Out points, make Insert or Overwrite edits, enter or exit Trim mode, and make different kinds of trim edits.
Avid Artist Color Soft Keys 7. Do one of the following: t To trim one frame to the right, press the F7 button. t To trim one frame to the left, press the F8 button. You can continue to press the F7 or F8 button to trim additional frames from the transition point. Avid Artist Color Soft Keys When EuControl opens for the first time, it includes a set of default Avid color correction editing functions mapped to the Artist Color buttons (the default mappings are called the “application set”).
Customizing Avid Artist Color Controls EuControl Settings: active application, option menus, Soft Key labels The default EuControl button mappings include assignments for the color soft keys (Color SKs), which control the functions assigned to the nine buttons located below the display on Artist Color. Selecting Shift allows you to view a second set of Soft Key assignments. The section organizes the buttons in pages for HSL and Curves group functions.
Customizing Avid Artist Color Controls The following procedure provides a generic description of how to customize your controller. For a full description of the customizations available, see the documentation that came with your Artist Color. To change a function in the Artist Color controls: 1. In the EuControl application, click the Soft Keys tab. 2. Click the Section menu, and select Color SKs. The Soft Keys tab displays the existing controls for the selected section. 3.
Customizing Avid Artist Color Controls 4. Specify the action you want to associate with the control button. The Soft Key Command Editor organizes the default commands as they appear in the Command palette or in menus. 5. Close the Soft Key Command Editor. The Soft Key tab updates and displays the new function. 6. Click Save. 7. Close the EuControl Settings application. To add a function to the Artist Color controls: 1. In the EuControl application, click the Soft Keys tab. 2.
Customizing Avid Artist Color Controls 3. If the display does not include any blank keys, click the Page menu and select a new page. You can also click the Add button to add a new page. 4. Do one of the following: t Select a blank key and click Command. t Double-click a blank key. The Soft Key Command Editor dialog opens. 5.
Avid Artist Color Controls - EuCon, to add menu commands or other color correction-specific commands 6. In the Details column, select the function you want to associate with the new soft key. EUCON commands automatically label the button but do not select an icon. 7. Close the Soft Key Command Editor. The Soft Key tab updates and displays the new function. Avid Artist Color Controls The following illustration lists the location of device controls on the Avid Artist Color.
Avid Artist Color Controls 7 Power button 14 Trackballs and Trackwheels The following table describes the default functions of the controls for Avid Artist Color when used with your Avid editing application. Control Function Application Change button Switches between the most recently used open applications. Press and hold the Page (left or right) button to cycle among all open applications. Page (left and right) Changes the knob set functions by one page.
Controller Application Sets Control Function Trackballs Three trackballs control adjustments in the color wheels and the curve graphs. Trackwheels Allow you to adjust parameter values with the sliders in the tabs of the Color Correction tool. Controller Application Sets The following sections include a list of the default key assignments (called an application set) for the Avid Artist Color when used with an Avid editing application.
Controller Application Sets Control Shift Control Soft knob assignments (from left to right): Master Hue Left monitor display Saturation Middle monitor display Brightness Right monitor display Contrast Clip low Match type Clip high Correction Correction type HSL Soft Keys Button Label Control Shift Control Soft Key assignments (left to right): F1 Toggle Color Correction and Source/Record mode F2 Next HSL Subtab Next HSL Subtab F3 Toggle Color Correction Effect (On/Off) Dual split
Controller Application Sets HSL Reset Buttons Button Label Control Shift Control Reset button assignments (left to right): R1 R2 R3 R4 R5 R6 Enable/Reset Setup: N/A • Press to toggle Setup/Enable • Press and hold to reset Enable/Reset Shadow Hue: • Press to toggle Setup/Enable • Press and hold to reset Enable/Reset Gamma: N/A N/A • Press to toggle Setup/Enable • Press and hold to reset Enable/Reset Midtone Hue: • Press to toggle Setup/Enable • Press and hold to reset Enable/Re
Controller Application Sets HSL Trackwheels and Trackballs Trackwheels (outer ring) and trackballs (inner ring) Control Shift Control Trackwheel assignments (left to right): Setup Jog left monitor Gamma Jog center monitor Gain Jog center monitor Trackball assignments (left to right): Hue Offset Shadows Shuttle left monitor Hue Offset Midtones Shuttle center monitor Bank 1: Hue Offset Highlights Shuttle right monitor Bank 2: Master Hue Offset Curves Base Controls The following tables descri
Controller Application Sets Control Shift Control Soft knob assignments (from left to right): Master Saturation Cycles through the Source menu commands for the left monitor display Master Setup Cycles through the Source menu commands for the middle monitor display Master Gamma Cycles through the Source menu commands for the right monitor display Master Gain Match type Cycles through the Correction Type menu Cycles through the Correction Type menu Curves Soft Keys Button Label Control Shift Con
Controller Application Sets Curves Reset Buttons Button Label Control Shift Control Reset button assignments (left to right): R1 New red point: Toggle red enable R2 Toggle Curve enable (hold to delete point) N/A R3 New green point: Toggle green enable R4 Toggle Curve enable (hold to delete point) N/A R5 New blue point: Toggle blue enable R6 Toggle Curve enable (hold to delete point) N/A Curves Trackwheels and Trackballs Trackwheels (outer ring) and trackballs (inner ring) Control Sh
Controller Application Sets Control Shift Control Red point deviation Shuttle left monitor Green point deviation Shuttle center monitor Blue point deviation Shuttle right monitor Curves Bank 2 Controls (Media Composer | Symphony Option) The following table describe the default curves controls on the Artist Color accessible when you press the Bank 2 button.
Controller Application Sets Secondary Controls (Media Composer | Symphony Option) The following tables describe the default Secondary controls on the Artist Color when working with your Avid editing application. Pressing and holding the Shift button, located at the lower corners of your Artist Color, allows you to access a second set of Secondary controls.
Controller Application Sets Button Label Control Shift Control F4 Mouse mode Mouse mode F5 Remove Effect Remove Effect F6 Undo Redo F7 Insert Last Vector N/A F8 Isolate N/A F9 Match Color Match Secondary Reset Buttons Button Label Control Shift Control Reset button assignments (left to right): R1 N/A Toggle red enable R2 N/A N/A R3 N/A Toggle green enable R4 N/A N/A R5 N/A Toggle blue enable R6 N/A N/A 932
Controller Application Sets Secondary Trackwheels and Trackballs Trackwheels (outer ring) and trackballs (inner ring) Control Shift Control Trackwheel assignments (left to right): N/A Jog left monitor N/A Jog center monitor N/A Jog center monitor Trackball assignments (left to right): Input Vector Hue and Saturation Shuttle left monitor N/A Shuttle center monitor Output Vector Hue and Saturation Shuttle right monitor Secondary Page 2 Controls (Media Composer | Symphony Option) The following
Controller Application Sets Control Soft knob assignments (from left to right): Out Vector Hue Out Vector Sat Out Luma N/A Match Type Correction Type Source/Record Editing Controls The following tables describe the default editing controls available when your Avid editing application is not in Color Correction mode. You can also navigate footage without entering Color Correction mode (for more information, see “Moving Through Footage with Artist Color” on page 914).
Controller Application Sets Button Label Control Shift Control F7 Clear Mark In/Out points Trim one frame right F8 Zoom In Trim one frame left F9 Zoom Out N/A Editing Trackwheels and Trackballs Trackwheels (outer ring) and trackballs (inner ring) Control Shift Control Trackwheel assignments (left to right): N/A Jog left monitor N/A Jog center monitor N/A Jog center monitor Trackball assignments (left to right): Input Vector Hue and Saturation Shuttle left monitor N/A Shuttle center
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Index Numerics 0% to 100% Timewarp effect 572 1:66 Mask Film effect 542 1:85 Mask Film effect 542 10 bit units for color correction 729 100% to 0% Timewarp effect 572 10-bit effects processing 152, 155 14:9 Letterbox Reformat effect 566 16:9 display Color Correction monitors 708 in the Title tool 368, 368 16:9 Letterbox Reformat effect 566 16:9 Mask Film effect 542 16-bit effects rendering 170 24p or 25p editing projects finding flaws from telecine transfer 487 3D effect p
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Add To Open Groups command (Add Keyframe Mode menu) 113 Add to Selection button (Secondary tab in Color Correction tool) 827 Adding comments to color corrections 733 highlights to 3D effects 690 keyframes to keyframe graphs 108 pages to a rolling or crawling title 388 Adjusting colors for effects 90 effects 40 input values in color vectors 822 luminance ranges 777 output values in color vectors 829 Pan and Scan effect 281 Render settings 165 shadow softness in titles 400 A
ABCDEFGHIJKLMNOPQRSTUVWXYZ Pan and Scan effect 272 Reformat effects 271 Aspect Ratio effect parameters (Pan and Scan effect) 674 Auto Balance button (Color Correction tool) 747 Auto Contrast button (Color Correction tool) 747 Auto Size mode (Title tool) 386 Auto Size Mode command (Object menu) 386 AutoCorrect options (Correction Mode settings) 850 Automatic color correction See Color correction Automatic Color Correction effect templates update behavior 735 using 736 Automatic color corrections adjusting co
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Bins effect templates in 45 revising titles in 407 saving color correction effect templates in 737 saving custom colors to 761 titles in 415 viewing fast-saved titles in 405 Bit depth for effects processing 152, 155 Black lines removing with the Effect Aperture setting 30 Black point adjustments examples of 787 guidelines for 866 Blend effects 3D Warp 537 Dip to Color 537 Dissolve 537 Fade from Color 537 Fade to Color 537 overview of reference information 536 Picture-in-Pi
ABCDEFGHIJKLMNOPQRSTUVWXYZ Scratch Removal 491 Send Backward (Effect Editor) 483 Starting at Cut (Quick Transition dialog box) 69 Bypass effect parameter (SpectraMatte effect) 658 C Cache effect parameters (Avid Pan & Zoom effect) 635 Caption file formats 432 Caption files exporting from SubCap effect 443 importing into the SubCap effect 438 Captioning See SubCap effect Center Box Shape Wipe effect 567 Center effect parameters (Illusion FX Kaleidoscope effect) 610 Centered on Cut button (Quick Transition d
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ See also listings by specific controls and concepts, for example, Automatic color correction or Custom colors applying to entire sequence 846 automatic, applying from Effect Palette 751 automatic, from Effect Palette 751 automatic, with Color Correction effect 751 Client monitor, using for 714 examples of typical problems 869 keyframeable parameters 835 marking reference frames with markers 712 overview 704 playing sequences with Play Loop button 714 processing of color sp
ABCDEFGHIJKLMNOPQRSTUVWXYZ described 715 displaying subdividing tabs 721 displaying tabs in 721 Enable buttons in 726 Green tab (Levels group) 791 Highlights tab (HSL group) 777 Hue Offsets tab (HSL group), described 767 Luma Ranges tab (HSL group) 775 Luma tab (Levels group) 791, 797 Master tab (Levels group) 791 Midtones tab (HSL group) 777 overview 715 Red tab (Levels group) 791 resetting controls in 726 selecting correction type 716 Shadows tab (HSL group) 777 tabs in 720 turning controls on or off 726
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ overview of reference information 540 Right to Left 540 Top Left to Bottom Right 540 Top Right to Bottom Left 540 Top to Bottom 540 Console window AVX plug-in effect messages 186 Constant Velocity option Avid Pan & Zoom effect 631 Contrast automatic color correction of 747 Control points Luma Ranges graphs 778 manipulating in ChromaCurve graphs 803 Control points in Intraframe objects adding 475 deleting 475 described 469 moving 477 removing 475 selecting 476 Controller se
ABCDEFGHIJKLMNOPQRSTUVWXYZ 3D example 358 Crosshair pointers in ChromaWheel controls 771 Crystal Illusion FX effect 545 Curve tool, for Intraframe editing 466 Curves using to make Levels tab color corrections 796 Curves group (Color Correction tool) 799 Curves tab (Color Correction tool) Color Match control 805 examples of adjustments in 806 making corrections in 802 Custom color vectors 815 Custom colors customizing names of 729 saving to bins 761 Custom Grid effect parameters 586 Custom Start effect param
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Dual Split button (Effect Preview monitor) 75 Dual Split display Color Correction mode 711 Duplicate command (Edit menu) for title elements 402 PlasmaWipe 564 Push 564 Reformat 565 Sawtooth Wipes 566 Shape Wipe 567 Spin 569 Squeeze 570 Timewarp effects 572 Title effects 577 Xpress 3D 578 Effect Editor 83, 83, 83, 84, 88, 88, 89, 90, 90, 99, 100, 105, 113, 140, 144, 301, 308 displaying in Color Correction mode 833 for adjusting titles 423 for Intraframe editing 454 nested
ABCDEFGHIJKLMNOPQRSTUVWXYZ Background (Avid Pan & Zoom effect) 633 Background (Illusion FX Pattern Generator effect) 619 Background Color 682 Blur 635 Border 584 Border (3D) 682 Border (Illusion FX) 604 Brush 584 Brush (FluidMotion Edit) 675 Bypass (SpectraMatte effect) 658 Cache (Avid Pan & Zoom effect) 635 Center (Illusion FX Kaleidoscope effect) 610 changes at advanced keyframes 130 Chroma Adjust 638 Chroma Control (SpectraMatte effect) 661 Chroma Key (RGB Keyer effect) 656 Circle (Illusion FX Pattern Ge
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Matte Control (RGB Keyer effect) 657 Matte Processing (SpectraMatte effect) 666 Mode (AniMatte effect) 654 Mode (FluidMotion Edit) 678 Mode (Paint effect) 640 Mosaic 640 Motion 671 Motion (Illusion FX Ripple effect) 622 Movement (Illusion FX Sparkler effect) 626 Number (Illusion FX Pattern Generator effect) 619 Offset (Illusion FX Kaleidoscope effect) 610 Other Options (Avid Pan & Zoom effect) 629 overview of reference information 581 Path (Avid Pan & Zoom effect) 632 Pers
ABCDEFGHIJKLMNOPQRSTUVWXYZ HD projects 26 key 241, 248, 250, 252, 252, 254, 255, 263 layered 241 managing media files 175 mapping buttons 76 motion tracking 300 motion tracking examples 343 nested 257, 258, 259, 259, 261, 263 overview of reference information 535 overview of types 20 Paint (Image category) 896 Pan and Scan 272, 274, 275, 277, 278, 279, 280, 281, 282 parameters 83, 83, 88, 88, 89, 90, 90 PlasmaWipe 517 playback capabilities 23, 49 playback with tracking data 332 playing 48, 48 position coord
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ installation 898, 899 Examples black point adjustments 787 Channel Blending settings 784 correction with Color Match control 760 correction with NaturalMatch 760 Curves tab color corrections 806 gray point adjustments 787 Hue Offsets color correction settings 772 inverted images in secondary color correction 832 isolated images in secondary color correction 828, 832 Levels tab color corrections 798 Luma Ranges three-tone previews 778 merging color-corrected sequences 859 s
ABCDEFGHIJKLMNOPQRSTUVWXYZ Flip Image effect 552 Flip-Flop Image effect 552 Flop Image effect 552 FluidBlur Illusion FX effect 549 FluidColorMap Illusion FX effect 549 FluidFilm 2:3 Cadence Timewarp effect 573 FluidFilm Progressive Timewarp effect 573 FluidMorph Illusion FX effect 549 FluidMotion 229, 230, 237, 238 FluidMotion Edit effect parameters overview of reference information 675 FluidStabilizer 316, 334 Font Selection button (Title tool) 379 Fonts compatibility between systems 368 installing 368 sel
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ See Color correction groups H Halo effect for titles 400 Handles 38 for adjusting 3D effects 354 HD resolutions behavior with AVX plug-ins 179 HDTV aspect ratio in the Title tool 368, 368 Head Fade button 59 Hiding advanced keyframe graph display 99 Hierarchy of 3D parameters 680 High-contrast images 254 Highest Quality (HQ) button (Effect Editor) 84 Highlight Color effect parameters 691 Highlight effect parameters 690 Highlights tab (HSL group in Color Correction tool) 7
ABCDEFGHIJKLMNOPQRSTUVWXYZ Input effect parameter for Sphere effect 627 Input effect parameter for Swirl effect 627 Input effect parameter for Twist effect 628 Input effect parameter for Wave effect 629 Motion effect parameter for Ripple effect 622 Movement effect parameter for Sparkler effect 626 Number effect parameter for Pattern Generator effect 619 Offset effect parameter for Kaleidoscope effect 610 Source effect parameter for FluidMorph effect 608 Illusion FX effect parameters overview of reference in
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Input effect parameters (Illusion FX Particle Wind effect) 617 Input effect parameters (Illusion FX Pinch effect) 621 Input effect parameters (Illusion FX Radial Blur effect) 621 Input effect parameters (Illusion FX Random Blend effect) 622 Input effect parameters (Illusion FX Rollup effect) 624 Input effect parameters (Illusion FX Shear effect) 625 Input effect parameters (Illusion FX Sphere effect) 627 Input effect parameters (Illusion FX Swirl effect) 627 Input effect p
ABCDEFGHIJKLMNOPQRSTUVWXYZ overview of reference information 653 Key effect parameters (Chroma Key and Luma Key effects) 653 Key effects 241, 248, 250 AniMatte 556 Chroma Key 556 luma 252 Luma Key 557 Matte Key 252, 254, 255, 263, 557 overview of reference information 556 RGB Keyer 558 SpectraMatte 558 Key effects (3D) 3D matte keys 350 Keyboard shortcuts saving titles with 405 Keyframe graphs 96, 99, 100, 100, 101, 102, 105, 105, 119, 125, 127, 130, 130, 135, 137, 144 Keyframe tracks 96, 100 Keyframes See
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ objects in titles 402 Lower Left Diagonal Edge Wipe effect 541 Lower Right Diagonal Edge Wipe effect 541 Lowlight Color effect parameters 691 Luma Adjust effect parameters 636 Luma Clip effect parameters 638 Luma Control effect parameters (SpectraMatte effect) 664 Luma Key Key effect 557 Luma Range effect parameters 637 Luma Ranges graphs control points on 778 understanding 775 Luma Ranges tab (HSL group in Color Correction tool) adjusting luminance ranges in 777 described
ABCDEFGHIJKLMNOPQRSTUVWXYZ Auto Size Mode (Object menu) 386 Bring Forward (Object menu) 483 Bring to Front (Object menu) 483 Copy to Page (Object menu) 388 Export Title (File menu) 414 Fast Frame Display (Special menu) 487 Group (Object menu) 483 Insert Page (Object menu) 388 Lock (Object menu) 483 Move to Page (Object menu) 388 Re-create Titles and Mattes (Clip menu) 427 Remove Page (Object menu) 388 Send Backward (Object menu) 483 Send to Back (Object menu) 483 UnGroup (Object menu) 483 Unlock (Object men
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ tracking data 321, 322 tracking engines 316 Tracking window 303, 304 workflow 298 Movement effect parameters (Illusion FX Sparkler effect) 626 Moving advanced keyframes 119 keyframes 146 perspective point of 3D effects 691 tracking boxes 313 tracking data points 326 Multiformat titles 272 Multilayer effects (3D) 3D Matte Key 350 Multiple tracks in AVX plug-in effects 184 mVolt (millivolt) units for color correction 729 Marquee 366 Title tool 366 Tracking window 303 Optica
ABCDEFGHIJKLMNOPQRSTUVWXYZ Pan and Scan effect 272, 274, 275, 277, 278, 279, 280, 281, 282 Pan and Scan Reformat effect 566 Pan and Zoom See Avid Pan & Zoom effect Panning Avid Pan & Zoom effect 286, 631 keyframe graphs 105 Parameters Blur effect 514 Mosaic effect 514 Parameters (2D) Acceleration 513 Blur effect 513 Feathering 513, 514 Mosaic effect 513 Paint Effect 454 Parameters (3D) accessing 347 adjustment handles 354 Target 702 Parameters for effects 83, 83, 88, 88, 89, 90, 90 See Effect parameters Par
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Position coordinates for effects 79 Position display for two-field media 76 Position effect parameter (Avid Pan & Zoom effect) 631 Position effect parameters 590 Position effect parameters (Rolling Title and Crawling Title effects) 679 Position Graph display button (Timewarp effect) 205 Position graph for Timewarp effects activating 205 scale bars 208 Position H effect parameter (14:9 Letterbox Reformat effect) 674 Position information for film projects and effects 80 Post
ABCDEFGHIJKLMNOPQRSTUVWXYZ Reformat effect parameters overview of reference information 674 Reformat effects 14:9 Letterbox 566 16:9 Letterbox 566 4:3 Sidebar 566 overview of reference information 565 Pan and Scan 566 Region Stabilize effect 338, 340 Relationship color corrections behavior with Color Correction effect templates 740 converting 719 described 717 using Source Clip Name 718 Relationships for color correction described 705 Remove Color Cast buttons (Color Correction tool) 749 Remove Correction c
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ advanced keyframes 135 motion effects 192, 672 Reviewing color-corrected clips 714 Reviewing a stabilized image 336 Revising titles in a bin 407 titles in a sequence 424 Rewind button (Effect Preview monitor) 75 RGB gamut limit type described 880 RGB Histogram command (Color Correction monitor Source menu) 709 RGB Histogram display (Color Correction monitors) 838 RGB Keyer Key effect 558 RGB Levels effect parameters (Safe Color Limiter effect) 650 RGB levels option Avid Pa
ABCDEFGHIJKLMNOPQRSTUVWXYZ titles, overview 405 titles, with a keyboard shortcut 405 titles, with Fast Save option 405 Sawtooth Wipe effects Horizontal Open Sawtooth 566 Horizontal Sawtooth 566 overview of reference information 566 Vertical Open Sawtooth 566 Vertical Sawtooth 566 Scaling keyframe graphs 102 Scaling (3D) effect parameters 694 Scaling effect parameters 591 Scaling Intraframe objects 481 Scratch effect parameters (Scratch Removal effect) 651 Scratch removal finding flaws from telecine transfer
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Effect Aperture 30 Render 165 Title Styles 413 Settings list Controller settings 900 Shadow Depth and Direction button (Title tool) 399 Shadow effect parameters 694 Shadow softness adjusting in titles 400 viewing current setting 400 Shadows title 399 Shadows tab (HSL group in Color Correction tool) 777 Shape effect parameters 695 Shape effects Ball 695 effect visibility 699 location of position indicator 699 Page Fold 695 Slats 695 Shape Wipe effects 4 Corners 567 Center B
ABCDEFGHIJKLMNOPQRSTUVWXYZ Spill Suppression effect parameters (3D effects) 700 Spill Suppression effect parameters (Chroma Key effect) 655 Spin effects overview of reference information 569 X Spin 570 Y Spin 570 Z Spin 570 Spiral Matrix Wipe effect 560 Spline keyframe interpolation option 130 Spline Path option Avid Pan & Zoom effect 632 Spot Color Correction effect described 894 making corrections with 895 Spot Color Correction Image effect 555 Square and Rectangle tool (Title tool) 383 Squeeze effects Bo
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Subtract from Selection button (Secondary tab in Color Correction tool) 827 Superimpose Blend effect 538 Swap Sources option 587 Swapping effect tracks 687 Swirl Illusion FX effect 545 Syringe button (Secondary tab in Color Correction tool) 826, 830 T Tab buttons accessing Color Correction tool tabs with 723 Tabs Channels (Color Correction tool) 780 Color Correction tool, described 720 Color Correction tool, displaying 721 Composite (Levels group in Color Correction tool)
ABCDEFGHIJKLMNOPQRSTUVWXYZ described 201 FluidFilm 2:3 Cadence 573 FluidFilm Progressive 573 FluidMotion 229, 230, 237, 238 FluidMotion Edit effect parameters 675 overview of reference information 572 Pulldown Insertion 574 Pulldown Removal 574 reference for Motion Effect Editor 210 rendering 214 Reverse Motion 575 Source Anchor Frame 209 Speed Boost 575 Speed Bump 575 Trim to Fill 577 using control graphs 205 Title effect 578 Title effects Crawling Title 577 overview of reference information 577 Rolling Ti
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ italic text in 380 kerning of text in 381 layering of 402 locking and unlocking 402 managing fonts for 368 managing styles in Project window 413 overview of creation 367 page count limits for rolling or crawling 384 previewing 373 promoting to Marquee 424 recalling styles 412 re-creating 427 removing from a sequence 420 rendering 427 replacing fill tracks 426 replacing in a sequence 421 resizing rolling or crawling width of 387 revising in a sequence 424 revising in bin 40
ABCDEFGHIJKLMNOPQRSTUVWXYZ Transition effects Pan and Scan effect 282 Transition effects (3D) with Page Curl (3D) 356 Transition parameters using to apply dissolve effects 59 Transitions creating with the Quick Transition dialog box 65 Transparency adjusting in titles 394, 396 blending in titles 394 setting for titles 394, 396 Transparency of effects controlling with Foreground effect parameter 587 Triangular opener keyframe graphs and tracks 100 Triangular opener (Effect Editor) 84 Trim Left 1 Frame button
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Y Video Background button (Title tool) 374 Video Display Settings dialog box 152 Video mixdown 268 Video Quality button and menu (Timeline bottom toolbar) 156 Video Quality Menu button (Timeline bottom toolbar) 155 Video Underrun error messages 152 Y Only button (Effect Editor Position parameter) 331 Y Spin Spin effect 570 Y Waveform command (Color Correction monitor Source menu) 709 Y Waveform display (Color Correction monitors) 838 YC Waveform command (Color Correction
27 Avid Technical Support (USA) Product Information 75 Network Drive Burlington, MA 01803-2756 USA Visit the Online Support Center at www.avid.com/support For company and product information, visit us on the web at www.avid.
