Matrox RT.
Trademarks Matrox Electronic Systems Ltd. ....................................... Matrox®, Axio™, DigiSuite™, EZ-MXF™, Flex CPU™, Flex GPU™, Mx.tools™, RT.X2™ Adobe Systems Inc.......................................................... Adobe®, After Effects®, Encore®, Flash®, Photoshop®, Premiere®, Clip Notes™, Soundbooth™ Apple Computer, Inc. ....................................................... Apple®, FireWire™ Autodesk, Inc. .................................................................
Contents Chapter 1 Introducing Matrox RT.X2 Welcome to Matrox RT.X2 ...............................................................2 Matrox RT.X2 SD key features ...............................................................2 Matrox RT.X2 and RT.X2 LE key features ..............................................2 About this manual ............................................................................ 3 Style conventions...................................................................................
ii Displaying warnings in Adobe Premiere Pro’s Events panel.......... 19 Mixing interlaced and progressive clips in a project ...................... 19 Mixing SD and HD clips in a project .............................................. 20 Defining your General settings .......................................................21 Selecting options for accelerated Premiere Pro effects....................... 24 Specifying your video output settings ..................................................
iii Cropping your clip ..........................................................................55 Using Select Crop ................................................................................56 Applying a mask to your effect ...................................................... 57 Using Select Mask ...............................................................................58 Creating a primary color correction...............................................59 Using Split View ....................
iv Creating a mask mosaic effect .................................................... 118 Creating a move & scale effect....................................................120 Creating an old movie effect ........................................................122 Creating a page curl effect ..........................................................126 Creating a pan & scan effect .......................................................128 Creating a ripple effect.............................................
v Required steps to use the WYSIWYG plug-ins ............................ 162 Adobe After Effects ........................................................................... 162 Adobe Photoshop.............................................................................. 162 Autodesk 3ds Max............................................................................. 162 Autodesk Combustion ....................................................................... 162 eyeon Fusion .............................
vi Capturing HDV and SD material on Matrox RT.X2 SD ..................182 Using the Matrox MPEG-2 I-frame HD codec ..............................183 MPEG-2 I-frame HD codec workflow example for offline editing....... 183 MPEG-2 I-frame HD codec workflow example for online editing....... 185 Using Matrox RT.X2 to edit Matrox Axio offline HD projects........186 Supported video compression formats ........................................ 187 Supported master output formats......................................
Cha pter 1 Introducing Matrox RT.X2 This chapter outlines some of the features of the Matrox RT.X2 product line, and describes the available Matrox RT.X2 documentation.
2 Welcome to Matrox RT.X2 Matrox RT.X2 products let you get maximum productivity from Adobe Premiere Pro, and are ideal for corporate communicators, event videographers, project studios, educational facilities, and digital filmmakers. Matrox RT.X2 SD is for users who want to deliver in SD only, while Matrox RT.X2 and RT.X2 LE give you the flexibility to edit, view, and output HDV and SD material. Matrox RT.X2 SD key features The following are key features of Matrox RT.
3 • Native .mxf file support for Panasonic P2 (SD and 720p formats) in Adobe Premiere Pro and After Effects. • Matrox EZ-MXF utility for native .mxf file support in Video for Windows (.avi file) applications. • Realtime mixed-format multi-camera editing. • Realtime high-quality hardware downconverting for SD output of an HD project. • Accelerated media encoding, including export to DVD, Flash Video, and Adobe Clip Notes.
4 • A plus (+) sign is used to indicate combinations of keys and/or mouse operations. For example: $ CTRL+C means to hold down the CTRL key while pressing the C key. $ SHIFT+ click means to hold down the SHIFT key while you click an item with the mouse. How video formats are expressed With the exception of NTSC and PAL, all SD and HD video formats are expressed in the Matrox RT.X2 documentation and dialog boxes as follows: VRp or i @ n fps Where: • VR is the vertical resolution.
Cha pter 2 Working with .mxf, .mp4, and .avi Files This chapter shows you how to work with .mxf, .mp4, and .avi files on Matrox RT.X2.
6 Working with native .mxf files in Adobe Premiere Pro and After Effects ¦ Note Matrox RT.X2 SD does not support working with .mxf files. Matrox RT.X2 supports the MXF file format, which allows you to use .mxf files that are created with the Panasonic P2 camera (in SD and 720p formats) directly in Adobe Premiere Pro and After Effects without having to convert the files to the traditional AVI file format. ¡ Important When using a Panasonic P2 camera to shoot material at 486p @ 23.
7 Working with native XDCAM EX (.mp4) files in Adobe Premiere Pro ¦ Note Matrox RT.X2 SD does not support XDCAM EX files. Matrox RT.X2 supports realtime playback of Sony XDCAM EX 1080i/p and 720p .mp4 files in Adobe Premiere Pro. Both 1080i/p HQ-mode (1920 ×1080) and 1080i/p SP-mode (1440×1080) clips are supported in your 1080i/p projects, and will be automatically scaled to your project’s frame size as needed. For example, when you import XDCAM EX 1080i @ 29.
8 Displaying information for clips in Windows Explorer Matrox RT.X2 extends the functionality of Windows Explorer by allowing you to easily view and manage your .mxf and .avi files by providing thumbnail previews (Vista and XP) and additional file details (XP only). ¦ Note You can view thumbnails and additional details for .mxf and .avi files in any application where you can choose the thumbnails or details view, such as Adobe Premiere Pro’s Import dialog box. Thumbnails preview Matrox RT.
9 2 Choose View > Choose Details. 3 In the Choose Details dialog box, select the check boxes corresponding to the desired “Matrox” or “Matrox P2” details. Detail names followed by “Matrox P2” are specific to Panasonic P2 files (for example, User Clip Name, Shooter, Shooting Location, and Scene No.). 4 Click OK. 5 To apply the change to all folders, choose Tools > Folder Options > View > Apply to All Folders.
10 • For .mxf files that have a frame size of 1440 ×1080, the created reference .avi files will have a frame size of 1920×1080 and a 1.333 pixel aspect ratio. To display these .avi files correctly in Adobe After Effects or Adobe Premiere Pro, you’ll need to use the Interpret Footage command to change the pixel aspect ratio to 1.0. You can configure Matrox EZ-MXF to create only video files, only audio files, or both types of files. By default, Matrox EZ-MXF is set to create both video and audio files.
11 When you select an .mxf file in the VIDEO folder, Matrox EZ-MXF looks for any associated audio .mxf files in the AUDIO folder, and creates the reference .avi and associated .wav files in the VIDEO folder. For example, if you select the file 00001A.mxf from the VIDEO folder, the reference .avi file (00001A.avi) and all associated audio files, such as 00001A00.Mono.wav and 00001A01.Mono.wav, will be created in the VIDEO folder.
12 files will be named Filename_Ref.avi, Filename_Ref.Mono1.wav, and Filename_Ref.Mon2.wav. For example, if you’re creating both video and audio files for a file named Demo.avi, your reference files will be named Demo_Ref.avi, Demo_Ref.Mono1.wav, and Demo_Ref.Mono2.wav (only mono reference .wav files can be created for stereo HDV clips). ¦ Note The file type settings will remain in effect until you change them. 3 Right-click the desired HDV .
13 ° To create an .avi file with alpha from a .tga sequence: 1 In Windows Explorer, right-click the selected .tga file(s), choose Matrox AVI + Alpha > Select Format, and then click the desired .avi output video format, such as 1440x1080i @ 29.97 fps. ¦ Note Formats that are not supported by your Matrox RT.X2 hardware are identified with an asterisk (*) in the list. If you create an .avi file using an unsupported format, it will not play back in real time on your Matrox RT.X2 system.
14 4 Click the Configure button to specify various options for the MPEG-2 I-frame compression. The configuration options are the same as when you capture or export video using Adobe Premiere Pro (see “Selecting your MPEG-2 I-frame settings” on page 39). 5 Under Destination Folder, either select Same folder as TGA, or click Browse to specify where the .avi file will be created. Select Overwrite existing file if you want to overwrite any .avi file with the same name in the specified folder.
Cha pter 3 Defining Your Adobe Premiere Pro Settings This chapter explains how to define various settings for using Matrox RT.X2 with Adobe Premiere Pro. This includes specifying your project and export settings.
16 A note about running other programs with Adobe Premiere Pro For the best performance, you shouldn’t run any other programs at the same time as Adobe Premiere Pro. If you choose to do so, however, make sure that you start Adobe Premiere Pro and open your Matrox RT.X2 project before starting the other programs. Otherwise, Adobe Premiere Pro may fail to start. If this happens, quit all programs and then restart Adobe Premiere Pro.
17 7 Repeat steps 5 and 6 for every audio input source that you intend to use with your Matrox RT.X2 system. For example, if you intend on recording audio from a microphone, set the volume levels for the Microphone input. 8 Click OK. 9 Click OK to close the dialog box. For Windows XP 1 Double-click the speaker icon on the Windows taskbar.
18 Loading project presets The Matrox realtime plug-in for Adobe Premiere Pro includes project presets that you can load to immediately apply appropriate Matrox RT.X2 settings. For more information about using the Matrox project presets for working with different types of projects, see Appendix B, “Matrox RT.X2 Workflows.” ° To load a Matrox project preset: 1 Start Adobe Premiere Pro and click the New Project icon. The New Project dialog box appears.
19 Setting up your scratch disks When specifying the location of your scratch disks in Adobe Premiere Pro, make sure you follow the recommendations in your Adobe Premiere Pro User Guide. For example, always store your video and audio files on an A/V drive. ° To specify your scratch disks: 1 Choose Edit > Preferences > Scratch Disks. 2 Under Scratch Disks, select an appropriate A/V drive letter for each scratch disk type.
20 Mixing SD and HD clips in a project Matrox RT.X2 supports realtime playback of SD clips in an HD project, and HD clips in an SD project. To do this, however, the clips must be scaled to your project’s frame size. If you want the scaling to be performed when you import the clips into your project, choose Edit > Preferences > General and select Default scale to frame size. This option does not affect clips that have already been imported into your project.
21 Defining your General settings The Matrox Playback Settings dialog box has several pages that you can use to specify various settings for editing in Adobe Premiere Pro on Matrox RT.X2. When you select a Matrox project preset, such as DV Standard, a Matrox editing mode is automatically set for your project, and many settings are optimized for editing on Matrox RT.X2. ° To specify your General settings on Matrox RT.X2: 1 Choose Project > Project Settings > General and click the Playback Settings button.
22 4 Under Video Luma Level, select the type of processing that you want to be applied to luminance levels in your video when rendering and previewing video in a sequence: Processes video using the standard legal range of luminance levels for broadcast video. Any super black or super white luminance levels (that is, levels that fall below the standard black level or exceed the standard white level) are clipped. $ Broadcast $ Post Production Processes video for post production.
23 $ Create audio conform and PEK files Creates both audio conform and .pek files. $ Create PEK files Creates only the .pek files (audio conform files won’t be created). You can clear either one or both of these options to indicate that you don’t want audio conform and/or .pek files to be created for clips imported into your project (files may still be created for certain types of clips).
24 Selecting options for accelerated Premiere Pro effects To select your options for processing accelerated Premiere Pro effects on Matrox RT.X2: 1 Choose Project > Project Settings > General and click the Playback Settings button. 2 Click the General tab.
25 to the Matrox move & scale effect. You can map to the Matrox 3D DVE effect only if you have a display card that supports the Matrox hardware-accelerated effects. For more information, see “Enabling and disabling the Matrox hardware-accelerated effects in Adobe Premiere Pro” on page 169. 4 Click OK to save your settings and return to the Project Settings dialog box. Specifying your video output settings You can specify various settings to configure your video output signals from the RT.X2 breakout box.
26 proportions on an NTSC or PAL monitor, select the 16:9 display setting on the monitor. 5 If the Pulldown Method list is available, select the pulldown method you want to be applied to your output video (Standard 2:3 or Advanced 2:3:3:2). You should select Advanced 2:3:3:2 only if you’ll be recording to a DV-1394 device that supports this pulldown method. Depending on your project’s frame rate and the current master output format, a pulldown method may automatically be selected.
27 Selecting your DV-1394 output settings You can choose to output a sequence from the Timeline panel over the 1394 interface to perform an export to DV tape, and select the format you want for your DV-1394 output. ¦ Note These settings are not needed to export to an HDV device, and the DV-1394 Output page won’t be available if you’re working with a 1440 ×1080i/p project. ° To select your DV-1394 output settings: 1 Choose Project > Project Settings > General and click the Playback Settings button.
28 Defining your Capture settings The Matrox Capture Settings dialog box has pages that you can use to specify your settings for capturing video and audio in Adobe Premiere Pro on Matrox RT.X2. Remarks • When you specify your capture settings on Matrox RT.X2, VU meters will be displayed to let you monitor your audio input levels. For more information, see “Monitoring audio levels for capture” on page 33. • Although Matrox RT.
29 4 Under Input Device, select one of the following devices: $ ¦ RT.X2 or RT.X2 SD to capture material from an analog source connected to your RT.X2 breakout box. Note Analog input is not supported for 486p @ 23.98 fps and 29.97 fps, 576p @ 25 fps, 1440 ×1080p, and 720p projects. $ DV-1394 to capture material from a DV-1394 device connected to your RT.X2 breakout box. 5 If you selected the RT.
30 Captures video to MPEG-2 intra-frame format using the 4:2:2 Profile @ Main Level at a selected data rate (SD resolution only). For the best results when capturing video clips on which you’ll be applying chroma key effects, you should use this codec instead of a DV codec. $ Matrox MPEG-2 I-frame $ Matrox MPEG-2 I-frame HD Captures video to MPEG-2 intra-frame format using the 4:2:2 Profile @ High Level at a selected data rate (HD resolution only).
31 Specifying your audio capture settings You can specify various audio capture settings, such as to specify your input source and the type of audio files (either stereo .wav or mono .wav) that you want to create when capturing audio on Matrox RT.X2. Remarks • When you capture to an .avi file on Matrox RT.X2, the clip’s video and audio are saved to the .avi file, and the clip’s audio is also saved to one or more separate .wav files. You could choose to edit the separate .
32 Remarks $ If all available audio inputs don’t appear in the Input Source list, select List all audio inputs. If your audio input connection does not appear in the list, you must unplug the TO AUDIO CARD IN connector and connect it to an audio input on your sound card that appears in the list. $ If your analog audio source appears with an * beside it in the list, your sound card does not have matching audio inputs and outputs.
33 be used only if the .avi file does not have any associated .wav files. Therefore, if you perform audio post processing on your .avi files, make sure you delete the associated .wav files so that only the embedded audio in the .avi files will be used in your project. $ When performing an audio-only capture, Matrox RT.X2 supports capture of only one stereo pair. Your first stereo or first two mono channels will be saved to a single stereo .wav file (any other channels will be ignored). When RT.
34 Notes about capturing to Matrox .m2v files When capturing to Matrox .m2v files, keep the following points in mind: • Automatic scene detection (Scene Detect) is not supported, but batch capture is supported. • The associated .wav files for your .m2v clips are not automatically imported to the Project panel. • When performing a batch capture of .m2v clips, the captured video and audio clips won’t be automatically imported to the Project panel.
35 Capturing HDV material on Matrox RT.X2 SD On Matrox RT.X2 SD, you can capture native HDV 1080i/p (1440×1080i/p) material over the 1394 interface in an SD project using Adobe Premiere Pro’s HDV capture feature. Depending on your project’s video format, you can capture: • HDV 1080i/p @ 29.97 fps material in an NTSC or 486p @ 29.97 fps project. • HDV 1080i/p @ 25 fps material in a PAL or 576p @ 25 fps project. • HDV 1080p @ 23.98 fps material in a 486p @ 23.98 fps project.
36 Exporting to a Matrox .avi file Several software codecs are included with Adobe Premiere Pro so that you can export your video to different formats. Your Matrox RT.X2 system adds several Matrox codecs to the ones included with Premiere Pro. Because the Matrox codecs use your RT.X2 hardware to accelerate rendering, they can export video much faster than when you use a software codec. The supported formats for exporting to a Matrox .
37 3 From the menu on the left side of the dialog box, choose Video. 4 From the Compressor list, select the compression format you want for your exported file. ¡ Important The Matrox codecs are listed in all supported SD and HD formats. The format is shown in brackets beside the codec name, such as [NTSC]. Make sure you select a Matrox codec in one of the supported video formats for your project as listed in the above table. Renders video to DV or DVCAM format.
38 7 It’s recommended that you do not select Recompress. This retains the quality of your video. It also optimizes the speed of the export because realtime video segments that have no effects will be copied directly to disk without recompression, assuming that the compression and video format of your video clips matches the format to which you’re exporting. 8 Choose OK to save your export settings. ¦ Note Exported audio will be embedded in your .avi file and also saved as one or more separate .
39 Selecting your MPEG-2 I-frame settings When you select the Matrox MPEG-2 I-frame or Matrox MPEG-2 I-frame HD format to capture or export your video using Adobe Premiere Pro, you can specify various settings for the MPEG-2 I-frame compression. ° To select your MPEG-2 I-frame settings: 1 Click the Configure button. This displays a dialog box similar to the following: 2 Drag the Data Rate slider until your desired data rate is displayed.
40 ¦ Note The higher the DC precision value that’s used to capture or render your video, the more likely that the DC content will be increased at the expense of the AC content in the encoded stream. This may result in lowering the overall quality of the compressed stream at a specified data rate.
41 Selecting your MPEG-2 IBP settings When capturing video to a Matrox .m2v file using Adobe Premiere Pro, the capture format is set to Matrox MPEG-2 IBP. You can specify various settings for the MPEG-2 IBP compression. ° To select your MPEG-2 IBP settings: 1 Click the Configure button. This displays a dialog box similar to the following: 2 Under Data Rate (Mb/sec), you can select the encoding type and data rate for the MPEG-2 IBP compression.
42 Video is compressed at varying data rates based on the complexity of the video. The target data rate you select is used as the average data rate for the compression. • Variable bit rate (VBR) $ Min, Target, and Max sliders Use these sliders to select your desired data rate. The higher the target data rate you select, the better the video quality will be. Only the Target slider will be available if you selected Constant bit rate (CBR).
43 Exporting using Matrox Media Encoder You can use Matrox Media Encoder to export clips from a sequence in the Timeline panel to various formats for specific media delivery, such as Windows Media or RealMedia streaming media format, or MPEG-2 format for DVD or Blu-ray Disc. For example, you can use Matrox Media Encoder to export video from your sequence to an MPEG-2 Elementary (.m2v) file that’s suitable for use with Adobe Encore.
44 The export settings are the same as provided for Adobe Media Encoder. For details on using these settings, see your Adobe Premiere Pro documentation. Exporting using Matrox Clip Notes You can use Matrox Clip Notes to perform an accelerated export of your sequence to a PDF file. For example, you can export your sequence to Windows Media format and have the video embedded in a PDF file that you can send to reviewers for their comments.
45 Exporting your sequence to tape Your Matrox RT.X2 system lets you export your Adobe Premiere Pro sequence to tape using DV-1394 or RS-422 device control. You can use Matrox DV/HDV device control to control DV-1394 devices. For RS-422 devices, you can use Adobe Premiere Pro’s serial device control as explained in your Adobe Premiere Pro documentation.
46 Exporting to DV tape using DV-1394 device control You can use Matrox DV/HDV device control when exporting your Adobe Premiere Pro sequence to a DV-1394 device. DV-1394 export to HDV, however, is not supported for 720p projects. ° To export your sequence to tape over the 1394 interface: 1 Open the project and activate the sequence you want to export to tape. 2 Make sure your DV-1394 device is properly connected and turned on.
47 Creating an SD project in 16:9 format When editing on Matrox RT.X2, you can choose to work with SD source video that’s been recorded in either the 4:3 standard TV screen format, or the widescreen 16:9 format. ° To create an SD project in 16:9 format on Matrox RT.X2, do the following: 1 Record your video onto tape with your camera set to the widescreen 16:9 format. The video will be recorded as horizontally compressed 4:3 (anamorphic) video.
48 Your notes Chapter 3, Defining Your Adobe Premiere Pro Settings
Cha pter 4 Setting Up Realtime Effects with Adobe Premiere Pro This chapter explains how to set up realtime effects using the Matrox realtime plug-in for Adobe Premiere Pro.
50 Available effects The Matrox realtime plug-in for Adobe Premiere Pro lets you: • Set up spectacular realtime Matrox effects and transitions. The plug-in includes color corrections, chroma keys, luma keys, 3D DVEs, page curls, shadows, and many more effects. ¦ Note Certain effects will be available only if you have a display card that supports the Matrox hardware-accelerated effects.
51 transition, except that the controls provided let you create a Matrox transition, as is explained in this chapter. For instructions on how to apply effects to your productions in Adobe Premiere Pro or Adobe After Effects, refer to your Adobe documentation. ¡ Important To use the Matrox realtime plug-in for Adobe Premiere Pro, you must have defined your Adobe Premiere Pro settings for use with your Matrox RT.X2 system, as explained in Chapter 3, “Defining Your Adobe Premiere Pro Settings.
52 Transforming your clip Many of the Matrox effects allow you to adjust the scale, position, and rotation of a clip by applying various transform settings. You can adjust the transform settings in two ways: • Use the transform controls in the Effect Controls panel to adjust the settings you want. • Work directly in Adobe Premiere Pro’s Program Monitor using your mouse.
53 • (X, Y) Scale Use these controls to make your clip smaller or larger. Full-screen size is represented as 100%. You can shrink your clip to 0% or enlarge it to 1000%. Note, however, that by enlarging your clip, the resolution may become blurry. You can adjust the size controls individually, or if you select Fixed Aspect Ratio, you only need to adjust the x axis. Adjusting the percentage on the x and y axes changes your clip’s width and height, respectively.
54 Transforming a clip in the Program Monitor You can use your left mouse button to resize, position, and rotate your clip directly in the Program Monitor. Effects that support transforming a clip in the Program Monitor have the Transform icon to left of the effect name in the Effects Controls panel.
55 Cropping your clip Many of the Matrox effects allow you to apply crop settings to your clip. To apply crop settings, click the triangle next to Crop to expand the property list. ¦ Note If you’re applying a Matrox effect that doesn’t provide the Crop property, you can apply realtime cropping to your clip using Adobe Premiere Pro’s crop effect (available in the Video Effects bin under Transform). The Premiere Pro crop effect will remain realtime unless you enable the Zoom option.
56 Using Select Crop To apply crop settings to your clip using the Select Crop dialog box, click the triangle next to the Select property to expand it, then click the Select Crop button: ¦ Note When working with the Matrox cube effect, Select Crop is available only for the primary source. The Select Crop dialog box allows you to crop your clip in two ways: • Click and drag directly in the Select Crop window to create the rectangular cropping area.
57 Applying a mask to your effect Many of the Matrox effects allow you to add a mask to define the area where you want to apply your effect. For example, you may want to apply a color correction to only one area of your clip and leave the rest of the clip untouched. Adding a mask to the chroma or luma key effect and selecting Transparent Outside Mask lets you disable keying in the area outside the mask so that only the underlying image appears outside the mask.
58 Using Select Mask To apply a mask to your Matrox effect using the Select Mask dialog box, click the triangle next to the Select property to expand it, then click the Select Mask button: The Select Mask dialog box allows you to apply a mask in two ways: • Click and drag directly in the Select Mask window to create the rectangular area where you wish to apply the mask. You can resize the mask area by dragging any side of the rectangle.
59 Creating a primary color correction Color correction is important for all productions, whether you want to achieve continuity when cutting between shots, ensure broadcast safe levels, or establish and emphasize a “look.” Matrox color correction provides basic proc amp control, three-way color correction complete with master, shadows, midtones, and highlights control, and input and output level control. You can also easily match colors with a reference shot.
60 the clip will remain unchanged. For more information, see “Using Split View” on page 61. ¡ Important This option is for preview only. You should clear it before you render your clip, otherwise the split will appear in your video output. • Proc Amps The processing amplifier (proc amp) controls allow you to adjust different aspects of your clip: Adjusts the tint of the colors in the image.
61 luminance of your clip directly within the graph. For more information, see “Using the luma mapping graph” on page 72. $ Numerical Lets you adjust the luma mapping settings numerically by entering values in the text boxes, or by dragging the corresponding sliders. • Input Levels (Black and White) These controls let you fine-tune your clip’s brightness and contrast by changing the luminance value that represents black, white, or gray.
62 The area within the split view rectangle will display any color correction you make, while the area outside remains unchanged. In the following example, the split view rectangle has been moved to display the color correction in the area surrounding part of the Chinese character on the wall: Remarks • The Split View option is for preview only. You should disable it before rendering your material, otherwise the split will appear in your video output.
63 Using RGB curves ¦ Note The RGB Curves settings are available only with the advanced versions of the Matrox primary and secondary color correction effects. With RGB curves, you can individually adjust the red, green, and blue color channels across the entire tonal range of your clip, or adjust all three color channels simultaneously with a master curve.
64 Click the R, G, or B button to select the curve corresponding to the color channel you want to adjust, or click the Master button for the master curve, and then drag the curve to obtain your desired effect. For example, click the R button and drag the top right end point towards the top left of the grid to increase the slope of the curve and add red to the clip. Drag that same point towards the bottom right of the grid to decrease the slope of the curve and remove red from the clip.
65 If you want to reset the Master, R, G, or B curve to its default setting at any time, click the appropriate Reset button. Red curve Reset button ¥ Tip By applying a mask to your clip, you can adjust the RGB channels for that specific area of your clip, or invert the mask to isolate that same area from being affected by your RGB adjustments. Adjusting tonal range ¦ Note The Tonal Range settings are available only with the advanced versions of the Matrox primary and secondary color correction effects.
66 Using the color balance graph The color balance graph allows you to modify the Color Balance settings for each tonal range directly within the color maps. You can also perform an auto balance or a color match using the buttons beneath the color maps. For more information, see “Performing an auto balance” on page 69 and “Matching colors between two clips” on page 70. Depending on which color map you use, you can adjust your clip globally, or only the shadows, midtones, or highlights.
67 want to decrease. For example, if you move the handle towards red, you also decrease cyan by the same amount, as shown in the following diagram: RED YELLOW GREEN ¥ Tip MAGENTA BLUE CYAN For increased precision, hold down the ALT key while you drag the handle. If you want to reset the color balance ( Hue and Saturation) setting, click the Reset Color Balance button under the color map you are using.
68 luminance for only the shadows, drag the luminance slider under the Shadows color map.
69 Performing an auto balance Before matching colors, you can perform an auto balance on your target clip to automatically apply a color shift to your clip to compensate for different lighting conditions. To do this, click the Auto Balance button under the corresponding color map and use the eyedropper to select the area you want to correct in your clip.
70 Matching colors between two clips You can perform a color match to match colors between two clips (such as skin tone, sky, etc.). The color match lets you select colors from a reference clip to match to your target clip. You can affect the colors globally (Master), or just the Shadows, Midtones, or Highlights . You can select the colors for your reference color and match color by either clicking the Color Picker button or the eyedropper.
71 6 Select a reference color from your reference clip by using the Reference Color eyedropper under the color map you want to affect (Master, Shadows, Midtones, or Highlights ). Reference Color eyedropper For example, to match a very dark color in your reference clip to your target clip, click the Reference Color eyedropper under the Shadows color map, and click (or click and drag) on the desired color in your reference clip.
72 Using the luma mapping graph To modify your luma mapping values directly in the graph, click the triangle next to the Luma Mapping Graphical property to expand it: • Map This is the default view when you first expand the Graphical property. You can drag the handles in the graph to adjust the Input and Output levels for black and white, as well as the Gamma .
73 • Plot Click this button to plot the luminance values in the current frame of your clip to the histogram (the plot will reflect any color correction changes you’ve made). Each luminance value present in your image appears as a vertical line in the histogram. A longer line indicates a higher amount of pixels in your image of that line’s luminance value. You can drag the handles in the graph to adjust the Input and Output levels for black and white, as well as the Gamma.
74 Creating a secondary color correction Matrox secondary color correction offers all the properties found in Matrox primary color correction, with the added capability of limiting the color correction to a specific range of pixels using the selective key properties. For example, secondary color correction can be used to change the color of a dress, deepen the background sky color, or to achieve an effect where only one object or person remains in color while the rest of the image becomes black and white.
75 • Enable Split View Select this option to split your clip into two sections in the Program Monitor and on your video monitor. One section will display your clip as you adjust the color correction controls, and the other section of the clip will remain unchanged. For more information, see “Using Split View” on page 61. • Proc Amps The processing amplifier (proc amp) controls allow you to adjust different aspects of your clip: Adjusts the tint of the colors in the image.
76 luminance of your clip directly within the graph. For more information, see “Using the luma mapping graph” on page 72. $ Numerical Lets you adjust your luma mapping settings numerically by entering values in the text boxes, or by dragging the corresponding sliders. • Input Levels (Black and White) These controls let you fine-tune your clip’s brightness and contrast by changing the luminance value that represents black, white, or gray.
77 Use this to widen or narrow the aperture of the indicator to increase or decrease the range of colors on which you want to key. $ Softness Sets the amount of softness applied to the range of colors specified in the aperture region. • Saturation Key This lets you select colors to be keyed (affected by the color correction) based on their saturation value. Pale colors have a low saturation value, while vivid colors have a high saturation value.
78 255 represents white. Intermediate settings represent different shades of gray, from very dark to very light gray. $ Use this to set the range of luminance values you want to be partially affected based on the value set by the Low Clip control. As you increase the Low Gain setting, more luminance values become partially affected by the color correction. Low Gain A Low Gain setting of 100 provides the widest range for maximum color correction.
79 Using the selective key graph The selective key graph allows you to modify your selective key settings ( Hue Key, Saturation Key, and Luma Key) directly in the graph. You can also perform an auto key. • Map This is the default view when you first expand the graphical property. You can drag the handles to move the indicator to different regions in the graph to adjust the Hue Key, Saturation Key, and Luma Key settings.
80 each luminance value present in your image as a vertical line. A longer line indicates a higher amount of pixels in your image of that line’s luminance value. • Hue Click this button to enable or disable the Hue Key properties ( Hue, Aperture and Softness). When enabled you will be able to see the Hue Key indicator and handles to modify the Hue Key properties in the selective key graph.
81 be able to see the Sat Key indicator and handles to modify the Saturation Key properties in the selective key graph. 0123 0 Low Clip 1 Low Gain 2 High Gain 3 High Clip • Lum Click this button to enable or disable the Luma Key properties (Low Clip , Low Gain, High Gain , and High Clip). When enabled you will be able to see the Lum Key indicator and handles to modify the Luma Key properties in the selective key graph.
82 ¦ Note If you want to reset the hue, saturation, and luma key properties to the default settings at any time, click the appropriate Reset button. Saturation Key Reset button • Show Key Click this button to display the matte used to define your selective key region. This enables you to further refine your key. Areas that are completely affected by the color correction are white, untouched areas are black, and gray areas are partially affected.
83 This allows you to see the original colors of your clip before any modifications were made. • Indicator Click this button to turn the indicator lines on or off. • Handles Click this button to turn the handles for the indicator lines on or off.
84 Creating a color pass effect You can use the Matrox secondary color correction to create a color pass effect to convert your clip to black and white, with the exception of one specified color. This can be useful if you want to isolate a single color to make it prominent. In the following example, the pink color of the girl’s shirt has been retained, while the rest of the clip has been converted to black and white: Pink shirt is isolated, while the rest of clip is grayscale.
85 Creating a 3D DVE effect The Matrox 3D DVE effect lets you position your clips anywhere in 3D space while adding soft edges and rounded borders with color gradients in real time. ¦ Note If you want to create a picture-in-picture effect, the move & scale effect will provide a sharper picture (see “Creating a move & scale effect” on page 120). To apply rotation to your effect, you must use the 3D DVE effect.
86 $ Border Type Allows you to select the type of border you want (None, Flat, Gradient, or Alpha Edge). Click the triangle on the right to expand the list of border types. Click here to select your border type ¦ ¦ Note only. The Alpha Edge border type is for use with alpha-keyed graphics Use this control to adjust the border along the X and Y axes simultaneously. The higher the value, the wider your border becomes. If you clear Fixed Aspect Ratio, you can adjust each axis individually.
87 • Crop Allows you to crop the edges of your clip. For more information, see “Cropping your clip” on page 55. • Enhance Sharpness Lets you adjust the sharpness of your clip.
88 Creating a 4-corner pin effect The Matrox 4-corner pin effect lets you anchor each corner of a video or graphics clip onto points in an underlying clip, even if the underlying clip is angled or skewed. You could use this effect, for example, to overlay a video clip onto an underlying clip of a television screen. ° To set up a Matrox 4-corner pin effect: Click the triangle next to Matrox 4-corner Pin to expand the property list.
89 • Preview Settings your effect: $ You can select the following options for previewing Show Cursors Displays a diamond-shaped cursor at each corner of your clip on your video monitor only. These cursors can help you precisely determine where each corner is located.
90 Creating a blur/soft focus effect The Matrox blur/soft focus effect lets you create unique effects and simulate camera defocus. ° To set up a Matrox blur/soft focus effect: Click the triangle next to Matrox Blur/Soft Focus to expand the property list. • Blur Amount Use this to change the amount of blurring in your clip. • Source Blend Factor Use this to superimpose the original image on top of your clip after you’ve applied blurring.
91 Overview of the chroma key effects You can use the Matrox realtime plug-in to apply a chroma key or chroma key shadow effect to make certain areas of a foreground image transparent based on a color in that image, so that an underlying image can show through.
92 Creating a chroma key or chroma key shadow effect To set up a Matrox chroma key or chroma key shadow effect, click the triangle next to Matrox Chroma Key/Matrox Chroma Key Shadow to expand the property list: • Graphical Provides a graphical representation of the chroma key controls that you can use to select your key colors, and also lets you perform an auto key. $ Map Lets you select your key colors within a circular graph that contains a color spectrum.
93 $ Auto Key Click this button to automatically key on the most common color at the current frame in your clip (except gray). For details on selecting key colors within the graph or performing an auto key, see “Using the chroma key graph to modify key colors and perform an auto key” on page 95. ¦ Note You must expand the Graphical property in order to see the indicator when adjusting the chroma key controls.
94 Suppression to replace the green tint with the opposite color in the spectrum to return the person’s skin to a more natural-looking color. ¦ Note The following properties ( Luminance and Shadow Suppression) are only available in the chroma key shadow effect. • Luminance Use this to adjust the luminance of your shadow. Negative values increase the brightness of the shadow, while positive values decrease the brightness. • Shadow Suppression Use this to make shadows in your clips less apparent.
95 Using the chroma key graph to modify key colors and perform an auto key To modify your key colors directly within the chroma key graph or perform an auto key, click the triangle next to the Graphical property to expand it: • Map This is the default view when you first expand the Graphical property. You can drag the handles in the color spectrum to move the indicator to different regions in the cube to adjust the Hue, Aperture, Saturation , and Saturation Threshold.
96 vertical line. A longer line indicates a higher amount of pixels in your image of that line’s luminance value. 3 2 1 0 3 4 ¦ Note The Plot graph will contain a luma plot histogram only if you are creating a chroma key shadow effect. You can drag the handle in the luma plot histogram to adjust the Luminance . 0 Hue 1 Saturation 2 Saturation 3 Aperture 4 Luminance Threshold Click this button to display the matte used to create your key effect. This enables you to further refine your key.
97 $ ¦ Click the eyedropper button and click and drag anywhere on your clip to select a rectangular area containing colors on which you want to key. Note The Show Key mode and any chroma key applied will be temporarily deactivated in the Program Monitor when using the auto key eyedropper. This allows you to see the original colors of your clip before any modifications were made. • Indicator • Handles Click this button to turn the indicator on or off.
98 Creating a cube effect The Matrox cube effect lets you map video or graphics to the faces of 3D cubes. These cubes can then be rotated in 3D space to create transition effects such as those you often see during sports broadcasts. The Matrox cube effect supports up to three video sources (one primary source that the cube effect is applied on, and up to two additional sources).
99 • Additional Sources References up to two additional sources that you identified by applying the Matrox Source Identifier effect. $ Source 1 Lets you select the unique ID number that you assigned to the first additional video source. $ Source 2 Lets you select the unique ID number that you assigned to the second additional video source. • Cube Options $ Face Edge Softness Sets the amount of softness to apply to the cube face edges.
100 ¡ Important With the Matrox cube effect, the cropped area is automatically stretched to the original size of your clip. As a result, the output may exceed the cropped area. $ Color Source Options The color source options are available only when the corresponding face is set to display a color, as specified using Cube Face Source . • Color Sets the color to apply to the corresponding face. • Alpha Sets the opacity of the color.
101 Creating a crystallize effect The Matrox crystallize effect lets you choose from many different patterns that you can use to make your image or text appear as if it is made of crystals. ° To set up a Matrox crystallize effect: Click the triangle beside Matrox Crystallize to expand the property list. • Select Shape Click the button to the right of the current pattern to see the list of available crystal patterns.
102 $ Click the button to the right of the current pattern to see the list of available mask patterns. Select Shape Click here to select a new pattern $ Shape Transparency Sets the transparency of the shape and the area around the shape. At the default setting (0), the shape is completely opaque and the area around the shape is transparent. Dragging the slider to the left increases the transparency of the shape, which makes the crystallize effect less apparent.
103 Creating a garbage matte effect The Matrox 4-point, 8-point, and 16-point garbage matte effects let you use individual control points to determine the shape of a garbage matte applied to a clip to superimpose it onto another clip. You can use these effects to create a garbage matte for cropping unwanted objects from a foreground image in a chroma or luma key effect.
104 • Edge Softness matte. Lets you apply softness to the edges of your garbage • Invert Matte Select this option if you want to invert the opaque and transparent areas of your garbage matte. • Show Matte Only Select this to display only the matte used to create your garbage matte (displayed as a white video clip).
105 Creating an impressionist effect The Matrox impressionist effect lets you choose from many different patterns that you can use to make your image appear similar to an impressionist painting. • Select Shape Click the button to the right of the current pattern to see the list of available impressionist patterns. Click here to select a new pattern • Brush Stroke Count $ Use these to specify the number of brush strokes along the x and y axes.
106 set the X Size Variation value to 5%, the brush strokes will randomly grow between 0 and 5% of the X Mean Size value. Specifies the size of the brush stroke along the y axis. $ Y Mean Size $ Use this to set the maximum percentage that a brush stroke will grow in relation to the Y Mean Size value. For example, if you set the Y Size Variation value to 5%, each brush stroke will randomly grow between 0 and 5% of the Y Mean Size value.
107 • Blend Over Original Use this to blend the brush strokes with your original image. This is useful when you are using smaller brush strokes and want to reduce any semi-transparent areas around the brush strokes. • Texture Map Method Use the menu on the right to choose how your brush stroke colors will be processed. $ Preprocess The brush stroke colors are based on the underlying pixels of the original image. When you move the brush strokes, they retain their original color.
108 Creating a lens flare effect The Matrox lens flare effect lets you simulate the light refractions caused by shining a bright light into the lens of a camera when taking a photo. You can choose from many different lens flare patterns. ° To set up a Matrox lens flare effect: Click the triangle beside Matrox Lens Flare to expand the property list. • Light Source Position Sets the position of the light source along the horizontal and vertical axes.
109 $ $ Adjusting the percentage on the x and y axes changes the lens flare’s width and height, respectively. Intensity Sets the opacity of the light refractions. Levels range from completely transparent (0) to opaque (100). Select this option to enable alpha for the lens flare, so it will remain visible even on transparent (keyed) areas of your clip. Enable Alpha • Flare Settings Adjusting these settings will change the appearance of the flare (usually the brightest spot) in the lens.
110 Overview of the luma key effect You can use the Matrox realtime plug-in to apply a luma key to make certain areas of a foreground image transparent based on the luminance in that image, so that an underlying image can show through. In the following example of a luma key effect, two video clips are combined to produce the effect of two cowboys riding through fire.
111 Creating a luma key effect To set up a Matrox luma key effect, click the triangle next to Matrox Luma Key to expand the property list: • Graphical Allows you to see a graphical representation of your changes when you adjust the property settings. You can adjust the luma key properties directly in the graph to select the luminance values on which you want to key. For more information, see “Using the luma key graph” on page 112.
112 control as defining a “Transparent to Opaque” range for keying the dark areas of your foreground image. • High Clip This control is similar to Low Clip, except you use it to select the higher (brighter) luminance values to be keyed. • High Gain This control is similar to Low Gain , except you use it to set the range of luminance values you want to be partially transparent based on the value set by the High Clip control.
113 You can select luminance values on which to key by adjusting the Low Clip and High Clip handles, or you can use the luminance eyedropper to automatically pick the luminance value you want to key on. The eyedropper can be used in two ways: ¦ $ Click the eyedropper button and click on the color with the desired luminance value in your clip. $ Click the eyedropper button and click and drag anywhere on your clip to create a rectangular area containing the luminance values you want to select.
114 Creating a mask effect The Matrox mask effect lets you choose from dozens of soft-edged cutout shapes that you can apply to a clip to superimpose it onto another clip. ° To set up a Matrox mask effect: Click the triangle beside Matrox Mask to expand the property list. • Select Shape Click the button to the right of the current pattern to see the list of available mask patterns. Click here to select a new pattern • Shape Transparency Sets the transparency of the shape and the area around the shape.
115 • Transform Use these controls to apply or change various transform settings for your mask effect, such as the position, scale, and rotation of the mask. For more information, see “Transforming your clip” on page 52. • Crop Allows you to crop the edges of your clip. For more information, see “Cropping your clip” on page 55.
116 Creating a mask blur effect The Matrox mask blur effect lets you create a “region of interest” by adding a mask to your clip and applying blurring to it. You can choose from many different mask patterns. ° To set up a Matrox mask blur effect: Click the triangle beside Matrox Mask Blur to expand the property list. • Blur Settings Let you adjust the amount of blurring in your clip.
117 $ Shape Transparency Sets the transparency of the shape and the area around the shape. At the default setting (0), the shape is completely opaque and the area around the shape is transparent. Dragging the slider to the left increases the transparency of the shape, which makes the blur less apparent. Dragging the slider to the right decreases the transparency of the area around the shape, which increases the amount of blurring outside the mask area.
118 Creating a mask mosaic effect The Matrox mask mosaic effect lets you create a “region of interest” by adding a mask to your clip and applying a mosaic effect to it. You can choose from many different mask patterns. ° To set up a Matrox mask mosaic effect: Click the triangle beside Matrox Mask Mosaic to expand the property list. • Mosaic Settings Let you adjust the size of the mosaic blocks and the sharpness of the color in the mosaic effect.
119 ¦ Note The Outside Transparency setting is applicable only if you’ve scaled down, moved, or rotated your mask using the transform controls so that the mask doesn’t cover the entire screen. Lets you apply the mosaic effect to the edges of your mask. $ Softness $ Invert Mask $ Apply Crop to Video Only Select this if you want the mask to be squeezed to fit your cropped clip. If you don’t select this option, the mask will be cropped by the same amount that you crop your clip.
120 Creating a move & scale effect The Matrox move & scale effect lets you position and scale your clips anywhere in 2D space while adding soft edges in real time. ¦ Note The move & scale effect provides the sharpest picture when creating a picture-in-picture effect. However, if you want to apply rotation to your effect, you must use the 3D DVE effect as explained in “Creating a 3D DVE effect” on page 85.
121 $ Select this option to make the boundaries of the softness region less obvious. Enabling this option makes your edge softness controls produce results similar to the border softness controls in the Matrox 3D DVE effect. Nonlinear Softness • Crop Allows you to crop the edges of your clip. For more information, see “Cropping your clip” on page 55. • Enhance Sharpness Lets you adjust the sharpness of your clip.
122 Creating an old movie effect The Matrox old movie effect lets you create an old film look on your clips by adding noise, dust, streaks, jitter, and flickers. ° To set up a Matrox old movie effect: Click the triangle beside Matrox Old Movie to expand the property list. • Random Artifact Generator Adjust this setting to change the placement of artifacts in your clip. The artifacts are randomly distributed based on the value you select.
123 • Green Only • Blue Only • Alpha Only • Luma Uses the green channel. Uses the blue channel. Uses the alpha channel. Uses the luminance values. • Oversaturated Luma Uses the oversaturated luminance values only. • Noise $ Noise Pattern Allows you to select a noise pattern. Click the button on the right to see the list of available patterns.
124 • Streak $ Streak Pattern Allows you to select a streak pattern. Click the button on the right to see the list of available patterns. Click here to select a streak pattern $ Amount Sets the maximum number of streaks that can be visible at any given time. $ Opacity Sets the opacity of the streak pattern. Levels range from completely transparent (0) to opaque (100). $ Color Use this to set the streak color.
125 follows a rhythmic beat. The higher the value the more random the flickering becomes. • Color Gain and Color Addition (Red, Green, Blue) You can use the controls under Color Gain and Color Addition to individually fine-tune the colors of your image. To proportionally increase or decrease the red, green, and blue values, select Lock Colors. $ The Color Gain controls for Red, Green, and Blue let you increase or decrease the intensity of a particular color present in your image.
126 Creating a page curl effect The Matrox page curl effect lets you create page curls that are truly 3D with full-motion video on the reverse side, and realistic highlights. You can control the position, rotation, scaling, and zooming of the page curls in 3D space, and apply softness to the edges. You can also apply page curls on graphics to create great looking text effects. ° To set up a Matrox page curl effect: Click the triangle beside Matrox Page Curl to expand the property list.
127 $ Curl Softness Creates a soft edge on the section of the page that is curling. ¦ Note You will not be able to see the Curl Softness on your page curl if you adjust the scale or rotation settings in the transform controls. • Highlight There is a white illuminated line that highlights each page curl. The following settings allow you to manipulate this highlight. $ Position $ Intensity Sets the location in the page curl where the highlight appears.
128 Creating a pan & scan effect The Matrox pan & scan effect lets you easily convert footage from one aspect ratio to another. Tracking on-screen action to make accurate judgements is easy because you see the entire source clip and the section of it that will become the final result. You can use the Matrox pan & scan effect to convert your entire production to another aspect ratio. To do this you should apply the pan & scan effect to a nested sequence: 1 Choose File > New > Sequence.
129 ¦ Note If you are working in HD, your output will always be 16:9. Therefore, if you choose 4:3 as your Destination Aspect Ratio, your clip will be distorted. • Scale Use this to proportionally resize (enlarge or reduce) your clip. • Pan Position Lets you move the area of interest at a specific frame in your clip. When used with Global View (see below), you’ll see a visual representation of the selected area.
130 Creating a ripple effect The Matrox ripple effect lets you create 3D ripple patterns that simulate a flag waving, ripples in a pond, or a dream sequence. • Global Settings $ X Center Sets the center position of the ripple along the horizontal axis. $ Y Center Sets the center position of the ripple along the vertical axis. $ Center Ripple in Crop Region Select this option to move the center position of the ripple to the center of your crop region.
131 • Crop Allows you to crop the edges of your clip. For more information, see “Cropping your clip” on page 55. ¡ Important Due to the shape of the ripple effect, your effect may exceed the cropped area. • Ripple Softness Use this to add softness to the alpha channel in the ripple so that the outline of the ripple will appear smoother. • Transform Allows you to apply or change various transform settings for your ripple, such as the size, position, and rotation of the ripple.
132 Creating a shadow effect The Matrox shadow effect lets you project a realistic shadow from any source containing key information, such as DVEs and titles with an alpha channel. You can tint the shadow, and position, scale, and rotate it to match the angle of the surface on which it is cast. Applying blur to the shadow can simulate the realistic look of diffused light being projected on the source.
133 • Top Right Corner Opacity Sets the opacity of the top right corner. Levels range from completely transparent (0) to opaque (100). • Top Left Corner Color Use this to set the top left corner color. • Top Left Corner Opacity Sets the opacity of the top left corner. Levels range from completely transparent (0) to opaque (100). • Bottom Left Corner Color Use this to set the bottom left corner color. • Bottom Left Corner Opacity Sets the opacity of the bottom left corner.
134 Creating a shine effect The Matrox shine effect allows you to create rays that shine through text, or add shimmer to an object in your clip. You can also use the shine effect to make two-dimensional text appear as three-dimensional text. ° To set up a Matrox shine effect: Click the triangle beside Matrox Shine to expand the property list: • Light Source $ X Position Sets the position of the light source along the horizontal axis.
135 $ End Opacity Sets the opacity of the rays furthest from the light source. Levels range from completely transparent (0) to opaque (100). • Preprocessing These controls allow you to isolate a channel as the input for the shine. For example, if you wanted to apply the shine to the alpha channel only, you would select Alpha Only as your mode. Select this option to enable preprocessing. $ Enable Preprocessing $ Mode Lets you select the channel you want to use for your effect.
136 progresses from black to white and you want your gradient to end at dark gray, drag the slider to 10%. • Noise Use these controls to apply noise patterns to your shine effect. $ Noise Pattern Allows you to select a noise pattern. Click the button on the right to see the list of available patterns. Click here to select a noise pattern Sets the amount of noise that will be applied to your effect. The higher the value, the more apparent the noise pattern becomes.
137 • Mask Settings Let you select a mask pattern and adjust the transparency settings to define the area where you want to apply your shine effect. Select this option to enable the mask. $ Enable Mask $ Allows you to select a mask pattern. Click the button on the right to see the list of masks. Mask Pattern Click here to select a mask pattern Select this option if you want to invert the opaque and transparent areas of your mask.
138 Creating a sphere effect The Matrox sphere effect lets you wrap your clip around a true 3D sphere with shadow and highlight. The radius of the sphere, the position of the light, and the progression from a flat 2D clip to a fully formed sphere are all keyframeable. ° To set up a Matrox sphere effect: Click the triangle next to Matrox Sphere to expand the property list.
139 • Light Settings $ Show Light Position Select this option to display a diamond-shaped cursor that shows the position of the light source (highlight) on your sphere. Make sure you clear this option before exporting your final project. Use these controls to determine the position of your light source along the X, Y, and Z axes of your sphere. $ X, Y, and Z Light Position $ Shadow Intensity $ Light Intensity Use this to add light, and adjust the brightness of the light on your sphere.
140 Creating a surface finish effect The Matrox surface finish effect allows you to apply various textures to your clips, such as metal, brick, wood, or granite with color spot lighting. You can also adjust the transform controls to create a rotating slab with a different look on the front and back face. ° To set up a Matrox surface finish effect: Click the triangle beside Matrox Surface Finish to expand the property list.
141 $ Back Face Control • Blending Factor Blends the back face of the slab with the surface texture. The higher the value, the more your clip blends in. A value of zero will display only the surface texture. • Invert Video Orientation Select this to invert your clip on the back face of your slab. Sets the crop region used on the back face of the slab. For more information, see “Cropping your clip” on page 55.
142 Selecting this option will make the second light source relative to the center of your clip. For example, if you move your clip, the second light source will move with it. By default, the second light source is relative to the center of the screen. • Relative Position • Transform Allows you to apply or change various transform settings, such as to change your clip’s size, position, and rotation to create a rotating slab.
143 Creating a track matte effect The Matrox track matte effect lets you superimpose one clip onto another using an animated matte, sometimes called a traveling matte, to determine how the two clips are composited (keyed). You can use any of the following types of clips as your matte: • A grayscale video or graphics clip. • A graphics clip or graphics sequence with an alpha channel. • Any clip to which you’ve applied an effect that provides an alpha channel, such as a Matrox chroma key or 3D DVE.
144 4 Place your foreground clip (the clip you want to superimpose onto your background clip) directly above your matte clip, and apply the Matrox Track Matte effect to this clip.
145 Creating a twirl effect The Matrox twirl effect lets you create twirl patterns that twist and rotate your video and graphics clips into spirals, coils, or whirlpools. • X & Y Position Sets the position of the twirl along the horizontal and vertical axes. • Inner Radius Determines the circumference of the center of your twirl. The higher the radius, the larger the center of the twirl becomes. • Outer Radius (Width, Height) Use this control to adjust the width and height of your twirl simultaneously.
146 Creating a wipe transition The Matrox wipe transitions support standard dissolves, SMPTE wipes, and organic wipes with soft edges and color borders. ° To set up a Matrox wipe transition: Click the transition’s icon in your sequence, then click the Custom button in the Effect Controls panel. This opens the Customize Matrox Wipes dialog box: 1 Under Wipe Pattern, click the Select Pattern button and choose a pattern for your wipe.
147 Lets you adjust the prominence of the border between image A and image B. For example, positive values make the border more prominent in image B, while negative values make the border more prominent in image A. $ Balance $ Reset Click this button to restore the default Border values. 3 Use the controls under Softness to create a soft edge on the border of your wipe. $ Nonlinear softness This option is selected by default.
148 Using the Matrox chroma clamper effect You can use the Matrox chroma clamper effect to ensure that when you’ve applied effects that perform color space conversion on part of a clip, the clip’s colors remain constant throughout. Some effects, such as Matrox hardware-accelerated effects and Adobe Premiere Pro native effects, perform color space conversions (YUV to RGB) that will clip RGB values to the acceptable range of 0-255 per color component.
149 Matrox RT.X2 realtime guidelines In your Adobe Premiere Pro projects, you can use various combinations of realtime Matrox CPU-based effects (Flex CPU effects), hardware-accelerated effects (Flex GPU effects), and Adobe Premiere Pro fixed effects, all with transparency. Realtime means that the clips don’t require rendering and will play back in real time without dropping frames (that is, there is no red indicator bar above the segment).
150 Supported graphics formats All full-screen single-frame graphics supported by Adobe Premiere Pro are supported in real time on Matrox RT.X2. This includes all titling formats that Premiere Pro supports, such as Adobe Title Designer .prtl files. For details on the supported formats, see your Adobe Premiere Pro documentation. ¦ Note Graphics rolls, crawls, and animations are not supported in real time.
Cha pter 5 Using Matrox RT.X2 with Video for Windows Programs This chapter provides information you need to know when using Video for Windows programs to render material on your Matrox RT.X2 system.
152 Overview When using Video for Windows (VFW) programs to render material to an .avi file, such as in the case of a completed video production or an animation, you can use a Matrox codec to create a Matrox .avi file. For example, you may want to render an animation to Matrox DV/DVCAM format so that you can record it onto DV tape. You could also use your VFW program to render video to a Matrox .avi file so that you can import the file as a realtime clip into your Adobe Premiere Pro projects on Matrox RT.
153 ¦ Note You must have the Matrox RT.X2 hardware for full support of the Matrox MPEG-2 I-frame HD codec. The “+ Alpha” Matrox MPEG-2 I-frame codecs are available only on a system that has RT.X2 hardware. Before you start rendering Before you start rendering material to a Matrox .avi file, make the following settings in your VFW program: • Set the appropriate frame rate for the video format to which you are rendering. For example, if you are rendering to PAL format, set the frame rate to 25 fps.
154 Selecting color space conversion options When you render material to an .avi file using a Matrox VFW codec, you can determine how you want the luminance levels and chroma information to be processed during the color space conversion that’s performed during the render. ¦ Note The default settings for color space conversion provide good results for most applications. We recommend that you change these settings only when needed for special purposes.
155 particular codec, they are also set for the other codecs that support those options. Renders video using standard broadcast luminance levels. Super black and super white luminance levels are clipped. $ Standard $ DV-compliant $ Expanded Renders video using the full range of luminance levels. Super black and super white luminance levels are retained. You may want to use this setting, for example, to render material on which you’ll be applying luminance key effects.
156 Rendering material to a Matrox VFW .avi file When you render material to an .avi file, such as when you render a finished video production or an animation, you must select the compressor (codec) you want to create the file. The compressor determines the quality of your rendered video. Refer to your program’s documentation for instructions on how to select a compressor for your .avi file.
157 Configuring the Matrox MPEG-2 I-frame codecs When you click your program’s Configure button to configure a Matrox MPEG-2 I-frame codec (SD or HD resolution, with or without alpha), a dialog box similar to the following appears: ¡ Important Unless you have the Matrox RT.X2 hardware, you can use the Matrox MPEG-2 I-frame HD codec to render to a 1440×1080i/p file only. The “+ Alpha” Matrox MPEG-2 I-frame codecs are available only on a system that has RT.X2 hardware.
158 5 Under Zig Zag Order, select one of the following: $ Regular Sets the regular (default) zig zag scanning pattern of the AC coefficient of the DCT block as defined in the ISO/IEC 13818-2 (figure 7-2) specification documentation. $ Alternate Sets an alternate zig zag scanning pattern of the AC coefficient of the DCT block as defined in the ISO/IEC 13818-2 (figure 7-3) specification documentation.
Cha pter 6 Using the Matrox WYSIWYG Plug-ins This chapter explains how to use the Matrox WYSIWYG Control Panel and plug-ins available with Matrox RT.X2 so that you can display the contents of your composition or animation on your video monitor.
160 Overview Together with your Matrox RT.X2 hardware, the Matrox WYSIWYG Control Panel and Matrox WYSIWYG plug-ins let you display the contents of your composition or animation on your video monitor. This lets you see the exact color temperature, safe-title area, and any interlaced artifacts as you work. You can preview compositions created in the following applications that are supported by the Matrox WYSIWYG plug-ins: • Adobe After Effects (version 5.0 or later). • Adobe Photoshop (version 7.
161 ¦ Note If Adobe Premiere Pro is running, the Project Format and Output Format will be determined by your Premiere Pro project’s video output settings. 3 If you selected an output format that has a frame rate of 25 or 50 fps, and your DVI video monitor is unable to properly display your preview output, select Force DVI Output to 60 Hz (Bypass Autodetect). Otherwise, make sure this option isn’t selected to allow Matrox RT.
162 Required steps to use the WYSIWYG plug-ins The following sections list the steps required to use the Matrox WYSIWYG plug-in for each application in order to preview your composition or animation on your video monitor. ¦ Note The following procedures may change with a subsequent release of the program. Adobe After Effects 1 Start Adobe After Effects and import the footage you want to preview. 2 Drag the footage from the Project window to the Composition window.
163 NewTek LightWave 3D 1 Start NewTek LightWave 3D and load the file you want to preview by choosing File > Load > Load Scene. 2 Click the Render tab. 3 Under Options on the left hand side of the screen, click Render Globals. 4 From the Render Display menu, select Matrox WYSIWYG Preview. 5 Under Render on the left hand side of the screen, click Render Frame.
164 Your notes Chapter 6, Using the Matrox WYSIWYG Plug-ins
Cha pter 7 Monitoring Your Matrox RT.X2 System This chapter explains how to use the Matrox X.info program to display important details about your Matrox RT.X2 system and installed hardware.
166 Using X.info to display RT.X2 information The Matrox X.info program lets you display information about your Matrox RT.X2 system and installed hardware, and provides warnings when certain problems arise, such as when the temperature of your RT.X2 card exceeds the maximum operating temperature. You can also use the X.
167 Create . If Open file after scan is selected, the HTML system log opens after it is created. Using X.info to display RT.
168 Displaying hardware information To display information about your Matrox RT.X2 hardware, select Hardware from the Display Information About list. Your RT.X card and display card are each represented by a tab. Click a card’s tab to display a page with hardware information (for example, serial number and production date). You can also monitor the current and maximum operating temperatures for your RT.X2 card. ¡ Important Whether or not you have opened Matrox X.info, if your RT.
169 Monitoring your RT.X2 card’s operating temperatures As shown in the X.info Hardware section, the RT.X2 Card page displays the current and maximum operating temperatures for your Matrox RT.X2 card. To avoid damage to your Matrox RT.X2 system, make sure that you don’t operate your RT.X2 card at or near the maximum temperature for a prolonged period of time. You should target your RT.X2 card to operate at least 10°C below the maximum operating temperature. You should monitor the temperature of your RT.
170 Your notes Chapter 7, Monitoring Your Matrox RT.
Appendix A Understanding Standard and Advanced Pulldown This appendix describes the most common pulldown methods, and explains how and when these pulldown methods are employed by Matrox RT.X2.
172 Overview Part of your project’s workflow may involve the application of a pulldown technique to convert your input video to your project’s video format. Pulldown can also be applied to your output video to meet certain requirements. When a pulldown is required in your project, Matrox RT.X2 performs either a standard 2:3 pulldown or an advanced 2:3:3:2 pulldown. Standard 2:3 pulldown Standard 2:3 pulldown is often used as part of the telecine process to transfer 24 fps film footage to 29.
173 Performing a standard reverse pulldown (2:3 cadence) reverses the process by converting 29.97 fps interlaced video to 23.98 fps progressive video. This is achieved by discarding a video frame (two video fields) from the sequence. From the diagram above, a typical standard reverse pulldown would discard fields b3 and d1. This means that video frames C and D must be read by the application to remove the additional fields.
174 The following diagram demonstrates the process: Progressive frames @ 23.98 fps A B C D Video fields @ 29.
Appendix B Matrox RT.X2 Workflows This appendix provides information about working with different types of projects in Adobe Premiere Pro on Matrox RT.X2.
176 Overview This appendix provides general information about using various Matrox RT.X2 project presets and codecs for working with different types of projects in Adobe Premiere Pro. Workflow diagrams and descriptions are used to help explain the specific workflow details. Working with SD “24P” material Matrox RT.X2 allows you to choose a Premiere Pro preset to work with SD material originally acquired at 23.98 fps. When you select the Matrox 486p @ 23.
177 486p @ 23.98 fps workflow example The following diagram illustrates a typical 486p @ 23.98 fps workflow using Matrox RT.X2: DV-1394 input/output, and P2 .mxf source files on disk SD video footage acquired at 23.98 fps progressive scan DV camera performs either standard or advanced pulldown (depending on mode selection) when the acquired footage is recorded to tape or disk. NTSC video on tape or P2 .mxf files on disk Matrox RT.
178 Working with HD projects ¦ Note Although Matrox RT.X2 SD does not support working with HD projects, you can capture and import HDV 1080i/p clips to an SD project on RT.X2 SD as explained in “Capturing HDV and SD material on Matrox RT.X2 SD” on page 182. Matrox RT.X2 lets you capture native HDV material over the 1394 interface and capture HD analog component input to MPEG-2 I-frame HD format. Native HDV and MPEG-2 I-frame HD clips can be mixed in real time in the same HD project.
179 1440×1080i/p workflow example The following diagram illustrates a typical workflow for working with a 1440 ×1080i/p project on Matrox RT.
180 720p workflow example The following diagram illustrates a typical workflow for working with a 720p project on Matrox RT.X2: Native HDV 720p video footage on tape When needed, Matrox RT.X2 will remove redundant frames when the .mxf files are played back on the timeline HDV clips captured natively over the 1394 interface Panasonic P2 .mxf and Sony XDCAM EX 720p .mp4 files imported to project Matrox project using a 720p project preset Exported to tape as 720p @ 50 fps or 59.
181 Capturing HDV and SD material to edit in SD on Matrox RT.X2 If you want to deliver in SD but take advantage of the superior image quality offered by your HDV camera, you can capture HDV material over the 1394 interface and edit the clips in SD on Matrox RT.X2. To do this, you create a 1440 ×1080i/p project and capture the HDV clips natively over the 1394 interface. You then create an SD project and import your HDV clips.
182 Capturing HDV and SD material on Matrox RT.X2 SD On Matrox RT.X2 SD you can take advantage of the superior image quality offered by your HDV camera by capturing native HDV 1080i/p material over the 1394 interface in an SD project. To do this, you use Adobe Premiere Pro’s HDV capture feature as explained in “Capturing HDV material on Matrox RT.X2 SD” on page 35. When working in your SD project you can also capture native DV clips over the 1394 interface, and capture SD clips using Matrox RT.
183 Using the Matrox MPEG-2 I-frame HD codec ¦ Note The Matrox MPEG-2 I-frame HD codec is not supported for capture or export on Matrox RT.X2 SD. The Matrox MPEG-2 I-frame HD codec allows you to control the data rate of the video that you are capturing or exporting. At low data rates (about 50 Mb/sec) the codec can be used to capture and export video for an offline editing project.
184 This workflow scenario is represented in the following diagram: Analog component video footage shot as 1080i @ 29.97 fps or 25 fps Matrox MPEG-2 I-frame HD codec set at 50 Mb/sec used to capture clips Matrox offline editing project using a 1440x1080i MPEG-2 I-frame project preset Offline project is trimmed, offline clips are unlinked and recaptured using the Matrox MPEG-2 I-frame HD codec at 90 Mb/sec or higher Exported to tape as finishingquality HD video for broadcast Appendix B, Matrox RT.
185 MPEG-2 I-frame HD codec workflow example for online editing In this workflow example, the Matrox MPEG-2 I-frame HD codec is used to capture video clips for use in an online editing project. The clips are captured with Matrox RT.X2 at a data rate of 90 Mb/sec or higher and then used to complete an online editing project. A VFW application, such as Adobe After Effects, is used to create a composition that is rendered using the VFW MPEG-2 I-frame HD codec and imported into the online editing project.
186 Using Matrox RT.X2 to edit Matrox Axio offline HD projects ¦ Note Matrox RT.X2 SD does not support Matrox Axio offline HD clips. Matrox RT.X2 supports realtime playback of Matrox Axio offline HD clips so that you can use your Matrox RT.X2 system as an offline editing station for Matrox Axio offline HD projects. A Matrox Axio 720p project can be opened directly on Matrox RT.X2 and the offline HD clips will be supported in real time.
187 Supported video compression formats The following table lists the supported video compression formats for performing various operations on Matrox RT.X2 depending on your project’s video format. SD project HD project (not supported on RT.X2 SD) Capture1 DV/DVCAM DVCPRO MPEG-2 I-frame MPEG-2 IBP (for capture to .
188 Supported master output formats The following table lists the supported master output formats for Matrox RT.X2 depending on your project’s video format. ¦ ¦ Note Matrox RT.X2 SD supports SD projects only. Project video format Supported master output formats NTSC NTSC PAL PAL 486p @ 23.98 fps NTSC 486p @ 29.97 fps NTSC 576p @ 25 fps PAL 720p @ 23.98 fps 720p @ 59.94 fps or NTSC 720p @ 25 fps 720p @ 50 fps or PAL 720p @ 29.97 fps 720p @ 59.
Appendix C Matrox RT.X2 Customer Support This appendix explains how you can register your Matrox RT.X2 and obtain customer support.
190 Getting the most support If you have a problem that you’re unable to solve by referring to your Matrox RT.X2 documentation, please contact your Matrox RT.X2 representative. He or she should be able to help you quickly correct any installation or system configuration problem. If your representative is unable to solve your problem, contact Matrox for further information and assistance. Registration You can register your Matrox RT.X2 in the Matrox RT.X2 Support section of our web site at www.matrox.
Appendix D Matrox RT.X2 Glossary This glossary defines many of the terms used in this manual and related documentation.
192 Glossary of terms Use this glossary as a reference for many of the basic terms used in this manual and related documentation. Numerics 1394 See IEEE-1394. 2:3 pulldown A method used to create additional video frames when 24 fps film footage or 23.98 fps progressive video is converted to 29.97 fps interlaced video, such as NTSC. To convert a four-frame sequence of film or progressive video, five frames of video are required.
193 aspect ratio A width-to-height ratio. For example, a 12-by-9-inch image has an aspect ratio of 4:3 (four-to-three). Most TV screens have a 4:3 aspect ratio. HDTV screens have a 16:9 aspect ratio. Blue Book standard See DV. blur/soft focus effect A Matrox effect that uses various levels of intensity to blur an image or simulate camera defocus. assemble editing Recording new video and audio material sequentially onto tape.
194 lighting conditions or incorrect camera settings. See also white balancing. cut A direct switch from one video and/or audio source to another. compile D See render. component video A video signal having separate channels for the video information, as opposed to a combined (composite) signal. Y, R-Y, B-Y video is a component video signal. composite video A video signal containing luminance and chrominance information that has been combined using a video standard such as NTSC or PAL.
195 enhance display capabilities. Also called graphics card. See also GPU. sampled at 4:1:1 for both NTSC and PAL sources. See also DVCPRO HD. dissolve A transition in which one image smoothly fades to another image. It is characterized by the gradual ending of one image occurring simultaneously with the gradual beginning of another. Also called crossfade. DVCPRO HD A high-definition variant of the DVCPRO format developed by Panasonic that uses a data rate of 100 Mb/sec.
196 F fade to black A transition commonly used to signify the end of a scene, in which an image or sound smoothly fades to a black screen or silence (also called a fade-out transition). Similarly, you could start a new scene with a fade up from black (or fade-in) transition. field One-half of the horizontal lines needed to make a complete scan of an interlaced video frame. In the NTSC system, two consecutive fields of 262.5 lines each create a frame of 525 scan lines.
197 camcorders and DV decks. Commonly referred to as 1394. I-frame compression frame. See MPEG-2 I- I-frame (Intra-frame) A frame created during the MPEG or MPEG-2 compression process that contains all the information required to reproduce a complete image. It allows random access points within a video stream, and acts as a reference point for Bframes and P-frames to be built. I-frames are editable because they contain enough data to construct an entire video frame, unlike Bframes or P-frames.
198 of time code can be read only while the tape is moving. See also VITC. luma key An effect that makes portions of a foreground image fully or partially transparent based on the luminance of that image, so that an underlying image can show through. See also alpha key and chroma key. luminance The brightness portion of a video signal. The luminance of a pixel determines its brightness on a scale from black to white. See also chrominance. luminance key See luma key.
199 created). Used for high-quality distribution and for archiving. mV Abbreviation for millivolt (onethousandth of a volt). Unit of measurement sometimes used to define the amplitude of a video signal. See also IRE unit. MXF Material eXchange Format. A file exchange format standardized by SMPTE that assures interoperability among devices and systems. Panasonic P2 (Professional Plug-in) as well as Sony XDCAM and XDCAM HD use .mxf files rather than .mov, .avi, or .mpg files, for example.
200 differences between it and the closest previous I-frame or P-frame. This forward prediction allows for higher compression than with I-frames, but not as high as with Bframes. P-frames, like B-frames, contain only predictive data and therefore cannot be edited independently. pixel Picture element. The smallest portion of an image that can be written to a display. Each pixel in an image represents a single dot on the computer screen. A picture’s resolution depends on the number of pixels on the screen.
201 SDTV Standard Definition Television. A television format with image resolutions up to 525 vertical scan lines for NTSC video and 625 vertical scan lines for PAL video. SDTV can have a 4:3 or 16:9 aspect ratio. See also HDTV. SECAM Séquentiel Couleur Avec Mémoire (sequential color with memory). A color television system developed in France and the former USSR. It uses a composite interlaced display comprised of 625 scan lines per frame, refreshed at a rate of 25 frames per second.
202 source through each frame, converting the optical images to an electronic signal that is then recorded to video tape. temporal redundancy reduction inter-frame compression. See texture mapping A display technique where bitmaps (textures) are placed (mapped) onto 3D surfaces to make objects look more realistic. time base corrector (TBC) An electronic device that, when connected to the output of a VTR, corrects the stability and timing of the VTR’s playback video.
203 point. White balancing assumes that when a white object can be made to look white, the other color levels will also be accurate. White balancing is used to correct improper color levels of an image that are due to varying lighting conditions or incorrect camera settings. White balancing can be performed using the Matrox color correction effect, and is also available as a setting on most cameras. white level The brightest “legal” level of a video signal (reference white), which is at 100 IRE.
204 Your notes Appendix D, Matrox RT.
Index Numerics 1440x1080i/p projects working with 178, 179, 181 3D DVE creating 85 mapping Motion effect to 24 3ds Max WYSIWYG plug-in See Autodesk 3ds Max WYSIWYG plug-in 486p @ 23.
206 required steps 162 See also Matrox WYSIWYG plug-ins Autodesk Combustion WYSIWYG plug-in about 160 required steps 162 See also Matrox WYSIWYG plug-ins Automatic Gain Control selecting 30 AVI files capturing using Adobe Premiere Pro 28 creating from a 32-bit TGA sequence 12 creating from MXF files using Matrox EZMXF 9 creating reference files for large HDV clips 11 displaying information in Windows Explorer 8 exporting using Adobe Premiere Pro 36 rendering using VFW programs 152, 156 Axio offline HD proje
207 Compressor selecting for VFW render 156 CPU-based effects 149 Cropping your clip 55 using Select Crop 56 Crystallize effect creating 101 Cube effect creating 98 Customer support 190 D Device control in Adobe Premiere Pro setting for DV-1394 devices 44 Display card checking for Matrox-validated 169 Dropped frames in realtime effects reporting 22 DV material capturing native 29 DV/DVCAM codec See Matrox DV/DVCAM codec DV/HDV device control setting 44 DV-1394 device as source in Adobe Premiere Pro 29 sett
208 HD projects scaling SD clips in 20 supported compression formats 187 HDV material capturing native on RT.X2 29 capturing native on RT.X2 SD 35 editing in SD on RT.X2 181 editing in SD on RT.
209 Matrox DVCPRO codec selecting for capture 29 selecting for export to disk 37 selecting for VFW render 156 Matrox EZ-HDV AVI creating reference files for large HDV clips 11 Matrox EZ-MXF creating reference AVI files 9 Matrox hardware-accelerated effects 149 enabling/disabling 169 Matrox Media Encoder 43 Matrox MPEG-2 IBP codec configuring in Adobe Premiere Pro 41 Matrox MPEG-2 I-frame + Alpha codec configuring for VFW render 157 selecting for VFW render 156 Matrox MPEG-2 I-frame codec configuring for VFW
210 MPEG-2 I-frame HD settings selecting in Adobe Premiere Pro 39 selecting in VFW programs 157 MPEG-2 I-frame settings selecting in Adobe Premiere Pro 39 selecting in VFW programs 157 MXF files creating reference AVI files using Matrox EZ-MXF 9 displaying information in Windows Explorer 8 using in projects 6, 176, 178 N NewTek LightWave 3D WYSIWYG plug-in about 160 required steps 163 See also Matrox WYSIWYG plug-ins NTSC setup level selecting for analog video 26 O Old movie effect creating 122 P P2 file
211 creating 98 garbage matte effects creating 103 impressionist effect creating 105 lens flare effect creating 108 luma key effect creating 111 overview 110 mask blur effect creating 116 mask effect creating 114 mask mosaic effect creating 118 move & scale effect creating 120 old movie effect creating 122 page curl creating 126 pan & scan effect creating 128 realtime guidelines 149 ripple effect creating 130 selecting speed control method 148 shadow effect creating 132 shine effect creating 134 sphere effe
212 Setup level selecting for NTSC analog video 26 Shadow effect creating 132 Shine effect creating 134 Sony XDCAM EX files using in projects 7, 178 Sound card recording and playback volume controls 16 Source Identifier used in cube effect 98 used in track matte effect 143 Speed changes selecting speed control method 148 Speed control method selecting 148 Sphere effect creating 138 Splash screen disabling for Matrox project in Premiere Pro 23 Split View using 61 working with in the Program Monitor 61 Standa
213 WAV files capturing using Adobe Premiere Pro 31 exporting using Adobe Premiere Pro 38 Widescreen format editing SD material on Matrox RT.X2 47 Windows Explorer displaying details for clips 8 Wipe transitions creating 146 Workflows for Matrox RT.X2 176 WWW site 190 WYSIWYG Control Panel See Matrox WYSIWYG Control Panel WYSIWYG plug-ins See Matrox WYSIWYG plug-ins X X.info error notification 169 hardware information 168 hardware-accelerated effects on RT.
214 Your notes Index
www.matrox.
