® ® ® Avid Media Composer and NewsCutter Effects and Color Correction Guide
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Contents Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Avid Training Services . . . . . . . . . . .
Chapter 3 Applying and Customizing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Applying Dissolve Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Working with the Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Adjusting Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Modifying Transition Effects in the Timeline . . . . . . . . . . . .
Locating the AVX 1.x Plug-Ins Folder (Windows Only). . . . . . . . . . . . . . . . . . . . . . 190 Updating and Promoting AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Assigning Multiple Tracks in Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Using AVX Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Using the Client Monitor to Preview a Plug-In Effect . . . . . . . . . . . . . .
Chapter 8 Layered and Nested Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 Working with Imported Graphics and Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Submaster Editing. . . . . . . . . . . . . . . .
Stabilizing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 Reviewing and Adjusting a Stabilized Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 Guidelines for Using Multiple Trackers When Stabilizing . . . . . . . . . . . . . . . . . . . . 350 Using the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 Making Adjustments to the Region Stabilize Region of Interest . . . . .
Editing a Text String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395 Formatting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395 Creating Graphic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 Creating Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 14 Working with the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 Understanding the SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 How the SubCap Effect Handles Caption Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 Applying the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Entering Caption Text Directly in the Effect Editor . . . . . . . . . . . .
Understanding PlasmaWipe Frame and Border Effects . . . . . . . . . . . . . . . . . . . . . 555 Applying and Adjusting PlasmaWipe Frame and Border Effects . . . . . . . . . . . . . . 556 Creating Custom PlasmaWipe Border and Frame Effects . . . . . . . . . . . . . . . . . . . 558 Using PlasmaWipes with HD Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560 Chapter 17 Effects Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 18 Effects Parameter Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610 Color Parameter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611 Common 2D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612 Film Effects Blowup Parameter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623 Generator Effect Parameters . . . . . . . . . . . . . . . . .
Chapter 21 Color Correction Techniques. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 815 Guiding Principles for Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 815 Examples of Color Correction Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 821 Chapter 22 Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 827 Overview of Safe Color Limits. . . . . . . . . . . . . . . .
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.
Accessing the Goodies Folder Accessing the Goodies Folder Avid supplies a Goodies folder located on the editing application DVD. Access the Goodies folder by browsing the DVD. This folder contains programs and files you might find useful when trying to perform functions beyond the scope of your Avid editing application. The information in the Goodies folder is provided solely for your reference and as suggestions for you to decide if any of these products fit into your process.
1 Effects Concepts and Settings This chapter describes concepts you should understand before you begin creating effects and common settings adjustments that affect how you work with effects: • Types of Effects • Real-Time Effects and Non-Real-Time Effects • Color Coding on Effect Icons • Understanding the Effect Palette • Displaying and Adjusting the Effect Palette • Working with Effects in HD and in Progressive Frame Projects • Changing Timeline View Settings for Effects • Adjusting Trim Set
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 253.
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 Non-real-time effects have no dot in the Effect Palette. In the Timeline, the effect icon shows a blue dot until you render the effect. 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.
Displaying and Adjusting the Effect Palette Displaying and Adjusting the Effect Palette This topic provides basic information on displaying and adjusting the Effect Palette. For information on the organization and purpose of the Effect Palette, see “Understanding the Effect Palette” on page 25. To display the Effect Palette: t In the Project window, click the Effects tab.
Working with Effects in HD and in Progressive Frame Projects Working with Effects in HD and in Progressive Frame Projects Many video effects work the same way regardless of the project type or video format. This topic describes several situations where effect behavior varies depending on whether a project is SD or HD, or is interlaced or progressive. Effects Considerations for HD Projects Effects that use square geometry automatically use the correct pixel aspect ratios.
Working with Effects in HD and in Progressive Frame Projects project.) For example, the edge of a 1-second Horizontal Edge Wipe effect appears in 24 or 25 different positions across the screen. For effects of short duration in particular, this difference might be perceptible to the viewer. • n When the 24p or 25p media is output (to the interlaced Client monitor or as a digital cut), it is interlaced again and pulldown is inserted to achieve 60 fields per second (NTSC).
Changing Timeline View Settings for Effects Changing Timeline View Settings for Effects All effect icons display in the Timeline by default. You can change the Timeline settings to display all effect icons, all effect icons except Dissolve Effect icons, or no effect icons. If you change the setting to display no effect icons, you must reset it before you begin applying effects. The fewer effect icons you display, the faster your Avid editing application refreshes the screen.
Setting Effect Grid Options Setting Effect Grid Options You can display a grid in the Effect Preview monitor in Effect mode to guide you as you create and adjust effects. For information on using the grid, see “Understanding the Effect Grid” on page 80. The Grid Settings dialog box lets you customize the grid. To set the default grid values, do one of the following: t In the Settings list of the Project window, double-click Grid.
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.
Setting Effect Aperture Options To change the effect aperture: 1. In the Settings list in the Project window, double-click General. The General Settings dialog box opens. 2. Select one of the following Effect Aperture options: Option Description ITU 601 (720x 486) Select this setting when you are using uncompressed media or mixed resolutions. This is the default setting. DV25 (720 x 480) Select this setting when you are using DV media exclusively. 3. Click OK.
2 Basics of Effects Editing This chapter provides basic procedures for creating, adjusting, playing, and rendering effects: • Applying Effects • Deleting Effects in a Sequence • Sizing Effects to Fit the Media • Adjusting Effects • Updating and Reverting Existing Effects in Sequences • Working with Effect Templates • Promoting Existing Effect Templates • Playing Effects • Basics of Effects Rendering Applying Effects You apply most effects to video material after you edit it into a sequence
Applying Effects 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 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. To apply an effect to multiple segments in the Timeline: 1. Enter Effect mode, for example, by clicking the Effect Mode button.
Applying Effects 5. (Option) Shift+click a segment to deselect it. 6. In the Effect Palette, double-click the icon for the effect that you want to apply to the segments. Your Avid editing application applies the effect to the selected segments in the Timeline. Using the Fade Effect Button You can use the Fade Effect button to create basic fades for segment effects. The Fade Effect feature creates keyframes for the effect automatically. You can access the keyframes in the Effect Editor.
Deleting Effects in a Sequence Deleting Effects in a Sequence You can delete transition effects from a sequence in Source/Record mode (editing mode on NewsCutter systems), Trim mode, or Effect mode. To delete a single effect: 1. 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.
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 To automatically size an effect to fit the media: t Click Size To Fit in the Insufficient Source dialog box. 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 60.
Adjusting Effects Understanding Effect Mode The following illustration shows the main components of Effect mode, the Effect Editor (left) and the Effect Preview monitor (right). Each property of an effect that you can control is known as an effect parameter. For example, a Picture-in-Picture effect has a Position parameter that controls where the picture-in-picture is located on the screen.
Adjusting Effects Making Basic Effect Adjustments This topic describes a general procedure for selecting and adjusting effects, including some simple examples of types of adjustments. 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 59.
Updating and Reverting Existing Effects in Sequences Moving Through an Effect The position bar in the Effect Preview monitor represents only the length of the currently selected effect. You can use the Effect Preview monitor’s position bar to move through an effect in the same way that you use the position bars in Source/Record mode (editing mode on NewsCutter systems) to move through a clip or a sequence.
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.
Promoting Existing 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.
Playing Effects You might have effect templates that you created in an older version of an Avid editing application. If you created these templates from standard keyframe versions of effects that now use advanced keyframes only, you can still apply them in the standard ways described in “Working with Effect Templates” on page 45.
Playing Effects Playing an Effect in Effect Mode While you are in Effect mode, you can: • Play all or part of an individual effect once. • Play an individual effect in a continuous loop. • Play an outline preview of an effect (a wire-frame representation of the effect’s position, scale, and path of motion). To play an effect in Effect mode: 1. In the Timeline, select the effect. 2.
Playing Effects Real-time effects have a small green dot within the effect icon in the Timeline. Effects that you must render have a small blue dot within the effect icon in the Timeline. For more information, see “Color Coding on Effect Icons” on page 24. You can create a sequence that has any number of real-time and non-real-time effects. While any individual real-time effect plays in real time without rendering, multiple real-time effects in complex sequences might not all play in real time.
Basics of Effects Rendering Render On-the-Fly only controls how your Avid editing application displays a frame when the position indicator is stationary at that frame. During playback (that is, while the position indicator is in motion), your Avid editing application’s ability to display effects depends on whether real-time effects are enabled and on other associated factors. For more information, see “Real-Time Playback of Video Effects” on page 153.
Basics of Effects Rendering There are two main situations in which you render effects: • Before you output a sequence, you must render any effects in the sequence that cannot play in real time during output. Avid editing applications can use the ExpertRender feature to identify and render these effects for you, so that you do not spend time and storage rendering effects that do not need rendering.
Basics of Effects Rendering You can configure your Avid editing application to send an email notification when a render operation completes. This lets you leave your Avid editing application unattended when a long render operation is taking place, yet still know when the render completes.For more information, see “Email Settings” in the Help. n Save your sequence before you render by marking IN and OUT points.
Basics of Effects Rendering 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 Stop Stop the rendering process and return to the Render Effect dialog box, and then select another drive before continuing. Continue Attempt to render the effect anyway, in case there might be enough room on the drive.
Basics of Effects Rendering 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 Stop Stop the rendering process and return to the Render Effect dialog box, and then select another drive before continuing. Continue Attempt to render the effect anyway, in case there might be enough room on the drive.
Basics of Effects Rendering 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 Stop Stop the rendering process and return to the Render Effect dialog box, and then select another drive before continuing. Continue Attempt to render the effect anyway, in case there might be enough room on the drive.
Basics of Effects Rendering You can store effect precomputes on a drive separate from your media. If this drive is offline, rendered effects in the Timeline appear to be unrendered. Clearing these rendered effects does not change their appearance in the Timeline, but you cannot restore the rendered effect by bringing the effect drive online as the sequence has lost the information stored in the precompute. For more information on setting the effects drive, see “Media Creation Settings” in the Help.
Basics of Effects Rendering To clear rendered effects at position: 1. Move the position indicator to the effects in the Timeline. 2. Select all tracks that contain effects you want to clear. 3. Select Clip > Clear Renders at Position. The Clear Renders dialog box opens. 4. Select the appropriate options: Option Description Skip Motion Effects Retains all motion effects at the position indicator. Skip Unknown Effects Retains all effects with blank effect icons at the position indicator. 5. Click OK.
Basics of Effects Rendering To rerender a single effect: 1. Move the position indicator to a single effect in the Timeline. 2. Shift-click the Render Effect button. 3. Click OK. For more information, see “Rendering Effects” on page 51. To rerender multiple effects at one position: 1. Move the position indicator to the effects in the Timeline. 2. Select all tracks that contain effects you want to render. 3. Hold down the Shift key and select Clip > Render at Position.
3 Applying and Customizing Effects This chapter contains further information on applying and customizing effects that builds on the information presented in “Basics of Effects Editing” on page 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 6. (Option) If, for any selected track, there is insufficient source media to create a dissolve of the length you specified with the position indicator, the Insufficient Source dialog box opens. Do one of the following: t Click Size to Fit. Your Avid editing application creates the longest dissolve possible. For more information on sizing effects to fit available media, see “Sizing Effects to Fit the Media” on page 38. t Click Skip Track.
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 73.
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 622.
Modifying Transition Effects in the Timeline To lengthen or shorten the duration of a transition effect in the Timeline: 1. Click the Transition Manipulation button in the Smart tool. 2. Position the mouse pointer over the transition handle on either the outgoing or incoming side of the transition. The pointer changes to a resizing arrow. 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.
Preserving Effect Transitions in the Timeline To adjust the position of the effect in the Timeline: 1. Click the Transition Manipulation button in the Smart tool. 2. Position the mouse pointer over the effect icon for the transition you want to move. The pointer changes to a hand. 3. Drag the effect to adjust its position with respect to the cut point. The Timeline updates to show the new effect position. If you enable link selection, the transition moves on all tracks in the Timeline with linked clips.
Replacing an Effect in Effect Mode Splicing and Overwriting When you splice or overwrite a sequence onto another sequence, your Avid editing application preserves the transition effects at the marks in the source, depending on the position of the mark. For example: If you: The result is: Place the Mark In at the cut Your Avid editing application leaves the transition effect as is. Place a Mark In before the cut Your Avid editing application leaves the transition effect, but shortens the transition.
Using the Effect Preview Monitor To replace an effect: 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 Palette, select an effect category. 3. Do one of the following to replace the effect: t Drag the new effect’s icon to the Timeline. To replace an existing effect, move the new effect’s icon on top of the existing effect’s icon.
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 87. 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. Using Big Effect Mode Some Avid editing applications let you use Big Effect mode to work in an enlarged Effect Preview monitor.
Using the Effect Preview Monitor If you are working with two-field media, the current position display indicates the field that appears in the monitor. The current position display ends with .1 for the first field of a frame and with .2 for the second field. These boxes replace the name of the sequence that normally appears in this position. n If the position information boxes do not appear above the Effect Preview monitor, increase the size of the window.
Using the Effect Preview Monitor Understanding the Effect Grid The Effect Grid helps you to position effects with accuracy and previsualize them in the Effect Preview monitor. The grid coordinates can be expressed in traditional fields or X–Y pixels in any resolution. The following illustration shows a 12-field grid displayed in a video project.
Using the Effect Preview Monitor 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 The compass coordinates describe the effect’s position in terms of film optical house standards. Each compass coordinate begins with a direction (N, S, E, or W, the abbreviations for North, South, East, or West) followed by a numerical value. This numerical component reflects the Fields and Sub Fields parameters you select in the Grid Settings dialog box or the Grid parameter group.
Using the Effect Preview Monitor The following illustration shows the presentation of Paint Effect information for a rectangular object in a cut list. Example of Paint Effect information in a cut list. Top to bottom: Grid information, keyframe number and reference numbers, Shape type and color information, Compass and (X,Y) coordinate information for each corner of the rectangle. You can also display the position information for the first keyframe of a Blowup effect in a cut list.
Using the Effect Preview Monitor n You generate film cut lists and change lists with Avid FilmScribe. For general information on using Avid FilmScribe, see the Avid FilmScribe Help. You can also generate effect information in a cut list by using the Previsualization Marker Tool in the Paint Effect. For more information, see “Using the Previsualization Marker Tool for Film Projects” on page 499. To include coordinate information in a cut list: 1. Enable the Effect Grid before you generate the list.
Stepping Through Field-Based Media To move an enlarged image within the Effect Preview monitor: 1. Click within the boundaries of the Effect Preview monitor. 2. Press and hold Ctrl+Alt (Windows) or Command+Option (Macintosh). The pointer changes to a hand. 3. Drag the hand in any direction to reposition the image within the Effect Preview monitor. n You can also enlarge the frame in the Source monitor and move the frame around by pressing and holding Ctrl+Alt (Windows) or Command+Option (Macintosh).
Using the Effect Editor In Source/Record and Color Correction modes (editing and Color Correction modes on NewsCutter systems), your Avid editing application displays only field 1 of each frame by default. If you need to view both field 1 and field 2 of each frame of video while in these modes, you can use the Step Forward One Field and Step Backward One Field buttons.
Using the Effect Editor Understanding Parameters in the Effect Editor Effect parameters are values that define the appearance of an effect. For example, you can set parameters that control the size and position of a Picture-in-Picture effect. A number of parameters are common to many effects, such as parameters affecting size, position, or foreground level (transparency).
Using the Effect Editor 1 2 3 4 12 5 6 7 8 9 10 11 1 Triangular opener 5 Parameter name 9 Transition Effect Duration box 2 Effect name and icon 6 Render Effect button 10 3D Promote button 3 Parameter group (parameter 7 category) Outline/Path button 11 Show/Hide Keyframe Graph button 4 Parameter adjustment slider 8 Transition Effect Alignment button 12 Additional buttons (exact set depends on the effect 88
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 361.
Using the Effect Editor Button or Control Location in Effect Editor Description HQ Right side Appears when a 3D effect has the HQ (Highest Quality) rendering option. Click to select the HQ implementation or the standard implementation with which to render the effect. The button is green when the HQ implementation is selected. For more information, see “Rendering 3D Effects Using the HQ (Highest Quality) Option” on page 178.
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 Press the Ctrl key and use the mouse scroll wheel to change the value by increments of –1 or +1.
Using the Effect Editor Using Parameter Enable Buttons in the Effect Editor You control some parameters using parameter Enable buttons. These parameters can either be active or inactive but cannot be adjusted over a range of values. For example, the Fixed Aspect parameter Enable button controls whether the aspect ratio of an image is maintained when you adjust one of its dimensions. To turn a parameter on or off using a parameter Enable button: t Click the Enable button.
Using the Effect Editor To select a color using the eyedropper: 1. Position the pointer over the Color Preview window to activate the eyedropper. Example of Color Preview window with eyedropper active 2. Press and hold the mouse button, then drag the eyedropper to the Effect Preview monitor, and release the mouse button on the color you want to select from the video image. Your Avid editing application updates the parameter’s numeric values, and the selected color appears in the Color Preview window.
Using the Effect Editor To open the Windows Color dialog box: t Click the Other Options button next to a color parameter. The Windows Color dialog box opens. 3 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.
Using the Effect Editor 4. To select a custom color from the Windows Color dialog box, click the color you want. 5. Click OK. The Windows Color dialog box closes, and your Avid editing application applies the color to the parameter in the Effect Editor. To open the Macintosh Colors panel: t Click the Other Options button next to a color parameter. The Macintosh Colors panel opens. Select the appropriate icon at the top of the Colors panel to display the method you want to use for selecting the color.
Manipulating Effects Directly in the Effect Preview Monitor Manipulating Effects Directly in the Effect Preview Monitor You can make some adjustments to effects by manipulating them directly in the Effect Preview monitor. These adjustments use handles and wire-frame outlines that you can display in the monitor. You can create a motion path that defines how the foreground image moves across the background video. You can also resize a foreground image, as in a picture-in-picture effect.
Manipulating Effects Directly in the Effect Preview Monitor Example of wireframe display in the Effect Preview monitor. The image area shows a background image on track V1 and a wire frame outlining the foreground image on track V2. Example of a motion path in the Effect Preview monitor. Each dot on the path represents the location of the center of the PIP at a keyframe. The center handle and the resize handles are highlighted.
4 Working with Keyframes This chapter describes how to use keyframes to change the behavior of an effect over time. • Understanding Keyframes • Track Types for Advanced Keyframes • Viewing Advanced Keyframe Graphs • Manipulating Advanced Keyframes • Controls and Settings for Advanced Keyframes • Working with Standard Keyframes Understanding Keyframes A keyframe is a point in an effect at which you can set parameters.
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 To show or hide the keyframe graph display: t Click the Show/Hide Keyframe Graphs button in the bottom right corner of the Effect Editor. 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 105 and “Scrolling Keyframe Graphs” on page 108. The active keyframe graph is highlighted using a darker background.
Viewing Advanced Keyframe Graphs To change the height of a keyframe graph: 1. Position the pointer over the bottom border of the keyframe graph that you want to change. The pointer changes to a vertical resizing pointer. 2. Click the edge of the graph, and drag it up or down. The height of the keyframe graph gets smaller or larger.
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 Resetting Keyframe Graph Views If you move the view in a keyframe graph so that you can no longer see the keyframes, you can use the shortcut menu to recenter the keyframes in the keyframe graph. 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 Understanding Advanced Keyframe Display When you add a keyframe to a parameter, corresponding keyframe indicators appear in the effect track, in the parameter group track, and in the Effect Preview monitor. The following illustration shows the result after keyframes are added to the Position parameters H Pos and V Pos.
Manipulating Advanced Keyframes Remember that a keyframe indicator in a parameter group track or in the effect track does not necessarily indicate that a keyframe exists at that point in time for every parameter in the group or in the effect. The keyframe indicator in the parameter group track or in the effect track might be the parent of one keyframe, or of several, or of a keyframe for every keyframeable parameter in the group or in the effect.
Manipulating Advanced Keyframes Depending on which method you use and how the Effect Editor is configured, you can add a keyframe to a single parameter, all the parameters in a group, every parameter in an effect, or any other custom combination of parameters. 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.
Manipulating Advanced Keyframes 2. Select Add Start and End 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 110. 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.
Manipulating Advanced Keyframes To add a keyframe by using the Add Keyframe button in the Effect Preview monitor: 1. Move the position indicator to the point where you want to add a keyframe. 2. In the Effect Preview monitor, click the Add Keyframe button. 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.
Manipulating Advanced Keyframes To delete advanced keyframes by using the Add Keyframe buttons: 1. Click a keyframe indicator to activate it. 2. (Option) Ctrl+click additional keyframes in the same graph or in other graphs. 3. Do one of the following: t In the Effect Editor or in the Effect Preview monitor, press and hold the Alt key (Windows) or the Option key (Macintosh), and then click the Add Keyframe button.
Manipulating Advanced Keyframes To remove redundant keyframes: 1. Right-click one of the following: t The effect track. The track displays the text “Apply to All.” t A parameter group track. The track displays the text “Apply to Group.” t A parameter track. t A keyframe graph. 2. Select Remove Redundant Keyframes. Your Avid editing application removes redundant keyframes from the range of keyframe graphs you specified in step 1. To remove all redundant keyframes in a sequence: 1.
Manipulating Advanced Keyframes The Add Keyframe Mode and Delete Keyframe Mode menus mirror one another. When you change one, a corresponding change happens in the other. n Several of the menu command names include the word “group.” In these names, “group” refers to a parameter category. The default command for adding and deleting keyframes applies to the keyframes in the Effect Preview monitor’s position bar just as it does to keyframes in the Effect Editor.
Manipulating Advanced Keyframes Add Keyframe Mode and Delete Keyframe Mode Menu Commands (Continued) Command Description Add to Active Group (Add Keyframe Mode menu) Adds keyframes to or removes selected keyframes from the parameter tracks or keyframe graphs of all parameters that are in the same parameter category as the active parameter.
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 Moving Advanced Keyframes You can move an advanced keyframe to another location in the keyframe graph. This topic describes methods for moving keyframes by dragging in the Effect Editor or in the Effect Preview monitor. You can also move keyframes to the location of the position indicator by using commands on the shortcut menu for the keyframe track. For more information, see “Understanding the Align Keyframes and Slip Keyframes Commands” on page 126.
Manipulating Advanced Keyframes t Press the Alt key (Windows) or the Option key (Macintosh) and then drag one of the keyframes. When you Alt+drag (Windows) or Option+drag (Macintosh) multiple keyframes in an open keyframe graph, you can move the keyframe you are dragging both vertically and horizontally. The rest of the keyframes move horizontally (in time) but do not move vertically. With two keyframes selected in a parameter, Alt-drag (or Option-drag) the top keyframe.
Manipulating Advanced Keyframes • If you drag a keyframe for a parameter out of a column containing many keyframes, the system creates new keyframes on the effect track, on the corresponding parameter group track, and in the Effect Preview monitor. The following illustration shows an example of what happens when one of the keyframes is dragged out of the column.
Manipulating Advanced Keyframes Understanding the Align Keyframes and Slip Keyframes Commands The Align Keyframes and Slip Keyframes commands in the shortcut menu for the keyframe track lets you move keyframes to the location of the position indicator. • Align Keyframes moves the selected keyframe to the position indicator. The other keyframes in the keyframe track do not move.
Manipulating Advanced Keyframes n Align Keyframes does not move the reference keyframe beyond an intervening keyframe (a keyframe between the reference keyframe and the position indicator). If there is an intervening keyframe, the reference keyframe moves to within one frame or field of it. Before (left) and after (right) aligning a keyframe to the position indicator (no intervening keyframes) Before (left) and after (right) aligning a keyframe to the position indicator.
Manipulating Advanced Keyframes Before (left) and after (right) aligning keyframes with one deselected keyframe. The reference keyframe moves to the position indicator, other selected keyframes move to maintain their position relative to the reference keyframe, but the deselected keyframe does not move. Before (left) and after (right) aligning keyframes with two deselected keyframes.
Manipulating Advanced Keyframes Copying and Pasting Advanced Keyframe Parameters You have several options for copying and pasting advanced keyframe parameters. You can: • Copy and paste selected keyframes in a single parameter. • Copy and paste selected keyframes in more than one parameter. The selected keyframes can be in graphs or on tracks (that is, the graphs that contain the selected keyframes can be open or closed).
Manipulating Advanced Keyframes 3. Do one of the following: t Move the position indicator to the location where you want to paste. t Click a keyframe to select it and move the position indicator to that location. 4. Select Edit > Paste, or press Ctrl+V (Windows) or Command+V (Macintosh). Your Avid editing application pastes the keyframes that you copy to the location that you select.
Manipulating Advanced Keyframes Examples of Copy and Paste Operations on Advanced Keyframe Parameters The following illustrations show the effects of the various copy and paste operations that you can perform on advanced keyframe parameters. For more information and step-by-step instructions for copying and pasting advanced keyframe parameters, see “Copying and Pasting Advanced Keyframe Parameters” on page 129.
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 The following table describes the interpolation options available for advanced keyframes. Advanced Keyframe Interpolation Options Interpolation Option Description Shelf The parameter value does not change between keyframes and then changes abruptly to the new value. Some applications call this Hold. Use Shelf to hold a parameter value for a fixed length of time.
Manipulating Advanced Keyframes Advanced Keyframe Interpolation Options (Continued) Interpolation Option Description 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 91.
Manipulating Advanced Keyframes • Asymmetrically: Dragging a direction handle changes the length of the selected handle, but not the opposite handle. The rotation of both handles changes as you drag the selected handle. 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.
Manipulating Advanced Keyframes 4. Do one of the following: t Drag the mouse to move the direction handle. Your Avid editing application uses the currently active adjustment option. The direction bar and the curve change to show the new interpolation motion. t Alt+click (Windows) or Option+click (Macintosh) the direction handle, and then drag the mouse to move the direction handle.
Manipulating Advanced Keyframes To reverse keyframes in time: t Right-click an open keyframe graph, a parameter track, a parameter group track, or the effect track, and select Reverse Keyframes. Your Avid editing application reverses the appropriate keyframes in time: - For an open keyframe graph or a single parameter track, the keyframes are reversed for that parameter. - For a parameter group track, keyframes are reversed for all parameters in the group.
Manipulating Advanced Keyframes n You can select elastic keyframes or fixed keyframes for each parameter of an effect, so some parameters can have elastic keyframes while other parameters have fixed keyframes. All keyframes for a parameter are either elastic or fixed. You cannot mix elastic keyframes and fixed keyframes within a single parameter. The following illustrations show an example of the difference between elastic and fixed keyframes.
Manipulating Advanced Keyframes In a keyframe graph, the first keyframe and the last keyframe are the bracketing keyframes for the parameter. Your Avid editing application determines parameter values beyond the bracketing keyframes using either Extrapolate or Hold. When Extrapolate is enabled, your Avid editing application extrapolates — that is, estimates more values for — the parameter values at the start and end of an effect using the values at the bracketing keyframes.
Manipulating Advanced Keyframes In either case, you do not have an explicitly defined value outside the bracketing keyframes. Extrapolate and Hold can save you the trouble of individually setting new values for each parameter whenever you make changes to the position of keyframes or the length of the effect.
Controls and Settings for Advanced Keyframes Setting Extrapolate or Hold for an Effect Parameter To set Extrapolate or Hold for a parameter: t Right-click the keyframe track, and select Extrapolate or Hold. The display changes to reflect the new setting. Controls and Settings for Advanced Keyframes This topic provides reference information for the following parts of the advanced keyframes user interface: • Effect Editor controls that are specific to advanced keyframes.
Controls and Settings for Advanced Keyframes Control Description Add Keyframe Creates a keyframe at the current position. Alt+click (Windows) or Option+click (Macintosh) this button to delete a keyframe. When you add or delete a keyframe, a menu gives you additional selections. For more information, see “Adding Advanced Keyframes” on page 111 and “Deleting Advanced Keyframes” on page 114.
Controls and Settings for Advanced Keyframes To display the Effect Editor shortcut menu: t Right-click the Effect Editor outside the keyframe track area. The Effect Editor shortcut menu opens. To display the Effect Editor settings dialog box: t In the Settings tab of the Project window, double-click Effect Editor.
Controls and Settings for Advanced Keyframes 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. The Effect Editor shortcut menu is available from the part of the Effect Editor that does not display the keyframe tracks.
Controls and Settings for Advanced Keyframes Control Description Slip Keyframes Moves all the keyframes of the parameter so the active keyframe aligns with the position indicator, and the rest of the keyframes maintain their relative location. See “Understanding the Align Keyframes and Slip Keyframes Commands” on page 126. Reverse Keyframes Lets you reverse the keyframes in time for a parameter, a parameter group, or an entire effect. See “Reversing Advanced Keyframes” on page 138.
Controls and Settings for Advanced Keyframes The following table describes the options for the Effect Editor shortcut menu and the Effect Editor settings dialog box. Option Description Indent Rows When this option is selected, parameter rows are indented from the parameter category row, and any parameter subgroups are indented again. When this option is deselected, the left edges of parameter rows line up with the parameter category row.
Controls and Settings for Advanced 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 126.
Working with Standard Keyframes Working with Standard Keyframes You can manipulate standard keyframes in the following ways: • You can add standard keyframes at any point in the effect’s position bar. • You can delete any standard keyframe that you create, but you cannot delete the starting and ending keyframes your Avid editing application creates. • You can select one or more standard keyframes. A keyframe indicator changes to pink when selected.
Working with Standard Keyframes To delete a standard keyframe: 1. In the position bar below the Effect Preview monitor, click the keyframe indicator. The keyframe indicator changes to pink when selected. 2. Do one of the following: t Press the Delete key. t Alt+click (Windows) or Option+click (Macintosh) the Add Keyframe button. To select one keyframe: t In the position bar below the Effect Preview monitor, click the keyframe indicator.
Working with Standard Keyframes To copy and paste standard keyframe parameters: 1. In the position bar below the Effect Preview monitor, click one keyframe indicator whose parameters you want to copy. 2. Select Edit > Copy. 3. Select one or more standard keyframes: t To copy the parameters to one keyframe, click the keyframe indicator. t To copy the parameters to multiple keyframes, Ctrl+click (Windows) or Command+click (Macintosh) multiple keyframe indicators.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files This chapter provides information on playing and rendering effects that extends the basic information provided in “Playing Effects” on page 47 and “Basics of Effects Rendering” on page 50. It also provides information on managing your effect media files.
Real-Time Playback of Video Effects Understanding Real-Time Effects Processing To display a frame from a sequence that has a video effect applied, your Avid editing application must calculate the result of the effect at that frame. For example, to display the midpoint frame from a dissolve, your Avid editing application must calculate, for each pixel in the frame, a 50 percent blend between the color and luminance values in the outgoing clip and those in the incoming clip.
Real-Time Playback of Video Effects Understanding Real-Time Playback Information in the Timeline When your Avid editing application is unable to maintain real-time playback of an effects sequence, colored bars appear in the timecode track of the Timeline when playback ends. The following illustration shows a typical set of colored bars. Colored bars in the Timecode track of the Timeline These bars provide you with information about the difficulties your Avid editing application had during playback.
Real-Time Playback of Video Effects Options for Controlling Real-Time Effects Playback When your Avid editing application is unable to maintain real-time playback of an effects sequence, there are a number of ways you can attempt to ensure that the sequence plays back successfully in real time. Start Playback Earlier in the Sequence If possible, start playback earlier in the sequence, before the effects that are causing difficulties begin.
Real-Time Playback of Video Effects You can use a setting in the Video Display Settings dialog box to switch between the OpenGL processing provided by your graphics card and software OpenGL processing. This might be useful if you notice either unacceptable image quality or poor playback performance with 3D Warp or Stabilize effects. For more information, see “Controlling Real-Time Effects Processing” on page 158. n Processing of 3D Warp effects is also affected by the Highest Quality option.
Real-Time Playback of Video Effects Optimize your Drive Striping Proper drive striping increases the speed at which your Avid editing application retrieves media. For more information, see the ReadMe for your Avid editing application and the online Knowledge Base.
Real-Time Playback of Video Effects 3. In the Stream Limit text box, type the number of real-time streams you want your Avid editing application to use for playback. By default, this dialog box displays the maximum number of streams supported by your Avid editing application. 4. Click OK. 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.
ExpertRender To switch the video playback quality: t Do one of the following: - In the Timeline bottom toolbar, click the Video Quality Menu button and cycle through the video quality settings to the one you want. - In the Timeline bottom toolbar, right-click the Video Quality Menu button and select the video quality setting you want from the menu. When you change video qualities, immediate changes appear in the quality and the sharpness of the media displayed in the Source/Record monitor.
ExpertRender For example, the following sequence includes four effects on four different tracks. You could render all four effects, however if you use the ExpertRender In/Out command on the material, the ExpertRender analysis recommends rendering only one of the effects. A sequence with four effects (top) and the results of an ExpertRender analysis of this sequence. Only one of the effects needs to be rendered for successful output.
ExpertRender • n If you are ready to output a sequence, for example, by performing a digital cut to tape, you can use the ExpertRender In/Out command and select the Prepare for Digital Cut option to determine which effects you need to render for successful output. In particular, when there are overlapping effects on multiple tracks, ExpertRender can calculate when the rendering of an effect on an upper track will incorporate picture information from lower tracks.
ExpertRender 3. Select Clip > ExpertRender at Position or Clip > ExpertRender In/Out. ExpertRender analyzes the selected effects and highlights the effects that require rendering in the Timeline. The Expert Render dialog box opens and indicates how many of the effects require rendering. 4. Click the Drive button, and select a drive on which to store the rendered effects. The Effect Source Drive selection refers to the drive where the media for the outgoing shot of the first transition resides. 5.
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.
ExpertRender 4. Do one of the following: t To render only the effects necessary to achieve successful real-time effects preview, select “Render recommended ranges,” and then click OK. t To render all the effects that ExpertRender identifies for rendering within your marked selection, select “Render entire selection.” The message in the Expert Render dialog box changes to indicate the number of effects that ExpertRender has identified for rendering across the entire selection.
ExpertRender 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.
Creating and Using Render Settings 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 171. 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 Render Settings Options The following table describes the options available in the Render Setting dialog box. Option Suboption Render Completion Sound Description Defines a sound that your Avid editing application plays once the rendering process is complete. This is useful when you are rendering multiple effects. None Disables the rendering completion sound. This is the default. System Beep The rendering completion sound matches the sound set for your operating system.
Render Settings Options Option Suboption Description Interpolated Field Creates a second field for the effect by combining scan line pairs from the first field in the original media. This option calculates the motion effect at the field level rather than the frame level. Because your Avid editing application considers all fields and does not disturb the original order of fields, the smoothest effect results. Effects you create using this option take the longest amount of time to render.
Render Settings Options Option Suboption Description Blended VTR (Timewarp only) Creates a second field for the effect by shifting selected video fields of the original media by a full scan line, then blending (averaging) pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, your Avid editing application creates three blended images between outgoing Image A and incoming Image B.
Using Partial Render Using Partial Render If you interrupt a render that is not complete, your Avid editing application lets you save the completed portion of the render. You can finish the render later by resubmitting the effect for rendering. Your Avid editing application then renders only the part of the effect that has not rendered previously and saves that part as a separate precompute.
Using 16-Bit Processing Support for Rendered Effects Option Description All Displays a red line on the portion of any partially rendered effect that is currently unrendered and on all completely unrendered effects. This is a simple visual indication of which effects are unrendered. It is not an indication of which effects you might need to render to achieve successful playback.
Using 16-Bit Processing Support for Rendered Effects To set the bit depth for rendered effects: 1. Select Tools > Media Creation. The Media Creation dialog box opens. 2. Click the Render tab. 3. Set the Effects Processing bit depth option to one of the following: Option Description 8-bit Use this option when rendering time is more important than image quality, or if you are mainly working with effects that do not support 16-bit precision.
Ensuring the Quality Level of Precomputed Clips Ensuring the Quality Level of Precomputed Clips Before you export or output your sequence, you must ensure that all your precomputed clips have been rendered using the desired quality settings. Your Avid editing application cannot always recognize that it needs to re-render effects when you change a quality setting. You must manually purge and re-render precomputed clips to ensure that all effects render with the desired quality.
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 175. 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.
Rendering Effects for the Media Station XL 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.
Rendering Effects for the Media Station XL 3. Select Clip > Render to Media Station. The Render to Media Station dialog box opens. 4. Select one of the following options: Option Description Entire Sequence Selects any effects in the sequence that require rendering on your Avid editing application In/Out Selects any effects between the IN and OUT points that require rendering on your Avid editing application. This option is available only when IN and OUT points are marked.
Rendering Effects for the Media Station XL 8. Do one of the following: t Click OK to render the selected effects that Media Station cannot render. t Click Modify Selection if you want to modify the set of effects selected to render. For more information, see “Modifying ExpertRender Results” on page 166. t Click Cancel to remove all Render to Media Station highlighting and to cancel the Render to Media Station process without rendering any effects.
Managing Effect Media Files To cancel a Render to Media Station command during the modification process, do one of the following: t Click in the timecode (TC) track to move the position indicator. t Double-click one of the segment tools on the Timeline palette. Segment tools in the Timeline palette t Select Clip > Render to Media Station, and then click Cancel in the Render to Media Station dialog box.
Managing Effect Media Files This prevents you from deleting media that might be necessary to play other versions of the sequence. If you want to remove media files from your drive to save space, you must manually delete the files. For complete information on the media management features and on the use of the Media tool, see “Managing Media Files” in the Help. n If you are using your Avid editing application in an Avid Interplay™ workgroup environment, you can use the asset manager to manage your media.
Managing Effect Media Files 2. Select an effect item in the bin. In the following illustration, a rendered effect clip is selected. n You can reveal media files for only one item in a bin at a time. 3. Select File > Reveal File. (Windows) Your Avid editing application searches all available drives, opens the folder in Windows Explorer, and highlights a related media file. (Macintosh) Your Avid editing application searches all available drives, opens the folder, and highlights related media files. 4.
Managing Effect Media Files Deleting Effect Media Files from a Bin You can delete effect media files (for titles, matte key clips, and rendered effects) and motion effect media from a bin using the Delete dialog box. To delete effect media files and motion effect media: 1. (Option) If you want to delete effect media for rendered effect clips (precompute clips), display those clips in the bin by doing the following: a. Select Bin > Set Bin Display. The Set Bin Display dialog box opens. b.
6 Working with Plug-In Effects You can use AVX plug-in effects to add new effects or to update existing effects. This chapter describes how to work with these plug-in effects. On Windows systems only, some Avid editing applications can use Avid input/output hardware and an Avid plug-in for Adobe After Effects® to view After Effects compositions on an external (client) monitor. • Understanding AVX Plug-Ins • Freeing Memory Used by AVX 1.x Plug-ins • Installing AVX Plug-ins • Locating the AVX 1.
Freeing Memory Used by AVX 1.x Plug-ins Your Avid editing application supports both 1.x and 2.0 versions of the AVX standard. AVX 2.0 supports advanced keyframes and allows plug-in vendors to take advantage of 16-bit effects processing, while AVX 1.x does not. AVX 2.0 plug-ins automatically use advanced keyframes, so you do not need to promote them. A particular AVX 2.0 effect might or might not support 16-bit processing.
Installing AVX Plug-ins Installing AVX Plug-ins Most AVX plug-ins have an installation program that installs the plug-ins automatically in the correct AVX Plug-In folder when you follow the installation instructions. c If an AVX plug-in has an installation program, always use the program to install the plug-ins. For more information, see the documentation for the plug-in. Some AVX plug-ins do not have an installation program and you must install them manually. To install AVX plug-ins manually: 1.
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 189. 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 4. Click the AVX Plug-Ins folder in the left pane, and then check the entry for “Directory” in the right pane. The value of this entry is the path that contains the AVX_Plug-Ins folder. For example, if the AVX_Plug-Ins folder is in its default location, the Directory entry is “C:\Program Files\Avid.” If you navigate to C:\Program Files\Avid using My Computer or Windows Explorer, you will find the AVX_Plug-Ins folder in that location.
Updating and Promoting AVX Plug-ins To upgrade an AVX 1.x plug-in to a newer AVX 1.x plug-in or an AVX 2.0 plug-in to a newer AVX 2.0 plug-in: 1. Uninstall the old version of the plug-in. 2. Install the new version in your AVX2_Plug-Ins or AVX_Plug-Ins folder. Your Avid editing application upgrades existing effects in sequences to be compatible with the new version.
Assigning Multiple Tracks in Plug-in Effects Assigning Multiple Tracks in Plug-in Effects Some plug-in effects take an arbitrary number of tracks as input. Your Avid editing application lets you select the number of video inputs from the AVX Optional Inputs dialog box. n For more information on the multiple track capabilities of a plug-in, see the documentation for that plug-in. To assign multiple tracks to a plug-in effect by using the AVX Optional Inputs dialog box: 1.
Using the Client Monitor to Preview a Plug-In Effect Some plug-in effects let you adjust an image by using controls that appear as overlays, such as handles and wire frames, in the Effect Preview monitor. You access these overlays by clicking the Outline/Path button at the bottom of the Effect Editor. In some cases, you can then access further controls by clicking buttons on the right side of the Effect Editor that are similar to the buttons available in standard Avid 3D effects.
Troubleshooting AVX Plug-Ins Plug-In Does Not Load AVX plug-ins might not load correctly for a variety of reasons. In particular, even though a plug-in is located correctly in the AVX2_Plug-Ins or AVX_Plug-Ins folder, it might require supporting files such as .dll files that are missing from your system or are installed in the wrong location. The Console window might display messages about why a plug-in did not load correctly.
Working with the Avid After Effects EMP Plug-In (Windows Only) The Avid System Is Running Out of Free Memory Each time you apply an AVX plug-in to a sequence, your Avid editing application keeps the effect resident in memory. When you close the bin containing the sequence, your Avid editing application also closes the AVX plug-ins and frees the memory. To close the AVX plug-ins manually, see “Freeing Memory Used by AVX 1.x Plug-ins” on page 188.
Considerations for Using the Avid After Effects EMP Plug-in (Windows Only) 5. Follow the instructions on the screen. The installer automatically searches for After Effects on your system. If you have multiple versions of After Effects or if you store After Effects in an unusual location, use the Browse button to select the correct version. n The installer creates a Plugin/Avid folder to store the Avid After Effects EMP plug-in. Do not change the name of this folder.
Considerations for Using the Avid After Effects EMP Plug-in (Windows Only) Composition Settings To view the image exactly as you will see it in your Avid editing application, select one of the following resolutions for your After Effects composition: • NTSC D1 • NTSC DV • PAL D1/DV If you use another resolution, After Effects resizes the image when it displays it on the external monitor. This might cause some softening of the image.
7 Creating and Customizing Motion Effects This chapter describes how to create and customize effects that alter motion in a clip either by changing a clip’s speed or by creating a strobe (stuttering) effect.
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 201 and “Creating a Rolling Clip That Freezes” on page 203. • Variable Speed For more information, see “Creating a Traditional Variable Speed Effect” on page 203 and “Using the Fit to Fill Button to Create a Variable Speed Effect” on page 206.
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 231. To create a rolling clip that freezes: 1. Edit the clip into the sequence. 2.
Creating Traditional Motion Effects To create a Variable Speed effect: 1. (Option) If you require a fixed duration for the clip based on a segment in the sequence, mark the segment in the Timeline with IN and OUT points. n You can use the Fit to Fill button to create a motion effect of fixed duration. See “Using the Fit to Fill Button to Create a Variable Speed Effect” on page 206. 2.
Creating Traditional Motion Effects 7. (Option) If you are using two-field or uncompressed media, select Two Field Freeze Frames, and then select one of the following: n Option Description Duplicated Field Your Avid editing application creates the effect using one field. Both Fields Your Avid editing application creates the effect using both fields.
Creating Traditional Motion Effects A new clip appears in the Source monitor and in the current bin. The clip has the original clip name followed by the frame rate in parentheses. You can then edit this clip into your sequence as you would any other clip.
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 590. 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 Playback Capabilities for Traditional Motion Effects Some motion effect clips play in real time when edited into a sequence. You must render others before they can play. The following table describes the normal playback capabilities for traditional 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.
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 174. • 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 215. 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.
Promoting a Traditional Motion Effect to Timewarp For more information, see “Using the Motion Effect Editor” on page 217. The Motion Effect Editor opens. The Promote button appears in the Motion Effect Editor. The Speed, Strobe and Duration values for the motion effect appear in the appropriate text boxes in the Motion Effect Editor. Promote button, Speed value text box, and Strobe and Duration value text boxes in the Motion Effect Editor 3. In the Motion Effect Editor, click the Promote button.
Using the Motion Effect Editor Using the Motion Effect Editor You customize Timewarp effects by using the Motion Effect Editor. You do not have to be in Effect mode to use the Motion Effect Editor, and you do not have to close the Motion Effect Editor to use other modes. You can, for example, use the Motion Effect Editor while in Trim mode. n You cannot create a traditional motion effect with the Motion Effect Editor open.
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 Motion Effect Editor Reference The initial appearance of the Motion Effect Editor depends on whether there is no motion effect, a Timewarp effect, or a traditional motion effect in the segment at the position indicator. The following illustration shows the three possibilities. 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 Reference Motion Effect Editor Components (Continued) Component n Description Clicking a graph display button does not activate the graph. Use the Edit Graph menu (described below) to select the Speed graph or Position graph. Promote to Timewarp button Click to promote a traditional motion effect to a Timewarp effect. See “Creating Timewarp Effects” on page 215. Edit Graph menu Click to activate a control graph with which to customize the Timewarp effect.
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 250.
Motion Effect Editor Reference 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 Rendering Options for Timewarp Effects For information on selecting a rendering option, see “Using the Motion Effect Editor” on page 217. Option Description Duplicated Field Displays a single field in the effect. For two-field media, this reduces the information stored by half because it drops one field of the image, resulting in a lower quality image. For single-field media, this is usually the best choice because of its speed.
Rendering Options for Timewarp Effects Option Description Interpolated Field Creates a second field for the effect by combining scan line pairs from the first field in the original media. This option calculates the motion effect at the field level rather than the frame level. Because your Avid editing application considers all fields and does not disturb the original order of fields, the smoothness of the rendered effect is second only to FluidMotion.
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 220. 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 220.
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 146. 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 To change the time at which the freeze frame starts: 1. Click the keyframe indicator at which the freeze frame ends. 2. Shift+click the keyframe indicator at which the freeze frame starts. 3. Do one of the following: t Alt+Shift+click (Windows) or Option+Shift+click (Macintosh) the first keyframe indicator, and drag it to its new position. t Type a new start timecode in the Output Position text box. The keyframes move together to the new position.
Timewarp Effect Examples To change the length of the freeze frame, without changing the starting time, do one of the following: t Alt+Shift+click (Windows) or Option+Shift+click (Macintosh) the second keyframe indicator, and drag it to its new position. Dragging to the left shortens the freeze frame, while dragging to the right lengthens it. t Type a new ending timecode in the Output Position text box.
Timewarp Effect Examples To customize an effect with the Position graph: 1. Apply a Timewarp effect, and set up the Motion Effect Editor as described in “Using the Motion Effect Editor” on page 217, with the following specifics: a. Click the Edit Graph menu, select Position, and then click the Position Graph Display button to open the Position graph. b. Click the Motion Effect Editor Fast Menu button, and select an interpolation option.
Timewarp Effect Examples Position Graph Example: Reverse Motion While the Motion Effect category contains a Reverse Motion template for the Timewarp effect, setting up reverse motion directly in a clip demonstrates how the Position graph works in this basic effect. You can use the same technique to create reverse motion in part of a clip instead of across the entire clip.
Timewarp Effect Examples In the Speed graph, a straight line crosses the graph at 100% speed. 2. Click the first keyframe indicator, and note the starting timecode in the Input Position text box. 3. Click the last keyframe indicator, and note the ending timecode in the Input Position text box. 4. Reverse the starting timecode and ending timecode by doing the following: a.
Understanding FluidMotion Timewarp Effects In the Position graph, a straight line descends across the graph, mapping the effect’s starting time to the clip’s ending time, and the effect’s ending time to the clip’s starting time, effectively reversing the clip. The effect plays back in reverse motion. 5. (Option) Click the Timewarp Effect icon in the Motion Effect Editor, and drag it to a bin to create an effect template with the current parameters.
FluidMotion Workflow FluidMotion performs motion estimation based on the original source frames. When you use the Effect Editor to edit the motion vectors in a FluidMotion effect, the Timeline changes to a source-frame Timeline. The position indicator under the Record monitor appears green when you are working in a source-frame Timeline. FluidMotion Workflow The typical workflow for using FluidMotion effects is as follows: 1.
Using FluidMotion Edit Using FluidMotion Edit An artifact occurs when your Avid editing application makes an incorrect estimation about the motion for a region of pixels. FluidMotion Edit provides a variety of methods for dealing with artifacts. In general, you define a region around an artifact and then modify the way FluidMotion creates new material from the source material within that region. FluidMotion does not alter the way it creates new material outside defined regions.
Using FluidMotion Edit For general information on working with the Effect Editor, see “Using the Effect Editor” on page 86. To view vectors as arrows: t In the Display parameter category, select Show Vectors. Notice the motion vectors around the rope and the child’s hand. The length of a vector arrow represents the speed at which a pixel moves between Image A and Image B, and the arrow’s orientation shows the direction of motion.
Using FluidMotion Edit To view vectors as colors: 1. In the Display parameter category, click the Fast Menu button, and select Color Warp 50%. 2. (Option) Deselect Show Vectors to see the color vectors and the underlying image more clearly. The saturation of a vector color corresponds to speed, and hue corresponds to direction. To define a region for FluidMotion Edit: 1. In the Display parameter category, click the Fast Menu button, and then select Warp 50% or Color Warp 50%.
Example of Correcting FluidMotion Artifacts Example of Correcting FluidMotion Artifacts In this example, a table tennis ball crosses a net. FluidMotion creates one artifact where the ball crosses the net and a second artifact directly above the first at the edge of the table. Example of FluidMotion artifacts: details of the bracketing images (left and right) and the intermediate image (center) with artifacts created by FluidMotion.
Example of Correcting FluidMotion Artifacts To fix the artifacts: 1. In the Effect Editor, click the Fast Menu button in the Mode parameter category, and select Set Vector. 2. Select the Oval tool, and draw ovals around the areas containing the artifacts. Your Avid editing application automatically sets the Vector X and Vector Y values to 0 within the new objects. This removes all motion information from within the regions.
Example of Correcting FluidMotion Artifacts Color Warp 50% shows movement as chroma (color) and direction and hue (color intensity). The image shows that there is no motion information within the oval. Some motion along the top of the net shows as yellow in the image. We can use the eyedropper in the Mode parameter category to copy this motion information into the oval. 4. Do the following: a. Select the oval shape that you created to make it active. b.
Example of Correcting FluidMotion Artifacts 5. Render the effect, and click the Play Loop button to review the rendered effect. We need to put some of the motion information back into the image of the ball. One way to do this is to draw an object around the ball that cuts a hole through the oval that we just created and reveals the original motion of the ball. 6. Select the Polygon tool, and draw an object around the blurred image of the ball.
Timewarp Preset Effects Timewarp Preset Effects The Timewarp effect category contains several preset effects that you apply directly to clips in a sequence. The effects are set up as templates but you can modify them using the Motion Effect editor. The following table describes these effects. For information on using the FluidFilm templates, see “FluidFilm Preset Effects” on page 250. For details on using the other templates, see “Timewarp Effects” on page 600.
FluidFilm Preset Effects FluidFilm Preset Effects Film footage has specific timing characteristics that you might want to duplicate with video footage. Film timing is different because a film camera records images as full frames while a video camera records individual fields, a fraction of a second apart. The resulting video playback has a very different look from film.
Setting Source and Output Options for Format Conversion with Timewarp Effects Default Values for the FluidFilm Preset Effects The FluidFilm Timewarp effect options use the following default values: Option Default Value Source format Interlaced Output format Film with 2:3 Pulldown (for FluidFilm 2:3 Cadence effect) Progressive (for FluidFilm Progressive effect) Rendering option FluidMotion By default, these templates create 100% Timewarp effects (the effect plays at the same speed as the original c
Setting Source and Output Options for Format Conversion with Timewarp Effects To set source format and output format options: 1. In the Motion Effect Editor, click the Source menu, and select your source format. The following table lists the source format and the output format options to use for format conversions. Progressive projects do not allow format conversions.
8 Layered and Nested Effects This chapter describes how to apply multilayer effects to your sequence. Layered effects consist of two or more layers of video that play back simultaneously with effects such as Picture-in-Picture, Superimpose, or Submaster applied to the tracks. Nested effects consist of one or more effect layers that are contained within another effect on the same video layer.
Key Effects 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 584.
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 257. 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 7. Click the Color Preview window in the Key Color parameter category to display the Eyedropper icon, and then drag the eyedropper to a representative region of the blue or green background screen in the Record monitor. Your Avid editing application selects the primary key color, and the key takes effect. 8. Fine-tune the key by enabling and adjusting additional parameter categories as necessary.
Key Effects Understanding the Chroma Key Effect and the RGB Keyer Effect The Chroma Key and RGB Keyer effects do not create as high a quality key as the SpectraMatte effect. However, they provide backwards compatibility with older Avid editing applications. If you are moving sequences between different versions of Avid editing applications, use the Chroma Key or RGB Keyer effect. Otherwise, try the higher quality SpectraMatte effect. n You can promote a Chroma Key effect to the SpectraMatte effect.
Key Effects RGB Keyer Effect The RGB Keyer effect is a non-real-time plug-in effect that includes additional parameters for fine-tuning the edges of the key and for applying post-key color correction (correction applied to the foreground image without affecting the key itself). You cannot promote the RGB Keyer effect to 3D.
Key Effects Ultimatte blue is selected by default. To match the key color more closely to the color of the background screen used in the footage, proceed with the following step. 8. (Option) Click the Color Preview window in the Key or Key Color parameter category to display the Eyedropper icon, and then drag the eyedropper to a representative region of the blue or green background screen in the Record monitor. Your Avid editing application selects the primary key color, and the key takes effect. 9.
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 Creating a Matte Key Effect A Matte Key effect 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. 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.
Key Effects 7. Move the position indicator to the Matte Key effect, and render the effect. For more information, see “Basics of Effects Rendering” on page 50. n For information on Matte keys and Matte Key parameters, see “Using Matte Keys with 3D Effects” on page 365 and “Key: Matte Key” on page 585. 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.
Working with Imported Graphics and Animation Using the Color Effect to Prepare a High-Contrast Image This topic describes how to enhance high-contrast images for use in creating Matte Key effects. You can also import a graphic image with an alpha channel and use it as a Matte Key effect. For more information, see “Working with Imported Graphics and Animation” on page 267. To create a high-contrast image from available footage: 1. Apply the Color Effect to the clip.
Working with Imported Graphics and Animation These alternatives apply to both single-frame graphic images and animation. You can also edit imported images into sequences by using standard Avid editing application effects. n (Windows only) AVI files cannot be imported with an alpha channel. To import animation with an alpha channel, you must use another supported format. For more information on importing graphic and animation clips, see “Importing Files” in the Help.
Nesting Effects 5. In the Track Selector panel, click the V1 Source Track button and drag it to the Record Track button for the new track to patch the video from track V1 of the Source monitor to the track in the sequence that will receive the Matte Key clip. Track Selector panel before (left) and after (right) patching Source V1 to Record V2 6. Click the Overwrite button to edit the matte key into the sequence. Your Avid editing application keys the graphic over the video on the lower tracks. 7.
Nesting Effects Depending on the model of your Avid editing application, you can edit up to 24 video track layers, and you can additionally nest (stack inside) up to 24 more video tracks within each layer. You can step into each video track indefinitely, constrained only by your Avid system’s memory. You can use nesting when you want to create layered effects. The nested layers are treated as one element during the transition.
Nesting Effects To step into a nested effect: t Click the Step In button. To step out of a nested effect: t n Click the Step Out button. The Step In and Step Out buttons appear by default in the Timeline top toolbar, and are also available in the Command palette. 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.
Nesting Effects To create the nest: 1. Create a sequence and add a segment effect. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. 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.
Nesting Effects 4. Double-click the main track for the nested effect (V2 in this example) to close the nested tracks again. Nested Effects in the Effect Editor Nested effects on a segment are fully available in the Effect Editor if the effects use advanced keyframes. You can open and manipulate the available parameters and keyframe graphs for any nested effect at any time.
Nesting Effects Changing the Order of Nested Effects You can change the order of most nested effects in the Effect Editor. To change the order of nested effects: t Drag the effect icon for the effect you want to move to the position you want it to occupy in the nest. Before (left), during (center), and after changing the order of nested effects. In this example, the SubCap effect is moved above the Color Effect and Flop effects.
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 10. Click the Record Track Monitor button for track V2 in the Track Selector panel. Tracks V1 and nested track 1.1 become visible through the high-contrast image on track 1.3. For information on Matte Key parameters, see “Key: Matte Key” on page 585. Submaster Editing The Submaster effect is a single-track segment effect, available in the Image category of the Effect Palette.
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 4. Drag the Submaster Effect icon to the space between the add edits you created in step 2. 5. Render the Submaster effect, as described in “Basics of Effects Rendering” on page 50. 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.
Collapsing Layers into a Submaster Effect 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 Performing a Video Mixdown Video mixdown lets you combine several tracks into a new master clip. You can use video mixdown after you finish building your sequence and want to make it into one piece (for example, a standard opening to a program). Video mixdown is useful when you want to: n • Create a complex sequence you need to use repeatedly. • Add a motion effect to an entire sequence. • Finalize a complex sequence before consolidating, exporting, or transferring.
Performing a Video Mixdown To perform a video mixdown: 1. Select the Record Track Monitor button in the Track Selector panel for the highest track you want to include in the video mixdown. n Video Mixdown collapses the selected track and all tracks under it. If you want to perform a video mixdown of only one track, select the track for solo monitoring by Ctrl+clicking (Windows) or Shift+clicking (Macintosh) the Record Track Monitor button. For more information, see “Patching Tracks” in the Help. 2.
9 Working with Camera Effects This chapter describes effects that control aspect ratio, format, or apparent camera motion in a clip. n • Using the Reformat Effects • Working with the Pan and Scan Effect • Using Avid Pan & Zoom You can also use the Stabilize and Region Stabilize effects to alter the apparent camera motion in a clip in order to eliminate unwanted camera motion. For more information, see “Motion Tracking and Stabilization” on page 309.
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 594.
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 Applying the Pan and Scan Effect Because the Pan and Scan effect controls the aspect ratio of your final output, you must apply the effect to your entire sequence. Apply the Pan and Scan effect to its own video track after you finish editing the sequence. n n You might want to place a Pan and Scan effect directly on a video segment. For more information, see “Combining the Pan and Scan Effect with Transition Effects” on page 294.
Working with the Pan and Scan Effect Selecting the Source and Target Aspect Ratios for the Pan and Scan Effect In Effect mode, the Pan and Scan effect displays a white wire frame in the Effect Preview monitor. This wire frame lets you select the portion of the media that appears in your output. The Pan and Scan aspect ratios determine the size and shape of the wire frame. Setting these ratios correctly is the most important part of using Pan and Scan.
Working with the Pan and Scan Effect To set the Source and Target aspect ratios for a Pan and Scan effect: 1. Apply the Pan and Scan effect to the new video track, as described in “Applying the Pan and Scan Effect” on page 286. 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. Move the position indicator to the Pan and Scan effect. 4.
Working with the Pan and Scan Effect 6. Set the Target aspect ratio to the ratio of the final output. Viewing Pan and Scan Media In Effect mode, the Effect Preview monitor displays your original media and the Pan and Scan wire frame. The Client monitor displays the original media. In Source/Record mode (editing mode on NewsCutter systems), the Client monitor displays the media inside the Pan and Scan wire frame. The portion of the image inside the wire frame expands to fill the entire monitor.
Working with the Pan and Scan Effect Using the Effect Grid The Effect Grid displays positioning guides that help you move and position the Pan and Scan wire frame. Displaying the Safe Action grid and Thirds grid can be particularly useful when adjusting Pan and Scan compositions. The following illustration shows the Effect Grid with Show Safe Action, Show Thirds, and Show Axes selected.
Working with the Pan and Scan Effect n Establish an origin before subdividing or adjusting individual keyframes in your Pan and Scan effect. After you insert the Pan and Scan effect, you might want to adjust the size and position of the wire frame and save the wire frame’s new settings as base settings for the effect. To save wire-frame settings for the Pan and Scan effect: t In the Effect Editor, open the Actions parameter category and click Establish Origin.
Working with the Pan and Scan Effect n Subdivide the Pan and Scan effect only after you have finished editing your sequence and have selected your Pan and Scan aspect ratios and origin. For more information, see “Selecting the Source and Target Aspect Ratios for the Pan and Scan Effect” on page 287 and “Setting an Origin in the Pan and Scan Effect” on page 290. To subdivide a Pan and Scan effect: 1.
Working with the Pan and Scan Effect You cannot change the shape of the wire frame, which is determined by the Target aspect ratio. Your Avid editing application maintains the shape during scaling. To scale the wire frame, do one of the following: t Click one of the wire frame’s handles, and drag it to the position you want. t Click the triangular opener for the Scaling parameter category in the Effect Editor, and use the slider controls to adjust the wire frame’s height and width.
Working with the Pan and Scan Effect 2. If you see a problem with the panning, stop playback by doing one of the following: t Click the Play button or the Play Loop button. t Press the space bar. 3. Enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. 4. Adjust the Pan and Scan effect. If your sequence needs many adjustments: 1. Enter Effect mode, for example, by clicking the Effect Mode button.
Using Avid Pan & Zoom You can set Pan and Scan parameters for the starting and ending keyframes of the entire segment string and insert additional keyframes wherever you need to fine-tune the panning. However, this approach works only if the panning does not vary among the segments in the string. If panning needs to vary greatly from segment to segment, you might need to handle Pan and Scan on a segment-by-segment basis.
Using Avid Pan & Zoom The Avid Pan & Zoom effect parameters let you control many aspects of your effect, such as how you view the image while you are working on it, what parts of the image the camera views, and how the camera moves over time. The Avid Pan & Zoom effect supports any image file format for which your system has the appropriate QuickTime codec. You can download the latest version of QuickTime from the Apple® Web site.
Using Avid Pan & Zoom 4. Click the Avid Pan & Zoom icon, and drag it to the placeholder segment you created in step 1. The Avid Pan & Zoom parameters appear in the Effect Editor. 5. In the Effect Editor, click the Other Options button. A file selection dialog box opens. 6. 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 298.
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 The following procedures describe: • The general method for setting the Velocity parameter. • A method for setting a simple ease in and ease out. Ease in is the gradual acceleration at the beginning of movement. Ease out is the gradual deceleration at the end of movement. With the Avid Pan & Zoom effect, you typically want to create a simple ease in only on the first keyframe and an ease out only on the last keyframe.
Using Avid Pan & Zoom To create a path with constant velocity: 1. Create an Avid Pan & Zoom effect. For more information, see “Applying the Avid Pan & Zoom Effect” on page 296. 2. Add keyframes to define the path you want the effect to take. 3. At each keyframe, set the Velocity In and Velocity Out parameters to Constant.
Using Avid Pan & Zoom Controlling Path Changes at Keyframes for an Avid Pan & Zoom Effect The Path parameter controls how the Avid Pan & Zoom effect interpolates Position parameter changes at keyframes. To set the Path parameter: t Click the Path Fast Menu button, and select one of the following options from the Fast menu. - Linear interpolation creates straight-line changes from one keyframe to the next. 8 4 7 3 1 5 2 6 Linear interpolation (abrupt changes of direction at each keyframe).
Using Avid Pan & Zoom - 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). The line represents the path of the effect over time while the numbers represent keyframes and indicate where the direction of the path changes. The Avid Pan & Zoom effect calculates a Spline path so that it is smooth through all points. If you move a point, the effect recalculates the entire path.
Using Avid Pan & Zoom To adjust animation smoothness in progressive projects: t Click the Progressive button in the Render Mode parameter category. When Progressive is on, progressive frames render more smoothly. When Progressive is off, progressive frames render less smoothly. Rendering (Filtering) Options for Avid Pan & Zoom The following table describes the options available in the Filtering parameter category for the Avid Pan & Zoom effect.
Using Avid Pan & Zoom Selecting the Background for an Avid Pan & Zoom Effect You can select a field of view from the original image that does not fill the entire screen. The Background parameter determines what appears outside the field of view. n The Background parameter is not keyframeable. To select the background: 1. Click the Background Fast Menu button, and select Color or Video. Option Description Color Lets you select a background color.
Using Avid Pan & Zoom To compensate for pixel aspect ratio differences: t Click the Source Has Square Pixels button in the Advanced parameter category. When Source Has Square Pixels is on, the Avid Pan & Zoom effect makes the calculations necessary to produce results compatible with rectangular pixels. This is the default setting. When Source Has Square Pixels is off, the Avid Pan & Zoom effect does not change the pixel shape but does apply the aspect ratio in effect for the project.
Using Avid Pan & Zoom Option Description Multi-Resolution The effect stores several versions of the image: original image resolution, half resolution, quarter resolution, and so on, for eight versions of the image. The result is higher quality real-time preview and faster rendering. Multi-Resolution uses about twice the memory of Image Resolution. Free Current Cache The effect frees all memory used for image storage and then reverts to Image Resolution.
10 Motion Tracking and Stabilization You can track the motion of a selected area in an image over time. You can then use the tracking data to control the motion of an effect such as a Picture-in-Picture or to stabilize an image to compensate for camera motion.
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 • Conforming Symphony Meridien Sequences with Tracking Data • Examples of Effects Using Motion Tracking Understanding Motion Tracking This topic includes conceptual information that helps you to u
Understanding Motion Tracking Uses of Motion Tracking One common use for motion tracking is to replace a moving area in one image with new material. For example, you can track the motion of a distinctive area on a vehicle and then use that data to replace an advertising sign on the vehicle or to replace or blur the license plate.
Workflow for Motion Tracking Workflow for Motion Tracking The following workflow outlines the main stages of the motion tracking process and indicates where to find more detailed information and procedures for each stage. Motion tracking provides considerable workflow flexibility. As you become a more experienced user of motion tracking, you can modify the order of these stages or merge them together to suit your editing style and the requirements of a particular project. 1.
Effects and Effect Parameters That Use Tracking Data Your Avid editing application calculates the motion of the effect by incorporating the tracking data and displays the result. For more information, see “Playing Effects That Use Tracking Data” on page 345. 7. If necessary, continue to adjust the tracking information or other effect parameters until you are satisfied with the look of the effect.
Understanding the Tracking Interface Effect Available Parameters Picture-in-Picture (2D) Position, Scaling Paint Tracking AniMatte Blur Effect Mosaic Effect Scratch Removal Spot Color Correction (Symphony only) Stabilize Position, Scaling, Tracking Matte Key effect (applied from Key category in the Position, Scaling Effect Palette) Imported Matte Key clip (2D) Position, Scaling Titles (2D) Position, Scaling 3D Warp (including promoted Picture-in-Picture effects, keys, 3D Xpress shape effects, a
Understanding the Tracking Interface Examples of tracker controls in an effect with standard keyframes (left), and in an effect with advanced keyframes (right) For more information, see: • “Effects and Effect Parameters That Use Tracking Data” on page 313 • “Enabling Tracking in the Effect Editor” on page 321 • “Creating and Mapping Trackers” on page 324 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 316 • “Tracking Window Components” on page 317 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 330. New Tracker Creates a new tracker. For more information, see “Creating and Mapping Trackers” on page 324.
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 325.
Setting Up an Effect for Tracking Tracking Window Components (Continued) Control Description Tracker Name text box (Tracker timeline displays, Effect Editor) Shows the name of the tracker and lets you change the name. For more information, see “Creating and Mapping Trackers” on page 324. Tracker timeline (Tracker timeline displays) Shows information about the tracking data in the tracker. Color coding indicates the status of the data.
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 317.
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 333. 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 347.
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 320. 3. Begin generating tracking data, as described in “Generating Tracking Data” on page 330. 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 349. 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 320. 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 339.
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 355. 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.
Conforming Symphony Meridien Sequences with Tracking Data 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 The tracking engines in current Avid editing applications do not calculate tracking data in the same way as the tracking engine used in Symphony Meridien systems. As a result, if you retrack all or part of a segment containing tracking data created on a Symphony Meridien system, the new data that you create does not match the old data exactly.
Examples of Effects Using Motion Tracking The original materials for the example. On the left is the first frame of the video clip. The effect will replace the white license plate. On the right is the graphic for the replacement license plate. The graphic is blurred so that it will blend in with the clip. (You could do this in a graphics application or use Blur mode in the Paint Effect.) In the finished effect, a softened border is also applied to disguise the sharp edge of the graphic.
Examples of Effects Using Motion Tracking Images from the beginning, middle, and end of the original clip (top) and the finished effect. The replacement plate is positioned and sized manually in the first frame of the clip. The size and shape of the replacement changes under the control of the tracking data in the remaining frames of the clip.
Examples of Effects Using Motion Tracking The tracking boxes located over the targets (left), and the generated tracking data points for the entire clip (right). Images from the beginning, middle, and end of the original clip (top) and the finished effect (bottom) with the Paint object.
11 Working with 3D Effects This chapter describes procedures for creating and manipulating 3D effects.
Understanding 3D Effects Understanding 3D Effects Avid 3D effects feature a wide range of digital video effects, including the following: • Image effects such as blur (defocus), corner pin, and resize with rotation and perspective • Two-channel segment effects including smooth-motion picture-in-picture • Shapes, including page folds, balls, and slats • Positioning, scaling, skewing, and rotation, with perspective • Source cropping • Internal borders including beveled and rounded edges • Soft b
Applying the 3D Warp Effect Applying the 3D Warp Effect All the 3D effects features are accessible through the 3D Warp effect in the Blend category. For general information on adding effects to a sequence, see “Applying Effects” on page 33. To apply the 3D Warp effect: 1. Create a sequence by using standard Avid editing procedures. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. 2. Enter Effect mode, for example, by clicking the Effect Mode button.
Using Xpress 3D Effects 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. Xpress 3D effects use a subset of the parameters that are available for the 3D Warp effect.
Promoting 2D Effects to 3D Effects Promoting 2D Effects to 3D Effects You can promote many 2D effects to 3D. For example, if you have a 2D Picture-in-Picture effect, you can promote the effect to 3D and add 3D features like 3D borders, drop shadow, page curls, smooth curve movement, and rotation. n For information on creating a 2D Title effect, see “Creating Titles” on page 381. For reference information on which 2D effects you can promote to 3D, see “Effects Reference” on page 562.
Using Matte Keys with 3D Effects To create a matte key for use with 3D effects: 1. Import a graphic file containing an alpha channel. Your Avid editing application creates a Matte Key clip when you import the file. In this example, the imported graphic is a title created in Adobe Photoshop. Graphic master clip with no alpha channel (top) and Matte Key Effect clip with alpha channel (bottom) in a bin 2. Edit the Matte Key clip into your sequence as an overlay.
Real-Time Playback of 3D Effects Real-Time Playback of 3D Effects In most circumstances, 3D effects play in real time, subject to the normal limitations on real-time playback described in “Real-Time Playback of Video Effects” on page 153.
Understanding 3D Geometry and Degrees of Rotation Y X0, Y0, Z0 X Z The Shape and Rotation parameters let you rotate the image around the X, Y, and Z axes. Note that you can rotate more than 360 degrees (from –720 to 720 degrees) between keyframes. The following illustration shows how angles of rotation (in degrees) are distributed around a circle.
Working with 3D Effects Parameters The following illustration shows several rotation examples. 0 +45 A A +180 –180 A –45 A Working with 3D Effects Parameters You work with 3D effect parameters in much the same way that you work with 2D effect parameters. You access, manipulate, and reset 3D effect parameters in the Effect Editor in just the same way as 2D effect parameters. You can save 3D effect adjustments as templates just as you can 2D effect adjustments.
Manipulating 3D Effects Directly For more information on direct manipulation of 2D effects, see “Manipulating Effects Directly in the Effect Preview Monitor” on page 97. Various 3D effect handle buttons appear along the right side of the Effect Editor. You determine the direction and type of manipulation performed in the Effect Preview monitor by selecting one of the image manipulation buttons in the Effect Editor.
Applying 3D Effects: Examples To see the path an image takes on the screen: t Click the Outline/Path button. Applying 3D Effects: Examples The topics in this section provides examples of some basic 3D transition and segment effects, including the steps and values used to create them. You can use them to practice creating 3D effects, or to get ideas for building your own effects.
Applying 3D Effects: Examples If you receive an Insufficient Source message when you apply an effect to the transition, you did not leave enough source material behind for your Avid editing application to create the transition. For more information, see “Sizing Effects to Fit the Media” on page 38. • Using the Swap Sources button: When you use the 3D Warp effect as a transition and click the effect for the first time, your Avid editing application applies the effect to the incoming video.
Applying 3D Effects: Examples 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 363. 2. Open and enable the Shape parameter category, and select Page Fold from the menu. The default Page Fold effect appears on the incoming video. To apply the effect to the outgoing video, swap the video sources by doing the following: a. Open the Foreground parameter category, and click the Swap Sources button. b.
Applying 3D Effects: Examples Creating a Cropped Foreground Effect This example shows how to adjust 3D Warp parameters and apply them repeatedly as a template to create a consistent band of foreground segments — scaled and cropped with a soft border shadow — across a background.
Applying 3D Effects: Examples 5. Adjust the effect parameters as shown in the following table. Parameter Category Parameter Settings Crop T (top): 600, L (left): -999, B (bottom): -600, R (right): 999 Scaling Wid:110, Hgt: 100 Position Enable (leave parameter defaults) Border Select a dark color. For more information on color selection, see “Adjusting a Color Parameter for an Effect” on page 93. Width: 40, Soft: 100, H (hue): 0, S (saturation): 0, L (luminance): 255 6.
Applying 3D Effects: Examples Example of a Corner Pin effect: background and foreground video (top), and stages of the effect (bottom). The foreground video starts pinned to the monitor screen in the background image, and moves off it until it fills the frame, completing the transition. To corner pin an image: 1. Create a segment with two video tracks, placing the foreground video on the top track. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. 2.
Applying 3D Effects: Examples 5. Position the corners using one of the following methods: t Use the Corner Pin button: a. In the Effect Editor, click the Corner Pin button to activate the handles. b. Click the handles, and drag to manipulate the image. 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.
Applying 3D Effects: Examples To return a corner to the default position: 1. In the Corner Pin parameter category, click the button for the corner you want to reset. 2. Alt+click (Windows) or Option+click (Macintosh) the Corner Pin Enable button. 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.
Applying 3D Effects: Examples To create a stamp: 1. Create the image you want to use as a stamp. For example, you can use the Title tool to create a title or you could import a PICT image. 2. Create a segment with at least two video tracks. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. If you want the stamp to be in the foreground, it must be on the top track. 3. Add the track with your stamp image to the segment. 4.
Applying 3D Effects: Examples Applying a Chroma Key Effect You can use the options in the Foreground category of 3D Warp to apply a chroma key effect. You also have the option of using the SpectraMatte option for a chroma key that has higher quality and gives you greater control over the final look of the effect. For more information, see “Key: SpectraMatte Effect” on page 586. To apply a Chroma Key effect: 1. Edit the foreground image onto track V2 and the background image onto track V1 in the Timeline.
12 Creating Titles You can create titles in your Avid editing application using either the classic Avid Title tool or the Marquee® Title tool. Titles can incorporate text, graphic objects, imported graphics, and video. This chapter provides information on using the Title tool to create titles.
Opening the Title Tools • Revising a Title in a Bin • Creating and Using Title Templates • Saving and Recalling Title Styles • Exporting a Title as a Graphics File Throughout this chapter: • “Title” refers to both text and graphics. • “Title tool” refers to the classic Avid Title tool. • “Marquee” refers to the Marquee Title tool.
Using Marquee If you know you want to create only Marquee titles or only standard titles for the current session, select Persist before you click Marquee or Title Tool. For the rest of your editing session, your Avid editing application automatically opens the title tool you selected. You turn off automatic selection from the Settings list — open the Marquee Title Setting dialog box and click Ask Me. To bring the Title tool to the foreground: t Select Windows > Title Tool.
Installing Fonts for Use in the Title Tool • 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. When you close the Title tool, the new title appears in the bin and in the Source monitor, ready for editing. For more information, see “Saving Titles” on page 424 and “Editing with Titles” on page 435.
Understanding the Title Tool Understanding the Title Tool The following illustration shows a title over a video background. Example of a title over a video background in the Title tool. The two dotted-line rectangles are the safe action area (outside) and safe title area (inside) guidelines. The Title tool has the following major components: • A video background based on a sequence or a color background that you create.
Toolbar Reference for the Title Tool • The toolbar at the bottom of the screen. Topics throughout this chapter describe the use of these tools. For information on the two most widely-used tools, the Selection tool and the Text tool, see “Using the Selection and Text Tools” on page 388. For detailed reference information on all the tools in the toolbar, see “Toolbar Reference for the Title Tool” on page 386. • In addition, title-related menu commands appear in the File, Edit, Object, and Alignment menus.
Toolbar Reference for the Title Tool Component Description 5 Text formatting tools Let you set various text attributes such as font, font size, kerning, and leading. For more information, see “Formatting Text” on page 395. 6 Color Selection boxes Let you change the color of text and objects. For more information, see “Selecting Colors and Setting Transparency” on page 415. 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 402. 15 Rolling Title button Lets you create rolling titles. For more information, see “Creating Rolling and Crawling Titles” on page 402. 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 To use the Text tool: t Click the Text tool, click anywhere within the text object, and begin typing. An I-beam pointer indicates your position within the text. The Text tool remains selected until you select another tool. 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.
Understanding the Drawing Environment The display behavior for title objects when anti-aliased preview is on is as follows: • You can alter the graphics characteristics of title objects (including colors, shadows, borders, and transparency) without losing the anti-aliased preview. • You can select text objects and apply text styles from the Styles menu without losing the anti-aliased preview. • When you click a text object for editing, the Title tool displays the text without anti-aliasing.
Setting Up the Drawing Environment Title Backgrounds You use the Video Background button to switch between a video background and an opaque color background, or to update the video background with the currently selected frame in the Timeline. Background Color window (left) and Video Background button (right) in the Title Tool toolbar If there is a sequence in the Record monitor, the Title tool opens with a video background.
Setting Up the Drawing Environment To turn the safe title area or safe action area guidelines on or off: t Select Object > Safe Title Area/Global Grid. To display a grid: t Select Alignment > Show Alignment Grid. To snap to a grid: t Select Alignment > Align to Grid. When you create or drag an object in the Title tool, the object snaps to the nearest grid line. To update the video background: 1.
Creating Text Creating Text You create new text by using the Text tool. You can also copy and paste text into the Title tool directly from a word processing or text editing application. In addition to static text objects, you can also create text objects in the Title tool that scroll vertically on the screen (rolling titles) or that crawl horizontally across the screen (crawling titles). For more information, see “Creating Rolling and Crawling Titles” on page 402.
Sizing and Positioning Text Objects Sizing and Positioning Text Objects You can resize and reposition text objects by dragging directly in the Title tool. When you resize a text object, the text remains the same size but rewraps to fill the reshaped area. When you create text that is aligned on the left side using left justification (the default), you can eliminate the unused space on the right side of the newly created text object, especially if you want to use the Alignment menu commands.
Editing a Text String Editing a Text String To edit an existing text string; 1. Click the Text tool, and click anywhere in the text. 2. Perform any of the following tasks: t Use the arrow keys to move around within the text string. t Type additional characters. t Press Enter (Windows) or Return (Macintosh) to insert a line return. t Drag to select characters. t Use the Cut, Copy, and Paste commands from the Edit menu. t Use the Delete key.
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 Changing Point Size The point size controls the size of the selected text. A point is a typographical unit of measure. There are 12 points to the pica and 72 points to the inch. You can enter a point size either before or after you type text. Point Size text box (left) and Point Size button (right) in Title Tool toolbar To change the point size, do one of the following: t Click the Point Size button, and select a standard point size from the menu.
Formatting Text Justifying Text Justification controls the alignment of text in an existing text object and also when you type text in a new text object. The text justification buttons appear below the Font Selection button in the Title Tool toolbar. Text justification buttons in the Title Tool toolbar To justify the text, do one of the following: t Click the left text justification button to align text with the left side of the text object. t Click the center button to center the text.
Formatting Text To adjust kerning manually with the arrow keys: 1. Click the Text tool in the toolbar. 2. Click between a character pair, or select a group of characters to be kerned. 3. Press the Alt key (Windows) or Option key (Macintosh), and use the Left Arrow key or the Right Arrow key to increase or decrease the kerning. To adjust kerning with predefined sizes: 1. Select the text. 2.
Creating Graphic Objects Adjusting Leading Leading controls the line spacing between lines in a title. Leading is measured in points, from baseline to baseline of the lines of text. The Title tool uses the leading that is built into the font as the default. Positive leading values add space and negative values decrease space. You might want to add leading for sans serif, tall, or boldface fonts, and for fonts with a strong vertical emphasis.
Creating Graphic Objects To draw a square or a rectangle: 1. Click the Square and Rectangle tool in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create an object. Shift-drag to constrain the object to a square. Example of a rectangle drawn over a video background To draw a circle or an oval: 1. Click the Oval tool in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create an object.
Creating Rolling and Crawling Titles Creating Rolling and Crawling Titles You can create title text and graphics that roll up the screen or crawl across the screen. You can refine the motion after you edit the title into your sequence. n Rolling and crawling titles are non-real-time effects. You can step through the effect in a Source monitor, the Composer monitor, or the Effect Preview monitor, but you must render the effect to play it.
Creating Rolling and Crawling Titles Page Count Limits for Rolling and Crawling Titles Rolling and crawling titles form pages in the Title tool that are similar to the pages you create with a word processor. A page in a rolling or crawling title is a unit the size of a PAL, NTSC, or HD frame. The following table lists the page limits for different projects.
Creating Rolling and Crawling Titles Using Auto Size Mode for Rolling and Crawling Titles Auto Size mode adds or removes pages automatically as you add, delete, or reformat the text. Auto Size mode is on by default when you click the Rolling Title button or the Crawling Title button. You can turn off Auto Size mode if you want to add extra pages before or after the text (for example, to make room for additional title elements).
Creating Rolling and Crawling Titles 3. Do one of the following: t Click the Rolling Title button to enter Rolling Title mode. t Click the Crawling Title button to enter Crawling Title mode. Top to bottom: Crawling Title button, Rolling Title button, and Page Number text box in the Title Tool toolbar The button changes to green, and a Page Number text box appears in the lower right corner of the Title tool.
Creating Rolling and Crawling Titles Scrolling Through a Rolling Title or a Crawling Title When you create a rolling or crawling title, a scroll bar appears along the right side of the Title tool video background for moving vertically through the rolling title, and at the bottom for moving horizontally through a crawling title.
Creating Rolling and Crawling Titles 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. The Title tool adds a page to the end of the title. You can select Add Page repeatedly to continue adding pages up to the maximum page count.
Modifying and Manipulating Title Objects 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. The Title tool copies or moves the object, and automatically adds pages if necessary.
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 418 and “Adjusting Shadows on Title Objects” on page 419. • 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 415.
Modifying Box Corners, Lines, and Borders on Title Objects To round box corners: 1. Select a box. 2. Click the Box Corner button, and do one of the following: t Select a standard rounding option. 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.
Modifying Box Corners, Lines, and Borders on Title Objects If you selected a line for modification, the width of the line changes. If you selected an object for modification, the width of the border changes. 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.
Modifying Box Corners, Lines, and Borders on Title Objects To change the arrowhead size: 1. Select a line. 2. Click the Arrowhead button. 3. Select the Edit Arrowhead option (the last item on the list). The Arrowhead Size dialog box opens. 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.
Understanding Color and Transparency Controls in the Title Tool Understanding Color and Transparency Controls in the Title Tool You can select the color and transparency for text and graphic objects, for their shadows, and for their borders. This topic describes the options available. For information on how to make color, transparency, and blend changes, see “Selecting Colors and Setting Transparency” on page 415. The following illustration shows the boxes associated with color and transparency.
Understanding Color and Transparency Controls in the Title Tool • The Color and Transparency Blend tools appear when you select a Fill or Border Color Selection box or Transparency Level box. You can use these tools to blend two colors in a text or graphic object or in a border to create a color gradient, and to specify the direction of the blend. You cannot blend the shadow for a title object. - If you select a Color Selection box, the top boxes show the two colors that create the blend.
Selecting Colors and Setting Transparency Selecting Colors and Setting Transparency To select a color for a title object: 1. Select a text or graphic object. If you do not select an object, the color is applied to the next object you create. 2. Press and hold the mouse button with the pointer over one of the Color Selection boxes in the toolbar: Box Description Fill Applies the color to the selected object. Shadow (Shad) Applies the color to the selected object’s shadow.
Selecting Colors and Setting Transparency 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. Your Avid editing application applies the color when you release the mouse button. t To use the eyedropper, drag the pointer to the Eyedropper icon and release the mouse button. The pointer changes to the eyedropper.
Selecting Colors and Setting Transparency 4. Click the other Color Blend Selection box, and select the second color for your blend. The Blend Direction box appears below the two Color Blend Selection boxes. This box displays the blend and lets you specify the direction of the blend (for example, left to right). 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.
Adding Shadows to Title Objects n You might find it useful to turn off the shadow and shadow softness for an object while experimenting with transparency. Set the shadow value to zero in the Shadow Depth text box and the softness value to zero in the Soft Shadow dialog box, as described in “Adding Shadows to Title Objects” on page 418 and “Adjusting Shadows on Title Objects” on page 419. Adding Shadows to Title Objects You can add a depth shadow or drop shadow to any text or graphic object.
Adjusting Shadows on Title Objects 3. Adjust the depth or direction of the shadow by doing one or more of the following: t Click the Shadow Depth and Direction button, and drag the shadow sample to any position. t Shift-click the shadow in the Shadow Depth and Direction button, and drag to restrict shadow placement to 45-degree angles around the title. t Press the Shift key, and use the arrow keys to move the shadow to any position around the title.
Adjusting Shadows on Title Objects To set a degree of softening or blurring for shadows: 1. Select Object > Soften Shadow. The Soft Shadow dialog box opens. 2. Type a number in the Shadow Softness text box to represent the degree of softening you want. Shadow softness values must be integer values between 4 and 40. The higher the value, the more blurred the shadows are. If you set the value to zero, shadows on title objects have no softening (hard edges). 3. Click OK to close the Soft Shadow dialog box.
Manipulating Title Objects To create a glow or halo around a title object: 1. In the Title tool, set Shadow Depth for the object to zero. 2. Set Shadow Softness for the object to a non-zero value. The higher the Shadow Softness value, the softer the glow effect. In the following illustration, Shadow Softness is set to 10. n To create titles that do not have either softened shadows or glows, you must set the Shadow Softness to zero.
Manipulating Title Objects To manipulate objects using the Edit menu (cut, copy, paste, select all, and deselect): 1. Click the Selection tool, and click an object. 2. Do one of the following: n t To cut an object and move it to the Clipboard, select Edit > Cut. t To copy an object to the Clipboard, select Edit > Copy. t To paste an object from the Clipboard, select Edit > Paste. t To select all objects, select Edit > Select All. t To delete selected objects, select Edit > Delete.
Manipulating Title Objects To lock objects: 1. Click the Selection tool, and click an object. 2. Select Object > Lock. The Title tool locks the object. You cannot change the object until you unlock it. A locked object displays hollow selection handles, as shown in the following illustration. To unlock objects: 1. Click the Selection tool, and click a locked object. 2. Select Object > Unlock. The Title tool unlocks the object. You can now change it. To align objects to the frame: 1.
Saving Titles To align objects to each other: 1. Click the Selection tool, and Shift+click or lasso multiple objects. 2. Do one of the following: t Select Alignment > Align Objects Left. t Select Alignment > Align Objects Right. t Select Alignment > Align Objects Top. t Select Alignment > Align Objects Bottom. The Title tool uses the last object you selected as the reference object to which it aligns the others.
Saving Titles The Fast Save option also lets you work more quickly when creating and saving multiple titles in a Title tool session. Fast Save skips the steps that create anti-aliased images from title objects. Instead, just the raw title objects (text and graphics) are saved in the bin, with the prefix “unrendered.” Fast-saved titles appear as black in the monitors and are labeled as “media offline” during editing. You can edit with the titles and then batch render them at a more convenient time.
Saving Titles 5. Click Save. The Title tool closes, and your Avid editing application loads the new title into the Source monitor. A 2-minute Title Effect clip that corresponds to the new title appears in the bin. To save multiple titles in a continuing Title tool work session: 1. Select File > Save Title. The Save Title dialog box opens. 2. Type a name to identify the title in the bin, and then select a bin, drive, and resolution from the menus.
Revising a Title in a Bin Revising a Title in a Bin If you want to revise a title that has not been edited into a sequence, you can reopen the title in the Title tool directly from the bin. For information on revising a title that has been edited into a sequence, see “Revising a Title in a Sequence” on page 445. To revise a title in a bin: 1. Ctrl+double-click the Title Effect icon in the bin. The title opens in the Title tool.
Creating and Using Title Templates Creating and Using Title Templates Title templates let you create a standard format for text and graphics that you use regularly. After you set up your template, open the template, edit the text, and save the new title. The template prevents you from changing the position, colors, shadows, or graphics, which ensures consistency. You can use the Moveable Templates option in the Templates menu to change the position of a template.
Saving and Recalling Title Styles 5. (Option) If you want to change the position of a template, click the Templates menu, and select Moveable Templates. Then click the Arrow buttons to move the template within the Title Tool. 6. Close the Title tool, and click Save in the dialog box. The Save Title dialog box opens. 7. Type a name for your title, and click Save. The named title appears in the bin you specify. Now you can edit the title into the sequence.
Saving and Recalling Title Styles Saving a Title Style To save title parameters to a Style sheet: 1. Click the Selection tool, and click the object that you want to use as a basis for the title style. 2. Click the Save Style Parameter button. A menu opens that lets you select either an existing title style name or Save As. 3. Select Save As. The Title Style Sheet dialog box opens. The following illustration shows an example.
Saving and Recalling Title Styles Title Style Sheet Options The Title Style Sheet dialog box lets you create templates for the Title tool. Style sheets let you define and select basic text and drawing parameters that you can use with the Title tool. The following table describes the components of the Title Style Sheet dialog box. Component Description Check boxes Select the current attributes of the object that you want to include in the style.
Saving and Recalling Title Styles Recalling a Title Style You can recall a title style and use its attributes as the defaults in subsequent Title tool sessions. To recall title style attributes using the Title Styles tear-off menu: 1. In the Title tool, click the Styles button to display the Title Styles tear-off menu. The menu contains a scaled visual representation of each style. Arrows on the right and left let you scroll back and forth. 2.
Saving and Recalling Title Styles Applying Title Styles to Text Objects To apply a title style directly to text objects: 1. Select one or more text objects. 2. Do one of the following: t Click the Styles button to display the Title Styles tear-off menu, and then select a title style. t If the style is assigned to a function key, press the appropriate function key. Managing Title Styles Your Avid editing application lists the available title styles in the Settings tab of the Project window.
Exporting a Title as a Graphics File Exporting a Title as a Graphics File To export a title as a PICT graphics file: 1. With the Title tool open, select File > Export Title. The Export Pict As dialog box opens. 2. Select the location where you want to export the file, type a file name, and click Save. The Title tool saves the title.
13 Editing with Titles This chapter provides information on editing titles created in the Title tool or in Marquee into sequences.
Displaying Title Clips and Frames in Bins Displaying Title Clips and Frames in Bins When the Title tool or Marquee saves a title, it creates a Title Effect clip and saves it in the bin you select. One media object, referred to as a precompute, has references to the RGB and alpha channel information. Every time you make a change, your Avid editing application creates two additional media files. The original media files are not changed.
Editing a Title into a Sequence Editing a Title into a Sequence There are three basic methods for editing a title into a sequence: • Mark edit points and then splice or overwrite the title into the sequence. For more information, see “Splicing or Overwriting a Title into a Sequence” on page 437. • Mark edit points, and then drag the title directly into the sequence. For more information, see “Dragging a Marked Title into a Sequence” on page 438.
Editing a Title into a Sequence 6. Mark IN and OUT points in the 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.
Editing a Title into a Sequence 4. Mark an IN point and an OUT point in the title clip to establish the duration that you want for the title. Mark the IN point toward the middle of a static title clip so you can trim the title, if necessary. For rolling and crawling titles, set no marks and move the position indicator to the beginning of the clip if you want to use the full roll. Your Avid editing application uses the position indicator to determine the IN point on rolling titles. 5.
Editing a Title into a Sequence Dragging an Unmarked Title into a Sequence If you are not concerned about the OUT point for your title, or if you plan on trimming the Title effect later, you can quickly drag the unmarked Title effect directly into the Timeline. To apply a Title effect to a sequence without adding marks: 1. Load the sequence into the monitor window. For more information, see “Creating and Editing Sequences” in the Help.
Removing a Title Removing a Title To remove a title segment: 1. Move the position indicator to the segment containing the Title effect. 2. Use the Track Selector panel to select the track containing the Title effect and to deselect all other tracks. 3. Click the Mark Clip button under the monitor. IN and OUT points appear surrounding the Title effect. 4. Click one of the segment tools in the Timeline palette to remove the segment.
Fading a Title Fading a Title You can use the Fade Effect button to fade a title. A dialog box opens that lets you enter the number of frames to fade up and fade down without opening the Effect Editor. Rather than adding Dissolve effects that require rendering, you can use the Fade Effect button to quickly create keyframes in the title with the proper level settings for playback in real time. You can access the keyframes in the Effect Editor.
Adjusting Title Effect Parameters c If you trim your rolling title very short, it scrolls very fast and cannot display in real time, so you must render it. The maximum speed for an unrendered rolling title is one screen per second. To trim the duration of a rolling title or a crawling title: 1. Use the Track Selector panel to select the track containing the Title effect and to deselect all other tracks. 2. Trim the title segment to the duration you want by using standard trim procedures.
Adjusting Title Effect Parameters 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 86. For information on specific Title effect parameters, see “Title Effects” on page 606. t Use multiple keyframes to gradually change keyframeable parameters over time. For more information, see “Working with Keyframes” on page 99.
Revising a Title in a Sequence Revising a Title in a Sequence If you want to revise a title after you edit it into a sequence, you must reopen the title in the Title tool directly from the sequence rather than revise the Title Effect clip in the bin. To change a title in a sequence: 1. Click the Title Effect segment in the sequence to select it. 2. If you are not in Effect mode, enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39.
Replacing Fill Tracks in a Title To save the title with a new name or parameters: 1. Select File > Save Title as. A message box opens, asking if you want to save the title and exit the Title tool. 2. Click Save. The Save Title dialog box opens. 3. Rename the title, or select other options from the Bin, Drive, and Resolution menus. n You cannot select Fast Save when revising a title in a sequence. 4. Click Save to save the title and exit the Title tool.
Re-creating Title Media Re-creating Title Media You can use the Re-create Title Media command to: • Regenerate title media that is offline. • Generate title media for unrendered (Fast Saved) titles in a bin. • Change the resolution of a title. If you batch capture a sequence at a resolution different from the resolution at which the sequence was originally created, for example, you can use this command to re-create the titles at the new resolution.
Troubleshooting Titles Creating Media for Unrendered Titles in a Bin To create media for unrendered titles in a bin: 1. In the bin, select the titles for which you want to generate media. To quickly select all the unrendered titles in the active bin, select Bin > Select Unrendered Titles. 2. Select Clip > Create Unrendered Title Media. The Create Unrendered Title Media dialog box opens. 3. Select a drive on which to store the title media. 4.
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 50. • 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 442. • Separate title clips in the sequence. • Store title and video media on separate drives, or use faster drives.
Troubleshooting Titles Handling a Wrong Format Message for a Title If you see an image in a monitor that says Wrong Format, the resolution of the Title effect is not compatible with the resolution of the video clips in the sequence. You can determine the resolution of the video clip, and then regenerate the title at the same resolution as the video clip. To determine the resolution of the current video clip: 1. Open the bin containing the sequence. 2. Select Bin > Set Bin Display. 3.
Troubleshooting Titles To turn on HD title filtering: 1. Select Tools > Console. 2. Enter HDTitleFilter. This command works as a toggle, so the filter remains on until you type the command again. Controlling Character Mapping for Title Text Recent versions of Avid editing applications use different default character mappings from older versions. Some text objects might not display correctly when you open or edit them in the current version of your Avid editing application.
14 Working with the SubCap Effect This chapter provides information on the SubCap™ captioning and subtitling effect.
Understanding the SubCap Effect Understanding the SubCap Effect You use the SubCap effect to add text to the video in your sequences, either by entering text directly or by importing text from files formatted in standard captioning formats. The SubCap effect composites text and any background effects such as drop shadows or background boxes into the video material. The text becomes a permanent part of the finished video material and is always visible.
How the SubCap Effect Handles Caption Files You might use the SubCap effect to create text that becomes part of the finished program. Alternatively, you might use the SubCap effect to create text that provides a preview during your production process but that is replaced in the finished program by closed caption text that is encoded into the video signal. The SubCap effect has the following main features: • Support for the EBU N19 (.
How the SubCap Effect Handles Caption Files When you import a caption file into a SubCap effect, your Avid editing application subdivides the effect at the timecode points specified by the file. This creates a series of separate effects, one for each caption. The following illustration shows this process for the file sample above: 0 1 2 3 02:00 03:00 4 5 04:18 6 7 8 06:13 Before (above) and after (below) importing a caption file.
Applying the SubCap Effect The following illustrations show two examples of this information in the “Select a file that contains caption data” dialog box. In the first case, timecode values correspond and the import will be successful; in the second case, timecode values are inconsistent and no import will occur. Applying the SubCap Effect The SubCap effect is available from the Caption category in the Effect Palette.
Applying the SubCap Effect To apply a SubCap effect for direct text entry: 1. (Option) If necessary, create a new video track in the Timeline. For example, right-click in the Timeline and select New Video Track. 2. Ensure that the video track to which you want to apply the effect is the only selected track. 3. Move the position indicator to the point in the sequence where you want the caption text to appear. 4. Click the Add Edit button to add an edit point. 5.
Entering Caption Text Directly in the Effect Editor Entering Caption Text Directly in the Effect Editor You can enter caption text directly in the Effect Editor. Direct text entry in the Effect Editor has the following limitations: • You cannot enter line breaks (carriage returns) in the Effect Editor text box. (You can insert line breaks directly in the Edit Master Caption List dialog box.) • You can enter Unicode characters only as references.
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 8. Do one of the following: t If you want to proceed with the import, click Open. t If you do not want to proceed with the import, select another file to import, or click Cancel. If you click Open, your Avid editing application creates edit points and adds a new instance of the SubCap effect for each caption in the caption file. For each of these effects, your Avid editing application imports the appropriate caption text from the caption file.
Editing Text in the Master Caption List Editing Text in the Master Caption List You can view a list of all the captions in a sequence in the Master Captions List, and edit any of the captions from the list. The Master Captions List also lets you modify text in the following ways that are not available in the Caption Text text box in the Effect Editor: • Enter line breaks (carriage returns) in the text. • Type Unicode characters directly.
Synchronizing SubCap Effect Parameters and Information To adjust a SubCap effect’s parameters in the Effect Editor: 1. Move the position indicator to the SubCap effect in the sequence, and ensure that the track containing the effect is selected. 2. If it is not already open, open the Effect Editor, for example, by clicking the Effect Mode button. 3. Adjust one or more of the parameter controls in the Effect Editor.
Synchronizing SubCap Effect Parameters and Information 4. Click the Synchronize tab. 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 Exporting SubCap Effect Data to Caption Files You can export caption data to a caption file. The caption data is then available for use outside the current sequence. For example, you might import it into another version of the sequence, or use it with captioning software other than your Avid editing application. You can export to either of the file formats supported by the SubCap effect. If you export to an EBU N19 (.
Exporting SubCap Effect Data to Caption Files 3. In the Caption Files parameter category, click Export Caption Data. The “Export caption data to the specified file” dialog box opens. 4. Navigate to the location where you want to store the exported file. 5. In the File name text box, enter a name for the caption file. 6. From the Files of type menu (Windows) or the Enable menu (Macintosh), select the caption file format you need, either EBU N19 or Avid DS. 7.
Working with Unicode Text in the SubCap Effect 10. Click Save. Your Avid editing application exports the caption data to the caption file. If you selected Log to Console, information about the export process is written to the Console. The following is a typical message: Starting caption export to: ‘C:/Caption Files/test_higher.txt’... Found caption overlap at 00:00:31:26; ignoring the lower track. Completed export of 21 captions.
Working with SubCap Effect Stylesheets To create a new SubCap effect stylesheet: 1. Move the position indicator to the SubCap effect clip in the sequence that contains the parameter values and information items you want to save, 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. Click Create.
Working with SubCap Effect Stylesheets 5. Select the stylesheet you want to delete in the stylesheet list. 6. Click Delete. The stylesheet is removed from the list. 7. Click OK. 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.
Examples of SubCap Effect Parameter Adjustments Examples of SubCap Effect Parameter Adjustments This topic provides two examples of caption text formatting. The examples illustrate and compare the effect of certain parameter changes on the appearance of caption text. They are not intended to represent an ideal finished look. For more information on SubCap effect parameters, see “Adjusting SubCap Effect Parameters” on page 461 and “Generator Effect Parameters” on page 623.
Examples of SubCap Effect Parameter Adjustments Parameter Value Row Spacing 0 Example 2 This example uses a separate box for each row of the text, does not use a shadow, and uses custom values for padding and row spacing that allow the boxes to frame the text more elegantly than Example 1.
15 Intraframe Editing This chapter provides information on the intraframe editing features of your Avid editing application.
Understanding the Intraframe Effects Your Avid editing application draws vector-based objects on the screen when you use Intraframe effects. Vector-based objects are composed of mathematically described lines and Bézier curves. You can edit vector-based graphics with greater control and efficiency than you can bitmapped objects, which are drawn on the screen as a pattern of pixels. For more information, see “Working with Vector-Based Objects” on page 489.
Rendering Intraframe Effects Scratch Removal Effect The Scratch Removal effect lets you remove scratches or other flaws by replacing them with clean material from elsewhere in the same frame or from another nearby frame. The Scratch Removal effect includes the same tools for drawing objects and painting brush strokes found in the Paint Effect, together with specific controls for selecting clean replacement material. For more information, see “Understanding Scratch Removal” on page 510.
Applying the Paint or AniMatte Effect to a Sequence However, if you draw multiple mattes in the same segment, these mattes are all objects that appear in the same foreground space, and they interact with each other much like multiple painted objects do in the same segment. For more information, see “Layering, Grouping, and Locking Intraframe Objects” on page 506. Remember these concepts as you use multiple objects and key modes in combination and layer them to generate new effects in a sequence.
Effect Editor Reference for the Paint and AniMatte Effects Effect Editor Reference for the Paint and AniMatte Effects The following illustration identifies the different components of the Effect Editor that appear when you apply a Paint Effect to a segment in a video project and enter Effect mode. 6 7 8 1 9 2 10 11 12 13 3 4 5 The following table briefly describes the components of the Effect Editor for the Paint Effect.
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 309. 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 93. 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 489.
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 4. Press and hold the mouse button, and drag to create the rectangle or oval. As you drag, you describe the diagonal of the rectangle or oval. The rectangle or oval’s anchor point is the point at which you start to drag. For example, if you drag to the right and down, the rectangle or oval is anchored to its upper left corner. 5. Release the mouse button to complete the shape. 6. (Option) Adjust the object’s parameters.
Using the Intraframe Drawing Tools To create a polygon with straight-line segments: 1. In the Effect Editor, click the Polygon tool. 2. Select a paint mode or key mode and parameters in the Effect Editor. 3. Click in the frame where you want to place the initial control point. n The control points do not appear as tiny rectangles while you are painting the object. 4. Click in the frame where you want to place the next control point.
Using the Intraframe Drawing Tools 5. Click and hold the mouse button to begin creating the first curved segment. Direction bars with handles appear as a tangent to the curved segment. The pointer “leads” the direction handle that you use to determine the direction and height of the curve. 6. Drag the pointer, which is attached to the direction handle, to adjust the direction and height of the curved segment. 7.
Using the Intraframe Drawing Tools 5. Click and then release the mouse button to create the control point. 6. Continue to create additional lines and curves. 7. When you are satisfied with the shape of the object, double-click in the frame to create the final control point or click the initial control point. The object becomes closed. 8. (Option) Adjust the parameters of the object. Creating Freehand Curved Objects With the Curve tool, you can trace curved objects with freehand capability.
Using the Intraframe Drawing Tools Selecting and Deselecting Intraframe Objects You can select one or more Intraframe objects, for example to move them in the frame, rescale them, or change their parameters. When a segment contains multiple objects, you can use buttons to change your selection from one object to another. To select an object: t Click the Selection tool, and click an object. Selection handles appear around the object.
Using the Intraframe Drawing Tools To move an object: t Click anywhere within the object’s outline, and drag the object to a new location. To rescale an object, do one of the following: t Click one of the selection handles and drag. t Press and hold the Alt key (Windows) or Option key (Macintosh) while you click one of the selection handles, and drag to rescale the object from its center. Selection handles on a rectangular object To change the color of an object: 1.
Working with Vector-Based Objects Working with Vector-Based Objects Intraframe effects are vector-based objects. Vector-based objects have several advantages over bitmapped objects. For example, you can create and edit vector-based objects with much greater precision than you can bitmapped objects. Also, vector-based objects are not subject to problems such as artifacting when you rescale them.
Working with Vector-Based Objects A control point associated with a smooth join or a corner join describes a Bézier curve. Clicking a control point makes it the active join. Tangents called direction bars appear on each side of the control point associated with a Bézier curve. At the end of each direction bar is a direction handle. Direction bar with direction handles Dragging a direction handle changes the way the segments pass through the control point to define the curve.
Working with Vector-Based Objects Experimenting with Bézier Curves and Direction Handles This topic provides two procedures that you can use to practice using Bézier curves and their direction handles. In the first procedure, you create a rectangle using the Rectangle tool, and then transform the rectangle into a circle by converting the straight-edge joins at the corners of the rectangle to smooth joins.
Working with Vector-Based Objects 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. The resulting shape is a circle.
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 5. Click the bottom direction handle, and drag it in a counterclockwise direction. Notice how the curve changes as you drag the direction bar. Example of rotating a direction handle without changing its length. 6. When you have finished experimenting, adjust the direction bar so that the object again resembles a circle.
Working with Vector-Based Objects To transform a smooth join into a corner join: 1. Alt+click (Windows) or Option+click (Macintosh) the bottom direction handle. Although you might not notice it immediately, the smooth join is transformed into a corner join. 2. Drag the direction handle away from the control point.
Working with Vector-Based Objects Reference for Modifying Lines and Curves in Intraframe Objects The following table summarizes how you can use the mouse and the modifier keys on the keyboard to modify lines and Bézier curves (smooth joins or corner joins). Methods of Modifying Intraframe Lines and Curves Illustration Description Action Smooth join: Drag one direction handle so that the direction bar on the opposite side of the control point moves and changes length in unison.
Working with Vector-Based Objects Adding and Removing Control Points Placing more control points on an object enables the object to trace more detailed images. For example, if a segment of an object does not follow a curved section on a frame as well as you would like, and adjusting the control points and direction bars does not help, you can add a new control point. Avid recommends that you remove a control point if the object does not need the control point to adequately define its shape.
Working with Vector-Based Objects To remove multiple control points: t Shift+click the control points, and then press the Delete key. Your Avid editing application attempts to reconstruct the object so that it does not change. The results you see might vary because of the internal mechanics and geometry of Bézier curve technology. However, adding and then removing the same control point should not dramatically change the curve of that section of an object.
Using the Previsualization Marker Tool for Film Projects To move or “nudge” control points in 1-pixel increments: 1. Click a control point to select it, or Shift+click additional control points to move them as a group. 2. Nudge the control point or points using one of the following techniques: c t To nudge selected control points to the left, press the Left Arrow key or the Trim Left key. t To nudge selected control points to the right, press the Right Arrow key or the Trim Right key.
Using the Previsualization Marker Tool for Film Projects To add a Previsualization Marker effect to a sequence: 1. Enable the Effect Grid and set the appropriate parameters for image scan size, aspect ratio, and film format. For more information, see “Displaying the Effect Grid in Effect Mode” on page 81. 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.
Manipulating Intraframe Objects 4. In the Options pane, select Key Frames. The following illustration shows the presentation of Previsualization Marker information in a cut list. Top to bottom: grid information, keyframe number and reference numbers, and color and coordinate information for two separate markers Manipulating Intraframe Objects Intraframe effects include editing tools and additional parameters that enable you to perform the following operations: • Move objects individually or in groups.
Manipulating Intraframe Objects Moving Intraframe Objects The Selection tool also enables you to drag objects or mattes around the screen and in relation to the screen when you zoom out from a frame. To move a painted object or matte: 1. In the Effect Editor, click the Selection tool. 2. Click the object you want to move. The object outline becomes highlighted, and four selection points appear around the object. 3. Click the center of the object, and drag it to a new location. 4.
Manipulating Intraframe Objects To reshape an object: 1. Click the Selection tool, and click an object or matte. 2. Do one of the following: t Click the Reshape tool. t Double-click the selected object. The outline of the object becomes highlighted, and control points appear. n To drag the control points only, Alt+click (Windows) or Option+click (Macintosh) the Reshape tool to hide the direction handles. 3.
Manipulating Intraframe Objects To rotate an object or matte around the Z axis: 1. In the Effect Editor, click the Z-Rotation tool. 2. Click the object you want to rotate. The object outline becomes highlighted, and a rotation handle appears within the object. Center of rotation (+) and Z-Rotation handle The + on the rotation handle marks the default center of the Z axis for the object. You can click the + and drag it anywhere on the screen to change the center of the object’s rotation. 3.
Manipulating Intraframe Objects 3. Rescale the object using one of the following methods: t Click any selection point and drag. Drag toward the center of the object to decrease the overall size. Drag away from the center to increase the overall size. When you drag a selection point, the object is anchored by the selection point that is diagonal to the one you are dragging.
Layering, Grouping, and Locking Intraframe Objects Parameter For more information: Foreground level See “Foreground” on page 617. Magic Mask See “Magic Mask” on page 619. For more information on using keyframes with parameters, see “Working with Keyframes” on page 99.
Layering, Grouping, and Locking Intraframe Objects To change the layer order of an object or matte: 1. Click the Selection tool, and click an object on the screen. If the object is hidden by other objects, use the Outline/Path feature to locate it as described in the previous procedure. 2. Do one of the following: t To move the object one layer forward, click the Bring Forward button in the Effect Editor or select Object > Bring Forward.
Exporting a Matte Key Created With the AniMatte Effect 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. Click the Selection tool, and click an object or group. 2. Select Object > Unlock.
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 474. 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 7. Select the files you want to import and click Open. 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 267.
Scratch Removal The following illustrations show the frame and field processing methods for a typical two-frame correction created by clicking the Scratch Removal button and using default parameter settings (Frame: 0; Offset: From Start). In the frame processing example, material is copied from the first (clean) frame to the second (flawed) frame. In the field processing example, material is copied from the first field of the effect segment to all the subsequent fields.
Scratch Removal Field processing results in a better-looking correction under certain circumstances because it lets you select your replacement material with field accuracy. For example, in the field-based processing illustration above, changing the Field parameter value to +1 causes your Avid editing application to copy material from Field 2 of Frame A to both of the fields in Frame B.
Scratch Removal For example, if a flaw persists across several frames in footage that includes no motion, the simplest way to correct the flaw is to include one clean frame before or after the flawed frames and use replacement material from the clean frame to cover the flaw in all the other frames. For more information on using replacement material from different points in your footage, see “Examples of Scratch Removal Parameter Settings” on page 522.
Scratch Removal If the Frame Processing button is selected (pink), your Avid editing application uses frame processing. The Frame/Field parameter slider is labeled Frame and is calibrated in one-frame increments from –5 to +5. If the Frame Processing button is deselected (gray), your Avid editing application uses field processing. The Frame/Field parameter slider is labeled Field and is calibrated in one-field increments from –10 to +10.
Scratch Removal To isolate a flaw by using the Scratch Removal button: 1. Find the frame containing the flaw: t Use the Step Forward button or the Step Backward button (in the toolbar under the monitor) to carefully cue the frame containing the flaw. t (Option) Press and hold the Alt key (Windows) or Option key (Macintosh) while clicking the Step Forward or the Step Backward button to step through one field at a time. 2. Move the position indicator to the frame containing the flaw. 3.
Scratch Removal 2. Isolate the flawed frames, together with sufficient clean material to make your correction, by placing add edits before and after the frames to create a new segment. 3. Apply either the Paint Effect or the Scratch Removal effect from the Image category to the segment: The Scratch Removal effect provides only those effect parameters specific to fixing flaws, while the Paint Effect provides Scratch Removal as one of many available Paint modes.
Scratch Removal 9. (Option) Select frame or field processing. For more information, see “Selecting Frame or Field Processing When Using Scratch Removal” on page 513. 10. Use the Horizontal, Vertical, and Frame/Field sliders in the Effect Editor to select an area of replacement material to fill the object in the image and replace the flaw. The replacement material appears in the object, replacing the flaw.
Scratch Removal Removing a Flaw By Dragging Replacement Material This procedure is an alternative to the flaw removal method described in “Removing a Flaw By Drawing a Shape” on page 516. Consider this method when you are taking replacement material from the same frame that contains the flaw. To remove a flaw by selecting replacement material and then dragging it over the flaw: 1.
Scratch Removal 10. (Option) Use the Feathering parameters to help blend the replacement material into the surrounding area. Left to right: original flaw and selection, selection dragged over flaw, and the final effect 11. (Option) Animate the shape that contains the replacement material using keyframes to follow movement and changes in the frames of footage.
Scratch Removal 4. Click the Scratch Removal button. 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. Your Avid editing application applies a Scratch Removal effect that covers the scratched frames or fields and the clean frame or field immediately before them.
Scratch Removal Using the Scratch Removal Positioning Parameters The Hor (horizontal), Vert (vertical), and Frame/Field sliders in the Scratch Removal mode of the Paint Effect or in the Scratch parameter category of the Scratch Removal effect let you control exactly which material you use from elsewhere in the same frame or in nearby frames to replace flawed material.
Scratch Removal If the Frame Processing button is deselected, your Avid editing application uses field processing. The Frame/Field parameter slider is labeled Field and is calibrated in one-field increments from –10 to +10. For more information on field processing, see “Frame and Field Processing” on page 510. For more information on these parameters, see “Image: Scratch Removal” on page 582.
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 6. Click the Rectangle tool (or another shape tool) in the Effect Editor, click in the Effect Preview monitor, and drag to draw a box surrounding the window region. 7. Open the Color category, and, using standard methods, select a color to apply to the window region. For more information on selecting a color, see “Adjusting a Color Parameter for an Effect” on page 93. 8. (Option) Click the Outline/Path button so you have an unobscured view of the object you want to colorize.
Intraframe Editing Examples The default key color for Magic Mask might not match the color in your selection, so the color is not yet applied to the white area of the window. Effect applied before selecting Magic Mask key color. The color effect does not appear. 10. 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.
Intraframe Editing Examples To reshape the rectangle: 1. Double-click the rectangle to select it and display its control points. 2. Drag the control points at the corners of the rectangle one at a time to surround the window area. New shape restricts the Magic Mask effect to the window area Intraframe Example: Applying the Paint Effect to Regions of a Clip The Paint Effect includes a number of modes for applying special effects to traced regions of an image.
Intraframe Editing Examples To apply the blur: 1. If you are not in Effect mode, enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 39. The Effect Editor opens. 2. From the Image category, drag the Paint Effect icon to the segment of footage in the sequence. 3. Select the segment if it is not already selected. The Paint Effect parameters appear in the Effect Editor.
Intraframe Editing Examples 9. In the Effect Preview monitor, click the last keyframe indicator to select the keyframe. Check the shape of the traced area around the woman, and adjust control points as necessary to make an accurate outline. 10. Before creating new keyframes to further animate the traced outline, apply the blur to the first and last keyframes to ensure a smooth effect across all keyframes: a. In the Effect Preview monitor, click the first keyframe indicator to select it. b.
Intraframe Editing Examples Intraframe Example: Creating a Matte Key Effect When you apply the AniMatte effect and create a matte key, the shape and location of the matte remain fixed over the course of the segment. The parameters of the matte are the same at both the first and last keyframes in the segment. To apply a two-layer matte key: 1. For this two-layer effect, edit the image you want to use as the background onto one track and the image you want to use as the foreground onto the track above.
Intraframe Editing Examples 10. When you are satisfied with the shape of the matte, release the mouse button. The area outside the border of the matte reveals the underlying image on the lower track (V1 in the example), and the area inside the border of the matte displays the image on the upper track (V2). In this example, a series of shapes are drawn to key out all areas of the foreground image 11.
Intraframe Editing Examples 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 533. Intraframe Example: Animating a Matte Key Effect This topic is a continuation of the example that is created by following the procedure in “Intraframe Example: Creating a Matte Key Effect” on page 531.
Intraframe Editing Examples 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. 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.
Intraframe Editing Examples Intraframe Example: Creating a Single-Layer Organic Matte Wipe You can use the AniMatte effect to create a custom matte wipe. Additionally, you can create soft edges and other useful variations by adjusting the parameters of the AniMatte wipe. Multiple video tracks are not necessary. You apply the AniMatte effect to a transition on a single track of video and then draw the matte wipe as described in this section. To create an organic matte wipe: 1.
Intraframe Editing Examples 8. Press and hold the mouse button, and drag to draw a custom shape to the right of the image displayed in the Effect Preview monitor. Draw a matte that is at least as wide as the frame in the Effect Preview monitor. 9. When you are satisfied with the shape of the object, release the mouse button to complete the matte wipe. 10. Click the last keyframe indicator in the Effect Preview monitor’s position bar.
Working with the Blur Effect and Mosaic Effect 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 616. 15. Render the effect to play it back in real time. For more information, see “Rendering Intraframe Effects” on page 473.
Working with the Blur Effect and Mosaic Effect Parameter Description Blur or Mosaic Controls the overall appearance of the object area, allowing for varying degrees of distortion. For basic information on working with the Effect Editor, see “Using the Effect Editor” on page 86. The following buttons appear on the right side of the Effect Editor for the Blur and Mosaic effects. Button Description Selection tool Selects an object so you can change its parameters, move it, or delete it.
Working with the Blur Effect and Mosaic Effect 4. Click either the Rectangle tool or the Oval tool. Rectangle tool (left) and Oval tool (right) 5. Click in the Effect Preview monitor and drag to create an object. A wire-frame outline of the object appears, and the default Blur or Mosaic effect appears in the Effect Preview monitor. The following illustration shows a Mosaic effect in an oval object. To modify the attributes of blur and mosaic objects: 1.
Working with the Blur Effect and Mosaic Effect 3. Use the sliders in the Blur or Mosaic parameter category to adjust the appearance of the blur or mosaic distortion: Parameter Description Opac (opacity) Controls how prominently the blur or mosaic appears against the background image. A value of 0 makes the blur or mosaic transparent, while a value of 100 makes it fully opaque. Hor (horizontal) and Change the size of each tile within the effect along the X or Y axis, Vert (vertical) respectively.
16 PlasmaWipe Effects • Understanding PlasmaWipe Effects • Folder Structure for PlasmaWipe Effects • Using PlasmaWipe Effects • Creating Gradient Images for PlasmaWipe Effects • Understanding PlasmaWipe Frame and Border Effects • Applying and Adjusting PlasmaWipe Frame and Border Effects • Creating Custom PlasmaWipe Border and Frame Effects • Using PlasmaWipes with HD Projects Understanding PlasmaWipe Effects PlasmaWipe effects are two-stream, real-time effects that use gradient image bitmap
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 3. (Option) Use distortion filters such as Spherize, Twirl, or Ripple to modify the image. The following illustration shows a gradient image modified by two separate distortion operations. 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.
Creating Gradient Images for PlasmaWipe Effects To create a gradient image from an existing image using Adobe Photoshop: 1. Open an existing graphics file. 2. Select Image > Image Size. The Image Size dialog box opens. 3. Change the image size to 720 pixels x 576 pixels. 4. Deselect Constrain Proportions. 5. Click OK. 6. Select Image > Mode > Grayscale. 7. Open the Histogram palette and use the histogram to ensure that the image uses the full range of gradient values.
Creating Gradient Images for PlasmaWipe Effects 6. Enter a high Step number in the Control text box (for example, 500). This creates a pencil stroke that fades from white to black (foreground to background color) in small increments. 7. Click Brush Presets, and select a wide pencil shape, for example 100 pixels or higher. You can also create a custom brush. 8. Close the Brushes palette. 9. Set Opacity to 100%. 10.
Creating Gradient Images for PlasmaWipe Effects Using the Histogram to Analyze PlasmaWipe Images The Histogram palette in Adobe Photoshop shows the distribution of grayscale value for your PlasmaWipe image. Other graphics tools also typically provide a histogram display. The wider the range of gradient values (levels), the smoother the resulting animation. For example, the following illustrations show two histograms. The one with the wide range of gradient values creates a smoother animation.
Creating Gradient Images for PlasmaWipe Effects Adjustments such as Equalize might result in a histogram that has a wide range of gradients but that has many gaps in the values. In a short wipe effect the gaps are not noticeable. In a long effect, the gaps might create doubled frames in the animation. You can use a blur filter such as Gaussian Blur to smooth out the range. For more information, see your Adobe Photoshop documentation.
Creating Gradient Images for PlasmaWipe Effects 3. To view the animation with some softness applied, move the Contrast slider to the left to select a lower Contrast number. 4. Move the Brightness slider from left (-100) to right (+100) to view the animation. The following images show three stages of the animation.
Creating Gradient Images for PlasmaWipe Effects 5. Save an NTSC version of the image by doing the following: a. Select Image > Image Size. b. In the Height text box, change the image height to 486 pixels. Keep the image width at 720 pixels. c. Deselect Constrain Proportions. d. Select Resample Image, and then select Resample Image > Bicubic, or, if the image has hard edges, select Resample Image > Nearest Neighbor. e. Click OK. f. Select File > Save As. The Save As dialog box opens. g.
Creating Gradient Images for PlasmaWipe Effects folders in order to organize your effects. Your Avid editing application system displays the full path as part of the name in the effect category. The following illustration shows the Effect Palette with the full default path in the effect category. (Macintosh only) If you create additional folders for your own custom PlasmaWipe effects, back them up before you run the PlasmaWipes installer to replace or update the PlasmaWipes folder.
Creating Gradient Images for PlasmaWipe Effects Adjusting an Existing PlasmaWipe Effect While Your Avid Editing Application is Running If you add new effects, you must restart your Avid editing application to see the effects in the Effect Palette. However, you can adjust a PlasmaWipe effect that you have previously created without having to restart. This helps when testing changes to one of your effects. To adjust an existing effect while your Avid editing application is running: 1.
Understanding PlasmaWipe Frame and Border Effects Understanding PlasmaWipe Frame and Border Effects PlasmaWipe frame and border effects let you add a variety of edge treatments to a clip. The following illustrations show several examples. Top left: Stone Frame Medium effect. Top right: Stone Frame Large effect applied to a resized and repositioned Picture-in-Picture effect. Bottom, left to right: Soft Sky effect, Soft Window effect used as a picture-in-picture, Soft Window effect used to darken edges.
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.
Applying and Adjusting PlasmaWipe Frame and Border 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 Creating Custom PlasmaWipe Border and Frame Effects For border effects such as Soft Sky or Square Window, you can use the technique described in “Creating Gradient Images for PlasmaWipe Effects” on page 544. 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.
Creating Custom PlasmaWipe Border and Frame Effects 2. Display the Photoshop grid to allow for precise placement of the frame and interior area. Use a grid size of one gridline every 36 pixels. 3. Create a frame graphic using the grid lines as a guide. 4. Modify the grayscale image and apply filter effects as necessary. 5. Color the inside of the frame black. 6. If you want background video to appear around the frame, color that area white. 7. Flatten the image to remove extra layers. 8.
Using PlasmaWipes with HD Projects Using PlasmaWipes with HD Projects The PlasmaWipe effects that ship with your Avid editing application include files that are optimized for the following SD resolutions: • NTSC resolutions (720x486) • PAL resolutions (720x576) HD projects require one of the following resolutions for PlasmaWipes: • 1080i and 1080p projects require 1920x1080 • 720p projects require 1280x720 Several examples of each resolution are available in the Goodies folder on your Avid editing
Using PlasmaWipes with HD Projects 5. Restart your Avid editing application and open the Effect palette. The new HD PlasmaWipe effects appear in the Effect palette under the PlasmaWipes categories. To create new HD PlasmaWipe effects: 1. Create a new PlasmaWipe effect file at either 1920x1080 or 1280x720 resolution. Either copy one of the existing HD PlasmaWipe effect files or create a new file using the proper resolution.
17 Effects Reference This chapter provides reference information for all standard effects available for your Avid editing application. For information on effects editing, begin with “Basics of Effects Editing” on page 33. For reference information on parameters for effect adjustment, see “Effects Parameter Reference” on page 610.
• Indication of the real-time status of the effect, where appropriate. All standard Avid effects are real-time effects unless otherwise noted in this chapter. For more information, see “Playing Real-Time Effects” on page 48. • Information on whether you can promote the effect (to 3D or SpectraMatte) For more information, see “Promoting 2D Effects to 3D Effects” on page 365 and “Promoting a Chroma Key Effect to the SpectraMatte Effect” on page 264.
Blend Effects Blend Effects Blend effects are general two-channel 2D effects, except for 3D Warp. (Two specialized blend effects are also available for creating a film look. For more information, see “Film: Film Dissolve and Film Fade” on page 571.) 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 363.
Blend Effects Illustrations Left to right: outgoing image, middle of Dissolve effect, incoming image Blend: Picture-in-Picture Creates a picture within a picture. Video on the top layer, where you apply the effect, appears inside the video on the bottom layer. On a transition, the incoming video appears inside the outgoing video.
Box Wipes Illustrations Left to right: bottom track, Superimpose effect, top track 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 609. Incoming video begins as a box and wipes out the outgoing video as the box expands to fill the screen.
Box Wipes Illustrations Left to right: outgoing image, middle of Bottom Box effect, incoming image Left to right: outgoing image, middle of Top Left to Bottom Right effect, incoming image 567
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 609. 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.
Film Effects Illustrations Original image (left) and Blowup effect Film: Film Dissolve and Film Fade The Film Dissolve effect blends the outgoing frame to the incoming frame over time. It has preset parameters that emulate film’s response to light when dissolving to another (nonblack) picture. The Film Fade effect blends to the incoming frame over time. It has preset parameters that emulate film’s response to black material. Use this effect for fade-ins and fade-outs.
Generator Effects Generator Effects Generator effects let you add subtitle, captioning, timecode, or production comment text to your video. Generator: SubCap Lets you add caption or subtitle text to the video in your sequences. For more information, see “Working with the SubCap Effect” on page 452. You cannot keyframe SubCap parameters and you cannot promote the SubCap effect.
Illusion FX Effects Illusion FX Effects The Illusion FX category contains a variety of transition and segment effects. Illusion FX effects use the AVX plug-in architecture. Most Illusion FX effects have an Input Parameters parameter category containing controls that vary from one Illusion FX effect to another. For more information, see “Illusion FX Effect Parameters” on page 633.
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 838.
Image Effects Image: Stabilize Lets you eliminate unwanted motion in a video clip, such as motion from an unstable camera or even more subtle motion such as that introduced during the telecine process as a result of gate weave. For more information, see “Stabilizing an Image” on page 347.
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 684. 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 615. 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 201. For other motion effects, see “Timewarp Effects” on page 600.
Peel Effects Motion Effect: Variable Speed and Strobe Motion Variable Speed creates a new clip with slow motion, fast motion, or reverse motion. Strobe Motion creates a new clip with stuttering effect. The Strobe Motion effect can be used in combination with the Variable Speed effect. Apply to Clip marked with IN and OUT points in the Source monitor Real-time status Real-time or non-real-time, dependent on the type of motion being represented.
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 591
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 541. The preset PlasmaWipe effects are grouped into the following categories: • Borders lets you apply a variety of edge treatments to effects.
Push Effects Push Effects Push effects move one video channel to fill the screen while the other video channel is pushed out of the screen. n For examples of similar effects, see “Comparison of Similar Effects” on page 609. Incoming video pushes out outgoing video starting from a corner or side of the screen. The border is on the incoming video.
Reformat Effects Reformat Effects Reformat effects let you reformat media to different aspect ratios, for example, when you need to reformat a film aspect ratio for television programming. The 14:9 Letterbox, 16:9 Letterbox, and 4:3 Sidebar effects resize the media to conform to the aspect ratio you select. Pan and Scan lets you select a portion of the media to reformat.
Sawtooth Wipes Sawtooth Wipes Sawtooth wipes create a transition between shots, using a jagged edge like the teeth of a saw. All Sawtooth Wipe effects share custom grid parameters, accessible from the More Options button. For more information, see “Custom Grid” on page 615. Incoming video appears with a sawtooth edge and expands to fill the screen. .
Shape Wipes Shape Wipes Shape Wipes reveal one video channel on top of another video channel, using a growing or moving geometric shape. Some Shape Wipe effects have custom grid parameters, accessible from the More Options button. For more information, see “Custom Grid” on page 615. Incoming video uses a geometric shape to fill the screen and wipe out the outgoing video.
Shape Wipes Illustrations Outgoing image (left) and incoming image (right) Top, left to right: middle of effect for 4 Corners, Center Box, and Circle. Center, left to right: middle of effect for Clock, Diamond, and Ellipse.
Spin Effects Spin Effects Spin effects rotate one or more video channels. Spin: X Spin and Y Spin Outgoing video is squeezed until it appears as a line (vertical for X Spin, horizontal for Y Spin). Incoming video then expands from that line until it fills the screen. Border appears only on the incoming video.
Squeeze Effects Squeeze Effects Squeeze effects expand a video channel from a single point or line until it fills the screen, obscuring the second video channel. n For examples of similar effects, see “Comparison of Similar Effects” on page 609. Incoming video squeezes over the outgoing video, beginning as a point or line at a specific location on the screen and expanding to fill the screen.
Timewarp Effects Parameter categories Border; Foreground; Grid (not available for all project types) Illustrations Top: outgoing image (left) and incoming image (right) Bottom, left to right: middle of effect for Bottom Centered, Centered Zoom, and Right to Left Timewarp Effects Timewarp effects are motion effects that you apply directly to segments in a sequence and customize using the Motion Effect Editor. The Timewarp effect itself is described fully in “Understanding Timewarp Effects” on page 212.
Timewarp Effects Timewarp: 0% To 100% and 100% to 0% 0% to 100% is a template for the Timewarp effect that ramps motion in a sequence from 0% (freeze frame) to 100% (full speed). 100% to 0% is a template for the Timewarp effect that ramps motion in a sequence from 100% (full speed) down to 0% (freeze frame). These two effects are the inverse of one another. Apply the effect to a sequence in the Record monitor, and customize it using the Motion Effect Editor.
Timewarp Effects Timewarp: FluidFilm 2:3 Cadence and FluidFilm Progressive FluidFilm 2:3 Cadence is a template for the Timewarp effect that lets you create a film look from interlaced video sources. Use this effect in NTSC projects. FluidFilm Progressive is a template for the Timewarp effect that lets you create a film look from interlaced video sources. Use this effect in PAL projects.
Timewarp Effects Illustrations Speed Graph and Position Graph default settings for Pulldown Insertion Speed Graph and Position Graph default settings for Pulldown Removal Timewarp: Reverse Motion Reverse motion is a template for the Timewarp effect that creates a reverse motion effect at 100% speed. Apply the effect to a sequence in the Record monitor, and customize it using the Motion Effect Editor. For more information, see “Understanding FluidMotion Timewarp Effects” on page 240.
Timewarp Effects Illustration Speed Graph and Position Graph default settings for Reverse Motion Timewarp: Speed Boost and Speed Bump Speed Boost and Speed Bump are templates for the Timewarp effect. Speed Boost starts out at half speed, reaches approximately double speed at the midpoint, and returns to half speed at the end. Speed Bump starts out at full speed, slows to approximately half speed at the midpoint, and returns to full speed at the end.
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 240.
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).
Title Effects Title Effects: Title For information on creating titles, see “Creating Titles” on page 381.
Xpress 3D Effects Xpress 3D Effects Xpress 3D effects provide a limited set of parameter categories for creating basic 3D effects that are fully compatible with Avid Xpress editing applications that include a 3D effects option. Xpress 3D effects provides basic 3D PIP and 3D shape effects that are compatible with Avid Xpress editing application. Four effects are available.
Comparison of Similar Effects Comparison of Similar Effects Four effect categories have similar results: Box Wipe, Conceal, Push, and Squeeze. Examples of these effects are shown here to assist you in using these effects.
18 Effects Parameter Reference This chapter provides reference information for all effect parameters in your Avid editing application. • Effect parameter controls that you use to define colors are described in “Color Parameter Controls” on page 611. 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 612.
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 Background Color Background Color sets the color for the background in effects that display a background, for example, a Fade to Color effect. For more information on the parameter controls, see “Color Parameter Controls” on page 611. For information on the 3D equivalent of this parameter category, see “Background Color (3D)” on page 714.
Common 2D Effect Parameters Parameter Description Width Specifies the width of the border. Values range from 0 (no border) to 100 (widest border). Soft (softness) Blends the border with the background image, giving the border a soft appearance. Values range from 0 (no softness) to 255 (maximum softness). Fixed Border Turns off the Blending option. For PlasmaWipe effects, Fixed Border lets you specify whether the border can change shape during the effect.
Common 2D Effect Parameters Crop Crop removes video from the top, bottom, left, and right edges of the video. For information on the 3D equivalent of this parameter category, see “Crop (3D)” on page 717. 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.
Common 2D Effect Parameters Feathering Feathering adds soft edges to a painted object or a matte key. Adding a soft edge can make a composited object look more natural against the background. Feathering is available in the following effects: Image: Blur Effect and Mosaic Effect, Image: Paint Effect, Image: Scratch Removal, Key: AniMatte, and FluidMotion Edit for Timewarp Effects Parameter Description Bias Increases control over the dissipation of pixels around the edges of a painted object or matte.
Common 2D Effect Parameters Foreground Foreground sets the relative amount of the effect to be displayed over time. The set of available parameters varies depending on the effect. For information on the 3D equivalent of this parameter category, see “Foreground (3D)” on page 720. Parameter Description Level Controls the opacity of the foreground image. Values range from 0 (transparent) to 100 (opaque). For PlasmaWipe effects, Level controls the amount of the effect at any given point.
Common 2D Effect Parameters Grid Grid defines the Effect Grid associated with an effect. Grid parameters set in the Effect Editor override settings in the Grid Settings dialog box for that effect only. This parameter is not keyframeable, and is not available in all project types. Parameter Description Enable button Turns the local Grid effect on or off . If you disable the local Grid effect, your Avid editing application uses the global settings defined in the Grid Settings dialog box.
Common 2D Effect Parameters Parameter Description Transfer menu Specifies how the film was transferred to video as follows: • Full Aperture — The transfer includes everything that is visible in the frame. • Academy — The transfer does not include the sound track area on the left side of the film. Magic Mask Magic Mask lets you apply effects across a series of frames, using the chroma and luma values as the criteria for edge detection.
Common 2D Effect Parameters Parameter Description Soft (softness) Increases or decreases the amount of softness applied to a color selection and contiguous pixels that fall within a specified tolerance. The tolerance you adjust with the Soft slider is relative to the RGB values of the color picked in the selection. Values range from 0 to 63. Position Position sets the horizontal and vertical position of the effect.
Common 2D Effect Parameters Scaling Scaling resizes the effect by adjusting height and width. For information on the 3D equivalent of this parameter category, see “Scaling (3D)” on page 727. Parameter Description X Stretches or compresses the width of the effect. Values range from 0 to 400, where 100 indicates 100% scaling (normal size). Y Stretches or compresses the height of the effect. Values range from 0 to 400, where 100 indicates 100% scaling (normal size).
Common 2D Effect Parameters Transition Parameters Transition parameters let you define the length and position of a transition effect. They appear at the bottom of the Effect Editor and are active for all transition effects. Transition parameters are not keyframeable.
Film Effects Blowup Parameter Film Effects Blowup Parameter Blowup lets you enlarge and resposition the image. Parameter Description Field Controls the size of the image. Values range from 0 (leaves the image size unchanged) to 12 (increases the image to the maximum size). X Pos (X position) Lets you position the image horizontally on the screen. Values range from -24 to 24, where 0 is unchanged. Y Pos (Y position) Lets you to position the image vertically on the screen.
Generator Effect Parameters Category Control Description Caption Files Import Caption Opens the “Select a file that contains caption data” dialog box, which lets you Data import caption data from an EBU N19 or a DS caption file. For more information, see “Importing a Caption File” on page 458. Export Caption Opens the “Export caption data to the specified file” dialog box, which lets you Data export caption data to an EBU N19 or a DS caption file.
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 Timecode Burn-In Effect Parameters Timecode Burn-In parameters control the content and appearance of the timecode displays. Timecode Burn-In effect parameters are not keyframeable. Category Description Display 1, Display 2, Display 3 Let you add up to three timecode displays to the video. Click the Enable button for the category to activate the display. Reader menu Selects the basic type of timecode or other information for the display.
Generator Effect Parameters Category Description Type menu Selects an option to control how your Avid editing application calculates the timecode to display. These are equivalent to options available in the Tracking Information menus above the monitors (for more information, see “Tracking Format Options” in the Help). Depending on your selection in the Reader menu, options in the Type menu might not be relevant or might result in an unchanged display.
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.
Generator Effect Parameters Category Description Appearance Each Display category and the Notes Track category contain an Appearance subcategory. The Appearance subcategory contains the following subcategories and controls: • Position — Use the X and Y sliders to set the position of the display’s anchor point within the video frame. You can also position the display directly in the monitor by dragging the anchor point (located at the top left corner of the display).
Illusion FX Effect Parameters Illusion FX Effect Parameters This section contains reference summaries for the effect parameters that are unique to the Illusion FX effect category. Border Parameter for Illusion FX Effects The Border parameter category is available for the following Illusion FX effects: Crystal, FluidBlur, FluidColorMap, FluidMorph, Kaleidoscope, Melt, Particle Blast, Particle Orbit, Particle Wind, Radial Blur, Ripple, Rollup, Shear, Sphere, Swirl, Twist, and Wave.
Illusion FX Effect Parameters Crystal Effect Input Parameters Parameter Description Size Sets the radius of the polygons in pixels. Jitter Sets the randomness of the shape of the polygons. A value of 0 creates regular hexagons — the higher the value, the more random the shapes. Random Seed Sets the base number your Avid editing application uses to calculate all random values. Each value results in a different random effect. This parameter is not keyframeable.
Illusion FX Effect Parameters Parameter Description Hilite Grain Adds grain to the brighter areas of the image. Shadow Grain Adds grain to the darker areas of the image. 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.
Illusion FX Effect Parameters FluidBlur Effect Input Parameters Parameter Description Blur Amount Sets the level of blur for objects that are moving. The amount of blur ramps linearly from 0 to the Blur Amount value as the pixel motion increases from the Lower Motion Threshold value to the Upper Motion Threshold value. The faster an object moves, the more it is blurred.
Illusion FX Effect Parameters FluidColorMap Effect Input Parameters Parameter Description Min Motion Threshold, Max Motion Threshold Objects moving less than the Min Motion Threshold number of pixels between frames (or fields) have the minimum saturation and luminance. Objects moving more than the Max Motion Threshold number of pixels between frames (or fields) have the maximum saturation and luminance. The amount of saturation depends on the Constant Saturation value.
Illusion FX Effect Parameters FluidMorph Effect Source and Input Parameters Source Menu Option Description Still->Still Your Avid editing application takes snapshots of the last frame of outgoing video and the first frame of incoming video and creates an output that is a morph of the two images. Stream->Stream Your application creates the output by morphing the two clips, frame by frame.
Illusion FX Effect Parameters Iris Effect Input Parameters Parameter Description Amount Sets the proportion of each clip to be displayed. 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. Softness Sets the size of the area over which the pixels are faded from the foreground clip to the background clip. X, Y Sets the center of the iris wipe.
Illusion FX Effect Parameters 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. You can also set the center of the mirror by clicking and dragging the crosshair marker within the image. Offset Parameters Parameter Description X, Y Use the X and Y sliders to set the offset from the original source area. You can also click the corresponding marker, and drag within the image.
Illusion FX Effect Parameters Lightning Effect Generation, Core, and Glow Parameters Generation Parameters Parameter Description Amount Sets the proportion of the lightning to be displayed. Values range from 0 (no lightning) to 100 (complete lightning bolt). Typical keyframing has a value of 0 at the first keyframe and 100 at the last keyframe. Branch Probability Sets the likelihood that the lightning has few or many branches. A value of 0 displays no branches.
Illusion FX Effect Parameters Glow Parameters Parameter Description Width Sets the radius of the glow in pixels. Color controls Selects the color for the glow surrounding the lightning. For more information on the parameter controls, see “Color Parameter Controls” on page 611. Melt Effect Input Parameters Parameter Description Bleed Changes the melt image to a more dramatic effect. Melt Up Reverses the direction of the melt. Amount Sets the progression of the effect.
Illusion FX Effect Parameters Motion Blur Effect Input Parameters Parameter Description Amount Sets the length of the blur. Direction Sets the direction of the blur. A value of 0 degrees is 3 o’clock. Positive values move counterclockwise. Pagecurl Effect Input Parameters Parameter Description Turn Left Controls the direction of the page curl. For examples, see the following table. This parameter is not keyframeable. Reverse When Reverse is selected, incoming video peels on.
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 The following illustration shows four frames from a transition effect using the values in the example. Particle Wind Effect Input Parameters Parameter Description Amount Sets the progression of the effect. The larger the difference in the Amount value between keyframes, the faster the effect happens. Size Sets the radius of the particles. Spacing Sets the space between the center of the original position of the particles. This parameter is not keyframeable.
Illusion FX Effect Parameters Parameter Description Front Speed Controls whether the particles near the front edge (where the wind first hits) start to move before the particles at the outside edge. Front Randomness Allows particles nearest the front to move at different speeds. Speed Sets the wind speed. Speed Randomness Allows particles anywhere within the effect to move at different speeds, giving a more natural effect.
Illusion FX Effect Parameters Pattern Generator Effect Background, Number, and Circle Parameters Background Parameters Parameter Description Pattern Type menu Sets the pattern to be used: • Solid color • EBU bars (75%) • Color bars (75%) • Color bars (100%) • EIA bars • SMPTE bars • Color ramps • Cross ramp • Grid If you select the Grid option, the background color is black if Base Color has 50% or greater luminance, or white if Base Color has less than 50% luminance.
Illusion FX Effect Parameters Number Parameters Parameter Description Number Offset Sets the offset of the number from the current frame number. Opacity Sets the opacity of the number. Text Size Sets the size of the number. Stroke Width Sets the width of the number stroke. Color controls Sets the color of the number. For more information on the parameter controls, see “Color Parameter Controls” on page 611.
Illusion FX Effect Parameters Parameter Description Opacity Sets the opacity of the circle. Color controls Sets the color of the circle. For more information on the parameter controls, see “Color Parameter Controls” on page 611. Position Sets the horizontal (X) and vertical (Y) position of the circle. Pinch Effect Input Parameters Parameter Description Amount Sets the progression of the effect. The larger the difference in the Amount value between keyframes, the faster the effect happens.
Illusion FX Effect Parameters Parameter Description Angle Sets the rotation of the blur. n This effect can take a long time to render. The greater the angle, the longer the rendering takes. Position Sets the horizontal (X) and vertical (Y) center of the effect. Render Mode menu Determines whether just the center marker shows, or how the effect is rendered. Locate shows the center marker — use this option while setting up the center.
Illusion FX Effect Parameters Ripple Effect Motion, Generation, and Illumination Parameters Motion Parameters Parameter Description Amount Sets the progression of the effect. The larger the difference in the time value between keyframes, the faster the effect happens. Wave Speed Sets how fast the waves move. Ripple Spread Sets the width of the ripple from the inner ring to the outer ring. Reflections When Reflections is selected, waves reflect off the edges of the image, as though hitting a wall.
Illusion FX Effect Parameters Illumination Parameters Parameter Description Color controls Sets the color of the light. For more information on the parameter controls, see “Color Parameter Controls” on page 611. Angle Sets the source direction of the light. A value of 0 degrees is 3 o’clock. Positive values move counterclockwise. Rollup Effect Input Parameters Parameter Description Amount Sets the proportion of each clip that displays.
Illusion FX Effect Parameters Shear Effect Input Parameters Parameter Description Amount Sets the proportion of each clip that displays. Values range from 0 (displays all of the foreground clip) to 100 (displays all of the background clip). Typical keyframing has a value of 0 at the first keyframe and 100 at the last keyframe. Min Width, Max Width Sets the minimum and maximum possible width of the slats. Width Randomness Controls the variety of sizes of slats.
Illusion FX Effect Parameters Sparkler Effect Generation, Movement, Core, and Glow Parameters Generation Parameters Parameter Description Birth Rate Sets the number of sparks generated every frame. Lifetime Sets (in frames) how long each spark lives. X, Y Sets the center of the effect. Link Speed If you keyframe the center of the effect, Link Speed causes your Avid editing application to add the movement of the center to the movement of the sparks.
Illusion FX Effect Parameters Movement Parameters Parameter Description Speed Sets the value around which the speed of the sparks is randomized. Gravity Sets the attraction of the sparks downward or upward. The greater the value, the more the sparks are attracted downward. Air Resistance Sets the air resistance. The higher the value, the less the sparks radiate outward. Wind X, Wind Sets a virtual directional wind, which affects the trajectory of the sparks.
Illusion FX Effect Parameters Sphere Effect Input Parameters Parameter Description Amount Sets the scale of the distortion. Negative values distort the image inward. Positive values distort it outward. Size Sets the diameter of the circle as a normalized proportion of the vertical size of the image. X, Y Sets the center of the effect. Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.
Illusion FX Effect Parameters Twist Effect Input Parameters Parameter Description Amount Sets the amount of twist. X, Y Sets the center of the effect. Axis menu Click to set whether the twist applies horizontally (X axis) or vertically (Y axis). Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable. Wave Effect Input Parameters Parameter Description Amount Sets the scale of swirl. Negative values swirl the image counterclockwise.
Image Effect Parameters Parameter Description Number of Waves Sets the number of waves. Wave effects are superimposed upon each other. Speed Sets the progress of the effect. Random Seed Sets the base number upon which all random values are calculated. Each value results in a different random effect. This parameter is not keyframeable. Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.
Image Effect Parameters Option Description 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. When Show Action Safe is selected, the safe action area appears as a rectangle superimposed on the field of view. Use Subres in Preview Use a lower resolution of the image during preview.
Image Effect Parameters Velocity The Avid Pan & Zoom effect uses Velocity In and Velocity Out at each keyframe to modify apparent camera speed as it pans across the image between keyframes. It modifies changes in the Zoom Factor setting in the same way. For more information, see “Modifying Apparent Camera Speed for an Avid Pan & Zoom Effect” on page 300.
Image Effect Parameters Path Menu The Path menu selects the interpolation option for Position parameter changes at keyframes. For more information, see “Controlling Path Changes at Keyframes for an Avid Pan & Zoom Effect” on page 303. This parameter is not keyframeable. Option Description Linear Creates straight-line changes from one keyframe to the next. Spline Smooths out changes at keyframes to create a more natural movement. A Spline path is smooth through all points.
Image Effect Parameters Option Description B-Spline Catmull Creates results similar to Cubic filtering when you zoom out (shrink the image) by a large amount. Creates a sharper image than Cubic filtering when you: • Stay close to the original size of the image (little zooming in or zooming out). • Zoom in past the source image resolution. Gaussian Creates an image that is relatively soft but sharper than B-Spline Catmull. Avid High Qual Creates sharp images when you zoom out.
Image Effect Parameters Parameter Description Source Has Square When this option is selected (the default), the Avid Pan & Zoom effect produces rectangular Pixels pixels. When this option is deselected, your Avid editing application makes no changes to pixel shape. For more information, see “Adjusting for Source Image Pixel Aspect Ratio and Color Levels in an Avid Pan & Zoom Effect” on page 306. Source Levels Controls how the effect treats the color levels in the image.
Image Effect Parameters Blur Effect Blur Parameters Blur lets you blur a selected area with horizontal and vertical controls. This is useful for distorting or disguising part of an image. You can also create this effect using the Paint Effect by selecting Blur mode in the Mode parameter category. For more information, see “Paint Effect Mode Parameters” on page 672. Parameter Description Opac. (opacity) Controls the relative strength of the blur. Values range from 100 (maximum blur) to 0 (minimum blur).
Image Effect Parameters Parameter Description Bright (brightness) Changes the brightness of the image. Values range from –100 to +100, where 0 indicates no change, –100 darkens the image, and +100 brightens the image. Left to right: original image (Brightness=0), adjustment to Brightness -50, adjustment to Brightness +50 Cont (contrast) Controls the contrast of light and dark areas in the image.
Image Effect Parameters 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 Paint Effect Mode Parameters Mode parameters and options affect the overall nature of the Intraframe editing you perform using the Paint Effect. This parameter is not keyframeable. A Mode parameter is also available in FluidMotion Edit and is described in “FluidMotion Edit Parameters for Timewarp Effects” on page 708. Parameter Description Fast menu Provides different mode options for Intraframe editing.
Image Effect Parameters Paint Effect Modes The Paint Effect provides modes that you can use to paint with a variety of styles. When you click a painting tool for the first time, the default setting is Solid mode, which enables you to paint an opaque object on the video background with a brush stroke. The illustrations in the following table show the same image in every case. This enables you to compare the different modes easily but does not necessarily illustrate the most common use of each mode.
Image Effect Parameters Mode Description Clone Duplicates an area from a frame and applies it to another area of the frame. An oval object in Clone mode that has been moved from higher in the image, taking an area of the upper part of the image with it Colorize Tints the selected area using the value in the Color parameter category. Hue Changes the hue in a selected area using the value of the Hue slider in the Color parameter category without affecting the saturation and luminance levels.
Image Effect Parameters Mode Description Saturation Changes the saturation in a selected area using the value of the Sat slider in the Color parameter category without affecting the luminance levels and the hue. Luminance Changes the luminance in a selected area using the value of the Lum slider in the Color parameter category without affecting the saturation levels and hue. 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 Lighten Only Increases the luminance levels in a selected area only if the result would be lighter than the background color. The reverse of the example for Darken Only. Dark areas in the selected oval are lightened while light areas, mainly the dirt roads, remain unaltered. Darken Reduces the luminance levels in a selected area using the value of the Amount slider. Luminance in the selected oval is reduced by 50.
Image Effect Parameters Mode Description Add Adds color to the colors in a selected area using the value of the Color parameter category. Subtract Removes color from the colors in a selected area using the value of the Color parameter category. Invert Inverts the RGB values of the colors in a selected area. Mosaic Applies a tile effect to a selected area with horizontal and vertical controls, which distorts or disguises the area.
Image Effect Parameters Mode Description Blur Blurs a selected area with horizontal and vertical controls, which distorts or disguises the area. Median Takes the nine values surrounding each pixel, ranks them, and replaces the pixel with the value in the middle, creating a slight softening effect. Median filters are often used to remove noise from an image. Unsharp Mask Sharpens a selected area of an image to create more defined edges with horizontal and vertical controls.
Image Effect Parameters Mode Description Gradient Dissipates the paint in a gradient. Use the Angle slider to set the direction of dissipation. 100% of the value in the Color parameter category appears at one end of the gradient, 0% at the other end. Emboss Creates a three-dimensional extrusion effect in a selected area. Use the Angle slider to adjust the direction of the extrusion. Scratch Removal Replaces scratched or otherwise flawed areas of a frame with clean material from a nearby source.
Image Effect Parameters Mode Description Color Style Adjusts the selected area to create posterization and solarization effects. For more information, see “Color Style Parameters” on page 670. Color Gain Provides individual adjustments of the three color channels (red, green, and blue). For more information, see “Color Gain Parameters” on page 671. Color Match Provides the same Color Match control that appears in the Color Correction tool.
Image Effect Parameters In many situations, you can leave 422 Safe turned off. If you know that every pixel throughout your material must be guaranteed safe, turn 422 Safe on. Alternatively, you can leave 422 Safe turned off while you edit and adjust effects, then turn it on before you render or output your finished sequence to guarantee that every pixel in your output is color safe.
Image Effect Parameters Control Description Luma H Controls the upper limit for the luminance signal. For example, if Luma H is set to 100 IRE, any pixels with a higher luminance value are modified so that their luminance value is no higher than 100. Luminance units Controls the unit of measurement used for luminance limits: • 8 Bit — Measures on a scale from 0 to 255. • % — Measures on a percentage scale. Percentage values can be lower than 0 or higher than 100. • IRE — Measures in IRE units.
Image Effect Parameters Scratch Removal Effect Scratch Parameters Scratch controls the position and appearance of replacement material that you use to cover scratches and other flaws. Frame/Field slider (top) and Frame Processing button (bottom) in the Scratch parameter category Parameter Description Opac. (opacity) Controls the opacity of the replacement material used in a Scratch Removal effect. Values range from 0 (transparent) to 100 (opaque).
Key Effect Parameters Parameter Description Offset Fast Menu button Defines the reference or zero point for the Frame or Field slider. The following three choices are available: Frame Processing button • Relative — The Frame or Field slider is set relative to the frame containing the shape that covers the flaw. • From Start — The Frame or Field slider is set relative to the first frame of the segment. This is the default.
Key Effect Parameters Parameter Description Soft (softness) Determines how the bordering colors along the edge of the key appear. Colors that border the luminance or chroma specified for the key display as a blend of the foreground and the background video. The higher the Softness value, the more of the background video is blended in the border colors. Use the Soft slider to improve the appearance of the edges of the keyed areas.
Key Effect Parameters Chroma Key Profile, Secondary Key, and Spill Suppression Parameters Profile Parameter Profile provides a graphical representation of the foreground level and acceleration applied to effect keyframes: • Foreground level affects the opacity of the effect. The greater the opacity, the closer to the top of the Profile graph the keyframe appears.
Key Effect Parameters Spill Suppression Parameters Spill Suppression neutralizes the selected color without affecting the luminance. The spill color changes to a grayscale, allowing it to blend more easily with the foreground image. This parameter is not keyframeable Use the Spill Suppression key color to fix the following problems: • Remove background color spill from the foreground image. Color spill occurs when the background color is present in the foreground image due to backdrop reflection.
Key Effect Parameters Chroma Key Parameters Chroma Key lets you fine-tune the key effect. This parameter is not keyframeable. Parameter Description Gain Adjusts the threshold of the key. Values range from 0 to 100. Soft (softness) Softens the edge of the key. Values range from 0 to 100. Show Alpha Displays the grayscale alpha channel used to apply the key effect to the foreground and background sources.
Key Effect Parameters Color Correction Parameters Color Correction lets you perform post-key color correction of the foreground elements in the Chroma Key effect. Because the foreground and background elements are often shot at different times and locations, post-key color correction is especially useful for maintaining the key while matching the visual characteristics of the foreground to the background. This parameter is not keyframeable.
Key Effect Parameters Key Color Parameters Key Color defines the color from the foreground image that you want to replace with the background image. For more information on the parameter controls, see “Color Parameter Controls” on page 611. The SpectraMatte effect uses the color you select as the basis for defining a range of color values to use in the key. In the SpectraGraph display, this range appears as a wedge keyed out of the CbCr swatch.
Key Effect Parameters Parameter Description SpectraGraph Shows the SpectraGraph display, which shows the color values in the foreground image superimposed on a CbCr color swatch, in the Effect Preview monitor. For more information on the alpha matte display, see “Understanding SpectraMatte Analysis Displays” on page 255. This parameter is off by default.
Key Effect Parameters Parameter Description SpectraGraph Source Monitor menu Controls how effect information displays in the Source monitor. SpectraGraph Brightness • Source Monitoring - Off — the Source monitor does not display an analysis view. • SpectraGraph in Source Monitor — shows the SpectraGraph display in the Source monitor. This is the default menu selection. • Alpha in Source Monitor — Shows the alpha matte display in the Source monitor.
Key Effect Parameters 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 Matte Processing Parameters Matte Processing adjusts the alpha matte that the effect uses to generate the key by blurring or softening. This is primarily used as a way to improve the look of the edges of a key. Parameter Description Matte Blur Controls the amount of blurring that is applied to the matte. Values range from 0 to 100, where higher values result in a greater degree of blurring. The default value is 0.
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 201. 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.
Reformat Effect Parameters Actions Parameters The Actions parameter category lets you control certain aspects of the Pan and Scan effect. These parameters are not keyframeable. Parameter Description Establish Origin Saves the current Scaling and Position values as a customized default setting. For more information, see “Setting an Origin in the Pan and Scan Effect” on page 290.
FluidMotion Edit Parameters for Timewarp Effects FluidMotion Edit Parameters for Timewarp Effects FluidMotion Edit provides tools to correct artifacts (distorted areas) that might appear in a Timewarp effect when you select the FluidMotion rendering option. The following illustration shows the default FluidMotion Edit display in the Effect Editor. n The Feathering and Brush parameters function similarly for FluidMotion Edit as they do for the AniMatte effect and Paint Effect.
FluidMotion Edit Parameters for Timewarp Effects 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 672. 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 Understanding 3D Parameter Hierarchy Your Avid editing application processes 3D effects parameters in a specific order. Knowing the order can help you understand why something looks a particular way or why an object behaves the way it does on a motion path.
3D Effect Parameters Axis Axis moves the center of rotation relative to the image. There is no fixed rotation axis with an image. The axis is independent of the image and is movable. For example, you can place the rotation axis in the center of the image, on the edge, or off the picture. To move the center of rotation off the image, you might find it useful to zoom out and activate the wire-frame handles. For more information, see “Effect Editor Controls” on page 87.
3D Effect Parameters Border (3D) Border places a border around the image. The default border color is black for Plain borders and shades of gray for other border types. You can blend the foreground video with the background video if you turn on Border, use a zero width, and adjust the Soft parameter. You cannot change the border type and border color between keyframes. Border supports RGB processing for the Plain border style only.
3D Effect Parameters Parameter Description Sft (softness) Changes the softness of the border edge. Values range from 0 (hard edge) to 255 (a very soft edge), where 0 is the default. Border softness blends the border with the background image, giving the border a soft appearance. Corner Pin Corner pinning is a way of positioning a 3D effect in a foreground video track over an object in a background video track.
3D Effect Parameters Corner Tracking Lets you use tracking data to control the effect. When you enable a selector, your Avid editing application maps a tracker to that selector. Trackers are named Point A, Point B, and so on. For more information, see “Motion Tracking and Stabilization” on page 309. Corner Tracking appears in tracking-enabled 3D Warp effects and Intraframe effects only. For Intraframe effects, you can enable trackers only when an Intraframe object is selected.
3D Effect Parameters Defocus Defocus gives you the ability to blur the image or to blur individual layers of a matte effect. You can use Defocus to create an effect in which the incoming media “fades in” to focus. When you enable Defocus, the default command is Internal and default values are 10 for Horz (horizontal) and Vert (vertical). This produces a slight softening effect. Defocus supports RGB processing for all defocus types except Key Blur.
3D Effect Parameters Command Description Horz (horizontal), V (vertical) Increases or decreases horizontal or vertical blur. Values range from 0 to 15, where 0 represents no change. When the Type menu is set to Internal, the default value is 10 for both parameters. When the Type menu is set of FG Only, Key Only, or FG and Key, the default value is 0 for both parameters. When the Type menu is set to Key Blur, these parameters do not appear.
3D Effect Parameters Foreground (3D) The Foreground parameter category lets you choose a key type and then control how your Avid editing application handles the foreground of the key. The parameters that appear in the category vary depending on the key type you select.
3D Effect Parameters Parameter Description Opac. (opacity) Modifies the transparency of the foreground image. Values range from 0 (transparent) to 100 (opaque). Invert Inverts the key. Portions of the foreground that were visible are now invisible and vice versa. Swap Sources Switches the foreground and background sources for the effect. Reverse Animation Causes the entire effect to be reversed, including the direction of movement as well as the incoming and outgoing sources.
3D Effect Parameters Parameter Description H Tol. (hue tolerance) Controls how many similar shades of the hue your Avid editing application replaces with the background (the bottom video track). Use this option when the ranges of luminance and saturation of the chroma key color are too wide. H Soft (hue softness) Lets you soften edges that are too aliased or sharp. S Low (low saturation) Lets you remove low saturation colors by raising the lower limit.
3D Effect Parameters Highlight Highlight lets you to enable automatic highlighting for shapes and adjust the intensity of automatic highlighting, or adjust the highlights for manual highlighting and Rev (reverse) manual highlighting. You can use manual highlights even when a shape is not active. The default manual highlight creates a blurred disk in the center of the image. RGB processing is not available for Highlight.
3D Effect Parameters Highlight Color Highlight Color adds color to the highlighted portion of a 3D effect. For more information on the parameter controls, see “Color Parameter Controls” on page 611. RGB processing is not available for Highlight Color Lowlight Color Lowlight Color adds color to the shadowed portion of a 3D effect. For more information on the parameter controls, see “Color Parameter Controls” on page 611. RGB processing is not available for Lowlight Color.
3D Effect Parameters Parameter Description 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. Moving the perspective point in Z changes the amount of foreshortening on an image that is rotated around the X or Y axis. Position (3D) Position moves an image in 3D space. For information about the 2D version of this effect, see “Position” on page 620.
3D Effect Parameters Parameter Description Stabilize Tracking Enables tracking for stabilizing the image. For more information, see “Stabilizing an Image” on page 347 Rotation Rotation rotates the image around the X, Y, or Z axes. Parameter Description Z Rotates the image around the Z axis (clockwise or counterclockwise). Values range from –720 to 720, where 0 is the default. X Rotates the image around the X axis. Values range from –720 to 720, where 0 is the default.
3D Effect Parameters Scaling (3D) Scaling resizes the image or effect. For information about the 2D version of this effect, see “Scaling” on page 621. 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 Shadow Shadow places a shadow beneath an image, and lets you adjust the shadow’s offset and transparency. n Shadow, Trail, and Stamp are mutually exclusive, so you can have only one enabled at a time. Parameter Description Opac. (opacity) Changes the shadow’s opacity from 0 (transparent) to 100 (opaque), where 50 is the default. X Changes the shadow’s horizontal offset. Values range from –100 to 100, where 50 is the default. Y Changes the shadow’s vertical offset.
3D Effect Parameters The following illustration shows the three available shapes and the parameters available in the Shape parameter category for that shape.
3D Effect Parameters Common Parameters for Shapes Parameter Description Type menu Select one of the following shapes: • Page Fold — Treats the foreground video channel like a page in a book being turned to reveal another page beneath. You can see the video on either side when you rotate the image or curl the edges. The portion of the image that folds over is referred to as the flap. • Ball — Lets you treat the video as a rubbery, rectangular sheet stretched around a sphere.
3D Effect Parameters Parameter Description Angle Controls the direction of the curl or fold. Values range from –180 degrees to 180 degrees, where 45 degrees is the default. For illustrations of common angle values, see “Considerations for 3D Shape Effects” on page 732. Tuck and Flap menu Controls aspects of the appearance of the flap (the portion of the image that folds over). Select one of the following: • Tuck Over — Folds the flap over the top. This is the default option.
3D Effect Parameters Additional Parameters for the Slats Shape Parameter Description Ampl (amplitude) Controls the distance the shape moves. Increase the amplitude to take the effect off the screen. Angle Changes the line along which the video pieces move. Values can range from –180 to 180. Use 0 for horizontal and 90 for vertical. Freq (frequency) Controls how many copies of the shape appear on the screen. n When you experiment with Slats, start with a Frequency value of 1 and an Amplitude of 0.
3D Effect Parameters Examples of Page Fold Angle Values The following illustration shows how your Avid editing application interprets several angle values for the Page Fold. Experiment with incremental angle values and with changing angle values at different keyframes. Examples of Page Fold angles. Top, left to right: -45 degrees, 45 degrees, 135 degrees, -135 degrees. Bottom, left to right: -90 degrees, 0 degrees, 180 or -180 degrees, 90 degrees.
3D Effect Parameters Limitations of Ball Shape Effects The following limitations apply to Ball shapes: • You cannot apply the Z perspective to a Ball. • The X and Y direct manipulation handles do not work for a Ball. Use the parameters in the Rotation parameter category instead. Once you use the sliders to rotate a Radial effect in X or Y, no direct manipulation other than XY position works. To regain access to the direct manipulation Z handle, reset the X and Y Rotation sliders to 0.
3D Effect Parameters Parameter Description Target Color and Set the target and replacement colors. For more information on the parameter controls, see Replace Color “Color Parameter Controls” on page 611. 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 n The Stamp, Shadow, and Trail parameters are mutually exclusive, so you can enable only one at a time. Parameter Description Stamp Image Lets you add the stamp on one or more keyframes. Clear Lets you clear the stamp buffer of everything in it. Opac. (opacity) Changes the stamp’s opacity. Values range from 0 (transparent) to 100 (opaque), where 100 is the default. Foregnd. On Top (foreground on top) Switches the image in the Stamp buffer to the background. If Foregnd.
3D Effect Parameters Trail Use Trail to add a trail to an effect as it moves across the screen. You do not see the trail when you step through the effect because it is a cumulative effect. You cannot render a Trail effect. RGB processing is not available for Trail. Parameter Description Decay Changes the rate of the trail’s decay, or dissipation, during the effect’s motion. Values range from 0 (a quick decay) to 100 (a slower decay), where 75 is the default.
19 Understanding Color Correction Mode This chapter provides an overview of the color correction capabilities of your Avid editing application, and information on how to control and customize the Color Correction user interface.
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 759.
Reasons for Making Color Corrections Reasons for Making Color Corrections Before you can make good color corrections, you need to determine which color problems are present in your video material or decide why you might alter existing color values. The two most common color problems are: • Poor contrast (or a lack of a full range of tones). For example, parts of an image that should be black are only dark gray. If an image does not have a good range of tones, details do not stand out sharply.
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 When Dual Split is on, the uncorrected image appears on the left and the image with currently active corrections applied appears on the right. Uncorrected image (left, with triangular adjustment handles) and corrected image in a monitor with Dual Split active in Color Correction mode To resize the box that contains the split-screen image: t Drag one of the box’s triangular handles in the monitor.
The Color Correction Tool 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 following illustration shows the Color Correction tool in its default configuration. Components of the Color Correction tool in its default configuration. Top left: group tabs. Top right: Color Correction Tool buttons. Bottom, left to right: subdividing tabs, slider controls and Enable buttons, Color Match control and Color Correction buckets.
The Color Correction Tool Displaying Group and Subdividing Tabs To display a color correction group tab: t n Click the tab in the area containing the group name. Do not click the Enable button when you want to display a color correction group tab. Click the named area of a tab to display it The tab is highlighted and moves to the front, and the specific controls for that tab appear. Before clicking the Curves tab to display it.
The Color Correction Tool The following illustration shows an example of this kind of control over color correction groups. Example of control over Color Correction groups. The Green and Blue ChromaCurve graphs are adjusted, but the Curves tab is turned off (the Enable button is off in the tab at the top), so the graph adjustments do not currently apply to the segment.
The Color Correction Tool To turn a control or tabbed group of controls on, do one of the following: t Click the Enable button for the control or tabbed group of controls. t Adjust any individual control that is linked to the Enable button. The Enable button highlights, and the control or tabbed group of controls becomes active. Your Avid editing application includes the adjustments in that control or group of controls when calculating the corrected color.
The Color Correction Tool 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. To customize Color Correction mode: 1. Do one of the following: t In the Color Correction tool, click the Correction Mode Settings button. t In the Settings tab of the Project window, double-click Correction. The Correction Mode Settings dialog box opens. 2.
The Color Correction Tool Tab Option AutoCorrect Description Defines the automatic color corrections your Avid editing application makes when you apply the Color Correction effect from the Effect Palette. For more information, see “AutoCorrect Options” on page 813. 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 740. 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 2. Do one of the following: t Click the Color Correction Effect Template button, press and hold the mouse button, and then drag the effect icon to a bin. t With Active Palette selected in the Command palette, click the Save Correction button in the CC tab. t If the Save Correction button is mapped to a key, press that key. A new effect template appears in the bin, containing all the color correction adjustment values for the segment.
Working with Color Correction Effect Templates To save a Color Correction effect template in a bucket: 1. In Color Correction mode, ensure that the position indicator is in the segment that contains the settings you want to save. For information on entering Color Correction mode, see “Entering and Exiting Color Correction Mode” on page 740. 2. Alt+click (Windows) or Option+click (Macintosh) the bucket in which you want to save the template. You can click any one of the eight buckets to save to it.
Working with Color Correction Effect Templates Applying Color Correction Effect Templates To apply all adjustment values in a Color Correction effect template to the current segment, do one of the following in Color Correction mode: t Click the effect icon for the template in the bin, the Effect Palette, or the Color Correction bucket, and drag it to the monitor containing the current segment. For information on entering Color Correction mode, see “Entering and Exiting Color Correction Mode” on page 740.
Working with Color Correction Effect Templates To apply all adjustment values in a Color Correction effect template to multiple segments: 1. In editing or Effect mode, select the segment to which you want to apply the Color Correction effect template. For more information, see “Applying Effects From the Effect Palette” on page 33. 2. Open the bin that contains the Color Correction effect template. 3. Double-click the Color Correction effect template icon in the bin or in the Effect Palette.
20 Performing Color Corrections This chapter describes procedures for making color corrections, and includes complete descriptions of all controls in the Color Correction tool.
General Workflow for Making Color Corrections 1. In Source/Record mode (editing mode on NewsCutter systems), 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. For more information, see “Understanding Color Correction Mode” on page 738 and “Customizing Color Correction Mode Settings” on page 751. 4.
Using Automatic Color Corrections Using Automatic Color Corrections The Color Correction tool lets you make automatic color corrections to correct contrast problems, balance color, or remove color casts by identifying areas of an image that should be color neutral.
Using Automatic Color Corrections Considerations When Using Automatic Color Correction Although automatic color corrections are much simpler to learn and perform than manual corrections, practice and experience still improves your ability to correct a range of images with different color characteristics. If one set of automatic corrections does not produce good results, remove it and try a different combination.
Using Automatic Color Corrections Adjusting Contrast and Balance Automatically You can adjust the contrast and balance the color automatically for an image simply by clicking buttons. An automatic contrast adjustment expands the tonal range of the image, which usually improves sharpness and detail. An automatic balance adjustment evens out the influence of the different color channels in the image, which usually greatly reduces or even eliminates any color cast.
Using Automatic Color Corrections 4. In the Curves tab of the Color Correction tool, click either the AutoBalance or the AutoContrast button. Option Description Auto Balance Makes adjustments to the Red, Green, and Blue curves to balance the colors in the image. This eliminates any color cast for most images. Auto Contrast Makes an adjustment to the Master curve to maximize the tonal range in the image.
Using Automatic Color Corrections Understanding the Remove Color Cast Buttons You can remove a color cast automatically by clicking a Remove Color Cast button and using an eyedropper to identify an area in your image that you want to be color neutral (white, black, or a shade of gray). Your Avid editing application analyzes the current color characteristics of the area you select and then adjusts color correction controls to make that area color neutral.
Using Automatic Color Corrections The Curves tab Remove Color Cast button works by adding a point to each of the Red, Green, and Blue curves that makes the area you identify with the eyedropper color neutral. You can use the Curves tab Remove Color Cast button repeatedly to identify multiple areas that you want to be color neutral. Each new use adds another point to each of the three curves. (You can add new points up to the 16 point limit.
Using Automatic Color Corrections Correcting Color Automatically Using the Color Correction Effect You can use the Color Correction effect in the Effect Palette to apply up to three automatic color corrections at one time simply by applying the effect to selected segments just like any other Avid effect.
Using the Color Match Control 2. Click the AutoCorrect tab. 3. Click the First Correction menu and select HSL Auto Contrast 4. Click the Second Correction menu and select HSL Auto Balance 5. Ensure that the Third Correction menu is set to Nothing. To correct a single segment with the Color Correction effect: 1. In Source/Record mode (editing mode on NewsCutter systems), Effect mode, or Color Correction mode, click the Effect tab in the Project window. 2. In the Effect Palette, click the Image category. 3.
Using the Color Match Control For example, if you want to replace the blue sky tone in one image with that in another to match the two shots, you can use the Color Match control to pick the two colors and automate the color adjustment. For more information, see “Making a Correction with the Color Match Control” on page 769 and “Match Type Options” on page 772. When you are working in the Curves group, the Color Match control also includes the NaturalMatch™ feature.
Using the Color Match Control 3. (Option) If necessary, select either of the following options in the Correction Mode Settings dialog box: Option Description Eyedropper 3 x 3 When this option is selected, your Avid editing application calculates the Averaging color value to pick by averaging the values of a 3 x 3 sample of pixels centered on the eyedropper’s position.
Using the Color Match Control 5. Select the output color: a. Move the pointer over the output color swatch. The pointer changes to an eyedropper. b. Press and hold the mouse button, and then drag the eyedropper to the area of the image in the monitor from which you want to select an output value. The output color swatch in the Color Match control updates as you move the pointer in the image.
Using the Color Match Control Match Type Options The options available in the Match Type menu reflect the way in which color is handled in the group in which you are working. The following table describes the options available in the Match Type menu. Group Description HSL (Controls tab) • H + S + L: Your Avid editing application matches based on the hue, saturation, and luminance of the color you select in the output color swatch.
Using the Color Match Control Understanding NaturalMatch Color matching is often complicated by differences in lighting between one shot and another. For example, you might want to match the skin tone in Shot A, which is in shadow, with that in Shot B, which is brightly lit. To achieve a natural-looking correction, you need to replace the hue of Shot A, but preserve the luminance and saturation characteristics that suggest shadow.
Using the Color Match Control Color Match Example Using NaturalMatch The following illustrations show an example of the use of the Color Match control and the NaturalMatch feature to correct color from shot to shot. 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.
Using the Color Match Control To save a color to a bin: 1. In the Color Match control, Alt+drag (Windows) or Option+drag (Macintosh) the swatch that contains the color you want to save to a bin. While you drag, the pointer changes to a hand, and a rectangular outline appears. 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.
The HSL (Hue, Saturation, Luminance) Group The HSL (Hue, Saturation, Luminance) Group The HSL (Hue, Saturation, Luminance) group provides controls that let you alter attributes such as hue, saturation, gain, and gamma. These controls resemble those found in the Video Input tool and in the Color Effect. The HSL group also lets you specify an offset for the hue of an image, which is especially useful for correcting a color cast.
The HSL (Hue, Saturation, Luminance) Group The following illustration shows the Controls tab. To make a correction using the Controls tab: 1. If you have not already done so: a. Move the position indicator to the segment you want to correct. b. Click the HSL tab. c. On the left side of the Color Correction tool, click the Controls subdividing tab. 2. Make your adjustments by doing one of the following: t Adjust one or more of the individual sliders or buttons.
The HSL (Hue, Saturation, Luminance) Group 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. t Click one of the direction buttons, and press and hold the mouse button to change the value quickly over a large range.
The HSL (Hue, Saturation, Luminance) Group Control Description Brightness Adjusts the luminance of the image by shifting the luminance value of every pixel by the value set in the control. Values range from –100 to 100, where –100 subtracts 100 from the luminance value of every pixel, and 100 adds 100 to the luminance value of every pixel. The effect of the Brightness control is very similar to that of the Setup control (on the Hue Offsets tab).
The HSL (Hue, Saturation, Luminance) Group The following illustration 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. Understanding ChromaWheel Color Wheels The ChromaWheel color wheels let you make adjustments across the same luminance ranges as the Controls tab.
The HSL (Hue, Saturation, Luminance) Group How ChromaWheels Work A ChromaWheel color wheel is a circular graph that represents hue and saturation values. Hue values are mapped around the circumference of the wheel, with colors in the same positions that they occupy on a vectorscope. Red is at the 0° point on the wheel, and cyan is at the 180° point. As you move around the wheel counterclockwise from red to cyan, you move through positive degree values. For example, green is at +120°.
The HSL (Hue, Saturation, Luminance) Group Making Corrections Using the Hue Offsets Tab To make a correction using the Hue Offsets tab: 1. If you have not already done so: a. Move the position indicator to the segment you want to correct. b. Click the HSL tab. c. Click the Hue Offsets subdividing tab. 2. Make your adjustments by doing one or more of the following: t Click one or more of the automatic color correction buttons.
The HSL (Hue, Saturation, Luminance) Group 3. Fine-tune your adjustments until you are satisfied with the result. Remember that you can make adjustments on more than one ChromaWheel and turn them on and off individually to assess their effect on the image. Using the ChromaWheel Crosshair Pointers To move the crosshair pointer in a ChromaWheel color wheel: 1. Click anywhere in the wheel, and press and hold the mouse button.
The Curves Group Control Description Setup Adjusts the setup or black point for the image. Values range from –255 to 255, where 0 represents the unchanged image (no offset). The effect of the Setup control is very similar to that of the Brightness control (on the Controls tab). 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 Curves Group The following illustration shows the Curves tab. Understanding ChromaCurve Graphs A ChromaCurve graph shows the relationship of input values (on the horizontal axis) to output values (on the vertical axis). A background grid indicates the quartile points on each axis. The following illustration shows the Red ChromaCurve graph. 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 Curves Group If you make an extreme adjustment to a curve so that it becomes a horizontal line, you are converting all input values to the same output value of 128. When you make this adjustment across all three color channels, the result is a uniform, midgray image. When you make less extreme adjustments, your Avid editing application calculate a true curve in the graph based on the values of the control points and their positions with respect to one another.
The Curves Group 2. Do one or more of the following: t Use one or more of the automatic color correction buttons to adjust the ChromaCurve graphs. For more information, see “Adjusting Contrast and Balance Automatically” on page 763 and “Using the Remove Color Cast Buttons” on page 766. t Use the Color Match control to adjust the ChromaCurve graphs. For more information, see “Using the Color Match Control” on page 768.
The Curves Group To select a control point: t Click the control point you want to select. A circle appears around the control point to indicate that it is the active control point. Active control point (top) and inactive control point (bottom) To move a control point, do one of the following: t Click the control point and drag it to the location on the graph where you want to place the point. The curve updates as you drag the control point.
The Curves Group To delete a control point: 1. Select the control point you want to delete. A circle appears around the control point. 2. Make sure the pointer is over the ChromaCurve graph that contains the control point you want to delete. 3. Press the Delete key. n A curve requires at least two control points. If you have only two control points set in a ChromaCurve graph, you cannot delete one. To anchor part of a curve so it does not move when you make other adjustments: 1.
The Curves Group ChromaCurve Graphs and the Color Match Control When you use the Color Match control in the Curves tab, a gray crosshair marker appears in each appropriate ChromaCurve graph to mark the intersection of the input value defined by the input color swatch in the Color Match control and the output value defined by the output color swatch. When you click the Match Color button, your Avid editing application adds a new control point and updates the ChromaCurve graphs to reflect the color match.
The Curves Group Examples of ChromaCurve Graph Adjustments The following illustrations show a series of simple adjustments that use the Red ChromaCurve graph in the Curves tab. You can compare the results of these adjustments to learn how curves control color across different parts of the brightness range. Each example shows the new corrected image, the curve that produces it, and one other image from the series for comparison.
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.
Keyframing Color Corrections Image from adjustment 5 (left) and result of adjustment 6 (right) Adjustment 6 boosts red primarily in the shadows range. In comparison with adjustment 5, there is much more red and orange in the darker parts of the image (for example the crop in the lower right and the lower part of the shirt). The clouds, however, have much less of a red highlight.
Keyframing Color Corrections • Automatically add keyframes by moving the position indicator below the Current monitor and then adjusting any keyframeable color correction parameter. • Check how your animated color corrections are working by scrubbing through clips in Color Correction mode. Color correction parameter controls and graphs update as you scrub to show the parameter values at each point in the clip.
Keyframing Color Corrections To enter Color Correction mode from Effect mode: t Click the Color Correction Mode button, for example, in the Timeline palette. The Color Correction mode layout appears and the Effect Editor remains open. To enter the standard Effect Mode layout from Color Correction mode: t Click the Effect Mode button. To create a Color Correction workspace that includes the Effect Editor: 1. Select Windows > Workspaces > Color Correction. 2. Click the Effect Mode button. 3.
Keyframing Color Corrections Keyframeable Color Correction Parameter Reference The following table explains which color correction parameters are keyframeable and the extent of the control available for them in the Effect Editor. Parameter Types Description All parameters in the HSL > Controls tab These parameters are fully adjustable and keyframeable in the Effect Editor.
Keyframing Color Corrections You cannot add keyframes manually in the Color Correction monitor (as you can in the Effect Preview monitor using the Add Keyframe button). However, you can add keyframes automatically once you add an initial keyframe in the Effect Editor. n Complex color corrections with many parameter adjustments might result in many keyframe markers in the Color Correction monitor that are hard to distinguish.
Working with the Waveform Monitors and Vectorscope Monitor Working with the Waveform Monitors and Vectorscope Monitor The waveform and vectorscope commands in the Source menu configure the monitor to graphically display color information about your sequence. Your Avid editing application displays the information for the currently active monitor. A waveform indicates the brightness of the image. The higher the green trace goes on the scale, the brighter that part of the image is.
Working with the Waveform Monitors and Vectorscope Monitor Waveform and Vectorscope Commands The following table describes the waveform and vectorscope commands available in the Source menu for monitors in Color Correction mode.
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 836). - 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 Selecting AutoCorrect Options You control how your Avid editing application makes automatic corrections when you apply the Color Correction effect from the Effect Palette by choosing options in the AutoCorrect tab of the Correction Mode Settings dialog box. To set AutoCorrect options: 1. Do one of the following: t In the Settings tab of the Project window, double-click Correction. t In the Color Correction window, click the Correction Mode Settings button.
Using the Color Correction Effect AutoCorrect Options The following table describes the available options in the AutoCorrect tab of the Correction Mode Settings dialog box. Option Description Nothing Makes no adjustment. For example, if you only want to make two automatic corrections when you drag the Color Correction effect from the Effect Palette, set the Third Correction menu in the AutoCorrect tab to Nothing.
Using the Color Correction Effect Working with the Color Correction Effect You can work with a Color Correction effect in the same way that you work with any other effect that you apply from the Effect Palette and that appears in the Timeline with an effect icon. You can save the effect as a template by entering Effect mode, clicking the effect icon in the Effect Editor, and dragging it to a bin in the standard way. You can then apply the template to other segments in the sequence or to other sequences.
21 Color Correction Techniques This chapter provides an introduction to color correction techniques. It suggests some general principles to keep in mind when you are assessing footage and making color corrections, and then presents examples of corrections to shots with typical color problems.
Guiding Principles for Color Correction Restoring the Original Look The first task in color correction is to restore the original look of the scene, that is, to make the image match as closely as possible what an observer standing beside the camera would have perceived when the scene was shot. This is important because viewers typically have little tolerance for images that have unrealistic color values.
Guiding Principles for Color Correction Adapting the Original Look An adaptive adjustment deliberately departs from the original look of the scene in some way. For example, you might lighten one shot to make it match another. In this case, you are departing from the original look in order to achieve shot-to-shot consistency in your sequence.
Guiding Principles for Color Correction In some cases, however, the shot should have a smaller brightness range (for example, when the whole scene was originally in shadow or was shot at sunset). In such cases, you need to be careful to expand the range as much as possible without making parts of the image unrealistically light or dark. Do not clip any significant part of the image.
Guiding Principles for Color Correction Neutralizing Color Neutralizing color returns the colors in an image to the colors that a viewer would have perceived when standing beside the camera. Most film or video images depart from that ideal to some degree. One way to think about neutralizing color is to imagine working on a project where every shot includes a large card that we know is a perfectly neutral midgray color when viewed in ideal lighting conditions.
Guiding Principles for Color Correction Achieving Shot-to-Shot Consistency The most common reason for departing from the look of the original shot is to achieve simple shot-to-shot consistency in the finished program. If a scene in a drama that is supposed to take place at one time is shot over two days, and lighting conditions have changed from one day to the next, you probably want to adjust all the shots so they appear to be taking place at the same time.
Examples of Color Correction Problems Examples of Color Correction Problems The original images in the following examples require corrections to improve tonal range and to neutralize color casts. Each example provides the following information: • An analysis of the original image. • Step-by-step descriptions of the corrections with illustrations (including split-screen displays in some instances). • Sample RGB values that illustrate the results of the corrections.
Examples of Color Correction Problems Step 1: Contrast Correction The first step of this correction adjusts the Contrast slider in the Controls tab of the HSL group. This adjustment, which sets the Contrast slider value to 11, illustrates one of the simplest ways to affect the tonal range of an image. Despite its simplicity, the correction improves the image noticeably. Compare the look of the man’s hair on either side of the split-screen dividing line.
Examples of Color Correction Problems Step 2: ChromaWheel Correction The second step of this correction removes the color cast by making a single adjustment on the Midtones ChromaWheel control on the Hue Offsets tab of the HSL group. Because the image is obviously too green, the correction moves the crosshair pointer away from the green sector of the wheel. The adjustment shown is Hue:–94, Amount:11.
Examples of Color Correction Problems Alternative Techniques There are several alternate ways to make the tonal range adjustments to this image. You could use the Gain, Gamma, and Setup sliders as an alternative to the basic adjustment on the Contrast slider. You could also use the Master ChromaCurve graph in the Curves tab. Example 2 Analysis of Original Image Uncorrected image and reference image In this example, two different cameras have been used to shoot the rock climbers.
Examples of Color Correction Problems 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 Split screen: uncorrected image and image after both corrections The following illustration compares the corrected image to the reference image from the good camera. You could still fine-tune to match the shots more precisely, but the images from the two cameras are now much closer to one another.
22 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 828. 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 The following illustration shows the location of this graph within the Safe Color Settings dialog box. All settings in this illustration are at their default values. 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.
Understanding Safe Color Warnings The following illustrations present two graphs in detail — the first showing default levels and the second showing adjusted levels — and explain how to interpret the graphs. Default Safe Color Settings values (top) and their representation in the Safe Color Settings graph (bottom). The colored bars represent (top to bottom) the Composite, Luminance, Red, Green, and Blue levels. Bars on the left indicate the low limit, while bars on the right indicate the high limit.
Understanding Safe Color Warnings n Safe color warnings appear when you exceed limits in either field of the frame if you are working with two-field media. To move through video material one field at a time and see safe color information for every field, use the Step Forward One Field button or the Step Backward One Field button. In Color Correction mode, these buttons are available on the Move tab of the Command palette.
Managing Safe Color Warnings Safe Color Warnings in the Color Match Control If you select the Warn option for the RGB Gamut limit type, your Avid editing application displays warnings in the color swatches of the Color Match control when values exceed the limits you have set. If you use the eyedropper to select an input or output color that exceeds limits, a warning triangle appears beside the color information in the appropriate color swatch.
Making Adjustments to Achieve Safe Color Values To turn safe color warning on or off: t Click one of the Actions buttons in the Safe Color Settings dialog box, and select Warn to turn safe color warning on or Ignore to turn safe color warning off. The top Actions button controls Composite and Luminance warnings. The bottom Actions button controls RGB Gamut warnings. To set a safe color value range for one of the value types (Composite, Luminance, or RGB Gamut): 1.
Making Adjustments to Achieve Safe Color Values To bring RGB values within safe limits: 1. In the Master ChromaCurve graph of the Curves tab, click the lower left control point to select it. A circle appears around the point. 2. Under the Master ChromaCurve graph, type 16 in both the input text box and the output text box. The control point moves to 16, 16. Your Avid editing application adjusts RGB values under 16 up to 16. 3.
Safe Color Limits with Waveform and Vectorscope Information Safe Color Limits with Waveform and Vectorscope Information Broadcasters or distributors often issue safe color limits for video levels. Video levels outside safe color limits are generally known as “illegal” A program with illegal levels might be rejected on technical grounds or the image quality might suffer with further processing.
Safe Color Limits with Waveform and Vectorscope Information 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 Working with the Safe Color Limiter Effect In addition to the safe color warning system, you can also limit colors to safe ranges by applying the Safe Color Limiter effect. The Safe Color Limiter effect modifies color and luminance values in video material to bring the material within the safe color limits you define.
Working with the Safe Color Limiter Effect The following information provides important additional details on how the Safe Color Limiter effect operates: • The Safe Color Limiter automatically takes variations in broadcast formats into account, for example the differences between PAL and NTSC material, and the difference in the setup offset between NTSC and NTSC-J.
Working with the Safe Color Limiter Effect By default, when the Effect Editor is open, the effect changes the display in the Source monitor to an analysis mode that highlights pixels in the image that fall outside the current safe color limits. For more information on using and understanding this display, see “Using the Safe Color Limiter Analysis Display” on page 840. 4. If necessary, enter Effect mode and adjust effect parameters in the Effect Editor.
Working with the Safe Color Limiter Effect The color scheme used for the highlighting is the same as that used for the safe color warning indicators that can appear in the monitors in Color Correction mode: Color Description Yellow Indicates pixels that fall outside composite limits. White Indicates pixels that fall outside luminance limits. Red Indicates pixels that fall outside RGB gamut limits for red. Green Indicates pixels that fall outside RGB gamut limits for green.
23 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 3. You should check for updated firmware for your Artist Series controller by doing the following: a. 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. The EuControl Settings dialog box opens. b. Click the Surfaces tab, and then click Update Firmware.
Installing EuControl Software and Configuring the Avid Artist Color Configuring Avid Artist Series Controller Settings You use the Controller Settings dialog box to configure your Avid editing application so that it can communicate with your Artist Series controllers. 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.
Installing EuControl Software and Configuring the Avid Artist Color To configure Ethernet ports on a Macintosh system: 1. Connect your Artist Series controller to either the Ethernet 1 or Ethernet 2 port on your Macintosh system. 2. Select the Apple menu > System Preferences. 3. In the Other area, click Euphonix. The Euphonix dialog box opens. 4.
Installing EuControl Software and Configuring the Avid Artist Color Setting the IP Address Avid Artist Series controllers typically use Dynamic Host Configuration Protocol (DHCP) to obtain its IP address, usually from a router. The controllers revert to link-local addressing to generate an IP address if a DHCP server is not found on the network — for example, when you connect a controller to a system using an Ethernet cable.
Installing EuControl Software and Configuring the Avid Artist Color Configuring EuControl Settings Before you can use an Artist Series controller with your Avid editing application, you must configure the EuControl settings. You can connect your Artist Series controller to the EuControl application on your system so you can use it as a controller, connect additional workstations so they can access the controllers, and assign functions to buttons and keys on the Artist Series controller.
Installing EuControl Software and Configuring the Avid Artist Color EuControl Settings application opens. The All Surfaces list displays all available Artist Series controllers. 4. Click the Automatically add: menu, and select one of the following: n 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.
Installing EuControl Software and Configuring the Avid Artist Color 5. (Option) If you select My Surfaces Only and you want to specify additional controllers to connect to your EuControl application, select a controller in the All Surfaces list, and then click Add. The controller appears in the My Surfaces list. You can rearrange the order of the controllers using the up and down arrows, and you can remove controllers from the list using the Remove button.
Using Artist Color Using Artist Color You can use your Avid Artist Color media controller to perform color correction functions available in your Avid editing application in the Color Correction tool, including the following: • Make hue, saturation, and luminance (HSL) corrections • Apply automatic color corrections • Toggle color corrections on and off, so you can see the effect of your corrections • Adjust color and luminance using ChromaCurve graphs • Save and apply color correction templates
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 Applying Automatic Color Corrections The HSL group in the Color Correction tool allows you to make some color correction adjustments automatically in order to simplify the process of correcting basic problems. For a full description of automatic color correction functions, see “Using Automatic Color Corrections” in the Help.
Using Artist Color To apply a Color Correction effect template saved as a bucket, do the following: t Press the appropriate Paste button. Using Mouse Mode The Mouse Mode button changes the function of the center trackball so that you can use it to move the mouse pointer just as you do with a mouse device attached to your system. When you enter mouse mode, the two center Reset buttons supply the right-click and left-click functions of the mouse device.
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”).
Avid Artist Color Soft Keys The Soft Keys tab displays the name of the active application above the option menus and the soft key assignments. 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.
Customizing Avid Artist Color Controls Customizing Avid Artist Color Controls The Avid Artist Color includes three trackballs and trackwheels, nine soft keys, six soft knobs, copy/paste keys, and transport controls. You can modify the default soft key functions of the controls on your Artist Color controller by mapping them to buttons and keyboard shortcuts in your Avid editing application. You can also add custom key sequences, EUCON commands, and pages to the surface controls.
Customizing Avid Artist Color Controls 3. Do one of the following: t Select a button whose function you want to customize, and click Command. t Double-click a button whose function you want to customize. The Soft Key Command Editor opens. 4. Specify the action you want to associate with the control button. The Soft Key Command Editor organizes the default commands as they appear in the Command palette or in menus. 5. Close the Soft Key Command Editor.
Customizing Avid Artist Color Controls To add a function to 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. 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.
Customizing Avid Artist Color Controls 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. Click Add and select one of the following: - Key, to add menu commands or other application-specific commands that have keyboard shortcut equivalents - 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.
Avid Artist Color Controls Avid Artist Color Controls The following illustration lists the location of device controls on the Avid Artist Color. The specific functions controlled by the Artist Color change depending on which group or subdividing tab of the Color Correction tool you activate, and if you press or lock the Shift or Nav button on the Artist Color.
Avid Artist Color Controls 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 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. You can customize the key assignments for your controller by using the EuControl application and save your customizations in a separate application set.
Controller Application Sets Control Shift Control 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 F4 Mouse mode Mouse mode F5 Remove Effect Match F6 Undo Redo F7 Auto
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: • 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: • 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/Reset Gain: • Pres
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 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 856).
Controller Application Sets 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 monitor Output Vector Hue and Saturation Shuttle right monitor 874
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Index Numerics 0% to 100% Timewarp effect 601 1:66 Mask Film effect 570 1:85 Mask Film effect 570 10 bit units for color correction 751 100% to 0% Timewarp effect 601 10-bit effects processing 156, 158 14:9 Letterbox Reformat effect 594 16:9 display Color Correction monitors 741 in the Title tool 385, 385 16:9 Letterbox Reformat effect 594 16:9 Mask Film effect 570 16-bit effects rendering 175 24p or 25p editing projects finding flaws from telecine transfer 510 3D effect p
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Add To Open Groups command (Add Keyframe Mode menu) 116 Adding comments to color corrections 752 highlights to 3D effects 723 keyframes to keyframe graphs 111 pages to a rolling or crawling title 406 Adjusting colors for effects 93 effects 41 Pan and Scan effect 293 Render settings 169 shadow softness in titles 419 Advanced effect parameters (Avid Pan & Zoom effect) 664 Advanced keyframes Add Keyframe Mode menu and Delete Keyframe Mode menu 116 adding 111 aligning 126 and
ABCDEFGHIJKLMNOPQRSTUVWXYZ Aspect Ratio effect parameters (Pan and Scan effect) 706 Auto Balance button (Color Correction tool) 763 Auto Contrast button (Color Correction tool) 763 Auto Size mode (Title tool) 404 Auto Size Mode command (Object menu) 404 AutoCorrect options (Correction Mode settings) 812 Automatic color correction See Color correction Automatic Color Correction effect templates update behavior 754 Automatic color corrections adjusting contrast and balance 763 considerations when using 761 di
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ saving color correction effect templates in 754 saving custom colors to 774 titles in 436 viewing fast-saved titles in 424 Bit depth for effects processing 156, 158 Black lines removing with the Effect Aperture setting 30 Black point adjustments guidelines for 817 Blend effects 3D Warp 564 Dip to Color 564 Dissolve 564 Fade from Color 564 Fade to Color 564 overview of reference information 564 Picture-in-Picture 565 Superimpose 565 Blend effects (3D) 3D Warp 363 Blowup eff
ABCDEFGHIJKLMNOPQRSTUVWXYZ C Cache effect parameters (Avid Pan & Zoom effect) 665 Caption file formats 453 Caption files exporting from SubCap effect 464 importing into the SubCap effect 458 Captioning See SubCap effect Center Box Shape Wipe effect 596 Center effect parameters (Illusion FX Kaleidoscope effect) 640 Centered on Cut button (Quick Transition dialog box) 70 Centered on Cut effect parameter 622 Centered Zoom Squeeze effect 599 Changing perspective of 3D effects 724 Character mapping in Title too
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ saving as a template 814 Color Correction effect parameters (RGB Keyer effect) 689 Color Correction Effect Template button (Color Correction tool) 754 Color Correction Effect templates applying 757 clearing from buckets 756 saving to buckets 755 Color Correction effect templates automatic template update behavior 754 described 753 save behavior 754 Color correction groups color correction, displaying 746 Curves 784 described 746 displaying 747 HSL (Hue, Saturation, Luminan
ABCDEFGHIJKLMNOPQRSTUVWXYZ Left to Right 568 overview of reference information 568 Right to Left 568 Top Left to Bottom Right 568 Top Right to Bottom Left 568 Top to Bottom 568 Console window AVX plug-in effect messages 194 Constant Velocity option Avid Pan & Zoom effect 662 Contrast automatic color correction of 763 Control points manipulating in ChromaCurve graphs 787 Control points in Intraframe objects adding 497 deleting 497 described 489 moving 498 removing 497 selecting 498 Controller settings Avid A
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Crystal Illusion FX effect 573 Curve tool, for Intraframe editing 486 Curves group (Color Correction tool) 784 Curves tab (Color Correction tool) Color Match control 790 examples of adjustments in 791 making corrections in 786 Custom colors customizing names of 751 saving to bins 774 Custom Grid effect parameters 615 Custom Start effect parameter 622 Customizing color correction histogram display 751 Color Correction mode 751 Cut command for title elements (Edit menu) 421
ABCDEFGHIJKLMNOPQRSTUVWXYZ E Ease In and Ease Out Velocity options Avid Pan & Zoom effect 662 EBU N19 caption file format 453 Edge Wipe effects Horizontal 569 Horizontal Open 569 Lower Left Diagonal 569 Lower Right Diagonal 569 overview of reference information 569 Upper Left Diagonal 569 Upper Right Diagonal 569 Vertical 569 Vertical Open 569 Edit decision list (EDL) See EDL (edit decision list) Editing segments with tracking data 353 title text 395 titles into sequence 437 EDL (edit decision list) and fa
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Brush (FluidMotion Edit) 708 Bypass (SpectraMatte effect) 689 Cache (Avid Pan & Zoom effect) 665 Center (Illusion FX Kaleidoscope effect) 640 changes at advanced keyframes 133 Chroma Adjust 669 Chroma Control (SpectraMatte effect) 693 Chroma Key (RGB Keyer effect) 688 Circle (Illusion FX Pattern Generator effect) 650 Color (Paint Effect) 680 Color Correction (RGB Keyer effect) 689 Color Gain 671 Color Style 670 common 2D, overview of reference information 612 Composite/Lum
ABCDEFGHIJKLMNOPQRSTUVWXYZ Offset (Illusion FX Kaleidoscope effect) 640 Other Options (Avid Pan & Zoom effect) 660 overview of reference information 610 Path (Avid Pan & Zoom effect) 663 Perspective 724 Position 620 Position (3D) 725 Position (Avid Pan & Zoom effect) 661 Position (Rolling Title and Crawling Title effects) 711 Position H (14:9 Letterbox Reformat effect) 706 Profile 686 Reformat 706 Render Mode (Avid Pan & Zoom effect) 665 RGB Levels (Safe Color Limiter effect) 682 Rotation 726 Scaling 621 Sc
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Pan and Scan 284, 286, 287, 289, 290, 291, 292, 293, 294 parameters 86, 87, 91, 91, 93, 93, 93 PlasmaWipe 541 playback capabilities 23, 48 playback with tracking data 345 playing 47, 48 position coordinates 81 preview with Render On-the-Fly 49 processing in real time 154 processing when using Scratch Removal 513 promoting 42 real-time and non-real-time 23 real-time playback 153, 155, 155, 156, 158, 159 Reformat 283 Region Stabilize 351, 353 rendering 50, 51 rendering optio
ABCDEFGHIJKLMNOPQRSTUVWXYZ Extrapolate command (shortcut menu for keyframe track) 140 Extrapolate option for keyframe graph parameter values 140 Eyedropper 93 3 x 3 averaging of pixels for color correction 751 3 x 3 averaging of pixels, using 769 adjusting a color with 415 in Color Match control 769 options for color correction 751 selecting a color with 479 F Fade Effect button 36 fading titles with 442 Fade from Color Blend effect 65, 564 Fade to Color Blend effect 65, 564 Fading effects 36 titles 442 Fa
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Full Quality 10-bit command (Video Quality menu) 156, 158 Function keys using with title styles 430 G Gain with Color Effect 671 with key effects 684 Generating tracking data 330 Generation effect parameters (Illusion FX Lightning effect) 641 Generation effect parameters (Illusion FX Ripple effect) 653 Generation effect parameters (Illusion FX Sparkler effect) 656 Generator effect parameters overview of reference information 623 Generator effects overview of reference inf
ABCDEFGHIJKLMNOPQRSTUVWXYZ Horizontal Open Sawtooth Sawtooth Wipe effect 595 Horizontal Sawtooth Sawtooth Wipe effect 595 Horizontal zoom slider for keyframe graphs 105 HQ (Highest Quality) button (Effect Editor) 178 HQ button (Effect Editor) 87 HQ rendering 178 HSL (Hue, Saturation, Luminance) group (Color Correction tool) 776 HSL sliders (Color Correction tool) described 778 making adjustments with 777 Hue defined 611 Hue Offsets tab (HSL group in Color Correction tool) ChromaWheel controls in 783 describ
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Sparkler 573 Sphere 573 Swirl 573 Twist 573 Wave 573 Image effect parameters overview of reference information 660 Image effects Avid Pan & Zoom 578 Blur Effect 579 Color Correction 579 Color Effect 580 Flip 580 Flip-Flop 580 Flop 580 Mask 581 Mosaic Effect 579 overview of reference information 578 Paint 581 Resize 581 Safe Color Limiter 582 Scratch Removal 582 Stabilize 583 Submaster 583 Importing caption files into the SubCap effect 458 to the Avid Pan & Zoom effect 660
ABCDEFGHIJKLMNOPQRSTUVWXYZ summary of line and curve modification 496 using control points 497 using keyframes 505 using Selection tool 487 with Magic Mask 524 Intraframe objects grouping and ungrouping 506 layering 506 locking and unlocking 506 moving 502 reshaping 502 rotating along Z axis 503 scaling 504 Invert Key option 617 Inverting color effects 666 Inverting keys Full 720 IRE units for color correction 751 Iris Illusion FX effect 576 Isolating flaws for removal 514 Italic button (Title tool) 397 Ita
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Magic Mask parameters (2D) colorizing with 524 Magnified image moving in Effect Preview monitor 84 Make Crawl command for crawling titles 405 Mapping trackers 323, 324 Mark IN and Mark OUT buttons using in titles 442 Marks using with color correction 751 Marquee Title tool converting title styles to 431 described 383 opening 382 promoting titles to 445 Mask effect parameters (FluidMotion Edit) 709 Mask Film effect 570 Mask Image effect 581 Master clips imported 267 Match Fr
ABCDEFGHIJKLMNOPQRSTUVWXYZ Mattes preparing for key effects 267 Media Creation tool 175 Media drives speed limitations with real-time effects preview 155 Media files 183, 184, 186 Media Station rendering effects for 180 Melt Illusion FX effect 576 Memory usage Avid Pan & Zoom effect 307 Memory usage for AVX plug-in effects 188, 194 Menu commands Add Page (Object menu) 406 Auto Size Mode (Object menu) 404 Bring Forward (Object menu) 506 Bring to Front (Object menu) 506 Copy to Page (Object menu) 406 Export T
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ O interface 314 manipulating data points 339 offset tracking 332, 332, 333 overview 310 playback of effects 345 preparations for generating tracking data 320 reference frames 337 reusing data 355 selecting image areas 327 set-up 319, 326, 328 smoothing data 337, 339 trackers 323, 324, 325 tracking data 334, 335 tracking engines 329 Tracking window 316, 317 workflow 312 Movement effect parameters (Illusion FX Sparkler effect) 657 Moving advanced keyframes 123 keyframes 150
ABCDEFGHIJKLMNOPQRSTUVWXYZ selecting color 479 using Magic Mask parameters 524 Paint Image effect 581 PAL (Phase Alternating Line) video frame size and safe title/action guidelines 390 Pan & Zoom See Avid Pan & Zoom effect Pan and Scan effect 284, 286, 287, 289, 290, 291, 292, 293, 294 Pan and Scan Reformat effect 594 Pan and Zoom See Avid Pan & Zoom effect Panning Avid Pan & Zoom effect 298, 661 keyframe graphs 108 Parameters Blur effect 538 Mosaic effect 538 Parameters (2D) Acceleration 537 Blur effect 53
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Plug-in effects 187 Point size setting for title text 397 Point size button (Title tool) 397 Polygon shape creation 483 Polygon tool for Intraframe editing 483 Position (3D) effect parameters 725 Position bar 42 Position coordinates for effects 81 Position display for two-field media 78 Position effect parameter (Avid Pan & Zoom effect) 661 Position effect parameters 620 Position effect parameters (Rolling Title and Crawling Title effects) 711 Position Graph display button
ABCDEFGHIJKLMNOPQRSTUVWXYZ Reference Current command (Color Correction shortcut menu) 742 Reference frames displaying in Color Correction monitors 742 Reference frames for motion tracking 337 Reformat effect parameters overview of reference information 706 Reformat effects 14:9 Letterbox 594 16:9 Letterbox 594 4:3 Sidebar 594 overview of reference information 594 Pan and Scan 594 Region Stabilize effect 351, 353 Remove Color Cast buttons (Color Correction tool) 765 Remove Effect button 37 Remove Effect butt
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Revising titles in a bin 427 titles in a sequence 445 Rewind button (Effect Preview monitor) 77 RGB gamut limit type described 827 RGB Histogram command (Color Correction monitor Source menu) 742 RGB Histogram display (Color Correction monitors) 802 RGB Keyer Key effect 586 RGB Levels effect parameters (Safe Color Limiter effect) 682 RGB levels option Avid Pan & Zoom effect 664 RGB Parade command (Color Correction monitor Source menu) 742 RGB Parade display (Color Correcti
ABCDEFGHIJKLMNOPQRSTUVWXYZ Horizontal Sawtooth 595 overview of reference information 595 Vertical Open Sawtooth 595 Vertical Sawtooth 595 Scaling keyframe graphs 105 Scaling (3D) effect parameters 727 Scaling effect parameters 621 Scaling Intraframe objects 504 Scratch effect parameters (Scratch Removal effect) 683 Scratch removal finding flaws from telecine transfer 510 frame or field processing 513 isolating flaws 514 parameter setting examples 522 removing flaws 516, 518 selecting clean material 510 usin
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Shelf keyframe interpolation option 134 Shortcuts saving titles with keyboard 424 Show Add Keyframe Mode Menu command (Effect Editor shortcut menu) 147 Show Alignment Grid command (Alignment menu) 391 Show Alpha option 617 Showing advanced keyframe graph display 102 Single-field step 85 Size effect parameter (Avid Pan & Zoom effect) 661 Size of effect adjusting 736 Sizing effects 38 Skew effect parameters 734 Slats Shape effect 728 Slider controls (Effect Editor) 91 Slip K
ABCDEFGHIJKLMNOPQRSTUVWXYZ Stamp (3D) clearing 378 creating 378 Stamp effect parameters 735 Standard keyframes See Keyframes Starting at Cut button (Quick Transition dialog box) 70 Starting at Cut effect parameter 622 SteadyGlide 337, 339 Step Backward One Field button (Effect Preview monitor) 77, 85 Step Forward One Field button (Effect Preview monitor) 77, 85 Step In button (Timeline) 270 Step Out button (Timeline) 270 Stepping two-field media 85 Stretch Points Mode button (Tracking window) 317 Stretching
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Text tool (Title tool) defined 388 Thai language Title tool 451 Third-party plug-in effects 187 Threshold point PlasmaWipe effects 541, 541 Thumbwheel controls (Effect Editor) 91 Thumbwheels command (Effect Editor shortcut menu) 147 Timecode Burn-In Generator effect 572 Timeline adjusting effects 70 changing nested effect order 274 color coding for effects 24 deleting effects 37 dragging titles into 438, 440 effect icon display 29 expanding nested effects 271 real-time pla
ABCDEFGHIJKLMNOPQRSTUVWXYZ video tracks as background 391 working with shadows 418 Title Tool command (Windows menu) 382 Titles See also Crawling titles See also Rolling titles adding pages to 406 adding shadows to 418 adjusting in Effect Editor 443 adjusting using keyframes 443 aligning 421 applying styles 433 bold text in 397 color of background 391 copying or moving objects to 406 crawling, defined 402 creating a glow or halo effect 419 creating color background for 390 creating media for unrendered 448
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Tracking boxes 327 Tracking button (Tracking window) 317 Tracking data 334, 335, 339, 342 conforming from Symphony Meridien systems 356 copying and pasting 355 generating 330 preparing to generate 320 reusing 355 smoothing 339 Tracking effect parameters 621, 717 Tracking engines described 329 Tracking information 78 Tracking window 316, 317 setting up tracking 328 Tracks video, as background in Title tool 391 Tracks of video gain levels 684 swapping 3D effects on 720 swapp
ABCDEFGHIJKLMNOPQRSTUVWXYZ V Variable Speed effect parameters 704 Variable Speed Motion effect 589 Vector-based objects creating 489 described 489 Vectorscope command (Color Correction monitor Source menu) 742 Vectorscope display (Color Correction monitors) 802 Vectorscope monitor (Color correction) displaying 801 Vectorscope monitors (Color Correction) using to achieve safe color limits 836 Vectorscope monitors (Color correction) described 802 guidelines for use 809 Velocity effect parameter (Avid Pan & Z
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ YCbCr Parade command (Color Correction monitor Source menu) 742 YCbCr Parade display (Color Correction monitors) 802 Z Z Spin Spin effect 598 Zig-Zag Matrix Wipe effect 588 Zoom Factor for Avid Pan & Zoom effect 661 Zoom to Curve Height button (Effect Editor keyframe graphs) 107 Zooming Avid Pan & Zoom 298 Avid Pan & Zoom effect 661 Effect Preview monitor 97 keyframe graphs 105 Z-Rotation 538 Z-rotation tool for intraframe effects 503 906
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