Avid Xpress® Pro
Advanced Effects Guide
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3
Footage Arri — Courtesy of Arri/Fauer — John Fauer, Inc. Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. It’s Shuttletime — Courtesy of BCP & Canadian Airlines. Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Saturn “Calvin Egg” — Courtesy of Cossette Communications. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. "The Big Swell" — Courtesy of Swell Pictures, Inc. Windhorse — Courtesy of Paul Wagner Productions.
GOT FOOTAGE?
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Send us your reels and we may use your footage in our show reel or demo!*
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*Note: Avid cannot guarantee the use of materials submitted.
Avid Xpress Pro Advanced Effects Guide • Part 0130-07616-01• June 2006
4 Contents
Using This Guide ...... 25 Symbols and Conventions ...... 26 If You Need Help...... 27 Accessing the Online Library ...... 27 How to Order Documentation ...... 28 Avid Educational Services...... 28 Chapter 1 Effect Concepts and Settings ...... 29 Effects Creation Tools...... 30 Deconstructing Effects ...... 31 Video Effects for HD Projects ...... 32 Working with Effects in 24p or 25p Projects ...... 33 Understanding Effect Color Coding...... 34 Effect Aperture ...... 35 Understanding Effect Aperture ...... 35 Changing the Effect Aperture ...... 37 Chapter 2 Applying and Customizing Effects...... 39 Applying Effects to Multiple Transitions ...... 39 Additional Methods for Applying Dissolve Effects ...... 41 Creating a Dissolve in Trim Mode ...... 41 Adding Dissolves with the Head Fade Button and the Tail Fade Button ...... 42 Additional Information for the Quick Transition Button ...... 43 Using the Quick Transition Button to Apply Effects to Multiple Transitions . . . . 44 Understanding the Graphical Display in the Quick Transition Dialog Box ...... 46 Adjusting a Transition Effect by Dragging in the Quick Transition Dialog Box ...... 47 Repositioning a Transition Effect with the Quick Transition Alignment Buttons ...... 49 Deleting Effects in a Sequence ...... 49 Deleting a Single Effect ...... 49 Deleting Multiple Transition Effects ...... 51 Deleting Multiple Segment Effects...... 51 Trimming Transition Effects ...... 51 Using the Effect Preview Monitor ...... 51 Understanding the Effect Preview Monitor Toolbar...... 52 Understanding Effect Preview Monitor Tracking Information ...... 54 Displaying Safe Title and Safe Action Guidelines in Monitors...... 54 Working with the Effect Grid ...... 55 Displaying the Effect Grid in Effect Mode ...... 56 Displaying Position Coordinates...... 57 Using Local Grid Parameters ...... 57 Moving an Enlarged Image in the Effect Preview Monitor...... 58 Changing Position in an Effect ...... 59 Replacing an Effect in Effect Mode ...... 59 Using the Effect Editor ...... 60 Effect Editor Controls ...... 60 Displaying an Effect’s Parameters in the Effect Editor ...... 64 Understanding Effect Parameters ...... 65 Using Parameter Sliders ...... 66 Using Parameter Enable Buttons ...... 67 Using Fast Menu Parameters ...... 67 Using the Other Options Button to Access Parameters ...... 67 Adjusting a Color Parameter ...... 68 Using the Eyedropper...... 68 Using the Windows Color Dialog Box...... 68 Using the Macintosh Colors Panel ...... 70 Manipulating Effects Directly ...... 70 Defining Motion Paths ...... 71 Moving the Image Directly...... 71 Resizing a Foreground Image by Dragging Handles...... 73
6 Using Effect Templates ...... 74 Saving an Effect Template ...... 75 Displaying Effect Templates in the Effect Palette...... 76 Applying an Effect Template ...... 76 Chapter 3 Working with Keyframes ...... 79 Using Standard Keyframes ...... 79 Adding a Standard Keyframe ...... 80 Selecting a Standard Keyframe ...... 80 Moving a Standard Keyframe...... 81 Changing a Standard Keyframe’s Parameters...... 81 Copying and Pasting Standard Keyframe Parameters...... 81 Deleting a Standard Keyframe ...... 82 Using Advanced Keyframes ...... 82 Understanding Advanced Keyframes...... 83 Promoting Effects to Advanced Keyframes ...... 84 Viewing Advanced Keyframe Graphs...... 85 Opening Advanced Keyframe Graphs...... 85 Understanding Advanced Keyframe Graphs ...... 86 Adjusting Advanced Keyframe Graph Display...... 87 Manipulating Advanced Keyframes ...... 90 Understanding Advanced Keyframe Display ...... 91 Adding Advanced Keyframes ...... 92 Deleting Advanced Keyframes ...... 94 Keyframe Mode Menu Commands ...... 95 Selecting and Deselecting Advanced Keyframes ...... 100 Moving Advanced Keyframes ...... 101 Aligning and Slipping Advanced Keyframes ...... 103 Copying and Pasting Advanced Keyframe Parameters ...... 106 Controlling Parameter Changes at Keyframes ...... 107 Adjusting Parameter Values with the Bézier Interpolation Option ...... 109 Reversing Advanced Keyframes ...... 110 Controlling Advanced Keyframe Behavior with Trimmed Effects ...... 111 Controlling Parameter Changes Outside First and Last Keyframes . . . . . 112
7 Controls and Options for Advanced Keyframes ...... 115 Effect Editor Controls for Advanced Keyframes ...... 115 Keyframe Track Shortcut Menu ...... 117 Effect Editor Shortcut Menu ...... 118 Chapter 4 Playing and Rendering Effects ...... 121 Previewing Effect Frames with Render On-the-Fly ...... 121 Advanced Effects Playback Information...... 122 Controlling Real-Time Effects Playback ...... 122 Real-Time Effects and Effect Icon Colors ...... 123 Rendering Effects...... 124 Creating and Using Render Settings...... 124 Creating a New Render Setting ...... 124 Adjusting Render Settings Options...... 125 Activating a Render Setting ...... 128 Partial Render ...... 128 Interrupting a Render ...... 128 Customizing Render Ranges Display...... 128 Rendering a Single Effect ...... 129 Rendering Effects at Position ...... 130 Rendering Effects Between IN and OUT Points ...... 131 Rerendering Effects...... 132 16-Bit Processing Support for Rendered Effects...... 133 Rendering HQ (Highest Quality) Effects ...... 134 Managing Effect Media Files ...... 136 Understanding Effect Media Files Management ...... 136 Revealing Effect Media Files...... 136 Deleting Effect Media Files from a Bin ...... 139 Chapter 5 Working with Third-Party Plug-In Effects ...... 141 Working with AVX Plug-Ins ...... 141 Support for AVX 1.x and AVX 2.0 ...... 142 AVX 1.x Plug-ins and Memory Usage ...... 142 Installing AVX Plug-ins ...... 143 Locating the AVX 1.x Plug-Ins Folder (Windows Only) ...... 144
8 Upgrading and Promoting AVX Plug-ins ...... 146 Displaying AVX Plug-Ins on an External Monitor ...... 147 Assigning Multiple Tracks in Plug-in Effects...... 147 Using AVX Plug-in Controls ...... 148 Using AVX 1.x Plug-In Controls...... 148 Using AVX 2.0 Plug-In Controls ...... 149 Using the Client Monitor to Preview the Plug-In Effect...... 149 Troubleshooting AVX Plug-Ins ...... 150 Avid After Effects External Monitor Preview Plug-In (Windows Only)...... 151 Installing the Avid After Effects EMP Plug-in (Windows Only) ...... 152 Using the Avid After Effects EMP Plug-in (Windows Only) ...... 153 Tips for Using the Avid After Effects EMP Plug-in (Windows Only) ...... 153 Chapter 6 Creating and Customizing Motion Effects...... 155 Understanding Traditional Motion Effects ...... 155 Creating Traditional Motion Effects ...... 156 Playing and Rendering Traditional Motion Effects ...... 156 Rendering Considerations When Creating Traditional Motion Effects...... 156 Rendering and Rerendering Existing Traditional Motion Effects ...... 157 Displaying Information About Motion Effect Type Changes ...... 159 Freeze Frame Effects...... 160 Creating a Freeze Frame ...... 160 Controlling a Freeze Frame with a Single Button or Key...... 162 Creating a Rolling Clip That Freezes...... 163 Creating a Variable Speed Effect ...... 163 Using the Fit to Fill Button ...... 166 Creating a Strobe Motion Effect ...... 166 Considerations for Motion Effects in 24p or 25p Projects ...... 168 Using Timewarp Effects ...... 169 Using the FluidFilm Templates ...... 170
9 Chapter 7 Creating Layered and Nested Effects...... 171 Creating Key Effects...... 171 Using the Chroma Key Effect and the RGB Keyer Effect ...... 171 Chroma Key Effect ...... 172 RGB Keyer Effect ...... 172 Using Post-Key Color Correction ...... 174 Creating a Luma Key Effect ...... 174 Creating a Matte Key Effect ...... 175 Using the Color Effect to Prepare a High-Contrast Image...... 176 Working with Imported Graphics and Animation ...... 177 Editing with Imported Matte Key Clips...... 177 Editing with Imported Master Clips ...... 178 Nesting Effects ...... 179 Expanding Nested Effects in the Timeline...... 180 Stepping Into and Out of Nested Effects ...... 180 Creating a Simple Nested Effect ...... 181 Changing the Order of Nested Effects ...... 182 Nesting a Matte Key Effect ...... 183 Submaster Editing ...... 185 Applying the Submaster Effect to a Multilayered Sequence ...... 185 Using the Submaster Effect with a Series of Short Clips...... 187 Collapsing Layers into One Submaster Effect...... 187 Performing a Video Mixdown ...... 189 Chapter 8 Working with Camera Effects ...... 191 Using the Reformat Effects ...... 191 Working with the Pan and Scan Effect...... 192 Understanding the Pan and Scan Effect ...... 193 Outputting the Media with the Pan and Scan Effect ...... 194 Positioning the Pan and Scan Track ...... 194 Applying the Pan and Scan Effect...... 194 Selecting the Source and Target Aspect Ratios ...... 195 Setting Up Your Monitors for the Pan and Scan Effect ...... 197 Viewing Pan and Scan Media ...... 198
10 Using the Effect Grid with the Pan and Scan Effect ...... 199 Setting an Origin in the Pan and Scan Effect ...... 200 Subdividing the Pan and Scan Effect ...... 201 Using the Wire Frame in the Pan and Scan Effect...... 202 Scaling the Pan and Scan Wire Frame ...... 202 Positioning the Pan and Scan Wire Frame ...... 203 Adjusting the Pan and Scan Effect...... 204 Combining the Pan and Scan Effect with Transition Effects ...... 205 Placing Pan and Scan Effects on the Video Track...... 205 Using the Region Stabilize Effect ...... 206 Stabilizing an Image ...... 207 Making Adjustments to the Region of Interest ...... 209 Using Avid Pan & Zoom ...... 209 Working with Image Files ...... 210 Applying the Avid Pan & Zoom Effect ...... 211 Viewing the Image While You Work ...... 212 Adjusting the Field of View ...... 213 Zooming Into and Out Of the Source Image ...... 214 Panning Over the Source Image ...... 215 Using Velocity In and Velocity Out ...... 215 Using Ease In and Ease Out ...... 216 Creating a Path with Constant Velocity ...... 216 Setting the Path Parameter ...... 217 Options for Rendering the Avid Pan & Zoom Effect ...... 219 Selecting the Background ...... 220 Advanced Parameter Category ...... 220 Pixel Types in the Source and Output...... 220 Color Levels for Avid Pan & Zoom ...... 221 Memory Management with the Avid Pan & Zoom Effect ...... 221 Chapter 9 Working with 3D Effects ...... 223 Using Xpress 3D Effects ...... 223 Accessing 3D Effects in the Effects Palette ...... 224 Promoting 2D Effects to 3D Effects...... 225
11 Creating a Matte Key for Use with 3D Effects ...... 226 Understanding the 3D Effects Interface ...... 227 Moving in 3D Space ...... 227 Working with 3D Effects Parameters...... 229 Accessing 3D Effects Parameters ...... 230 Manipulating 3D Effects Parameters ...... 230 Using the Default Keyframe Parameter Values ...... 231 Resetting Default Parameter Values ...... 231 Using Effect Templates ...... 232 Zooming In or Out on the Effect Preview Monitor ...... 232 Manipulating 3D Effects Directly ...... 232 Manipulating 3D Effect Handles ...... 233 Using the Motion Path Editor ...... 234 Applying 3D Effects: Examples ...... 234 Creating a Page Fold Transition ...... 234 Creating a Cropped Foreground Effect ...... 236 Chapter 10 Working with Titles ...... 239 Workflow for Titles ...... 240 Understanding the Title Tool Toolbar...... 240 Advanced Title Tool Setup ...... 243 Installing Fonts ...... 243 Using Safe Colors ...... 244 Using the Alignment and Snap Grids ...... 244 Bringing the Title Tool to the Foreground ...... 245 Advanced Text Formatting ...... 245 Adjusting Text Kerning ...... 246 Adjusting Leading ...... 247 Justifying the Text ...... 248 Selecting Line Attributes...... 248 Rounding Corners ...... 249 Selecting a Line or Border Width...... 249 Adding Arrowheads ...... 250 Changing Arrowhead Size...... 251
12 Creating Rolling and Crawling Titles ...... 251 Page Count Limits in Rolling and Crawling Titles...... 252 Using Auto Size Mode for Rolling and Crawling Titles ...... 253 Setting Up Text Formatting for Rolling and Crawling Titles ...... 254 Workflow Options for Creating Crawling Titles...... 254 Typing the Rolling and Crawling Title Text...... 255 Resizing the Width of Rolling and Crawling Titles ...... 255 Scrolling Through a Rolling or Crawling Title ...... 256 Working with Pages in Rolling or Crawling Titles ...... 256 Formatting Rolling and Crawling Titles...... 258 Selecting Colors and Setting Transparency ...... 258 Selecting Colors ...... 259 Blending Two Colors in an Object ...... 259 Using the Title Tool Color Picker ...... 261 Setting Transparency Levels ...... 262 Blending Transparency ...... 262 Adjusting Shadows ...... 263 Adjusting Shadow Color and Transparency ...... 263 Setting Shadow Softness ...... 263 Adjusting Shadow Softness On-the-Fly ...... 264 Viewing Shadow Softness ...... 265 Creating a Glow Effect ...... 265 Manipulating Objects...... 266 Basic Manipulation Operations...... 266 Layering Text and Objects ...... 266 Grouping and Ungrouping Objects...... 267 Locking and Unlocking Objects ...... 267 Aligning Objects ...... 268 Distributing Objects ...... 269 Saving and Recalling Title Styles ...... 270 Saving a Title Style...... 270 Title Style Sheet Options ...... 272 Recalling a Title Style...... 272
13 Confirming Function Key Mapping of Title Styles ...... 273 Applying Title Styles to Text Objects...... 273 Managing Title Styles ...... 274 Creating and Using Title Templates...... 274 Creating Title Templates ...... 275 Using Title Templates ...... 275 Exporting a Title as a Graphics File ...... 276 Workflow for Editing with Titles ...... 276 Restrictions on Title Playback ...... 277 Removing Titles ...... 277 Replacing Titles ...... 278 Fading a Title ...... 278 Adjusting Title Effect Parameters...... 279 Revising a Title in a Sequence...... 280 Replacing Fill Tracks ...... 282 Rendering Titles ...... 283 Rendering Fast-Saved Titles ...... 284 Re-creating Title Media ...... 284 Promoting a 2D Title to 3D...... 285 Troubleshooting Wrong Title Format Errors...... 286 Chapter 11 Working with PlasmaWipe Effects ...... 287 Understanding PlasmaWipe Effects...... 287 PlasmaWipe Folder Structure ...... 288 Using PlasmaWipe Effects...... 289 Creating PlasmaWipe Effects...... 290 Creating PAL and NTSC Versions of the Image ...... 291 Creating a PlasmaWipe from a Custom Image ...... 291 Creating a Wipe Using the Photoshop Pencil Tool ...... 292 Creating a PlasmaWipe Effect from an Existing Image...... 294 Tips for Working with Gradient Images ...... 295 Testing the Animation ...... 298 Saving the Image for PAL and NTSC ...... 299
14 Storing Images in the PlasmaWipes Folder Structure ...... 300 Tips for Adjusting an Existing PlasmaWipe Effect While the Application is Running ...... 302 Using PlasmaWipe Frame and Border Effects ...... 303 Applying and Adjusting Frame and Border Effects...... 304 Default Values for PlasmaWipe Effects ...... 306 Creating Custom Border and Frame Effects ...... 307 Using PlasmaWipes with HD Projects ...... 309 Chapter 12 2D Effects Reference ...... 313 2D Effects Parameters ...... 313 Global and Keyframeable Parameters ...... 314 Acceleration ...... 315 Avid Pan & Zoom Parameters ...... 316 Other Options button for the Avid Pan & Zoom Effect...... 316 Display...... 317 Display Options ...... 317 Size ...... 317 Position for the Avid Pan & Zoom Effect ...... 318 Velocity ...... 318 Path ...... 320 Filtering ...... 320 Background for the Avid Pan & Zoom Effect ...... 321 Advanced...... 322 Cache ...... 322 Render Mode...... 323 Background ...... 323 Blowup Parameters ...... 324 Border...... 324 Color Effect Parameters ...... 325 Luma Adjust...... 325 Luma Range ...... 326 Luma Clip ...... 328 Chroma Adjust...... 329
15 Color Style ...... 329 Color Gain ...... 330 Crop...... 331 Foreground ...... 332 Grid ...... 333 Illusion FX Parameters ...... 335 Background ...... 335 Border...... 336 Center...... 337 Circle ...... 337 Core ...... 338 Generation ...... 338 Glow ...... 340 Illumination ...... 341 Input ...... 341 Color Mix Input Parameters ...... 342 Crystal Input Parameters ...... 343 Film Grain Input Parameters ...... 344 Flare Input Parameters...... 344 FluidBlur Input Parameters...... 346 FluidColorMap Input Parameters ...... 347 FluidMorph Input Parameters ...... 348 Iris Input Parameters ...... 349 Kaleidoscope Input Parameters ...... 350 Melt Input Parameters ...... 350 Motion Blur Input Parameters...... 351 Pagecurl Input Parameters...... 352 Particle Blast Input Parameters ...... 354 Particle Orbit Input Parameters ...... 355 Particle Wind Input Parameters ...... 356 Pinch Input Parameters ...... 358 Radial Blur Input Parameters ...... 359 Random Blend Input Parameters ...... 360
16 Rollup Input Parameters ...... 361 Shear Input Parameters ...... 362 Sphere Input Parameters ...... 363 Swirl Input Parameters ...... 364 Timecode Input Parameters ...... 365 Twist Input Parameters ...... 366 Wave Input Parameters...... 367 Motion ...... 368 Movement ...... 369 Number ...... 370 Offset...... 371 Source ...... 371 Start Timecode ...... 372 Key Parameters ...... 372 Key ...... 373 Secondary Key ...... 374 Spill Suppression...... 374 Key Color...... 375 Chroma Key...... 375 Matte Control...... 376 Color Correction ...... 377 Matrix Parameters ...... 378 Traditional Motion Effect Parameters ...... 378 Freeze Frame Parameters ...... 379 Variable Speed and Strobe Motion Parameters ...... 380 PlasmaWipe Parameters ...... 382 Plug-in Effect Parameters ...... 383 Position...... 383 Scroll Position ...... 384 Reformat Parameters ...... 384 14:9 Letterbox Position H Parameter ...... 384 Pan and Scan Aspect Ratios Parameters ...... 385 Pan and Scan Actions Parameters ...... 385
17 Region Stabilize Parameters...... 386 Model ...... 386 Region of Interest ...... 387 Options ...... 387 Progressive Source ...... 387 Safe Color Limiter Parameters ...... 388 Scaling...... 389 Transition Parameters ...... 390 2D Effects...... 391 Blend Effects ...... 392 Dip to Color...... 393 Dissolve ...... 394 Fade from Color ...... 395 Fade to Color ...... 396 Picture-in-Picture ...... 397 Superimpose ...... 398 Box Wipe Effects ...... 398 Bottom Box ...... 399 Bottom Left to Top Right...... 400 Bottom Right to Top Left...... 401 Left Box ...... 402 Right Box ...... 403 Top Box ...... 404 Top Left to Bottom Right...... 405 Top Right to Bottom Left...... 406 Conceal Effects ...... 406 Bottom Left to Top Right...... 407 Bottom Right to Top Left...... 408 Bottom to Top ...... 409 Left to Right ...... 410 Right to Left ...... 411 Top Left to Bottom Right...... 412
18 Top Right to Bottom Left ...... 413 Top to Bottom ...... 414 Edge Wipe Effects ...... 414 Horizontal ...... 415 Horizontal Open...... 416 Lower Left Diagonal...... 417 Lower Right Diagonal ...... 418 Upper Left Diagonal...... 419 Upper Right Diagonal ...... 420 Vertical...... 421 Vertical Open...... 422 Film Effects...... 422 1.66 Mask ...... 423 1.85 Mask ...... 424 16:9 Mask ...... 424 Anamorphic Mask ...... 425 Blowup...... 426 Film Dissolve ...... 427 Film Fade...... 428 Mask ...... 429 Illusion FX...... 430 Color Mix ...... 431 Crystal ...... 432 Film Grain ...... 433 Flare ...... 433 FluidBlur ...... 434 FluidColorMap ...... 434 FluidMorph...... 435 Iris ...... 435 Kaleidoscope...... 436 Lightning ...... 437 Melt ...... 438 Motion Blur ...... 439
19 Pagecurl ...... 440 Particle Blast...... 441 Particle Orbit...... 441 Particle Wind ...... 443 Pattern Generator...... 444 Pinch...... 445 Radial Blur ...... 446 Random Blend ...... 446 Ripple ...... 447 Rollup ...... 448 Shear ...... 449 Sparkler ...... 450 Sphere ...... 451 Swirl ...... 452 Timecode ...... 453 Twist ...... 454 Wave ...... 455 Image Effects ...... 455 Avid Pan & Zoom (AVX Plug-In Effect) ...... 456 Color Correction ...... 457 Color Effect...... 457 Flip ...... 458 Flip-Flop ...... 459 Flop...... 460 Mask ...... 461 Region Stabilize ...... 461 Resize...... 462 Safe Color Limiter...... 463 Submaster ...... 463 Key Effects ...... 464 Chroma Key ...... 464 Luma Key ...... 466
20 Matte Key ...... 467 RGB Keyer (AVX Plug-in Effect) ...... 468 L-Conceal Effects ...... 469 Bottom Left ...... 469 Bottom Right ...... 470 Top Left ...... 471 Top Right...... 472 Matrix Wipe Effects ...... 472 Grid ...... 473 One-Way Row ...... 474 Speckle ...... 475 Spiral ...... 476 Zig-Zag ...... 477 Motion Effects...... 478 Freeze Frame ...... 478 Variable Speed and Strobe Motion ...... 478 Peel Effects ...... 478 Bottom Left Corner ...... 479 Bottom Right Corner ...... 480 Bottom to Top ...... 481 Left to Right ...... 482 Right to Left ...... 483 Top Left Corner ...... 484 Top Right Corner...... 485 Top to Bottom ...... 486 PlasmaWipe Effects ...... 486 Push Effects ...... 487 Bottom Left to Top Right ...... 488 Bottom Right to Top Left ...... 489 Bottom to Top ...... 490 Left to Right ...... 491 Right to Left ...... 492 Top Left to Bottom Right ...... 493
21 Top Right to Bottom Left...... 494 Top to Bottom ...... 495 Reformat Effects ...... 495 14:9 Letterbox...... 496 16:9 Letterbox...... 496 4:3 Sidebar ...... 497 Pan and Scan ...... 497 Sawtooth Wipe Effects ...... 498 Horizontal Sawtooth ...... 498 Horizontal Open Sawtooth ...... 499 Vertical Open Sawtooth ...... 500 Vertical Sawtooth ...... 501 Shape Wipe Effects...... 501 4 Corners ...... 502 Center Box ...... 503 Circle ...... 504 Clock...... 505 Diamond ...... 506 Ellipse ...... 507 Horizontal Bands ...... 508 Horizontal Blinds...... 509 Vertical Blinds...... 510 Spin Effects ...... 510 X Spin ...... 511 Y Spin ...... 512 Z Spin ...... 513 Squeeze Effects ...... 514 Bottom Centered ...... 515 Bottom Left ...... 516 Bottom Right...... 517 Bottom to Top ...... 518 Centered Zoom...... 519 Horizontal Centered ...... 520
22 Left Centered...... 521 Left to Right ...... 522 Right Centered ...... 523 Right to Left ...... 524 Top Centered...... 525 Top Left ...... 526 Top Right...... 527 Top to Bottom ...... 528 Vertical Centered...... 529 Timewarp ...... 530 Timewarp: 0% To 100% ...... 531 Timewarp: 100% To 0% ...... 531 Timewarp: 50% Speed ...... 532 Timewarp: FluidFilm 2:3 Cadence...... 532 Timewarp: FluidFilm Progressive ...... 533 Timewarp: Pulldown Insertion ...... 533 Timewarp: Pulldown Removal ...... 534 Timewarp: Reverse Motion ...... 534 Timewarp: Speed Boost ...... 535 Timewarp: Speed Bump ...... 535 Timewarp: Trim to Fill ...... 536 Title Effects...... 536 Comparison of Similar Effects...... 538 Chapter 13 3D Effects Reference ...... 539 3D Effects Parameters ...... 539 Global Versus Keyframeable Parameters ...... 540 Hierarchy of Parameters ...... 541 Direct Manipulation of 3D Effect Parameters ...... 542 Acceleration ...... 542 Axis...... 543 Background ...... 544 Border...... 545 Crop ...... 546
23 Foreground ...... 547 Position ...... 548 Rotation ...... 549 Scaling...... 550 Shadow ...... 551 Shape ...... 552 Target ...... 553 Trail ...... 554 Xpress 3D Effects...... 554 3D Ball...... 555 3D PIP Effect...... 557 Page Fold ...... 557 3D Slats...... 558 Index ...... 561
24 Using This Guide
You can use the tools and techniques described in this guide to create and incorporate into your sequence titles and effects with a wide variety of attributes. This guide also describes how to apply third-party plug-in effects.
This guide contains all effects and titling information not covered in the Avid Xpress Pro Basics Guide, and is intended for all Avid Xpress Pro users, from beginning to advanced.
Unless noted otherwise, the material in this document applies to the Windows XP and Mac OS X operating systems.The majority of screen shots in this document were captured on a Windows XP system, but the information applies to both Windows XP and Mac OS X systems. Where differences exist, both Windows XP and Mac OS X screen shots are shown. n The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in the documentation. Using This Guide Symbols and Conventions
Avid documentation uses the following symbols and conventions:
Symbol or Convention Meaning or Action n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data. w A warning describes an action that could cause you physical harm. Follow the guidelines in this document or on the unit itself when handling electrical equipment.
> This symbol indicates menu commands (and subcommands) in the order you select them. For example, File > Import means to open the File menu and then select the Import command.
t This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed.
k This symbol represents the Apple or Command key. Press and hold the Command key and another key to perform a keyboard shortcut.
(Windows), (Windows only), This text indicates that the information applies only to (Macintosh), or (Macintosh the specified operating system, either Windows XP or only) Macintosh OS X.
Italic font Italic font is used to emphasize certain words and to indicate variables.
Courier Bold font Courier Bold font identifies text that you type.
Ctrl+key or mouse action Press and hold the first key while you press the last k+key or mouse action key or perform the mouse action. For example, k+Option+C or Ctrl+drag.
26 If You Need Help If You Need Help
If you are having trouble using this Avid editing application: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2. Check for the latest information that might have become available after the documentation was published: - If the latest information for your Avid product is provided as printed release notes, they ship with your application and are also available online. - If the latest information for your Avid product is provided as a ReadMe file, it is supplied in your Avid application folder as a PDF document (ReadMe.pdf) and is also available online. You should always check online for the most up-to-date release notes or ReadMe because the online version is updated whenever new information becomes available. To view these online versions, select ReadMe from the Help menu. or visit the Knowledge Base at www.avid.com/readme. 3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues. 4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read or join online message-board discussions.
Accessing the Online Library
The Online Library for your Avid editing application contains all the product documentation in PDF format, including a Master Glossary of all specialized terminology used in the documentation for Avid products.
Most Avid online libraries also include multimedia content such as tutorials and feature presentations. This multimedia content is an excellent first resource for learning how to use your application or for helping you understand a particular feature or workflow.
The Online Library for your Avid editing application installs along with the application itself. n You will need Adobe® Reader® to view the PDF documentation online. You can download the latest version from the Adobe web site.
27 Using This Guide
To access the Online Library, do one of the following: t From your Avid editing application, select Help > Online Library. t (Windows only) From the desktop, select Start > Programs > Avid > Avid editing application Online Library. t Browse to the Online Library folder, and then double-click the MainMenu file. The Online Library folder is in the same location as the application itself, for example: (Windows) C:\Program Files\Avid\Avid editing application\Online Library (Macintosh) Macintosh HD/Applications/Avid editing application/Online Library
How to Order Documentation
To order additional copies of this documentation from within the United States, call Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United States, contact your local Avid representative.
Avid Educational Services
Avid makes lifelong learning, career advancement, and personal development easy and convenient. Avid understands that the knowledge you need to differentiate yourself is always changing, and Avid continually updates course content and offers new training delivery methods that accommodate your pressured and competitive work environment.
To learn about Avid's new online learning environment, Avid Learning Excellerator (ALEX), visit http://learn.avid.com.
For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).
28 Chapter 1 Effect Concepts and Settings
Your Avid editing application offers many effects that you can apply to your sequences. This chapter provides visual overviews of the effects creation proceess, and describes several advanced concepts you should understand before you begin creating and editing effects into sequences. This chapter also describes settings adjustments that affect how you work with effects. • Effects Creation Tools • Deconstructing Effects • Video Effects for HD Projects • Working with Effects in 24p or 25p Projects • Understanding Effect Color Coding • Effect Aperture
For basic information on effects, see “Main Topics: Working with Effects: Basics” in the Help. Chapter 1 Effect Concepts and Settings Effects Creation Tools
The following chart presents the basic tools used to create effects.
Sources of effects: Motion Effect dialog box Title tool
Effect Palette
Apply transition and segment effects directly to tracks.
Title and motion effects appear first as clips in the bin.
Effects editing in default Edit effect clips into the Timeline. editing mode:
Effect Editor: Effects adjustment in Effect mode: Allows you to adjust effect Effect Preview monitor: parameters. Allows you to preview an effect, manipulate keyframes, and manipulate wire-frame representations of the effect.
30 Deconstructing Effects Deconstructing Effects
Breaking down existing effects into their basic elements provides one good way to understand how the Avid editing application builds effects. By learning how the various pieces fit together, and how the application allows you to manipulate them, you can begin to construct new effects from these building blocks.
The sequence depicted in the following Timeline contains a series of effects that cover all the basic techniques — from simple dissolves to nested layers.
Layered background elements
Layered foreground elements
Imported title elements set in motion with a 3D wipe effect
The sequence includes both transition and segment effects applied horizontally, vertically, and nested within video tracks. The callouts summarize deconstructed elements and list the sections of this guide that describe them in more detail.
31 Chapter 1 Effect Concepts and Settings
Deconstructing an Effects Sequence
Imported graphic used as a wipe. Title graphics imported as Matte Key effects. See “Working with Imported Graphics and Animation” See “Working with Imported Graphics and Animation” on page 177. on page 177.
Effect template applied repeatedly to crop and Keyed titles are faded in and out. position foreground images on V2. See “Using the Fade Effect Button” in See “Applying an Effect Template” on page 76. the Help.
Nested segments add more layers to the foreground track. See “Nesting Effects” on page 179.
Submaster segment, created from collapsed Dissolve sequence forms the foreground on V2. layers, forms the background on V1. See “Applying Effects to Multiple Transitions” on page 39. See “Submaster Editing” on page 185.
Various effect parameters are adjusted throughout to soften, distort, or position images.See “Using the Effect Editor” on page 60.
Video Effects for HD Projects
Many video effects work the same way in SD and HD, for example, dissolves, superimposes, flips, and so on.
Effects that use square geometry automatically use the correct pixel aspect ratios. These effects include Titles, Box Wipes, certain paint modes like Mosaic, and so on. Effects such as Color Correction, Color Effect, and Luma keys automatically use the correct color space (ITU-709 for HD).
Note the following: • Titles: There is no need to generate 4:3 media. • Timewarps: These effects use a 60p input and output format in 720p/59.94 projects.
32 Working with Effects in 24p or 25p Projects
All effects are rendered at Full Quality. Real-time previews of effects in HD projects play at either Best Quality or Best Performance. For more information, see “Playing Back at Different Video Qualities” in the Help.
Working with Effects in 24p or 25p Projects
Since effects in 24p or 25p projects are frame based rather than field based, their normal behavior is slightly different from effects in interlaced projects. In particular, temporal artifacts might appear in some effects under certain circumstances. This section explains when temporal artifacts might appear and suggests ways to create effects that do not show perceptible temporal artifacts.
Effects with and Without Motion
Effects that do not involve any movement across the screen — for example, masks, Color Effects, and dissolves — look the same in 24p or 25p projects as in interlaced projects.
Effects that involve movement across the screen — for example, wipes, 3D shapes, or moving titles — might look different from their equivalents in interlaced projects for the following reasons: • Since the effect is created using 24 or 25 progressive frames per second (24p or 25p), motion across the screen is interpolated in 24 or 25 increments per second. (Contrast the 50 increments per second for a PAL interlaced project or the 60 increments per second for an NTSC interlaced project.) For example, the edge of a 1-second Horizontal Edge Wipe effect will appear in 24 or 25 different positions across the screen. For effects of short duration in particular, this difference might be perceptible to the viewer. • When the 24p or 25p media is output (to the interlaced Client monitor or as a digital cut), it is re-interlaced and pulldown is inserted to achieve 60 fields per second (NTSC). The Avid application inserts pulldown by duplicating some of the existing frames to create the correct number of fields per second. Temporal artifacts created by this duplication process might be perceptible to the viewer. This behavior is a normal result of the pulldown insertion process and is often perceptible in conventional transfers of films to video formats. n PAL output with pulldown also duplicates certain frames but is less likely to exhibit perceptible temporal artifacts since fewer frames require duplication.
Motion effects created in 24p or 25p projects, such as Variable Speed effects, might also look different from motion effects created in interlaced projects. For more information on 24p or 25p motion effects, see “Considerations for Motion Effects in 24p or 25p Projects” on page 168.
33 Chapter 1 Effect Concepts and Settings
n For more information on how the Avid application handles 24p or 25p material, see “Working with 24p Media” and “Working with 25p Media” in the Help.
Smoothing Effects in 24p and 25p Projects
If an effect in a 24p or 25p project does not look completely smooth, do one or more of the following: • Slow down the effect. For example, a 2-second Horizontal Edge Wipe effect, while it is still performing at the same rate (24 increments per second), moves across the screen in 48 steps. These smaller movements make the wipe appear smoother to the viewer. • Soften the edges of the effect. The more the edges of the effect are blurred, the less noticeable the movements between the increments of the effect will be. • When working with moving titles, avoid small font sizes and sharp edges. In a moving title such as a roll, lines of small text might move less smoothly than lines of larger text.
Understanding Effect Color Coding
Effect icons in the Effect Palette and in the Timeline display color-coded dots to help you determine whether an effect is real-time or non-real-time. After opening the Effect Palette, you will notice that: • Real-time effects are preceded by a green dot. Real-time effects might not be playable in real time due to their position in a sequence or the options available with your Avid editing application. • Non-real-time effects have no dot in the Effect Palette. In the Timeline, the effect icon contains a blue dot until you render the effect. n When you edit a non-real-time effect into a sequence, the effect icon appears with a blue dot in the Timeline, which indicates that you must render the effect to play it in real time. After you render the effect, the effect icon appears in the Timeline without a dot.
All color-coded dots disappear in the Timeline when you render effects.
34 Effect Aperture
Green dot indicates a real-time effect that might not be playable in real time.
No dot indicates a non-real-time effect; in the Timeline, a non-real-time effect icon contains a blue dot until the effect is rendered.
Effect Aperture
The Effect Aperture setting allows you to control the number of horizontal lines of an image that are used to create an effect. For example, if you are working with DV media and notice black lines above and below Picture-in-Picture effects, you can instruct the system to ignore the lines by changing the effect aperture. n This feature only applies to NTSC projects. Understanding Effect Aperture
The Avid application uses 243 horizontal lines per field to display media for NTSC video as follows: • For uncompressed and non-DV resolutions, the system uses all 243 lines to display the image. • For DV media, the system uses 240 lines for the image and adds two black lines above the image and one black line below the image.
The effect aperture allows you to decide whether to use all 243 lines of the image to create an effect. For DV resolutions this allows you to decide whether or not to use the three black lines when you create effects.
In a DV project the black lines can become visible when you create effects such as Picture- in-picture or Squeeze effects. The following example shows four PIP effects. In the first illustration you can clearly see the black lines between the effects. This illustration uses the default ITU 601 aperture.
35 Chapter 1 Effect Concepts and Settings
ITU 601 aperture used with DV 25 media. Black lines are visible between the PIP effects.
The following example displays the same media with the DV25 effect aperture. In this illustration the lines are removed.
DV25 aperture used with DV 25 media. Black lines are no longer visible between the PIP effects.
36 Effect Aperture
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.
Changing the Effect Aperture
To change the effect aperture: 1. Double-click General in the Settings scroll list in the Project window. The General Settings dialog box is displayed.
2. Select one of the following Effect Aperture options: - DV25: Select this setting when you are using DV media exclusively. - ITU 601 (default): Select this setting when you are using uncompressed media or mixed resolutions.
37 Chapter 1 Effect Concepts and Settings
38 Chapter 2 Applying and Customizing Effects
After you have created an effect and have applied it to a transition or segment in your sequence, you can adjust its appearance and operation in a variety of ways. This chapter provides advanced information on applying and customizing effects. • Applying Effects to Multiple Transitions • Additional Methods for Applying Dissolve Effects • Additional Information for the Quick Transition Button • Deleting Effects in a Sequence • Trimming Transition Effects • Using the Effect Preview Monitor • Replacing an Effect in Effect Mode • Using the Effect Editor • Manipulating Effects Directly • Using Effect Templates
For basic information on applying and customizing effects, see “Applying Effects” and “Adjusting Effects” in the Help.
Applying Effects to Multiple Transitions
When you already have one effect applied to a transition in a sequence, you can apply an effect to multiple transitions at the same time.
To apply an effect to multiple transitions in the Timeline: 1. If there is not already an effect on one of the transitions, add a transition effect. 2. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” in the Help. 3. Click the existing transition effect to select it. Chapter 2 Applying and Customizing Effects
4. Click above the Timeline and begin dragging to activate a selection box. Continue to drag down and either to the left or right to include additional transitions in the selection.
Selection box
5. Release the mouse button when you have lassoed all the transitions you want. Your Avid editing application highlights the transitions that you selected, and the position indicator moves to the first transition.
6. If the transitions where you want to apply the effect are not contiguous, Shift+click any transition to deselect it. 7. In the Effect Palette, double-click the icon for the effect that you want to apply to the transitions. The application applies the effect to the highlighted 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” in the Help.
40 Additional Methods for Applying Dissolve Effects Additional Methods for Applying Dissolve Effects
One of the most common transition effects is a dissolve. You can use the following methods to apply the Dissolve effect: • Select the Dissolve effect from the Effect Palette. For more information, see “Applying Effects from the Effect Palette” in the Help. • Click the Quick Transition button. For more information, see “Using the Quick Transition Button” in the Help. • In Trim mode, use the Transition parameters to create a dissolve. For more information, see “Creating a Dissolve in Trim Mode” on page 41. • Use the Head Fade button or the Tail Fade button. For more information, see “Adding Dissolves with the Head Fade Button and the Tail Fade Button” on page 42.
Creating a Dissolve in Trim Mode
You can create a Dissolve effect in Trim mode using the Transition parameters displayed in the Effect Editor and in the Composer monitor.
To create a Dissolve effect using the Transition parameters: 1. Click a transition in the Timeline while in Trim mode. 2. In the Transition Effect Duration box in the Effect Editor or in the Composer monitor, type the dissolve’s duration.
Transition Effect Transition Effect Duration box Alignment button
Transition Effect Alignment pop-up menu
This adds the Dissolve effect at the transition and a Dissolve effect in the Timeline. n The Duration setting determines the duration format above the Composer monitor, for example, seconds:frames. For more information, see “Performing a Basic Trim” in the Help.
3. Click the Transition Effect Alignment button, and select the effect’s position relative to the cut point. For an explanation of the Transition Effect Alignment button selections, see “Transition Parameters” on page 390.
41 Chapter 2 Applying and Customizing Effects
Adding Dissolves with the Head Fade Button and the Tail Fade Button
You can use the Head Fade button and the Tail Fade button to add dissolves on one or more video tracks (or fades on one or more audio tracks).
The Head Fade and Tail Fade buttons are available by default in the Timeline top toolbar. For information on displaying the Timeline top toolbar, see “Using the Timeline Top Toolbar” in the Help. You might need to resize the Timeline or hide the audio meters to see the Head Fade and Tail Fade buttons.
You can map the Head Fade button and the Tail Fade button from the Command palette to a key on your keyboard or to an existing button location such as the Tool palette. For more information, see “Mapping User-Selectable Buttons” in the Help.
To add dissolves using the Head Fade button and the Tail Fade button: 1. Move the position indicator to a clip where you want the dissolve to end or begin. For example, if you move the position indicator ten frames after the beginning of the clip and then use the Head Fade button, the Avid editing application creates a ten-frame dissolve that lasts from the beginning of the clip to the location of the position indicator. 2. Select the tracks on which you want to create dissolves. If you select more than one track, the editing application creates dissolves of appropriate lengths for each track, as shown in the following illustration.
Before After — Two dissolves of different lengths are created on the two tracks.
3. Select Tools > Command Palette. 4. Click the FX tab, and then click Active Palette. 5. Click the Head Fade button or the Tail Fade button. The dissolves appear in the Timeline. If a dissolve begins or ends at the edit point between two clips, the dissolve crosses between the two clips. Otherwise the dissolve is a fade from or to black.
42 Additional Information for the Quick Transition Button
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, a message box opens.
Do one of the following: t Click Size to Fit. The Avid editing application creates the longest dissolve possible. For more information on sizing effects to fit available media, see “Sizing the Effect to Fit the Media” in the Help. t Click Skip Track. The Avid editing application does not create a dissolve on the track with insufficient source material but does create dissolves on any other selected tracks with sufficient source material. t Click Cancel. The Avid editing application does not create any dissolves.
Additional Information for the Quick Transition Button
You use the Quick Transition button to apply basic transition effects without using the Effect Palette or entering Effect mode.
You can apply a single transition effect using the Quick Transition button by following the procedure in “Using the Quick Transition Button” in the Help.This section includes instructions for appying effects to multiple transitions at one time using the Quick Transition button, as well as detailed information about the graphical controls in the Quick Transition dialog box.
43 Chapter 2 Applying and Customizing Effects
Using the Quick Transition Button to Apply Effects to Multiple Transitions
You can select multiple transitions by marking IN and OUT points. Then you can apply an effect from the Quick Transition dialog box as follows: • Apply the effect to all transitions between the IN and OUT points. • Or apply the effect to only those transitions that do not already have an effect applied.
To apply an effect to multiple transitions using the Quick Transition button: 1. Mark IN and OUT points around the transitions to which you want to add the effect. 2. Make sure that the Record Track buttons in the Track Selector panel are selected for the tracks to which you want to add the effect. 3. (Option) If you want to see a particular transition in the graphical display of the Quick Transition dialog box, move the position indicator to that transition. n The graphical display in the Quick Transition dialog box always shows the transition closest to the position indicator. When you define an effect to apply to multiple transitions, the positioning details of any one transition might not be useful since you need to create an effect that will fit all the transitions. However, you might want to choose one transition as a model. For example, you might use the transition with the least amount of handle as a model. If your effect fits that transition, it should fit all the others you have selected.
4. Click the Quick Transition button. The Quick Transition dialog box opens.
Apply to All Transitions check box
44 Additional Information for the Quick Transition Button
5. Click the Add pop-up menu, and select a transition effect.
For an explanation of individual effects shown in the menu, see “Blend Effects” on page 392. n When you save a Dissolve effect template into a bin named Quick Transitions, the effect template appears in the Add pop-up menu. For more information, see “Using Effect Templates” on page 74. n When you select a color transition with Quick Transition, the default color is black. You must enter Effect mode to select another color. For more information, see “Using the Effect Editor” on page 60.
6. Select the transition duration by doing one of the following: t Type the duration in frames in the Duration text box. t Click either the left or right edge of the Dissolve Effect icon, and drag it to change the duration. For more information, see “Adjusting a Transition Effect by Dragging in the Quick Transition Dialog Box” on page 47. The graphical display changes — the size of the effect icon gets smaller or larger, and the numbers in the Duration and Start text boxes change — to reflect the new duration. For more information, see “Understanding the Graphical Display in the Quick Transition Dialog Box” on page 46. 7. Adjust the effect’s position relative to the cut point in one of the following ways: t Click the Position menu, and select an option to have the effect end at the cut point, center on the cut point, or start at the cut point.
45 Chapter 2 Applying and Customizing Effects
t Click the Position menu, select Custom, and then type a number in the Start text box to specify how many frames before the cut point you want the effect to begin. n The Avid editing application automatically selects the Custom option in the Position pop-up menu when you click in the graphical display.
t Click inside the effect in the graphical display, and drag it to position the effect with respect to the cut point. t Click one of the alignment buttons below the graphical display. For more information on the graphical display options, see “Understanding the Graphical Display in the Quick Transition Dialog Box” on page 46. The Avid editing application positions the effect, updates the graphical display to show the new position of the effect, and updates the value in the Start text box. 8. Click the Target Drive menu, and select a drive on which to store the effect if you choose to render it. The Effect Source Drive is the drive where the media on the outgoing shot of a transition resides. 9. Select Apply to All Transitions (IN -> OUT). 10. (Option) To apply the effects only to transitions that do not already have a transition effecet applied, select Skip Existing Transtion Effects. 11. Do one of the following: t To add the effect without rendering it, click Add. t To add the effect and render it, click Add and Render. The Avid editing application adds the selected effect to all the transitions between the marked IN and OUT points on the selected tracks in the sequence. n If there is not enough incoming or outgoing media material to apply the effect to a transition, a dialog box opens. For more information, see “Sizing the Effect to Fit the Media” in the Help.
Understanding the Graphical Display in the Quick Transition Dialog Box
The graphical display of the transition effect that appears in the Quick Transition dialog box allows you to control the length and position of the effect with frame accuracy simply by dragging. Using the three alignment buttons, you can also quickly reset the position of the effect.
46 Additional Information for the Quick Transition Button
The following illustration shows the graphical display in the Quick Transition dialog box.
Outgoing media Transition effect Handle on outgoing media
Frames of Frames of incoming media outgoing media available for the available for the effect effect
Handle on incoming media Alignment buttons Incoming media
The graphical display shows the following: • The outgoing (A) and incoming (B) media for the transition to which you are applying the effect. The amount of handle that is available for each piece of media is clearly indicated both as a darker area on the graphic itself and as a number of frames. • The transition effect that you are applying. The display shows the effect icon and indicates the length and position of the effect in relation to the media. • Three alignment buttons. These buttons appear when you click the Position button and select Custom or when you click in the graphical display. They allow you to quickly reposition the effect so that it either ends at the cut point, is centered on the cut point, or starts at the cut point.
The Avid editing application draws and scales the graphical display so that it represents the relative size and position of the transition effect in relation to the media. For example, in the illustration above, the effect is 30 frames long while the incoming handle is 33 frames long. The effect is therefore shown slightly shorter than the incoming handle.
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.
47 Chapter 2 Applying and Customizing Effects
To adjust the length of the effect: 1. Do one of the following: t To adjust the length of the effect without changing its start point, move the pointer over the right edge of the effect. t To adjust the length of the effect without changing its end point, move the pointer over the left edge of the effect. The pointer changes to a resizing arrow.
Resizing arrow
2. Do one of the following: t Drag away from the effect icon in the center to lengthen the effect. t Drag toward the effect icon in the center to shorten the effect. The graphical display and the Duration text box update to reflect your adjustment. If you are dragging the left edge of the effect, the Start text box also updates to reflect the changed start point.
To adjust the position of the effect: 1. Move the pointer inside the effect. The pointer changes to a hand.
2. Drag the effect to adjust its position with respect to the cut point. The graphical display updates to show the new effect position, and the Start text box updates to show the new number of frames before the cut point. n You cannot drag an effect beyond the ends of the handles on the media because the Avid editing application 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.
48 Deleting Effects in a Sequence
Repositioning a Transition Effect with the Quick Transition Alignment Buttons
You can use the alignment buttons to quickly reposition the effect so that it either ends at the cut, is centered on the cut, or starts at the cut. The buttons have the same effect as the Ending at Cut, Centered on Cut, and Starting at Cut commands in the Position pop-up menu.
Ending at Cut Centered on Cut Starting at Cut
To reposition the effect with an alignment button: t Click one of the following buttons: - Ending at Cut, to have the effect end at the cut point - Centered on Cut, to center the effect on the cut point - Starting at Cut, to have the effect begin at the cut point
Deleting Effects in a Sequence
You can delete transition effects from a sequence in the Timeline at any time. You can delete segment effects from a sequence in the Timeline at any time except when you are in Trim mode. Use the following procedures to either delete a single effect from a sequence or delete effects in multiple segments.
Deleting a Single Effect
To delete a single effect: 1. Move the position indicator to the Timeline segment containing the effect’s icon. 2. If multiple tracks contain effects at the same position in the Timeline, select only the track where the effect to be deleted resides. In this example, only track V3 is selected.
49 Chapter 2 Applying and Customizing Effects
The track containing the effect is selected.
c If you delete a segment effect and the segment contains a transition effect, the transition effect will be deleted as well, because the transition effect resides “on top of” the segment effect. If necessary, you will have to reapply the transition effect.
3. Delete the effect by doing one of the following: t If the Effect Editor is not active, click the Remove Effect button in the Tool palette. For information on opening the Tool palette, see “Using the Tool Palette” in the Help. t When the Effect Editor is active, select the effect and either press Delete or click the Remove Effect button. To open the Effect Editor, select Tools > Effect Editor. t In Trim mode (for transition effects only), either press the Delete key or click the Remove Effect button. For information on entering Trim mode, see For information on entering Trim mode, see “Entering Trim Mode” in the Help. n When you delete an effect from a sequence, the Avid editing application does not delete the associated media file. To delete the effect’s media file, you must manually remove it from the drive. The application operates this way so that you will be able to undo the deletion of an effect or undo the change you made to an effect. To delete an effect’s media file, see “Managing Effect Media Files” on page 136.
The effect is removed.
50 Trimming Transition Effects
Deleting Multiple Transition Effects
To delete multiple transition effects: 1. Shift+click each transition effect you want to delete. 2. Do one of the following: t In the Tool palette, click the Remove Effect button. For information on opening the Tool palette, see “Using the Tool Palette” in the Help. t Click the Delete button.
Deleting Multiple Segment Effects
To delete multiple segment effects: 1. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline. 2. Shift+click each segment that contains a segment effect you want to delete. 3. Do one of the following: t In the Tool palette, click the Remove Effect button. For information on opening the Tool palette, see “Using the Tool Palette” in the Help. t Click the Delete button.
Trimming Transition Effects
You can adjust transition effects directly in the Timeline when you are in Trim mode. For more information, start with “Main Topics: Working in Trim Mode: Basics” in the Help.
Using the Effect Preview Monitor
The Effect Preview monitor displays the selected effect in the sequence where the position indicator is located in the Timeline. The effect’s position bar, located directly below the Effect Preview monitor, represents only the selected effect, not the entire sequence.
For information on entering Effect mode and displaying the Effect Preview monitor, see Entering Effect Mode in the Help.
51 Chapter 2 Applying and Customizing Effects
Tracking information Length of Current position effect in effect
Effect Preview monitor
Effect’s position indicator (blue line)
Pop-up slider for expanding the position bar
Effect’s Effect Preview Monitor position bar toolbar Keyframe
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. If a black frame appears in the Effect Preview monitor, the position indicator might be at a location in the Timeline where an effect has not been applied to the sequence.
Understanding the Effect Preview Monitor Toolbar
The Effect Preview Monitor toolbar has buttons for controlling effect position and adjustment. The following table describes the buttons in the toolbar that you use to play and adjust the effect.
Effect Preview Monitor Toolbar Buttons
Button Description
Rewind Places the position indicator at the first frame of the effect.
Fast Forward Places the position indicator at the last frame of the effect.
52 Using the Effect Preview Monitor
Effect Preview Monitor Toolbar Buttons (Continued) (Continued)
Button Description
Add Keyframe Creates a keyframe at the current position of the position indicator in the effect’s position bar. Alt+click (Windows) or Option+click (Macintosh) to delete the selected keyframe.
Step Backward Moves the position indicator one frame backward.
Step Forward Moves the position indicator one frame forward.
Play Plays the effect from the current position in the effect’s position bar. Click again or press the space bar to stop play. Rendered effects play at full speed. Most unrendered effects play at full speed when Real-Time Effects is enabled. Effects play at single-frame rate in other circumstances. For more information, see “Playback of Video Effects” in the Help.
Play Preview Plays back a wire-frame preview of an unrendered effect.
Play Loop Plays back the current effect repeatedly in a loop. Click again or press the space bar to stop play. Rendered effects play at full speed. Most unrendered effects play at full speed when Real-Time Effects is enabled. Effects play at single-frame rate in other circumstances. For more information, see “Playback of Video Effects” in the Help.
Dual Split Click to divide the Effect Preview monitor in half, showing the image with and without the effect applied. Click again to remove.
Reduce Reduces the size of the image in the Effect Preview monitor.
Enlarge Enlarges the size of the image in the Effect Preview monitor. You can also Ctrl+click (Windows) or Command+click (Macintosh) in the Effect Preview monitor to enlarge the image.
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Understanding Effect Preview Monitor Tracking Information
The two boxes above the Effect Preview monitor display the length of the effect in seconds and frames and the current position in the effect’s position bar. 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 appears in this position in the Composer monitor.
Displaying Safe Title and Safe Action Guidelines in Monitors
Many effects can utilize the outer edges of the viewing screen area. If you are editing material that will be viewed on screens with more limited viewing areas, such as standard televisions, you can use the Safe Title and Safe Action options to provide visual guidelines in the Effect Preview monitor that replicate the actual viewable area on a standard television screen.
For example, you can use the Safe Title option as a template for the area in which you want the effect to operate. In this way, you can avoid the appearance of the effect floating off into a nonviewable area of a standard television screen.
You can also display safe title and safe action guidelines in other monitor types (Source, Source pop-up, or Record), and in the Title tool.
To display the Safe Title/Action guidelines in the Effect Preview monitor, do one of the following: t In the Tool palette, click the Grid button. For information on opening the Tool palette, see “Using the Tool Palette” in the Help. t In the Effect Editor, click the Grid button. To open the Effect Editor, select Tools > Effect Editor.
Two outlined boxes appear in the Effect Preview monitor. The inner box is the safe title area. All text and objects should remain within the inner box. The outer box is the safe action area for video display.
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Safe title area
Safe action area
To display the safe title and safe action areas in a Source pop-up monitor: 1. Verify that the Effect Editor is closed. 2. In the Tool palette of the Source pop-up monitor, click the Grid button.
To display the safe title and safe action areas in the Source/Record monitor: 1. Verify that the Effect Editor is closed. 2. Click in either the Source or Record monitor and choose the Grid button from the Tool palette. n You can also display Safe Title/Action guidelines in the Title tool. For more information, see Displaying Safe Title and Safe Action Guidelines in the Help.
Working with the Effect Grid
The Effect Grid provides a variety of ways for you to position effects with accuracy. 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.
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Axis with tick marks
Safe title area
Grid points
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.
Displaying the Effect Grid in Effect Mode
As with the Safe Title/Safe Action guidelines, you use the Grid button in the Effect Editor to display the Effect Grid.
To display the Effect Grid rather than the Safe Title/Safe Action guidelines: t Press the Alt key (Windows) or Option key (Macintosh), and click the Grid button.
To switch between the Effect Grid and the Safe Title/Safe Action guidelines: t Press the Alt key (Windows) or Option key (Macintosh), and click the Grid button until the appropriate grid is displayed.
To remove the display of either the Effect Grid or the Safe Title/Safe Action guidelines: t Click the Grid button without pressing the Alt key (Windows) or Option key (Macintosh).
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Displaying Position Coordinates
Your Avid editing application uses compass coordinates and X, Y coordinates to describe the position of an effect. To view the coordinates, you must select the option Show Position Info in the Grid Settings dialog box and enable the Effect Grid.
For compass coordinates, the point (0, 0) is the center of the axes. For X, Y coordinates, the point (0, 0) is the upper left corner of the monitor. X values increase to the right, and Y values increase as you move down.
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.
The X, Y coordinates describe position in terms of the Source Scan Size parameters you select in the Grid Settings dialog box or the Grid parameter group.
To display position coordinates in Source/Record mode: t Move the pointer to the Record monitor, press and hold the mouse button, and move the mouse.
To display position coordinates in Effect mode: 1. Deselect all tools in the Effect Editor (including the Outline/Path button and the Selection tool for Intraframe effects). 2. Press and hold the mouse button, and drag the pointer in the Effect Preview monitor.
Using Local Grid Parameters
The Grid parameter category in the Effect Editor allows you to customize the grid display for an individual effect. Grid parameters set in the Effect Editor apply only to that effect and temporarily override the current settings in the Grid Settings dialog box. For more information on the parameters available with the Grid parameter category, see “Grid” on page 333.
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Moving an Enlarged Image in the Effect Preview Monitor
You can use the Enlarge and Reduce buttons in the Effect Editor or the Effect Preview Monitor toolbar to zoom in or out on an image in the Effect Preview monitor.
This allows you to view parts of an image in detail or to view parts of effects and effect controls that extend beyond the limits of the standard-size image. For more information, see “Effect Editor Controls” on page 60 and “Understanding the Effect Preview Monitor Toolbar” on page 52.
When you use the Enlarge button to increase the size of the image in the Effect Preview monitor, you cannot view the entire frame all at once. When you are creating an effect that requires great detail, you can reposition the enlarged frame in the monitor to view the sections that need your attention. n This feature applies only to an enlarged image in the Effect Preview monitor, not to a standard-size or reduced image.
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 k+Option (Macintosh). The pointer changes to a hand.
Zoom ratio
Pointer
3. Drag the hand in any direction to reposition the image within the Effect Preview monitor.
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Changing Position in an Effect
To change your position in an effect, do one of the following: t Drag the position indicator in the effect’s position bar. t Type the timecode in the same way you do when you are editing a sequence. For more information, see “Finding Frames and Clips” in the Help.
The type of timecode you enter (master timecode or absolute timecode) depends on the tracking information you are displaying. The position information boxes above the Effect Preview monitor update as you change position.
Replacing an Effect in Effect Mode
While in Effect mode, you can replace an existing effect.
To replace an effect: 1. Open the Effect Palette by doing one of the following: t In the Project window, click the Effects tab. t Select Tools > Effect Palette. The Effect Palette opens. 2. Click an effect category in the left side of the Effect Palette. 3. Do one of the following: t Click the icon for the new effect in the right side of the Effect Palette, and drag the icon to the Timeline. To replace an existing effect, move the new effect’s icon on top of the existing effect’s icon. t Click the icon for the new effect in the right side of the Effect Palette, and drag the icon to the Effect Preview monitor. t Select the effect in the Timeline, and double-click the new effect’s icon in the Effect Palette. 4. Set the applicable effect parameters in the Effect Editor. n Some effects cannot replace other effects. For example, some segment effects, such as the Mask effect, cannot replace transition effects. In addition, two-layer effects, such as wipes, cannot replace three-layer effects, such as matte keys.
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The Effect Editor contains buttons that provide controls for effect adjustment and parameter controls that allow you to set values to define the appearance of an effect. The following sections explain how to use Effect Editor buttons and parameter controls.
The Effect Preview Monitor toolbar also contains buttons that you use to adjust and preview effects. For more information, see “Understanding the Effect Preview Monitor Toolbar” on page 52.
When you are working with the Picture-in-Picture, 3D PIP, or Resize effect, you can expand the Effect Editor to display keyframe graphs. You can then create and adjust independent keyframes for each keyframeable effect parameter. For more information, see “Using Advanced Keyframes” on page 82.
Effect Editor Controls
This section describes the controls in the Effect Editor. Not all controls apply to each effect. If a control is not applicable, it does not appear in the Effect Editor for that effect.
The following illustration shows the location of controls within the Effect Editor.
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Other Options button Effect name Effect icon
Triangular opener
Parameter Reduce button category Enlarge button Slider used to Dual Split button adjust parameters Play Loop button Play button Parameter name Highest Quality Render button
Outline/Path button Grid button
Render Effect button 3D Promote button
Transition Effect Transition Effect Promote to Advanced Alignment button Duration box Keyframes button
Additional buttons appear in the Effect Editor, depending on which effect you are using. 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 “Understanding the 3D Effects Interface” on page 227.
Additional buttons appear in the bottom toolbar of the Effect Editor when you are working with advanced keyframes. For more information, see “Effect Editor Controls for Advanced Keyframes” on page 115. The following table describes each button in detail.
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Effect Editor Controls
Button Location Description
Triangular opener Left side of Click to display or hide the parameter category. A Effect Editor downward-pointing triangle displays the parameter category; a right-pointing triangle displays only the parameter name.
Other Options Inside some Click to access additional parameters for some effects, parameter including access to the Macintosh Colors panel or the categories Windows Color dialog box for color selection. For more information, see “Using the Other Options Button to Access Parameters” on page 67.
Render Effect Bottom of Click to render the current effect. Effect Editor
Outline/Path Bottom of Click to display a wire-frame path to illustrate the Effect Editor movement of an effect from the first keyframe through the last keyframe.
Transition Effect Bottom of Click to open a pop-up menu with options for selecting Alignment Effect Editor the alignment of a transition effect relative to the cut point.
Transition Effect Bottom of Click in this box to type a duration for the transition Duration box Effect Editor effect other than the duration displayed.
Promote to Bottom of Promotes a Picture-in-Picture, 3D PIP, or Resize effect Advanced Effect Editor to advanced keyframes. Not available for other effects. Keyframes button For more information, see “Promoting Effects to Advanced Keyframes” on page 84.
Reduce Right side of Reduces the size of the image in the Effect Preview Effect Editor monitor.
Enlarge Right side of Enlarges the size of the image in the Effect Preview Effect Editor monitor.
Dual Split Right side of Click to divide the Effect Preview monitor in half, Effect Editor showing the image with and without the effect applied. Click again to remove.
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Effect Editor Controls (Continued)
Button Location Description
Play Loop Right side of Plays back the current effect repeatedly in a loop. Click Effect Editor again or press the space bar to stop play. Rendered effects play at full speed. Most unrendered effects play at full speed when Real-Time Effects is enabled. Effects play at single-frame rate in other circumstances. For more information, see “Playback of Video Effects” in the Help.
Play Right side of Plays the effect from the current position in the effect’s Effect Editor position bar. Click again or press the space bar to stop play. Rendered effects play at full speed. Most unrendered effects play at full speed when Real-Time Effects is enabled. Effects play at single-frame rate in other circumstances. For more information, see “Playback of Video Effects” in the Help.
HQ Right side of Appears when the effect has an HQ (Highest Quality) Effect Editor 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 HQ (Highest Quality) Effects” on page 134.
Grid Right side of Click to display the Safe Title and Safe Action Effect Editor guidelines.
3D Promote Bottom right Available for certain effects on systems with 3D effects corner of Effect capabilities. Click to promote the effect to a 3D effect. Editor See “Promoting 2D Effects to 3D Effects” on page 225.
The Effect Preview Monitor toolbar also contains buttons that you use to adjust and preview effects. For more information, see “Understanding the Effect Preview Monitor Toolbar” on page 52.
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Displaying an Effect’s Parameters in the Effect Editor
To display an effect’s parameters in the Effect Editor: 1. Move the position indicator to the effect’s icon in the Timeline. 2. Make sure that the Record Track button for the track that contains the effect is selected in the Track Selector panel. 3. (Option) If you are not already in Effect mode, select Tools > Effect Editor. The Effect Editor opens. The name of the effect and its icon appear at the top of the Effect Editor and the parameters that pertain to the effect appear in the Effect Editor.
Other Options button Effect icon
Effect name
Slider used to adjust parameter
Parameter category
Triangular opener
Transition parameters
This example shows the Grid effect parameters.
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Understanding Effect Parameters
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.
Not all effect parameters apply to all effects. Parameters that do not apply to an effect do not appear in the Effect Editor for that effect. For reference information on the parameters available in each effect, see “2D Effects Reference” on page 313 and “3D Effects Reference” on page 539. n If the position indicator is not on an effect’s icon in the Timeline, or if the track that contains the effect is not selected, then the Effect Editor is blank.
Effect parameters are either global or keyframeable. You adjust a global parameter once for the entire effect; its values cannot change over time. You can adjust keyframeable parameters once for the entire effect, or you can use the Effect Editor along with keyframes to adjust the parameter multiple times and change its value over time. For more information, see “Global and Keyframeable Parameters” on page 314.
For most effects, a keyframe applies to every keyframeable effect parameter in the effect. If you are working with the Picture-in-Picture effect or 3D PIP effect, however, you can use keyframe graphs to create independent keyframes for each keyframeable effect parameter. This greatly increases your control of how the effect changes over time. For more information, see “Using Advanced Keyframes” on page 82.
Parameter controls are grouped in parameter categories within the Effect Editor. For example, the Border parameter category includes all the controls that you can use to define the color and appearance of an effect border.
Several types of parameter controls might appear for a particular effect. For more information, see the following sections: • “Using Parameter Sliders” on page 66 • “Using Parameter Enable Buttons” on page 67 • “Using Fast Menu Parameters” on page 67 • “Using the Other Options Button to Access Parameters” on page 67 • “Adjusting a Color Parameter” on page 68
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Using Parameter Sliders
Parameter sliders allow you to adjust effect parameters that have a range of possible values. For example, use the Level slider in the Foreground parameter category to adjust the degree of opacity of the foreground material on a scale from 0 to 100.
The thumbwheel is a specialized slider that provides a window on a wide range of values and allows precise control over increments.
The parameter’s numeric value changes as you move the slider.
Slider Thumbwheel
Parameter’s slider Parameter’s numeric value Activated thumbwheel Parameter’s numeric value
To activate a parameter that has a slider: t Click the slider. When you activate a slider, it changes to pink.
To move from one slider to the next slider: t Press the Tab key.
To move from one slider to the previous slider: t Press Shift+Tab.
To change the value of a parameter that has a slider, click the slider and do one or more of the following: t Move the slider with the mouse. t Type a new value using the numeric keypad. 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. t Press the Shift key, and use the Left Arrow key or Right Arrow key to change the value by –10 or +10. t Press the Ctrl and Shift keys, or the Ctrl and Alt keys, and use the mouse scroll wheel to change the value by increments of -10 or +10.
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Using Parameter Enable Buttons
Some parameter categories contain parameter Enable buttons. These buttons control parameters that 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.
Parameter Enable button Off On
Parameter Enable buttons are pink when the parameter is active and gray when the parameter is inactive.
Using Fast Menu Parameters
Some effects have additional parameters that you select from the current parameter’s Fast menu. For example, border types for 3D effects are on the same Fast menu.
To select an additional parameter: t In the parameter, click the Fast Menu button, and then select an option.
Fast Menu button
Menu showing other parameters
Using the Other Options Button to Access Parameters
Some effects have additional parameters that control their operation. For example, the Grid effect has additional parameters in which you set the number of columns and rows in the wipe. When an effect has additional parameters, the Other Options button appears next to the effect name or in a parameter category.
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To use an effect’s additional parameters: t Next to the effect name or in a parameter category, click the Other Options button. A dialog box opens in which you set the additional parameters. n You also use the Other Options button to use the parameters for third-party plug-in effects, for the Windows Color dialog box or Macintosh Colors panel, to open a title edited into a sequence in the Title tool (when you want to revise that title), and for other effects that allow you to change color parameters.
Adjusting a Color Parameter
You can change a color parameter or select a key color using the eyedropper or the Windows Color dialog box or Macintosh Colors panel instead of the Hue, Sat (saturation), and Lum (luminance) sliders.
Other Options button
Eyedropper
Color Preview window
Using the Eyedropper
To select a color using the eyedropper: 1. Position the pointer over the Color Preview window to activate the eyedropper. 2. Click the eyedropper, drag it into the Effect Preview monitor, and release the mouse button on the color you want to select from the video image. The Avid editing application updates the parameter’s numeric values, and the selected color appears in the Color Preview window.
Using the Windows Color Dialog Box
The Windows Color dialog box is a standard application that ships with the Windows operating system.
To open the Windows Color dialog box: t In a color parameter pane, click the Other Options button. The Windows Color dialog box opens.
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Color|Solid box Color matrix
Color slider
Default choices
Currently selected color Custom colors Color palette 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. To specify a custom color, do one of the following: t Click in the color matrix to select a color, and then drag the color slider to adjust the amount of white and black in the color. t Type numerical values for each color component in the color selection text boxes. The new color is displayed on the left side of the Color|Solid box. The right side of this box displays the solid color closest to the color you have specified. You can select the displayed solid color by double-clicking the right side of the box. 3. When you are satisfied with the color, click Add to Custom Colors to add it to the Custom colors palette. 4. To select a custom color from the Windows Color dialog box, click the color you want. 5. Click OK. The Windows Color dialog box closes, and the color is applied to the parameter in the Effect Editor.
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Using the Macintosh Colors Panel
The Macintosh Colors panel is a standard application that ships with Macintosh systems. You can access the Macintosh Colors panel through the Other Options button.
To open the Macintosh Colors panel: t In a color parameter pane, click the Other Options button. The Macintosh Colors panel dialog box opens.
The Macintosh Colors panel provides several methods for specifying colors. Select the appropriate icon at the top of the Colors panel to display the method you want. The methods include a color wheel, color sliders, color palettes, image patterns, and crayons. For a complete description of how to use the Macintosh Colors panel, see the documentation that ships with your Macintosh.
Manipulating Effects Directly
In addition to defining effects using parameter controls, 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.
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Defining Motion Paths
You can define how the foreground image of a multilayer effect moves across the background video by building a motion path, or string of keyframes.
You can define a motion path on multilayer video effects, such as Picture-in-Picture effects. Use the wire-frame preview feature when you want to see the path an image takes on the screen.
When you are creating a motion path that moves beyond the viewing screen, you can use the Reduce button to view an outline of the image at a reduced scale. The reduced scale view shows the area outside the background image and allows you to extend the motion path into that area. The Enlarge button returns the screen to full view.
To define a motion path for the foreground image, do one of the following: t Move the image directly and automatically add keyframes. For more information, see “Moving the Image Directly” on page 71. t Add keyframes and adjust the parameter sliders. For more information, see “Working with Keyframes” on page 79.
Moving the Image Directly
To add a motion path to the foreground image by moving the image directly: 1. Create a sequence with two video layers (foreground video on track V2, background video on track V1). For information about creating a sequence, see “Setting Up a New Sequence” in the Help. 2. Apply a multilayer effect (for example, a PIP effect) to the foreground segment on track V2. 3. Select the foreground effect segment on track V2.
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4. Select Tools > Effect Editor. The Effect Editor opens, and the Composer monitor becomes the Effect Preview monitor. The foreground image is outlined, and both the starting and ending keyframe indicators are highlighted (pink) in the effect’s position bar.
Wire frame outlining foreground image on track V2
Background image on track V1
Starting keyframe indicatorEffect’s position bar Ending keyframe indicator
By default, the wire frame is active in the Effect Preview monitor. If the wire frame is not displayed, click the Outline/Path button in the Effect Editor to activate the wire frame. 5. Drag the wire frame to the start point of the motion path you are creating. The starting keyframe indicator represents the start point. 6. Click the ending keyframe indicator to select it. Make sure the ending keyframe indicator is the only indicator selected (pink). 7. Drag the wire frame to the end point of the motion path. A path line from the center of the starting position to the center of the ending position appears.
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8. Drag the position indicator in the position bar below the Effect Preview monitor to a new location. The wire frame moves with the position indicator; notice the path line does not change. 9. Click inside the wire frame, and drag or stretch the wire frame to add a keyframe at the new location. A handle appears in the center of the wire frame, indicating the path position of the new keyframe. 10. Drag the wire frame to change the effect’s path.
Path line
Center handle Wire frame
Effect’s position bar Selected keyframe (pink)
11. Repeat steps 8, 9, and 10 to add more variation to the path.
Resizing a Foreground Image by Dragging Handles
To resize the foreground image by dragging wire-frame handles: 1. Create a sequence with two video layers (foreground video on track V2, background video on track V1). For information about creating a sequence, see “Setting Up a New Sequence” in the Help. 2. Apply a multilayer effect to the foreground segment on track V2.
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3. Select the foreground effect segment on track V2. 4. Select Tools > Effect Editor. The Effect Editor opens, and the Composer monitor becomes the Effect Preview monitor. By default, the wire frame is active in the Effect Preview monitor.
Wire-frame resize handles
If the wire frame is not displayed, click the Outline/Path button in the Effect Editor to activate the wire frame. 5. Drag one of the handles to resize the image: t Drag the top center handle to adjust the image’s height. t Drag the right center handle to adjust the image’s width. t Drag the top right corner handle to equally change the image’s height and width. This option maintains the aspect ratio while resizing the image.
Using Effect Templates
The complete set of parameter values for an effect is called the effect template. You can reuse an effect template in multiple places in a sequence by saving the template in a bin and later applying the template to other effects or video clips in the sequence.
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Saving an Effect Template
You can save the parameters from an effect in the Effect Editor and reuse them for another effect. You can also save a segment effect with its source media, which is useful when you want to save an imported PICT file or Matte Key clip for future editing into a sequence.
To save the parameters from an effect as an effect template: 1. Drag the effect icon from the Effect Editor to a bin.
Effect icon
This creates a new effect template in the bin, containing the parameter setting information for the effect. The new effect template is identified in the bin by its effect icon.
2. To rename the template, click the template name and type a new name.
To save a segment effect with its source media: 1. Press and hold the Alt key (Windows) or Option key (Macintosh), and then drag the effect icon from the Effect Editor to a bin. 2. To rename the template, click the template name and type a new name. n The Avid editing application saves title effects with source by default. If you press and hold the Alt key (Windows) or Option key (Macintosh) while dragging the icon, you will get a keyframe-only template. This template retains the movement of the title without the source.
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Displaying Effect Templates in the Effect Palette
Effect templates in open bins display in the Effect Palette. Each open bin that contains effect templates appears by name at the bottom of the effect category list.
To display effect templates saved to a bin in the Effect Palette: 1. Open the bin containing the effect templates.
2. If the Effect Palette is not already open, in the Project window, click the Effects tab.
Effect templates Effect category list
Bin name containing effect templates
3. Click the bin name below the effect category list to view the effect templates in the bin.
Applying an Effect Template
You can take an effect template that has been saved in a bin and apply the template and its parameters to other transitions or segments in your sequence. Effect templates saved in open bins appear in the Effect Palette as well as in the bin itself.
You can also apply specific parameters from the template. c Do not drag an effect template through the Timeline because this deselects the effect.
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To apply an effect template with all its parameters directly to a segment or transition: t Drag the effect template icon from the bin or from the Effect Palette, and drop it on the segment or transition in the Timeline.
Effect template example: In this example, a 3D PIP Effect template was saved and then applied repeatedly to a series of segments to achieve the same cropping and positioning of foreground footage.
To apply a specific parameter from an effect template: 1. Select an effect transition or segment in the Timeline. 2. Select Tools > Effect Editor. 3. Open the parameter category you want to change. For example, the following illustration shows the Position parameter category.
4. Click the effect template icon in the bin or in the Effect Palette, and drag it to the specific parameter category in the Effect Editor. The effect template is applied only to the effect parameter category you selected.
New position parameters
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78 Chapter 3 Working with Keyframes
You use keyframes to change the appearance and behavior of an effect over time. A keyframe is a point in the effect at which you can set parameters. Modifying an effect’s parameters at various points causes the effect’s appearance to vary as it plays. For example, you can add keyframes to a Picture-in-Picture effect and change the position parameters for each keyframe to add movement to the effect.
Standard keyframe indicators appear as triangles in the position bar of the Effect Preview monitor when you select an effect and the Effect Editor is active. You adjust keyframe parameters using the Effect Editor. For more information, see “Using Standard Keyframes” on page 79.
Starting keyframe Add Keyframe button Selected keyframe (pink) Ending keyframe
For many effects, you can increase your control of the way effect parameters change over time using advanced keyframes. With this capability, each keyframeable effect parameter has a separate Timeline track — a keyframe track that opens to display a keyframe graph — where you set and customize keyframes that are independent of other parameters’ keyframes. For more information, see “Using Advanced Keyframes” on page 82. n You can still select standard keyframes, in which each keyframe affects all parameters. You can also use advanced keyframes as if they were standard keyframes.
Using Standard Keyframes
With standard keyframes, the Avid editing application always provides the starting and ending keyframes of an effect. These keyframes are selected by default, and thus any parameter changes are constant throughout the effect. Using techniques for adding, deleting, moving, selecting, and deselecting keyframes, you can begin to change the appearance and operation of the effect over time by applying parameter changes to specific keyframes. Chapter 3 Working with Keyframes
Adding a Standard Keyframe
You can create a standard keyframe at any point in the effect’s position bar.
To create a standard keyframe: 1. Click in the position bar below the Effect Preview monitor at the point in the effect where you want to add the keyframe. The position indicator moves to that frame. 2. Do one of the following to add a keyframe: t Either in the Effect Preview Monitor toolbar or in the Tool palette, click the Add Keyframe button. For information on opening the Tool palette, see “Using the Tool Palette” in the Help. t Manually adjust a parameter in the Effect Preview monitor (segment effects only). For example, when you click a handle on an effect outline and drag to resize or reposition it, the Avid editing application automatically creates a new keyframe.
Selecting a Standard Keyframe
You can select a single standard keyframe or multiple standard keyframes at the same time. A keyframe indicator changes to pink when selected.
To select one keyframe: t In the position bar below the Effect Preview monitor, click the keyframe indicator.
To select multiple keyframes: t Shift+click the keyframe indicators that you want in the effect’s position bar.
To select all keyframes in the effect’s position bar, do one of the following: t Press Ctrl+A (Windows) or k+A (Macintosh). t Press and hold Ctrl+Alt (Windows) or the k key (Macintosh), and click one keyframe indicator. n For a quick way to jump to the next or previous keyframe indicator, use the Fast Forward and Rewind buttons on the Effect Preview Monitor toolbar.
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Moving a Standard Keyframe
After you have created a standard keyframe, you can move it to another position in the position bar below the Effect Preview monitor. n With standard keyframes, you cannot move the starting and ending keyframes. To move a standard keyframe, do one of the following: t Alt+click (Windows) or Option+click (Macintosh) the keyframe indicator, and drag it to its new position. t Select a keyframe indicator, and click the Trim Left 1 Frame or Trim Right 1 Frame button or the Trim Left 10 Frames or Trim Right 10 Frames button. n These buttons are located in the Trim tab of the Command palette. You can map them to buttons on the tool palette. For more information, see “Mapping User-Selectable Buttons” in the Help.
Changing a Standard Keyframe’s Parameters
When you work with standard keyframes, with certain parameter categories, such as Acceleration, you adjust parameters globally (over all keyframes in the effect). You can also change many parameters for individual standard keyframes. For information on the scope of adjustments (global or keyframeable) for each parameter category, see “2D Effects Reference” on page 313 or “3D Effects Reference” on page 539.
To change a standard keyframe’s parameters: 1. In the position bar below the Effect Preview monitor, click the keyframe indicator. The keyframe indicator changes to pink when selected. 2. Adjust any of the applicable parameters in the Effect Editor.
Copying and Pasting Standard Keyframe Parameters
You can copy and paste parameters from one standard keyframe and apply them to another standard keyframe. You can also copy keyframe parameters from one effect to another effect.
To copy and paste standard keyframe parameters: 1. Click one keyframe indicator in the position bar below the Effect Preview monitor whose parameters you want to copy. 2. Select Edit > Copy.
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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 Shift+click (Macintosh) multiple keyframe indicators. t To copy the parameters to all keyframes, select Edit > Select All. 4. Select Edit > Paste. The parameters that you copied from one standard keyframe are pasted to the keyframe, or frames, you selected.
Deleting a Standard Keyframe
You can delete any standard keyframe you create. You cannot delete the starting and ending keyframes the Avid editing application creates.
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.
Using Advanced Keyframes
You can use advanced keyframes to change the behavior of an effect over time. Advanced keyframes allow you to animate each keyframeable parameter in an effect independently, giving you a great deal of flexibility and control for effects adjustments.
You can also use standard keyframes in your Avid editing application. Standard keyframes apply to every parameter in an effect. While they provide less precise control over effect adjustments, they are simpler to use and might be the best choice for your more straightforward effects adjustments. For information on using standard keyframes, see “Using Standard Keyframes” on page 79.
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Understanding Advanced Keyframes
You can maximize your control of effect parameters for many effects using 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 set and customize keyframes. Keyframe tracks are also available for each parameter group, and for the entire effect.
You can modify the keyframes for any single parameter independently from the keyframes for any other parameters. You can also modify the keyframes for various groups or combinations of parameters independently from the keyframes for any other parameters. n You can still select standard keyframes, in which each keyframe affects all parameters. You can also use advanced keyframes as if they were standard keyframes.
The following illustration shows part of the Effect Editor display for a Center Box effect that uses advanced keyframes. The illustration shows the three types of keyframe tracks and an open keyframe graph.
Effect track Parameter group tracks Parameter tracks
Keyframe graph
Parameter group track
Parameter tracks
Parameter group track
The following table describes the three keyframe track types in the Effect Editor:
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Advanced Keyframe Track Types
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.
Parameter group track This track shows all the keyframes in the specific parameter group. When you select a keyframe in the parameter group track, the system automatically selects all the corresponding parameter keyframes in the group. Parameter groups can have subgroups. For example, in the previous illustration, Color and Blend Color are subgroups of Border.
Parameter track This track shows the keyframes for the individual parameter. Parameter tracks are lighter in color than the parameter group tracks. You can open individual parameter tracks to fine-tune the parameter values in a keyframe graph. n Advanced keyframe functions are available even when a keyframe graph is closed to show only the keyframe parameter track.
n By allowing you to manipulate multiple keyframes at the same time, effect tracks and parameter group tracks provide similar functionality to the meta curve region available in Avid DS systems.
Promoting Effects to Advanced Keyframes
Many effects support advanced keyframes. If you can promote an effect to advanced keyframes, a Promote to Advanced Keyframes button appears in the Effect Editor.
To promote an effect to advanced keyframes: t In the Effect Editor, click the Promote to Advanced Keyframes button. The Effect Editor displays the effect with keyframe tracks. n Once you promote an effect to advanced keyframes, the Acceleration parameter category no longer appears. You manipulate acceleration (ease-in and ease-out) using the spline or Bézier interpolation options, which give you more control than the standard Acceleration parameter category. For more information, see “Controlling Parameter Changes at Keyframes” on page 107.
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n Using advanced keyframes, you can change the order of nested effects by manipulating the Nesting Priority icons that appear in the Effect Editor. For more information, see “Changing the Order of Nested Effects” on page 182.
Viewing Advanced Keyframe Graphs
You can open a keyframe graph for any effect parameter that is keyframeable. Once a keyframe graph is open, you can customize your view of the graph in a variety of ways. n Parameters that are not keyframeable, such as the Fixed Aspect parameter, have tracks that do not show the parameter’s name, default keyframes, or time marks. You can drag the effect’s position indicator in these tracks, but you cannot add keyframes to them.
Opening Advanced Keyframe Graphs
You open a keyframe graph by using the triangular opener that appears to the left of the parameter track. n You do not have to open a keyframe graph to set and manipulate advanced keyframes. You can add and delete keyframes, customize keyframe interpolation options, and use the standard controls for each parameter to set the values for its keyframes while a keyframe graph is closed.
To open a keyframe graph: t Click the triangular opener. The keyframe parameter track opens to display a keyframe graph.
Triangular openers for keyframe graphs
Parameter tracks (graphs closed)
Keyframe graph (open)
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Understanding Advanced Keyframe Graphs
In keyframe graphs, the horizontal axis represents the length of the effect and the vertical axis represents the range of parameter values. The graph area itself is black.
In the default view, a keyframe graph shows the full length of the effect on the horizontal axis and the full range of parameter values on the vertical axis, as shown in the following illustration.
Beginning of effect’s length End of effect’s length
Maximum parameter value
Minimum parameter value
Vertical axis (represents Horizontal axis (represents range of parameter values) length of effect)
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 “Adjusting Advanced Keyframe Graph Display” on page 87.
The active keyframe graph is highlighted using a darker grey background. This allows you to see which keyframe graph is active when multiple keyframe graphs are open. When you make another graph active, for example, by clicking a keyframe indicator in that graph, the background for that graph changes to the darker grey color.
In this example, the Radius keyframe graph is active and is highlighted with a darker grey background
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Adjusting Advanced Keyframe Graph Display
You can adjust the keyframe graph display in the following ways: • Resize the display area for a keyframe graph by manipulating the size of the Effect Editor and by expanding or contracting the vertical size of the keyframe graph. • Zoom the view in a keyframe graph using the zoom sliders at the bottom of the Effect Editor. • Scroll the view in a keyframe graph by using the scroll thumbwheel at the bottom of the Effect Editor or by dragging in the view. • Reset the view of a keyframe graph so that all keyframes are visible.
Resizing Advanced Keyframe Graphs
You can widen a keyframe graph or create space for expanding a keyframe graph vertically by resizing the entire Effect Editor window. You can expand or contract a keyframe graph vertically by dragging on the keyframe graph’s bottom border.
To resize the Effect Editor window: t Click a corner of the Effect Editor, and drag it to resize the window. If you make the Effect Editor window wider, the keyframe track area and any open keyframe graphs also become wider. If you make the Effect Editor window taller, you create extra space within which you can expand keyframe graphs vertically.
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.
Before vertical resizing After vertical resizing
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Zooming Advanced Keyframe Graphs
You can zoom (or scale) the view in a keyframe graph both horizontally and vertically using the scale bars at the bottom of the Effect Editor.
Vertical scale bar Horizontal scale bar
The horizontal scale bar expands or contracts the view in a keyframe graph centered around the position indicator. The vertical scale bar expands or contracts the view in a keyframe graph centered around the midpoint of the parameter value range. This allows you to either zoom in to focus on a specific area of your keyframe graph or zoom out to display the entire keyframe graph. In the case of the vertical scale bar, you can zoom out beyond the limits of the parameter value range.
To zoom in or out horizontally on a a keyframe graph: 1. Click the horizontal scale bar, and drag it 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 horizontally Keyframe graph zoomed in horizontally (graph (graph shows full length of effect) shows detail of the middle of the effect’s length; start and end keyframes are not visible)
To zoom in or out vertically on a keyframe graph: 2. Click the vertical scale bar, and drag it to the left (to zoom in) or to the right (to zoom out). The view in the keyframe graph expands or contracts to show a smaller or larger range of parameter values.
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Keyframe graph at default vertical zoom (graph shows full range of parameter values)
Keyframe graph zoomed in vertically (graph shows only the middle of the full range of parameter values)
Keyframe graph zoomed out vertically (graph shows an extended range of parameter values)
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Scrolling Advanced Keyframe Graphs
You can scroll the view in a keyframe graph left or right by using the scroll thumbwheel at the bottom of the Effect Editor. You can scroll the view in a keyframe graph vertically by dragging directly in the keyframe graph.
Scroll thumbwheel
To scroll the view in a keyframe graph left or right: 1. Click the scroll thumbwheel, and drag it to the left or to the right. The view in the keyframe graph scrolls so that part of the view disappears on one side and more comes into view on the other side.
To scroll the view in a keyframe graph up or down: 1. Alt+click (Windows) or Option+click (Macintosh) the keyframe graph. The pointer changes to a hand. 2. Drag the hand up or down to reposition the view within the keyframe graph.
Resetting Advanced 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 (Windows) or Ctrl+Shift+click (Macintosh) the keyframe graph, and select Reset Graph View. The keyframes appear centered in the keyframe graph.
Manipulating Advanced Keyframes
You can manipulate advanced keyframes in a wide variety of ways. You can: • Add or delete keyframes • Select or deselect keyframes • Move keyframes • Determine whether or not multiple keyframes move relative to one another • Copy and paste keyframe parameters • Control how effect parameters change at keyframes
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• Reverse the order in which keyframes are applied over time in an effect • Control how keyframes adjust when you trim effects • Control how effect parameters change at bracketing (start and end) keyframes
You can also determine whether your keyframe manipulations apply to a single effect parameter or to multiple parameters.
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.
Keyframe in the effect track
Keyframe in the parameter group track
New keyframes added to parameters in Position group
New keyframe in the Effect Preview monitor
You should be aware of the following aspects of advanced keyframe display: • Keyframe indicators in the Effect Editor’s effect track or parameter group tracks are darker than those in individual parameter tracks, making it easier for you to distinguish between them. • Keyframe indicators in parameter group tracks and in the effect track are linked to any keyframes that are beneath them in the parameter hierarchy. You can think of the keyframe indicators that appear in parameter group tracks and in the effect track as parent indicators, and the individual parameter keyframes beneath them as their children.
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When you select a keyframe indicator in a parameter group track, any keyframes at that point in time for any individual parameters in that group are also selected and can be manipulated together. When you select a keyframe indicator in the effect track, all keyframes at that point in time throughout the effect are also selected and can be manipulated together. 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. • Keyframe indicators in the Effect Preview monitor’s position bar behave in the same way as keyframe indicators in the effect track of the Effect Editor. When you select a keyframe indicator in the Effect Preview monitor, the corresponding keyframe indicator in the effect track and all keyframes at that point in time in the effect are also selected. n By allowing you to manipulate multiple keyframes at the same time, effect tracks and parameter group tracks provide similar functionality to the meta curve region available in Avid DS systems. n In earlier versions of Avid editing applications, the system highlighted the keyframe in the Effect Preview monitor if you selected any keyframe in the associated column. Now the system highlights the keyframe in the Effect Preview monitor only if all the keyframes in the column are highlighted.
Adding Advanced Keyframes
You can add keyframes to any keyframeable parameters by using the following commands and buttons: • The Add Keyframe command in the keyframe track shortcut menu • The Add Keyframe button in the Effect Editor • The Add Keyframe button in the Effect Preview monitor
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. For more information, see “Controls and Options for Advanced Keyframes” on page 115.
92 Using Advanced Keyframes n You cannot add keyframes to parameters that are not keyframeable (for example, the Fixed Aspect parameter). The graph area for these parameters does not display time marks, default keyframes, or the parameter name.
To add a keyframe by using the keyframe track shortcut menu: 1. Move the position indicator to the point in the effect’s duration where you want to add a keyframe. 2. Right-click (Windows) or Ctrl+Shift+click (Macintosh) one of the following: t The keyframe graph or the parameter track for an individual parameter, to add a keyframe to that parameter only. t A parameter group track, to add a keyframe to every keyframeable parameter in that group. t The effect track, to add a keyframe to every keyframeable parameter in the effect. 3. Select Add Keyframe Active keyframe indicators appear at the position indicator in all appropriate tracks. For more information on where keyframe indicators appear, see “Understanding Advanced Keyframe Display” on page 91.
To add a keyframe by using the Add Keyframe button in the Effect Editor: 1. Move the position indicator to the point where you want to add a keyframe. 2. In the Effect Editor, click the Add Keyframe button. The Add Keyframe Mode menu opens.
n If the Add Keyframe Mode menu does not appear, Show Add Keyframe Mode Menu is deselected on the Effect Editor shortcut menu. For more information, see “Effect Editor Shortcut Menu” on page 118.
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3. Do one of the following: t Click the Add Keyframe button a second time to select the command that has a check mark next to it. This is the default command for adding keyframes that you can set by using the Effect Editor shortcut menu. For more information, see “Effect Editor Shortcut Menu” on page 118. t Select another command from the Add Keyframe Mode menu. For more information on the command selections, see “Keyframe Mode Menu Commands” on page 95. Active keyframe indicators appear at the position indicator in all appropriate tracks. For more information on where keyframe indicators appear, see “Understanding Advanced Keyframe Display” on page 91. The command you select becomes the default command for adding keyframes and its Delete Keyframe equivalent becomes the default command for deleting keyframes. For more information, see “Effect Editor Shortcut Menu” on page 118.
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 application adds one or more keyframes as determined by the current default command for adding keyframes in the Effect Editor shortcut menu. For more information on this default and how to change it, see “Effect Editor Shortcut Menu” on page 118. Active keyframe indicators appear at the position indicator in all appropriate tracks. For more information on where keyframe indicators appear, see “Understanding Advanced Keyframe Display” on page 91.
Deleting Advanced Keyframes
You can delete advanced keyframes by selecting the keyframes you want to delete and then using one of the following: •The Delete key • The Delete Keyframe command in the keyframe track shortcut menu • The Add Keyframe button in the Effect Editor • The Add Keyframe button in the Effect Preview monitor
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To delete advanced keyframes by using the Delete key or the Delete Keyframe command in the keyframe track shortcut menu: 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 Press the Delete key. t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe graph or keyframe track, and select Delete Keyframe. Your Avid application deletes the selected keyframes.
To delete advanced keyframes by using the Add Keyframe buttons: 1. Click a keyframe indicator to activate it. 2. (Option) Ctrl+click additional keyframes in the same graph or in other graphs. 3. Do one of the following: t In the Effect Editor or in the Effect Preview monitor, press and hold the Alt key (Windows) or the Option key (Macintosh), and then click the Add Keyframe button. Your Avid application deletes any selected keyframes that are affected by the current default Delete Keyframe Mode menu command. For example, if Delete From Open Graphs is the current default, the application deletes any selected keyframes in open keyframe graphs. t In the Effect Editor, press and hold the Alt key (Windows) or the Option key(Macintosh), click the Add Keyframe button while still holding the Alt or Option key, and then select a command from the Delete Keyframe Mode menu. For more information on the Delete Keyframe Mode menu commands, see “Keyframe Mode Menu Commands” on page 95. The command you select becomes the default command for deleting keyframes and its Add Keyframe equivalent becomes the default command for adding keyframes. For more information, see “Effect Editor Shortcut Menu” on page 118. n If the Delete Keyframe Mode menu does not appear, Show Add Keyframe Mode Menu is deselected in the Effect Editor shortcut menu. For more information, see “Effect Editor Shortcut Menu” on page 118.
Keyframe Mode Menu Commands
The Add Keyframe Mode and Delete Keyframe Mode menus provide commands that control how parameters are added or deleted when you use the Add Keyframe buttons in the Effect Editor or in the Effect Preview monitor. The same set of commands also appears in the Effect Editor shortcut menu. 95 Chapter 3 Working with Keyframes
When you select a command in one of these menus it becomes the default command when you add or delete keyframes using the Add Keyframe buttons. For more information, see “Controls and Options for Advanced Keyframes” on page 115.
The Add Keyframe Mode and Delete Keyframe Mode menus mirror one another. When you change one, a corresponding change happens in the other.
The following table describes the effect of each of the menu commands. n Several of the menu command names include the word “group.” In these names, “group” refers to a parameter category. n 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. For example, if “Add Keyframes to Open Groups” is the default command but no groups are open in the Effect Editor, you cannot add any keyframes to the Effect Preview monitor’s position bar. In this case, open a group in the Effect Editor before you add keyframes or change the command for adding and deleting keyframes.
Add Keyframe Mode and Delete Keyframe Mode Menu Commands
Command Description
Add to Active Parameter Adds a keyframe to or removes selected keyframes from the parameter (Add Keyframe Mode menu) track or keyframe graph for the active parameter only. Delete From Active Parameter The active parameter is the parameter that is currently selected, for (Delete Keyframe Mode menu) example, a slider that you clicked is pink. Add Keyframes to Active Parameter Corresponding keyframes appear in or are removed from the relevant (Effect Editor shortcut menu) parameter group track and the effect track.
Active parameter (pink)
Added keyframes when Add to Active Parameter command is used
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Add Keyframe Mode and Delete Keyframe Mode Menu Commands (Continued)
Command Description
Add to Active Group Adds keyframes to or removes selected keyframes from the parameter (Add Keyframe Mode menu) tracks or keyframe graphs of all parameters that are in the same parameter category as the active parameter. If the category containing the active Delete From Active Group parameter is a subcategory of a larger category (for example, Color is a (Delete Keyframe Mode menu) subcategory of Border), keyframes appear only in the subcategory and not Add Keyframes to Active Group in the larger category. (Effect Editor shortcut menu) The active parameter is the parameter that is currently selected, for example, a slider that you clicked is pink. Corresponding keyframes appear in or are removed from the parameter group track and the effect track.
Active group (contains active parameter) Active parameter (pink)
Added keyframes when Add to Active Group command is used. In this case, the Hue, Sat, and Lum parameters each have a new keyframe.
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Add Keyframe Mode and Delete Keyframe Mode Menu Commands (Continued)
Command Description
Add to Open Groups Adds keyframes to or removes selected keyframes from the parameter (Add Keyframe Mode menu) tracks or keyframe graphs of all parameters in groups that are currently open, whether or not the group is enabled. Delete From Open Groups (Delete Keyframe Mode menu) Corresponding keyframes appear in or are removed from the relevant parameter group tracks and the effect track. Add Keyframes to Open Groups (Effect Editor shortcut menu)
Added keyframes when Add to Open Groups command is used. New keyframes are added to all parameters in open groups, even if the keyframe tracks are closed.
Open group and subgroups (Border)
Closed group (Foreground)
Open group (Scaling)
Add to Enabled Groups Because your Avid application treats all parameter groups as enabled at all (Add Keyframe Mode menu) times, this command has the same effect as the All Parameters command. It adds keyframes to or deletes selected keyframes from the keyframe Delete From Enabled Groups tracks or keyframe graphs for every keyframeable parameter in the effect. (Delete Keyframe Mode menu) Corresponding keyframes appear in all parameter group tracks and the Add Keyframes to Enabled Groups effect track. (Effect Editor shortcut menu)
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Add Keyframe Mode and Delete Keyframe Mode Menu Commands (Continued)
Command Description
Add to Open Graphs Adds keyframes to or removes selected keyframes from all open keyframe (Add Keyframe Mode menu) graphs, whether or not the group is enabled. Delete From Open Graphs This command lets you add or delete keyframes from any custom (Delete Keyframe Mode menu) grouping of parameters. Open the keyframe graph for each parameter, and then use the command. Add Keyframes to Open Graphs (Effect Editor shortcut menu) Corresponding keyframes appear in or are removed from the relevant parameter group tracks and the effect track.
Added keyframes when Add to Open Graphs command is used. New keyframes are added to any parameters whose keyframe graphs are open, to the group tracks that contain those parameters, and to the effect track.
Open graph
Open graph
Open graph
Add to All Parameters Adds keyframes to or deletes selected keyframes from the keyframe tracks (Add Keyframe Mode menu) or keyframe graphs for every keyframeable parameter in the effect. Delete From All Parameters Corresponding keyframes appear in all parameter group tracks and the (Delete Keyframe Mode menu) effect track. Add Keyframes to All Parameters (Effect Editor shortcut menu)
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Selecting and Deselecting Advanced Keyframes
You can select one or more keyframes at any level of the keyframe track hierarchy — open keyframe graphs, parameter tracks, parameter group tracks, or the effect track. When you select keyframes in parameter group tracks or in the effect track, you also select all the keyframes in the group or in the effect at that point in time.
To select a keyframe: t Click the keyframe. The keyframe changes to pink (active).
To select more than one keyframe: 1. Click the first keyframe that you want to select. The keyframe changes to pink (active). 2. Ctrl+click each additional keyframe. Each keyframe changes to pink (active). n In earlier versions of Avid editing applications, you could single-click a keyframe in a different parameter group to select it. Now you must Ctrl+click the keyframe in a different group if you want to add it to a multiple-keyframe selection. n When you select more than one keyframe in a single keyframe track, the Avid editing application uses the most recently selected one as the reference keyframe for aligning and slipping keyframes. In addition, there are special considerations when you align keyframes in a track with both selected keyframes and deselected keyframes. See “Aligning Advanced Keyframes” on page 104.
To select all keyframes in a track: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) 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 (active). All other keyframes in the track appear gray and are deselected.
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To deselect all keyframes in a track, do one of the following: t With a parameter enabled (for example, the slider for the parameter is pink), select Edit >Deselect All Keyframes. All keyframes are deselected in the enabled parameter’s parameter track t Right-click a parameter track, a parameter group track, or the effect track, and select Deselect All Keyframes. All keyframes for the parameter, group, or entire effect are deselected. When you right- click a parameter group track, your Avid application displays the text “Apply to Group” in the parameter group track, as shown in the following illustration.
Keyframe track shortcut menu
Moving Advanced Keyframes
Once you create an advanced keyframe, you can move it 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 keyframe track shortcut menu. For more information, see “Aligning and Slipping Advanced Keyframes” on page 103.
You should be aware of the following when you are moving advanced keyframes: • You can move keyframes by dragging at all levels of the keyframe track hierarchy — open keyframe graphs, parameter tracks, parameter group tracks, and the effect track. However, only open keyframe graphs allow you to move keyframes vertically and so change their parameter values. • When you move keyframe indicators in a parameter group track or the effect track, you move all keyframes at that point in time in the parameter group or in the entire effect. • You can move a keyframe outside the time boundaries of the keyframe graph, so that the effect behaves as if parameter values are changing before the beginning or after the end of the effect. This works only for the time at which a keyframe occurs; you cannot move a keyframe to a parameter value outside the maximum or minimum value for the parameter. (You can also move keyframes outside the time boundaries by using the Align Keyframes and Slip Keyframes commands. For more information, see “Aligning and Slipping Advanced Keyframes” on page 103.)
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Moving a keyframe outside the time boundaries Before After
Start of effect End of effect Keyframe moved before beginning of effect
• 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.
In this example, the keyframe in the Sat parameter has been dragged to the left out of the column of keyframes at the location of the position indicator. New keyframe indicators appear in the effect track, in the Effect Preview monitor’s position bar, in the parameter group track, and in the group track for the Color parameter subcategory.
• You cannot move a keyframe past another keyframe; that is, keyframe movement is bounded by neighboring keyframes. • If two or more effects are shown in the effect editor, only the top effect is editable. This means that if you have nested effects, you can move the keyframes in only one effect at a time.
To move a single keyframe, do one of the following: t Drag the keyframe up or down in the keyframe graph to change its parameter value without changing its position in time. t Alt+Shift+drag (Windows) or Option+Shift+drag (Macintosh) the keyframe horizontally to change its position in time without changing its parameter value.
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t Alt+drag (Windows) or Option+drag (Macintosh) the keyframe to move it freely both vertically and horizontally and so change both its parameter value and its position in time.
To move multiple keyframes: 1. Click one of the keyframes to select it. 2. Ctrl+click additional keyframes to add them to the selection. 3. Do one of the following: t Drag one of the keyframes up or down in the keyframe graph to change the parameter value of all the keyframes by the same relative amount without changing their positions in time.
Two keyframes selected in a Drag one of the keyframes to move parameter. both vertically.
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.
Two keyframes selected in a Press the Alt key and then drag the top keyframe. parameter. The keyframe you drag moves in both time and value. The second keyframe moves in time only.
Aligning and Slipping Advanced Keyframes
The Align Keyframes and Slip Keyframes commands in the keyframe track shortcut menu allow you to 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. • Slip Keyframes moves all the keyframes of the parameter so the selected keyframe aligns with the position indicator, and the rest of the keyframes maintain their relative location.
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You do not have to select a keyframe from an open keyframe graph to use Align Keyframes and Slip Keyframes. You can select keyframes in any keyframe track. n Disabling Set Position To Keyframe can make it easier for you to use Align Keyframes and Slip Keyframes. See “Effect Editor Shortcut Menu” on page 118.
You can use Align Keyframes and Slip Keyframes within a single keyframe track by selecting a single active keyframe. You can also use Align Keyframes and Slip Keyframes to bring several parameters into alignment, by selecting an active keyframe in more than one parameter and then choosing where you invoke the shortcut menu. See “Selecting and Deselecting Advanced Keyframes” on page 100.
When you select more than one keyframe in a single keyframe track, the Avid editing application uses the most recently selected one as the reference keyframe for aligning and slipping keyframes. In addition, there are special considerations when you align keyframes in a track with both selected keyframes and deselected keyframes. See “Aligning Advanced Keyframes” on page 104.
Both Align Keyframes and Slip Keyframes can move keyframes outside the time boundaries of the keyframe graph. That is, you can make the effect behave as if parameter values are changing before the beginning or after the end of the effect.
Aligning Advanced Keyframes
In the procedure below, the reference keyframe of any keyframe graph is the keyframe you activated most recently in that keyframe graph.
To align the reference keyframe to the position indicator: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) an open keyframe graph, a parameter track, a parameter group track, or the effect track, and select Align Keyframes. The reference keyframe moves to the position indicator. If the reference keyframe is in a parameter group track or in the effect track, all the keyframes at that point in time in the parameter group or in the entire effect move to the position indicator. n Align Keyframes does not move the reference keyframe beyond an intervening keyframe; that is, 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.
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Align Keyframes No intervening keyframe One intervening keyframe Before Before
After After
Align Keyframes exhibits more complex behavior when you have multiple keyframes selected in one keyframe graph.
If you select all keyframes in one keyframe graph, Align Keyframes is equivalent to Slip Keyframes. The reference keyframe moves to the position indicator, and all other keyframes maintain their position relative to the reference keyframe.
Deselected (gray) keyframes do not move. All selected keyframes do move, as close to the target position as possible, unless a deselected keyframe intervenes.
The following illustration shows several examples.
Examples of Align Keyframes with multiple keyframes (in all cases, the second keyframe is the reference keyframe
All keyframes selected — the reference keyframe moves to the position indicator and all other keyframes move to maintain their positions relative to the reference keyframe. Before After
One deselected keyframe — the reference keyframe moves to the position indicator, other selected keyframes move to maintain their positions relative to the reference keyframe, but the deselected keyframe does not move. Before After
Two deselected keyframes — the reference keyframe moves to the position indicator, the other selected keyframe moves to maintain its position relative to the reference keyframe, but the deselected keyframes do not move. Before After
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Slipping Advanced Keyframes
In the procedure below, the reference keyframe of any keyframe track is the keyframe you activated most recently in that keyframe track.
To slip keyframes to the position indicator, in one keyframe track: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) an open keyframe graph, a parameter track, a parameter group track, or the effect track, and select Slip Keyframes. All the keyframes move so that the reference keyframe aligns with the position indicator, and the other keyframes maintain their position relative to the reference keyframe. If the reference keyframe is in a parameter group track or in the effect track, all the keyframes at that point in time in the parameter group or in the entire effect move to the position indicator, and the other keyframes in the same parameters maintain their position relative to the reference keyframe.
Slip Keyframes
Before After — reference keyframe moves to the position indicator and other keyframes move relative to the reference frame
Copying and Pasting Advanced Keyframe Parameters
You can copy and paste parameters from one advanced keyframe and apply them to another advanced keyframe. You can copy parameters from one advanced keyframe and paste them to the location of the position indicator (your Avid application creates a new keyframe with the parameters you copied at the location of the position indicator). You can also copy advanced keyframe parameters from one effect to another effect.
To copy and paste advanced keyframe parameters: 1. Click one keyframe whose parameters you want to copy. 2. Select Edit > Copy. 3. Do one of the following: t Select one or more keyframes. For more information, see “Selecting and Deselecting Advanced Keyframes” on page 100. t Move the position indicator to the location where you want a new keyframe to appear.
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4. Select Edit > Paste. The parameters that you copied from one keyframe are pasted to the keyframes you selected, or a new keyframe using the parameters that you copied is created.
Controlling Parameter Changes at Keyframes
How an effect parameter changes at a keyframe is governed by which keyframe interpolation option you select. Interpolation refers to the method the Avid editing application uses to calculate the rate of change and the relative smoothness of change.
To select an interpolation option: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe graph or keyframe track for the parameter with which you are working, and select one of the following: -Shelf - Linear -Spline -Bézier Each option is described in the following table.
Advanced Keyframe Interpolation Options
Interpolation Option Description
Shelf The parameter value does not change between keyframes and then changes abruptly to the new value. Some applications call this Hold. Use Shelf to hold a parameter value for a fixed length of time. For example, you can use Shelf with the Position parameters to create a PIP that appears to “pop” to a new location at each keyframe.
Linear The parameter value ramps smoothly between keyframes but then changes abruptly at each keyframe. The change in parameter value at a keyframe happens with no ease-in or ease-out. n Effects with standard keyframes always make linear parameter changes (with the exception of Spline for motion paths and Acceleration for other parameters). With advanced keyframes, you can use the Linear interpolation option for some parameters and not for others, depending on the effect you want to achieve.
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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. With two keyframes, the parameter value changes slowly at the beginning of the effect, speeds up the rate of change, and then slows down to come to rest gently at the end of the effect. Use three keyframes to create an arc. Use the Spline interpolation option (or the Bézier interpolation option) for any parameter for which you want to avoid abrupt changes, such as Scaling or Border width.
Bézier The Bézier interpolation option is similar to the Spline interpolation option, in that the parameter value changes smoothly at each keyframe. In addition, the Bézier interpolation option provides direction handles at each keyframe. You adjust the rate at which the parameter value changes by manipulating the direction handles. When you click a direction handle and drag it, you change the height and angle of the curve. The curve responds as if you were gently tugging it like a piece of string. The curve remains anchored to the keyframes on either side of the active keyframe. You have several options for how you manipulate Bézier direction handles. For more information, see “Adjusting Parameter Values with the Bézier Interpolation Option” on page 109. Use the Bézier interpolation option (or the Spline interpolation option) for any parameter for which you want to avoid abrupt changes.
Active keyframe detail with direction handles using Bézier interpolation option
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Adjusting Parameter Values with the Bézier Interpolation Option
You can adjust Bézier curves in the following ways: • Symmetrically — Dragging a direction handle changes the length and rotation of both direction handles symmetrically.
Before After — dragging the left handle up and to the left causes both sides to rotate and increase in length.
• 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 After — dragging the left handle up and to the left causes the left side to rotate and increase in length. The right side rotates but does not change in length.
• Independently — Dragging a direction handle changes both the length and rotation of the selected handle. The opposite handle does not change. You do this by “breaking” the handle.
Before
After dragging (no rotation) — dragging the left handle to the left causes only the left side to increase in length. The right side does not change.
After dragging and rotating — dragging the left handle up and to the left causes only the left side to rotate and increase in length. The right side does not change.
The default adjustment method is symmetrical. You change the adjustment method using the Alt key (Windows) or Option key (Macintosh).
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To use the Bézier interpolation option for adjusting a parameter value: 1. Select the Bézier interpolation option. For more information, see “Controlling Parameter Changes at Keyframes” on page 107. 2. Click a keyframe indicator to activate it. The keyframe indicator changes to pink, and a direction bar with direction handles appears. 3. Position the pointer over one of the direction handles. The pointer changes to a hand pointer. 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. Alt+click (Windows) or Option+click (Macintosh) the direction handle, and then drag the mouse to move the direction handle. The use of the modifier key instructs your Avid editing application to use the next adjustment method in the sequence of adjustment options: symmetrical, asymmetrical, or independent. For example, suppose you make an adjustment using independent direction handles, and then move the cursor away from the keyframe. To continue using independent direction handles, click the direction handle and make further adjustments. To change the adjustment method from independent to symmetrical, Alt+click (Windows) or Option+click (Macintosh) the direction handle. 5. Continue adjusting the direction handles to achieve the effect you want.
Reversing Advanced Keyframes
You can use the Reverse Keyframes command in the keyframe track shortcut menu to reverse the keyframes in time for an individual parameter, a parameter group, or an entire effect.
The Reverse Keyframes command is an enhanced version of the Reverse Animation command found in the standard keyframe interface.
You should be aware of the following when working with the Reverse Keyframes command: • Keyframe parameter values are not affected by Reverse Keyframes; the command only changes their position in time. • Reverse Keyframes always applies to the entire effect duration. You can’t reverse the keyframes for a portion of the effect duration.
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• If the effect is a transition effect that contains a Swap Sources button, the system automatically enables the Swap Sources button when you reverse the keyframes on the entire effect. This maintains the shot continuity while reversing the movement.
To reverse keyframes in time: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) an open keyframe graph, a parameter track, a parameter group track, or the effect track, and select Reverse Keyframes. Your Avid 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. The parameter group track displays the text “Apply to Group” when you right-click or Ctrl+Shift+click the track. - For the effect track, keyframes are reversed for all parameters in the entire effect. The parameter group track displays the text “Apply to All” when you right-click or Ctrl+Shift+click the track.
Controlling Advanced Keyframe Behavior with Trimmed Effects
You can use the Elastic and Fixed commands in the keyframe track shortcut menu to control how advanced keyframes adjust when you change the length of an effect by trimming.
When you use the Elastic option, your Avid application scales the keyframes to fit the new duration. For example, if you trim out the start of a keyframed 2-second effect segment so that its length increases to 3 seconds, the gap between each of the keyframes increases by 50% and the original animation takes place over 3 seconds. Elastic is the default behavior for a parameter, and is also the behavior used by standard keyframes. The keyframe indicator for an elastic keyframe is a simple triangle.
When you use the Fixed option, your Avid application leaves the existing duration of your keyframe animation intact. For example, if you trim out the start of a keyframed 2-second effect segment so that its length increases to 3 seconds, the original animation still takes places over 2 seconds at the end of the segment. The one second of material you have added uses the parameter values of the first keyframe, so no movement or other change takes place until the first keyframe is reached. Fixed keyframes allow you to “pin” a parameter change to a particular timecode. The keyframe indicator for a fixed keyframe has a mark or tail on its bottom edge.
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n You can select elastic keyframes or fixed keyframes for each parameter of an effect. That is, some parameters can have elastic keyframes and other parameters can have fixed keyframes. n All keyframes for a parameter are either elastic or fixed. You cannot mix elastic keyframes and fixed keyframes within a single parameter.
The following illustration shows an example of the difference between elastic and fixed keyframes.
2-second clip with four keyframes
02:00 02:18 03:04 03:29
Same clip, trimmed out to add 1 second at the head (shaded area) and using elastic keyframes: time between keyframes stretches.
01:00 01:27 02:21 03:29
Same clip, trimmed out to add 1 second at the head (shaded area) and using fixed keyframes: timing of events does not change.
01:00 02:0002:18 03:04 03:29
To select elastic keyframes or fixed keyframes: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe graph, parameter track, or parameter group track whose keyframes you want to affect, and select Fixed or Elastic. The keyframes for the parameter or parameter group change to the selected keyframe type and the keyframe indicators for the parameter display the selected keyframe type. All subsequent keyframes you add to this parameter appear as the selected keyframe type.
Controlling Parameter Changes Outside First and Last Keyframes
When you use standard keyframes, you always have a starting keyframe and an ending keyframe that are fixed at the start of the effect and the end of the effect. You cannot move or delete the starting keyframe and the ending keyframe. With advanced keyframes, you do not need to set a starting keyframe or an ending keyframe, and you can move or delete them.
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In a keyframe graph, the first keyframe and the last keyframe are the bracketing keyframes for the parameter. The Avid editing application determines parameter values beyond the bracketing keyframes using either Extrapolate or Hold.
With Extrapolate enabled, the 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. Parameter values continue to change over time. The application calculates new values using the interpolation option in effect for that parameter.
Parameter values change before and after the bracketing (start and end) keyframes.
In the previous illustration, the blue lines represent the parameter value before and after the bracketing keyframes and show the extrapolation of the parameter value. n You might find it useful to view the color images in the online version of this document available on the Online Library disk for your Avid editing application.
For example, if the parameter value between the last two keyframes increases as the end of the effect approaches, the parameter value continues to increase until the end of the effect. Similarly, if the first keyframe is not at the very beginning of the clip, the Avid editing application extrapolates the parameter value from the start of the effect up to the first keyframe.
With Hold enabled, the application uses only the parameter values at the bracketing keyframes to set values at the start and end of the effect. The parameter values hold steady — that is, are the same — from the start of the effect to the first keyframe, and again from the last keyframe to the end of the effect.
Parameter values hold steady before and after the bracketing (start and end) keyframes.
In the previous illustration, the horizontal blue lines indicate the parameter value before the first keyframe and after the last keyframe.
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Extrapolate and Hold are useful any time you slip keyframes or align keyframes in such a way that a bracketing keyframe falls within the effect, or if you are using fixed keyframes for a parameter and you trim in or trim out the effect so that a bracketing keyframe falls within the effect. n The Extrapolate or Hold setting remains in effect if you trim in or trim out the effect. 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.
Keyframe graph before Slip Keyframes — bracketing keyframes indicated
When you select Extrapolate, the application estimates more values for the parameter before and after the bracketing keyframes using the values at the bracketing keyframes. Parameter values continue to change over time. The application calculates new values using the interpolation option in effect for that parameter.
Keyframe graph after Slip Keyframes: Extrapolate example
Parameter value changes before the bracketing keyframe.
When you select Hold, the application uses only the parameter values at the bracketing keyframes to set values before and after the bracketing keyframes. The parameter values are the same from the start of the effect to the first keyframe, and again from the last keyframe to the end of the effect.
Keyframe graph after Slip Keyframes: Hold example
Parameter value does not change before the bracketing keyframe.
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n As a result of slipping the keyframes in the previous examples, the last keyframe indicator has moved out of the keyframe graph view but is still present and is still the bracketing keyframe. The keyframe indicator visible at the right edge of the keyframe graph (the third keyframe indicator) is not a bracketing keyframe. Therefore, the parameter values in effect from the third keyframe to the end of the effect are calculated along the curve between the third keyframe and the last (bracketing) keyframe. n You set Extrapolate and Hold independently for each parameter in an effect. The default condition is Hold.
To set Extrapolate or Hold for a parameter: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe track, and select Extrapolate or Hold. The display changes to reflect the new setting.
Controls and Options for Advanced Keyframes
This section provides reference information for the following parts of the advanced keyframes user interface: • Effect Editor controls that are specific to advanced keyframes. • The keyframe track shortcut menu. • The Effect Editor shortcut menu. You use commands in the Effect Editor shortcut menu to control certain aspects of advanced keyframe display and behavior.
Effect Editor Controls for Advanced Keyframes
The toolbar at the bottom of the Effect Editor includes specific controls for advanced keyframes. The Effect Editor also displays nesting priority icons that allow you to change the order of nested effects when you are using advanced keyframes.
Vertical zoom slider Scroll thumbwheel
Horizontal zoom slider Effect Editor buttons — see “Effect Editor Controls” on page 60.
The following table describes the Effect Editor toolbar controls for advanced keyframes.
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Effect Editor Toolbar for Advanced Keyframes
Control Description
Rewind Moves the position indicator one keyframe to the left and activates the keyframe. If there is no keyframe to the left, the position indicator does not move. That is, the position indicator does not move to the beginning of the effect unless you have a keyframe there.
Fast Forward Moves the position indicator one keyframe to the right and activates the keyframe. If there is no keyframe to the right, the position indicator does not move. That is, the position indicator does not move to the end of the effect unless you have a keyframe there.
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 92 and “Deleting Advanced Keyframes” on page 94.
Vertical and Zooms (or scales) the view of keyframe graphs either horizontal zoom vertically or horizontally so that you can focus in on a sliders particular part of a graph. For more information, see “Zooming Advanced Keyframe Graphs” on page 88.
Scroll Scrolls the view of keyframe graphs horizontally so that part of thumbwheel the view disappears on one side and more comes into view on the other side. For more information, see “Scrolling Advanced Keyframe Graphs” on page 90.
In addition to the controls in the preceding table, a Nesting Priority icon appears in line with the effect name at the top of the Effect Editor. You can use this icon to change the order of a nested effect. For more information, see “Changing the Order of Nested Effects” on page 182.
Other controls appear in a menu when you click the Add Keyframe button, and in the shortcut menu that appears when you right-click (Windows) or Ctrl+Shift+click (Macintosh) a keyframe graph or keyframe track.
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Keyframe Track Shortcut Menu
Advanced keyframes use two shortcut menus. The keyframe track shortcut menu 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. For more information about the Effect Editor shortcut menu, see “Effect Editor Shortcut Menu” on page 118.
To display the keyframe track shortcut menu: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) a keyframe graph, a parameter graph, a parameter group title track, or the effect title track.
Shortcut Menu Commands for Keyframe Tracks
Control Description
Add Keyframe Adds a keyframe at the position indicator. See “Adding Advanced Keyframes” on page 92.
Delete Keyframe Deletes the selected keyframe. See “Deleting Advanced Keyframes” on page 94.
Select All Keyframes For the Effect Editor, selects all keyframes in the section of the editor where you click to display the shortcut menu. See “Selecting and Deselecting Advanced Keyframes” on page 100. For the Motion Effect Editor, selects all keyframes in the active graph.
Deselect All Keyframes Deselects all the keyframes in the currently active track, parameter group, or effect. See “Selecting and Deselecting Advanced Keyframes” on page 100.
Align Keyframes Moves the selected keyframe to the position indicator. See “Aligning and Slipping Advanced Keyframes” on page 103.
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 “Aligning and Slipping Advanced Keyframes” on page 103.
Reverse Keyframes Allows you to reverse the keyframes in time for a parameter, a parameter group, or an entire effect. See “Reversing Advanced Keyframes” on page 110.
Shelf Sets the way parameter changes occur at keyframes. See “Controlling Parameter Linear Changes at Keyframes” on page 107. Spline Bézier
Fixed Sets how the application moves keyframes when an effect is trimmed. Elastic Elastic keyframes change the time at which they occur when you trim an effect, in proportion to the new effect length. Fixed keyframes do not change. See “Controlling Advanced Keyframe Behavior with Trimmed Effects” on page 111.
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Shortcut Menu Commands for Keyframe Tracks (Continued)
Control Description
Extrapolate Determines how the application sets parameter values before the first keyframe and Hold after the last keyframe. See “Controlling Parameter Changes Outside First and Last Keyframes” on page 112.
Reset Graph View Recenters the graph view. See “Resetting Advanced Keyframe Graph Views” on page 90.
Effect Editor Shortcut Menu
The Effect Editor shortcut menu gives you options for adjusting the Effect Editor display, for controlling the playback of effects with advanced keyframes, and for setting a default command for the Add Keyframe button. n The Effect Editor shortcut menu is available only for effects with advanced keyframes. To display the Effect Editor shortcut menu: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Effect Editor outside the keyframe track area. The Effect Editor shortcut menu opens.
The following table describes the options for the Effect Editor shortcut menu.
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Effect Editor Options
Option Description
Indent Rows When selected, parameter rows are indented from the parameter category row, and any parameter subgroups are indented again. When deselected, the left edges of parameter rows line up with the parameter category row.
Indented parameter rows Non-indented parameter rows
Large Text When selected, text in the Effect Editor appears in 12-point size. When deselected, text in the Effect Editor appears in the default size, 10 points (Windows) or 9 points (Macintosh).
Normal text size Large text
Thumbwheels When deselected, variable controls in the Effect Editor appear as the default slider control. When selected, variable controls appear as thumbwheels. For information on using thumbwheels, see “Changing a Parameter with a Slider” on page 70.
Sliders Thumbwheels
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Effect Editor Options (Continued)
Option Description
Real-Time Update When selected, the Avid editing application updates the rendered effect image in real time. Because the update can be slow for complex effects, you have the option to deselect updating in real time.
Set Position To With Set Position To Keyframe selected, when you click a keyframe, the Avid editing Keyframe application moves the position indicator to the keyframe. With Set Position To Keyframe deselected, when you click a keyframe, the position indicator does not move. Deselecting Set Position To Keyframe allows you to align a keyframe to the position indicator. See “Aligning and Slipping Advanced Keyframes” on page 103.
Update Position While When selected, the position indicator in the Effect Editor moves while you play the Playing effect. Because using Update Position While Playing can cause video underrun problems in complex real-time effects, the option is deselected by default.
Show Add Keyframe When this option is selected, the Add Keyframe Mode menu (or the Delete Keyframe Mode Menu Mode menu) appears when you use the Add Keyframe button to add (or delete) keyframes. See “Keyframe Mode Menu Commands” on page 95. When Show Add Keyframe Mode Menu is deselected, the Add Keyframe button performs the default command from the Add Keyframe button options list below, without displaying the Add Keyframe Mode menu or the Delete Keyframe Mode menu.
Add Keyframe button Select one as the default command for the Add Keyframe button. options: • When you deselect Show Add Keyframe Mode Menu, clicking the Add Keyframe • Add Keyframes To button once performs the default command. Active Parameter • When you select Show Add Keyframe Mode Menu, clicking the Add Keyframe • Add Keyframes To button twice performs the default command. (The first click displays the Add Active Group Keyframe Mode menu, at which point you can select another command.) • Add Keyframes To n The selection you make for the Add Keyframe mode is mirrored in the Delete Open Groups Keyframe Mode menu, and vice versa. For example, when you change your selection to Add Keyframe To Open Groups, the Delete Keyframe mode changes • Add Keyframes To to Delete Keyframe From Open Groups. Enabled Groups For a description of each command, see “Keyframe Mode Menu Commands” on • Add Keyframes To page 95. Open Graphs These options are available only in the Effect Editor shortcut menu. • Add Keyframes To All Parameters
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This chapter provides information on playing and rendering effects that extends the information provided in “Main Topics: Working with Effects: Basics” in the Help. It also describes how to manage media effect files on your system. • Previewing Effect Frames with Render On-the-Fly • Advanced Effects Playback Information • Rendering Effects • Managing Effect Media Files
Previewing Effect Frames with Render On-the-Fly
When you want to preview effects in a sequence, you can use the Render On-the-Fly feature to control how your Avid editing application displays a monitored frame to which one or more effects have been applied. When Render On-the-Fly is selected, you can step through your sequence and preview any frame to check the look of the effects applied to it, regardless of the type or number of those effects.
When Render On-the-Fly is selected, whenever you change the frame you are monitoring, the Avid editing application updates to show the image that results from any effects applied to that frame. Depending on the number and complexity of effects, there might be a perceptible delay before the image updates in the Composer monitor.
When Render On-the-Fly is deselected, the application shows the monitored frame as if no effects had been applied to it. You can deselect Render On-the-Fly to avoid delays in image updating when you are not concerned about the look of effects.
Render On-the-Fly controls how your Avid editing application displays a frame only when the position indicator is stationary at that frame. During playback (that is, while the position indicator is in motion), the application’s ability to display effects depends on whether real- time effects are enabled and on other associated factors. For more information, see “Advanced Effects Playback Information” on page 122. Chapter 4 Playing and Rendering Effects
Using Render On-the-Fly can slow down your editing of a sequence. If you are compositing and then change the frame you are monitoring, you must wait for the single frame to render.
Instead of waiting for rendering to finish, you can interrupt Render On-the-Fly. Interrupting Render On-the-Fly interrupts only the rendering of non-real-time effects.
To display effects immediately during effects editing: t Select Clip > Render On-the-Fly.
To interrupt Render On-the-Fly, do one of the following: t Drag the position indicator in the Timeline. While you are dragging, the sequence appears in the Composer monitor as it would if Render On-the-Fly were not selected from the Clip menu. t If you click in the Timeline and rendering begins, quickly move to another location in the Timeline. This interrupts the rendering process until you release the mouse button.
Advanced Effects Playback Information
You can play back most video effects available in the Avid editing application in real time. This allows you to play back sequences to which you have applied effects and to review the appearance of those effects.
Real-time effects playback has no effect on the methods you use when you apply and modify the effects themselves.
This section includes advanced information about playback of video effects.For basic information, see “Playback of Video Effects” in the Help.
Controlling Real-Time Effects Playback
When the 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. • If possible, start playback earlier in the sequence, before the effects that are causing difficulties begin. This allows the Avid editing application to begin processing some of the effects frames before it must display them, decreasing the chance of difficulties with playback.
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• Use the Expert Render command on those parts of the sequence where the Avid editing application had difficulties during playback. The Avid editing application marks these parts of the sequence in the Timeline. For more information, see “Understanding Real-Time Playback Information in the Timeline” and “ExpertRender” in the Help. • Use the Video Quality Menu button to select a lower quality for playback. This increases the Avid editing application’s ability to process effects at the expense of reducing image quality. For more information, see “Playing Back at Different Video Qualities” in the Help. • In the Video Display Settings dialog box, increase the number of seconds of video to prefill. This setting instructs the Avid editing application to delay the beginning of playback by the number of seconds you specify. During this time, the application processes frames in advance and stores them in memory. When playback begins, the application starts to display the preprocessed frames while it continues to process new ones. The application will continue to play back the sequence successfully in real time unless it exhausts its supply of preprocessed frames. By accepting a delay at the beginning of playback, you increase the likelihood that the application will play the material successfully. The maximum delay you can specify is 10 seconds. The Video Display settings dialog box is available in the Settings list of the Project window and from the Video Quality button in the Timeline bottom toolbar. n If the amount of memory available is limited, the Avid editing application might not be able to prefill the full number of seconds that you specify. As a result, the delay you experience before playback begins might be less than the number of seconds you specify. It cannot be more than that number.
Real-Time Effects and Effect Icon Colors
When real-time effects are disabled, effect icons have no colored dot in the Effect Palette and display a blue dot in the Timeline, indicating that they must be rendered before they will play in real time. When real-time effects are enabled, most effect icons have a green dot in both the Effect Palette and in the Timeline, indicating that they might play in real time, depending on the complexity of the effects and the sequence.
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Blend effect category in the Effect Palette with Blend effect category in the Effect Palette with real-time effects disabled. No dots indicate that real-time effects enabled. Green dots indicate that the effects will not play in real time. the effects might play in real time.
Effect icons in the Timeline with real-time effects Effect icons in the Timeline with real-time effects disabled. Blue dots indicate that the effects will enabled. Green dots indicate that the effects not play in real time. might play in real time.
Rendering Effects
Rendering is the process of calculating and storing video information for the finished look of an effect so that the effect always plays in real time at full quality. This section provides advanced information on rendering effects.
For basic information on rendering effects, including a complete discussion of the ExpertRender feature, see “Basics of Effects Rendering” in the Help.
Creating and Using Render Settings
You can create one or more sets of render parameters and save them as a custom Render setting. For example, you can create one setting especially for rendering single-field motion effects and another for rendering two-field motion effects. You can then activate the setting that you need at each stage of your project.
Creating a New Render Setting
To create a new Render setting: 1. In the Project window, click the Settings tab. The Settings scroll list opens. 2. Select All Settings from the Project window Fast menu. 3. Click Render. 124 Rendering Effects
4. Select Edit > Duplicate. 5. Name the setting: 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. Adjust the options for the setting as described in the following procedure.
Adjusting Render Settings Options
To adjust the options in the Render Setting dialog box: 1. In the Settings list of the Project window, double-click a Render setting. The Render Setting dialog box opens.
2. Select the appropriate options, based on the descriptions in the following table and then click OK.
Render Settings Options
Option Description
Render Completion Sets a sound to activate once the rendering process is complete. This is useful when Sound you are rendering multiple effects.
• None Disables the rendering completion sound. This is the default.
• Render Sound Sets the rendering completion sound to a customized sound.
• System Beep Sets the rendering completion sound to match the sound set for your operating system.
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Render Settings Options (Continued)
Option Description
Motion Effects Render These two pulldown menus determine the processing method when existing motion Using and effects and Timewarp effects are rendered or rerendered. Timewarp Effects Render Using
• Original Preference Causes effects to be rendered as whatever type they were when originally created.
• Duplicated Field Displays a single field in the effect. For two-field media, this reduces the information stored by half because it drops one field of the image, resulting in a lower quality image. For single-field media, this is usually the best choice because of its speed (the other options do not improve effect quality for single-field media). With JFIF resolutions, selecting this option causes the effect to render in the shortest amount of time. With DV and MPEG resolutions, the effect renders approximately as quickly as it would if you selected Both Fields as the rendering option.
• Both Fields Displays both fields in the effect. For example, the first two frames of a half-speed (50%) slow-motion effect repeat the original Frame 1 (both fields) twice. This option is good for shots without inter-field motion, NTSC or PAL film-to-tape transfers, and still shots. With footage that includes inter-field motion, this method might result in minor shifting or bumping of the image because it disturbs the original order of fields: a Field 1 will appear both before and after the corresponding Field 2. The effect renders relatively quickly. For best results, you should use evenly divisible frame rates with this option.
• 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 the Avid editing application considers all fields and does not disturb the original order of fields, the smoothest effect results. Effects created using this option take the longest amount of time to render.
• VTR-Style Creates a second field for the effect by shifting selected video fields of the original media by a full scan line. This technique is similar to that used by high-quality professional video decks when playing footage at less than normal speed. This option also creates the motion effect at the field level rather than the frame level; however, because pixels are not filtered, the final image is sharper than that created by the Interpolated Field option. The image might display some slight jitter at certain speeds. The time needed to render effects created with this option is longer than the time for effects created using either Duplicated Field or Both Fields but similar to the time needed for Interpolated Field.
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Render Settings Options (Continued)
Option Description
• Blended Interpolated (Timewarp only) Blends (averages) pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, the application creates three blended images between outgoing Image A and incoming Image B. The first blended image weights the pixels from Image A at 75% and Image B at 25%. The second blended image weights the pixels from Image A at 50% and Image B at 50%. The third blended image weights the pixels from Image A at 25% and Image B at 75%. Objects in motion from Image A to Image B appear to fade out of Image A and fade in to Image B. Timewarp effects created using Blended Interpolated or Blended VTR render less quickly than Interpolated Field or VTR-Style.
• Blended VTR (Timewarp only) First creates a second field for the effect by shifting selected video fields of the original media by a full scan line. Then blends (averages) pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, the application creates three blended images between outgoing Image A and incoming Image B. The first blended image weights the pixels from Image A at 75% and Image B at 25%. The second blended image weights the pixels from Image A at 50% and Image B at 50%. The third blended image weights the pixels from Image A at 25% and Image B at 75%. Objects in motion from Image A to Image B appear to fade out of Image A and fade in to Image B. Timewarp effects created using Blended Interpolated or Blended VTR render less quickly than Interpolated Field or VTR-Style.
Effects Quality Render Lets you override the selection you made in the Effect Editor for individual effects. Using You can change from standard rendering to HQ rendering for your entire sequence, once you are satisfied with your draft version, by using the Render Settings selection. You can also choose to set all effect rendering to standard if you want to decrease rendering time.
• Quality Set in Each Causes effects to be rendered as whatever type they were when originally created. Effect
• Standard Quality Causes effects to be rendered as Standard Quality, regardless of whether the HQ button was selected for the individual effect.
• Highest Quality Causes effects to be rendered as High Quality.
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Activating a Render Setting
To activate a Render setting: t Click in the column to the left of the setting name in the Settings list of the Project window. A check mark appears beside the setting that is currently active.
Partial Render
If you interrupt a render that is not complete, the Avid editing application allows you to save the completed portion of the render.
You can finish the render later by resubmitting the effect for rendering. The Avid editing application then renders only the part of the effect that has not been rendered previously and will save that part as a separate precompute.
This feature is especially useful if you have to interrupt a long render of a single effect, such as a Submaster effect.
You can also use the Render Ranges command in the Timeline Fast menu to customize the Timeline so that it indicates which parts of an effect the Avid editing application has rendered.
Interrupting a Render
To interrupt a render: 3. Press Ctrl+period (Windows) or k+period (Macintosh) to interrupt the render.. A message box opens. 4. Do one of the following: t Click Keep to save the material already rendered. t Click Discard to end the render without saving the material already rendered.
Customizing Render Ranges Display
To customize the display of render ranges in the Timeline: 1. Click the Timeline Fast Menu button, and select Render Ranges.
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2. Select one of the following from the submenu: - None — Turns off the display of render ranges. - Partial Only — Displays a red line on the portion of any partially rendered effect that is currently unrendered (but does not mark completely unrendered effects). This is the default option. - All — Displays a red line on the portion of any partially rendered effect that is currently unrendered and on all completely unrendered effects. n The All option of the Render Ranges display provides a simple visual indication of which effects are unrendered. It is not an indication of which effects might need to be rendered to achieve successful playback. n The playback behavior of a partially rendered effect depends on the frame at which playback begins. If playback begins at a rendered frame, the Avid editing application attempts to play the entire effect in real time. You see the rendered portion in real time but cannot see the unrendered portion. If playback begins at a non-rendered frame, the application plays the entire effect using Render On-the-Fly.
Rendering a Single Effect
After you have adjusted an effect’s parameters, you can render the effect.
To render a single effect: 1. Move the position indicator to the effect in the Timeline. Make sure the track containing the effect is selected. 2. Do one of the following: t In the Tool palette, Effect Editor, or Effect Preview Monitor toolbar, click the Render Effect button. t Select Clip > Render at Position. The Render Effect dialog box opens.
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n To prevent the Render Effects dialog box from opening at this point, press and hold the Alt key (Windows) or Option key (Macintosh) when you click the Render Effect button. The Avid editing application will use the last drive selected.
3. Click the Drive button, and select a drive for the rendered media. The Effect Source Drive is the drive where the media on the outgoing shot of a transition resides. 4. Click OK. If there is not enough room on the drive, the Avid editing application displays a message box that gives you the following choices: - 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. The effect is rendered, and a precompute master clip is stored on the drive you selected. n To display the estimated render time during rendering, press the T key on the keyboard. Press the T key again to clear the display. Press the P key to view percent rendered.
Rendering Effects at Position
When you have more than one effect at a particular point in the Timeline (for example, effects on several stacked video tracks), you can render them as a group.
To render multiple effects at position: 1. Move the position indicator to the effects in the Timeline. 2. Select all tracks that contain effects you want to render. 3. Select Clip > Render at Position. The Render Effects dialog box opens.
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4. Click the Drive button, and select a drive on which to store the rendered effects. The Effect Source Drive is the drive where the media on the outgoing shot of a transition resides. 5. Click OK. If there is not enough room on the drive, the Avid editing application displays a message box that gives you the following choices: - Stop — Stop the rendering process and return to the Render Effects dialog box, and then select another drive before continuing. - Continue — Attempt to render the effects anyway, in case there might be enough room on the drive. The Avid editing application renders all effects at the position in the Timeline. n To display the estimated render time during rendering, press the T key on the keyboard. Press the T key again to clear the display. Press the P key to view percent rendered.
Rendering Effects Between IN and OUT Points
When you have multiple effects to render for a whole sequence or a portion of a sequence, you can render them as a group by marking IN and OUT points. n Save your sequence before you use this feature. Depending on the number, type, and complexity of the effects, the batch process can take a long time.
To render multiple effects using IN and OUT points: 1. Select all tracks that contain effects you want to render. 2. Mark an IN point before the start of the first effect to be rendered in your sequence; mark an OUT point after the last effect to be rendered. 3. Select Clip > Render In/Out. The Render Effects dialog box opens.
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4. Click the Drive button, and select a drive on which to store the rendered effect. The Effect Source Drive is the drive where the media on the outgoing shot of a transition resides. 5. Click OK. The Avid editing application renders all effects between the IN and OUT points. n If the drive is near capacity, a message box opens and warns you that there might not be enough space to store the rendered effect. You can click Stop to stop the rendering process and return to the Render Effects dialog box, and then select another drive before continuing. Alternatively, you can click Continue to attempt to render the effects anyway, in case there might be enough space on the drive. n To display the estimated render time during rendering, press the T key on the keyboard. Press the T key again to clear the display. Press the P key to view percent rendered. n Another way to speed up rendering is to use the Submaster effect. See “Submaster Editing” on page 185.
Rerendering Effects
In some situations you need to rerender an effect that you have already rendered. For example, you might have rendered a series of effects at a low resolution, and now need to rerender them at a higher resolution.
You can rerender effects by holding down the Shift key and selecting a Render command. n You cannot use ExpertRender to rerender effects. To rerender a single effect: 1. Move the position indicator to a single effect in the Timeline. 2. Hold down the Shift key and click the Render Effect button. 3. Click OK.
For more information, see “Rendering a Single Effect” on page 129.
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.
For more information, see “Rendering Effects at Position” on page 130
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To rerender multiple effects using IN and OUT points: 1. Select all tracks that contain effects you want to render. 2. Mark an IN point before the start of the first effect to be rendered in your sequence; mark an OUT point after the last effect to be rendered. 3. Hold down the Shift key and select Clip > Render In/Out.
For more information, see “Rendering Effects Between IN and OUT Points” on page 131.
16-Bit Processing Support for Rendered Effects
You can choose to render effects using a bit depth of 16 or a bit depth of 8. 16-bit rendering provides greater precision and better color quality when working with 10-bit resolutions. For example, if you apply a color effect to a clip with that contains a gradient (such as a wide, soft border) you would notice a difference if you zoom in on the rendered effect. An effect rendered at 8-bit would show banding between colors at lower zoom ratios than an effect rendered at 16-bit. Also, if you use nested effects with many levels of nesting, using 16-bit precision can help preserve the overall image quality of the rendered effect.
The results of 16-bit precision rendering are more obvious with 10-bit resolutions than with 8-bit resolutions. However, 16-bit precision can be useful with 8-bit resolutions if you use color effects or use nested effects with many levels of nesting. Because it takes longer to render effects with 16-bit precision, you need to determine when the additional time will be useful.
Some effects do not support 16-bit processing. See the Readme file for a list of effects that do not support 16-bit processing. n Rendering times will be slower when using 16-bit processing. Turning on HQ (high quality render mode) for an effect can add additional rendering time as well. For more information on HQ, see “Rendering HQ (Highest Quality) Effects” on page 134.
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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 Render FX using bit depth option to one of the following: - Select 8-bit when rendering time is more important than image quality. Also use this option if you are mainly working with effects that don’t support 16-bit precision. - Select 16-bit if you want the best overall image quality. Use this option if you use 10-bit resolutions, use many levels of nested effects, or want the best color fidelity for rendered effects. - Select Automatic if you want the media source to determine the effects resolution. This is the default.
Rendering HQ (Highest Quality) Effects
Some effects have two rendering options, the standard hardware-assisted render and the HQ (Highest Quality) software-based render. HQ rendering produces a superior image, but it takes longer than standard rendering. The HQ button appears in the Effect Editor for effects that have an HQ rendering option. Use the HQ button to select HQ rendering for an individual effect in your sequence. n Not all effects have an HQ rendering option.
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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 appears in the Effect Editor. 2. Click the HQ button. The button turns green.
To select standard rendering for an individual effect: t Click the HQ button again. The button turns black.
The HQ button has a global setting in the Render Settings dialog box. The Effects Quality Render Using menu lets you override the selection you made in the Effect Editor for individual effects.
You can easily change from standard rendering to HQ rendering for your entire sequence, once you are satisfied with your draft version, by using the Render Settings selection. You can also choose to set all effect rendering to standard if you want to decrease rendering time. For more information, see “Creating and Using Render Settings” on page 124. n Once the application begins rendering, it changes all affected HQ settings to the Effects Quality Render Using value in the active Render setting. If you cancel the render, HQ settings for individual effects do not revert to their previous values.
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.
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When you start the render, the application immediately changes all the effects between the IN point and the OUT point to HQ rendering, if the HQ render is available for a given effect. If you cancel the render, the HQ settings that were changed will not be changed back. You must reset the HQ settings individually.
Managing Effect Media Files
The Avid editing application allows you to view effect media files and select them for deletion. You can quickly find or delete an effect media file from a bin, or you can use the Media tool to view all the files that relate to your project and select those you want to delete.
Understanding Effect Media Files Management
When you render an effect, the Avid editing application creates two elements: a rendered effect clip (also known as a precompute clip) and an associated media file. When you create a title or an imported matte key clip, the application creates several elements: an effect clip, a precompute clip, and associated media files.
The Avid editing application overwrites or automatically deletes a media file from your drive only if you: • Render an effect two or more times with the Render Effect button. • Close the project before either an Auto Save or a manual save occurs.
In this case, the Avid editing application automatically saves the last-rendered effect and deletes the earlier, unreferenced versions. This autodeletion applies only to effects rendered since the last save or project close.
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 have to 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.
Revealing Effect Media Files
You can reveal the media files associated with effect clips (titles and matte keys), rendered effect clips (precompute clips), and motion effects so that they are visible in their folders on the desktop. You can then verify information about the media files, delete them directly from the folder, or perform other standard file management operations.
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To reveal effect clip, rendered effect clip, or motion effect media (Windows): 1. (Option) If you want to reveal effect media for rendered effect clips (precompute clips), display those clips in the bin by doing the following: a. Select Bin > Set Bin Display. The Set Bin Display dialog box opens. b. Select Rendered Effects and “Show reference clips,” and then click OK. Any rendered effect clips appear in the bin. the clips are named with the sequence name and effect type. In the following illustration, the effects are in a sequence named Rendered Effects.
Rendered effect (precompute) clips
2. Select an effect item in the bin. In the following illustration, a Title Effect clip is selected.
n You can reveal media files for only one item in a bin at a time.
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3. Select File > Reveal File. The Avid editing application searches all available drives, opens the folder in Windows Explorer, and highlights a related media file.
4. (Option) If more than one media file is associated with the clip, the Avid editing application displays a message box prompting you to reveal the next file. Do one of the following: t Click OK to reveal the next file. If the Explorer window disappears from view, bring it forward by pressing and holding the Alt key and pressing the Tab key until you select the Explorer window containing the OMFI MediaFiles or Avid MediaFiles folder information. t Click Cancel to end the Reveal File operation.
To reveal effect clip, rendered effect clip, or motion effect media (Macintosh): 1. (Option) If you want to reveal effect media for rendered effect clips (precompute clips), display those clips in the bin by doing the following: a. Select Bin > Set Bin Display. The Set Bin Display dialog box opens. b. Select Rendered Effects and “Show reference clips,” and then click OK. Any rendered effect clips appear in the bin.
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2. Select an effect item in the bin. n You can reveal media files for only one item in a bin at a time. 3. Select File > Reveal File. The Avid editing application searches all available drives, opens the folder, and highlights related 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. Select Rendered Effects and “Show reference clips,” and then click OK. Any rendered effect clips appear in the bin. 2. In the bin, select the clip or clips whose media you want to delete. In this example, two items are selected: a title and a motion effect.
3. Press the Delete key. The Delete dialog box opens. 4. Select the appropriate check boxes for the material you want to delete, and then click OK.
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140 Chapter 5 Working with Third-Party Plug-In Effects
You can use third-party plug-in effects to add new effects or to update existing effects. This chapter describes how to work with third-party plug-in effects.
This chapter contains the following main section: • Working with AVX Plug-Ins • Avid After Effects External Monitor Preview Plug-In (Windows Only)
Working with AVX Plug-Ins
Third-party plug-in effects are compatible with the Avid Visual Extensions (AVX) standard. AVX is a cross-platform software architecture designed to allow software effect modules to be dynamically linked with a host application such as an Avid application.
Some of the effects that are supplied with your Avid editing application are AVX plug-in effects, for example, the Illusion FX category of effects. The exact set of Avid-supplied AVX plug-in effects varies depending on the model of your Avid editing application.
For a complete, up-to-date list of AVX plug-in vendors and other information on AVX, visit the AVX Web site:
www.avid.com/thirdparty/viewdeveloper.aspx?Type=1
After you install third-party plug-ins, the effects appear in the Effect Palette in their own category (usually the name of the plug-in vendor). Individual effects each have a plug-in icon. The plug-in icon also appears in the Timeline when you have applied a third-party plug-in effect. After you create an effect, you can save it as an effect template and reapply the template to other transitions or segments in your sequence. Effect templates also appear in a special section at the bottom of the Effect Palette. Chapter 5 Working with Third-Party Plug-In Effects
n The Avid application also supports Digidesign® AudioSuite™ plug-ins. These plug-ins apply only to audio clips and do not appear in the Effect Palette. For more information, see “Working with Audio: Basics” in the Help. n If you are transferring from another system a project that includes sequences with AVX plug- in effects, you must install matching AVX plug-ins to see the effects.
Support for AVX 1.x and AVX 2.0
Your Avid editing application supports AVX 1.x and AVX 2.0 plug-ins. AVX 2.0 supports the advanced keyframe model and allows plug-in vendors to take advantage of 16-bit effects processing.
AVX 2.0 plug-ins automatically use the advanced keyframe interface. You do not need to promote them as you do with many other effects. Whether a particular AVX 2.0 effect supports 16-bit processing is up to the plug-in vendor. For more information on 16-bit effects processing, see “16-Bit Processing Support for Rendered Effects” on page 133.
AVX 1.x plug-ins are compatible with this release but do not take advantage of the advanced keyframe model or 16-bit processing.
Some vendors allow you to promote AVX 1.x plug-ins to an AVX 2.0 version. For more information, see “Upgrading and Promoting AVX Plug-ins” on page 146.
In general, AVX plug-ins are resolution-independent and automatically scale to the resolution of the clip. If an older AVX plug-in doesn’t scale correctly with HD resolutions, please contact the plug-in vendor.
AVX 1.x Plug-ins and Memory Usage
Each time you apply an AVX plug-in to a sequence, the Avid application keeps the effect resident in memory. When you close the bin containing the sequence, the application also closes the AVX plug-ins, freeing the memory. If you have applied many plug-ins and you find your Avid application running out of memory, use the following procedure to free the memory being used by the plug-ins.
To close all the AVX 1.x plug-ins: 1. Select Tools > Console. 2. Type the command closeallavxplugins and press Enter (Windows) or Return (Macintosh). The application closes all open AVX 1.x plug-ins. The AVX plug-ins automatically open again as needed.
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Installing AVX Plug-ins
Most AVX plug-ins have their own installation program that locates the correct AVX Plug-In folder and installs the plug-ins automatically when you follow the installation instructions. AVX plug-ins usually come complete with any necessary documentation. 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 must be installed manually.
To install AVX plug-ins manually: 1. Exit the Avid application. c Do not add or remove plug-ins while the Avid application is running. 2. Copy the plug-in files from the software vendor’s folder to the corresponding AVX Plug-Ins folder located on your Avid system. t (Windows) AVX 2.0 plug-ins must be installed in the following folder: C:\Program Files\Avid\Avid editing application\AVX2_Plug-Ins where Avid editing application is the name of your Avid editing application. t (Windows) The default location for AVX 1.x plug-ins is: C:\Program Files\Avid\AVX_Plug-Ins The AVX 1.x Plug-Ins folder might be in a different location on your system. c (AVX 1.x plug-ins only) You must place AVX 1.x plug-ins directly in the corresponding AVX_Plug-Ins folder. They cannot be inside another folder within this folder or elsewhere on the Avid system. If they are, the Avid application does not recognize them. n If the AVX 1.x AVX_Plug-Ins folders does not appear in the default location and you do not know where the folder is located, you can use the Regedit application that comes with your Windows system to locate the folder. For more information, see “Locating the AVX 1.x Plug- Ins Folder (Windows Only)” on page 144.
t (Macintosh) The AVX_Plug-Ins folder is located within the Avid file structure: Macintosh HD/Applications/Avid editing application/SupportingFiles/ AV X _ P l u g - I n s
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3. Restart the Avid application. 4. Select Tools > Effect Palette. For more information, see “Using the Effect Palette” in the Help. The AVX plug-in effects appear in the Effect Palette, usually in their own category under the name of the vendor. n (Windows only) If the plug-in effects do not appear in the Effect Palette after installation, see “Troubleshooting AVX Plug-Ins” on page 150.
Locating the AVX 1.x Plug-Ins Folder (Windows Only) c This section applies only to AVX 1.x plug-ins. AVX 2.0 plug-ins folders are always stored in the same location. See “Installing AVX Plug-ins” on page 143.
When the Avid application is first installed, the installation program asks the administrator to select a location for the AVX_Plug-Ins folder. The default path is:
C:\Program Files\Avid\AVX_Plug-Ins
If the administrator accepts the default location for the AVX_Plug-Ins folder, you can install AVX plug-ins here.
If the AVX_Plug-Ins folder is not in the default location, or if the effects are not appearing in the Effect Palette after you install them, you can use the Regedit application that comes with your Windows system to locate the AVX_Plug-Ins folder. c Use the following procedure only to obtain information on the location of the AVX_Plug-Ins folder. Do not change any of the information in the Windows Registry. Changing values in the Windows Registry might affect the performance of your system.
To locate the AVX_Plug-Ins folder by using Regedit: 1. Click the Start button, and then click Run. The Run dialog box opens. You enter commands in the command line. 2. Type regedit in the command line, and click OK. The Registry Editor window opens.
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3. In the left pane of the window, navigate to the following path: HKEY_LOCAL_MACHINE\SOFTWARE\Avid Technology\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.
HKEY_LOCAL_MACHINE\SOFTWARE\Avid Technology\AVX Plug-Ins Directory entry. The path listed here is the path that contains the AVX_Plug-Ins folder. c You must place AVX 1.x plug-ins directly in the AVX_Plug-Ins folder. They cannot be inside another folder within this folder or elsewhere on the Avid system. If they are, the Avid application does not recognize them.
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Upgrading and Promoting AVX Plug-ins
This section covers: • Updating a plug-in with a newer version • Promoting an AVX 1.x plug-in to an AVX 2.0 plug-in
Updating a Plug-in to a New Version
This section describes how to update an AVX 1.x plug-in with a newer AVX 1.x plug-in or update an AVX 2.0 plug-in with a newer AVX 2.0 plug-in.
You can upgrade an AVX plug-in simply by uninstalling the old version of the plug-in and installing the new version in your AVX2_Plug-Ins or AVX_Plug-Ins folder.
Once you have installed a new version of an AVX plug-in, your Avid application upgrades existing effects in sequences to be compatible with the new version. The existing parameter values for the effect appear in the Effect Editor or in the plug-in’s own user interface.
If the new version of the plug-in has new or redesigned parameter controls, the Avid application sets these controls to their default settings for existing effects. Controls that are unchanged from the older version of the plug-in retain the values previously set by the user. c (AVX 1.x plug-ins only) Once a plug-in effect or transition has been upgraded, you should not reinstall the older version of the plug-in. The Avid application cannot use an older version of a plug-in to process effects that have been created with a newer version. Similarly, if you transfer projects between systems, an effect created with a newer version of a plug-in does not work on a system that has an older version installed. c It may be possible to downgrade an AVX 2.0 plug-in but it depends on the vendor’s implementation. See your plug-in documentation for details.
Promoting AVX 1.x Plug-ins to AVX 2.0
Some vendors allow you to promote AVX 1.x plug-ins to an AVX 2.0 version. In order to do this you must have both versions of the plug-in installed on your system. n Once you promote an effect to AVX 2.0 and save the effect in a bin, you cannot demote it back to AVX 1.x. This is important if you are moving sequences and effects between different Avid editing systems. If you will be moving sequences and effects between newer and older Avid editing systems, you might want to keep the plug-in effect at the 1.x version.
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To promote an AVX 1.x plug-in effect to AVX 2.0: 1. Ensure that both the 1.x and the 2.0 versions of the plug-in are installed on your system. 2. Open the sequence containing the 1.x plug-in that you want to promote. 3. Open the AVX 1.x plug-in in the effect editor. If the plug-in is promotable, the Promote to Advanced Keyframes button is visible in the Effect Editor. 4. Click the Promote to Advanced Keyframes button. The Effect Editor changes to display the advanced keyframe interface. n New parameters might not exactly match the old parameters. It depends on how the vendor implements the new version of the plug-in.
Displaying AVX Plug-Ins on an External Monitor
AVX 1.x and AVX 2.0 vendors can incorporate use of an external monitor as part of a custom interface. The external monitor must be connected to the Avid DNA hardware. Check your vendor’s documentation to see if this feature is supported.
Assigning Multiple Tracks in Plug-in Effects
Some plug-in effects take an arbitrary number of tracks as input. The Avid application allows you to 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. Drag the plug-in icon to the Timeline. If the plug-in supports a variable number of input tracks, the AVX Optional Inputs dialog box opens. 2. Click the Number of Tracks menu, select the number of video inputs, and then click OK.
For more information on nested effects, see “Nesting Effects” on page 179.
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Using AVX Plug-in Controls
This section provides general guidance for controlling and adjusting AVX plug-in effects. For more information on the adjustments available for a specific effect, see the documentation for the plug-in. • Using AVX 1.x Plug-In Controls • Using AVX 2.0 Plug-In Controls
Using AVX 1.x Plug-In Controls
AVX 1.x plug-ins use a variety of interfaces that give you control over the effects. Plug-in vendors have the following styles for controls: • Standard buttons and parameter controls The Effect Editor for a specific plug-in might include only Avid standard buttons and parameter controls, or it might include additional custom controls presented in the Effect Editor using an Avid-like interface. • Custom dialog box only In this case, when you enter Effect mode, the Effect Editor is empty except for the Other Options button in the upper left corner. Click the Other Options button to see the additional dialog box. • Direct manipulation controls in the Effect Preview monitor In this case, when you click the Outline/Path button in the Effect Editor, custom controls appear over the image in the monitor.
Accessing an AVX 1.x Custom Interface
If an AVX plug-in has a custom interface, you access that interface from the Effect Editor.
To access an AVX 1.x plug-in’s custom interface: t In the Effect Editor, click the Other Options button. The AVX plug-in’s custom interface appears. n If you move one of the dialog boxes that open as part of an AVX plug-in’s custom interface, the screen behind the dialog box does not redraw. To restore your screen, close the dialog box.
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Custom AVX Controls in the Effect Editor
This section introduces some of the custom controls that might appear in the Effect Editor for an AVX 1.x plug-in effect. For more information on using these controls, and other controls specific to individual effects, see the documentation for the plug-in.
Some plug-in effects allow you to 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.
The Angle control is an Effect Editor parameter that is not available in standard Avid effects but appears in some AVX plug-in effects. The Angle allows you to manipulate an effect’s angle or direction by dragging within a graphic representation of a circle to alter the angle or direction value. Values can be positive or negative and are not limited to a single 360º rotation.
Using AVX 2.0 Plug-In Controls
AVX 2.0 Plug-ins can also use a variety of interfaces to give you control over the effects: • Standard advanced keyframe model buttons and parameter controls • Custom dialog box only In this case, the plug-in vendor adds a custom button to the advanced keyframe interface to access their interface. • Direct manipulation controls in the Effect Preview monitor In this case, when you click the Outline/Path button in the Effect Editor, custom controls appear over the image in the monitor.
For more information on how the plug-in vendor implements their interface, see the plug-in vendor’s documentation.
Using the Client Monitor to Preview the Plug-In Effect
Some plug-in vendors provide the ability to preview the effect in the client monitor. This allows you to preview how the effect will look in the Avid editing application while you are working on the effect in the plug-in interface. The effect does not play smoothly but you can view the results frame by frame.
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Depending on the vendor’s implementation this might apply to HD as well as SD projects. See your plug-in documentation for information on whether the option is supported and any additional information on configuring the plug-in to work with the client monitor. n The AVX Plug-ins custom interface cannot display frames on the client monitor if the Capture tool is open.
Troubleshooting AVX Plug-Ins
This section describes problems that you might encounter with AVX plug-ins and suggests possible solutions or sources for more information.
If a plug-in does not work as expected and these suggestions do not solve the problem, contact the plug-in vendor.
Plug-In Does Not Appear in the Effect Palette
AVX plug-ins have a plug-in icon in the Effect Palette and in the Timeline. If the plug-in icon does not appear in the Effect Palette after installation, the plug-in might be in the wrong folder. For more information, see “Locating the AVX 1.x Plug-Ins Folder (Windows Only)” on page 144, or for Macintosh systems, see “Installing AVX Plug-ins” on page 143.
Plug-In Does Not Load
AVX plug-ins might not load correctly for a variety of reasons. In particular, even though it is located correctly in the AVX2_Plug-Ins or AVX_Plug-Ins folder, a plug-in might require supporting files — for example, .dll files — that are missing from your system or are installed in the wrong location.
Also check the Console monitor for any messages about why the plug-in did not load correctly.
If a correctly located plug-in does not load, check the plug-in documentation for information on required supporting files.
The Avid Application Cannot Render the Plug-In
If the application cannot render the plug-in, the plug-in might have expired or the plug-in’s system application key (dongle) might be missing or damaged.
If you have problems rendering a plug-in effect, check the Console window. Some plug-ins write more information about the failure to the Console window. Also, some plug-ins might report the problem as a message in the Bin or in the Edit monitor.
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Blank Effect Icons in the Timeline
AVX plug-ins have a plug-in icon in the Effect Palette and in the Timeline. If the effect icon in the Timeline is blank, the application could not find the plug-in.
To identify the plug-in that is missing or misplaced: t Open the Console window (select Tools > Console), and look for the message “Can’t find effect.” The message identifies the plug-in that cannot be located. You can then reinstall the plug-in in your AVX2_Plug-Ins or AVX_Plug-Ins folder and restart the Avid application.
Missing Effect Categories in the Effect Palette
If plug-in effect categories are not visible in the Effect Palette, either they are not installed correctly or you might have an incorrect version of the AVXLibrary. Check the Console window for a message that states that AVX was disabled. • If AVX was not disabled, quit the Avid application, reinstall the plug-ins, and restart the application. • If AVX was disabled, contact Avid Technical Support to determine whether you need a new version of the AVXLibrary. To obtain Technical Support, visit the online Knowledge Base at www.avid.com/onlinesupport.
The Avid System Is Running Out of Free Memory
Each time you apply an AVX plug-in to a sequence, the Avid application keeps the effect resident in memory. When you close the bin containing the sequence, the application also closes the AVX plug-ins, freeing the memory. To close the AVX plug-ins, see “AVX 1.x Plug-ins and Memory Usage” on page 142.
Avid After Effects External Monitor Preview Plug-In (Windows Only)
The Avid After Effects EMP (External Monitor Preview) plug-in allows you to use your Avid DNA hardware to view an Adobe After Effects® composition on an external NTSC or PAL monitor. This allows you to preview how the composition will look in the Avid editing application while you are working on the composition in After Effects. n This is a Windows-only feature.
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Installing the Avid After Effects EMP Plug-in (Windows Only)
Install the plug-in on the system on which you run After Effects. In order to use the plug-in, Avid DNA hardware must be connected to the system. For information on connecting and configuring the hardware, see the installation poster and instructions that shipped with the hardware. n You can run After Effects on the same system as your Avid editing application. While you run After Effects, After Effects uses the Avid DNA hardware. When you switch to the Avid editing application, the Avid editing application takes control of the Avid DNA hardware.
You install the Avid After Effects EMP plug-in from the Avid application CD-ROM as you would install one of the auxiliary applications such as FilmScribe or MediaLog.
To install the Avid After Effects EMP plug-in: 1. On the system that runs After Effects, quit all Windows XP applications. 2. Insert the Avid editing application CD-ROM into the CD-ROM drive. If the installer does not automatically start after you insert the application CD-ROM, do the following: a. Double-click the My Computer icon. b. Double click the CD-ROM icon. c. Double-click Launch.exe to start the Installer. 3. In the main installer window, click Install Products. 4. Click Install Avid After Effects EMP. 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.
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Using the Avid After Effects EMP Plug-in (Windows Only)
To enable the Avid After Effects EMP plug-in: 1. Start the After Effects application. 2. Select Edit > Preferences > Avid External Monitor Settings. 3. Select one of the following options: - NTSC - if you have an external NTSC monitor connected to your system - PAL - if you are using a PAL monitor - Disable - if you want to want to disable the plug-in. This might be useful if you need to free up system resources when you edit a complex composition.
Tips for Using the Avid After Effects EMP Plug-in (Windows Only)
You use the Avid After Effects EMP plug-in mainly to preview colors, objects, and anti- aliased text on an NTSC or PAL monitor without having to export the composition to the Avid editing application.
The Avid After Effect EMP plug-in accurately converts colors produced in After Effects to color values that can be displayed on an NTSC or PAL monitor. It converts RGB 4:4:4 values to the YUV 4:2:2 values used for video output.
Playback Motion
Playback motion won’t be as smooth on the external monitor because After Effects displays full progressive frames rather than interlaced fields. In order to view the interlaced video, you must render the composition with the Field Render option active and then import the composition into the Avid editing application.
Composition Settings
In order to view the identical image that you will see on the 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. Color representation will still be correct, but the display quality will differ from the image you will see in the Avid editing application.
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154 Chapter 6 Creating and Customizing Motion Effects
This chapter describes how to create and customize effects that alter motion in a clip. You use traditional motion effects to change the speed at which the video plays or to create a strobe motion effect. Creating a traditional motion effect results in a clip that has a uniform speed from beginning to end. The Timewarp effect category contains effects with which you can vary the speed during the clip. For example, you can start the clip at 0% (stopped) and ramp up to 100% (full speed). • Understanding Traditional Motion Effects • Creating Traditional Motion Effects • Considerations for Motion Effects in 24p or 25p Projects • Using Timewarp Effects • Using the FluidFilm Templates
Understanding Traditional Motion Effects
You create traditional motion effects 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.
The three main types of motion effects are: • Freeze Frame — Creates a clip that repeats a single frame from the original clip. • Variable Speed — Changes the speed at which movement takes place in the clip. For example, if you begin with a 3-second clip and create a Variable Speed motion effect from that clip with the speed set to 50%, the result is a new 6-second clip in which movement takes place at half the speed of the original clip. • Strobe Motion — Creates a stuttering effect in the playback of the clip by repeating certain frames from the original clip several times.
You can also combine Variable Speed and Strobe Motion effects in a single clip. Chapter 6 Creating and Customizing Motion Effects Creating Traditional Motion Effects
A traditional motion effect, applied to a clip in the Source monitor, allows you to alter the playback characteristics of the clip.
The Avid editing application creates a traditional motion effect by creating a new clip in a bin. You then edit the clip into your sequence using standard editing techniques.
Playing and Rendering Traditional Motion Effects
Some traditional Motion Effect clips play in real time when edited into a sequence; others must be rendered before they can be played.
Playback capabilities for traditional motion effects depend on the type of effect, the options you select when creating the effect, and how you work with the effect after you first create it.
Rendering Considerations When Creating Traditional Motion Effects
When you first create a traditional motion effect that requires rendering, you can render immediately or create an unrendered version that you can render later in your workflow.
The Avid editing application creates traditional motion effects using one of four different types — Duplicated Field, Both Fields, Interpolated Field, and VTR-Style. The Duplicated Field and Both Fields types enable some motion effects to play in real time; the Interpolated Field and VTR-Style types always require rendering.You select motion effect types based on the quality you need for the final motion effect, the rendering time that each type requires, and the media with which you are working (some types are useful only when you are working with two-field media). n For more information on motion effect types, including their relative quality and their compatibility with different types of media, see “Traditional Motion Effect Parameters” on page 378.
Your Avid editing application allows you to preview some kinds of unrendered traditional motion effects in real time even if they require rendering for final playback. The application cannot preview other kinds of unrendered motion effects; these effects will play as filler until they are rendered. The following table provides a summary of playback capabilities for traditional motion effects.
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Playback Capabilities of Traditional Motion Effects
Playback Effect Capability Preview Capability
Freeze Frame (all types) Real-time Real-time
Variable Speed effects — forward slow motion and forward fast Real-time Real-time motion. (Use a value of 0 or greater in the % Speed text box of the Motion Effect dialog box.)
Variable Speed effects — reverse motion (all types). (Use a Non-real-time Play back as filler (black negative value in the % Speed text box of the Motion Effect dialog image) until rendered box.)
Strobe Motion effects (all types, including Strobe Motion effects Non-real-time Play back as filler (black combined with Variable Speed effects) image) until rendered
Rendering and Rerendering Existing Traditional Motion Effects
In certain situations, you might need to render or rerender existing traditional motion effects. To do this, follow one of the procedures described in “Rendering Effects” on page 124.
Information about the type and render status of motion effects appears in the Timeline in the same form as that used for other effects. Each motion effect type has a distinct effect icon, as shown in the following illustration.
Duplicated Field Motion Effect icon
Both Fields Motion Effect icon
Interpolated Field Motion Effect icon
VTR-Style Motion Effect icon
Color-coded dots appear on Motion Effect icons to indicate whether they require rendering. The following illustration shows typical examples of Motion Effect icons in the Timeline.
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Rendered VTR-Style Unrendered Both Fields Unrendered Interpolated Field motion effect (no dot) motion effect (green dot — motion effect (blue dot — plays in real time) plays as a Duplicated Field motion effect until rendered)
Use ExpertRender to identify motion effects that require rendering.
When you render motion effects, the Avid editing application checks the Motion Effects Render Using option in the active Render setting. If the Motion Effects Render Using option is set to Original Preference (the default setting), the application makes no change to the type of motion effects when it renders them. If the Motion Effects Render Using option is set to a specific motion effect type, the application changes all motion effects to that type when it renders them.
Whenever the Avid editing application changes the motion effect type during a rendering operation, a message appears in the Console window, providing information about the change. For more information, see “Creating and Using Render Settings” on page 124 and “Displaying Information About Motion Effect Type Changes” on page 159.
The following is a list of the circumstances in which you might need to render or rerender motion effects. • You need to render any motion effect that requires rendering for successful playback if you did not render that effect at the time you created it. This kind of effect appears with a blue dot in the Timeline until it is rendered. • You might need to render a motion effect so that it will play successfully in a complex sequence even if that effect would not normally require rendering. (Motion effects that display a green dot in the Timeline might not play back in real time under some circumstances.) For more information on overall real-time playback capabilities, see “Playback of Video Effects” in the Help. • You might need to render or rerender motion effects when you edit them into a sequence and perform trims or apply transition effects. If an effect that was previously rendered (no colored dot in the Timeline) or that previously played in real time (green dot in the Timeline) changes in such a way that it requires rendering, it will appear with a blue dot in the Timeline. Only those parts of the Motion Effect clip that have been changed by your editing require rendering. Using the Render Ranges command in the Timeline Fast menu, you can see which parts of the motion effect require rendering. For more information, see “Customizing Render Ranges Display” on page 128.
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Displaying Information About Motion Effect Type Changes
Whenever motion effects in the Timeline are rendered or rerendered, the Avid editing application uses the Motion Effects Render Using option in the active Render setting to define the motion effect type for the new versions of the motion effects.
For example, you might start a project using single-field media and the Duplicated Field type for motion effects. Later, you might rerecord the media at a two-field resolution, set the Motion Effects Render Using option in the active Render setting to VTR-Style, and submit the whole sequence for rendering. By doing this, you create new motion effects that are higher quality and that can play with the two-field media. n 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. To avoid unnecessary rerendering, make sure that the Motion Effects Render Using option in the active Render setting is set to the motion effect type you need.
The Avid editing application writes a message in the Console window whenever it changes the type of motion effect during rendering. You can check these messages to verify the changes that the application has made to your motion effects. Motion Effect icons in the Timeline also change to reflect the new motion effect type.
To display information about motion effect type changes in the Console: 1. Select Tools > Console. The Console window opens. 2. Render one or more motion effects using one of the procedures described in “Rendering Effects” on page 124. For each motion effect whose type is changed by rendering, a message appears in the Console window. The following illustration shows a typical message. In this example, the Motion Effects Render Using option in the active Render settings is set to Interpolated Field.
3. (Option) If the new motion effect type is not the one you want, change the Motion Effects Render Using option in the active Render settings, and then rerender the motion effects.
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Freeze Frame Effects
A Freeze Frame effect is a still image, based on a chosen frame from a clip, that continues to display for the duration that you select. When combined with the original clip, the footage plays and then “freezes” and holds on the frame that you specified.
Creating a Freeze Frame
Creating a freeze frame is a two-step process. First you choose a Two-Field Freeze Frame option and then you choose a duration for the resulting effect. You perform both steps using the Clip > Freeze Frame menu.
To create a Freeze Frame effect: 1. Open a clip in the Source monitor. 2. Cue the clip to the frame that you want to freeze. 3. Select Clip > Freeze Frame. The Freeze Frame submenu opens.
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4. Select Two Field Freeze Frames, and then select one of the following: - Using Duplicated Field — The Avid editing application creates the effect using a single field. While this reduces the vertical resolution of the image by one-half, it is often the best option if the source footage contains rapid motion. - Using Both Fields — The Avid editing application uses both fields to create the effect. This option is especially useful when there is little or no motion in the footage since it preserves all vertical resolution. - Using Interpolated Field — The Avid editing application creates a second field for the effect by combining scan line pairs from the first field in the original media. This might result in a slightly softer look to the freeze frame. n For more information on these options, see “Traditional Motion Effect Parameters” on page 378.
The selected option becomes the default until you select another option. 5. If you made a Two Field Freeze Frames choice in step 4, select Clip > Freeze Frame again. 6. Do one of the following: t Select a preconfigured duration. t Select Other and type a custom duration in the dialog box; then click OK to enter the new duration. A dialog box opens, prompting you to select a target drive for the freeze frame media. 7. Click the Drive button, select a drive, and then click OK. A new clip appears in the Source monitor and in the current bin preceded by a Motion Effect icon. The new clip has the original clip name followed by the letters FF.
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Controlling a Freeze Frame with a Single Button or Key
You can map the Freeze Frame command to a button or key. The Avid editing application remembers the duration of the freeze frame and the option for two-field media if appropriate. After you have mapped the command, you can create a freeze frame of the same type and duration simply by clicking the button or pressing the key.
To map the Freeze Frame command to a button or key: 1. Select Clip > Freeze Frame > Two Field Freeze Frames, and then select one of the following: - Using Duplicated Field — The Avid editing application creates the effect using a single field. While this reduces the vertical resolution of the image by one-half, it is often the best option if the source footage contains rapid motion. - Using Both Fields — The Avid editing application uses both fields to create the effect. This option is especially useful when there is little or no motion in the footage since it preserves all vertical resolution. - Using Interpolated Field — The Avid editing application creates a second field for the effect by combining scan line pairs from the first field in the original media. This might result in a slightly softer look to the freeze frame. n For more information on these options, see “Traditional Motion Effect Parameters” on page 378.
2. Do one of the following: t To map to a button, open the Tool palette. For information on opening the Tool palette, see “Using the Tool Palette” in the Help. t To map to a key, open the Keyboard palette by double-clicking Keyboard in the Settings list of the Project window. 3. Select Tools > Command Palette. The Command palette opens. 4. Select Menu to Button Reassignment. 5. Do one of the following: t To map to a button, click a blank button in the Tool palette. t To map to a key, click a blank key in the Keyboard palette. 6. Select Clip > Freeze Frame.
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7. Do one of the following: t Select a preconfigured duration. t If you want to type a custom duration when you create a freeze frame using the button or key, select Other. The Avid editing application maps the Freeze Frame menu command to the button or key. 8. Close the Command palette.
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.
To create a rolling clip that freezes: 1. Edit the clip into the sequence. 2. Mark an IN point in the sequence at the frame where you want the freeze frame to occur. 3. Create the Freeze Frame effect from the source footage as described in “Creating a Freeze Frame” on page 160. 4. In the Tool palette, click either the Splice-in button or the Overwrite button to edit the freeze frame into the sequence at the previously marked IN point. For information on opening the Tool palette, see “Using the Tool Palette” in the Help.
When you play the sequence, the footage plays full-motion and then freezes at the chosen frame.
Creating a Variable Speed Effect
Variable Speed effects involve changing the rate of playback to achieve fast-motion or slow- motion effects. The Avid editing application creates slow-motion effects by duplicating frames in the original media. It creates fast-motion effects by eliminating frames from the original media.
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. 2. (Option) If you want to use only part of the source clip for the motion effect, mark IN and OUT points in the Source monitor.
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3. In the Source monitor, click the Motion Effect button. The Motion Effect dialog box opens.
Variable Speed option
4. Select the Variable Speed option. 5. Specify the play speed for the Variable Speed motion effect by doing one of the following: t Type a number of frames in the Frames text box. t Type a frame rate in the FPS text box. To indicate reverse motion, enter a negative number for the play rate. t Type a percentage of the current play rate in the % Speed text box. To indicate reverse motion, enter a negative number for the percentage. t Select Fit To Fill to automatically set the Variable Speed parameters so that the duration of the motion effect will match the IN to OUT duration marked in the Composer monitor. To create similar effects, see the following: - The Trim to Fill effect in “Using Timewarp Effects” on page 169. - “Using the Fit to Fill Button” on page 166 When you set one of these, all values change to reflect the specified play rate.
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6. (Option) If Original Preference is set as the Motion Effects Render Using option in the active Render setting, select one of the following four available options: - Duplicated Field — The Avid editing application creates the effect using one field. - Both Fields — The Avid editing application creates the effect using both fields. - Interpolated Field — The Avid editing application creates a second field for the effect by combining scan line pairs from the first field in the original media. - VTR-Style — The Avid editing application creates a second field for the effect by shifting selected video fields of the original media by a full scan line. This technique is similar to that used by high-quality professional video decks when playing footage at less than normal speed. n For more information on these options, see “Traditional Motion Effect Parameters” on page 378.
7. (Option) If a specific motion effect type is set as the Motion Effects Render Using option in the active Render setting, The 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. For example, the following illustration shows that Both Fields has been selected as the active Render setting.
If you want to override the Render setting, click the Ignore Render Setting check box, and then select one of the four options. 8. Complete the effect by doing one of the following: t Click Create to create the new clip and close the dialog box. Another dialog box asks you to select the bin for the effect. t Click Create and Render to render the clip — creating new media files — and close the dialog box. Another dialog box asks you to select the bin for the effect. 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.
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Using the Fit to Fill Button
You can create a Variable Speed effect that is automatically sized to fit a marked IN to OUT duration in a sequence by clicking the Fit to Fill button.
The Fit to Fill button is located on the Edit tab of the Command palette. This button performs an overwrite edit and uses a motion effect to fill the marked duration in the Timeline. When you click the Fit to Fill button, the Avid editing application automatically creates a motion effect using the clip in the Source monitor. The application selects variable- speed parameters so that the duration of the motion effect matches the IN to OUT duration marked in the Timeline. The application then overwrites the motion effect into the sequence.
The motion effect you create with the Fit to Fill button uses the parameters you set in the Render Settings and Media Creation dialog boxes. If the Render preference is set to Original Preference, the new motion effect is rendered with duplicated fields. n To create an unrendered motion effect, press the Alt key (Windows) or the Option key (Macintosh) when you click the Fit to Fill button.
To create similar effects, see the following: • The Fit to Fill check box on the Motion Effect dialog box in “Creating a Variable Speed Effect” on page 163. • Trim to Fill effect in “Using Timewarp Effects” on page 169.
Creating a Strobe Motion Effect
Strobe motion results in a stuttering effect during playback of a clip. You determine the degree of the “stutter” when you create the effect. n You can also combine the Strobe Motion effect with the Variable Speed effect. For more information on the Variable Speed effect, see “Creating a Variable Speed Effect” on page 163.
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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. In the Source monitor, click the Motion Effect button. The Motion Effect dialog box opens.
Strobe Motion option
3. Select the Strobe Motion option. 4. Specify the update rate in frames for the Strobe Motion effect. For example, a rate of 5 causes every fifth frame to be held for five frames before updating in the Strobe Motion effect. 5. (Option) If Original Preference is set as the Motion Effects Render Using option in the active Render setting, select one of the following four available options: - Duplicated Field — The Avid editing application creates the effect using one field. - Both Fields — The Avid editing application creates the effect using both fields. - Interpolated Field — The Avid editing application creates a second field for the effect by combining scan line pairs from the first field in the original media. - VTR-Style — The Avid editing application creates a second field for the effect by shifting selected video fields of the original media by a full scan line. This technique is similar to that used by high-quality professional video decks when playing footage at less than normal speed.
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n For more information on these options, see “Traditional Motion Effect Parameters” on page 378.
6. (Option) If a specific motion effect type is set as the Motion Effects Render Using option in the active Render setting, the 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. If you want to override the Render setting, click the Ignore Render Setting check box, and then select one of the four options described in step 5. 7. Complete the effect by doing one of the following: t Click Create to create the new clip and close the dialog box. Another dialog box asks you to select the bin for the effect. t Click Create and Render to render the clip — creating new media files — and close the dialog box. Another dialog box asks you to select the bin for the effect. n You must render a Strobe Motion effect to play it back in real time. If you do not render a Strobe Motion effect when you first create it, the effect will play back as filler until you render it.
A new clip appears in the Source monitor and in the current bin preceded by a Motion Effect icon. The new clip has the original clip name followed by the word Strobe and the number of update frames in parentheses.
Considerations for Motion Effects in 24p or 25p Projects
Motion effects created in 24p or 25p projects behave somewhat differently from the same effects created in interlaced projects. You should be aware of the following issues when you are working with motion effects in 24p or 25p projects.
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• The application always uses complete progressive frames to create 24p or 25p motion effects since there are no fields in 24p or 25p material. There are no two-field rendering options available in the Motion Effect dialog box when you are working in a 24p or 25p project. • The application creates motion effects by duplicating or eliminating frames to speed up or slow down the motion. Since 24p or 25p motion effects use only 24 frames per second, if you use speed ratios that are not integer values, you might notice minor stuttering due to unusual patterns of duplication. Select simple ratios such as 2:1 (50%), 3:1 (33%), or 4:1 (25%). • 24p or 25p motion effects might look slightly different from interlaced motion effects because of the way the application handles 24p or 25p material. For more information, see “Working with Effects in 24p or 25p Projects” on page 33.
Using Timewarp Effects
The Timewarp effect category contains preset effects with which you can vary the speed during the clip. The following effects are available: • 0% To 100% — ramps motion in a sequence from 0% (freeze frame) to 100% (full speed). • 100% To 0% — ramps motion in a sequence from 100% (full speed) down to 0% (freeze frame). The last frame of the clip will be the last frame of the motion effect. • 50 % Speed — plays at a constant 50% speed. • FluidFilm 2:3 Cadence— allow you to create a film look from interlaced video sources. This effect takes interlaced sources and creates the look of progressive frames with 2:3 pulldown. • FluidFilm Progressive — allow you to create a film look from interlaced video sources. This effect takes interlaced sources and creates the look of progressive frames. For more information on using the FluidFilm templates, see “Using the FluidFilm Templates” on page 170. • Pulldown Insertion — inserts 2:3 pulldown into a sequence, slowing the material to 4/5 (80%) speed. • Pulldown Removal— removes 2:3 pulldown from a sequence, speeding up the material to 5/4 (125%) speed. • Reverse Motion — creates a reverse motion effect at 100% speed. • Speed Boost — starts out at half speed, reaches approximately double speed at the midpoint, and returns to half speed at the end
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• Speed Bump — starts out at full speed, slows to approximately half speed at the midpoint, and returns to full speed at the end • Trim to Fill — plays at a constant speed. You can adjust the speed by entering Trim mode and trimming the effect.
Unlike traditional motion effects, you can apply these effects directly to the clips in a sequence.
You cannot modify these effects but you can change the way that the system renders the effect by selecting options in the Render Settings dialog box. The Blended Interpolated and Blended VTR rendering options create a smoother effect than the traditional motion effects. See “Creating and Using Render Settings” on page 124. n The FluidFilm preset effects use rendering software that is optimized for the effect. They do not use the rendering options that are set in the Render Setting dialog box.
For reference information on each of the effects, see “Timewarp” on page 530.
Using the FluidFilm Templates
This section covers two common uses of the templates.
Applying a Film Look to a Video Clip
A common scenario involves a show that was shot on film and edited at 30i where you want to incorporate some video clips into the Timeline. In this case, you could process the video clips with the FluidFilm template to generate a look similar to the film footage.
Applying a Film Look to an Entire Sequence
You can use the FluidFilm templates to apply a film look to an entire interlaced sequence. In this case, you could do one of the following: • Mix down the entire sequence and apply a FluidFilm effect to the resulting master clip • Apply the FluidFilm effect to each clip in the sequence
If you apply the effect to the mixed down master clip, the system might produce artifacts between the original cuts. If this happens, apply the FluidMotion effect to the clips individually. If you apply the effect individually to clips, the 2:3 cadence might be off between adjacent clips depending on whether the clip starts on an A, B, C. or D frame. If this is a problem you can perform a video mixdown and apply the effect to the mixed down master clip.
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This chapter describes how to apply multilayer effects to your sequence. Layered effects consist of two or more layers of video built up vertically in the Timeline 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.
The methods and concepts for creating multilayer effects — described in the following sections — build on the procedures for creating single-layer effects. For more information on creating single-layer effects, start with “Applying Effects” in the Help. • Creating Key Effects • Working with Imported Graphics and Animation • Nesting Effects • Submaster Editing • Performing a Video Mixdown
Creating Key Effects
Your Avid editing application supports the following key effects: • Chroma Key and RGB Keyer — Replaces one part of the video image with another video image based on color • Luma Key — Replaces one part of the video image with another video image based on luminance (brightness) • Matte Key — 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
Using the Chroma Key Effect and the RGB Keyer Effect
This section describes how to use the two chroma key effects available in your Avid editing application, the Chroma Key effect and the RGB Keyer effect. Chapter 7 Creating Layered and Nested Effects
Chroma Key Effect
The Chroma Key effect includes several standard digital video effect (DVE) parameters such as scaling, position, and crop in addition to key parameters.
Use the Chroma Key effect when you want to work in real time, or when you need to adjust various DVE parameters of the foreground chroma key footage.
Chroma Key Effect Example
Before After
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) to the foreground elements.
Use the RGB Keyer when working with full-screen chroma key footage that does not require DVE parameter adjustments such as repositioning or scaling, or when you need the RGB Keyer’s post-key color correction capabilities to better match the foreground to the background.
To create a Chroma Key effect or an RGB Keyer effect: 1. Create a sequence with two video layers. 2. Edit the background image onto track V1. 3. Edit the foreground image onto track V2. 4. Open the Effect Palette by doing one of the following: t In the Project window, click the Effects tab. t Select Tools > Effect Palette. 5. Click the Key category. 172 Creating Key Effects
6. Drag either the Chroma Key Effect icon or the RGBKeyer icon from the Effect Palette to the clip on track V2. The following example shows the Chroma Key effect applied to V2.
Chroma key footage on V2 Chroma Key effect applied to V2 Background footage on V1
The Avid editing application adds the effect to the Timeline. Ultimatte ® blue is the default key color. 7. Move the position indicator to the segment containing the effect in the Timeline, and select Tools > Effect Editor. The Effect Editor opens and displays parameters for adjusting the effect. 8. Open the Key parameter category (Chroma Key effect) or the Key Color parameter category (RGB Keyer). Ultimatte blue is the default key color. To match the key color more closely to the color of the background screen used in the footage, proceed with the following step. 9. (Option) In the Key parameter category or Key Color parameter category, click the Color Preview window to display the eyedropper icon, and then drag the eyedropper to a representative region of the background screen in the Composer monitor.
Color Preview window
The Avid editing application keys off the primary key color, and the key takes effect. 10. Fine-tune the key by enabling additional parameter categories and adjusting sliders as necessary: - For more information, including descriptions of Secondary Key and Spill Suppression parameters, see “Key Parameters” on page 372. - For more information on using post-key correction with the RGB Keyer, see “Using Post-Key Color Correction” on page 174.
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Using Post-Key Color Correction
You can use the Color Correction parameters in the RGB Keyer effect for post-key color correction of the foreground elements in the key.
Because the foreground and background elements of a chroma key 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 elements to the background footage.
To perform post-key color correction: 1. Apply and adjust the RGB Keyer effect as described in “RGB Keyer Effect” on page 172. 2. While in Effect mode, adjust the hue, saturation, and value of the foreground elements by using the Color Correction parameters in the Effect Editor. For more information on the specific parameters, see “Color Correction” on page 377.
Creating a Luma Key Effect
Use a Luma Key effect to replace portions of the foreground video with the background video based on brightness or luminance.
To create a Luma Key effect: 1. Create a sequence with two video layers. For information on creating and editing a sequence, see “First Edits” and “Using the Timeline” in the Help. 2. Edit the background image onto track V1. 3. Edit the foreground image onto track V2. 4. Open the Effect Palette by doing one of the following: t In the Project window, click the Effects tab. t Select Tools > Effect Palette. 5. Click the Key category. 6. Drag the Luma Key Effect icon from the Effect Palette to the segment on track V2. 7. Use the eyedropper or the Luma Key sliders to select a brightness value in the foreground video. The Avid editing application replaces the corresponding portions of the foreground video with background video. For an example, see “Luma Key” in the Help.
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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 material you use as the matte might be an imported graphic, or it might be a clip from available footage that you have adjusted with the Color Effect to maximize contrast. For more information, see “Using the Color Effect to Prepare a High-Contrast Image” on page 176.
The Matte Key effect uses three layers of video to create the effect. The bottom layer is the background image, the middle layer is the foreground image, and the top layer contains the matte or alpha channel.
To create a Matte Key effect: 1. Create a sequence with three video layers. For information on creating and editing a sequence, see “First Edits: Baasics” and “Using the Timeline: Basics” in the Help. 2. Edit the background image onto track V1. 3. Edit the foreground image onto track V2. 4. Load a high-contrast image into the Source monitor, and edit it onto track V3. The high- contrast image can be an imported graphic or a clip that you adjust within the Avid editing application. n If the image does not have an alpha channel for keying the graphic over video, use the procedure described in “Editing with Imported Master Clips” on page 178 to edit the image onto track V3. n If the image is not high enough in contrast, you can adjust the contrast by applying the Color Effect and adjusting its parameters in Effect mode. For more information, see “Using the Color Effect to Prepare a High-Contrast Image” on page 176.
5. Open the Effect Palette by doing one of the following: t In the Project window, click the Effects tab. t Select Tools > Effect Palette. 6. Click the Key category.
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7. Apply the Matte Key effect as follows: t If your high-contrast image was created with the Color Effect, press and hold the Alt key (Windows) or Option key (Macintosh) and drag the Matte Key Effect icon from the Effect Palette onto the segment on track V3 to nest the Color Effect within the Matte Key effect. t If your high-contrast image on track V3 does not include a Color Effect, drag the Matte Key Effect icon from the Effect Palette onto the segment on track V3. 8. Click the Record Track Monitor button for track V3 in the Track Selector panel. You should see tracks V2 and V1 through the high-contrast image on track V3. 9. Move the position indicator to the Matte Key effect, and render the effect. n For an example of a Matte Key effect, see “Matte Key” on page 467. Using the Color Effect to Prepare a High-Contrast Image
This section describes how to enhance high-contrast images for use in creating Matte Key effects.
To create a high-contrast image from available footage: 1. Apply the Color Effect to the clip, and open the Effect Editor. The Color Effect is in the Image category in the Effect Palette. 2. Drag the Clip slider under Luma Adjust to 255. 3. Drag the Sat (saturation) slider under Chroma Adjust to –100 to remove all color saturation from the image. 4. Adjust the Cont (contrast) and Bright (brightness) sliders under Luma Adjust until you achieve the right degree of contrast. The high-contrast image can now be used as a matte for the key effect, as described in “Creating a Matte Key Effect” on page 175.
Black portions of the high-contrast image will be transparent, and white portions will be opaque. To switch the order, click Invert Key in the Foreground parameter category of the Matte Key effect. For more information, see “Foreground” on page 332. n You can also import a graphic image with an alpha channel and use it as a Matte Key effect. For more information, see “Editing with Imported Matte Key Clips” on page 177.
176 Working with Imported Graphics and Animation Working with Imported Graphics and Animation
This section describes two different approaches to editing with imported graphic images, depending upon whether: • The image was imported as a Matte Key clip with an alpha channel (a keyable graphic element for video overlay). • The image was imported as a master clip with no alpha channel (an opaque graphic element).
Matte Key clip with alpha channel
Graphic master clip with no alpha channel
These alternatives apply to both single-frame graphic images and animation. In addition, you can edit imported images into sequences using Avid 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, start with “Importing Files: Basics” in the Help.
Editing with Imported Matte Key Clips
When an imported clip includes an alpha channel for keying the graphic over video, it appears in the bin with a key effect icon.
Both single-frame graphic images (such as a single JPEG file) and multiple-frame animation sequences (such as a JPEG file sequence) appear in the bin in the same form after import, and you use the same editing techniques for both. You can edit this type of clip into a sequence as a standard matte key overlay.
To edit a Matte Key clip into the sequence: 1. Edit the main video sequence. 2. Add a new track above the tracks in the sequence by selecting Clip > New Video Track. n You must edit Matte Key clips onto an upper track to achieve the keying effect. If you edit a Matte Key clip onto track V1, for example, the image is keyed over black unless track V1 contains nested tracks.
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3. Play the sequence, and mark an IN point and an OUT point where you want to overlay the graphic. 4. Load a Matte Key clip into the Source monitor. Mark an IN point toward the center of the clip if it is a still. 5. Drag the Matte Key clip from the Source monitor onto the upper track (V3 in this example). The Avid editing application keys the graphic over the video on the lower tracks. In the following example, the graphic appears on track V3 above the main video sequence edited onto tracks V1 and V2.
Matte Key graphic keyed over video
6. Adjust effect parameters in the Effect Editor, if necessary, using procedures described in “Using the Effect Editor” on page 60. n If the keyed portions of the images are the reverse of the intended effect, click Invert Key in the Foreground parameter category. For more information, see “Foreground” on page 332. Use the standard effect editing procedures to preview, render, or play the Matte Key clip. n Make sure the Record Track Monitor button for the topmost track is selected in the Track Selector panel to see the complete effect.
Editing with Imported Master Clips
When an imported clip does not include an alpha channel for keying the graphic over video, its icon is the standard master clip icon. This is true for both single-image graphics and animation sequences. You can edit this type of clip into a sequence as an opaque image or animation (in other words, as a single layer) using basic editing techniques described in this section.
To edit an imported master clip into the sequence: 1. Double-click the graphic clip icon to open a Source monitor. 2. Create a sequence in the Timeline. 3. In the Source monitor, mark an IN point at the start of the clip and mark an OUT point to specify the duration of the graphic.
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4. In the Composer monitor, mark an IN point where you want to edit the graphic clip into the sequence. 5. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline. 6. Drag the clip to the Timeline to add the opaque graphic to the sequence. The opaque image appears in the sequence. In the Timeline, the graphic looks like a standard video clip edited into the sequence. 7. Play the clip, using the standard playback procedures.
Nesting Effects
You can use the Avid editing application to place effect tracks inside one another to better combine multiple images and digital video effects (DVEs). This involves a process known as nesting, which allows you to use the Timeline to step into a track, perform a series of editing operations, and then step out to view and render the effect as one segment on the track.
Additional nested layers inside the first nest
Effects nested inside a Submaster effect
You can edit up to 24 video track layers, depending on your Avid editing application. Into each layer of video, you can nest (stack inside) up to four additional video tracks. You can also step into each video track indefinitely, constrained only by your system’s memory. n Nested effects must be rendered in order to play back correctly. You can use nesting when you want to create layered effects. In this case, the nested layers are treated as one element during the transition. Since transition effects, such as dissolves, fades, and wipes, are not multilayered, nesting is not applicable to these types of effects. Also, nesting effects are not applicable to audio tracks. n Some effects do not work well with each other when nesting. For example, the Box Wipe effect and Edge Wipe effect cannot be used together in a nested segment because the two effects are competing to establish the shape of the wipe.
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Another use of nesting is to constrain one effect using another effect. For example, you can use the Circle Wipe effect to constrain an image posterization inside a region.
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, apply effects, and adjust effects on the nested tracks. Any segment with a segment effect applied can be expanded in this way.
To expand a nested effect, do one of the following: t Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline, and then double-click the nested effect to expand the effect within the Timeline. t With the Effect Editor open, double-click the nested effect.
The nested tracks appear in the Timeline above the track you double-clicked. Editing and patching features are available for changing the content of the track’s effect.
To step out of the nested effect t Double-click the effect’s icon in the Timeline.
Stepping Into and Out of Nested Effects
You can step into an existing nested effect for editing. When you step into the effect, the Avid editing application replaces the full sequence in the Timeline with just the tracks that make up the nested effect. You can then add new tracks, monitor individual tracks, edit source material into the tracks, apply effects, and adjust effects on the nested tracks. You can step into any segment effect in this way. n You can also expand nested effects while leaving the rest of the sequence visible in the Timeline. See “Expanding Nested Effects in the Timeline” on page 180.
To step into a nested effect: t Click the Step In button.
To step out of a nested effect: t Click the Step Out button.
n The Step In and Step Out buttons appear by default in the Timeline toolbar, and are also available in the Command palette. For more information, see “Customizing Timeline Views” and “Using the Command Palette” in the Help.
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Creating a Simple Nested Effect
This example involves nesting a sequence of clips with dissolves inside another segment effect.
To create the nest: 1. Create a sequence, and add a segment effect.
2. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline, and then double-click the segment. The segment opens to reveal the nested tracks.
3. Edit new footage into the nested tracks, and apply additional effects as necessary. In this example, a series of clips is edited onto nested track 1.2, with dissolves applied between the shots. The 3D Picture-in-Picture effect applies to the entire nested dissolve sequence.
4. Double-click the main track for the nested effect (V2 in this example) to close the nested tracks again.
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Changing the Order of Nested Effects
When you use advanced keyframes with nested effects, you can change the order of nested effects by manipulating the Nesting Priority icons that appear in the Effect Editor.
If the effect you are editing has nested tracks, the effect icon and name of each nested effect appears in the Effect Editor. A Nesting Priority icon appears in line with each effect name. Click this icon, and drag it to a new position to reorder the effects.
Nesting Priority icon
To change the order of nested effects: 1. Click the Nesting Priority icon of the effect you want to move. The pointer changes to a hand, and a white outline appears around the selected effect.
2. Drag the outline above the effect you want to have nested inside the selected effect, or below the effect inside which you want the selected effect to nest.
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3. Release the mouse button. The effects move to their new locations, and the Effect Editor display changes to reflect the new nesting.
Note the following considerations about the display and manipulation of nested effects: • You can change the nesting order only when the nested effects have the same number of internal tracks. • The Effect Editor does not display layered components of a nested effect. • If there is no effect on the foreground track (V1.2, for example), then the Effect Editor looks for a nested effect on the next track stepping in (V1.3, V1.4, and so forth). The Effect Editor identifies the first track with an effect as the foreground track. Effects on subsequent tracks are identified as part of the nested effect. • The Effect Editor does not display nested effects when the foreground track has an add edit.
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. 2. Load a high-contrast image into the Source monitor, and edit it onto track V2 as described in “Editing with Imported Master Clips” on page 178. For an example of a high-contrast image, see “Matte Key” on page 467.
3. Open the Effect Palette by doing one of the following: t In the Project window, click the Effects tab. t Select Tools > Effect Palette. 4. Click the Key category.
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5. Drag the Matte Key Effect icon from the Effect Palette to the segment on track V2. 6. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline. 7. 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. 8. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) again to leave Segment mode. You can now edit the nested tracks. 9. Edit the foreground image onto nested track 1.1. 10. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline, and then double-click track V2 to collapse the nested tracks. 11. Click the Record Track Monitor button for track V2 in the Track Selector panel. You should see tracks V1 and nested track 1.1 through the high-contrast image on track 1.3.
For an example of a Matte Key effect, see “Matte Key” on page 467.
184 Submaster Editing Submaster Editing
The Submaster effect is in the Image category of the Effect Palette. When you render this effect, the Avid editing application creates a single media file from several clips or effects in a sequence.
Rendering a Submaster effect saves the new Submaster clip to the drive as a single media file. However, the Avid editing application leaves untouched each element that makes up the composite, so you can still manipulate any element.
The Submaster effect is useful when you want to play back bandwidth-limited sequences, such as sequences composed of several seconds of single-frame clips. It is much faster to use the Submaster effect than to use methods such as applying a graphic, Picture-in-Picture, Mask, or Resize effect. Normally, Submaster effects render at about the same rate as motion effects. n You can nest up to four tracks inside a Submaster effect. n An edit decision list (EDL) for a sequence that contains a Submaster effect represents the contents of the Submaster as a single cut. To work around this, you can create a new sequence with the contents of the Submaster and generate a separate EDL for that sequence.
Applying the Submaster Effect to a Multilayered Sequence
You can use the Submaster effect to speed the rendering process by applying it to a track above layered or nested effects and then rendering only the Submaster. The Avid editing application renders the composite result of all tracks into the top track. n The Submaster effect maintains links to the original media files, so you should not delete the original media files. If you want to combine tracks to create a sequence that is independent from the original media files, perform a video mixdown. n The Submaster effect does not render each track separately, so you cannot play each track individually, and the blue dot remains in the effect icon. In addition, you cannot delete or modify a track below a Submaster effect or it becomes unrendered.
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To apply the Submaster effect to a multilayered sequence: 1. Select Clip > New Video Track. 2. On the new video track (V5 in this example), use the Add Edit button in the Tool palette to create one add edit before and another after the group of clips to be submastered.
Add edit marks on new track V5; bracket clips on track V4
For information on opening the Tool palette, see “Using the Tool Palette” in the Help. 3. Open the Effect Palette by doing one of the following: t In the Project window, click the Effects tab. t Select Tools > Effect Palette. 4. Click the Image category. 5. Drag the Submaster Effect icon to the space between the add edits you added on the new track (V5 in this example). The Avid editing application applies the effect above the layers.
Submaster effect on track V5
6. Render the Submaster effect, as described in “Rendering Effects” on page 124.
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Using the Submaster Effect with a Series of Short Clips
The Submaster effect is useful when you want to play back bandwidth-limited sequences, such as a sequence composed of a series of short clips (a few frames each). You can apply and render the Submaster effect above the clips to improve playback.
To apply the Submaster effect to multiple clips: 1. Select Clip > New Video Track. 2. On the new video track, use the Add Edit button in the Tool palette to create one add edit before and another after the group of clips. For information on opening the Tool palette, see “Using the Tool Palette” in the Help. 3. Open the Effect Palette by doing one of the following: t In the Project window, click the Effects tab. t Select Tools > Effect Palette. 4. Click the Image category. 5. Drag the Submaster Effect icon to the space between the add edits you added on the new track. 6. Render the Submaster effect, as described in “Rendering Effects” on page 124. n If you alter or move either the Submaster segment or the clips below it, the effect becomes unrendered. You must render it again.
Collapsing Layers into One Submaster Effect
You can use the Collapse feature to build a multilayer effect and then nest the effect within a single Submaster effect in one step.
The Collapse feature allows you to build your effect at the topmost level and, when you are finished, collapse the layers automatically into one Submaster effect. This feature is useful for simplifying a sequence with complex compositing. Once you have collapsed a complex composite, you can easily add transition effects to the start and end of the newly created Submaster composite effect. n You can also use the Collapse feature to simplify the deletion of multilayer segment effects. After collapsing the effects, you can select the resulting segment and press the Delete key twice to delete the effect and all the layers.
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After the tracks are collapsed into a Submaster effect, the Avid editing application recognizes a Submaster effect as a multilayer effect instead of a single-layer effect. This allows you to add chroma keys and other multilayer effects to the nested tracks within a Submaster effect. n You can drag “two-channel” effects (such as chroma key) onto Submaster effects if the Submaster segment contains two or more nested tracks. This is useful after performing a Collapse operation to composite the newly created Submaster over another background.
To collapse multiple layers into one Submaster effect: 1. Select all the tracks you want to collapse. The tracks must be adjacent.
Selected tracks
2. Mark an IN point and an OUT point around the area to be collapsed. 3. In the Tool palette, click the Collapse button. For information on opening the Tool palette, see “Using the Tool Palette” in the Help. The Avid editing application collapses the tracks into a Submaster effect on a single track.
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To open the nested tracks again: 1. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline. 2. Double-click the Submaster effect.
To collapse a sequence (alternative procedure): 1. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline. 2. Select the segments you want to collapse. 3. Click the Collapse button.
Performing a Video Mixdown
Video mixdown allows you to combine several tracks into a new master clip.
You can use video mixdown after you have finished building your sequence and want to make it into one piece (for example, a standard opening to a program). It can be useful for a complex sequence you need to use repeatedly or if you want to add a motion effect to an entire sequence.
Video mixdown is similar to the Collapse feature; the difference is the end result. • With the Collapse feature, you collapse the tracks into a Submaster effect. After you collapse the tracks, you are still able to step in to the Submaster and work on the individual elements. • With video mixdown, your end result is a new master clip made up of all the tracks you built on different layers. Those tracks become one clip; you cannot step into the sequence or separate the tracks to work on them.
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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. 2. Mark an IN point and an OUT point around the area to mix down. 3. Select Clip > Video Mixdown. The Video Mixdown dialog box opens.
4. Select a target bin and a target drive for storing the new master clip, and then click OK. A progress indicator appears, showing the progress of the video mixdown. When the video mixdown is completed, a new clip appears in the bin along with the sequence, and a new media file is created on the target drive.
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This chapter describes effects that control aspect ratio, format, or apparent camera motion in a clip: • The Reformat effects, including Pan and Scan, allow you to reformat media to different aspect ratios. - Using the Reformat Effects - Working with the Pan and Scan Effect • The Region Stabilize effect allows you to stabilize a clip that exhibits unwanted motion, such as motion from an unstable camera. - Using the Region Stabilize Effect • The Pan & Zoom effect allows you to import a high-resolution still image and then pan and zoom around that image with extensive keyframe control over the apparent camera motion. - Using Avid Pan & Zoom
Using the Reformat Effects
The Reformat category contains effects for conforming media of different aspect ratios. One of these effects, Pan and Scan, usually works as a vertical effect that you apply to a layer above the rest of your video material and that affects all the video material beneath it. For more information, see “Working with the Pan and Scan Effect” on page 192.
Reformat effects allow you to reformat media to different aspect ratios, such as when you need to reformat a film aspect ratio for television programming. Chapter 8 Working with Camera Effects
Original footage After 16:9 Letterbox effect applied
n Reformat works on all tracks below the track to which you apply it. For example, if you apply Reformat above a title track, the titles become reformatted as well. If you don’t want to reformat the titles, apply Reformat below the title track.
The Reformat category contains three effects, other than Pan and Scan, that reformat media to new aspect ratios: • 16:9 Letterbox — Scales the image vertically to the 16:9 aspect ratio within a 4:3 frame; works on 16:9 Anamorphic media. • 14:9 Letterbox — Reformats media to the 14:9 Letterbox aspect ratio with a black band at the top and bottom. First the application expands the media horizontally by a fixed amount before scaling it down vertically, resulting in a slight horizontal cropping of the image. You control what part of the image is cropped with the Position slider. • 4:3 Sidebar — Reformats 4:3 source media to the 16:9 Anamorphic aspect ratio by scaling down the media horizontally and applying a black band to the left and right sides of the image.
Use one of these effects when you need to reformat a film aspect ratio for television programming. These effects also make it easier to combine 4:3 legacy media into a 16:9 master.
For reference information on these effects, see “Reformat Effects” on page 495.
Working with the Pan and Scan Effect
Pan and Scan allows you to select a portion of the media to reformat and provides other parameters. For more information, see “Understanding the Pan and Scan Effect” on page 193.
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Pan and Scan also supports conversion of 15:9 Anamorphic source media to 16:9 Anamorphic. For more information, see “Selecting the Source and Target Aspect Ratios” on page 195. n If you use the Pan and Scan effect and another Reformat effect on the same sequence, you must render one of the effects before the sequence will play in real time. For more information on other Reformat effects, see “Using the Reformat Effects” on page 191.
The following sections describe the Pan and Scan effect and explain how to use it to change the aspect ratio of your media.
Understanding the Pan and Scan Effect
Pan and Scan is a technique for reformatting media to different aspect ratios. The most widespread use of this technique is for reformatting television programming, for example, when 16:9 Anamorphic material needs to be converted to the 4:3 aspect ratio.
Merely stretching or shrinking the media to fit a new aspect ratio would distort the media. If you do not want to distort the original media, select a portion of each frame in your media for output. Traditionally, this selection process, known as Pan and Scan, is done during the transfer from film to tape in a telecine room.
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 insert keyframes into the Pan and Scan effect and adjust the effect for each keyframe.
Original media with the Pan and Scan wire frame (in 16:9 mode) Results of the Pan and Scan effect (in 4:3 mode)
n You can use Pan and Scan on any type of project.
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Outputting the Media with the Pan and Scan Effect
Media with the Pan and Scan effect can be output in two video formats: 4:3 or 16:9 Anamorphic. The Pan and Scan effect does not generate data for inclusion in cut lists created with Avid FilmScribe. If your target is not video, or if your source requires excessive scaling, you can preview the reformatting operation but the Pan and Scan effect does not automate a film-to-film or a film-to-tape transfer.
Positioning the Pan and Scan Track
When your sequence does not contain titles, the Pan and Scan track should typically be the top track. When using titles, you can place the Pan and Scan track above a title track to properly scale the title along with the video tracks beneath it. If you need to pan, however, the pan applies to the title as well as the other video tracks. Since this technique results in the title being panned, the results might not be what you want.
If you need to pan your footage and the title aspect ratio is not critical, you can move the titles above the Pan and Scan track. If the title aspect ratio is important, you might need to create a new title in your target aspect ratio.
Applying the Pan and Scan Effect
Because the Pan and Scan effect controls the aspect ratio of your final output, the effect must be applied to your entire sequence. You should apply Pan and Scan to its own video track after you finish editing the sequence. n There might be some situations in which you 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 205.
To apply the Pan and Scan effect: 1. After you finish editing your sequence, press Ctrl+Y (Windows) or k+Y (Macintosh) to create a new video track on the topmost track.
2. Enter Effect mode by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” in the Help.
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3. In the Effect Palette, click the Reformat category. 4. Drag the Pan and Scan Effect icon from the Effect Palette to the new track.
n If you apply the Pan and Scan effect and then add a segment to or remove a segment from your sequence, the Pan and Scan effect does not automatically adjust to cover the entire segment. Either trim the Pan and Scan effect manually, or remove the Pan and Scan effect and insert a fresh effect.
Selecting the Source and Target Aspect Ratios
If you enter Effect mode and select the Pan and Scan effect, you see 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.
Pan and Scan wire frame
Correctly setting the Pan and Scan aspect ratios is the most important part of using Pan and Scan.
Whenever you change aspect ratios, you must decide which part of an image you will retain for the final output and which part you will discard. The Pan and Scan aspect ratios specify the size of the incoming image and determine how much of that image you can retain for your final output.
You must set two ratios: • Source ratio specifies the aspect ratio of your incoming media. • Target ratio specifies the aspect ratio of the final output.
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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, following the procedure described in “Applying the Pan and Scan Effect” on page 194. 2. Enter Effect mode by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” in the Help. The Effect Editor opens.
3. Move the position indicator to the Pan and Scan effect. 4. Click the triangular opener for the Aspect Ratios parameter category.
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5. Set the Source aspect ratio to the ratio of your source material.
6. Set the Target aspect ratio to the ratio of the final output.
Setting Up Your Monitors for the Pan and Scan Effect
To accurately view the effects of Pan and Scan while you edit, you need to set your monitors to display the correct aspect ratios. Your Record or Effect Preview monitors can display in 4:3 aspect ratio (the default) or 16:9 aspect ratio. Your Client monitor should also be able to display these two aspect ratios.
Generally, your monitors should all be set to 4:3. However, if your source aspect ratio is 16:9 Anamorphic, you should set the Record or the Effect Preview monitor to 16:9. If your target aspect ratio is 16:9 Anamorphic, the Client monitor should be set to 16:9. Use 4:3 aspect ratio for all other aspect ratios. n If you are working with 16:9 Anamorphic and do not have the monitors set up correctly, the media and the wire frame will appear distorted. They will appear either elongated or squeezed.
To set the Record or the Effect Preview monitor aspect ratio: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the monitor, and select 16:9 Video to select or deselect 16:9 display.
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Viewing Pan and Scan Media
In Effect mode, the Effect Preview monitor displays your original media and the Pan and Scan wire frame. The Client monitor displays the original media.
In Source/Record mode, the Client monitor displays the media inside the Pan and Scan wire frame. The portion of the image inside the wire frame expands to fill the entire monitor. The Record monitor also shows the media inside the wire frame; however, the media is distorted if either the Source or Target aspect ratio is 16:9 Anamorphic.
Effect Preview monitor in Effect mode Record monitor in Source/Record mode
In Effect mode, the original media displays in the Effect In Source/Record mode, the Record monitor shows Preview monitor with the Pan and Scan wire frame. a distorted view of the results of the Pan and Scan effect. The Client monitor shows the accurate view of the results.
Other effects let you view results on a frame-by-frame basis while in Effect mode. The Pan and Scan effect does not. You see the entire source image so that you can select a portion of it. To see the results of the Pan and Scan effect while in Effect mode, click the Play button. In Source/Record mode, you can see the results of the Pan and Scan effect on a frame-by-frame basis or by playing the media.
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Using the Effect Grid with the Pan and Scan Effect
The Effect Grid displays a variety of positioning guides to 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.
n Safe Title/Safe Action and Thirds grid marks are based on the Target aspect ratio and are displayed inside the wire frame. Other grid markings are displayed as normal across the entire monitor.
You can open the Grid Settings dialog box by clicking the Other Options button in the Grid parameter category of the Effect Editor. The Grid Settings dialog box controls the size, position, and display of a variety of grids. For more information on Grid settings, see “Working with the Effect Grid” on page 58.
The following illustration shows the Grid parameter category in the Effect Editor.
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Other Options button
Grid parameter category
Grid button
In addition to using the options in the Grid Settings dialog box, you can use the controls in the Grid parameter category of the Effect Editor to change some Grid settings. For more information on these parameters, see “Matrix Parameters” on page 378.
Setting an Origin in the Pan and Scan Effect
Each Target aspect ratio has default position and scaling settings. You can return to these default settings at any time by selecting the aspect ratio again.
In addition to using the effect’s default values, you can create customized default values for each instance of the Pan and Scan effect by using Establish Origin. n Establish an origin before subdividing or adjusting individual keyframes in your Pan and Scan effect.
After inserting 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 Pan and Scan effect.
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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.
Now, whenever you adjust Pan and Scan, you can return to these settings by clicking Reset to Origin. Reset to Origin is useful for quickly centering the wire frame after you move it.
To reset the wire frame for the Pan and Scan effect: t In the Effect Editor, open the Actions parameter category and click Reset to Origin. n If you do not set an origin, clicking Reset to Origin returns to the default values for the Target aspect ratio.
Subdividing the Pan and Scan Effect
Because your sequence probably contains a variety of segments with different panning requirements, you might need to adjust the position of the Pan and Scan effect on a segment- by-segment basis. To make it easier to adjust Pan and Scan for individual segments, Pan and Scan includes the Subdivide Effect command. Subdivide Effect splits the Pan and Scan effect based on the segment boundaries of the selected video tracks underneath the Pan and Scan track. n You can also use add edits to subdivide a Pan and Scan effect manually. The following illustrations show the Timeline before and after using the Subdivide Effect command.
Pan and Scan effect on a Filler track before subdividing the effect
After subdividing
Subdividing the effect minimizes the number of keyframes you need to add and manipulate because, by default, each effect has a keyframe at the start and end of the effect. If you want to reposition Pan and Scan for an entire segment, you can select the segment and drag the Pan and Scan wire frame to a new position. If you need to adjust Pan and Scan within the segment, add keyframes to the effect.
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n You should 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” on page 195 and “Setting an Origin in the Pan and Scan Effect” on page 200.
To subdivide a Pan and Scan effect: 1. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” in the Help. 2. Move the position indicator to the Pan and Scan effect. 3. Click the Record Track buttons in the Track Selector panel for the video tracks to use as the subdivision guide.
Record Track button
Subdivide Effect divides Pan and Scan based on the segment boundaries of the selected tracks underneath the Pan and Scan track. 4. In the Actions parameter category, click Subdivide Effect. The application divides the Pan and Scan effect into multiple effects. n Subdivide Effect works on the selected Pan and Scan effect, not on the entire track. n Subdivide Effect does not subdivide segments connected by transition effects. For information on using Pan and Scan with transition effects, see “Combining the Pan and Scan Effect with Transition Effects” on page 205.
Using the Wire Frame in the Pan and Scan Effect
The wire frame displayed in the Record monitor outlines the section of media selected for output. The Pan and Scan wire frame functions similarly to the Picture-in-Picture wire frame.
Scaling the Pan and Scan Wire Frame
You can resize the wire frame by dragging its handles or by using the Scaling sliders; however, you cannot change the wire frame’s shape. The wire frame’s initial shape is determined by the Target aspect ratio. The application maintains the wire frame’s shape during scaling.
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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.
Scaling lets you zoom in on your media. When you make the wire frame smaller, the image inside the wire frame is enlarged to fit the output monitor. Because making the wire frame very small results in a pixelated (grainy) image, it might not be appropriate to zoom in closely on an image when you plan to output directly to video.
Positioning the Pan and Scan Wire Frame
Moving the wire frame and defining a motion path works similarly to other multilayer effects; however, there are minor differences.
Dragging restricts the motion to the most important axis. For example, if you go from a wide aspect ratio (16:9) to a narrow aspect ratio (4:3), you can drag the wire frame from side to side. If you go from 4:3 to 16:9, you can drag the wire frame up and down.
To position the wire frame by dragging: t Click inside the wire frame, and drag it to a new position.
n Pressing and holding the Shift key while dragging the wire frame lets you move in all directions.
You cannot drag the wire frame off the screen because in most circumstances you will not need to select empty space outside the boundaries of the source image. If you do need to position the edges of the wire frame beyond the screen’s limits, use the Position sliders in the Effect Editor.
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To position the wire frame by using the Position sliders: t In the Position parameter category, adjust the wire frame’s horizontal and vertical Position sliders.
The Position sliders let you override some limits imposed by dragging.
Adjusting the Pan and Scan Effect
You might need to adjust Pan and Scan at different points throughout your sequence. The following are some suggestions for adjusting Pan and Scan.
If your sequence needs few adjustments: 1. Click the Play button or the Play Loop button. 2. If you see a problem with the panning, stop playback: t Click the Play button or the Play Loop button. t Press the space bar. 3. Enter Effect mode by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” in the Help. 4. Adjust the Pan and Scan effect.
If your sequence needs many adjustments: 1. Enter Effect mode by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” in the Help. You will do all your adjustments in Effect mode. 2. Use the Go To Next Edit and Go To Previous Edit buttons to step from one Pan and Scan effect to the next.
n The Go To Next Edit and Go To Previous Edit buttons appear on the Command palette. You can map the buttons from the Command palette to the keyboard or to another button. For more information, see “Using the Command Palette: Basics” in the Help.
3. Adjust the Pan and Scan effect.
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Combining the Pan and Scan Effect with Transition Effects
When you subdivide the Pan and Scan effect, the subdivisions are based on the segment boundaries of the selected track. However, if two segments are connected by a transition effect, Pan and Scan does not place a subdivision between those segments. If one or more segments are connected by transition effects, Subdivide Effect treats this string of segments as one continuous segment.
The following illustration shows this behavior for a typical sequence with transition effects.
Pan and Scan effect above segments with transition effects
After subdividing, the Pan and Scan effect above the transition effects is not subdivided.
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. To work on a segment-by-segment basis, you need to combine the Pan and Scan effect with the transition effects by placing the Pan and Scan effect on your video track. For more information, see “Placing Pan and Scan Effects on the Video Track” on page 205.
Placing Pan and Scan Effects on the Video Track
To combine Pan and Scan effects with transition effects, you need to place the Pan and Scan effects in the segments of the segment string.
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To place Pan and Scan effects in the segments: 1. After subdividing the Pan and Scan effect, select the Pan and Scan effect above the segment string. For more information, see “Subdividing the Pan and Scan Effect” on page 201. 2. Press the Delete key to remove the Pan and Scan effect.
3. Enter Effect mode by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” in the Help. 4. In the Effect Palette, click the Reformat category. 5. Drag the Pan and Scan Effect icon from the Effect Palette to the first segment in the segment string in the Timeline. 6. Repeat step 5 for each segment in the segment string.
7. Adjust each Pan and Scan effect as needed.
Using the Region Stabilize Effect
The Region Stabilize effect eliminates unwanted motion in a video clip, such as motion from an unstable camera.
Region Stabilize allows you to select an area of the image that you want to remain stationary and then uses the information to reposition each frame in the clip to keep the region steady.
Stabilization exposes black around the edges of the repositioned frames. You can resize (and, if necessary, reposition) the rendered clip to remove the exposed edges. Auto Zoom, in the Options parameter category, does this automatically.
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Stabilizing an Image
The following illustration shows the Region Stabilize parameters.
To stabilize a segment: 1. Open the Effect Palette by doing one of the following: t In the Project window, click the Effects tab. t Select Tools > Effect Palette. 2. Click the Image category. 3. Drag the Region Stabilize Effect icon to the segment you want to stabilize. 4. Select Tools > Effect Editor. A wire frame appears in the Effect Preview monitor to indicate the region of interest. This is the area you want to use in stabilizing the image.
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5. Reposition and resize the wire frame by doing one of the following: t Use the sliders in the Region of Interest parameter category. t Click the wire frame, and drag it in the Effect Preview monitor. Select a region that contains one or more features that do not change much from frame to frame, for example, objects such as buildings or rocks. Another approach is to shoot the scene with stabilization in mind: include an object, such as a reflective sticker, that you intend to use as your region of interest. 6. Click the Model Fast Menu button, and select the type of stabilization: - Translational keeps the region of interest steady along both the horizontal and the vertical axis. - Horizontal constrains horizontal motion in the region of interest. Features in the region of interest can move vertically but not horizontally. - Vertical constrains vertical motion in the region of interest. Features in the region of interest can move horizontally but not vertically. 7. (Option) To turn on Auto Zoom, open the Options parameter category and click the Auto Zoom button. Stabilization exposes black around the edges of the repositioned frames. Auto Zoom compensates by resizing and, if necessary, repositioning the clip to remove the exposed edges. 8. (Option) If your footage was captured as or converted to progressive footage (is not interlaced), open the Options parameter category and click the Progressive Source button. Select Progressive Source if your footage was captured or converted to progressive footage (not interlaced). If your sources are progressive, selecting Progressive Source produces smoother results. n Progressive Source has no effect in 24p projects because the application assumes that you are using progressive footage. n If you click the Progressive Source button and your underlying source is not progressive, you may see motion artifacts between fields in the rendered effect.
9. Render and review the effect. If the rendered clip does not perform as expected, see “Making Adjustments to the Region of Interest” on page 209.
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10. (Option) Add keyframes to further refine the motion of the stabilized clip. For more information, see “Working with Keyframes” on page 79. 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.
Making Adjustments to the Region of Interest
If the Region Stabilize effect does not perform as expected, it might be due to one of the following: • Large motion. If an object in your region of interest moves too far away from the region from one frame to the next, the rendered clip might display unexpected results. • Extraneous motion. Something in your region of interest might move over the course of the clip in a way that unpredictably affects the stabilization. • Insufficient texture. The region of interest might not have enough features to allow Region Stabilize to track it effectively.
When you encounter unexpected results in a rendered Region Stabilize effect clip, experiment with the following adjustments: • Increase the size of the region of interest, or reposition it, to encompass large motion. • Decrease the size of the region of interest to eliminate extraneous motion that is affecting the stabilization. • Select a new region of interest. • Add keyframes to reestablish or refine the region of interest over the course of the clip.
Using Avid Pan & Zoom
The Avid Pan & Zoom plug-in effect provides capabilities similar to a motion control camera using high quality digital processing. You import a high-resolution still image, and then move around the image with extensive keyframe control over the location (pan) and magnification (zoom) of the field of view. You can preview the movement in real time with no filtering and render the effect with a wide range of filtering options that provide exceptional image quality.
Importing the image file is an important step in using the Pan & Zoom effect. To import the image file, create a segment as a placeholder for your image, apply the effect to the placeholder segment, and then from within the Effect Editor import the image into the segment.
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n You import the image for the Avid Pan & Zoom effect after you apply the effect to a placeholder segment in your sequence.
The following sections describe how to apply the Avid Pan & Zoom effect and how to customize the effect using the Avid Pan & Zoom parameters. • Working with Image Files • Applying the Avid Pan & Zoom Effect • Viewing the Image While You Work • Adjusting the Field of View • Using Velocity In and Velocity Out • Setting the Path Parameter • Options for Rendering the Avid Pan & Zoom Effect • Selecting the Background • Advanced Parameter Category • Memory Management with the Avid Pan & Zoom Effect
Working with Image Files
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.
Most images you use with Avid Pan & Zoom come from digital cameras, scanners, or third- party graphics applications such as Adobe Photoshop. In the rare case where an image comes from a video source, you can set parameters in the Advanced parameter category to enable the effect to compensate appropriately. For more information, see “Advanced Parameter Category” on page 220.
If you move an image file after you import it into the effect, the image is no longer accessible to the effect. The next time you open the effect a dialog box opens asking you to locate the file.
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Applying the Avid Pan & Zoom Effect
To apply the Avid Pan & Zoom effect: 1. Using standard editing techniques, load a sequence and create a placeholder segment of the duration you want for your image. The footage you use in the placeholder segment is the footage the effect uses if you set the Background parameter to Video. For more information, see “Selecting the Background” on page 220. n You cannot use filler in the placeholder segment. 2. Enter Effect mode by selecting Toolset > Effects Editing. The Effects Editing toolset appears. 3. In the Effect palette, click the Image category. 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.
Other Options button
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5. Click the Other Options button. A file selection dialog box opens. 6. Navigate to the file containing your image, and click OK. The Avid editing application superimposes the image on the placeholder segment. The image appears in the Effect Preview monitor. n If you select a file that your application does not recognize as an image file, the application takes no action and no error message appears. For more information, see “Working with Image Files” on page 210. n The placeholder segment name does not change. That is, the name of the image file does not appear in the segment.
7. Customize the Avid Pan & Zoom effect using the procedures described in the following sections: - “Viewing the Image While You Work” on page 212 - “Adjusting the Field of View” on page 213 - “Using Velocity In and Velocity Out” on page 215 - “Setting the Path Parameter” on page 217 - “Options for Rendering the Avid Pan & Zoom Effect” on page 219 - “Selecting the Background” on page 220 - “Advanced Parameter Category” on page 220
Viewing the Image While You Work
The Display Fast menu lets you select how you view the image as you work on it.
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To set the Display parameter: t Click the Display Fast Menu button, and select Source or Target. - Source shows you the entire image scaled to fit inside the Effect Preview monitor. Use Source Display mode as you draft the effect. The pan and zoom settings appear as a rectangle (4:3 aspect ratio) superimposed over the image. The closer in you zoom, the smaller the rectangle appears. - Target shows you the results of your pan and zoom settings. Use Target Display mode for previewing your moves. A crosshair appears at the center of the image. If you use Target Display mode and one of the real-time filtering options, the image appears pixelated in the Effect Preview monitor. This does not affect the quality of the rendered image. For more information, see “Options for Rendering the Avid Pan & Zoom Effect” on page 219.
The Show Action Safe button in the Display Options parameter category controls the display of the Safe Action area. If your material will be viewed on screens with limited viewing areas, such as standard televisions, you can use the Show Action Safe option to provide a visual guideline in the Effect Preview monitor that replicates the actual viewable area on a standard television screen.
Adjusting the Field of View
The field of view is that part of the source image that you select to create the final image. It is represented in the Effect Preview monitor by a gray rectangle superimposed on the source image. You control zoom with the Zoom Factor slider in the Size parameter category. You control pan by either dragging the crosshair across the image or using the X and Y Position parameters.
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Field of view rectangle
Safe Action area
Crosshair
For information on the Safe Action area, see “Viewing the Image While You Work” on page 212.
Zooming Into and Out Of the Source Image
The Size parameter category contains the Zoom Factor slider. This slider controls how far you zoom into or out from the source image. The Zoom Factor ranges from 0.1 to 20. At 0.1, the effect scales down the image to one-tenth the original. At 1, the effect applies no magnification to the source image. At 20, the effect scales up the image 20 times — that is, by 2000 percent. The larger the Zoom Factor, the smaller the field of view rectangle appears when you use Source Display mode.
Scaled image using Source Display mode Scaled image using Target Display mode Field of view rectangle
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The Avid Pan & Zoom effect automatically preserves the clip’s aspect ratio. Any aspect ratio you select from the Clip menu is also used by the Avid Pan & Zoom effect.
Panning Over the Source Image
You can use click-and-drag techniques to easily create a rough path, and refine it with the X and Y Position parameters.
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. A Position of 0, 0 centers the field of view over the center of the image.
Using Velocity In and Velocity Out
You control the rate of change for apparent camera movement at each keyframe using the Velocity parameter category.
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.
The gradual acceleration at the beginning of movement is ease in, and the gradual deceleration at the end of movement is ease out. Acceleration, a global parameter found in other effects, adjusts an effect’s speed over time by having the effect ease in and ease out at the first and last keyframes respectively. Velocity is a keyframeable parameter and it gives you more options than does Acceleration. For a description of all the Velocity parameter options, see “Velocity” on page 318.
The Velocity parameters divide the time between keyframes in half. Velocity In controls the rate of movement in the first half; Velocity Out controls the rate of movement in the second half.
Selected keyframe
First keyframe Last keyframe
Period controlled by Velocity In Period controlled by Velocity Out (first half of time between keyframes) (second half of time between keyframes)
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Procedures for setting a simple ease in and ease out, and for setting a constant speed for an effect, are described in the following sections.
Using Ease In and Ease Out
With the Avid Pan & Zoom effect, most of the time you probably want to ease in only on the first keyframe and to ease out only on the last keyframe. If you use Ease In and Ease Out for each keyframe, the pan and zoom movements bounce at each keyframe like a car repeatedly speeding up and slowing down.
To set up a simple ease in and ease out for an effect with multiple keyframes: 1. Click the first keyframe indicator to select it. 2. Set Velocity In to Ease In. 3. Set Velocity Out to Linear. 4. Click the next keyframe indicator to select it. n For a quick way to jump to the next or previous keyframe indicator, you can use the Fast Forward and Rewind buttons in the Effect Preview Monitor toolbar.
5. Set Velocity In and Velocity Out to Linear. 6. Repeat steps 4 and 5 for all keyframes except the last keyframe. 7. Click the last keyframe indicator to select it. 8. Set Velocity In to Linear. 9. Set Velocity Out to Ease Out.
Creating a Path with Constant Velocity
When you change the time at which a keyframe occurs, for example by moving the keyframe indicator in the Timeline, the length of time it takes the effect to move from the position set in that keyframe to the position set in the next keyframe also changes. Most of the time this is the result you want.
If you want an effect’s path to have a constant velocity across a number of key frames, you can make the calculations manually and place the keyframes accordingly, or you can use the Constant option for the Velocity parameters.
216 Using Avid Pan & Zoom
When you use the Constant option, your Path parameter selection can affect the result of changes you might make to the effect. • If you select Linear for the Path parameter, moving keyframes or changing the Position parameters does not affect the velocity of the effect’s path. • If you select Spline for the Path parameter, moving keyframes or changing the Position parameters might affect the velocity of the effect’s path.
For more information, see “Setting the Path Parameter” on page 217.
To create a path with constant velocity: 1. Create an Avid Pan & Zoom effect using the procedure in “Applying the Avid Pan & Zoom Effect” on page 211. 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. n When you use Constant for Velocity In and Velocity Out, the position at which you placed a keyframe in the Timeline is not necessarily the time at which the Avid Pan & Zoom effect applies the keyframe’s parameters. The effect applies the parameters at the time calculated by the effect to achieve a constant velocity for the path you created.
4. Press the Play button or the Play Loop button to preview the effect. The velocity of the path is constant.
Setting the Path Parameter
The Path parameter controls how the Avid Pan & Zoom effect interpolates Position parameter changes at keyframes.
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• Linear interpolation creates straight-line changes from one keyframe to the next.
Linear interpolation 8
4
The line represents the path of the effect over time. The numbers 7 3 at each angle represent 1 keyframes, numbered 1 through 5 8, indicating where the direction of the path changes. 2 Note how the path changes direction abruptly at each keyframe. 6
• Spline interpolation smooths out changes at keyframes to create a more natural movement.
Spline interpolation 8
4
The line represents the path of the effect over time. The numbers 7 3 at each angle represent 1 keyframes, numbered 1 through 5 8, indicating where the direction of the path changes. 2 Note how the path smooths out at each keyframe.
6
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. n If you combine a Spline path with Constant velocity, when you move a keyframe the path recalculation might result in a change to the velocity of the effect.
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Options for Rendering the Avid Pan & Zoom Effect
The rendering option you choose for the Avid Pan & Zoom effect determines the quality of the rendered result. n The image quality of the effect in the final output is dependent in part on the resolution at which you output the sequence. Some sharpness might be lost due to compression during the final output.
Use the Filtering parameter category to select the rendering method. The various filtering options allow you to trade off the clarity or sharpness of the resized image and the speed at which the effect renders.
You might not always want the sharpest possible result. Images with many sharp edges might look better with a softer rendering. Many users find that B-Spline Catmull is the best compromise between image quality and rendering time. Experiment with Filtering options to decide which one produces the effect you want.
The following list ranks the Filtering options from fastest render and lowest quality image to slowest render and highest quality image: • Real Time renders most quickly but results in a draft-quality image. n The application uses Real Time filtering during uncompressed play. • Triangle results in fairly soft images. • Quadratic has slightly sharper images than Triangle filtering. • Cubic results in sharper images than Quadratic filtering although they are still fairly soft. • B-Spline Catmull. When you use this option and shrink an image (zoom out) by a large amount, the result is similar to that produced by Cubic filtering. B-Spline Catmull produces a sharper image than Cubic filtering when you: - Stay close to the original size of the image (very little zooming in or zooming out). - Enlarge the image (zoom in) past the source image resolution. • Gaussian results in an image that is relatively soft but sharper than B-Spline Catmull. • Avid Hi Qual creates sharp images when you shrink the original (zoom out). • Avid Ultra Qual creates extremely sharp images when you shrink the original (zoom out).
If you are working in a progressive project, (23.976p, 24p, 25p), click the Progressive check box in the Render Mode parameter category. Selecting this option creates a smoother animation when using progressive frames.
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Selecting the Background
With the 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 set the background: 1. Click the Background Fast Menu button, and select Color or Video. - Color lets you select a background color. - Video uses the video from the segment upon which you placed the Avid Pan & Zoom effect. 2. (Option) If you selected Color, set the background color using one of the following methods: t Manipulate the RGB sliders directly, or use the numeric keypad to enter values. t Click the Other Options button to use the Windows Color dialog box or the Macintosh Colors panel. t Click the Color Preview window, and use the eyedropper. For more information, see “Adjusting a Color Parameter” on page 68.
Advanced Parameter Category
The Advanced parameter category provides controls to compensate for differences in pixel shape between source and output, and to select input color levels.
Pixel Types in the Source and Output
Digital cameras and scanners, common sources for the Avid Pan & Zoom effect, use square pixels. Computer monitors also use square pixels but television monitor pixels are rectangular.
Source Has Square Pixels is enabled by default. The Avid Pan & Zoom effect makes the calculations necessary to produce results compatible with rectangular pixels.
When you deselect Source Has Square Pixels, the Avid Pan & Zoom effect makes no changes to the pixel shape but does apply the aspect ratio in effect for the project.
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Color Levels for Avid Pan & Zoom
The Level setting tells the effect how to treat the color levels in the image. • RGB is for images with a black level of 0 and a white level of 255. Most images you import into the Avid Pan & Zoom effect (except those from a video source) use RGB values. The effect maps colors to video black and white levels, which are 16 and 235 respectively. RGB is the default Level setting. • 601 refers to the ITU-R-601 standard for video black and white levels. Select 601 in the rare case when you use images from a video source. When you select 601 for the Level setting, the effect makes no adjustment to color levels.
Memory Management with the Avid Pan & Zoom Effect
The images you import into Avid Pan & Zoom can be extremely large. The amount of memory used to store a large image can impact the performance of the Avid editing application. The Cache parameter gives you control over the amount of memory used to store your images for playback. A full resolution image is always used for rendering. • Video Resolution — The effect stores the resized source image at 720 x 480 pixels, using about 1 MB per image. Use Video Resolution if you have many images in your sequence and you need to limit how much memory they occupy. • Image Resolution — The effect stores a source image at its original resolution. The amount of memory used varies with the size of the image. • 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. Use this setting to free up memory after you have rendered the clip. • Cache All — The Cache All settings are shortcuts for setting the same parameter for all instances of the effect in a sequence. The descriptions are the same as above. • Free All Caches — Frees the caches for all instances of the plug-in in that sequence.
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222 Chapter 9 Working with 3D Effects
This chapter describes procedures for creating and manipulating 3D effects. • Using Xpress 3D Effects • Accessing 3D Effects in the Effects Palette • Promoting 2D Effects to 3D Effects • Creating a Matte Key for Use with 3D Effects • Understanding the 3D Effects Interface • Applying 3D Effects: Examples
Using Xpress 3D Effects
You use the Xpress 3D Effects category to create 3D effects. Xpress 3D effects provide a fast way to apply basic 3D effects to your sequence, without having to make custom adjustments. For example, the 3D Page Fold effect automatically creates a page fold effect when you apply it. You can further adjust Xpress 3D effects in the Effect Editor. n You can also create 3D effects by promoting some kinds of 2D effects, including matte keys. For more information, see “Promoting 2D Effects to 3D Effects” on page 225.
The Xpress 3D Effect category contains the following effects: •3D Ball •3D PIP •3D Page Fold •3D Slats
The Xpress 3D effects are completely compatible with other Avid editing applications that have 3D effects capability. As a result, you can move sequences containing Xpress 3D effects between Avid applications. Chapter 9 Working with 3D Effects
n If you plan to move sequences between other Avid editing applications (such as Avid Media Composer Adrenaline) and Avid Xpress Pro, don’t use another editing application to promote Xpress 3D effects to 3D Warp effects. 3D Warp effects are not recognized on Avid Xpress Pro systems.
Accessing 3D Effects in the Effects Palette
You can access the 3D Effects features through the Xpress 3D Effect category in the Effect Palette as shown in the following illustration.
3D Effect icons
3D Effect category
To apply an Xpress 3D effect from the Effect Palette: 1. On left side of the Effect Palette, click the Xpress 3D Effect category. 2. Select the effect you want from the list in the right side of the Effect Palette. 3. Apply the effect by double-clicking the effect icon or dragging the effect icon to the Timeline as you would any other effect. For more information, see “Applying Effects From the Effect Palette” in the Help.
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n You can use the Shape menu in the Effect Editor to switch between the 3D shapes, but the name of the effect in the Effect Editor does not change when you change the shape. For example, when you are editing a 3D Ball effect, you can change the shape to 3D Slats. All of the 3D Slats parameters apply to the effect but the name of the effect in the Effect Editor continues to be 3D Ball. This limitation applies to all the effects in the Xpress 3D Effect category.
Promoting 2D Effects to 3D Effects
With some Avid editing applications, you can use 2D effects as building blocks for 3D effects. For example, if you have a 2D Picture-in-Picture effect, you can add 3D features like 3D borders, drop shadow, page curls, smooth curve movement, and rotation. You can also promote a Title effect created with the Title tool to a 3D effect. For informaton on creating a 2D Title effect, start with “Main Topics: Working with Titles: Basics” in the Help.
The following rules and restrictions apply to promoting effects to 3D: • Some software-based effects cannot be promoted to 3D. • You cannot demote a 3D effect to a 2D effect. If you play a 3D effect on a system that does not have 3D hardware, the effect plays as a cut (unless the effect was rendered on the 3D system). However, you can reapply the 2D effect. • All effects that were real-time in 2D are still real-time when you promote to 3D.
You can promote the following 2D effects to 3D effects: • Titles • Picture-in-Picture effects • Imported matte keys
To promote a 2D effect or title to a 3D effect: 1. Select Tools > Effect Editor. The Effect Editor opens. 2. Click the effect icon in the sequence to select it. 3. In the Effect Editor, click the 3D Promote button.
225 Chapter 9 Working with 3D Effects Creating a Matte Key for Use with 3D Effects
A matte key is an effect made up of three components: • High-contrast image or matte • Background image (the image that shows through the lightest part of the matte) • Foreground image (the image that shows through the darkest part of the matte) n For more information on Matte Key clips, see “Creating a Matte Key Effect” on page 175. You can promote real-time 2D Matte Key effects (graphics imported with an alpha channel) to 3D effects and apply additional parameters, such as Shape Wipe effects, or X, Y, and Z positioning. n You cannot promote matte keys created using the Matte Key effect from the 2D Effect Palette to a 3D matte key.
To create a matte key for use with 3D effects: 1. Import a graphic file containing an alpha channel. The 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®. 2. Edit the Matte Key clip into your sequence as an overlay.
2D Matte Key title import
3. Ensure that Render On-the-Fly is enabled (displays a check mark in the Clip menu) so you can see the matte key as you are working with it. 4. Promote the Matte Key clip to a 3D effect as explained in “Promoting 2D Effects to 3D Effects” on page 225. 5. Select Tools > Effect Editor to open the Effect Editor, and apply changes to additional parameters to achieve the effect you want. In this example, the 3D Slats effect was selected and adjusted in the Shape category to make the top and bottom elements of the title slide across in opposite directions.
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Final 3D Matte Key title graphic: 3D Slats in the Shape category was used to make the top and bottom titles slide across in opposite directions.
Understanding the 3D Effects Interface
This section provides basic information for using the 3D effects parameters and the Effect Preview monitor and controls.
Moving in 3D Space
You do not need to use a lot of math to create most 3D effects, but you do need some basic understanding of degrees of motion and geometry, as described in this section. n Moving objects in 3D space requires an understanding of each of the 3D effect parameters and their correct order in the effects parameters hierarchy. For more information, see “Working with 3D Effects Parameters” on page 229.
The 3D Coordinate System
In sections that discuss 3D effects, X, Y, and Z refer to the three axes or dimensions of the image that can be manipulated in the 3D effect’s coordinate space. • X refers to the image’s left/right direction. • Y refers to the image’s up/down direction. • Z refers to the image’s front/back dimension.
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Y Axis
(X0, Y0, Z0) X Axis
X Axis — values increase from left to right Z Axis Y Axis — values increase from bottom to top
Z Axis — values increase from back to front
Rotation Axes
The Shape and Rotation parameters allow you to 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 are distributed around a circle.
0 degrees
–45 degrees – + +45 degrees
–90 degrees +90 degrees
–135 degrees +135 degrees
–180 degrees +180 degrees
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The following illustration shows several rotation examples.
0 degrees
+45 degrees A A
–45 degrees
A A
+180 degrees –180 degrees
A positive number of degrees refers to a clockwise rotation; a negative number of degrees refers to a counterclockwise rotation. For example, a rotation of +45o will rotate the image clockwise by one-eighth of a full circle, while a rotation of –45o will rotate the image counterclockwise by one-eighth of a full circle.
Working with 3D Effects Parameters
The following sections provide a basic introduction to 3D effects parameters.
For specific information on each of the parameters available in the Effect Editor, as well as important information on the hierarchy of 3D effects parameters, see “3D Effects Reference” on page 539. n Manipulating 3D effects parameters requires a basic understanding of degrees of motion and the system of geometry used in your Avid editing application’s 3D effects interface. For more information, see “Moving in 3D Space” on page 227.
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Accessing 3D Effects Parameters
To access the 3D effects parameters: 1. Drag the effect icon onto a clip in the Timeline. For more information, see “Applying Effects From the Effect Palette” in the Help. 2. Move the position indicator to the 3D effect’s icon in the Timeline. 3. Select Tools > Effect Editor. The Effect Editor opens and displays the parameters for the 3D effect you applied. n If the Effect Editor is already open and active, you can just select the segment or transition effect to display the effect’s parameters in the Effect Editor.
Manipulating 3D Effects Parameters
As in 2D effects, 3D effects parameters are grouped in collapsible panes. Each parameter pane represents a specific type of manipulation, called a category, that you can apply to an image. You can apply category adjustments either individually or in combination.
Parameter categories
230 Understanding the 3D Effects Interface
Basic manipulation of the parameter panes, sliders, and buttons is identical to that of 2D effects parameters. For more information, see “Using the Effect Editor” on page 60.
Using the Default Keyframe Parameter Values
All 3D effects, except for the 3D PIP effect, contain default values for the first and last keyframes. These values consist of commonly used values for the effect.
To use the effect’s default keyframe values: 1. Apply the 3D effect to a clip in the Timeline. 2. Select Tools > Effect Editor. The Effect Editor opens. 3. Play the effect and experiment with changing the parameter values.
Use the default examples either as segment effects or as transition effects. For example: 1. Create a video sequence with two layers. 2. Apply the 3D Page Fold effect to the top layer. 3. Experiment with the parameters. 4. Add additional keyframes and use different values at different keyframes. For more information, see “Working with Keyframes” on page 79.
Resetting Default Parameter Values
To reset the parameters for a category to their default values: t Alt+click (Windows) or Option+click (Macintosh) the Enable button.
Enable button
This operation affects only selected keyframes. n This method works only for 3D effects and AVX plug-in effects.
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Using Effect Templates
Once you create a 3D effect and adjust parameters, you can save the adjustments as a template for later use. This allows you to use the same effect parameters in multiple places in a sequence or in different sequences. • You can drag an effect template and drop it into the Effect Preview monitor or onto the effect segment in the Timeline to apply all the values from the template. • You can drag an effect template and drop it onto an open parameter pane to reset the parameters of the category to those of the first keyframe of the effect template. This allows you to use selected portions of effect templates.
For more information, see “Applying an Effect Template” on page 76.
Zooming In or Out on the Effect Preview Monitor
Because you can move the edges of a 3D effect outside the enclosing frame, the Avid editing application lets you view an outline of the image area at a reduced scale.
To zoom in or out on the Effect Preview monitor:
t In the Effect Editor, use the Enlarge and Reduce buttons.
Manipulating 3D Effects Directly
You can perform a number of operations on an image by clicking buttons in the Effect Editor and dragging handles attached to the image in the Effect Preview monitor. This is similar to the procedures you use to directly manipulate 2D effects; some additional manipulations are possible, however, when working with 3D effects.
For more information on direct manipulation of 2D effects, see “Manipulating Effects Directly” on page 70.
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Manipulating 3D Effect Handles
Various 3D effect handle buttons appear along the right side of the Effect Editor, depending upon the type of 3D effect that you apply to the sequence. The 3D PIP effect displays all the buttons, allowing you the greatest degree of manipulation. You determine the direction and type of manipulation performed in the Effect Preview monitor by selecting one of the image manipulation buttons on the Effect Editor.
For more information on these 3D manipulations, see “3D Effects Parameters” on page 539.
Crop Scale Axis
Z Rotation X Rotation Y Rotation XY Position
To manipulate a 3D effect handle in the Effect Preview monitor: 1. Click one of the image manipulation buttons on the Effect Editor to activate the specific handles. 2. Click the handles, and drag them to manipulate the image. 3. Click the image manipulation button a second time to turn off the handles. The following illustration shows the handles for several image manipulation buttons.
Scale Y Scale X and Y at same time
Scale X
Scale Position Rotation Axis
Rotate around X Axis Rotate around Y Axis Rotate around Z Axis
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Using the Motion Path Editor
You can display the motion path that a moving effect takes (for example, the path for a Picture-in-Picture effect as described in “Manipulating Effects Directly” on page 70). The motion path editor displays the path between keyframes as either a straight line or a smooth curve.
To see the path an image takes on the screen: t Click the Outline/Path button.
Applying 3D Effects: Examples
This section provides two examples of basic 3D effects editing: the first example involves applying a simple 3D Page Curl effect; the second example describes more advanced procedures for customizing a 3D PIP effect.
If you need more information while you are trying to complete the examples shown here, refer to the following sources: • ”Applying Effects” in the Help, for basic information on effects editing. • “Understanding the 3D Effects Interface” on page 227 for information on the 3D interface and moving in 3D space • “3D Effects Reference” on page 539, for reference information on all 3D effects parameters and controls • ”Main Topics: First Edits: Basics” in the Help, for basic information on editing.
In addition to re-creating the examples in this chapter, you can experiment with the default shape effects. Each shape effect has default values for the first and last keyframes. Examples of the default shapes are provided in “3D Effects Reference” on page 539.
Creating a Page Fold Transition
This example uses the Page Fold effect. This effect treats the foreground video channel as though it were a sheet of paper being folded to reveal another page beneath.
The following illustrations show the effect created in this example.
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Outgoing video
Page Fold
Incoming video
To create the Page Fold effect: 1. Create a sequence with two clips: the outgoing video followed by the incoming video. 2. Open the Effect Palette by doing one of the following: t In the Project window, click the Effects tab. t Select Tools > Effect Palette. 3. Click the 3D Effect category, and drag the 3D Page Fold effect to the transition between the two clips. 4. (Option) Adjust the default parameters for the curl by entering Effect mode and adjusting the Curl, Radius, and Angle sliders in the Effect Editor. You can also click in the Transition Effect Duration box in the bottom of the Effect Editor, and type a new duration. n This example assumes that you are creating a transition effect centered on the cut between the incoming and outgoing video. Make sure you leave enough material for the overlapping portions of the transition when you mark the source material. If you receive an Insufficient Source message when you apply an effect to the transition, you did not leave enough source material to create the transition.
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Creating a Cropped Foreground Effect
This example shows how to adjust 3D PIP 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.
Top video track (V2) Bottom video track (V1)
Settings for the 3D PIP effect are saved as a template and then applied to all segments on the top video track for consistency throughout the dissolve sequence.
To create a foreground band of footage: 1. Build the sequence with the background footage on the bottom track and the foreground footage on the top track. In this example, dissolves are added between a series of foreground segments. 2. Apply the 3D PIP effect to one segment of the top video track. 3. Open the Effect Editor, and then click the segment to display the parameters for the 3D PIP effect in the Effect Editor. 4. Make sure both the starting and ending keyframes are selected; then adjust the effect parameters as shown in the following table.
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Parameter Category Parameter Settings
Crop T (top): 600 L (left): –999 B (bottom): –600 R (right): 999
Scaling X: 110 Y: 100
Position Enable the category (leave parameter defaults).
Border Select a dark color for the border. For more information on color selection, see “Adjusting a Color Parameter” on page 68. Width: 40 Soft: 100 n For a different look, use a drop shadow instead of a border.
Leave all other categories deselected. 5. Save the parameters as a template by dragging the effect icon from the Effect Editor to a bin. 6. Apply the template from the bin to the remaining segments on the top track. 7. Render the effects. 8. Click the Play Loop or Play button to preview the effect. The foreground segments play smoothly with the same scale, border, and cropping effect against the background.
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238 Chapter 10 Working with Titles
The Title tool enables you to create titles that incorporate text, graphic objects, imported graphics, and video. This chapter provides advanced information for working with titles, including graphic objects. Throughout this chapter, the term “title” refers to both text and graphics.
For basic information on working with titles, see “Main Topics: Working with Titles: Basics” in the Help.
Your Avid editing application might also include the Marquee® Title tool. You can promote titles created using the Title tool to Marquee titles. Titles promoted to or created in Marquee cannot be edited with the Title tool. For information on Marquee titles and the Marquee Title tool, start with “Using Marquee” in the Help. • Workflow for Titles • Understanding the Title Tool Toolbar • Advanced Title Tool Setup • Advanced Text Formatting • Selecting Line Attributes • Creating Rolling and Crawling Titles • Selecting Colors and Setting Transparency • Adjusting Shadows • Manipulating Objects • Saving and Recalling Title Styles • Creating and Using Title Templates • Exporting a Title as a Graphics File • Workflow for Editing with Titles • Restrictions on Title Playback • Removing Titles • Replacing Titles Chapter 10 Working with Titles
• Fading a Title • Adjusting Title Effect Parameters • Revising a Title in a Sequence • Replacing Fill Tracks • Rendering Titles • Rendering Fast-Saved Titles • Re-creating Title Media • Promoting a 2D Title to 3D • Troubleshooting Wrong Title Format Errors
Workflow for Titles
The following is an overview of the tasks you perform to create a title and incorporate it into a sequence: • Set up the drawing environment. After you open the Title tool, you choose whether to display a color background or a frame of video from your sequence. You can also use safe colors or safe title and action guidelines or apply a grid for the placement of objects. • Create a new title with the Title tool. You create the title by working with text and graphic objects and then applying and adjusting borders, colors, transparency, and shadows. • Save the title, exit the Title tool, and edit the title into your sequence. When you save a new title, you select a target drive and a target bin 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 into your sequence.
These basic procedures are described throughout “Working with Titles: Basics” in the Help, and this chapter.
Understanding the Title Tool Toolbar
At the bottom of the Title tool are tools and pop-up menus you can use for creating and editing text and objects. They work much like similar tools in other draw and paint programs.
For a general introduction to the layout of the Title tool, see “Understanding the Title Tool” in the Help.
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Selection tool Video Placement tool Color and Transparency Shadow tools Blend tools Text tool Drawing tools Text formatting tools
Line attribute Templates Transparency Selection tools button Background Color Selection Selection tools boxes boxes Styles button and Rolling and Crawling Save Style Parameter button Title buttons
The following table briefly describes each section of the toolbar and provides links to more detailed information.
Title Toolbar Elements
Tool Description
Selection tool Changes the pointer to an arrow and allows you to select text or objects for operations. For more information, see Using the Selection and Text Tools in the Help.
Text tool Changes the pointer to an I-beam and allows you to enter text. For more information, see Using the Selection and Text Tools in the Help.
Video Changes the pointer to a hand and allows you to pan around the Placement tool entire video clip within the Title tool.
Drawing tools Allow you to draw boxes, circles, ovals, and lines. For more information, see “Creating Graphic Objects” in the Help.
Styles button Displays (as a tear-off menu) examples of the styles you defined and allows you to select one. For more information, see “Recalling a Title Style” on page 272.
Save Style Displays the Title Style sheet and allows you to modify it and save Parameter the changes. For more information, see “Saving a Title Style” on button page 270.
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Title Toolbar Elements (Continued)
Tool Description
Templates Allows you to create a standard format for text and graphics that you pop-up menu use regularly. The template prevents you from changing the position, colors, shadows, or graphics, which ensures consistency. For more information, see “Creating and Using Title Templates” on page 274.
Line attribute Allow you to change the corners of boxes, line and border thickness, tools and arrowhead styles. For more information, see “Selecting Line Attributes” on page 248.
Background Allow you to switch between a video and opaque background and Selection tools change the color of opaque backgrounds. For more information, see “Selecting a Background for Titles” in the Help.
Text formatting Allow you to set various text attributes such as font, font size, tools kerning, and leading. For more information, see “Basic Text Formatting” in the Help and “Advanced Text Formatting” on page 245.
Color Selection Allow you to change the color of text and objects. For more boxes information, see “Selecting Colors and Setting Transparency” on page 258.
Transparency Allow you to change the transparency levels of text and objects. For Level boxes more information, see “Setting Transparency Levels” on page 262.
Color and Allow you to create a blend between two colors or two transparency Transparency values. For more information, see “Blending Two Colors in an Blend tools Object” on page 259.
Shadow tools Allow you to create drop shadows and depth shadows for text and objects and to preview the degree of softness set for shadows. For more information, see “Adding Shadows to Title Objects” in the Help and “Adjusting Shadows” on page 263.
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Title Toolbar Elements (Continued)
Tool Description
Rolling Title Allows you to create rolling titles. For more information, see button “Creating Rolling and Crawling Titles” on page 251.
Crawling Title Allows you to create crawling titles. For more information, see button “Creating Rolling and Crawling Titles” on page 251.
Advanced Title Tool Setup
This section describes some advanced aspects of the Title tool that you can use to set up your titling or drawing session.
You can make the following basic adjustments: • Turn anti-aliasing for title display on or off. For more information, see “Previewing Titles with Anti-Aliasing” in the Help. • Display Safe Title and Safe Action guidelines. For more information, see “Displaying Safe Title and Safe Action Guidelines” in the Help. • Select a background type for your title. For more information, see “Selecting a Background for Titles” in the Help. n You can set or change these features at any time during your work on a title. These settings are stored with User settings and will appear each time a particular user opens the Title tool.
Installing Fonts
You can apply any font that is installed on your system when creating titles in the Title tool. For more information on installing fonts, see your system documentation.
When installing and using fonts, consider the following: • If you want to apply a special font that is not currently on your system, you must install the font first before creating titles.
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• If you are bringing a project from another system, check to make sure you have installed any fonts used in titles contained in the project. These fonts must match exactly (you cannot use variations of the font in the same font family). If your system does not recognize a font contained in a title, the Font Replacement dialog box opens to enable you to substitute an alternate font. • If you are bringing a project from a system on one platform (Windows or Macintosh) to another on a different platform, you might need to substitute a new font for an existing font in the project. Windows and Macintosh fonts sometimes differ even when they have the same name. If your system does not recognize a font contained in a title, the Font Replacement dialog box opens to enable you to substitute an alternate font. • If you intend to create titles with font sizes of 128 points or larger, use TrueType® fonts. Some non-TrueType fonts cannot display consistently at sizes of 128 points or higher.
Using Safe Colors
If you plan to use your title for television broadcast, you can select the Safe Colors command from the Object menu. This command displays only low saturation colors for use in text, objects, and background. Colors with low saturation look best when combined with video. By default, Safe Colors is on.
To display only safe colors: t Select Object > Safe Colors.
Using the Alignment and Snap Grids
You can display an alignment grid to help you position text and objects. The visible grid is not part of the title, and the Avid editing application does not store it when you save the title.
You can also snap text and objects to the snap grid. The snap grid is an invisible grid that helps position and connect objects. The snap grid has four lines for each line in the visible grid. Each square in the grid is subdivided by four invisible vertical and horizontal grid lines. Text and objects can snap to these lines.
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.
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Bringing the Title Tool to the Foreground
If the Title tool becomes obscured by another window, you can instruct your Avid editing application to redisplay the tool.
To bring the Title tool to the foreground: t Select Windows > Title Tool.
Advanced Text Formatting
The text formatting tools control the appearance of text.
Text formatting tools
This section provides advanced information on the spacing and justification of text.
You can also make more basic formatting adjustments that affect font, font size, and font style. For more information, see “Basic Text Formatting” in the Help.
You can also modify the following attributes, which apply to any title objects, whether text or graphic: •Color For more information, see “Selecting Colors” on page 259 • Transparency For more information, see “Setting Transparency Levels” on page 262 • Drop and depth shadows For more information, see “Adding Shadows to Title Objects” in the Help, and “Adjusting Shadows” on page 263. • Outlines (borders) For more information, see “Selecting a Line or Border Width” on page 249.
While you type text, only the text color is apparent. Shadows, outlines, and other color attributes appear when you finish typing the text and click the Selection tool.
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n If you want to create text elements in the title with different appearances, create a separate text object for each set of attributes.
Adjusting Text Kerning
Kerning improves the appearance of titles by controlling the amount of space between characters. You can expand or condense the character spacing to make text more readable or to create special effects, such as dramatically expanded spacing in a title.
The text kerning controls are located beneath the text justification buttons.
Kerning text box and Kerning selection button
You can kern the text for an entire text object, or you can manually kern individual character pairs or character strings. For example, if you mix italic and plain versions of a font in a title, you might want to adjust the spacing between characters. n You can adjust kerning for individual characters or selected groups of characters using the arrow keys only.
Loose kerning
Normal kerning
Tight kerning
You can use the menu options to select predefined kerning options or specify your own custom kerning value. Positive numbers increase the spacing; negative numbers decrease the spacing. You can also use the arrow keys to make incremental adjustments. n You can select the kerning value before you type text.
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To adjust kerning manually with the arrow keys: 1. Click the Text tool. 2. Click between a character pair, or select a group of characters to be kerned. 3. Press and hold the Alt key (Windows) or Option key (Macintosh), and use the Left Arrow or Right Arrow key to increase or decrease the kerning.
To adjust kerning with the predefined sizes in the menu: 1. Select the text. 2. (Option) Click the Kerning selection button, and select Pair Kerning to eliminate excessive space between some character pairs. Note that pair kerning works only on fonts that support kerning tables (for example, Palatino). 3. Click the Kerning selection button, and select a kerning option: - Loose adds space between letters. - Normal leaves spacing unchanged. - Tight closes up the spacing between letters. The Title tool applies the kerning to the entire text object.
To adjust kerning with the text box, do one of the following: t Click in the Kerning text box, and type a positive or negative numerical value. Values are a percentage of the point size. t Click in the Kerning text box, and use the Up Arrow and Down Arrow keys to change the value incrementally. The Title tool applies the kerning to the entire text object.
Adjusting Leading
Use leading to adjust the line spacing between lines in a title object.
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; 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.
Leading text box
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To set leading: 1. Click in the Leading text box. 2. Type the number of points by which to increase (positive) or decrease (negative) the font’s default leading. The Title tool adjusts leading immediately.
Justifying the Text
Below the Font Selection menu are the buttons for text justification. Text justification controls the alignment of text in an existing text object and also when you type text in a new text object.
Text justification buttons
To justify the text, do one of the following: t Click the left button to left justify the text. t Click the center button to center the text. t Click the right button to right justify the text.
Selecting Line Attributes
Use the line attribute tools to round the corners of a box, select the width of lines and borders, and add arrowheads to line endpoints.
Line attribute tools
If you do not select an object and you select a line attribute, the Avid editing application makes that the default for any new objects that you create.
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Rounding Corners
To round box corners: 1. Select a box. 2. Click the Box Corner button, and do one of the following: t Select a rounding option. t Select the custom radius option (the last item on the menu) to open a dialog box and enter a custom radius. If you select the Custom Radius option, in the dialog box type a whole number (in pixels) to specify a custom corner radius and click OK. The maximum radius is 200.
Custom radius option
Selecting a Line or Border Width
You can use the Border Width tool to change the width of lines created with the drawing tools or to apply a border outline to text or graphic objects.
To select a line or border width: 1. Select an object (such as a line, shape, or text object). 2. Click the Border Width button, and do one of the following: t Select from the standard width selections. t To turn off the border, select the top option on the menu. t To open a dialog box and enter a custom width, select the Custom Width option (the last item on the menu). If you select the Custom Width option, in the dialog box type a whole number (in pixels) to specify a custom width and click OK. Use a width of 1 or greater for lines and 0 or greater for object outlines. The maximum width is 200.
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Turns off border
Custom Width option
If you selected a line for modification, the width of the line changes. If you selected an object for modification, the width of the outline changes.
Text with border
Adding Arrowheads
To add arrowheads to a line: 1. Select a line. 2. Click the Arrowhead button, and do one of the following: t Select an arrowhead style t Select the Edit Arrowhead option as described in the following section.
Removes arrowhead
Edit Arrowhead option
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Changing Arrowhead Size
To change the arrowhead size: 1. Select a line. 2. Click the Arrowhead button, and select Edit Arrowhead. The Arrowhead Size dialog box opens.
Handle
3. Click the handle on the arrowhead, and drag it vertically or horizontally to resize and reshape it. n The shape of the arrowhead is in scale with the line width. 4. Click OK. The line changes to show the arrowhead.
Creating Rolling and Crawling Titles
You can create title text or graphics that roll up the screen or crawl across the screen. You create the title in the Title tool and refine the motion during editing. n Rolling and crawling titles are non-real-time effects. You must render the effect to play it. Rolling titles scroll vertically, moving from bottom to top or top to bottom, as shown in the following example.
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Rolling titles scroll from bottom to top by default.
Crawling titles scroll horizontally, moving from right to left or left to right, as shown in the following example.
Crawling titles scroll from right to left by default.
n You cannot save a rolling or crawling title with a color background even though you can set the Title tool to display a color background while you create a rolling or crawling title. To place a rolling or crawling title over a color background, you must export the background as a PICT file, reimport it (with Ignore Existing Alpha selected in the Import dialog box), edit it into your sequence, and then edit the title onto a new layer above the background graphic.
Page Count Limits in 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.
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Resolution Type Page limit
HD 1080i and 1080p Rolling 29
Crawling 4
HD 720p Rolling 44
Crawling 6
SD NTSC Rolling 67
Crawling 11
SD PAL Rolling 56
Crawling 11
Typing more text, increasing the size of the font, or adjusting kerning and leading all affect the number of pages in the title. • If you reach the end of the page limitation while you are typing text, the object stops getting bigger and text entry stops. • If you attempt to make changes to the text formatting that cause the text to exceed the page limit, a message box opens, stating that the operation will exceed the limit. Click OK to abort the operation and keep the title within the limit.
Using Auto Size Mode for Rolling and Crawling Titles
Auto Size mode causes the Title tool to add or remove pages automatically as you add, delete, or reformat the text. You can disable Auto Size mode, for example, if you want to add extra pages before or after the text to make room for additional title elements.
Auto Size mode is active by default in Rolling and Crawling Title mode.
For more information on adding extra pages with Auto Size mode disabled, see “Working with Pages in Rolling or Crawling Titles” on page 256.
To switch Auto Size mode off or on: t Select Object > Auto Size Mode. A check mark indicates that Auto Size mode is enabled.
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Setting Up Text Formatting for Rolling and Crawling Titles
Before creating a rolling or crawling title, consider setting up the text formatting defaults for such things as font, point size, leading, and kerning. To set up the defaults, see ”Setting Default Text Attributes” in the Help.
When you type the text for a rolling title, lines of text wrap appropriately within the safe title area, and the title scrolls down as you type, providing a realistic sense of positioning, word wrap, and page count limitations.
When you type text for a crawling title, you can use the workflow options suggested in “Workflow Options for Creating Crawling Titles” on page 254 to help control your text.
Workflow Options for Creating Crawling Titles
Unlike rolling titles, which scroll in the direction of the roll as you type the text, crawling titles do not scroll horizontally in the direction of the crawl during typing. When you create crawling text, consider the following workflow options: • Begin typing with a small font size, such as 12 point, to view as much of the text in the window as possible before changing the font size and resizing the text box in a horizontal direction. n To set the font size and point size attributes, see ”Setting Default Text Attributes” in the Help.
• Type the text first as a rolling title. This allows you to view the text as it scrolls down during typing, and also provides you with a scroll bar on the right side of the screen for moving quickly through the text. You can then click the Crawl button in the toolbar to convert the text to a crawling title before resizing, reformatting, and saving the title. • Several options give you control over text and other objects in the Title tool. You can create objects and move or copy them to specific pages, insert pages, and delete pages. For more information, see “Working with Pages in Rolling or Crawling Titles” on page 256.
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Typing the Rolling and Crawling Title Text
To type rolling or crawling title text: 1. Do one of the following: t Select Clip > New Title. t Select Tools > Title Tool. The Title tool opens. 2. Click the Text tool. 3. Do one of the following: t Click the Rolling Title button to activate Rolling Title mode. t Click the Crawling Title button to activate Crawling Title mode.
Crawling Title button
Rolling Title button Page Number text box
The button changes to green, and a Page Number text box opens in the bottom right corner of the Title tool. n You cannot create rolling and crawling titles over a color background, although you can preview them with a color background. For rolling and crawling titles, the Background Selection tools automatically set to Video Background and the Video Background button changes to green.
4. Type the title text. The text wraps automatically as you type. 5. When you are finished, click the Selection tool to select the new text object.
Resizing the Width of Rolling and Crawling Titles n You must resize a crawling title before you save it. To resize a rolling or crawling title: 1. Click the Selection Tool, and click the title object. 2. Click the object selection handle, and drag to resize the title until it appears as you want. 3. (Option) To resize crawling titles, you can select Object > Make Crawl instead of dragging the title to resize it.
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n You can resize only the width of a text object. The height of a text object is automatically determined by the amount of text.
Scrolling Through a Rolling or 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 title, and at the bottom for moving horizontally through a crawling title.
To scroll through a rolling or crawling title, do one or more of the following: t Use standard techniques for scrolling, such as clicking the arrow icons, dragging the scroll box, or clicking in the scroll bar. t Press the Home or End key to go to the beginning or end of the title. t (Rolling titles only) Press the Page Up or Page Down key on the keyboard to move through the title one page at a time. t (Rolling titles only) Press the Up Arrow or Down Arrow key to move the pointer through the title one line at a time.
Working with Pages in Rolling or Crawling Titles
When you first create a rolling or crawling title, a page number text box appears in the lower right corner of the Title tool. The page number text box reflects your current position in the title.
You can go to a specific page, add and delete pages, insert blank pages, and copy or move material to a page.
Page Number text box
To go to a different page: 1. Click in the Page Number text box. 2. Type a page number for a specific page, or use the Up Arrow and Down Arrow keys to cycle through the page numbers. 3. Press Enter (Windows) or Return (Macintosh). The selected page opens.
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To add pages: 1. If Auto Size Mode is on (a check mark appears next to Auto Size Mode on the Object menu), turn it off by selecting Object > Auto Size Mode. n The Add Page command is not available when Auto Size mode is on. 2. Select Object > Add Page to add a page. You can select Add Page repeatedly to continue adding pages up to the maximum page count. n For more information on maximum page counts, see “Page Count Limits in Rolling and Crawling Titles” on page 252.
3. Select text or graphic objects within the title and position them within the range of available pages, or create new elements.
To insert a blank page into a rolling or crawling title: 1. Select Object > Insert Page. The Insert Page dialog box opens. 2. Type a page number, and then click OK. A blank page is inserted and all objects after that page are moved by one page. n A page is inserted only if the left boundary of an object appears on the page whose number you typed. For example, you cannot insert a page in the middle of a long crawling title. n You cannot use the Insert Page command to add a blank page to the end of a roll or crawl. To delete empty pages from a rolling or crawling title: 1. Select Object > Remove Page. The Remove Page dialog box opens. 2. Type the page number of the page you want to remove, and then click OK. If the page is empty, the page is removed and all pages after the removed page are moved by one page. n If you select Auto Size Mode from the Object menu, the Title tool removes excess pages at the end of the title.
To copy or move an object to a title page: 1. Create a text block or any other title object. 2. Select the object.
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3. Select Object > Copy to Page or Object > Move to Page. The Copy to Page or Move to Page dialog box opens. 4. Type a page number, and then click OK. The object is copied or moved, and the Title tool automatically adds pages if necessary.
Formatting Rolling and Crawling Titles
You can modify the text attributes of a rolling or crawling title with the same methods used to format still text elements: • For information on adjusting font, point size, style, justification, kerning, and leading, see “Basic Text Formatting” in the Help and “Advanced Text Formatting” on page 245. • To create outlines surrounding the text, see “Selecting a Line or Border Width” on page 249. • For information on adjusting color and transparency, see “Selecting Colors and Setting Transparency” on page 258. • To add a drop or depth shadow, see “Adding Shadows to Title Objects” in the Help.
Selecting Colors and Setting Transparency
You can select the color and transparency for text and graphic objects, their shadows and borders.
The color and transparency boxes are organized in three columns to the right of the center of the Title tool toolbar.
The following illustration shows the boxes associated with color and transparency.
Color and Transparency Blend tools
Color Selection boxes Transparency Level boxes
• The Color Selection boxes (first column) control fill (Fill), shadow (Shad), and border (Bord) color, respectively. • The Transparency Level boxes (second column) control fill, shadow, and border transparency, respectively.
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• The Color and Transparency Blend tools appear in the third column when you select a Fill or Border Color Selection box or Transparency Level box.
If you select a Color Selection box, the top boxes show the two colors that are used to create the blend. The bottom box shows the blended color and allows you to control the direction of the blend or transparency.
If you select a Transparency Level box, the top boxes show the two transparency values that are used to create the blend. The bottom box allows you to control the direction of the transparency blend.
Selecting Colors
You can select a color to fill text or a graphic object, a color for the shadow of an object, or a color for the border of an object.
To select a color: 1. Click the Selection tool, and click a text or graphic object. If you do not select an object, the color will be applied to the next object you create. 2. Click and hold one of the Color Selection boxes in the toolbar: - Fill (Fill) applies the color to the selected object. - Shadow (Shad) applies the color to the selected object’s shadow. - Border (Bord) applies the color to the selected object’s outline or border. The Title Tool Color Picker opens. 3. Select a color using one of the controls in the Title Tool Color Picker. For more information, see “Using the Title Tool Color Picker” on page 261.
Blending Two Colors in an Object
The Title tool lets you blend two colors in a text or graphic object or in a border. You can also specify the direction of the blend. n You can blend the fill and border, but you cannot blend a shadow. To blend two colors: 1. Select text or another object. 2. Click the Color Selection box for either fill or border. The Color Blend Selection boxes appear.
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Color Blend Selection boxes
Color Selection boxes Blend Direction box
3. Click and hold one of the Color Blend Selection boxes. The Title Tool Color Picker opens. 4. Select a color using one of the controls in the Title Tool Color Picker. For more information, see “Using the Title Tool Color Picker” on page 261. The Blend Direction box opens. This box displays the blend and allows you to specify the direction of the blend (for example, left to right). 5. Click the other Color Blend Selection box, and select the second color for your blend.
Color blend tools apply a gradient blend to the selected object.
6. Click the Blend Direction box, and drag clockwise or counterclockwise to define the blend direction that you want. As you rotate the pointer, the position of the two colors rotates. Release the mouse button to apply the blend to your selection.
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Using the Title Tool Color Picker
The Title Tool Color Picker opens when you click one of the Color Selection boxes or Color Blend Selection boxes. You can select a color using controls in the Title Tool Color Picker or you can use it to access a color selection eyedropper or the Windows Color dialog box or Macintosh Colors panel. n You can drag the Color Picker from the toolbar to create a floating palette.
Grayscale selection bar Color selection bar
Eyedropper New Color window
Original Color window
Click to open the Macintosh Colors panel or Shade selection palette the Windows Color dialog box.
To select from the Title Tool Color Picker: 1. Drag the pointer along the color selection bar to the color you want. To select a grayscale value, click in the grayscale selection bar, located to the left of the eyedropper. 2. While continuing to press and hold the mouse button, move the pointer down into the shade selection palette to select a shade. 3. Release the mouse button to apply the color.
To use the eyedropper: 1. Drag the pointer to the eyedropper icon, and release the mouse button. The pointer changes to the eyedropper. 2. Move the eyedropper to the color you want anywhere in the window, and then click the mouse button to apply the color to the selected object.
To use the Windows Color dialog box or Macintosh Colors panel: t Drag the pointer to the round button icon under the eyedropper, and release the mouse button. The Windows Color dialog box or Macintosh Colors panel opens. For more information, see “Using the Windows Color Dialog Box” on page 68 and “Using the Macintosh Colors Panel” on page 70.
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Setting Transparency Levels
After you select a color, you can set the color transparency level.
To select the color transparency: 1. Click and hold the appropriate Transparency Level box, depending on whether the transparency will apply to the fill color of an object (Fill) or will adjust a shadow (Shad) or border (Bord) around the selected object. 2. In the pop-up control that appears, drag the slider to change the transparency value. The number in the Transparency Value box updates as you drag. Values range from 0 (fully opaque) to 100 (fully transparent). The Transparency Level box and the pop-up control both display the text “Hi” with a background that changes from black to white. This allows you to see the effect of your transparency adjustments as you work. A completely white background represents a fully transparent object or portion of an object. The following illustration shows an example.
Transparency Level boxes Blend Direction box Transparency Blend Selection boxes Transparency Value box
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 0 in the Shadow Depth text box and the softness value to 0 in the Soft Shadow dialog box, as described in “Adjusting Shadows” on page 263.
Blending Transparency
You can blend the transparency of fills and borders using a technique similar to blending colors. Use the Transparency Blend Selection boxes to set the blend values. Use the Blend Direction box to set the direction of the blend.
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Transparency blend tools apply a gradient transparency to the selected object.
n For more information on creating a blend, see “Blending Two Colors in an Object” on page 259.
Adjusting Shadows
You can add drop shadows or depth shadows to text and objects using the procedure described in “Adding Shadows to Title Objects” in the Help.
Once you have a shadow applied, you can adjust the color, transparency level, or softeness of the shadow. You can also create a glow effect around text or objects using the shadow tools.
Adjusting Shadow Color and Transparency
You can adjust the color and transparency properties of a shadow using the procedures described in “Selecting Colors and Setting Transparency” on page 258.
Setting Shadow Softness
You can set a value for the degree of softening or blurring that applies to the shadows you create in the Title tool. The value that you set applies immediately to any selected title. The Title tool saves the value as the new default setting and applies it to any new title objects you create. To change the degree of softening that applies to objects in the Title tool, you must set a new value.
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The following illustration shows a title shadow with a Shadow Softness setting of 15.
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 fall between 4 and 40. The higher the value, the more blurred the shadows will be. If you set the value to zero, shadows on title objects will have no softening (hard edges). 3. Click OK to close the Soft Shadow dialog box.
Adjusting Shadow Softness On-the-Fly
You can adjust the shadow softness value of a title object on-the-fly either by entering different values in the Soft Shadow dialog box or by using the Up Arrow and Down Arrow keys.
To adjust shadow softness on-the-fly using the Soft Shadow dialog box: 1. Select one or more objects in the Title tool. 2. Select Object > Soften Shadow. 3. Type a number in the Shadow Softness text box to represent a degree of softening. 4. Click Apply. The Title tool applies the softness value to the selected title object. 5. Repeat steps 3 and 4 until you are satisfied with the effect. 6. Click OK.
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To adjust shadow softness on-the-fly using the Up Arrow and Down Arrow keys: 1. Select one or more objects in the Title tool. 2. While pressing and holding the Shift and Alt keys (Windows) or Shift and Option keys (Macintosh), press the Up Arrow and Down Arrow keys to adjust the softness value incrementally until you are satisfied with the effect. Each press of the Up Arrow key adds 1 to the shadow softness value. Each press of the Down Arrow key subtracts 1 from the shadow softness value.
Viewing Shadow Softness
The current degree of softness is always represented visually on the shadow display of the Shadow Depth and Direction button. The following illustration shows this representation for a Shadow Softness setting of 10.
To confirm the numerical value you have currently set for shadow softness: t Select Object > Soften Shadow, and check the number in the text box.
Creating a Glow Effect
You can use the shadow tools to create a glow or halo effect around a title object.
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.
265 Chapter 10 Working with Titles Manipulating Objects
This section describes how to manipulate objects after you have created them. For a description of how to select objects, see “Using the Selection and Text Tools” in the Help.
Basic Manipulation Operations
You can use commands from the Edit menu to manipulate objects.
To perform basic operations: 1. Click the Selection tool, and click an object. 2. Do one of the following: t Select Edit > Cut to cut an object and move it to the Clipboard. t Select Edit > Copy to copy an object to the Clipboard. t Select Edit > Paste to paste an object from the Clipboard. t Select Edit > Select All to select all objects. t Select Edit > Delete to delete selected objects. n You cannot delete locked objects. Unlock objects you want to delete. t Select Edit > Duplicate to duplicate an object.
Layering Text and Objects
You can use the following commands on the upper portion of the Object menu to layer text and objects to create complex graphics: • Bring To Front • Send To Back • Bring Forward • Send Backward
The last object created occupies the top layer, but you can move objects forward or backward within the screen area.
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To adjust the layering of objects in a title: 1. Click the Selection tool, and click an object. 2. Select one of the following commands: t Object > Bring to Front to bring an object to the top layer. t Object > Send to Back to send an object to the bottom layer. t Object > Bring Forward to move an object forward one layer. t Object > Send Backward to move an object back one layer.
Grouping and Ungrouping Objects
After creating a number of text and graphic objects, you can use commands on the Object menu to group the objects and treat them as a single object.
Combining the objects into a group means that actions, such as moving or applying color, affect all objects in the group.
To group objects: 1. Click the Selection tool, and Shift+click multiple objects. 2. Select Object > Group. The selected objects are grouped together. Changes to any individual object in the group affect all objects in the group.
To ungroup objects: 1. Click the Selection tool, and click a grouped object. 2. Select Object > UnGroup. Everything in the group becomes an individual object that you can move or change separately.
Locking and Unlocking Objects
You can lock objects using commands on the Object menu so that changes to default settings, such as the font setting or object position, do not affect the locked objects.
You might also want to lock objects so that you do not inadvertently change them while working on other objects. You can lock an individual object or multiple objects.
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To lock objects: 1. Click the Selection tool, and click an object. 2. Select Object > Lock. The Title tool locks the object, and you cannot change it until you unlock it. When you select a locked object, hollow selection handles indicate that it is locked.
Locked object with hollow selection handles
To unlock objects: 1. Click the Selection tool, and click a locked object. 2. Select Object > Unlock. The Title tool unlocks the object, and you can change it.
Aligning Objects
You can use the Alignment menu commands to align text and objects to each other and to the frame. Aligning to the frame refers to the safe title area. For information about the safe title area, see “Displaying Safe Title and Safe Action Guidelines” in the Help.
To align objects to the frame: 1. Click the Selection tool, and click an object or Shift+click multiple objects. 2. Select a frame alignment direction from the upper portion of the Alignment menu: - Align To Frame Left - Align To Frame Right - Align To Frame Top - Align To Frame Bottom (Shift+Ctrl+Z) - Center In Frame Horiz. (Shift+Ctrl+C) - Center In Frame Vert. The Title tool aligns the objects within the safe title area.
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To align objects to each other: 1. Click the Selection tool, and Shift+click or lasso multiple objects. 2. From the Alignment menu, select an object alignment direction: -Align Objects Left -Align Objects Right -Align Objects Top - Align Objects Bottom n For information on aligning objects to a grid, see “Using the Alignment and Snap Grids” on page 244.
Distributing Objects
You can use Alignment menu commands to distribute text and graphic objects evenly.
To distribute objects: 1. Click the Selection tool, and Shift+click at least three objects. 2. From the Alignment menu, select a distribute command: t Select Distribute Left to Right to distribute the objects evenly from left to right. t Select Distribute Top to Bottom to distribute the objects evenly from top to bottom . t Select Distribute First to Last to distribute the objects evenly between the position of the first object selected and the position of the last object selected. This option is especially useful for aligning objects diagonally or for roughly positioning a group of objects and then lining them up without spreading them out to the edges of the safe title area.
269 Chapter 10 Working with Titles Saving and Recalling Title Styles
As you begin to work with a title, you can set up some basic title parameters you will use again for other titles. You can then save these parameters in the form of a title style.
You can save the following parameters as part of a title style. • Font, style, size, justification, kerning, and leading • Fill color and transparency • Shadow color, transparency, depth, direction, softness, and type • Border color, transparency, and width
You can also assign a title style to one of the function keys on your keyboard. You can then recall that style simply by pressing the appropriate function key.
Title styles save only the parameters that control the appearance of text or graphic objects in the Title tool. If you want to save the entire contents and layout of a title, including specific title objects themselves, use a title template. For more information, see “Creating and Using Title Templates” on page 274.
The following illustration shows the location of the two buttons that allow you to select and define title styles.
Styles button Save Style Parameter button
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 allows you to select either an existing title style name or Save As.
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3. Select Save As. The Title Style Sheet dialog box opens. The following illustration shows an example.
Name text box
4. Select the parameters that you want to include in the style. The Title tool uses the values from the currently selected object or from the current defaults if no object is selected. For more information, see “Title Style Sheet Options” on page 272. 5. (Option) Type a function key number in the Function Key text box to assign the style to a function key. For example, typing 5 assigns the style to the F5 function key. 6. Type a name in the Name text box, and click Done when you are ready to exit the dialog box and save the values.
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Title Style Sheet Options
The Title Style Sheet dialog box allows you to create templates for the Title tool. Style sheets allow you to 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.
Title Style Sheet Dialog Box Components
Component Description
Check boxes Select the current attributes of the object that you want to include in the style. You can modify the attributes that are associated with a saved title. Use the check boxes to specify the attributes to save.
Function Key text box (Option) Allows you to designate a function key that you can use to apply the title style.
Style Name text box This name appears in the Style list in the Title tool and in the Settings scroll list.
Refresh button Appears after you change an item in the dialog box. Click to display the change in the sample window.
Select All button Allow you to select all or none of the check boxes. Select None button
Revert button Returns the settings to those used when the style was last saved.
Done button Closes the dialog box and saves your changes.
Convert to Marquee Converts your title style to Marquee format. See the Avid Marquee Title Tool User’s button Guide or the Avid Marquee Title Tool Help.
Close button Acts as a Cancel button. A message box opens, asking whether you want to cancel or save your changes. If you created a new style from within the Title tool, clicking Cancel means that the Title tool will not create the new style.
Recalling a Title Style
After you have saved your title style, you can recall the style and use the attributes as the defaults in subsequent Title tool sessions. You can recall a title style using the Title Styles tear-off menu or, if you have assigned the style to a function key, by pressing the appropriate key.
272 Saving and Recalling Title Styles
To recall title style attributes using the Title Styles tear-off menu: 1. Click the Styles button to display the Title Styles tear-off menu.
Arrows on the right and left allow you to scroll back and forth.
The menu contains a scaled visual representation of each style. 2. Drag the pointer to the selected style, and release the mouse button. The style attributes appear in the Title tool toolbar and the Project window Settings list.
To recall a title style attribute using a function key: t Press the appropriate function key. The style attributes appear in the Title tool toolbar.
Confirming Function Key Mapping of Title Styles
To verify which function key is assigned to a particular title style, do one of the following: t Open the Title Style Sheet dialog box for the style from the Settings list in the Project window, and then check the function key number in the Function Key text box. t In the Title tool, click the Styles button to display the Title Styles tear-off menu, drag it to another location, and then position the pointer over the style. The ToolTip that appears indicates the function key assignment along with the name of the style.
Applying Title Styles to Text Objects
To apply a title style directly to text objects: 1. Click the Selection tool, and click 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.
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Managing Title Styles
The Avid editing application lists the available title styles in the Project window.
To manage title styles in the Project window: 1. In the Project window, click the Settings tab. The Settings list opens.
Sample title styles
2. Delete, duplicate, or rename styles as follows: t To delete a style, select the style in the Project window and press the Delete key or select Edit > Delete. t To copy a style, select the style in the Project window and select Edit > Duplicate. t To rename a style, either change the name in the Project window or perform a Save As operation as described in “Saving a Title Style” on page 270 and change the name in the Style Sheet text box.
Creating and Using Title Templates
Title templates let you create a standard format for text and graphics that you use regularly. After you have 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. n You can use the Moveable Templates option in the Templates pop-up menu to change the position of a template.
You can also use title styles to save and recall only the parameters that control the appearance of title objects. For more information, see “Saving and Recalling Title Styles” on page 270.
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Creating Title Templates
To create a title template: 1. Do one of the following: t Select Clip > New Title. t Select Tools > Title Tool. The Title tool opens. 2. In the Title tool, create the text and graphic elements to include in the template. 3. Click the Templates button, and select Save Template. The Save Template As dialog box opens. 4. Type a name for the template. 5. Click Save. The default folder is the Title_Templates folder, but you can save it elsewhere if you prefer. 6. Close the Title tool, and click Don’t Save in the dialog box.
Using Title Templates
To use a title template: 1. Do one of the following: t Select Clip > New Title. t Select Tools > Title Tool. The Title tool opens. 2. Click the Templates button, and select Include Template. The Open dialog box opens. 3. Select the template you want to use, and click Open. The Title template opens. 4. Make any edits you want to the text. 5. (Optional) If you want to change the position of a template, click the Templates pop-up menu, and select Moveable Templates. Then click the Arrow button and move the template within the Title Tool.
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6. Close the Title tool, and click Save in the dialog box. The Save Title dialog box opens. 7. Type a name for your title, and click Save. The named title appears in the bin you specify. Now you can edit the title into the sequence. For more information, see “Editing with Titles” in the Help.
Exporting a Title as a Graphics File
You can export a title as a PICT graphics file.
For more information on exporting from your Avid editing application, start with “Main Topics: Exporting and Exchanging Material: Basics” in the Help.
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. Navigate to the location where you want to export the file. 3. Type a name for the file in the “File name” text box (Windows) or the Export Pict As text box (Macintosh), and click Save. The Avid editing application saves the title.
Workflow for Editing with Titles
The following is an overview of the tasks you perform to edit a title in a sequence: • Edit the title into the sequence. You can load a title into the Source monitor or drag the Title Effect icon from the bin to a segment in the Timeline. For more information, see “Editing a Title into a Sequence” in the Help. • Adjust the title’s parameters. With a title edited into a sequence, you can use the Effect Editor to alter the appearance or position of the title. You can also open the title again in the Title tool at any time to revise the title elements. For more information, see “Adjusting Title Effect Parameters” on page 279. • Revise the title. After editing the title and adjusting parameters, you can revise elements of the title in the Title tool or replace fill tracks to create various effects. For more information, see “Revising a Title in a Bin” in the Help, “Revising a Title in a Sequence” on page 280, and “Replacing Fill Tracks” on page 282.
276 Restrictions on Title Playback Restrictions on Title Playback
Depending on the complexity of the title and the video over which you key it, not all titles can be played in real time.
When you attempt to play too complex a title, the following conditions might occur: • Background video might jitter. • Title might flash. • Title might display a gray slide. • Video might shift left or right. • Video might display a gray slide. • Video underrun error might occur. • Audio underrun error might occur.
If you encounter any of these conditions, try one or both of the following: • Render the title or underlying effects. For more information, start with “Basics of Effects Rendering” in the Help. • Simplify the title by removing text or drop shadows or by selecting different colors.
Removing Titles
When you have edited a title into a sequence, you can remove the entire title segment, or you can remove the title alone, leaving the alpha channel media file in place.
To remove a title segment: 1. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline. 2. Select the title segment, and press the Delete key once to delete the title. 3. Select the title segment again, and press the Delete key to delete its alpha channel media file.
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To remove only the title: 1. Click the Record Track button in the Track Selector panel for the track on which the title appears. 2. Move the position indicator to the title in the Timeline. 3. In the Tool palette, click the Remove Effect button. The Avid editing application removes the title from the segment. The alpha channel media file remains. n The title remains in the bin. To remove the title from the bin, click the Title Effect icon for the clip in the bin and press the Delete key.
Replacing Titles
You can quickly replace one title segment in a sequence with another title from the bin.
To replace a title in a sequence: 1. Click the Lift/Overwrite Segment Mode button below the Timeline. 2. Click the title segment currently in the sequence to select it. 3. Click the Mark Clip button to mark an IN point at the beginning of the title segment and an OUT point at the end of the segment. 4. Drag the new title clip from the bin to the marked segment. The new title replaces the old title.
Fading a Title
You can use the Fade Effect button to fade a title. A dialog box opens that allows you to 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 change the keyframes in the Effect Editor. For more information, see “Using the Fade Effect Button” in the Help.
278 Adjusting Title Effect Parameters Adjusting Title Effect Parameters
After editing a title into a sequence, you can open the Effect Editor and refine the title with keyframe control over effect parameters.
To display the effect parameters for a title: 1. Select Tools > Effect Editor. The Effect Editor opens. 2. Click the title segment in the sequence to select it. The Effect Editor displays the parameter controls.
Other Options button Title Effect icon
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You can do the following when you work with Title effect parameters: • Adjust Title effect parameters using basic techniques described in “Using the Effect Editor” on page 60. • Use multiple keyframes to gradually change keyframeable parameters over time. For more information, see “Working with Keyframes” on page 79. • Save effect templates of Title effect parameter adjustments to a bin for use in other sequences or projects as described in “Using Effect Templates” on page 74. n For information on specific Title effect parameters, see “2D Effects Reference” on page 313. Revising a Title in a Sequence
If you want to revise a title after you have edited it into a sequence and have adjusted parameters with the Effect Editor, you can reopen the title in the Title tool directly from the sequence. c If you have already edited a title into a sequence or have made adjustments to the effect parameters for that title, you must revise the title in the sequence (not the title clip in the bin).
To change a title in a sequence: 1. Select Tools > Effect Editor. The Effect Editor opens. 2. Click the title segment in the sequence to select it. 3. In the Effect Editor, click the Other Options button. A dialog box opens, asking if you want to promote the title to Marquee. n Titles promoted to or created in Marquee cannot be edited with the Title tool. For information on Marquee titles and the Marquee Title tool, see the Avid Marquee Title Tool User’s Guide or the Marquee Title Tool Help.
4. Click No. The Title tool opens. 5. Revise the title, using techniques described in “Main Topics: Working with Titles: Basics” in the Help and elsewhere in this chapter.
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6. Save the title, using one of the following options: t Save Title: To save the title with the same name (numbered incrementally) and media parameters (bin and drive): a. Select File > Save Title. A message box opens. b. Click Save. The Title tool closes, and the revised title clip replaces the previous clip in the sequence. The new clip also appears in the bin and the Source monitor, with the name of the previous clip plus a two-digit extension that adds incremental numbering for each revised title. The previous title clip remains unchanged in the bin. t Save Title as: To rename the title or change any of the media parameters (bin and drive): a. Select File > Save Title as. A message box opens. b. Click Save. The Save Title dialog box opens.
c. Rename the title, or select other options from the Bin and Drive pop-up menus. d. Click Save to save the title and exit the Title tool. The Title tool closes, and the revised title clip replaces the previous clip in the sequence. The new clip also appears in the bin and the Source monitor with the new name. The previous title clip remains unchanged in the bin. n You cannot select Fast Save when revising a title in a sequence.
281 Chapter 10 Working with Titles Replacing Fill Tracks
You can replace the fill track of titles with video or graphics. The video or graphic effect then appears inside the title itself, keyed over the background.
To replace the fill track: 1. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline, and then double-click the title segment to step into the effect.
Fill track
2. Load the video you want to use as replacement filler into the Source monitor.
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3. Drag the Source Track button to the Record Track button in the Track Selector panel to patch the new source video to the title fill track.
Source Track button Record Track button for fill track
4. Using standard editing methods, edit the video from the Source monitor onto the fill track.
Fill track replaced with video
Rendering Titles If you play a complex layered effect and encounter a message about audio or video underrun, you need to render any included titles. For more information on rendering Title effects, start with “Basics of Effects Rendering” in the Help.
283 Chapter 10 Working with Titles Rendering Fast-Saved Titles
When you save titles, you have the option of using the Fast Save option. If you use this option, you must render your fast-saved titles at a later point in your workflow. For morei nformation on using Fast Save for titles, see “Using the Fast Save Option” in the Help.
To render fast-saved titles: 1. Open the bin containing the unrendered fast-saved titles. 2. Select Bin > Select Unrendered Titles to select only the unrendered titles, or press Ctrl+A (Windows) or k+A (Macintosh) to select all items in the bin. 3. Select Clip > Create Unrendered Title Media to create media for the unrendered Title effects only. (The Avid editing application ignores any clips in the selection that do not need rendering.) The Create Unrendered Title Media dialog box opens. 4. Click the Drive button, and select a drive on which to store the title media. 5. Click OK. After generating the title media, the Avid editing application deletes the unrendered versions from the bin and replaces them with the newly rendered titles.
Re-creating Title Media
You can use the Re-create Title Media command to regenerate offline media. c The Re-create Title Media command removes any nested edits made inside a title, replacing the edits with the new title’s graphic and alpha tracks.
To re-create title media: 1. Load the sequence containing the titles into the Composer monitor. 2. Mark the IN and OUT points in the sequence surrounding all the titles that you want to re-create. 3. Select the tracks where the title or titles are located.
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4. Select Clip > Re-create Title Media. The Re-create Title Media dialog box opens.
n If you are re-creating title media that uses fonts not recognized by your system, a dialog box opens that allows you to substitute the font in the title for one that is installed on your system. This might happen when you transfer titles between systems, especially when moving between Macintosh-based and Windows-based systems.
5. Select a drive for the re-created title media. n The default drive is defined in the Titles tab of the Media Creation dialog box. For more information, see “Media Creation Settings” in the Help.
6. Click OK to continue regenerating the title media files. The title media file is regenerated, and a precompute master clip appears in the bin.
Promoting a 2D Title to 3D
If your Avid editing application is equipped with 3D effect capabilities, you can promote a title to 3D to create additional effects with the title. Titles promoted to 3D are no longer DSK but remain real-time effects.
For more information, see “Promoting 2D Effects to 3D Effects” on page 225.
285 Chapter 10 Working with Titles Troubleshooting Wrong Title Format Errors
If you see an image in a monitor that says Wrong Format, it means that the resolution of the title is not compatible with the resolution of the video clips used in the sequence. You will have to determine the resolution of the video clip. Then, you must 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. The Set Bin Display dialog box opens. 3. Select “Show reference clips.” The master clips used in the sequence appear in the bin. 4. Check the resolution for any of the master clips in the Video column when viewing the bin in Text view.
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PlasmaWipe effects are real-time plug-in effects that 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. • Understanding PlasmaWipe Effects • PlasmaWipe Folder Structure • Using PlasmaWipe Effects • Creating PlasmaWipe Effects • Using PlasmaWipe Frame and Border Effects • Using PlasmaWipes with HD Projects
Understanding PlasmaWipe Effects
While one of the PlasmaWipe effects plays, the system maintains a value called a threshold point and changes the value gradually from black to white. All gray tones in the gradient image that are lighter than the threshold point are replaced by outgoing video. All gray tones in the image that are darker than the threshold point are replaced by incoming video. As the threshold point gets closer to white, more of the incoming video appears. The result is a smooth, custom wipe.
The following illustration shows the black and white gradient image used by the Horiz Twirl PlasmaWipe effect and the resulting effect, with softness applied. This effect gives the impression of a curling spiral that reveals the image underneath. Chapter 11 Working with PlasmaWipe Effects
Outgoing footage Image used by Horiz Twirl effect Incoming footage
Three sample frames using the Horiz Twirl effect as a transition effect.
PlasmaWipe Folder Structure
The installation program 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: • (Windows) drive:\Program Files\Avid\Avid editing application\ SupportingFiles\PlasmaWipes • (Macintosh) Macintosh HD/Applications/Avid editing applicaton/ Supporting Files/PlasmaWipes c (Macintosh only) If you create additional folders for your custom PlasmaWipe effects, back them up before you run the PlasmaWipes installer to replace or update the PlasmaWipes folder. The installer deletes and replaces the entire PlasmaWipes folder.
There are parallel folders for NTSC (720x486) and PAL (720x576) resolutions. When you create your own PlasmaWipe effects you create two versions of each effect, one for each resolution.
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The following illustration shows the default PlasmaWipes folder structure.
Using PlasmaWipe Effects
PlasmaWipe effects are two-stream, real-time effects that you can use as either transition effects or segment effects. As transition effects, PlasmaWipe effects allow you to create custom wipes. As segment effects, you can use PlasmaWipe effects as static wipes. For example, you could design a PlasmaWipe effect that gives the impression of fog on the top and bottom of the video image or a custom border for an effect similar to a picture-in-picture effect. n For information on the effects in the Border category, see “Using PlasmaWipe Frame and Border Effects” on page 303. n Although PlasmaWipe effects are real-time, they are processor-intensive effects and might require rendering if you combine them with other effects or multiple video streams.
To use a PlasmaWipe effect: 1. Apply the PlasmaWipe effect to a transition or segment. 2. Click the Effect mode button. 3. Adjust the parameters and add keyframes (as necessary) in the Effect Editor.
The Level value corresponds to the black and white threshold. As you increase the value, the threshold moves closer to white and reveals more incoming video. The following illustration shows how the threshold point changes as the effect plays.
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Outgoing footage Image used by Horiz Twirl effect Incoming footage
Changes in the Level (threshold) value and corresponding changes in the gradient image.
Corresponding changes in the image.
Creating PlasmaWipe Effects
This section describes three approaches that you can use to create an image for a PlasmaWipe effect: • Create a black and white gradient image in a graphics tool such as Adobe Photoshop. • Modify an existing image to create a black and white gradient image. • Create a wipe by drawing a wide brush stroke that changes smoothly from black to white. You can use the Pencil tool in Photoshop to create this type of image. n The images in the PlasmaWipes folders are raw Photoshop images. You can open the images in Photoshop to get some ideas for new effects.
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The following sections describe how to create the gradient images used for PlasmaWipe effects and the folder structure that you must use to ensure that the Avid editing application recognizes your new effects. n This document describes how to create gradient images using Adobe Photoshop. However, you can use any graphic tool, such as Corel® Paint Shop Pro®, that allows you to create black and white gradient images and save the image as a raw image file (with a .raw extension). n For information on the effects in the Border category, see “Using PlasmaWipe Frame and Border Effects” on page 303.
Creating PAL and NTSC Versions of the Image
Because PAL and NTSC require different resolutions for graphic images you must create two versions of your image as follows: • A 720x576 pixel image for PAL • A 720x486 pixel image for NTSC
It is better to start with a 720x576 image because it is the highest resolution.
Creating a PlasmaWipe from a Custom Image
This sample procedure uses Adobe Photoshop, but you can use any graphic tool that creates black and white gradient images and allows you to save an image as a raw image file.
To create a gradient image using Adobe Photoshop: 1. Create a new file with the following characteristics: - Image size: 720 pixels (width) by 576 pixels (height) - Resolution: 72 pixels/inch (you can use any resolution) - Mode: Grayscale 2. Create a black and white graphic. For example, use the Gradient tool to create a basic pattern with the following settings: - Foreground: black - Background: white - Opacity: 100%
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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.
Gradient image Distortion Swirl applied Distortion Ripple applied
4. (Option) Perform image operations to create different effects. For example, you can copy different gradient images to separate layers and experiment with blending the layers. n For information on blending layers, see your Photoshop documentation. 5. Save the image as a raw image file as described in “Saving the Image for PAL and NTSC” on page 299.
Creating a Wipe Using the Photoshop Pencil Tool
This procedure describes how to create a gradient image similar to the images in the PlasmaWipes/Avid/Paint folder. The wipe effect simulates uncovering the incoming video by wiping away the outgoing video with a brush or cloth. The darkest part of the image is wiped away first. The following illustration shows two examples.
Image used by Paint Strokes 1 Image used by Paint Strokes 4
This sample procedure uses Adobe Photoshop to create the gradient image.
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To create a gradient image using the Pencil tool: 1. Select the lower color selection box in the Adobe Photoshop toolbox and change the background to black. 2. Select the upper color selection box and change the foreground color to white. 3. Create a new file with the following characteristics: - Image size: 720 pixels (width) by 576 pixels (width) - Resolution: 72 pixels/inch (you can use any resolution) - Mode: Grayscale - Contents: Background color 4. Select the Pencil tool. The pencil tool is useful for this method because it creates hard edges. 5. Click Other Dynamics in the Brushes palette. 6. In the Opacity Jitter parameter area, click the Control menu and select Fade. 7. 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. n For Photoshop 6.0, select Color > Fade in the Brush Dynamics dialog box. 8. Click Brush Presets, and select a wide pencil shape, for example 100 pixels or higher. You can also create a custom brush. For example, in Photoshop 7.0 you can create a brush that rotates and changes size as you draw. 9. Close the Brushes palette. 10. Set Opacity to 100%. 11. Start anywhere in the image and draw back and forth across the image, covering the entire image from top to bottom. This should create a wide pencil mark that changes the color from white to black. Draw the line as if you are painting the wipe backwards from white to black. When the wipe plays, the darkest parts of the image are replaced by incoming video first. For example, to create an effect similar to Paint Strokes 4, start drawing in the upper left corner and draw concentric rectangles until you reach the center. This wipe starts in the center and spreads out in concentric rectangles. The image used for Paint Strokes 2 creates a wipe effect with a crisscross pattern.
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Image used by Paint Strokes 4 Image used by Paint Strokes 2
12. (Option) Apply filters to the image to change the edges. For example, select Distortion > Ripple to apply a Ripple effect. 13. Save the image as a raw image file as described in “Saving the Image for PAL and NTSC” on page 299. n When you resize the image for NTSC, select Resample Image > Nearest Neighbor. This maintains the sharp edges in the image.
Creating a PlasmaWipe Effect from an Existing Image
This sample procedure describes how to create a gradient image from an existing image using Adobe Photoshop. You can use any graphic, but images with rich texture often give the best results.
Image used by Falling Text Image used by Lava Flow 3
To create a gradient image from an existing image: 1. Open an existing graphics file. 2. Select Image > Image Size. The Image Size dialog box appears. 3. Change the image size to 720 pixels x 576 pixels. 4. Deselect Constrain Proportions. 5. Click OK. 6. Select Image > Mode > Grayscale. 294 Creating PlasmaWipe Effects
7. Select Image > Histogram and use the histogram to ensure that the image uses the full range of gradient values. For more information on using histograms, see “Tips for Working with Gradient Images” on page 295. 8. Click OK. 9. Save the image as a raw image file as described in “Saving the Image for PAL and NTSC” on page 299.
Tips for Working with Gradient Images
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. These blended colors might force small portions of the incoming or outgoing video to appear at inappropriate times. • If you use Photoshop, use the histogram to view the gradient levels of the image. This allows you to ensure that the image uses all the available gradient values and that the effect plays smoothly.
To use the Adobe Photoshop histogram: t Select Image > Histogram.
The Histogram shows the area of coverage as the wipe appears. The following tips apply to using the histogram: • 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.
Image does not use all available Image uses all available gradient gradient values. values.
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• A horizontally smooth histogram results in an animation that doesn’t have abrupt changes. If the histogram has a wide vertical range, the wipe might come in quickly and then slow down. The following illustrations show two histograms. The image with the peak creates an animation that starts quickly, slows down as it gets to the middle of the effect, and then speeds up again. The image with the smooth histogram creates an animation with a constant speed.
Image does not use all available Image uses all available gradient gradient values. values.
Depending on the effect you want to create, the image associated with either type of histogram can create an acceptable animation as long as it uses the full range of gradients. n If you want to change the speed of the wipe, you can use keyframes to control the Level parameter. You can also use the Acceleration parameter in the Effect Editor to change the speed.
To use the histogram to change the image: 1. Select Image > Histogram to view the range of gradients (levels) used by the image. For example, the following histogram shows that the image does not use all of the available gradient values (the histogram shows no gradient levels on the right side of the graph).
You can use a command like Equalize, Auto Levels, or Auto Contrast to increase the range of gradient values.
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2. Select Image > Adjustment > Equalize. The following illustration shows the resulting histogram.
This histogram uses a wider range of gradients but has many gaps. 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 effect to smooth out the range. 3. Select Filter > Blur > Gaussian Blur and enter a value of 2.0. The following illustration shows the resulting histogram.
This image creates a smooth wipe effect.
You often need to use a combination of blur effects and level or contrast changes to create a smooth histogram that uses the full range of gradients.
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Testing the Animation
You can use the following procedure to preview the animation that the system performs on your graphic. This example uses the Horiz Twirl image from the PlasmaWipes folder.
To test an animation: 1. Select Image > Adjustments > Brightness/Contrast. The Brightness/Contrast dialog box appears. The following illustration shows the image and the Brightness/Contrast dialog box.
2. Move the Contrast slider all the way to the right to view the animation with hard edges.
3. To view the animation with some softness applied, move the Contrast slider to the left to select a lower Contrast number.
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4. Move the Brightness slider from left (-100) to right (+100) to view the animation. The following images show three stages of the animation.
To adjust the image in increments of 10, click the Brightness slider and use Shift+Up Arrow or Shift+Down Arrow. n You can also use Image > Adjustments > Threshold to view the animation with hard edges. Saving the Image for PAL and NTSC
This sample procedure assumes that you created a PAL version of the image (720x576 pixels) using the steps described in “Creating a PlasmaWipe from a Custom Image” on page 291.
To save a gradient image: 1. Make a backup copy of the image. 2. If the image has multiple layers, flatten the image. 3. Select File > Save As. The Save As dialog box appears. 4. Name the file, and select Format > Raw(*.RAW). The system saves the file as a raw Photoshop image with a .raw extension. This is the 720x576 (PAL) version of the image. n The name you choose for the image becomes the name of the effect that appears in the Effect Palette. Make sure you use exactly the same name for the PAL and NTSC versions of the file.
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5. Use the following steps to save an NTSC version of the image. 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. n If the image has hard edges, select Resample Image > Nearest Neighbor. e. Click OK. f. Select File > Save As. The Save As dialog box appears. g. Name the file as described in Step 4. 6. Store the two images in the PlasmaWipes folder structure. See “Storing Images in the PlasmaWipes Folder Structure” on page 300. n You can create actions in Adobe Photoshop to automate these save operations. For more information, see the Adobe Photoshop documentation. n For information on how the name you give to a PlasmaWipe effect affects the default values, see “Default Values for PlasmaWipe Effects” on page 306.
Storing Images in the PlasmaWipes Folder Structure
You now have an NTSC and a PAL version of your new PlasmaWipe images. In order for the Avid editing application to recognize the files, you must store them in the correct folders.
The following illustration shows the default PlasmaWipes folder structure. The PlasmaWipes folder is located in the SupportingFiles folder of your Avid editing application.
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To store your Plasma Wipe image files: 1. Give your image files unique names so that you can recognize the files if you copy them to another system. n The name you choose becomes the name that appears for the effect in the Effect Palette. 2. Create new folders to organize your new effects. Create identical folders within the 720x486 folder and the 720x576 folder. Do not store your files in the Avid folders because the folder may be overwritten when you update your Avid software. Create folders within the 720x486 folder and the 720x576 folder at the same level as the Avid folder. You can use any number of nesting levels for your folders in order to organize your effects. The 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.
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3. Copy your images to the new folders. Make sure the images have identical names in the 720x486 folder and the 720x576 folder. 4. Restart your Avid application. Your new effects appear in the Effect Palette. n If you move sequences that use your new wipes to another system, you must copy the wipes to that other system. You must maintain the same folder structure on each system that uses your effects. c (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. The installer deletes and replaces the entire PlasmaWipes folder.
Tips for Adjusting an Existing PlasmaWipe Effect While the Application is Running
If you add new effects, you must restart the Avid editing application in order to see the effects in the Effect Palette. However, you can use the following procedure to adjust a PlasmaWipe effect that you have previously created. This helps when testing changes to one of your effects.
To adjust an existing effect while the application is running: 1. Edit the older version of the effect into a sequence. 2. Locate the PlasmaWipes folder and replace the old effect with the new effect in the appropriate folder. 3. In the Timeline bottom toolbar, click the Video Quality menu button and select a lower video quality. 4. Click the effect icon in the Timeline and move the position indicator to update the effect in the Timeline. 5. Click the Video Quality menu button and select a higher video quality. The system replaces the effect with the new version.
302 Using PlasmaWipe Frame and Border Effects Using PlasmaWipe Frame and Border Effects
PlasmaWipe frame and border effects allow you to add a variety of edge treatments to a clip. The following illustrations show several examples.
Stone Frame Medium effect Stone Frame Large effect applied to a PIP effect, resized, and repositioned
Image with no effects Soft Sky effect
Soft Window effect used as PIP Soft Window used to darken edges
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Frame and border effects are in the PlasmaWipe Avid Borders category of the Effect Palette. There are two groups of these effects: • Border effects allow you to darken the edges and corners of an image or give a tint or shadow to the sky as though the image was shot through a lens filter. For example, the image with no effect in the previous illustration shows a slight darkening of the corners created during the original filming of the clip. The bottom right image uses Soft Window to accentuate this effect. Border effects include the following: - Round Border -Soft Sky - Soft Window - Square Border • Frame effects allow for textured, colored frames. These effects have the word Frame in their name. There are three versions of each: - Large: places a frame around the entire image. These effects are 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. n You can achieve effects similar to frame effects if you import a Matte key created in an application such as Photoshop. Frame effects have the added benefit of allowing you to adjust the frame color within the Avid editing application.
Applying and Adjusting Frame and Border Effects
Frame effects are segment effects. Border effects like Soft Sky can be used as either segment effects or transition effects but are intended as segment effects. n For information on how the system identifies a frame effect from other PlasmaWipe effects, see “Default Values for PlasmaWipe Effects” on page 306.
To apply a frame effect or border effect: t Click the effect icon in the Effect Palette, drag it to the segment in the Timeline, and release the mouse button.
To apply a frame or border effect to an existing DVE such as a PIP effect: 1. Apply the PIP effect to a clip in the Timeline. 2. Double-click the effect’s icon in the Timeline. The system steps into the effect and displays the nested tracks.
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3. Drag the frame or border effect onto the upper track in the nested effect. For example, the following illustration shows the Stone Frame Large effect applied to the 1.2 track.
4. Double-click the PIP effect icon again to step out of the nested effect. 5. Adjust the parameters for the PIP effect. n The Frame Large effects are designed to be used with DVEs such as the PIP effects. To adjust a frame effect or border effect: n If the effect is part of a nested effect, step into the effect to modify the frame effect or the border effect.
1. For Frame effects, adjust the Border and Blend color to change the color of the frame. The color modifies the effect as follows: - Border adjusts the base color of the frame. - Blend Color adjusts the highlight color. 2. Adjust the Soft (softness) and Foreground Level parameters as needed. If you want to adjust a border effect to darken the edges of an image, use the Foreground Level parameter to expand the border to the edges of the image. Then modify the border using the Soft, Border color, and Border Blend parameters. n You usually do not want to keyframe the Foreground Level parameter on a frame effect. The source graphics for PlasmaWipe frame effects have a sharp transition between black and white values and you might find that the change from foreground to background video happens too quickly.
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Default Values for PlasmaWipe Effects
Frame effects have different default values from other PlasmaWipes effects. This is because frame effects usually have crisp edges between the video and the frame graphic. Other PlasmaWipe effects often blend video clips together and can benefit from some amount of softness.
In order to determine which default values to use, the PlasmaWipes software looks for the words border and frame in the pathname to the effect source graphic. If both words appear in the path, the software applies the frame effect defaults (and only allows the effect to be used as a segment effect). Otherwise the software applies the defaults used for all other PlasmaWipes. For example, the following two effects use the frame effect defaults: • PlasmaWipes/720x486/Avid/Borders/Stone Frame Large • PlasmaWipes/720x486/MyEffects/MyFrames/Large Stone Border
The following table shows the default parameters for PlasmaWipes effects.
Parameter Default Values for Default Values for all other Name Frame Effects PlasmaWipe Effects
Border
•Hue 0 0
•Sat 0 0
• Lum 63 255
Blend Color
•Hue 0 0
•Sat 0 0
• Lum 255 255
• Width 63 0
• Softness 0 32
Level 50 50
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Creating Custom Border and Frame Effects
For border effects such as Soft Sky or Square Window, you can use the same techniques as described in “Creating PlasmaWipe Effects” on page 290.
Frame effects have the following unique requirements: • Use an image with a 4:3 aspect ratio to create the frame graphic. For example, start with a 720x540 pixel image. After you create the frame graphic, save it as the correct size for PAL or NTSC as described in “Saving the Image for PAL and NTSC” on page 299. • For best results, keep distinct boundaries between the black, white, and gray portions of your image. Do not blend between black and gray or between white and gray areas. For example, the following illustration shows the image for the Stone Frame Small effect.
Foreground video displays through the black area and background video displays through the white area. If you allow the gray area to blend with the black, portions of the frame might appear within the background video area and portions of the foreground video might appear within the frame. A histogram for a frame graphic differs from a histogram from other types of PlasmaWipe effects. The following illustration shows the Photoshop histogram for the Stone Frame Small image.
Because a frame graphic does not create an animation, the histogram does not need to contain a wide range of gradient values. In fact, there will be large portions of the image that are completely black or white.
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To create a custom frame graphic: 1. Create a new file with the following characteristics: - Image size: 720 pixels (width) by 540 pixels (height) - Resolution: 72 pixels/inch (you can use any resolution) - Mode: Grayscale n The 720x540 size ensures that the original image has a 4:3 aspect ratio.This allows you to create a frame that fits correctly within the video image.
2. Display the Photoshop grid to allow for precise placement of the frame and interior area. Use a grid size of one gridline every 36 pixels. 3. Create a frame graphic using the grid lines as a guide. 4. Modify the grayscale image and apply filter effects as necessary. 5. Color the inside of the frame black. 6. If you want background video to appear around the frame, color that area white. 7. Flatten the image to remove extra layers. 8. Make a copy of the image. 9. Save one copy as 720x576 (PAL) and another as 720x486 (NTSC) as described in “Saving the Image for PAL and NTSC” on page 299. n Select the Nearest Neighbor option to avoid blending between the black, white, and gray areas of the image.
To create a frame graphic from an existing image: 1. Open an existing image, such as a graphic of a stone slab, piece of wood, or wooden frame. 2. Select Image > Image Size. The Image Size dialog box appears. 3. Change the image size to 720 pixels x 540 pixels. 4. Deselect Constrain Proportions. 5. Click OK. 6. Select Image > Mode > Grayscale. 7. Turn on the Photoshop grid to allow for precise placement of the frame and interior area. Use a grid size of one gridline every 36 pixels.
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8. Modify the grayscale image and apply filter effects as necessary. 9. Color the inside of the frame black. 10. If you want background video to appear around the frame, color that area white. 11. Flatten the image to remove extra layers. 12. Make a copy of the image. 13. Save one copy as 720x486 (for NTSC) and another as 720x576 (for PAL) as described in “Saving the Image for PAL and NTSC” on page 299. n Select the Nearest Neighbor option to avoid blending between the black, white, and gray areas of the image.
Using PlasmaWipes with HD Projects
The basic set of PlasmaWipes that are shipped with your Avid editing system include files that are optimized for the following 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 included in the Goodies folder on your Avid editing application installation disk. You can install these effects on your system and use them to create custom PlasmaWipe effects for your HD project.
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To install the HD versions of the PlasmaWipes effects: 1. Navigate to the HDPlasmaWipes folder in the Goodies folder on your Avid editing application installation disk. 2. For 1080i and 1080p projects, copy the contents of the 1920x1080 folder to the following location: (Windows) C:\Program Files\Avid\Avid editing application\Supporting Files\ Plasma Wipes\1920x1080\Avid\Custom Macintosh HD/Applications/Avid editing application/Supporting Files/ Plasma Wipes/1920x1080/Avid/Custom 3. For 720p projects, copy the contents of the 1280x720 folder to the following location: (Windows) C:\Program Files\Avid\Avid editing application\Supporting Files\ Plasma Wipes\1280x720\Avid\Custom Macintosh HD/Applications/Avid editing application/Supporting Files/ Plasma Wipes/1280x720/Avid/Custom 4. Copy the files in the 720x486 folder to the following folder: (Windows) C:\Program Files\Avid\Avid editing application\Supporting Files\ Plasma Wipes\720x486\Avid\Custom Macintosh HD/Applications/Avid editing application/Supporting Files/ Plasma Wipes/720x486/Avid/Custom n You must copy the 720x486 files. The 1020x1080 and 1280x720 versions require these files. 5. Restart your Avid editing application and open the Effect palette. The new HD PlasmaWipe effects appear in the Effect palette under the PlasmaWipes categories.
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To create new HD PlasmaWipes effects:
Follow the general procedures described in “Creating PlasmaWipe Effects” on page 290, with the following specifics: 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. 2. Save the effect and store it in the corresponding Custom folder. For example, if you create a file named MyPlasmaWipe.raw at 1920x1080 resolution, store it in the following folder: (Windows) C:\Program Files\Avid\Avid editing application\Supporting Files\ Plasma Wipes\1920x1080\Avid\Custom\MyPlasmaWipe.raw Macintosh HD/Applications/Avid editing application/Supporting Files/ Plasma Wipes/1920x1080/Avid/Custom/MyPlasmaWipe.raw 3. Create a 720x486 version of the file and store it in the corresponding 720x486 folder. To create a 720x486 version, do the following: a. Open the HD version of the image in Adobe Photoshop. b. Change the Image Size to 720x486. c. Use File > Save As to save the file to the 720x486 directory. For example: (Windows) C:\Program Files\Avid\Avid editing application\Supporting Files\ Plasma Wipes\720x486\Avid\Custom\MyPlasmaWipe.raw Macintosh HD/Applications/Avid editing application/Supporting Files/ Plasma Wipes/720x486/Avid/Custom/MyPlasmaWipe.raw For more information on creating a 720x486 (NTSC) version, see “Creating PAL and NTSC Versions of the Image” on page 291. n You must create the 720x486 version as well as the HD resolution version. Your Avid editing system does not recognize the HD PlasmaWipe effect until you create the corresponding 720x486 version.
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This chapter describes all 2D effects parameters and then summarizes all 2D effects in alphabetical order within each effect category. • 2D Effects Parameters • 2D Effects • Comparison of Similar Effects
For information on effects editing, start with “Main Topics: Working with Effects: Basics” in” in the effects guide or the Help.
2D Effects Parameters
This section provides a general description of all 2D parameters, in alphabetical order. Some parameters apply to a wide range of effects; others are specific to a small group of effects, such as keys or motion effects.
Effect parameters are grouped in the following categories: • Acceleration • Avid Pan & Zoom Parameters • Background • Blowup Parameters • Border • Color Effect Parameters • Crop • Foreground • Grid • Illusion FX Parameters Chapter 12 2D Effects Reference
• Key Parameters • Matrix Parameters • Traditional Motion Effect Parameters • PlasmaWipe Parameters • Plug-in Effect Parameters • Position • Reformat Parameters • Region Stabilize Parameters • Safe Color Limiter Parameters • Scaling • Transition Parameters
For an explanation of how to change a parameter, see “Using the Effect Editor” on page 60.
Global and Keyframeable Parameters
The effects parameters are divided into two types: • Global Changes apply to all keyframes. When you change a global parameter, the system automatically sets the value for all keyframes in the effect. • Keyframeable Changes can be applied to individual keyframes. You can use keyframe parameters to alter an effect over time.
This distinction is noted for each parameter throughout the topics that describe the parameters.
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Acceleration
Parameter Type Global
Description Adjusts the effect’s speed over time by having the effect ease in and ease out of every keyframe. This gives the effect a more natural appearance. The overall speed of an effect is determined by the duration of the effect, which is determined by the length of the clip in the sequence. If you want to slow down or speed up the movement of an effect, you will need to change the length of your effect or use add edits to limit the portion of the clip affected by the effect.
Use of Control Drag the slider to control ease in and ease out motion. When the slider is to the left (value of 0), there is no ease in and ease out motion. The effect maintains a constant speed throughout its path. As the slider moves to the right (toward a maximum value of 100), ease in and ease out motion increases.
n For information on the Acceleration parameter for 3D effects, see “Acceleration” on page 542.
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Avid Pan & Zoom Parameters
This section describes the parameter categories available for the Avid Pan & Zoom AVX plug-in effect.
Other Options button
Other Options button for the Avid Pan & Zoom Effect
Parameter type: Global
The Other Options button opens a file selection dialog box. Use it to specify the image file for the Avid Pan & Zoom effect. n If you move the image file after importing it into the Avid Pan & Zoom effect, the effect will not be able to locate the file and you must reimport the image.
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Display
Parameter type: Global
The Display Fast menu lets you choose how you view the image as you work on it. • Source shows you the entire image scaled to fit inside the Effect Preview monitor. Use Source as you draft the effect. • Target shows you the results of your pan and zoom settings. Use Target for previewing your moves.
For more information, see “Viewing the Image While You Work” on page 212.
Display Options
Parameter type: Global
Show Action Safe in the Display Options parameter category 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.
Size
Parameter type: Keyframeable
The Size parameter category contains the Zoom Factor slider. This slider controls how far you zoom into or out from the source image.
The Zoom Factor ranges from .1 to 20. At .1, the application scales down the image to one- tenth the original. At 1, the application applies no magnification to the source image. At 20, the application scales up the image 20 times - that is, by 2,000%.
The larger the Zoom Factor, the smaller the field of view rectangle appears when you use Source mode.
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Position for the Avid Pan & Zoom Effect
Parameter type: Keyframeable
You control pan by either using the X and Y Position parameters or dragging the field of view across the source image.
The Position parameters refer to the center of the field of view. A Position of 0, 0 centers the field of view over the center of the image.
For more information, see “Panning Over the Source Image” on page 215.
Velocity
Parameter type: Keyframeable
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.
The Velocity parameters divide the time between keyframes in half. Velocity In controls the rate of movement in the first half; Velocity Out controls the rate of movement in the second half.
Velocity Parameter Options
Parameter Option Description
Velocity In Linear For the first half of the time between the selected keyframe and the next keyframe (starting at the selected keyframe and ending at the midpoint between keyframes), the effect makes no modification to the pan and zoom movement. This results in apparent camera movement that begins immediately with no ease in.
Ease In For the first half of the time between the selected keyframe and the next keyframe (starting at the selected keyframe and ending at the midpoint between keyframes), the effect modifies the pan and zoom movement by providing a slight acceleration. To ease in and ease out of the entire effect, see. “Using Ease In and Ease Out” on page 216.
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Velocity Parameter Options (Continued)
Parameter Option Description
Constant The effect does not use the keyframe’s Position parameters to calculate the speed of the effect. However, the effect still uses the keyframe’s Position parameters to determine the path of the effect (the pan) and the keyframe’s Zoom Factor to calculate the zoom between the selected keyframe and the next keyframe. For more information on using the Constant option, see “Creating a Path with Constant Velocity” on page 216. When you select Constant for Velocity In, the effect automatically selects Constant for Velocity Out, and vice versa.
Velocity Out Linear For the second half of the time between the selected keyframe and the next keyframe (starting at the midpoint and ending at the next keyframe), the effect makes no modification to the pan and zoom movement. This results in parameters that change at a constant rate up to the next keyframe.
Ease Out For the second half of the time between the selected keyframe and the next keyframe (starting at the midpoint and ending at the next keyframe), the effect modifies the pan and zoom movement by providing a slight deceleration. To ease in and ease out of the entire effect, see. “Using Ease In and Ease Out” on page 216.
Constant The effect does not use the keyframe’s Position parameters to calculate the speed of the effect. However, the effect still uses the keyframe’s Position parameters in determining the path of the effect (the pan) and the keyframe’s Zoom Factor to calculate the zoom between the selected keyframe and the next keyframe. For more information on using the Constant option, see “Creating a Path with Constant Velocity” on page 216. When you select Constant for Velocity Out, the effect automatically selects Constant for Velocity In, and vice versa.
Hold At the midpoint between the selected keyframe and the next keyframe, the image freezes (pan and zoom movement stops). Movement resumes at the next keyframe. The effect disregards the Velocity In value of the next keyframe. If you have Background set to Video, the background continues to update.
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Path
Parameter type: Global
The Path parameter controls how the Avid Pan & Zoom effect interpolates Position parameter changes between keyframes. • Linear interpolation creates straight-line changes from one keyframe to the next. • Spline interpolation smooths out changes between keyframes to create a more natural movement. 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. n If you combine a Spline path with Constant velocity, when you move a keyframe the path recalculation might result in a change to the velocity of the effect.
Filtering
Parameter type: Global
Filtering controls the method by which the Avid Pan & Zoom effect renders and determines the quality of the rendered result. The various filtering methods allow you to trade off the clarity or sharpness of the resized image and the speed at which the effect renders.
The following illustration ranks the Filtering options from fastest render time and lowest quality image to longest render time and highest quality image. (The order in which the options appear in the Filtering menu also follows this ranking order.) For more information, see “Options for Rendering the Avid Pan & Zoom Effect” on page 219.
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Longest Render Avid Ultra Qual Time Avid Hi Qual Gaussian B-Spline Catmull Cubic Quadratic Triangle Real Time Shortest Render Time Lowest Image Quality Highest Image Quality
Background for the Avid Pan & Zoom Effect
Parameter type: Global
With the 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. • Color lets you select a background color using one of the following methods: t Manipulate the RGB sliders directly, or use the numeric keypad to enter values. t Click the Other Options button to use the Windows Color dialog box or the Macintosh Colors panel. t Click the Color Preview window, and use the eyedropper. For more information, see “Adjusting a Color Parameter” on page 68. • Video uses the video from the segment upon which you placed the Avid Pan & Zoom effect.
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Advanced
Parameter type: Global
o
The Advanced parameter category provides controls to compensate for differences in pixel shape between source and output, and to select input color levels. • Source Has Square Pixels is enabled by default. The Avid Pan & Zoom effect makes the calculations necessary to produce results compatible with rectangular pixels. When you deselect Source Has Square Pixels, the Avid Pan & Zoom effect makes no changes to the pixel shape. •The Level setting tells the effect how to treat the color levels in the image. - RGB is for images with a black level of 0 and a white level of 255. Most images you import into the Avid Pan & Zoom effect (except those from a video source) use RGB values. The effect maps colors to video black and white levels, which are 16 and 235 respectively. RGB is the default Level setting. - 601 refers to the ITU-R-601 standard for video black and white levels. Select 601 in the rare case when you use images from a video source. When you select 601 for the Level setting, the effect makes no adjustment to color levels.
Cache
Parameter type: Global
The Cache parameter gives you control over the amount of memory used to store your images for playback. A full resolution image is always used for rendering. • Video Resolution — The effect stores the resized source image at 720 x 480 pixels, using about 1 MB per image. Use Video Resolution if you have many images in your sequence and you need to limit how much memory they occupy. • Image Resolution — The effect stores the resized source image at its original resolution. The amount of memory used varies with the size of the image. • Multi-Resolution — The effect stores several versions of the image: original image resolution, half resolution, quarter resolution, and so on, for 8 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.
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• Free Current Cache — The effect frees all memory used for image storage and then reverts to Image Resolution. Use this setting to free up memory after you have rendered the clip. • Cache All — The Cache All settings are shortcuts for setting the same parameter for all instances of the effect in a sequence. The descriptions are the same as above. • Free All Caches — Frees the caches for all instances of the plug-in in that sequence.
Render Mode
Parameter type: Global
If you are working in a progressive project, (23.976p, 24p, 25p), click the Progressive check box in the Render Mode parameter category. Selecting this option creates a smoother animation when using progressive frames.
Background
Parameter Type Global
Description Sets the color for the background in effects that display a background. For example, the background parameters determine the color to be used in a Fade to Color, Fade from Color, or Dip to Color effect.
Use of Controls Other Options Opens the Windows Color dialog box or Macintosh Colors button panel for precise color selection. For more information, see
Hue Identifies the background color. The Hue parameter is measured as values on a color wheel ranging from 0 to 255. The start (0) and ending (255) values are both red.
Sat (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no chrominance and 255 is a fully saturated color.
Lum (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and 255 is full brightness or white.
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Blowup Parameters
This topic describes the parameters available in the Blowup parameter category, which is unique to the Blowup effect in the Film effect category.
Blowup Effect Blowup Parameters
Parameter Description
Field Controls the size of the image. A field of 0 leaves the image size unchanged, and a field of 10 increases the image to the maximum size.
X Pos (X position) Allows you to position the image horizontally on the screen. The X Position varies on a scale of West 20 to East 20, where 0 is unchanged. This matches the description in the cut list.
Y Pos (Y position) Allows you to position the image vertically on the screen. The Y Position varies on a scale of North 20 to South 20, where 0 is unchanged. This matches the description in the cut list.
Border
Border without the Blend Color parameters Border with the Blend Color parameters Other Options button
Parameter Type Keyframeable
Description Many effects allow you to place a border on the inner or incoming picture in the effect. The Border parameters allow you to specify the color, softness, and width of the border. Some effects also include Blend Color parameters for blending border color.
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Use of Controls Other Options Opens the Windows Color dialog box or Macintosh Colors button panel for precise color selection. For more information, see
Hue Identifies the border or blend color. The Hue parameter is measured as values on a color wheel ranging from 0 to 255. The start (0) and ending (255) values are both red.
Sat (saturation) Specifies the intensity of the color. Values range from 0 to 255, where 0 is no chrominance and 255 is a fully saturated color.
Lum (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and 255 is full brightness or white.
Width Specifies the width of the border. Values range from 0 (no border) to 63 (widest border).
Soft (softness) Blends the border with the background image. Values range from 0 (no softness) to 63 (maximum softness).
Fixed Border Turns off the Blending options.
Color Effect Parameters
The Color Effect parameters, which apply to the Color Effect only, allow you to perform color correction or to create certain colorization effects such as posterization or solarization.
Luma Adjust
Parameter Type Keyframeable
Description Allows you to adjust the luminance characteristics of the image.
Use of Controls Bright Changes the brightness of the image. The parameter ranges from –100 (brightness) to +100, where a value of 0 indicates no change. A value of –100 darkens the image; a value of +100 brightens the image.
Cont (contrast) Controls the contrast of light and dark areas in the image. Values range from –100 to +100, where a value of 0 indicates the image is unchanged. A negative value is less contrast; a positive value is more contrast.
Invert Reverses the image’s brightness, such that the brightest parts become the darkest and the darkest parts become the lightest.
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Brightness Example
Original – Brightness 0 Brightness –50 Brightness +50
Contrast Example
Original – Contrast 0 Contrast –50 Contrast +50
Luma Range
Parameter Type Keyframeable
Description Allows you to adjust the range of brightness of the image.
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Use of Controls Fast menu: The default for video images. 16 to 235
Fast menu: Allows you to map normal video to alpha ranges. This is useful if you 0to255 have a high-contrast image that you want to expand to the full dynamic range. For example, use this value when you want to convert video to alpha for Matte Key effects. n When you change the Luma Range to 0 to 255, the system attempts to go from 0 to 255 but will be clipped by the Low Clip and High Clip values in the Luma Clip parameter category. If it is your intent to “open up” the image to the full dynamic range, you need to change the Low Clip and High Clip values to 0 and 255, respectively.
W Point Allows you to set the white point in the image. All pixels with that (white point) value become white, and all pixels with higher values are also clipped to white. The default is 235 (the broadcast value for white). Raising the black point and lowering the white point values increase the contrast by reducing the number of shades of gray in an image. The number of shades is reduced because you map some to extreme black and others to extreme white.
B Point Allows you to set the black point in the image. All pixels with that (black point) value become black, and all pixels with lower values are also clipped to black. For example, you could use the eyedropper to select a shadow on the floor and change it from gray to black, clipping everything below that shade to black. The default is 16 (the broadcast value for black). Raising the black point and lowering the white point values increase the contrast by reducing the number of shades of gray in an image. The number of shades is reduced because you map some to extreme black and others to extreme white. n Black point control does not change the Black setup level. To adjust the Black setup level, use the Video Output tool.
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Gamma Allows you to adjust the midtones in an image without affecting the extreme white or black values. Lowering the value darkens midtones and brings the image closer to black. Raising the value lightens the midtones and brings the image closer to white. For example, a person shot in front of a window in daylight may be very dark, almost in silhouette. You can use gamma correction to increase the midtones without changing the blacks or whites. Values range from –100 to +100 with 0 being no change. The W Point, B Point, and Luma Clip sliders determine the number of shades of gray. The Gamma point allows you to move the distribution of the shades closer to black or closer to white. Negative values move the distribution closer to black. Positive values move the distribution closer to white.
Luma Clip
Parameter Type Global
Description Allows you to determine the levels at which the effect limits the luminance in the picture.
Use of Controls High Provides a simple clip function for brightness values. When you specify a value for High, no pixel in the image can be brighter than that value. The default is 235 (the broadcast value for white).
Low Provides a simple clip function for darkness values. When you specify a value for Low, no pixel in the image can be darker than that value. The default is 16 (the broadcast value for black). When preparing video for broadcast, normally you do not adjust these values. They allow you to adjust the brightness and contrast (using other controls in the Color Effect) while still maintaining legal broadcast values for black and white.
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Chroma Adjust
Parameter Type Keyframeable
Description Allows you to adjust the chrominance characteristics of the entire image.
Use of Controls Invert Invert reverses the colors in both Hue and Saturation such that all colors display as their complement.
Hue Hue varies the tint of all colors in the image. The Hue parameter is measured as degrees on a color wheel from –180 to +180, where 0 does not change the hue. Changing the value of the Hue causes all colors in the image to rotate around the color spectrum. For example, a Hue setting of –20 causes skin tones to look more red, while a Hue setting of +20 causes skin tones to look more green.
Sat (saturation) Saturation varies the amount of all colors in the image. The Saturation parameter has a value of –100 to +100. Zero is the default. A value of –100 displays as gray tones. Positive values display all colors with more saturation.
Color Style
Parameter Type Keyframeable
Description Allows you to create effects by limiting or inverting the color values of the image.
Use of Controls Post Posterization allows you to limit the number of colors in the image by (posterization) controlling the number of luminance steps that are displayed. This gives the image a graphic appearance. The range of values is 0 to 25, where 0 displays all colors and 25 displays the least number of colors.
Solar Solarization allows you to make the lightest points in the image dark to (solarization) achieve a partial inversion of the luminance. Values above the threshold set for the parameter will be inverted. Solarization can have a value of 0 to 255, where 0 is normal luminance and 255 inverts all luminance values in the picture. Values of 0 to 127 display the lightest points in the image as dark. Values of 128 to 255 display both the lightest points as dark and the darkest points as light, which gives the appearance of a film negative.
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Posterization Example
Original image Posterization 10 Posterization 20
Solarization Example
Original image Solarization 100 Solarization 200
Color Gain
Parameter Type Keyframeable
Description Allows individual control of the Color Gain for each of the three color components: red, green, and blue.
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Use of Controls Red Changes the amount of red in the whole image. The parameter value is a percentage of the range from 0 to 200, where a value of 100 indicates that the color is unchanged.
Green Changes the amount of green in the whole image. The parameter value is a percentage of the range from 0 to 200, where a value of 100 indicates that the color is unchanged.
Blue Changes the amount of blue in the whole image. The parameter value is a percentage of the range from 0 to 200, where a value of 100 indicates that the color is unchanged.
Crop
Parameter Type Keyframeable
Description Removes material from the top, bottom, left, and right edges of the video.
Use of Controls T (top) Removes video from the top of the inner or incoming video. Values range from 0 to 999; 0 is the top of the screen, 500 is the middle of the screen, and 999 is the bottom of the screen.
B (bottom) Removes video from the bottom of the inner or incoming video. Values range from –999 to 0; 0 is the bottom of the screen, –500 is the middle of the screen, and –999 is the top of the screen.
L (left) Removes video from the left side of the inner or incoming video. Values range from 0 to 999; 0 is the left side of the screen, 500 is the middle of the screen, and 999 is the right side of the screen.
R (right) Removes video from the right side of the inner or incoming video. Values range from –999 to 0; 0 is the right side of the screen, –500 is the middle of the screen, and –999 is the left side of the screen.
n For information on the Crop parameter for 3D effects, see “Crop” on page 546.
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Foreground
Parameter Type Keyframeable
Description Used, together with keyframes, to set the relative amount of the effect to be displayed over time. The additional options included with the Level slider vary, depending on the effect.
Use of Controls Level Controls the opacity of the foreground image. A Level of 0 is 0 percent opacity (the foreground is transparent), a Level of 50 is 50 percent opacity, and a Level of 100 is 100 percent opacity (no transparency).
Swap Sources This option applies to key effects (such as Chroma Key or Luma Key) and the PIP (Picture-in-Picture) effect only. Click Swap Sources to swap the image source for the foreground and background layers of the effect.
Reverse This option is available for all effects. Animation Click the Reverse Animation button to cause the entire effect to be reversed, including the direction of movement as well as the incoming and outgoing sources. This maintains the shot continuity while reversing the movement. For example, instead of the outgoing shot peeling off from the top left corner, the incoming shot peels on from the bottom right corner. This option effectively creates a mirror image of the sequence of keyframes for the effect as they appear in the Effect Preview monitor’s position bar.
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Invert Key This option applies to key effects only (such as Chroma Key or Luma Key). Select Invert Key to reverse the key. In the case of a Chroma Key effect, inverting the key displays the key color regions while showing the background image source through the foreground image area. In the case of a Luma Key effect, inverting the key displays the background image source through the darker areas rather than the lighter areas of the foreground image source. In the case of a Matte Key effect, inverting the key effectively reverses the black and white areas of the alpha channel so that foreground and background are reversed.
Show Alpha This option applies to key effects only (such as Chroma Key or Luma Key). Displays the grayscale alpha channel used to apply the key effect to the foreground and background source. This allows you to examine the problem areas of the key while making adjustments.
Grid
Other Options button Grid Type Fast Menu button
Enable button
Transfer Fast Menu button
The Grid parameters are used to define 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. The following table describes the Grid parameters. n This parameter is not keyframeable.
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Grid Parameters
Parameter Description
Other Options Opens the Grid Settings dialog box. For a description of the Grid Settings dialog box, see button “Grid Settings” in the Help.
Grid Type Fast Click to select a grid type. The Academy grid includes a safety margin on the left that is Menu button used for adding the optical sound track. • Square • Standard Film • Academy • Super 35 • Anamorphic
Enable button Turns the local Grid effect on (pink) or off (gray). If you disable the local Grid effect, the application uses the global settings defined in the Grid Settings dialog box.
Fields Determines the number of tick marks along the grid axes as well as the number of visible grid points. Values range from 8 to 32. The default value is 12.
Sub (subfields) Determines the snap-to-grid feature between visible grid points. The value determines how many jumps are in between each visible point. Values range from 0 to 10. Set Sub to 1 to snap only to visible points. A value of 2 provides 1/2-field jumps. A value of 4 (the default value) provides 1/4-field jumps, and so on. Set Sub to 0 to turn off the snap-to-grid feature.
Source Scan Size Applies to film projects, where an optical house scans film for the addition of visual effects. Values range from 720 to 9999 for Horizontal and from 243 to 9999 for Vertical. The default values are 720 x 486 pixels.
Source Grid Offset The Hor (horizontal) and Vert (vertical) sliders move the grid on the image. The Inset slider shrinks the grid proportionally. Values are set to approximately 15% of the current values in the Source Scan Size sliders. These values are intended mainly for film projects.
Transfer Fast Menu Click to specify how the film was transferred to video as follows: button
• Full Aperture Transferred everything that is visible in the frame
• Academy Did not transfer the sound track area that appears on the left side of the film
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Illusion FX Parameters
This section describes the parameter categories available for the Illusion FX AVX plug-in effects.
Background
Pattern Type Fast menu
Axis Fast menu Base Color
Parameter Type Keyframeable
Description The Background parameter category is available only for the Pattern Generator effect. For more information, see “Pattern Generator” on page 444.
Use of Controls Pattern Type Fast Sets the pattern to be used. menu If you select the Grid option, the background color is black if Base • Solid color Color has 50% or greater luminance, or white if Base Color has less than 50% luminance. • EBU bars (75%) • Color bars (75%) • Color bars (100%) •EIA bars •SMPTE bars • Color ramps •Cross ramp •Grid
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Axis Fast menu Selects whether color bars are drawn horizontally (X axis) or vertically (Y axis). •X axis •Y axis
R, G, B Sets the color of the clip when the Pattern Type is set to Solid Color (Base Color) Sets the color of the grid lines when the Pattern Type is set to Grid. Select the color by doing one of the following: t Directly manipulate the RGB sliders. t Use the Windows Color dialog box or the Macintosh Colors panel. t Use the eyedropper. The background color of the grid is black if Base Color has 50% or greater luminance, or white if Base Color has less than 50% luminance.
Border
Parameter Type Keyframeable
Description Use the Left, Right, Top, and Bottom sliders to prevent black edges of the source clip from warping into the effect.The Border parameter category is available for the following Illusion FX effects: Crystal, FluidBlur, FluidColorMap, FluidMorph, Kaleidoscope, Melt, Particle Blast, Particle Orbit, Particle Wind, Pinch, Radial Blur, Ripple, Rollup, Shear, Sphere, Swirl, Twist, Wave
Use of Controls Left, Right, Remove between 0 and 20 pixels from the edge of the image. Top, Bottom
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Center
Parameter Type Keyframeable
Description Sets the center of the Kaleidoscope effect. The Center parameter category is available only for the Kaleidoscope effect. For more information, see “Kaleidoscope” on page 436.
Use of Controls X, Y The X and Y values range from –999 to +999, where 0, 0 is the center of the screen. Use the sliders, or click the corresponding marker and drag within the image, to set the center of the mirrors.
Circle
Color
Parameter Type Keyframeable
Description The Circle parameter category is available only for the Pattern Generator effect. For more information, see “Pattern Generator” on page 444.
Use of Controls Size Sets the radius of the circle.
Width Sets the width of the circle outline.
Opacity Sets the opacity of the circle.
R, G, B (Color) Sets the color of the circle. Select the color by doing one of the following: t Directly manipulate the RGB sliders. t Use the Windows Color dialog box or the Macintosh Colors panel. t Use the eyedropper.
X Sets the horizontal position of the circle.
Y Sets the vertical position of the circle.
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Core
Lightning Sparkler
Color Color
Parameter Type Keyframeable
Description The Core parameter category is available for the Lightning effect and the Sparkler effect. For more information, see “Lightning” on page 437 and “Sparkler” on page 450.
Use of Controls Core Radius, Sets the radius of the core in pixels. Width
R, G, B (Color) Sets the color of the core. Select the color by doing one of the following: t Directly manipulate the RGB sliders. t Use the Windows Color dialog box or the Macintosh Colors panel. t Use the eyedropper.
Generation
Lightning effectRipple effect Sparkler effect
Render Mode Fast menu
Parameter Type Keyframeable
Description The Generation parameter category is available for the Lightning, Ripple, and Sparkler effects. For more information, see “Lightning” on page 437, “Ripple” on page 447, and “Sparkler” on page 450.
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Use of Controls Amount Sets the proportion of the lightning to be displayed. A value of 0 is no (Lightning lightning. 100 is the complete lightning bolt. Typical keyframing is 0 at effect) the first keyframe to 100 at the last keyframe.
Anti-alias Sets whether or not transformed areas are smoothed. (Ripple effect) n This parameter is not keyframeable.
Birth Rate Sets the proportion of the lightning to be displayed. A value of 0 is no (Sparkler effect) lightning. 100 is the complete lightning bolt. Typical keyframing is 0 at the first keyframe to 100 at the last keyframe.
Branch Sets whether or not transformed areas are smoothed. Probability This parameter is not keyframeable. (Lightning n effect)
Length (Ripple Sets the number of sparks generated every frame. effect)
Length (Sparkler Sets the likelihood that the lightning will have few or many branches. effect) A value of 0 displays no branches. The higher the value, the more branches are likely.
Lifetime Sets the distance between the wave peaks. (Sparkler effect)
Link Speed Sets the cumulative exposure of the sparks. For example, a value of 3 (Sparkler effect) produces an image that looks as though you left a virtual camera shutter open for the last three frames.
Number of Sets (in frames) how long each spark lives. Ripples (Ripple effect)
Random Seed If you keyframe the center of the effect, Link Speed causes the (Lightning and movement of the center to be added to the movement of the sparks. Ripple effects)
Render Mode Sets the number of ripples. Fast menu (Lightning effect) •Quick •Standard • Anti-aliased
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Speed Bias X, Sets the base number upon which all random values are calculated. Speed Bias Y Each value will result in a different random effect. (Sparkler effect) n This parameter is not keyframeable.
Strength (Ripple Sets the quality of the rendered lightning: effect) • Quick to view just the motion of the lightning. • Standard to view the full lightning without anti-aliasing while editing the animation. • Anti-aliased to ensure that fine branches do not break up.
X, Y (Sparkler Sets the bias to the direction of the sparks. The system adds these effect) values to the initial random directions.
Glow
Lightning effect Sparkler effect
Color Color
Parameter Type Keyframeable
Description The Glow parameter category is available for the Lightning effect and the Sparkler effect. Use it to control the effect’s glow. For more information, see “Lightning” on page 437 and “Sparkler” on page 450.
Use of Controls Glow Radius (Sparkler effect) Sets the radius of the glow in pixels.
R, G, B (Color) (Lightning and Sets the color of the glow. Select the color by doing Sparkler effects) one of the following: t Directly manipulate the RGB sliders. t Use the Windows Color dialog box or the Macintosh Colors panel. t Use the eyedropper.
Width (Lightning effect) Sets the radius of the glow in pixels.
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Illumination
Color
Parameter Type Keyframeable
Description The Illumination parameter category is available only for the Ripple effect. Use it to highlight the ripples in the effect. For more information, see “Ripple” on page 447.
Use of Controls R, G, B (Color) Sets the color of the light. Select the color by doing one of the following: t Directly manipulate the RGB sliders. t Use the Windows Color dialog box or the Macintosh Colors panel. t Use the eyedropper.
Angle Sets the source direction of the light. A value of 0 degrees is three o’clock; positive values move counterclockwise.
Input
The set of Input parameters varies between Illusion FX effects. :Each set of parameters is listed in its own section: • Color Mix Input Parameters • Crystal Input Parameters • Film Grain Input Parameters • Flare Input Parameters • FluidBlur Input Parameters • FluidColorMap Input Parameters • FluidMorph Input Parameters • Iris Input Parameters • Kaleidoscope Input Parameters • Melt Input Parameters • Motion Blur Input Parameters • Pagecurl Input Parameters • Particle Blast Input Parameters 341 Chapter 12 2D Effects Reference
• Particle Orbit Input Parameters • Particle Wind Input Parameters • Pinch Input Parameters • Radial Blur Input Parameters • Random Blend Input Parameters • Rollup Input Parameters • Shear Input Parameters • Sphere Input Parameters • Swirl Input Parameters • Timecode Input Parameters • Twist Input Parameters • Wave Input Parameters
Color Mix Input Parameters
Color
Parameter Type Keyframeable
Description The Input parameters for the Color Mix effect control the color and the color level. For more information, see “Color Mix” on page 431.
Use of Controls Color Level Sets the amount of color to add, from 0 (no color) to 100 (maximum color).
R, G, B (Color) Sets the color. Select the color by doing one of the following: t Directly manipulate the RGB sliders. t Use the Windows Color dialog box or the Macintosh Colors panel. t Use the eyedropper.
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Crystal Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Crystal effect control the size and randomness of the polygons. For more information, see “Crystal” on page 432.
Use of Controls 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 upon which all random values are calculated. Each value will result in a different random effect. This parameter is not keyframeable.
Anti-alias Sets whether or not transformed areas are smoothed. n This parameter is not keyframeable.
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Film Grain Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Film Grain effect add a grainy texture to a video clip to simulate the imperfections present in some film footage. For more information, see “Film Grain” on page 433.
Use of Controls Level Sets the amount of graininess.
Size Sets the size of the individual grain elements.
Color Film footage often contains slight color and luminance imperfections caused by the chemical processes used to transfer the negative to the film. You can think of these as very small color smears on the film. The default setting applies a balanced combination of color and luminance imperfections. Increase the color value to add more color imperfections and fewer luminance imperfections. Decrease the value to increase the luminance imperfections and decrease the color imperfections.
Field Mode When selected, the grain pattern updates every field.
Hilite Grain Adds grain to the brighter areas of the image.
Shadow Grain Adds grain to the darker areas of the image.
Flare Input Parameters
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Parameter Type Keyframeable
Description The Input parameters for the Flare effect create a random flare ring. For more information, see “Flare” on page 433.
Use of Controls Brightness Sets the brightness of the flare, from 0 (no flare) to 100 (maximum brightness).
Size Sets the diameter of the flare ring.
Width Sets the distance between the inner and outer edges of the flare ring.
Amount Sets the amount of distortion to the flare ring; 0 is no distortion.
Random Seed Sets the base number upon which all random values are calculated. Each value will result in a different random effect. n This parameter is not keyframeable.
X, Y Sets the center of the flare ring.
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FluidBlur Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the FluidBlur effect create a motion blur. For more information, see “FluidBlur” on page 434.
Use of Controls Blur Amount The level of blur for objects that are moving. The amount of blur ramps linearly from 0 to Blur Amount as the pixel motion increases from the Lower Motion Threshold value to the Upper Motion Threshold value. This means that the faster an object moves, the more it is blurred.
Lower Motion Objects moving less than the Lower Motion Threshold number of Threshold, pixels between frames or fields are not blurred. Objects moving more Upper Motion than the Upper Motion Threshold number of pixels between frames or Threshold fields are not blurred. Objects whose movement falls between the two values are blurred by the Blur Amount.
Trail Instructs the system to add an amount from the previous frame’s (or field’s) blur to the current frame. This produces smooth movement, especially as objects move along curved paths.
Sharpen Leading Allows you to keep the front edge of an object crisp and clear while Edge other portions are blurred.
Progressive Use this option if your footage was captured or converted to Source progressive footage (i.e., not interlaced). If your sources are progressive, enabling Progressive Source produces smoother results. This option has no effect in 24p projects because the system assumes that you are using progressive footage.
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FluidColorMap Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the FluidColorMap effect create a color representation of motion in a scene. For more information, see “FluidColorMap” on page 434.
Use of Controls Min Motion Objects moving less than the Min Motion Threshold number of pixels Threshold, Max between frames (or fields) will have the minimum saturation and Motion luminance. Objects moving more than the Max Motion Threshold Threshold number of pixels between frames (or fields) receive the maximum saturation and luminance. The amount of saturation depends on the Constant Saturation value. Brightness and color saturation increase as the motion of an object increases from the minimum threshold value to the maximum threshold value. The faster an object moves, the brighter and more color saturated it becomes.
Constant This setting controls how much the Min Motion Threshold and Max Saturation Motion Threshold values affect the color saturation. The minimum and maximum values always control the luminance (brightness) of the image. However, for a low Constant Saturation value, the minimum and maximum values strongly affect saturation as well as luminance. For a high Constant Saturation value, the minimum and maximum values affect saturation to a lesser degree. If Constant Saturation is set to the maximum value, motion will have no effect on color saturation.
Progressive Use this option if your footage was captured or converted to Source progressive footage (i.e., not interlaced). If your sources are progressive, enabling Progressive Source produces smoother results. This option has no effect in 24p projects because the system assumes that you are using progressive footage.
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FluidMorph Input Parameters
Parameter Type Global
Description The Input parameters for the FluidMorph effect control morphing between two clips. For more information, see “FluidMorph” on page 435.
Use of Controls Feature Match When selected, the system attempts to match features between the two clips when it creates the morph for each frame. When deselected, the system creates the morph based on the brightness of the two images.
Swap Sources Specifies whether to apply the effect to incoming or outgoing video.
Progressive Use this option if your footage was captured or converted to Source progressive footage (i.e., not interlaced). If your sources are progressive, enabling Progressive Source produces smoother results. This option has no effect in 24p projects because the system assumes that you are using progressive footage.
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Iris Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Iris effect create a wipe transition. For more information, see “Iris” on page 435.
Use of Controls Amount Sets the proportion of each clip to be displayed. A value of 0 displays all of the foreground clip; a value of 100 displays all of the background clip. Typical keyframing would be from 0 at the first keyframe to 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.
Swap Sources Specifies whether to apply the effect to incoming or outgoing video. n This parameter is not keyframeable.
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Kaleidoscope Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Kaleidoscope effect create an image resembling a kaleidoscope using the input video. For more information, see “Kaleidoscope” on page 436.
Use of Controls Symmetry Sets the number of mirrors.
Angle Sets the angle of the mirrors.
Scale Sets the scale of the image.
Melt Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Melt effect control a transition effect that “melts” the foreground image away to reveal the background image. For more information, see “Melt” on page 438.
Use of Controls 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. A value of 0 is no effect; all of the foreground clip shows. The higher the value, the more of the foreground clip melts away, and more of the background clip shows. Typical keyframing would be from 0 at the first keyframe to 100 at the last keyframe.
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Strength Sets the strength of the distortion; the higher the value, the greater the distortion.
Random Seed Sets the base number upon which all random values are calculated. Each value results in a different random effect. n This parameter is not keyframeable.
Anti-alias Sets whether or not transformed areas are smoothed. n This parameter is not keyframeable.
Swap Sources Specifies whether to apply the effect to incoming or outgoing video. n This parameter is not keyframeable.
Motion Blur Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Motion Blur effect allow you to blur the edges of moving objects. For more information, see “Motion Blur” on page 439.
Use of Controls Amount Sets the length of the blur.
Direction Sets the direction of the blur. A value of 0 degrees is three o’clock; positive values move counterclockwise.
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Pagecurl Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Pagecurl effect create a transition effect that peels the foreground video off the background video. For more information, see “Pagecurl” on page 440. For examples of the Pagecurl parameter combinations, see the following table.
Use of Controls Turn Left Controls the direction of the page curl.
Reverse When selected, incoming video peels on. When deselected, outgoing video peels off.
Swap Sources Specifies whether to apply the effect to incoming or outgoing video. n This parameter is not keyframeable.
The following table describes the possible combinations of the three parameters and shows an example of the results.
Pagecurl Parameter Combinations
Turn Left Reverse Swap Sources Result
Off Off Off Outgoing video peels off
Off Off On Incoming video peels off
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Pagecurl Parameter Combinations (Continued)
Turn Left Reverse Swap Sources Result
On Off Off Outgoing video peels off
On Off On Incoming video peels off
Off On Off Incoming video peels on
Off On On Outgoing video peels on
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Pagecurl Parameter Combinations (Continued)
Turn Left Reverse Swap Sources Result
On On Off Incoming video peels on
On On On Outgoing video peels on
Particle Blast Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Particle Blast effect create a transition effect that turns the foreground video into particles that blow off to reveal the background video. For more information, see “Particle Blast” on page 441.
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Use of Controls 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. n This parameter is not keyframeable.
Front Speed Controls whether the particles in the center of the blast start to move before the particles at the outside edges.
Front Allows particles nearest the center to move at different speeds. Randomness
Speed Sets the speed at which particles move apart.
Speed Allows particles to move at different speeds to give a more natural Randomness effect.
Acceleration Controls how quickly a particle reaches the full speed of the blast. The higher the value, the more quickly the particle reaches full speed.
Bumpiness Adds a shadow to the edge of the particles.
Swap Sources Specifies whether to apply the effect to incoming or outgoing video. n This parameter is not keyframeable.
Particle Orbit Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Particle Orbit effect create a transition effect that turns the foreground video into circular particles that orbit around their original position. For more information, see “Particle Orbit” on page 441.
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Use of Controls 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. n This parameter is not keyframeable.
Bumpiness Adds a shadow to the edge of the particles.
Speed Sets the speed at which particles orbit.
Swap Sources Specifies whether to apply the effect to incoming or outgoing video. n This parameter is not keyframeable.
Particle Wind Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Particle Wind effect create a transition effect that turns the foreground video into circular particles that blow off to reveal the background video. For more information, see “Particle Wind” on page 443.
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Use of Controls 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. n This parameter is not keyframeable.
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 Allows particles nearest the front to move at different speeds. Randomness
Speed Sets the wind speed.
Speed Allows particles anywhere within the effect to move at different Randomness speeds, giving a more natural effect.
Acceleration Controls how quickly a particle reaches the full speed of the wind. The higher the value, the more quickly the particle reaches full speed.
Angle Sets the source direction of the wind. A value of 0 degrees is three o’clock; positive values move counterclockwise.
Bumpiness Adds a shadow to the edge of the particles.
Swap Sources Specifies whether to apply the effect to incoming or outgoing video. n This parameter is not keyframeable.
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Pinch Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Pinch effect create an effect that pinches the image in toward or pushes it out from a user-defined point. For more information, see “Pinch” on page 445.
Use of Controls Amount Sets the progression of the effect. The larger the difference in the Amount value between keyframes, the faster the effect happens.
Size Sets the diameter of the affected area.
X, Y Sets the center of the effect.
Anti-alias Sets whether or not transformed areas are smoothed. n This parameter is not keyframeable.
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Radial Blur Input Parameters
Render Mode Fast menu
Parameter Type Keyframeable
Description The Input parameters for the Radial Blur effect create an effect that blurs the image inward or outward from a user-defined point. For more information, see “Radial Blur” on page 446.
Use of Controls Zoom Sets the scaling of the blur. Smaller values zoom in and larger values zoom out.
Angle Sets the rotation of the blur. n This effect can take a long time to render. The greater the angle, the more time the rendering takes.
X, Y Sets the center of the effect.
Render Mode Sets whether only the center marker shows, or how the effect is Fast menu rendered. • Locate Select Locate to show the center marker. Use it while setting up the center. • Render Low Quality • Render Medium Quality • Render High Quality
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Random Blend Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Random Blend effect control a random pattern to blend incoming and outgoing video. For more information, see “Random Blend” on page 446.
Use of Controls Amount Sets the amount of blend.
Random Scale Sets the amount of randomness. This allows the system to blend different portions of the image at different rates.
Swap Sources Specifies whether to apply the effect to incoming or outgoing video. n This parameter is not keyframeable .
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Rollup Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Rollup effect control a transition effect that rolls up the foreground video to reveal the background video. For more information, see “Rollup” on page 448.
Use of Controls Amount Sets the proportion of each clip to be displayed. A value of 0 displays all of the foreground clip; 100 displays all of the background clip. Typical keyframing is from 0 at the first keyframe to 100 at the last keyframe.
Curl Size Sets the size of the roll.
Direction Sets the direction of the roll. A value of 0 degrees is three o’clock; positive values move counterclockwise.
Anti-alias Sets whether or not transformed areas are smoothed. n This parameter is not keyframeable.’
Swap Sources Specifies whether to apply the effect to incoming or outgoing video. n This parameter is not keyframeable.
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Shear Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Shear effect control a transition effect that divides the foreground video into strips and slides them away in opposite directions to reveal the background video. For more information, see “Shear” on page 449.
Use of Controls Amount Sets the proportion of each clip to be displayed. A value of 0 displays all of the foreground clip; 100 displays all of the background clip. Typical keyframing is from 0 at the first keyframe to 100 at the last keyframe.
Min Width, Max Sets the minimum and maximum possible width of the slats. Width
Width Controls the variety of sizes of slats. The system creates slats of Randomness various widths in between the minimum and maximum width value.
Spread Sets the randomness of when individual strips start moving. A value of 0 causes all strips to start at the same time.
Angle Sets the direction of the effect. A value of 0 degrees is three o’clock; positive values move counterclockwise.
Random Seed Sets the base number upon which all random values are calculated. Each value results in a different random effect. n This parameter is not keyframeable.
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Anti-alias Sets whether or not transformed areas are smoothed. n This parameter is not keyframeable.
Swap Sources Specifies whether to apply the effect to incoming or outgoing video. n This parameter is not keyframeable.
Sphere Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Sphere effect control a spherical distortion in the image. For more information, see “Sphere” on page 451.
Use of Controls 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. n This parameter is not keyframeable.
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Swirl Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Swirl effect control a distortion in the image where pixels swirl within a circular area. For more information, see “Swirl” on page 452.
Use of Controls Amount Sets the scale of swirl. Negative values swirl the image counterclockwise; positive values swirl it clockwise.
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. n This parameter is not keyframeable.
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Timecode Input Parameters
Timecode Color Fast menu
Timecode Font and Size Fast menu
Timecode Type Fast menu
Parameter Type Keyframeable
Description The Input parameters for the Timecode effect control burn-in timecode. For more information, see “Timecode” on page 453.
Use of Controls Timecode Color Select a color and background for the timecode text. Fast menu
• White (no background) • Black (no background) • White on Black • Black on White
Timecode Font Select a font and size for the timecode text. and Size Fast menu
X, Y Sets the position of the lower left corner of the effect. n You can also drag the marker in the Effect Preview monitor.
Timecode Type Selects the timecode type: Fast menu • Non-drop — Uses a colon (:) as a separator • Drop frame — Uses a semicolon (;) as a separator (applies only to NTSC projects) • Feet and Frames — Uses either a plus sign (+) or an ampersand (&) symbol as a separator. The separator changes from + to & between the values 24 and 25. The + sign is used for 16mm projects and the & symbol is used for 35mm projects.
Frames per Foot Use the slider to specify the number of frames per foot. This option applies when you select Feet and Frames from the Timecode Type Fast menu.
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Twist Input Parameters
Axis Fast menu
Parameter Type Keyframeable
Description The Input parameters for the Twist effect create an effect that distorts the image by twisting the two ends in opposite directions. For more information, see “Twist” on page 454.
Use of Controls Amount Sets the amount of twist.
X, Y Sets the center of the effect.
Axis Fast menu Sets whether the twist applies horizontally (X axis) or vertically (Y axis). •X axis •Y axis
Anti-alias Sets whether or not transformed areas are smoothed. n This parameter is not keyframeable.
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Wave Input Parameters
Parameter Type Keyframeable
Description The Input parameters for the Wave effect create an effect that distorts the image by applying waves to it. For more information, see “Wave” on page 455.
Use of Controls Amount Sets the scale of swirl. Negative values swirl the image counterclockwise; positive values swirl it clockwise.
Minimum Size, Sets the minimum wavelength and the maximum wavelength. Maximum Size
Horizontal The amount of horizontal distortion and vertical distortion, where 0 is Factor, Vertical no distortion and 100 is maximum distortion. Factor
Number of Sets the number of waves. Wave effects are superimposed upon each Waves 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. n This parameter is not keyframeable.
Anti-alias Sets whether or not transformed areas are smoothed. n This parameter is not keyframeable.
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Motion
Parameter Type Keyframeable
Description The Motion parameter category is available only for the Ripple effect. Use it to control the ripples in the effect. For more information, see “Ripple” on page 447.
Use of Controls Amount Sets the progression of the effect. The larger the difference in the time value between keyframes, the faster the effect will happen.
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 selected, waves reflect off the edges of the image, as though hitting a wall.
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Movement
Parameter Type Keyframeable
Description The Movement parameter category is available only for the Sparkler effect. Use it to control the movement of the sparkler in the effect. For more information, see “Sparkler” on page 450.
Use of Controls 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 Y Sets a virtual directional wind, which affects the trajectory of the sparks. n Air Resistance must be greater than 0 for Wind to have an effect.
Turbulence Adds randomness to the movement of the sparks.
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Number
Text color
Parameter Type Keyframeable
Description The Number parameter category is available only for the Pattern Generator effect. For more information, see “Pattern Generator” on page 444.
Use of Controls 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.
R, G, B Sets the color of the number. Select the color by doing one of the (Text color) following: t Directly manipulate the RGB sliders. t Use the Windows Color dialog box or the Macintosh Colors panel. t Use the eyedropper.
X Sets the horizontal position of the number.
Y Sets the vertical position of the number.
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Offset
Parameter Type Keyframeable
Description The Offset parameter category is available only for the Kaleidoscope effect. For more information, see “Kaleidoscope” on page 436.
Use of Controls X, Y Use the X and Y sliders to set the offset from the original source area. n You can also click the corresponding marker, and drag within the image.
Anti-alias Sets whether or not transformed areas will be smoothed. n This parameter is not keyframeable.
Source
Parameter Type Keyframeable
Description The Source parameter category is available only for the FluidMorph effect. Select the morphing method from the Source Fast menu. For more information, see “FluidMorph” on page 435.
Use of Controls Source Fast menu Select the morphing method from the Source Fast menu:
• Still Image — The system takes snapshots of the first frame of outgoing video and the last frame of incoming video and creates an output that is a morph of the two images. • Video Stream — The system creates the output by morphing the two clips, frame by frame.
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Start Timecode
Parameter Type Keyframeable
Description The Start Timecode parameter category is available only for the Timecode effect. For more information, see “Timecode” on page 453.
Use of Controls Starting timecode Sets the day for the starting timecode. day When Starting timecode day is 0, the value does not appear. You can use a non-zero Starting timecode day to identify items such as spool, reel, and so forth.
Starting timecode Sets the hour for the starting timecode. hour
Starting timecode Sets the minute for the starting timecode. minute
Starting timecode Sets the second for the starting timecode. second
Starting timecode Sets the frame for the starting timecode. frame
Starting When you select Feet and Frames as the Timecode Type, you can feet&frame feet specify the starting feet. For morei nformation, see “Timecode Input Parameters” on page 365.
Key Parameters
Key parameters appear only in the Chroma Key, Luma Key, and RGB Keyer effects. These parameters control the key color and allow you to fine-tune the edges of key effects and the appearance of the foreground elements.
For information on the workflow for applying key effects, see “Creating Key Effects” on page 171.
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Key
Available in Chroma Key and Luma Key effects
Parameter Type Global
Description Selects the primary key color to be replaced by video. Available in both Chroma Key and Luma Key.
Use of Controls Other Options Opens the Windows Color dialog box or Macintosh Colors panel button for precise color selection. For more information, see
Hue Identifies the key color. The Hue parameter is measured as values on a color wheel ranging from 0 to 255. The start (0) and ending (255) values are both red.
Sat (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no chrominance and 255 is a fully saturated color.
Lum (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and 255 is full brightness or white.
Gain Specifies how much of the foreground and the background video is displayed. Values range from 0 to 63. A Gain of 0 shows only the foreground. A Gain of 63 replaces all the foreground video with the background video.
Soft (softness) Determines how the bordering colors along the edge of the key are processed in the effect. Colors that border the luminance or chroma specified for the key are displayed as a blend of the foreground and the background video. Values range from 0 to 63. 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.
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Secondary Key
Available in Chroma Key effect only
Parameter Type Global
Description Selects a secondary background color to key out. For example, the floor in a blue screen or green screen shot might be a slightly different shade from the background. You can select the floor color as your secondary color and key it out. Available for the Chroma Key effect only.
Use of Controls See “Key” on page 373.
Spill Suppression
Available in Chroma Key effect only
Parameter Type Global
Description Neutralizes the selected color for the Chroma Key effect without affecting the luminance. The effect changes the spill color to a grayscale, allowing it to blend more easily with the foreground image. Use the Spill Suppression key color to fix the following problems: • Remove background color spill from the foreground image. Color spill occurs when the background color is present in the foreground image due to backdrop reflection. • If the foreground object retains an outline of the chroma key color, you can use Spill Suppression to reduce the color effect in the outline.
Use of Controls See “Key” on page 373.
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Key Color
Available in RGB Keyer effect only
Parameter Type Global
Description Use the Key Color parameters in the RGB Keyer effect to select a color for the chroma key.
Use of Controls H (hue) Specifies the hue or tint measured as values on a color wheel ranging from 0 to 255. The start (0) and ending (255) values are both red.
S (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no chrominance and 255 is a fully saturated color.
V (value) Specifies the value of the color.
See “RGB Keyer (AVX Plug-in Effect)” on page 468.
Chroma Key
Available in RGB Keyer effect only
Parameter Type Global
Description Use the Chroma Key parameters in the RGB Keyer effect to fine-tune the key effect.
Use of Controls Gain Softens the edge of the key, with a range from 0 to 100.
Soft (softness) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no chrominance and 255 is a fully saturated color.
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Show Alpha Displays the grayscale alpha channel used to apply the key effect to the foreground and background sources. Viewing the alpha channel directly allows you to examine problem areas of the key while making adjustments.
Spill Suppresses the spill from the key color onto foreground objects that often occurs due to color reflection in the scene. The range is from 0 to 100.
Level Controls transparency of the foreground elements against the key background.
Reverse Inverts the key.
See “RGB Keyer (AVX Plug-in Effect)” on page 468.
Matte Control
Available in RGB Keyer effect only
Parameter Type Global
Description Use Matte Control in the RGB Keyer effect to fine-tune the edges of the matte used in the chroma key.
Use of Controls Blur Uses a box filter to blur the matte for the key. The range is 0 to 100; 0 indicates a blurring of 0 pixels, and 100 indicates a blurring of 10 pixels.
Erode Used with blur, decreases or “erodes” the outer edges of the blurred matte key.
See “RGB Keyer (AVX Plug-in Effect)” on page 468.
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Color Correction
Available in RGB Keyer effect only
Parameter Type Global
Description Use the Color Correction parameters in the RGB Keyer effect for 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.
Use of Controls Hue Specifies the hue or tint of the color being added to the image as if on a color wheel. Values range from –180 to 180.
Sat (saturation) Specifies the amount or intensity of the color. Values range from –100 to 100, where –100 is no chrominance and 100 is a fully saturated color.
Bright (brightness) Specifies the brightness level. Values range from –100 to 100, where –100 is black and 100 is full brightness or white.
Cont (contrast) Controls the contrast of light and dark areas in the picture. Values range from –100 to +100, where a value of 0 indicates the image is unchanged. A negative value is less contrast; a positive value is more contrast.
See “RGB Keyer (AVX Plug-in Effect)” on page 468.
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Matrix Parameters
Parameter Type Global
Description Allows you to customize the grid used to define the position or progress of the Matrix effect over time. For example, the grid defines the number of squares used for the Grid and Speckle effects, or the number of horizontal bars used for the One-Way Row effect. Available for Matrix Wipe Effects, Sawtooth Wipe Effects, and some Shape Wipe Effects.
Use of Controls Other Options Click to open the Grid Dimensions dialog box. button
Select a standard grid size or enter a custom number of rows and columns, and then click OK. The minimum number of rows and columns is 2 x 2.
Traditional Motion Effect Parameters
Traditional motion effect parameters apply to Freeze Frame, Variable Speed, and Strobe Motion effects. For information about applying and editing various motion effects, see “Creating Traditional Motion Effects” on page 156.
For reference information on Timewarp motion effect, see “Timewarp” on page 530.
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Freeze Frame Parameters
Duration
Custom duration
Parameter Type Global
Description Allows you to create and customize a freeze frame clip based on the image currently displayed in the Source pop-up monitor.
Use of Menu Freeze frame parameters are menu commands in the Clip menu. To create a freeze Commands frame and access freeze frame parameters, select Clip > Freeze Frame, and then select the appropriate submenu commands.
• Duration commands Specifies the length of the freeze frame clip that the Avid editing application creates in (in seconds or the Source pop-up monitor. You can either select a duration from the Freeze Frame minutes) submenu or select Other to enter a custom duration.
• Other Opens a dialog box that allows you to specify a custom duration for the freeze frame clip.
• Two Field Freeze Opens a submenu with commands that allow you to determine how the system creates Frames and displays the effect media when working with two fields.
• Using Duplicated The system uses a single field to create the effect. This option reduces the vertical Field resolution of the image by one-half, resulting in a lower quality image.
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• Using Both Fields The system uses both fields to create the effect. This option is especially useful when there is motion in the footage.
• Using Interpolated The system creates a second field for the effect by combining scan line pairs from the Field first field in the original media. This might result in a slightly softer look to the freeze frame.
Variable Speed and Strobe Motion Parameters
Variable Speed effect
Strobe Motion effect
Parameter type Global
Description Allows you to create and customize variable speed or strobe motion clips based on all or part of the clip currently displayed in the Source pop-up monitor.
Use of controls Variable Speed and Strobe Motion parameters are available in the Motion Effect dialog box. To open the Motion Effect dialog box, click the Motion Effect button in the Source pop-up monitor.
Variable Speed
• Duration The duration of the effect in frames. Doubling the number of frames causes the frame rate to be half the current rate.
• Rate The rate of speed in frames per second (fps) at which the video will be played. Normal speed is 30 fps for NTSC, 25 fps for PAL.
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• % Speed The percent of speed at which the video will be played. Normal speed is 100%. n To indicate reverse motion at full play rate, slow or fast, enter a negative play rate or a percent.
• Fit To Fill Sets the Variable Speed parameters, so the duration of the motion effect will match the IN to OUT duration marked in the sequence.
Strobe Motion
• Update every n Specifies the update rate in frames for the Strobe Motion effect. For example, entering frames a rate of 5 causes every fifth frame to be displayed in the Strobe Motion effect. n If a Strobe Motion effect becomes unrendered because it has been trimmed to a longer duration, the effect will not play and must be rendered again.
Render 2-field Motion Effect Using
• Duplicated Field The Avid editing application uses a single field to create the effect. For two-field media, this reduces the information stored by half because it drops one field of the image, resulting in a lower quality image. For single-field media, this is usually the best choice because of its speed (the other options do not improve effect quality for single-field media). Effects render in the shortest amount of time using this option.
• Both Fields The Avid editing application uses both fields to create the effect. For example, the first two frames of a half-speed (50%) slow-motion effect repeat the original Frame 1 (both fields) twice. This option is good for shots without inter-field motion and still shots. With footage that includes inter-field motion, this method might result in minor shifting or bumping of the image because it disturbs the original order of fields: a Field 1 will appear both before and after the corresponding Field 2. Effects render relatively quickly. For best results, use evenly divisible frame rates with this option.
• Interpolated Field The Avid editing application 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 the Avid editing application considers all fields and does not disturb the original order of fields, the smoothest effect results. This method is best for video-originated material or film-originated material transferred at 24 fps. Effects created using this option take the longest amount of time to render.
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• VTR-Style The Avid editing application creates a second field for the effect by shifting selected video fields of the original media by a full scan line. This technique is similar to that used by high-quality professional video decks when playing footage at less than normal speed. This option also creates the motion effect at the field level rather than the frame level; however, because pixels are not filtered, the final image is sharper than that created by the Interpolated Field option. The image might display some slight jitter at certain speeds. The time needed to render effects created with this option is longer than the time for effects created using either Duplicated Field or Both Fields but similar to the time needed for Interpolated Field.
• Ignore Render If a specific motion effect type is set in the Motion Effects Render Using option of the Setting active Render setting, the Avid editing application automatically selects that motion effect type, makes all other motion effect type options unavailable, and displays the Ignore Render Setting check box. Click the Ignore Render Setting check box to temporarily override the active Render setting and make all four motion effect types available.
PlasmaWipe Parameters
All of the PlasmaWipe effects use the same set of parameters. For information on using PlasmaWipe effects, see “Working with PlasmaWipe Effects” on page 287.
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The following table describes the PlasmaWipe parameters.
PlasmaWipe Parameters
Parameter Description
Border The Border parameters allow you to specify the color, softness, and width of the border. Blend Color parameters allow you to blend the border color. For more information, see “Border” on page 324. Fixed border allows you to specify whether the border can change shape during the effect. For the Frame and Border PlasmaWipe effects the border is used to create the effect.
Foreground Level The Level value controls the amount of the effect at any given point. As you increase the value, the effect reveals more incoming video.
Acceleration Acceleration adjusts the effect’s speed over time by having the effect ease in and ease out of every keyframe. For more information, see “Acceleration” on page 315.
Plug-in Effect Parameters
If you install third-party plug-in effects, these effects usually come with their own documentation. For information on installing and using third-party plug-in effects, see. “Working with Plug-In Effects” on page 141.
Position
Parameter Type Keyframeable
Description Sets the horizontal and vertical position of the effect.
Use of Controls H Pos (horizontal Moves the video from side to side. Values range from –999 to +999. position) Negative values move the image to the left. Positive values move the image to the right.
V Pos (vertical Moves the video up and down. Values range from –999 to +999. position) Negative values move the image to the top. Positive values move the image to the bottom.
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Scroll Position
Parameter Type Keyframeable.
Description Moves a rolling title up or down in the frame (Scroll Position V) or moves a crawling title left or right in the frame (Scroll Position H). Available for rolling and crawling titles only.
Use of Controls Move the slider to adjust the position of the roll or crawl. The number range refers to the position of the roll or crawl relative to its overall length, where 0 represents the point at which the top of the roll is aligned with the top or left of the screen. The highest negative number (the slider at its leftmost position) places the top or left of the title off the bottom or right of the screen. The highest positive number (the slider at its rightmost position) places the bottom or right of the title off the top or left of the screen.
Reverse Click to reverse the direction of the roll or crawl.
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.
Reformat Parameters
This section contains reference summaries for the following effect parameters that are unique to the Reformat effect category: • 14:9 Letterbox Position H Parameter • Pan and Scan Aspect Ratios Parameters • Pan and Scan Actions Parameters
14:9 Letterbox Position H Parameter
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.
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Pan and Scan Aspect Ratios Parameters
The Aspect Ratios parameter sets the Source and Target aspect ratios for a Pan and Scan effect or a Reformat effect. For more information, see “Selecting the Source and Target Aspect Ratios” on page 195. n These parameters are not keyframeable. The following table describes the Aspect Ratios parameters.
Parameter Description
Source Fast Menu button Specifies the aspect ratio of the source media. Supported source aspect ratios are:
• 1.33 (4:3) •2.35 •1.66 • 15:9 anamorphic • 1.78 (16:9) • 16:9 anamorphic •1.85
Target Fast Menu button Specifies the aspect ratio to which Pan and Scan will conform the media. Supported target aspect ratios are:
• 1.33 (4:3) • 16:9 anamorphic
Pan and Scan Actions Parameters
The Actions parameter category allows you to control certain aspects of the Pan and Scan effect. The following table describes the Actions parameters. n These parameters are not keyframeable.
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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 200.
Subdivide Effect Divides a Pan and Scan effect into a series of segments based on the segment boundaries on the video tracks below the Pan and Scan track. For more information, see “Subdividing the Pan and Scan Effect” on page 201.
Reset to Origin Resets the Scaling and Position values to the current customized Origin values. If you have not established an origin, Reset to Origin resets the values to the default values for the current Target aspect ratio. For more information, see “Setting an Origin in the Pan and Scan Effect” on page 200.
Region Stabilize Parameters
Region Stabilize parameters appear only in the Region Stabilize effect. They allow you to establish the type of stabilization and the area of the image that is to remain stationary. For more information, see “Using the Region Stabilize Effect” on page 206.
Model
Parameter Type Global
Description Selects the type of stabilization. Available for the Region Stabilize effect only. For more information, see “Using the Region Stabilize Effect” on page 206.
Options Translational Keeps the region of interest steady along both the horizontal and the vertical axis.
Horizontal Constrains horizontal motion in the region of interest. Objects in the region of interest can move vertically but not horizontally.
Vertical Constrains vertical motion in the region of interest. Objects in the region of interest can move horizontally but not vertically.
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Region of Interest
Parameter Type Keyframeable
Description Defines the area of the image that is to remain stationary. Available for the Region Stabilize effect only. For more information, see “Using the Region Stabilize Effect” on page 206.
Use of Controls T (top) Sets the corners of the region of interest. Values are relative to the L (left) center of the screen. B (bottom) R (right)
Options
Parameter Type Global
Description Controls the use of automatic image resizing and special processing for progressive source material.
Use of Controls AutoZoom Stabilization using the Region Stabilize effect exposes black around the edges of the repositioned frames. Auto Zoom compensates by resizing and, if necessary, repositioning the clip to remove the exposed edges. for more information, see “Region Stabilize” on page 461.
Progressive Produces smoother results for the effect when your footage was captured or Source converted to progressive footage (not interlaced).
Progressive Source
Parameter Type Global
Description Produces smoother results for the effect when your footage was captured or converted to progressive footage (not interlaced).
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Safe Color Limiter Parameters
Safe Color Limiter parameters apply only to the Safe Color Limiter effect. They allow you to adjust the limit values used by the effect, the units used to measure limit values, and the use of the effect analysis display. For more information, see “Working with the Safe Color Limiter” in the Help.
The following table describes the Safe Color Limiter effect parameters.
Parameter Description
Monitor Limits When Highlight Out of Range Colors is selected, an effect analysis display replaces the menu normal view of source footage in the Source monitor. When Source Monitoring - Off is selected, the Source monitor reverts to the normal display of source footage.
Composite/Luma When the Enable button is turned on (purple), the effect limits the video so that it is within Levels the limits for composite or luminance set with the Composite L, Composite H, Luma L, and Luma H sliders. When the Enable button is turned off (gray), the effect does not take account of the composite or luminance limits.
Composite L Controls the lower limit for the composite signal. For example, if Composite L is set to -20 IRE, any pixels with a lower composite value are modified so that their composite value is no lower than -20.
Composite H Controls the upper limit for the composite signal. For example, if Composite H is set to 110 IRE, any pixels with a higher composite value are modified so that their composite value is no higher than 110.
Composite units Controls the unit of measurement used for composite limits: IRE — Measures in IRE units. mVolts — Measures in millivolts.
Luma L Controls the lower limit for luminance. For example, if Luma L is set to 7.5 IRE, any pixels with a lower luminance value are modified so that their luminance value is no lower than 7.5.
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.
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Parameter Description
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. mVolts — Measures in millivolts.
RGB Levels When the Enable button is turned on (purple), the effect limits the video so that it is within the limits for RGB color levels set with the RGB Gamut L and RGB Gamut H sliders. When the Enable button is turned off (gray), the effect does not take account of the RGB color level limits.
RGB Gamut L Controls the lower limit for RGB color gamut. For example, if RGB Gamut L is set to 16 using 8 Bit units, any pixels with a lower red, green, or blue level are modified so that their red, green, and blue levels are no lower than 16.
RGB Gamut H Controls the upper limit for RGB color gamut. For example, if RGB Gamut H is set to 235 using 8 Bit units, any pixels with a higher red, green, or blue level are modified so that their red, green, and blue levels are no higher than 235.
RGB Gamut units Controls the unit of measurement used for RGB gamut 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. mVolts — Measures in millivolts.
Scaling
Parameter Type Keyframeable
Description Resizes the effect by adjusting height and width.
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Use of Controls Wid (width) Controls the width of the image when the Fixed Aspect parameter is disabled. Values range from 0 to 400.
Hgt (height) Controls the height of the image when the Fixed Aspect parameter is disabled. Values range from 0 to 400.
Fixed Aspect Determines which position and size parameters are displayed. When the Fixed Aspect parameter is enabled, the aspect ratio of the picture cannot be changed. The Wid and Hgt sliders are ganged and move together.
n For information on the Scaling parameter for 3D effects, see “Scaling” on page 550. Transition Parameters
Click the Transition Transition Effect Duration box Effect Alignment button to select a position from the pop- up menu.
Parameter Type Global
Description Transition parameters allow you to specify the starting point of a transition relative to the cut point and the length of a transition. Transition parameters appear at the bottom of the Effect Editor. For more information about using transition effects, start with “Applying Effects From the Effect Palette” in the Help.
Use of Controls Transition Effect Click the Transition Effect Alignment button to open a Alignment button pop-up menu, and then select a position option. Ending at Cut — The transition effect starts a number of frames before the cut defined by the duration, such that the effect completes at the cut point in the video. Centered on Cut — The transition is centered on the cut so that half the effect occurs before the cut point and half occurs after the cut point in the sequence. Starting at Cut — The transition effect starts immediately after the last frame of the outgoing video is displayed. Custom Start — Allows you to specify the number of frames before and after the cut to be included in the effect.
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Transition Effect Duration box
Click in the box, and type a value to specify the length of time that the effect will span the transition. The Transition Effect Duration format that the effect displays (for example, 1:00 is 1 second and 0 frames) is determined by the Transition Effect Duration setting you selected at the top of the Effect Preview monitor.
2D Effects
This section summarizes each 2D effect in alphabetical order within each effect category listed below. Parameters for each effect are listed here and are described in “2D Effects Parameters” on page 313. • Blend Effects • Box Wipe Effects • Conceal Effects • Edge Wipe Effects • Film Effects • Illusion FX • Image Effects • Key Effects • L-Conceal Effects • Matrix Wipe Effects • Motion Effects • Peel Effects • PlasmaWipe Effects • Push Effects • Reformat Effects • Sawtooth Wipe Effects
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• Shape Wipe Effects • Spin Effects • Squeeze Effects • Timewarp • Title Effects
Blend Effects
Blend effects are general two-channel effects used for transitions or multilayer segments. Blend effects include the following: • Dip to Color • Dissolve • Fade from Color • Fade to Color • Picture-in-Picture • Superimpose
Also see “Film Dissolve” on page 427 and “Film Fade” on page 428.
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Dip to Color
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Blend
Apply to Transitions
Parameters Foreground – level, reverse animation Background – hue, saturation, luminance Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Fades from the outgoing video to black, white, or any color and then fades up to the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Dissolve
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Blend
Apply to Transitions
Parameters Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Blends images from the outgoing video with the incoming video over time. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Fade from Color
Beginning color Middle of effect Incoming footage
Effect Icon
Effect Category Blend
Apply to Transitions
Parameters Foreground – level, reverse animation Background – hue, saturation, luminance Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Fades from any color to the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Fade to Color
Outgoing footage Middle of effect Final color
Effect Icon
Effect Category Blend
Apply to Transitions
Parameters Foreground – level, reverse animation Background – hue, saturation, luminance Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Fades from the outgoing video to any color. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Picture-in-Picture
Bottom track PIP as a segment effect Top track
Effect Icon
Effect Category Blend
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, swap sources, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Scaling – height, width, fixed aspect Position – horizontal position, vertical position Crop – top, bottom, left, right n You can promote Picture-in-Picture to advanced keyframes. For more information, see “Using Advanced Keyframes” on page 82.
Description Creates a picture within a picture. Video from the higher layer, where the effect is applied, is displayed inside the video on the lower layer. When used on a transition, the incoming video appears inside the outgoing video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes. You can promote a Picture in Picture effect to 3D or you can start off with a 3D PIP effect from the Xpress 3D Effects category. For information on 3D effect parameters, see “3D Effects Parameters” on page 539.
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Superimpose
Bottom track Superimpose effect Top track
Effect Icon
Effect Category Blend
Apply to Multilayer segments
Parameters Foreground – level, reverse animation Acceleration Grid
Description Blends the image from the upper video track (where the effect is applied) with the image from the lower video track over time. Level set at 100 percent shows only the video image from the upper track where the effect is applied. Level set at 0 percent shows only the video image from the lower video track. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
Box Wipe Effects
Box Wipe effects reveal one video channel on top of another video channel, using predefined growing rectangular shapes. Box Wipe effects include the following: • Bottom Box • Bottom Left to Top Right • Bottom Right to Top Left • Left Box
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• Right Box • Top Box • Top Left to Bottom Right • Top Right to Bottom Left n For examples of similar effects, see “Comparison of Similar Effects” on page 538. Bottom Box
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Box Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a box in the center of the bottom edge of the screen and wipes out the outgoing video as the box expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom Left to Top Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Box Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a box in the bottom left corner of the screen and wipes out the outgoing video as the box expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom Right to Top Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Box Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a box in the bottom right corner of the screen and wipes out the outgoing video as the box expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Left Box
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Box Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a box in the center of the left edge of the screen and wipes out the outgoing video as the box expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Right Box
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Box Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a box in the center of the right edge of the screen and wipes out the outgoing video as the box expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Box
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Box Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a box in the center of the top edge of the screen and wipes out the outgoing video as the box expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Left to Bottom Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Box Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a box in the top left corner of the screen and wipes out the outgoing video as the box expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Right to Bottom Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Box Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a box in the top right corner of the screen and wipes out the outgoing video as the box expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
Conceal Effects
Conceal effects overlap one video channel over another video channel, using a predefined path. Conceal effects include the following: • Bottom Left to Top Right • Bottom Right to Top Left • Bottom to Top • Left to Right
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• Right to Left • Top Left to Bottom Right • Top Right to Bottom Left • Top to Bottom n For examples of similar effects, see “Comparison of Similar Effects” on page 538. Bottom Left to Top Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Conceal
Apply to Transitions, single-layer and multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides on top of the outgoing video from the bottom left to the top right of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom Right to Top Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Conceal
Apply to Transitions, single-layer and multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides on top of the outgoing video from the bottom right to the top left of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom to Top
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Conceal
Apply to Transitions, single-layer and multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides on top of the outgoing video from the bottom to the top of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Left to Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Conceal
Apply to Transitions, single-layer and multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides on top of the outgoing video from the left edge to the right edge of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Right to Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Conceal
Apply to Transitions, single-layer and multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides on top of the outgoing video from the right edge to the left edge of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Left to Bottom Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Conceal
Apply to Transitions, single-layer and multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides on top of the outgoing video from the top left to the bottom right of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Right to Bottom Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Conceal
Apply to Transitions, single-layer and multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides on top of the outgoing video from the top right to the bottom left of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top to Bottom
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Conceal
Apply to Transitions, single-layer and multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides on top of the outgoing video from the top to the bottom of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
Edge Wipe Effects
Edge Wipe effects reveal one video channel on top of another video channel by wiping an edge across the screen. Edge Wipe effects include the following: • Horizontal • Horizontal Open • Lower Left Diagonal • Lower Right Diagonal • Upper Left Diagonal 414 2D Effects
• Upper Right Diagonal • Vertical • Vertical Open
Horizontal
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Edge Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins at the left edge of the screen and moves to the right edge, wiping out the outgoing video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Horizontal Open
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Edge Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a vertical band in the center of the screen. This band expands to the left and right edges of the screen, wiping out the outgoing video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Lower Left Diagonal
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Edge Wipe
Apply to Transitions, multilayer segments
Parameters Foreground – level, reverse animation Acceleration Scaling – height, width, fixed aspect Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins in the bottom left corner of the screen and wipes out the outgoing video as a diagonal line moves from the bottom left corner to the top right corner of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Lower Right Diagonal
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Edge Wipe
Apply to Transitions, multilayer segments
Parameters Foreground – level, reverse animation Acceleration Scaling – height, width, fixed aspect Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins in the bottom right corner of the screen and wipes out the outgoing video as a diagonal line moves from the bottom right corner to the top left corner of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Upper Left Diagonal
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Edge Wipe
Apply to Transitions, multilayer segments
Parameters Foreground – level, reverse animation Acceleration Scaling – height, width, fixed aspect Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins in the top left corner of the screen and wipes out the outgoing video as a diagonal line moves from the top left corner to the bottom right corner of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Upper Right Diagonal
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Edge Wipe
Apply to Transitions, multilayer segments
Parameters Foreground – level, reverse animation Acceleration Scaling – height, width, fixed aspect Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins in the top right corner of the screen and wipes out the outgoing video as a diagonal line moves from the top right corner to the bottom left corner of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Vertical
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Edge Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins at the top edge of the screen and expands downward to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Vertical Open
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Edge Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a horizontal band in the center of the screen. This band expands up and down to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
Film Effects
Film effects, an option on some systems, emulate many of the effects an optical house can produce. Film effects include the following: • 1.66 Mask • 1.85 Mask • 16:9 Mask • Anamorphic Mask
422 2D Effects
• Blowup • Film Dissolve • Film Fade • Mask
1.66 Mask
Original image 1:1.66 Mask effect
Effect Icon
Effect Category Film
Apply to Single-layer segments
Parameters Background – hue, saturation, luminance Scaling – height, width, fixed aspect’ Position – horizontal position, vertical position Grid
Description Masks out any area of the image that is not inside a centered rectangle. The centered rectangle is 1.66 times wider than it is tall. The area surrounding the rectangle is masked by a black background. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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1.85 Mask
Effect Icon
Effect Category Film
Apply to Single-layer segments
Parameters Background – hue, saturation, luminance Scaling – height, width, fixed aspect Position – horizontal position, vertical position Grid
Description Masks out any area of the image that is not inside a centered rectangle. The centered rectangle is 1.85 times wider than it is tall. The area surrounding the rectangle is masked by a black background. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
16:9 Mask
Effect Icon
Effect Category Film
Apply to Single-layer segments
Parameters Background – hue, saturation, luminance Scaling – height, width, fixed aspect Position – horizontal position, vertical position Grid
Description Masks out any area of the image that is not inside a centered rectangle. The centered rectangle is 16 units wide by 9 units high. The area surrounding the rectangle is masked by a black background. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Anamorphic Mask
Effect Icon
Effect Category Film
Apply to Single-layer segments
Parameters Background – hue, saturation, luminance Scaling – height, width, fixed aspect Position – horizontal position, vertical position Grid
Description Masks out any area of the image that is not inside a centered rectangle. The centered rectangle is 2.35 times wider than it is tall. The area surrounding the rectangle is masked by a black background. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Blowup
Original image Blowup effect
Effect Icon
Effect Category Film
Apply to Single-layer segments
Parameters Background – hue, saturation, luminance Blowup– Field, X Pos, Y Pos Crop – top, bottom, left, right Grid
Description Blowup modifies the size and portion of the picture that is displayed. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Film Dissolve
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Film
Apply to Transitions
Parameters Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Blends the outgoing frame to the incoming frame over time. The Level parameter has been preset according to Kodak™ specifications. Avid does not recommend adjusting the Level parameter on this effect. The Level set at 0% shows all of the outgoing frame. The Level set at 100% shows all of the incoming frame. This dissolve has preset parameters that emulate film’s response to light when dissolving to another (nonblack) picture. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Film Fade
Effect Icon
Effect Category Film
Apply to Transitions
Parameters Foreground – level, reverse animation Acceleration Grid
Description Blends the outgoing pictures to the incoming pictures over time. The Level parameter has been preset according to Kodak specifications. Avid does not recommend adjusting the Level parameter on this effect. The Level set at 0% shows all of the outgoing frame. The Level set at 100% shows all of the incoming frame. This dissolve has preset parameters that emulate film’s response to black material. Use this effect for fade ins and fade outs. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Mask
Effect Icon
Effect Category Film
Apply to Single-layer segments
Parameters Background – hue, saturation, luminance Scaling – height, width, fixed aspect Position – horizontal position, vertical position Grid
Description Masks out any area of the image that is not inside a rectangle defined by the Scaling, Fixed Aspect, and Position parameters of the effect. The effect’s background color masks the area surrounding the rectangle. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Illusion FX
The Illusion FX category contains AVX plug-ins, which you can use like any other AVX plug-ins. For more information on AVX plug-ins, see “Working with AVX Plug-Ins” on page 141. Illusion FX effects include the following: • Color Mix • Crystal • Film Grain • Flare • FluidBlur • FluidColorMap • FluidMorph • Iris • Kaleidoscope • Lightning • Melt • Motion Blur • Pagecurl • Particle Blast • Particle Orbit • Particle Wind • Pattern Generator • Pinch • Radial Blur • Random Blend • Ripple • Rollup • Shear • Sparkler • Sphere
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• Swirl • Timecode • Twist • Wave
Color Mix
Apply to Segments
Effect Category Illusion FX
Parameters Color Mix Input Parameters — color level, color
Description Allows you to keyframe a color effect. Non-real-time effect. 8-bit processing only.
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Crystal
Apply to Segments
Effect Category Illusion FX
Parameters Crystal Input Parameters — size, jitter, random seed, anti-alias Border — left, right, top, bottom
Description Creates a mosaic effect using polygons. The size of the polygons and the randomness of their shape can be controlled. Non-real-time effect. 8-bit processing only.
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Film Grain
Apply to Segments
Effect Category Illusion FX
Parameters Film Grain Input Parameters — level, size, color, field mode, hilite grain, shadow grain
Description Adds a grainy texture to a video clip to simulate the imperfections present in some film footage, such as 16mm stock. Non-real-time effect. 8-bit processing only.
Flare
Apply to Segments
Effect Category Illusion FX
Parameters Flare Input Parameters — brightness, size, width, amount, random seed, X, Y
Description Creates a random ring flare. The brightness, size, and center of the flare can be controlled. Non-real-time effect. 8-bit processing only.
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FluidBlur
Apply to Segments
Effect Category Illusion FX
Parameters FluidBlur Input Parameters — blur amount, lower motion threshold, upper motion threshold, trail, sharpen leading edge, progressive source Border — left, right, top, bottom
Description 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 will be blurred. Non-real-time effect. 8-bit processing only. n FluidBlur creates a higher quality effect than the Motion Blur effect because it blurs in the direction of travel. See “Motion Blur” on page 12-439. You must render this effect to see the result.
FluidColorMap
Apply to Segments
Effect Category Illusion FX
Parameters FluidColorMap Input Parameters — min motion threshold, max motion threshold, brightness, constant saturation, progressive source Border — left, right, top, bottom
Description Creates an animation based on the amount of motion in a scene. The effect maps motion to color values as follows: • Direction of movement maps to unique chroma (color) values. A different color is used for each direction within a 360 degree circle. The system uses the Vectorscope layout (used in the Video Input tool) as a compass of color values. • Motion magnitude maps to luminance (brightness) and color saturation values. Motion magnitude is defined as the amount of pixels an object moves between frames (or fields). Non-real-time effect. 8-bit processing only.
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FluidMorph
Apply to Transitions
Effect Category Illusion FX
Parameters Source — still image, video stream FluidMorph Input Parameters — feature match, swap sources, progressive source Border — left, right, top, bottom
Description Allows you to morph between two clips. Non-real-time effect. 8-bit processing only.
Iris
Apply to Transitions
Effect Category Illusion FX
Parameters Iris Input Parameters — amount, softness, X, Y, swap sources
Description Wipes the foreground clip away to reveal the background clip using a circle that radiates out from the center. The softness of the edge of the circle can be controlled. Non-real-time effect. 8-bit processing only.
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Kaleidoscope
Apply to Segments
Effect Category Illusion FX
Parameters Kaleidoscope Input Parameters — symmetry, angle, scale Center — X, Y Offset — X, Y, anti-alias Border — left, right, top, bottom
Description Creates an animation that resembles a kaleidoscope. The number, angle, and position of the mirrors can be controlled, as can the source area for the effect. Non-real-time effect. 8-bit processing only.
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Lightning
Apply to Segments
Effect Category Illusion FX
Parameters Generation — amount, branch probability, random seed, render mode Core — width, color Glow — width, color
Description Creates a random lightning pattern. Non-real-time effect. 8-bit processing only.
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Melt
Apply to Transitions
Effect Category Illusion FX
Parameters Melt Input Parameters — bleed, melt up, amount, strength, random seed, anti-alias, swap sources Border — left, right, top, bottom
Description Melts away the foreground clip to reveal the background clip. The foreground clip “melts” downward off the screen, while being distorted in a random “liquid” manner along the horizontal lines; the vertical lines are not distorted. The strength of the distortion can be controlled. Non-real-time effect. 8-bit processing only.
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Motion Blur
Apply to Segments
Effect Category Illusion FX
Parameters Motion Blur Input Parameters — amount, direction
Description Allows you to blur the edges of moving objects. See also “FluidBlur” on page 434. Non-real-time effect. 8-bit processing only.
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Pagecurl
Apply to Transitions
Effect Category Illusion FX
Parameters Pagecurl Input Parameters — turn left, reverse, swap sources n This effect is similar to the Rollup effect. Rollup has more flexibility, but Pagecurl adds a highlight along the curled edge. For more information, see “Rollup” on page 448.
Description Treats the foreground video channel as though it were a sheet of paper being rolled over to reveal another page beneath. Non-real-time effect. 8-bit processing only.
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Particle Blast
Apply to Transitions
Effect Category Illusion FX
Parameters Particle Blast Input Parameters — amount, size, spacing, front speed, front randomness, speed, speed randomness, acceleration, bumpiness, swap sources Border — left, right, top, bottom
Description Divides the foreground image into circular particles and then blows away the particles from the center outward. Non-real-time effect. 8-bit processing only.
Particle Orbit
Apply to Transitions
Effect Category Illusion FX
Parameters Particle Orbit Input Parameters — amount, size, spacing, bumpiness, speed, swap sources Border — left, right, top, bottom
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Description Divides the foreground image into circular particles, which then orbit around their original position. The size and spacing of the particles can be controlled. Non-real-time effect. 8-bit processing only.
Particle Orbit Example
When using this effect as a transition effect, the following parameter changes are recommended: • At the first keyframe, set initial Amount and Bumpiness values to 0 so the transition will begin smoothly. • Add a keyframe to increase the Amount value during the transition. For example, change the value from 0 to 40. • At the same keyframe, set the Size value. For example, reduce Size from 10 to 0. • (Option) At the same keyframe, increase Bumpiness. Increasing Bumpiness gives additional texture to the particles. For example, change the value from 0 to 100.
The following illustration shows four frames from a transition effect using the values in the example.
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Particle Wind
Apply to Transitions
Effect Category Illusion FX
Parameters Particle Wind Input Parameters — amount, size, spacing, front speed, front randomness, speed, speed randomness, acceleration, angle, bumpiness, swap sources Border — left, right, top, bottom
Description Divides the foreground image into circular particles and then blows the particles away directionally. Non-real-time effect. 8-bit processing only.
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Pattern Generator
Apply to Segments
Effect Category Illusion FX
Parameters Background — pattern type, axis, base color Number — number offset, opacity, text size, stroke width, text color, X, Y Circle — size, width, opacity, color, X, Y
Description 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. Non-real-time effect. 8-bit processing only.
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Pinch
Apply to Segments
Effect Category Illusion FX
Parameters Pinch Input Parameters — amount, size, X, Y, anti-alias Border — left, right, top, bottom
Description Pinches the image in toward, or pushes it out from a user-defined point. The amount of distortion and the area affected can be controlled. Non-real-time effect. 8-bit processing only.
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Radial Blur
Apply to Segments
Effect Category Illusion FX
Input Parameters Radial Blur Input Parameters — zoom, angle, X, Y, render mode n This effect can take a long time to render. The greater the angle, the more time it will take to render the effect. Border — left, right, top, bottom
Description Blurs the image inward or outward from a user-defined point, and around a user-defined rotation. The zoom factor can be controlled. Non-real-time effect. 8-bit processing only.
Random Blend
Apply to Transitions
Effect Category Illusion FX
Parameters Random Blend Input Parameters — amount, random scale, swap sources
Description Uses a random pattern to blend the image of the incoming and outgoing video.
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Ripple
Apply to Segments
Effect Category Illusion FX
Parameters Motion — amount, wave speed, ripple spread, reflections Generation — strength, length, number of ripples, random seed, anti-alias Illumination — color, angle Border — left, right, top, bottom
Description Creates ripples on the image, as if you dropped a stone into a pond. The number of ripples; their size, speed, and spread; and the color and direction of the light can be controlled. Non-real-time effect. 8-bit processing only.
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Rollup
Apply to Transitions
Effect Category Illusion FX
Parameters Rollup Input Parameters — amount, curl size, direction, anti-alias, swap sources Border — left, right, top, bottom
Description Rolls up the foreground clip to reveal the background clip. The size and direction of the rollup can be controlled. Non-real-time effect. 8-bit processing only. n This effect is similar to the Page Curl effect. Rollup has more flexibility, but Page Curl adds a highlight along the curled edge. For more information, see “Pagecurl” on page 440.
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Shear
Apply to Transitions
Effect Category Illusion FX
Parameters Shear Input Parameters — amount, min width, max width, width randomness, spread, angle, random seed, anti-alias, swap sources Border — left, right, top, bottom
Description Divides the foreground clip into strips and moves alternate strips away in opposite directions to reveal the background clip. Non-real-time effect. 8-bit processing only.
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Sparkler
Apply to Segments
Effect Category Illusion FX
Generation Generation — birth rate, lifetime, X, Y, link speed, length, speed bias X, speed bias Y Parameters Movement — speed, gravity, air resistance, wind X, wind Y, turbulence Glow — glow radius, color Core — core radius, color
Description Creates random sparks or fireworks. The number and nature of the sparks can be controlled. Non-real-time effect. 8-bit processing only.
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Sphere
Apply to Segments
Effect Category Illusion FX
Parameters Sphere Input Parameters — amount, size, X, Y, anti-alias Border — left, right, top, bottom
Description Creates a spherical distortion in the image. The size and position of the sphere can be controlled. Non-real-time effect. 8-bit processing only.
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Swirl
Apply to Segments
Effect Category Illusion FX
Parameters Swirl Input Parameters — amount, size, X, Y, anti-alias Border — left, right, top, bottom
Description Distorts the image by swirling the pixels within a circular area. The size and position of the circle and the amount of swirl can be controlled. Non-real-time effect. 8-bit processing only.
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Timecode
Apply to Segments
Effect Category Illusion FX
Parameters Timecode Input Parameters — timecode color, timecode font and size, X, Y, timecode type, frames per foot Start Timecode — starting day, starting hour, starting minute, starting second, starting frame
Description Allows you to add burn-in timecode on a clip. The system automatically increments the timecode on each frame of the clip. This effect works for 30-fps, 24-fps, and 25- fps projects. This effect works well on a video mixdown or when you apply the effect to a separate uncut video filler track that plays above all other tracks. Applying the effect to adjacent clips can be time consuming because it means that you need to apply the effect, select the appropriate starting timecode, and render the effect for each clip. Non-real-time effect. 8-bit processing only. n Feet and frames will be incorrect in a Matchback project. n The system uses the native timecode for the project. For example, in a 24p project, the system uses 24-fps non-drop-frame timecode.
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Twist
Apply to Segments
Effect Category Illusion FX
Parameters Twist Input Parameters — amount, X, Y, axis, anti-alias Border — left, right, top, bottom
Description Distorts the image by twisting the two ends in opposite directions. The position and the amount of the twist can be controlled. Non-real-time effect. 8-bit processing only.
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Wave
Apply to Segments
Effect Category Illusion FX
Parameters Wave Input Parameters — amount, minimum size, maximum size, horizontal factor, vertical factor, number of waves, speed, random seed, anti-alias Border — left, right, top, bottom
Description Distorts the image by applying a user-defined number of waves to it. The size of the waves can be controlled. Non-real-time effect. 8-bit processing only.
Image Effects
Image effects are general effects that apply to a single stream of video. Image effects include the following: • Avid Pan & Zoom (AVX Plug-In Effect) • Color Correction • Color Effect • Flip • Flip-Flop • Flop • Mask • Region Stabilize • Resize
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• Safe Color Limiter • Submaster
Avid Pan & Zoom (AVX Plug-In Effect)
Effect Icon
Effect Category Image
Apply to Single-layer segments
Parameters Other Options button for the Avid Pan & Zoom Effect Display Display Options Size Position for the Avid Pan & Zoom Effect Velocity Path Filtering Background for the Avid Pan & Zoom Effect Advanced Cache Render Mode
Description Allows you to import a high-resolution still image, and then pan and zoom over it. You can preview the movement in real time with no filtering and render the effect with a wide range of filtering options that provide exceptional image quality. For more information, see. “Using Avid Pan & Zoom” on page 209. Real-time effect. 8-bit processing only.
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Color Correction
Effect Icon
Effect Category Image
Apply to Single-layer segments
Parameters All parameters and controls appear in the Color Correction tool.
Descript The Color Correction effect allows you to access the tools available in Color Correction mode when you need to create a color correction that can be rendered. For more information, see “Using Color Correction Effects in the Effect Palette” in the Help. Real-time effect. 8-bit and 16-bit processing available.
Color Effect
Effect Icon
Effect Category Image
Apply to Single-layer segments
Parameters Luma Adjust – brightness, contrast, invert Luma Range – luma range Fast menu, white point, black point, gamma Luma Clip – high, low Chroma Adjust – hue, saturation, invert Color Style – posterization, solarization Color Gain – red, green, blue Grid
Description The Color Effect modifies the luminance, chroma, style (posterized or solarized), and color gain of the segment. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes. n For examples of the Color Effect, see “Color Effect Parameters” on page 325.
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Flip
Original image Flip effect applied
Effect Icon
Effect Category Image
Apply to Single-layer segments
Parameters None
Description Video image is flipped vertically. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Flip-Flop
Original image Flip-Flop effect applied
Effect Icon
Effect Category Image
Apply to Single-layer segments
Parameters None
Description Video image is flipped both horizontally and vertically. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Flop
Original image Flop effect applied
Effect Icon
Effect Category Image
Apply to Single-layer segments
Parameters None
Description Video image is flipped horizontally, which reverses the camera angle. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Mask
Effect Icon
Effect Category Image
Apply to Single-layer segments
Parameters Background – hue, saturation, luminance Scaling – height, width, fixed aspect Position – horizontal position, vertical position Grid
Description Masks out any area of the image that is not inside a rectangle defined by the Scaling, Fixed Aspect, and Position parameters of the effect. The effect’s background color masks the area surrounding the rectangle. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
Region Stabilize
Effect Icon
Effect Category Image
Apply to Single-layer segments
Parameters Region Stabilize Parameters – Model, Region of Interest, Options
Description The Region Stabilize effect defines and tracks an area of an image to eliminate unwanted motion in a clip, such as motion from an unstable camera. For more information, see “Using the Region Stabilize Effect” on page 206 and “Region Stabilize Parameters” on page 386. Non-real-time effect. 8-bit processing only. n The Region Stabilize effect is available with Avid Xpress Pro.
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Resize
Original image Resize effect – reduced image Resize effect – enlarged image
Effect Icon
Effect Category Image
Apply to Single-layer segments
Parameters Background – hue, saturation, luminance n The background color remains black unless you promote the effect to 3D and select another color, using the 3D Background parameters. Scaling – height, width, fixed aspect Position – horizontal position, vertical position Crop – top, bottom, left, right Grid n You can promote Resize to advanced keyframes. For more information, see. “Using Advanced Keyframes” on page 82.
Description Resize modifies the size and position of the video. The background color displays where no video is present. Use the H Pos, V Pos, and Size sliders to specify the size and position of the video. Use the Crop parameters to remove the edges of the picture. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Safe Color Limiter
Effect Icon
Effect Category Image
Apply to Single-layer segments
Parameters Safe Color Limiter Parameters – Monitor Limits, Composite/Luma Levels, Composite L, Composite H, Composite units, Luma L, Luma H, Luminance units, RGB Levels. RGB Gamut H, RGB Gamut L, RGB Gamut units
Description Allows you to limit the color values of video material to a specfic range, for example, to meet safe color standards set by a broadcaster. For more information, see “Working with the Safe Color Limiter Effect” in the Help. Real-time effect. 8-bit and 16-bit processing available. AVX2 effect — uses advanced keyframes by default.
Submaster
Effect Icon
Effect Category Image
Apply to The top video track under which are the video tracks that will be included in the Submaster effect
Parameters None
Description When rendered, the Submaster effect creates a single media file for all the video on the layers below the Submaster effect. This allows you to group several effects that reside on different video layers and render them as one effect; this is quicker than rendering each effect separately. For more information, see “Submaster Editing” on page 185. Real-time effect. 8-bit and 16-bit processing available. n The Submaster effect does not render each track separately; you cannot play each track separately after rendering.
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Key Effects
Key effects combine two streams of video using components from one of the streams. Key effects include the following: • Chroma Key • Luma Key • Matte Key • RGB Keyer (AVX Plug-in Effect)
Chroma Key
Background – video layer 1 Key image – video layer 2 Chroma Key effect
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Effect Icon
Effect Category Key
Apply to Transitions, multilayer segments
Parameters Key – hue, saturation, luminance, gain, softness Secondary Key – hue, saturation, luminance, gain, softness Spill Suppression – hue, saturation, luminance, gain, softness Foreground – level, swap sources, reverse animation, invert key, show alpha Acceleration Scaling – height, width, fixed aspect Position – horizontal position, vertical position Crop – top, bottom, left, right Grid Transition Parameters – transition effect alignment and duration
Description Replaces one 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 number. Chroma Key is used most frequently with a foreground image shot in front of a highly saturated color screen. Real-time effect. 8-bit and 16-bit processing available.
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Luma Key
Key image Background image Luma Key effect
Effect Icon
Effect Category Key
Apply to Transitions, multilayer segments
Parameters Key – hue, saturation, luminance, gain, softness Foreground – level, swap sources, reverse animation, invert key, show alpha Acceleration Scaling – height, width, fixed aspect Position – horizontal position, vertical position Crop – top, bottom, left, right Grid Transition Parameters – transition effect alignment and duration
Description Replaces one part of the video image with another video image based on luminance. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Matte Key
Video layer 1 — background Video layer 2 — foreground Video layer 3 — high-contrast Matte Key effect matte image
Effect Icon
Effect Category Key
Apply to Multilayer segments
Parameters Foreground – level, swap sources, reverse animation, invert key, show alpha Acceleration Scaling – height, width, fixed aspect Position – horizontal position, vertical position Crop – top, bottom, left, right Grid Transition Parameters – transition effect alignment and duration
Description A three-layer track effect. The bottom layer is the background image, the middle layer is the foreground image, and the top layer contains the grayscale matte or alpha channel. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes. You can promote an imported Matte Key effect to 3D. For more information, see “Promoting 2D Effects to 3D Effects” on page 225.
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RGB Keyer (AVX Plug-in Effect)
Background — video layer 1 Key image — video layer 2 Chroma Key effect
Effect Icon
Apply to Multilayer segments
Parameters Key Color — hue, saturation, value Chroma Key — gain, softness, show alpha, spill suppression, level, reverse Matte Control — blur, erode Color Correction — hue, saturation, brightness, contrast
Description Replaces one 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 number. You can also perform post-key color correction with the RGB Keyer effect. Non-real-time effect. 8-bit processing only.
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L-Conceal Effects
L-Conceal effects overlap one video channel with another using a predefined L-shaped path. L-Conceal effects include the following: • Bottom Left • Bottom Right • Top Left • Top Right
Bottom Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category L-Conceal
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides up the left half of the screen from bottom to top and then fills the screen from left to right. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category L-Conceal
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides up the right half of the screen from bottom to top and then fills the screen from right to left. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category L-Conceal
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides down the left half of the screen from top to bottom and then fills the screen from left to right. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category L-Conceal
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video slides down the right half of the screen from top to bottom and then fills the screen from right to left. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
Matrix Wipe Effects
Matrix Wipes reveal one video channel on top of another video channel, using blocks or bands that appear in a predefined position or path. Matrix Wipe effects include the following: • Grid • One-Way Row • Speckle
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• Spiral • Zig-Zag
Grid
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Matrix Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Matrix Parameters (access through Other Options button) – matrix columns and rows Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as blocks in a grid pattern that wipe out the outgoing video as the blocks expand to fill the screen. Change the size of the grid by clicking the Other Options button. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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One-Way Row
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Matrix Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Matrix Parameters (access through Other Options button) – matrix columns and rows Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a block in the top left corner of the screen that wipes out the outgoing video as the band expands horizontally across the screen from left to right. When the first horizontal band reaches the right edge of the screen, a second band appears on the left edge of the screen, just below the first band, and repeats the process until the incoming video has wiped out all the outgoing video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Speckle
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Matrix Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Matrix Parameters (access through Other Options button) – matrix columns and rows Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video appears in a random series of blocks that wipe out the outgoing video until the blocks have filled the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Spiral
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Matrix Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Matrix Parameters (access through Other Options button) – matrix columns and rows Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video spirals over and wipes out the outgoing video using blocks of screen space, starting in the bottom left corner of the screen, spiraling inward in a counterclockwise movement. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Zig-Zag
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Matrix Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Matrix Parameters (access through Other Options button) – matrix columns and rows Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a single block in the top left corner of the screen that wipes out the outgoing video as the band expands horizontally across the screen from left to right. When the first horizontal band reaches the right edge of the screen, a second band appears and expands horizontally across the screen from right to left. Succeeding bands repeat the process until the wipe is completed. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Motion Effects
A motion effect is applied to a clip in the Source pop-up monitor and controls the rate at which the video channel is played. Motion effects include the following: • Freeze Frame • Variable Speed and Strobe Motion
See also “Timewarp” on page 530.
Freeze Frame
Effect Category Motion
Apply to Current frame in the Source pop-up monitor
Parameters Traditional Motion Effect Parameters – duration, two-field media
Description This effect repeats the current frame in the Source pop-up monitor for the specified duration.
Variable Speed and Strobe Motion
Effect Category Motion
Apply to The clip marked by the IN and OUT points in the Source pop-up monitor
Parameters Traditional Motion Effect Parameters – variable speed, strobe motion, two-field media
Description Variable Speed creates slow motion, fast motion, or reverse motion. Strobe Motion creates a stuttering effect. The Strobe Motion effect can be used in combination with the Variable Speed effect.
Peel Effects
Peel effects treat one video channel as though it were a sheet of paper being peeled from the other video channel. Peel effects include the following: • Bottom Left Corner • Bottom Right Corner • Bottom to Top • Left to Right
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• Right to Left • Top Left Corner • Top Right Corner • Top to Bottom
Bottom Left Corner
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Peel
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Outgoing video is peeled from the incoming video from the bottom left corner to the top right corner of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom Right Corner
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Peel
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Outgoing video is peeled from the incoming video from the bottom right corner to the top left corner of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom to Top
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Peel
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Outgoing video is peeled from the incoming video from the bottom edge to the top edge of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Left to Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Peel
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Outgoing video is peeled from the incoming video from the left edge to the right edge of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Right to Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Peel
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Outgoing video is peeled from the incoming video from the right edge to the left edge of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Left Corner
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Peel
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Outgoing video is peeled from the incoming video from the top left corner to the bottom right corner of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Right Corner
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Peel
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Outgoing video is peeled from the incoming video from the top right corner to the bottom left corner of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top to Bottom
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Peel
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video is peeled from the outgoing video from the top to the bottom of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
PlasmaWipe Effects
PlasmaWipe effects are real-time plug-in effects that 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.
The preset PlasmaWipe effects are grouped into the following categories: •Borders — allow you to apply a variety of edge treatments to effects. For more information, see “Using PlasmaWipe Frame and Border Effects” on page 303. •Center — create a variety of center wipes
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•Horiz — create a variety of horizontal wipes • Lava — create several shape wipes based on images of lava. These effects are examples of effects that you can create using existing images. For more information, see “Creating a PlasmaWipe Effect from an Existing Image” on page 294. • Paint — create several wipes that simulate uncovering the incoming video by wiping away the outgoing video with a brush or cloth. These effects are examples of how to create an effect using the Adobe Photoshop Pencil tool. For more information, see “Creating a Wipe Using the Photoshop Pencil Tool” in the Help.. • Techno — these are several free form shape wipes and segment effects that you can create using the techniques described in “Working with PlasmaWipe Effects” on page 287. n When you experiment with PlasmaWipe effects, keyframe the Level parameter to see how the effect changes over time.
For a description of the PlasmaWipe effect parameters (Border with Blend Color, Foreground Level, Acceleration), see “PlasmaWipe Parameters” on page 382.
For information on using PlasmaWipe effects, see “Working with PlasmaWipe Effects” on page 287.
Push Effects
Push effects move one video channel to fill the screen while the other video channel is pushed out of the screen. Push effects include the following: • Bottom Left to Top Right • Bottom Right to Top Left • Bottom to Top • Left to Right • Right to Left • Top Left to Bottom Right • Top Right to Bottom Left • Top to Bottom n For examples of similar effects, see “Comparison of Similar Effects” on page 538.
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Bottom Left to Top Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Push
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video pushes out the outgoing video from the bottom left corner to the top right corner of the screen. Border is on the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom Right to Top Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Push
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video pushes out the outgoing video from the bottom right corner to the top left corner of the screen. Border is on the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom to Top
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Push
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video pushes out the outgoing video from the bottom to the top of the screen. Border is on the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Left to Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Push
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video pushes out the outgoing video from the left edge to the right edge of the screen. Border is on the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Right to Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Push
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video pushes out the outgoing video from the right edge to the left edge of the screen. Border is on the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Left to Bottom Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Push
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video pushes out the outgoing video from the top left corner to the bottom right corner of screen. Border is on the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Right to Bottom Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Push
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video pushes out the outgoing video from the top right corner to the bottom left corner of the screen. Border is on the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top to Bottom
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Push
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video pushes out the outgoing video from the top to the bottom of the screen. Border is on the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
Reformat Effects
Reformat effects allow you to reformat media to different aspect ratios, for example, when you need to reformat a film aspect ratio for television programming. The effects 14:9 Letterbox, 16:9 Letterbox, and 4:3 Sidebar resize the media to conform to the aspect ratio you select. Pan and Scan allows you to select a portion of the media to reformat.
The Reformat effect category includes the following effects: • 14:9 Letterbox • 16:9 Letterbox 495 Chapter 12 2D Effects Reference
• 4:3 Sidebar • Pan and Scan
14:9 Letterbox
Effect Icon
Effect Category Reformat
Apply to Single-layer or multilayer segments
Parameters Background Acceleration Position H Grid
Description Reformats media to 14:9 Letterbox aspect ratio by distorting the media. For more information, see “Understanding the Pan and Scan Effect” on page 193. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
16:9 Letterbox
Effect Icon
Effect Category Reformat
Apply to Single-layer or multilayer segments
Parameters Background Grid
Description Reformats media to 16:9 Letterbox aspect ratio by distorting the media. For more information, see “Understanding the Pan and Scan Effect” on page 193. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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4:3 Sidebar
Effect Icon
Effect Category Reformat
Apply to Single-layer or multilayer segments
Parameters Background Grid
Description Reformats media to 4:3 Sidebar aspect ratio by distorting the media. For more information, see “Understanding the Pan and Scan Effect” on page 193. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
Pan and Scan
Effect Icon
Effect Category Reformat
Apply to Multilayer segments, or single-layer segments in certain circumstances. For more information, see “Combining the Pan and Scan Effect with Transition Effects” on page 205.
Parameters Acceleration Aspect Ratios Scaling Position Actions Grid
Description Allows you to reformat media to different aspect ratios, for example, when you need to reformat a film aspect ratio for television programming. For more information, see “Working with the Pan and Scan Effect” on page 248. Non-real-time effect. 8-bit processing only is available for this effect.
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Sawtooth Wipe Effects
Sawtooth Wipes reveal one video channel on top of another video channel, using moving sawtooth shapes. Sawtooth Wipe effects include the following: • Horizontal Sawtooth • Horizontal Open Sawtooth • Vertical Open Sawtooth • Vertical Sawtooth
Horizontal Sawtooth
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Sawtooth Wipe
Apply to Transitions, multilayer segments
Parameters Foreground – level, reverse animation Matrix Parameters (access through Other Options button) – matrix columns and rows Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video appears with a sawtooth on the left edge of the screen. The sawtooth edge moves to the right edge of the screen, revealing the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Horizontal Open Sawtooth
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Sawtooth Wipe
Apply to Transitions, multilayer segments
Parameters Foreground – level, reverse animation Matrix Parameters (access through Other Options button) – matrix columns and rows Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a vertical sawtooth in the center of the screen. The sawtooth then expands outward to the left and right edges of the screen to display the incoming video in the center while covering the outgoing video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Vertical Open Sawtooth
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Sawtooth Wipe
Apply to Transitions, multilayer segments
Parameters Foreground – level, reverse animation Matrix Parameters (access through Other Options button) – matrix columns and rows Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a horizontal sawtooth in the center of the screen. The sawtooth expands up and down, revealing the incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Vertical Sawtooth
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Sawtooth Wipe
Apply to Transitions, multilayer segments
Parameters Foreground – level, reverse animation Matrix Parameters (access through Other Options button) – matrix columns and rows Acceleration Grid Transition Parameters – transition effect alignment and duration
Description The sawtooth edge moves from the top of the screen down, covering the outgoing video and displaying the incoming video above the sawtooth. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
Shape Wipe Effects
Shape Wipes reveal one video channel on top of another video channel, using a growing or moving geometric shape. Shape Wipe effects include the following: • 4 Corners • Center Box • Circle • Clock • Diamond
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• Ellipse • Horizontal Bands • Horizontal Blinds • Vertical Blinds
4 Corners
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Shape Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as blocks in four corners of the screen and wipes out the outgoing video as the blocks expand to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Center Box
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Shape Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Scaling – height, width, fixed aspect Position – horizontal position, vertical position Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a small box in the center of the screen and wipes out the outgoing video as it expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Circle
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Shape Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Foreground – level, reverse animation Acceleration Scaling – height, width, fixed aspect Position – horizontal position, vertical position Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a small circle in the center of the screen and wipes out the outgoing video as it expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Clock
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Shape Wipe
Apply to Transitions, multilayer segments
Parameters Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and durations
Description Incoming video appears as a vertical line from the center of the screen to the top edge. The incoming video replaces the outgoing video in a clockwise motion as if it were the hand on a clock. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Diamond
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Shape Wipe
Apply to Transitions, multilayer segments
Parameters Foreground – level, reverse animation Acceleration Scaling – height, width, fixed aspect Position – horizontal position, vertical position Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a small diamond in the center of the screen and wipes out the outgoing video as it expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Ellipse
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Shape Wipe
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, and softness Foreground – level, reverse animation Acceleration Scaling – height, width, fixed aspect Position – horizontal position, vertical position Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a small ellipse in the center of the screen and wipes out the outgoing video as it expands to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Horizontal Bands
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Shape Wipe
Apply to Transitions, multilayer segments
Parameters Matrix Parameters (access through Other Options button) – matrix columns and rows Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Reversible Yes
Description Horizontal bands expand toward the center of the screen to reveal the incoming video between alternate shrinking bands of the outgoing video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Horizontal Blinds
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Shape Wipe
Apply to Transitions, multilayer segments
Parameters Matrix Parameters (access through Other Options button) – matrix columns and rows Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as horizontal bands on the screen that wipe out the outgoing video as the incoming bands expand vertically to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Vertical Blinds
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Shape Wipe
Apply to Transitions, multilayer segments
Parameters Matrix Parameters (access through Other Options button) – matrix columns and rows Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as vertical bands on the screen that wipe out the outgoing video as the incoming bands expand horizontally to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
Spin Effects
Spin effects rotate one or more video channels. Spin effects include the following: • X Spin • Y Spin • Z Spin
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X Spin
Outgoing footage
Middle of effect
Incoming footage
Effect Icon
Effect Category Spin
Apply to Transitions
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Outgoing video is squeezed until it appears as a vertical line. Incoming video expands the line until it fills the screen. Border appears only on incoming video. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Y Spin
Outgoing footage
Middle of effect
Incoming footage
Effect Icon
Effect Category Spin
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Outgoing video is squeezed until it appears as a horizontal line. The incoming video then expands from that horizontal line until it fills the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Z Spin
Outgoing footage Incoming footage
Effect Icon
Effect Category Spin
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video begins as a dot in the center of the screen and then enlarges to full screen while rotating counterclockwise one full revolution, covering the outgoing video. Real-time effect. 8-bit processing only. Promotes to advanced keyframes.
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Squeeze Effects
Squeeze effects expand a video channel from a single point or line until it fills the screen, obscuring the second video channel. Squeeze effects include the following: • Bottom Centered • Bottom Left • Bottom Right • Bottom to Top • Centered Zoom • Horizontal Centered • Left Centered • Left to Right • Right Centered • Right to Left • Top Centered • Top Left • Top Right • Top to Bottom • Vertical Centered n For examples of similar effects, see “Comparison of Similar Effects” on page 538.
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Bottom Centered
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the center bottom of the screen and expanding to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the bottom left corner of the screen and expanding to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the bottom right corner of the screen and expanding to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Bottom to Top
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning at the bottom of the screen and filling to the top of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Centered Zoom
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment
Description Incoming video starts as a rectangle in the center of the screen and zooms to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Horizontal Centered
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video starts as a vertical band squeezed in the center of the screen and expands horizontally to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Left Centered
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the center left edge of the screen and expanding to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Left to Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning at the left edge of the screen and filling to the right edge of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Right Centered
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the center right edge of the screen and expanding to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Right to Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning at the right edge of the screen and filling to the left edge of screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Centered
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the center top edge of the screen and expanding to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Left
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the top left corner of the screen and expanding to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top Right
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the top right corner of the screen and expanding to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Top to Bottom
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video squeezes over the outgoing video, beginning at the top edge of the screen and filling to the bottom edge of the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Vertical Centered
Outgoing footage Middle of effect Incoming footage
Effect Icon
Effect Category Squeeze
Apply to Transitions, multilayer segments
Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration
Description Incoming video starts as a horizontal band squeezed in the center of the screen and expands vertically to fill the screen. Real-time effect. 8-bit and 16-bit processing available. Promotes to advanced keyframes.
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Timewarp
Timewarp effects modify the rate of play of a clip. Timewarp effects include the following: • Timewarp: 0% To 100% • Timewarp: 100% To 0% • Timewarp: 50% Speed • Timewarp: FluidFilm 2:3 Cadence • Timewarp: FluidFilm Progressive • Timewarp: Reverse Motion • Timewarp: Speed Boost • Timewarp: Speed Bump • Timewarp: Trim to Fill
Timewarp effects are preset effects that are based on the Timewarp effect used by Avid Media Composer Adrenaline.
You cannot modify these effects but you can change the way that the system renders the effect by selecting options in the Render Settings dialog box, available in the Settings list of the Project window. The Blended Interpolated and Blended VTR rendering options create a smoother effect than the traditional motion effects. For more information, see “Creating and Using Render Settings” on page 124. n The FluidFilm preset effects use rendering software that is optimized for the effect. They do not use the rendering options that are set in the Render Setting dialog box. n You can use Trim mode to change the speed of the Trim to Fill effect. For reference information on traditional motion effects, which create new clips with changed rates of play, see “Motion Effects” on page 478.
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Timewarp: 0% To 100%
Effect Icon
Apply to Single-layer segments
Parameters You cannot modify the parameters for this effect.
Description A preset effect that ramps motion in a sequence from 0% (freeze frame) to 100% (full speed). Apply the effect to a clip in the Timeline. For more information, see “Using Timewarp Effects” on page 169. The inverse of this effect is “Timewarp: 100% To 0%” on page 531. Real-time effect. 8-bit and 16-bit processing available.
Timewarp: 100% To 0%
Effect Icon
Apply to Single-layer segments
Parameters You cannot modify the parameters for this effect.
Description A preset effect that ramps motion in a sequence from 100% (full speed) down to 0% (freeze frame). The last frame of the clip will be the last frame of the motion effect. Apply the effect to a clip in the Timeline. For more information, see “Using Timewarp Effects” on page 169. The inverse of this effect is “Timewarp: 0% To 100%” on page 531. Real-time effect. 8-bit and 16-bit processing available.
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Timewarp: 50% Speed
Effect Icon
Apply to Single-layer segments
Parameters You cannot modify the parameters for this effect.
Description A preset effect that changes the playback speed to 1/2 speed. Apply the effect to a clip in the Timeline.. For more information, see “Using Timewarp Effects” on page 169. Real-time effect. 8-bit and 16-bit processing available.
Timewarp: FluidFilm 2:3 Cadence
Effect Icon
Apply to Single-layer segments
Parameters You cannot modify the parameters for this effect.
Description A preset effect that allows you to create a film look from interlaced NTSC video sources. Create the look of progressive fottage with 2:3 pulldown. For best results, view the rendered effect on a client monitor. Apply the effect to a sequence in the Record monitor. For more information, see “Using Timewarp Effects” on page 169 and “Using the FluidFilm Templates” on page 170. Use this effect in NTSC projects. For PAL projects, see “Timewarp: FluidFilm Progressive” on page 533. Non-real-time effect. 8-bit and 16-bit processing available. n The FluidFilm preset effects use rendering software that is optimized for the effect. They do not use the rendering options that are set in the Render Setting dialog box.
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Timewarp: FluidFilm Progressive
Effect Icon
Apply to Single-layer segments
Parameters You cannot modify the parameters for this effect.
Description A preset effect that allows you to create a film look from interlaced PAL video sources. Creates the look of progressive footage. For best results, view the resndered effect on a client monitor. Apply the effect to a sequence in the Record monitor. For more information, see “Using Timewarp Effects” on page 169 and “Using the FluidFilm Templates” on page 170. Use this effect in PAL projects. For NTSC projects, see “Timewarp: FluidFilm 2:3 Cadence” on page 532. Non-real-time effect. 8-bit and 16-bit processing available. n The FluidFilm preset effects use rendering software that is optimized for the effect. They do not use the rendering options that are set in the Render Setting dialog box.
Timewarp: Pulldown Insertion
Effect Icon
Apply to Single-layer segments
Parameters You cannot modify the parameters for this effect.
Description A preset effect that inserts 2:3 pulldown into a sequence. Source material without 2:3 pulldown has the cadence AA BB CC DD, where each letter represents a field. Pulldown Insertion uses the cadence AA BB BC CD DD. Using Pulldown Insertion slows the source material to 4/5 (80% speed). Apply the effect to a sequence in the Record monitor. For more information, see “Using Timewarp Effects” on page 169. The inverse of this effect is “Timewarp: Pulldown Removal” on page 534. Real-time effect. 8-bit and 16-bit processing available.
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Timewarp: Pulldown Removal
Effect Icon
Apply to Single-layer segments
Parameters You cannot modify the parameters for this effect.
Description A preset effect that removes 2:3 pulldown from a sequence. Source material with 2:3 pulldown has the cadence AA BB BC CD DD, where each letter represents a field. Pulldown Removal uses the cadence AA BB CC DD. Using Pulldown Removal speeds the source material to 5/4 (125% speed). Apply the effect to a sequence in the Record monitor. For more information, see “Using Timewarp Effects” on page 169. The inverse of this effect is “Timewarp: Pulldown Insertion” on page 533. Real-time effect. 8-bit and 16-bit processing available.
Timewarp: Reverse Motion
Effect Icon
Apply to Single-layer segments
Parameters You cannot modify the parameters for this effect.
Description A preset effect that creates a reverse motion effect at 100% speed. This effect plays as black filler until you render it. Apply the effect to a clip in the Timeline. For more information, see “Using Timewarp Effects” on page 169. Non-real-time effect. 8-bit and 16-bit processing available.
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Timewarp: Speed Boost
Effect Icon
Apply to Single-layer segments
Parameters You cannot modify the parameters for this effect.
Description A preset effect that starts out at half speed, reaches approximately double speed at the midpoint, and returns to half speed at the end. Apply the effect to a clip in the Timeline. For more information, see “Using Timewarp Effects” on page 169. A similar effect is “Timewarp: Speed Bump” on page 535. Real-time effect. 8-bit and 16-bit processing available.
Timewarp: Speed Bump
Effect Icon
Apply to Single-layer segments
Parameters You cannot modify the parameters for this effect.
Description A preset effect that starts out at full speed, slows to approximately half speed at the midpoint, and returns to full speed at the end. Apply the effect to a clip in the Timeline. For more information, see “Using Timewarp Effects” on page 169. A similar effect is “Timewarp: Speed Boost” on page 535. Real-time effect. 8-bit and 16-bit processing available.
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Timewarp: Trim to Fill
Effect Icon
Apply to Single-layer segments
Parameters You cannot modify the parameters for this effect.
Description A preset 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. The system 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). When you perform the trim operation you are trimming the effect, not the clip. The beginning and ending frames (and the number of source frames) remain the same. n You can achieve a similar result using the Fit to Fill checkbox for Traditional Motion effects or the Fit to Fill button on the Command palette. However, the Trim to Fill effect allows you to access the higher quality Blend rendering options available for Timewarp effects. For more information, see “Using Timewarp Effects” on page 169. Real-time effect. 8-bit and 16-bit processing available.
Title Effects
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Effect Icon
Effect Category Title effects
Apply to Multilayer segments
Static Title Foreground – level, reverse animation Parameters Acceleration Scaling – height, width, fixed aspect Position – horizontal position, vertical position Crop – top, bottom, left, right Grid
Rolling Title Foreground – level, reverse animation Parameters Acceleration Position H – horizontal position only Scroll Position V Crop – top, bottom, left, right Grid
Crawling Title Foreground – level, reverse animation Parameters Acceleration Position V – vertical position only Scroll Position H Grid
Description Title effects are created in the Title tool and can incorporate text, graphic objects, imported graphics, and video. Similar to Matte Key effects, Title effects are placed on segments in one video layer and then keyed over background video on the underlying video layers. Static title effects are real-time effects. Rolling and crawling title effects are non-real-time effects. 8-bit and 16-bit processing available. Promotes to advanced keyframes. You can promote static titles to 3D. For more information, see “Promoting 2D Effects to 3D Effects” on page 225.
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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.
Box Wipe – Top Left to Bottom Right
Conceal – Top Left to Bottom Right
Push – Top Left to Bottom Right
Squeeze – Top Left
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This chapter provides reference information on parameters and effect shape options that appear in the Effect Editor when you apply an Xpress 3D effect to a transition or segment.For information on applying and editing 3D effects, see “Working with 3D Effects” on page 223. • 3D Effects Parameters • Xpress 3D Effects
The following illustration shows the Xpress 3D effects in the Effect Palette.
3D Effects Parameters
This section provides general information about 3D effect parameters and descriptions of all 3D parameters, in alphabetical order. Each effect includes a subset of these parameters.
Some parameters have corresponding 2D versions, described in “2D Effects Parameters” on page 313. Chapter 13 3D Effects Reference
This section includes the following general information topics relating to 3D effect parameters: • Global Versus Keyframeable Parameters • Hierarchy of Parameters • Direct Manipulation of 3D Effect Parameters
Effects parameters are grouped in the following categories: • Acceleration (see also the 2D version: “Acceleration” on page 315) • Axis • Background (see also the 2D version: “Background” on page 323) • Border (see also the 2D version: “Border” on page 324) • Crop (see also the 2D version: “Crop” on page 331) • Foreground (see also the 2D version: “Foreground” on page 332) • Position (see also the 2D version: “Position” on page 383) • Rotation • Scaling (see also the 2D version: “Scaling” on page 389) • Shadow • Shape • Target • Trail n For more information on working with parameters, see “Using the Effect Editor” on page 60 and “Working with 3D Effects Parameters” on page 229.
Global Versus Keyframeable Parameters
Parameters for 3D effects are divided into two logical groups: • Global parameters cannot change between keyframes. When you change one of these parameters, the Avid system automatically sets the value for all keyframes. • Keyframeable parameters are adjustable on an individual keyframe basis, so that the parameters can change over time.
The type of parameter is indicated throughout this section.
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Hierarchy of Parameters
The Avid editing application processes 3D effects parameters in a specific order. Knowing the order will help you understand why something looks a particular way or why an object behaves the way it does on a motion path.
The hierarchy of 3D effects parameters, and the relationships between them, are as follows:
Target Higher
Position
Rotation
Axis
Scaling
Crop Lower
• Parameters that are lower in the hierarchy, like Crop, are not affected by parameters that are higher in the hierarchy, such as Rotation. In an effect that has both rotation and cropping, for example, the same four edges are always cropped the same way no matter what angle you have selected for the rotation. • Parameters that are higher in the hierarchy will always take into account the parameters lower in the hierarchy when processing. For example, before an object is rotated, the Avid editing application looks to see where the object is positioned in the frame to display the correct 3D point of view with the new angle. • You always end up with the same effect no matter the order in which you change parameters. However, building an effect from the bottom of the hierarchy up will be easier to control. If you rotate an object, for example, and then move the axis (a lower parameter), your object might jump off the screen. It would be better to move the axis first, and then rotate the object. • Parameters operate as 2D and 3D. All these choices affect the 3D path of the object differently. Two-dimensional (2D) parameters, such as Scaling, are lowest in the hierarchy and do not affect the path through space. Three-dimensional (3D) parameters, such as Position, directly affect the shape of the motion path.
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Direct Manipulation of 3D Effect Parameters
Some 3D effect parameters that affect the size, position, or movement of an image can be adjusted in two ways. You can adjust the parameter using the controls in the Effect Editor, or you can click the button for the parameter on the right of the Effect Editor and use the on- screen handles to make direct adjustments. The individual parameter descriptions in this chapter show the parameter button as well as the parameter controls for those parameters that provide this option. For more information, see “Manipulating 3D Effects Directly” on page 232.
Acceleration
Parameter Type Global
Description Adjusts the effect’s speed over time by having the effect ease in and ease out of every keyframe. This gives the effect a more natural appearance. The overall speed of an effect is determined by the duration of the effect, which is determined by the length of the clip in the sequence. If you want to slow down or speed up the movement of an effect, you will need to change the length of your effect or use add edits to limit the portion of the clip affected by the effect. Acceleration affects the following 3D effects parameters: • Shape (X and Y position) • Position (if Spline is disabled) • Scaling • Rotation • Axis •Crop • Shadow (X and Y position)
Use of Control Drag the slider to control ease in and ease out motion. When the slider is to the left (value of 0), there is no ease in and ease out motion. The effect maintains a constant speed throughout its path. As the slider moves to the right (toward a maximum value of 100), ease in and ease out motion increases. n For information about the 2D version of this effect, see “Acceleration” on page 315.
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Axis
Parameter Type Keyframeable
Description 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, the rotation axis can be placed 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 60.
Use of Controls Axis button Click the Axis button on the right of the Effect Editor to adjust the center of rotation directly in the Effect Preview monitor. For more information, see “Manipulating 3D Effects Directly” on page 232.
Enable Click the Enable button to turn the Axis parameter category on or button off. The button is pink when the parameter category is on and gray when it is off. Alt+click (Windows) or k+click (Macintosh) the Enable button to reset the Axis parameter controls to their default values.
X Moves the center of rotation along the X axis (right or left). Values range from –999 to +999, where 0 is the center of the X axis.
Y Moves the center of rotation along the Y axis (up or down). Values range from –999 to +999, where 0 is the center of the Y axis.
Z Moves the center of rotation along the Z axis. Values can range from –999 to +999, where 0 is the center of the Z axis. Positive values are closer and negative values are farther away. Adjusting the Z value moves the center of rotation off the plane of the video screen.
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Background
Parameter Type Global
Description Replaces the bottom video track with a background color. You can achieve interesting effects on a two-track sequence using a background color for the bottom track and a Luma Key effect on the top track. n For information on the 2D version of this effect, see “Background” on page 323. Use of Controls Other Options Opens the Windows Color dialog box or Macintosh Colors button panel for precise color selection. For more information, see “Using the Windows Color Dialog Box” on page 68 and “Using the Macintosh Colors Panel” on page 70.
Color Preview Move the mouse to the Color Preview window to activate the window eyedropper, and then use the eyedropper to select a color from the video in the monitor. For a description of how to use the eyedropper, see “Using the Eyedropper” on page 68.
Enable button Click the Enable button to turn the Background parameter category on or off. The button is pink when the parameter category is on and gray when it is off. Alt+click (Windows) or k+click (Macintosh) the Enable button to reset the Background parameter controls to their default values (black).
H (hue) Specifies the hue or shade of the color. Values range from 0 to 255.
S (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no chrominance and 255 is a fully saturated color.
L (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and 255 is full brightness.
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Border
Parameter Type Keyframeable
Description 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. n For information about the 2D version of this effect, see “Border” on page 324. Use of Controls Fast Menu Click this button and select a border type from the pop-up menu. button
Color Preview Move the mouse to the Color Preview window to activate the window eyedropper, and then use the eyedropper to select a color from the video in the monitor. For a description of how to use the eyedropper, see “Using the Eyedropper” on page 68.
Enable button Click the Enable button to turn the Border parameter category on or off. The button is pink when the parameter category is on and gray when it is off. Alt+click (Windows) or k+click (Macintosh) the Enable button to reset the Border parameter controls to their default values (black).
Width Changes the width of the border. Values range from 0 (no border) to 100, where 50 is the default.
Soft (softness) Changes the softness. 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.
H (hue) Specifies the hue or shade of the color. Values range from 0 to 255.
S (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no chrominance and 255 is a fully saturated color.
L (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and 255 is full brightness.
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Crop
Parameter Type Keyframeable
Description Trims the top, bottom, left, and right edges of an image. Crop is at the bottom of the effects parameters hierarchy. It always crops the same four edges of the object no matter what orientation the object has. Cropping works only in 2D space so that 3D parameters such as Rotation and Position, which are higher in the hierarchy, take effect later in the processing. You don’t need to adjust cropping before the other parameters, but it is difficult to crop edges if they are rotated to the vanishing point. For more information, see “Hierarchy of Parameters” on page 541. n For information about the 2D version of this effect, see “Crop” on page 331. Use of Controls Crop button Click the Crop button on the right of the Effect Editor to crop the image directly in the Effect Preview monitor. For more information, see “Manipulating 3D Effects Directly” on page 232.
T (top) Crops the top edge of the image. Values range from –999 (bottom) to +999 (top). The values –999 to +999 are relative to the edges of the image. Zero is the center of the image.
B (bottom) Crops the bottom edge of the image. Values range from –999 (bottom) to +999 (top).
L (left) Crops the left edge of the image. Values range from –999 (left) to +999 (right).
R (right) Crops the right edge of the image. Values range from –999 (left) to +999 (right).
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Foreground
Parameter Type Global
Description Adjusts the transparency of the foreground image. Swaps the foreground and background footage. Use foreground to do the following: • Create dissolves, using the Opac. (opacity) slider. • Switch an effect from one video track or segment to another, using the Swap Sources button. n For information about the 2D version of this effect, see “Foreground” on page 332. Use of Controls Enable button Click the Enable button to turn the Foreground parameter category on or off. The button is pink when the parameter category is on and gray when it is off. Alt+click (Windows) or k+click (Macintosh) the Enable button to reset the Foreground parameter controls to their default values.
Opac. (opacity) Modifies the transparency of the foreground image. Values range from 0 (transparent) to 100 (opaque). You can also use the Opac. (opacity) slider to adjust the foreground opacity.
Invert Inverts the key. This setting is most noticeable for effects that scale the foreground video, such as a Picture-in-Picture effect. The bottom track shows through the Picture-in-Picture effect key unscaled. The area outside the Picture-in-Picture effect key is black.
Swap Sources Switches the foreground and background sources for the effect.
Reverse Causes the entire effect to be reversed, including the direction of Animation movement as well as the incoming and outgoing sources.
Show Alpha Displays the grayscale alpha channel used to apply the key effect to the foreground and the background source. This allows you to examine problem areas of the key while making adjustments.
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Position
Parameter Type Keyframeable
Description Moves an image in 3D space. n For information about the 2D version of this effect, see “Position” on page 383. For an illustration of the XYZ coordinate system, see “The 3D Coordinate System” on page 227.
Use of Controls Enable Click the Enable button to turn the Position parameter category on or button off. The button is pink when the category is on and gray when it is off. Alt+click (Windows) or k+click (Macintosh) the Enable button to reset the Position parameter controls to their default values.
XY Position Click the XY Position button on the right side of the Effect Editor to button move the image directly on the X and Y axes in the Effect Preview monitor. For more information, see “Manipulating 3D Effects Directly” on page 232.
XZ Position Click the XZ Position button on the right side of the Effect Editor to button move the image directly on the X and Z axes in the Effect Preview monitor. Drag left or right to move the image on the X axis. Drag up or down to move the image on the Z axis. For more information, see “Manipulating 3D Effects Directly” on page 232.
X Moves the image along the screen’s X axis (horizontally). Values range from –3000 to +3000, where 0 is the zero-point of the X axis. Negative values move the image to the left and positive values move the image to the right.
Y Moves the image along the screen’s Y axis (vertically). Values range from –3000 to +3000, where 0 is the zero-point of the Y axis. Negative values move the image down and positive values move the image up.
Z Moves the image closer to or farther from the observer along the Z axis. Values range from –749 to +249, where zero is the zero-point of the Z axis. Negative values move the image away from the observer and positive values move the image toward the observer.
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Rotation
Parameter Type Keyframeable
Description Rotates the image around the X, Y, or Z axis. Since parameter values range between –720 and +720 degrees, you can spin the image more than once between two keyframes. For an explanation of rotation angles, see “Moving in 3D Space” on page 227.
Use of Controls Rotation Click the appropriate Rotation button on the right side of the Z buttons Effect Editor to adjust the rotation directly in the Effect X Preview monitor. Y
Enable Click the Enable button to turn the Rotation parameter category button on or off. The button is pink when the parameter category is on and gray when it is off. Alt+click (Windows) or k+click (Macintosh) the Enable button to reset the Rotation parameter controls to their default values.
Z Moves the center of rotation along the Z axis (clockwise or counterclockwise). Values range from –720 to +720, where 0 is the center of the Z axis.
X Moves the center of rotation along the X axis (right or left). Values range from –720 to +720, where 0 is the center of the X axis.
Y Moves the center of rotation along the Y axis (up or down). Values range from –720 to +720, where 0 is the center of the Y axis.
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Scaling
Parameter Type Keyframeable
Description Adjusts the size of the image or effect. n For information about the 2D version of this effect, see “Scaling” on page 389. Use of Controls Scale button Click the Scale button on the right side of the Effect Editor to adjust the image size directly in the Effect Preview monitor. For more information, see “Manipulating 3D Effects Directly” on page 232.
Enable button Click the Enable button to turn the Scaling parameter category on or off. The button is pink when the parameter category is on and gray when it is off. Alt+click (Windows) or k+click (Macintosh) the Enable button to reset the Scaling parameter controls to their default values.
X Stretches or compresses along the X axis (horizontally). Values range from 0 to 400, where 100 indicates 100 percent scaling (normal size).
Y Stretches or compresses along the Y axis (vertically). Values range from 0 to 400, where 100 indicates 100 percent scaling (normal size).
Fixed Aspect When enabled, Fixed Aspect locks the aspect ratio of the image so you cannot move the X and Y sliders independently. The X and Y sliders are ganged and move together to maintain the selected aspect ratio.
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Shadow
Parameter Type Keyframeable
Description Places a shadow beneath an image and adjusts the shadow’s offset or transparency. n Shadow and Trail (described in “Trail” on page 554) are mutually exclusive; you can have only one enabled at a time.
Use of Controls Enable button Click the Enable button to turn the Shadow parameter category on or off. The button is pink when the parameter category is on and gray when it is off. Alt+click (Windows) or k+click (Macintosh) the Enable button to reset the Shadow parameter controls to their default values.
Opac. (opacity) Changes the shadow’s opacity from fully transparent (0) to fully opaque (100), where 50 is the default.
X Changes the shadow’s left/right offset. Values range from –100 to +100, where 50 is the default.
Y Changes the shadow’s top/bottom offset. Values range from –100 to 0, where –50 is the default.
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Shape
Parameter Type Global
Description Allows you to select and adjust a 3D Shape effect. For more information, see “Xpress 3D Effects” on page 554.
Use of Controls Fast Menu Click this button and select a 3D Shape type from the pop-up button menu. Each Shape type has its own set of parameter controls. For information on the controls for each Shape type, see “Xpress 3D Effects” on page 554. The Fast Menu button is available in the Shape parameter category only when you begin by applying the 3D PIP effect from the Effect Palette. If you select a specific Shape type — such as 3D Ball — directly from the Effect Palette, you cannot switch to another Shape type within the Effect Editor.
Enable button Click the Enable button to turn the Shape parameter category on or off. The button is pink when the parameter category is on and gray when it is off. Alt+click (Windows) or k+click (Macintosh) the Enable button to reset the Shape parameter controls to their default values.
n You can use the Shape menu in the Effect Editor to switch between the 3D Shapes but the name of the effect does not change when you change the shape. For example, when you are editing a 3D Ball effect you can change the shape to 3D Slats. All of the 3D Slats parameters apply to the effect but the name of the effect continues to be 3D Ball. This limitation applies to all the effects in the Xpress 3D Effect category.
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Target
Parameter Type Keyframeable
Description Changes the X Y positioning and the sizing of the effect while maintaining other parameter relationships. Target is a post-transformation parameter. It is at the top of the hierarchy and affects objects after all the other parameters have affected it. If an object has other parameters applied, Target moves the object without changing the relationship of the other parameters. Think of it as moving the entire 3D world where point of view does not change. For more information, see “Hierarchy of Parameters” on page 541. Target can be used in many cases as a global parameter. If you have already created an effect and want the whole effect to move higher across the frame or to appear inside another frame, Target is the way to move it. It is also good for offsetting another track slightly if you want to use a black graphics image as a drop shadow.
Use of Controls Enable button Click the Enable button to turn the Target parameter category on or off. The button is pink when the parameter category is on and gray when it is off. Alt+click (Windows) or k+click (Macintosh) the Enable button to reset the Target parameter controls to their default values.
X Moves the image along the screen’s X axis (horizontally). Values range from –999 to +999, where 0 is the default.
Y Moves the image along the screen’s Y axis (vertically). Values range from –999 to +999, where 0 is the default.
Size Scales the image and maintains the aspect ratio. Values range from 0 to 400, where 100 is the default scale of 100 percent.
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Trail
Parameter Type Keyframeable
Description Adds a trail to an effect as it moves across the screen. n You do not see the trail when you step through the effect because it is a cumulative effect. Also, you cannot render a Trail effect. n Trail and Shadow (described in “Shadow” on page 551) are mutually exclusive; you can have only one enabled at a time.
Use of Controls Enable button Click the Enable button to turn the Trail parameter category on or off. The button is pink when the parameter category is on and gray when it is off. Alt+click (Windows) or k+click (Macintosh) the Enable button to reset the Trail parameter controls to their default values.
Decay Move the slider to change the rate of the trail’s decay, or dissipation, during the effect’s motion. Adjustment ranges from a quick decay (close to 0) to a slower decay (close to 100), where 75 is the default.
Use Sparkle Click the Use Sparkle button to paint the trail with sparkles. When Use Sparkle is not selected, the effect paints a trail using the image itself. The button is pink when Use Sparkle is on and gray when it is off.
Xpress 3D Effects
With Xpress 3D effects, you can map the foreground video channel to various geometric shapes to create transitions or special effects. You can apply various effects from the Xpress 3D Effect category in the Effect Palette.
Each shape effect displays a set of parameters that are specific to that shape in the Shape category. In addition, you can use other 3D effects parameters, such as Border, Scaling, Position, and Trail.
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This section describes the following Xpress 3D effects: • 3D Ball • 3D PIP Effect • Page Fold • 3D Slats
3D Ball
Parameter Type Keyframeable
Description Lets you treat the video as a rubbery, rectangular sheet stretched around a sphere. If the radius of the sphere is very large, the corners of the sheet curve along the surface like a rubber patch on a ball. If the radius is small, the corners disappear, wrapping completely around the sphere’s surface. The effects use a 2D effect coordinate system that has its origin in the center of the image. X increases as you move to the right, and Y increases as you move down. You can apply the 3D Ball effect directly from the Effect Palette, or you can apply the 3D PIP effect and then select 3D Ball from the Fast menu in the Shape parameter category.
Use of Controls Fast Menu See “Shape” on page 552. button Enable button
Radius Changes the size of the ball. Values range from 0 to 100.
Curve Gives the ball a 3D effect. A value of 0 looks like a flat circle (and can be used as a Circle Wipe). Higher values give more depth to the ball’s shape. Values range from 0 to 100.
X Pos Moves the shape to the right or left in relation to the image. The values (X position) range from –999 to +999, where 0 is the center of the image. Values increase to the right and decrease to the left.
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Y Pos Moves the shape up or down in relation to the image. Values range from (Y position) –999 to +999, where 0 is the center of the image. Values increase as you go down and decrease as you go up.
Aspct (aspect Changes the shape from perfectly round to a distorted shape. Values ratio) range from –100 to +100, where 0 is a circle.
Angle Rotates the axis of the shape. This effect is visible only when the aspect ratio is not zero. Values range from –180 to +180.
LImitations on 3D Ball Effects
The following limitations apply to 3D Ball effects: • You cannot apply the Z perspective to a 3D Ball effect. • The X and Y direct manipulation handles do not work for a 3D Ball effect. Use the Rotation (X, Y, Z) sliders in the Rotation parameter category instead. n Once you rotate a 3D Ball effect in X or Y using the sliders, no direct manipulation other than XY position will work. To regain access to the direct manipulation Z handle, reset the X and Y Rotation sliders to 0.
Rotate around Z Axis Rotate around X Axis Rotate around Y Axis
Direct manipulation in Z Direct manipulation in X and Y does not work for works for Radial shapes. Radial shapes. Use the Rotation sliders instead.
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3D PIP Effect
You can promote a 2D Picture in Picture effect to 3D or you can start off with a 3D PIP effect. For general information on Picture-in-Picture effects, see “Picture-in-Picture” on page 397.
Page Fold
Page Fold
Top
Flap
Parameter Type Keyframeable
Description Creates an illusion similar to turning a page in a book. The top image curls over and then becomes flat. 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.
Use of Controls Fast Menu See “Shape” on page 552. button Enable button
Curl Controls the distance the page rolls up. The control specifies how far the fold has progressed. Values range from 0 to 100, where 0 represents no fold.
Radius Controls the tightness of the fold. Values range from 0 to 100, where 15 is the default.
Angle Controls the direction of the fold. Values range from –180 degrees to +180 degrees, where 45 degrees is the default.
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Tips for Page Fold Creation
To take the page from a flat, centered image to one that is completely off the screen: t Vary the Curl value from 0 to 100 while keeping the radius at its default value.
To soften the edges of a Page Fold effect: t Enable the Border parameter and adjust the Soft slider. You can soften a border of zero width. For more information, see “Border” on page 545. n Also refer to the Illusion FX Page Curl and Rollup effects. See “Pagecurl” on page 440 and “Rollup” on page 448.
3D Slats
Parameter Type Keyframeable
Description Slats split the image into alternating bands of video that enter the screen from opposite directions. Change the Amplitude to make the slats move in opposite directions. You can apply the Slat effect directly from the Effect Palette, or you can apply the 3D PIP effect and then, in the Shape parameter category, click the Fast menu button and select the Slat type. For more information, see “Shape” on page 552. n When experimenting with these shapes, start with a Frequency value of 1 and an Amplitude of 0. This makes it easier to see how changes in these values affect the image.
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Use of Controls Fast Menu See “Shape” on page 552. button, Enable button
Ampl Move the slider to control the distance the shape moves. Values range (amplitude) from –100 to +100. For transition effects, increase the amplitude to take the effect off the screen.
Angle Move the slider to control the slider to change the line along which the video pieces move. Values can range from –180 to +180. Use 0 for horizontal and 90 for vertical.
Freq Move the slider to control how many copies of the offset shape appear on (frequency) the screen. Values range from 0 to 100.
Offset Move the slider to reposition the shape on the image. Values range from –100 to +100.
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560 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Index
Numerics 4:3 Sidebar effect (2D) described 192 0% To 100% motion effect (2D) 531 parameters 497 1:1.66 Mask effect 423 4:3 Sidebar Reformat effect 497 1:1.85 Mask effect 424 50% Speed motion effect 532 100% To 0% motion effect (2D) 531 601 Level setting 14:9 Letterbox effect (2D) in Avid Pan & Zoom effect 221, 322 described 192 parameters 496 14:9 Letterbox Reformat effect 496 A 16:9 Letterbox effect (2D) Acceleration (2D) effect parameter 315 described 192 Acceleration (3D) effect parameter 542 parameters 496 Accessing 16:9 Letterbox Reformat effect 496 3D effects in Effect Palette 224 16:9 Mask effect 424 Actions parameters (2D) 385 16-bit effects rendering 133 Activating 2D effect parameters Render settings 128 See Effect parameters Add Edit button (Tool palette) 186 2D effects Add Edit function See Effects with Submaster effects 186 2D titles 239 Add Keyframe button (Effect Editor, Effect Preview 3D Ball effect monitor) 92 described 555 Add Keyframe button (Effect Preview Monitor limitations on 556 toolbar) 53 3D coordinate system 227 Add Keyframe button (Effect Preview Monitor) 80 3D effect parameters Add Keyframe command (Keyframe track shortcut See Effect parameters menu) 92 3D effects Add Keyframes commands (Effect Editor shortcut See Effects menu) 120 3D Page Fold effect 557 Add Keyframes to Active Group (Effect Editor 3D PIP effect 554 shortcut menu) 97 3D Promote button (Effect Editor) 63 Add Keyframes to Active Parameter(Effect Editor 3D shape effects 554 shortcut menu) 96 3D Slats effect 558 Add Keyframes to All Parameters (Effect Editor 3rd-Party plug-in effects 141 shortcut menu) 99 4 Corners Shape Wipe effect 502 Add Keyframes to Enabled Groups (Effect Editor shortcut menu) 98 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Add Keyframes to Open Graphs (Effect Editor slipping 103 shortcut menu) 99 Spline interpolation option 108 Add Keyframes to Open Groups (Delete Keyframe trimming effects with 111 Mode menu) 98 Advanced parameter Add Page command (Object menu) 257 Avid Pan & Zoom effect 220 Add To Active Group command (Add Keyframe After Effects Mode menu) 97 Avid After Effects External Monitor Preview Add To Active Parameter command (Add Keyframe plug-in 151 Mode menu) 96 Align Keyframe command (Keyframe track shortcut Add To All Parameters command (Add Keyframe menu) 104 Mode menu) 99 Align Objects commands (Alignment menu) 269 Add To Enabled Groups command (Add Keyframe Align to Frame commands (Alignment menu) 268 Mode menu) 98 Aligning Add To Open Graphs command (Add Keyframe advanced keyframes 103 Mode menu) 99 title text 248 Add To Open Groups command (Add Keyframe titles 268 Mode menu) 98 Alignment buttons Adding in Quick Transition dialog box 47 keyframes to keyframe graphs 92 Alignment grid pages to a rolling or crawling title 256 for titles 244 Adjusting Alpha channel Pan and Scan effect 204 AVI file import limitations 177 Render settings 125 in 3D Matte Key effect 226 title parameters 279 Matte Key effect editing 177 Advanced keyframes Anamorphic Mask effect 425 Add Keyframe Mode menu and Delete Keyframe Angles of rotation 228 Mode menu 95 Animation sequences adding and deleting 92 types of 177 adjusting graph display 87 Aperture aligning 103 Effect Aperture 35 Bézier interpolation option 108 Applying bracketing keyframes 112 Dissolve effect 41 controlling parameter change 107 Dissolve effect, in Trim mode 41 copying and pasting 106 effect templates 76 described 79, 83 fades and dissolves with Head Fade and Tail Fade Effect Editor toolbar controls 115 buttons 42 Effect Preview monitor 91 Pan and Scan effect 194 extrapolating 112 Submaster effect 186 holding 112 title styles to title objects 273 interpolation options 107 Arrowhead tool (Title tool) 250 Linear interpolation option 107 Aspect ratio moving in keyframe graphs 101 See Fixed Aspect option opening keyframe graphs 85 adjusting with Pan and Scan effect 193 options in Effect Editor shortcut menu 118 in Avid Pan & Zoom effect 215 promoting effects to 84 in Reformat effects 192 selecting and deselecting 100 selecting within Pan and Scan effect 195 Shelf interpolation option 107 Aspect Ratio parameters (2D) 385
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AudioSuite plug-ins FluidColorMap 434 described 142 FluidMorph 435 Auto Size mode (Title tool) 253 Iris 435 Auto Size Mode command (Object menu) 253 Kaleidoscope 436 AVI files Lightning 437 limitations on import 177 Melt 438 Avid After Effects External Monitor Preview plug-in Motion Blur 439 151 Page Curl 440 Avid Hi Qual Particle Blast 441 Filtering option for Avid Pan & Zoom effect 219 Particle Orbit 441 Avid Pan & Zoom effect Particle Wind 443 Advanced parameter 220 Pattern Generator 444 applying 211 Pinch 445 aspect ratio 215 Radial Blur 446 Background parameter 220 Random Blend 446 constant path velocity 216 RGB Keyer 468 described 209 Ripple 447 Ease In and Ease Out 216 Rollup 448 field of view 213 Shear 449 Filtering parameter 219 Sparkler 450 image file format 210 Sphere 451 parameters 456 Swirl 452 Path parameter 217 Timecode 453 Position parameters 215 Twist 454 progressive frames 219 Wave 455 rendering options 219 AVX plug-ins Source and Target Display modes 212 assigning multiple tracks in 147 Source Has Square Pixels 220 blank icons in Timeline 151 Velocity parameter 215 described 142 Zoom Factor parameter 214 installing 143 Avid Pan and Zoom interfaces and parameters for 148 See Avid Pan & Zoom effect locating AVX_Plug-Ins folder (Macintosh) 143 Avid Ultra Qual locating AVX_Plug-Ins folder (Windows) 144 Filtering option for Avid Pan & Zoom effect 219 memory usage 142, 151 Avid Visual Extensions (AVX) messages in Console window 151 defined 141 missing effect categories 151 AVX (Avid Visual Extensions) missing icons 150 defined 141 plug-in icon 141 AVX 2.0 Plug-ins problems with rendering 150 described 142 troubleshooting 150 promoting AVX 1.x plug-ins 146 upgrading 146 AVX Plug-ins vendors 141 Color Mix 431 Web site for 141 Crystal 432 Axes in rotation (3D) 228 Film Grain 433 Axis button (Effect Editor) 233 Flare 433 Axis effect parameters 543 FluidBlur 434
563 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
B Bottom Right L-Conceal effect 470 Bottom Right Squeeze effect 517 Background (2D) effect parameters 323 Bottom Right to Top Left Box Wipe effect 401 Background (3D) effect parameters 544 Bottom Right to Top Left Conceal effect 408 Background parameter Bottom Right to Top Left Push effect 489 Avid Pan & Zoom effect 220 Bottom to Top Conceal effect 409 Background parameters 335 Bottom to Top Peel effect 481 Ball, 3D Bottom to Top Push effect 490 described 555 Bottom to Top Squeeze effect 518 limitations on 556 Box Corner tool (Title tool) 249 Bézier keyframe interpolation option 108 Box Wipe effects Bins Bottom Box 399 effect templates in 75 Bottom Left to Top Right 400 Black lines Bottom Right to Top Left 401 Removing with the Effect Aperture 35 Left Box 402 Black point Right Box 403 adjusting with Color Effect 327 Top Box 404 Blend Direction box (Title tool) 260 Top Left to Bottom Right 405 Blend effects Top Right to Bottom Left 406 Dip to Color 393 Brightness Dissolve 394 See Luminance Fade from Color 395 Bring Forward command (Object menu) 267 Fade to Color 396 Bring to Front command (Object menu) 267 Picture-in-Picture 397 B-Spline Catmull Superimpose 398 Filtering option for Avid Pan & Zoom effect 219 Blended Interpolated, render settings option 127 Buttons Blended VTR, render settings option 127 3D Promote (Effect Editor) 63 Blowup effect 426 Add Edit (Tool palette) 186 Blue dot Add Keyframe (Effect Editor, Effect Preview with effect icons 34, 123 monitor) 92 Border (2D) effect parameters 324 Add Keyframe (Effect Preview Monitor toolbar) Border (3D) effect parameters 545 53 Border parameters (Illusion FX) 336 Add Keyframe (Effect Preview Monitor) 80 Border Width tool (Title tool) 249 Axis (Effect Editor) 233 Borders Centered on Cut (Quick Transition dialog box) 49 changing width 249 Collapse (Tool palette) 188 Both Fields option (Motion effects) 381 Crawling Title (Title tool) 243 Both fields, render settings option 126 Crop (Effect Editor) 233 Bottom Box Wipe effect 399 Dual Split (Effect Preview Monitor toolbar) 53, 62 Bottom Centered Squeeze effect 515 Ending at Cut (Quick Transition dialog box) 49 Bottom Left Corner Peel effect 479 Enlarge (Effect Editor) 62 Bottom Left L-Conceal effect 469 Enlarge (Effect Preview Monitor toolbar) 53 Bottom Left Squeeze effect 516 Fade Effect (Tool palette) 278 Bottom Left to Top Right Box Wipe effect 400 Fast Forward (Effect Preview Monitor toolbar) 52 Bottom Left to Top Right Conceal effect 407 Fit to Fill (Command palette) 166 Bottom Left to Top Right Push effect 488 Grid 56 Bottom Right Corner Peel effect 480 Grid (Effect Editor and Tool palette) 54, 63
564 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
Head Fade (Command palette) 42 C HQ (Effect Editor) 63, 134 in Effect Editor 60 Cache All in Effect Preview Monitor toolbar 52 Avid Pan & Zoom effect 221 Justification (Title tool) 248 Cache parameter Kerning selection (Title tool) 247 Avid Pan & Zoom effect 221 Motion Effect (Source monitor) 164 Camera effects Other Options (Effect Editor) 67 described 191 Outline/Path (Effect Editor) 62, 234 Camera motion Overwrite (Tool palette 163 stabilizing 206 Play (Effect Editor) 63 Center Box Shape Wipe effect 503 Play (Effect Preview Monitor toolbar) 53 Center parameters (Illusion FX) 337 Play Loop (Effect Editor) 63 Centered on Cut button (Quick Transition dialog box) Play Loop (Effect Preview Monitor toolbar) 53 49 Play Preview (Effect Preview Monitor toolbar) 53 Centered on Cut option 41, 390 Promote to Advanced Keyframes (Effect Editor) Centered Zoom Squeeze effect 519 62 Changing Quick Transition (Tool palette) 43 nested effect order with advanced keyframes 182 Reduce (Effect Editor) 62 position in effects 59 Reduce (Effect Preview Monitor toolbar) 53 Chroma Adjust effect parameters 329 Remove Effect (Tool palette) 50 Chroma Key effect Render Effect (Effect Editor) 62 2D parameters for 375 Render Effect (Tool palette) 129 parameter reference 465 Rewind (Effect Preview Monitor toolbar) 52 post-key color correction for 174 Rolling Title (Title tool) 243 Circle parameters (Illusion FX) 337 Save Style Parameter (Title tool) 241 Circle Shape Wipe effect 504 Scale (Effect Editor) 233 Client monitor Splice-in (Tool palette) 163 setting up 197 Starting at Cut (Quick Transition dialog box) 49 Clock Shape Wipe effect 505 Step Backward (Effect Preview Monitor toolbar) Collapse button (Tool palette) 188 53 Collapsing layers 187 Step Forward (Effect Preview Monitor toolbar) 53 Color Step In (Timeline) 180 adjusting for shadows in titles 263 Step Out (Timeline) 180 blending in Title tool 259 Styles (Title tool) 241 parameters 68 Tail Fade (Command palette) 42 selecting with eyedropper for titles 261 Templates (Title tool) 242 setting in Title tool 259 Transition Effect Alignment (Effect Editor) 41, 62 Color and Transparency Blend tools (Title tool) 259 Trim Left 1 Frame 81 Color coding Trim Left 10 Frames 81 effects 34, 123 Trim Right 1 Frame 81 motion effects 157 Trim Right 10 Frames 81 Submaster effect 185 X Rotation (Effect Editor) 233 Color Correction effect 457 XY Position (Effect Editor) 233 Color Correction parameters (2D) 377 Y Rotation (Effect Editor) 233 Color dialog box (Windows) 68 Z Rotation (Effect Editor) 233
565 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Color Effect Top Right to Bottom Left 413 adjusting black point 327 Top to Bottom 414 adjusting chrominance 329 Console window adjusting hue 329 AVX plug-in messages in 151 adjusting luma clip 328 motion effect type change messages in 159 adjusting luma range 326 Constant path velocity adjusting luminance 325 with Avid Pan & Zoom effect 216 adjusting midtones 328 Constant Velocity option adjusting saturation 329 Avid Pan & Zoom effect 216 adjusting white point 327 Controlling enhancing high-contrast image with 176 real-time effects preview 122 inverting chrominance 329 Coordinate system for 3D effects 227 inverting luminance 325 Coordinates parameters 325, 457 displaying position 57 posterizing images 329 Copy to Page command (Object menu) 257 solarizing images 329 Copying Color effects advanced keyframes 106 Color Correction 457 standard keyframes 81 Color Correction (RGB Keyer) 377 Core parameters (Illusion FX) 338 Color Effect 457 Crawling Title button (Title tool) 243 Color Mix effect (Illusion FX) 431 Crawling titles Dip to Color 393 adding pages 256 Fade from Color 395 automatic sizing 253 Fade to Color 396 defined 252 FluidColorMap (Illustion FX) 434 deleting pages 257 Color Gain effect parameters 330 formatting text 258 Color levels going to a page 256 in Avid Pan & Zoom effect 221 inserting a blank page 257 Color Mix effect 431 page, defined 252 Color Mix effect (Illusion FX) 431 resizing width of 255 Color Mix parameters (Illusion FX) 342 scrolling 256 Color Picker setting text formatting 254 Macintosh 70 typing text 255 Title tool 261 workflow options 254 Color Selection boxes (Title tool) 258 Create Unrendered Title Media command (Clip Color Style effect parameters 329 menu) 284 Commands Creating See Menu commands cropped foreground 3D effect 236 Comparison of similar effects 538 matte key for 3D effects 226 Conceal effects nested effects 181 Bottom Left to Top Right 407 new Render settings 124 Bottom Right to Top Left 408 title templates 275 Bottom to Top 409 Crop (2D) effect parameters 331 Left to Right 410 Crop (3D) effect parameters 546 Right to Left 411 Crop button (Effect Editor) 233 Top Left to Bottom Right 412 Cropped foreground effect 3D example 236
566 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
Crystal effect (Illusion FX) 432 applying, in Trim mode 41 Crystal parameters (Illusion FX) 343 described 394 Cubic Distribute commands (Alignment menu) 269 Filtering option for Avid Pan & Zoom effect 219 Distributing Current position display title objects 269 field indicator in 54 Drawing Custom Start option 41, 390 rounded box corners in titles 249 setting up environment 243 D Drop shadow for 3D effects 551 Dual Split button (Effect Preview Monitor toolbar) Delete From Active Group command (Delete 53, 62 Keyframe Mode menu) 97 Duplicated Field option (Motion effects) 381 Delete From Active Parameter command (Delete Duplicated field, render settings option 126 Keyframe Mode menu) 96 Delete From All Parameters command (Delete E Keyframe Mode menu) 99 Delete From Enabled Groups command (Delete Ease In and Ease Out Keyframe Mode menu) 98 with Avid Pan & Zoom effect 215, 216 Delete From Open Graphs command (Delete Edge Wipe effects Keyframe Mode menu) 99 Horizontal 415 Delete From Open Groups command (Delete Horizontal Open 416 Keyframe Mode menu) 98 Lower Left Diagonal 417 Deleting Lower Right Diagonal 418 crawling title pages 257 Upper Left Diagonal 419 effect media files 139 Upper Right Diagonal 420 effects 49 Vertical 421 keyframes from keyframe graphs 92 Vertical Open 422 motion effect media 139 Edit decision list rolling title pages 257 See EDL standard keyframes 82 Editing Deselect All Keyframes command (Keyframe track imported master clips 178 shortcut menu) 101 Submaster effect 185 Deselecting titles in sequences 280 advanced keyframes 100 titles, overview 276 Diamond Shape Wipe effect 506 with imported matte keys 177 Digidesign AudioSuite plug-ins 142 EDL (edit decision list) Dip to Color effect with Submaster effect 185 parameter reference 393 Effect Aperture 35 Display parameter Effect categories (2D) Avid Pan & Zoom 212 Reformat 495 Displaying Effect Editor estimated render time 130 adjusting titles 279 motion effect type change information 159 color parameters in 68 safe title/action area 54 controlling image updating with keyframe graphs Dissolve effect 120 adding with Head Fade and Tail Fade buttons 42 controls in 60 applying 41 displaying parameters 64
567 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
displaying thumbwheels with keyframe graphs Chroma Key 373 119 Circle (Illusion FX) 337 effect parameters in 65 Color Effect 325 Enable buttons 67 Color Gain 330 enlarging text with keyframe graphs 119 Color Mix 342 Fast Menu button 67 Color Style 329 indenting rows with keyframe graphs 119 Core (Illusion FX) 338 keyframe graphs, Add Keyframe Mode menu and Crop (2D) 331 Delete Keyframe Mode menu 95 Crop (3D) 546 keyframe graphs, opening 85 Crystal 343 movement of position indicator with keyframe described 65 graphs 120 direct manipulation of 542 Other Options button 67 displaying 64 resetting keyframe graph view 90 Enable button 67 setting default Add Keyframe button behavior, eyedropper 68 with keyframe graphs 120 Film Grain 344 shortcut menu 118 Flare 345 showing Add Keyframe Mode menu 120 FluidBlur 346 sliders 66 FluidColorMap 347 toolbar controls for advanced keyframes 115 FluidMorph 348 Effect Grid FluidMorph (Illusion FX) 371 customizing for a single effect 57 Foreground (2D) 332 described 55 Foreground (3D) 547 displaying in Effect mode 56 Freeze Frame 379 using with Pan and Scan effect 199 Generation (Illusion FX) 338 Effect icons global versus keyframeable 65, 314, 540 display of real-time status 123 Glow (Illusion FX) 340 Effect Palette hierarchy of 3D 541 accessing 3D effects 224 Illumination (Illusion FX) 341 display of plug-ins in 141 Input (Color Mix) 342 Effect parameters Input (Crystal) 343 2D, overview 313 Input (Film Grain) 344 3D, described 539 Input (Flare) 345 3D, overview 229 Input (FluidBlur) 346 Acceleration (2D) 315 Input (FluidColorMap) 347 Acceleration (3D) 542 Input (FluidMorph) 348 accessing additional 67 Input (Iris) 349 adjusting color 68 Input (Kaleidoscope) 350 Axis 543 Input (Melt) 350 Background (2D) 323 Input (Motion Blur) 351 Background (3D) 544 Input (Page Curl) 352 Border (2D) 324 Input (Particle Blast) 354 Border (3D) 545 Input (Particle Orbit) 355 Border (Illusion FX) 336 Input (Particle Wind) 356 Center (Illusion FX) 337 Input (Pinch) 358 changing for individual keyframes 81 Input (Radial Blur) 359 Chroma Adjust 329 Input (Random Blend) 360
568 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
Input (Rollup) 361 sliders 66 Input (Shear) 362 Source (Illusion FX) 371 Input (Sphere) 363 Sparkler (Illusion FX) 338, 340, 369 Input (Swirl) 364 Sphere 363 Input (Timecode) 365 Spill Suppression 374 Input (Twist) 366 Start Timecode (Illusion FX) 372 Input (Wave) 367 Strobe Motion 380 Iris 349 Swirl 364 Kaleidoscope 350 Target 553 Kaleidoscope (Illusion FX) 337, 371 Timecode 365 Key 373 Timecode (Illusion FX) 372 Lightning (Illusion FX) 338, 340 title, adjusting 279 Luma Adjust 325 Trail 554 Luma Clip 328 transition 390 Luma Key 373 Twist 366 Luma Range 326 Variable Speed 380 Matrix 378 Wave 367 Model 386 Effect Preview monitor Motion 378 advanced keyframes in 91 Motion (Illusion FX) 368 described 51 Motion Blur 351 displaying safe title/action area 54 Movement (Illusion FX) 369 field indicator 54 Number (Illusion FX) 370 grid display in 55 Offset (Illusion FX) 371 moving enlarged image 58 Page Curl 352 toolbar 52 Particle Blast 354 tracking information in 54 Particle Orbit 355 zooming in 232 Particle Wind 356 Effect templates Pattern Generator 335 3D effects 232 Pattern Generator (Illusion FX) 335, 337, 370 applying 76 Pinch 358 defined 74 Position (2D) 383 in bins 75 Position (3D) 548 saving 75 Radial Blur 359, 360 Effects Region of Interest 387 16-bit rendering 133 Region Stabilize 386 2D parameters, overview 313 Ripple (Illusion FX) 338, 341, 368 3D Ball 555 Rollup 361 3D coordinate (X Y Z) system 227 Rotation 549 3D matte key 226 Scaling (2D) 389 3D Page Fold 557 Scaling (3D) 550 3D Slats 558 Scroll Position 384 3D, keyframes for 231 Secondary Key 374 3D, parameters for 229, 540 selecting using Fast menu 67 3D, Rotation axes for 228 Shadow 551 accessing 3D in Effect Palette 224 Shape 552 applying Dissolve 41 Shear 362 applying Dissolve, in Trim mode 41
569 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
applying to multiple transitions using Quick RGB Keyer effect 468 Transition button 44 Safe Color Limiter, parameter reference 388 Blend 392 saving templates 75 Box Wipe 398 Sawtooth Wipe 498 changing position in 59 Shape Wipe 501 color coding for 34, 123 Spin 510 Color, using to enhance high-contrast image 176 Squeeze 514 comparison of similar 538 Strobe Motion 166 Conceal 406 summary of creation tools 30 controlling real-time preview 122 templates in bins 75 creating 3D Page Fold 234 Timewarp 530 creating cropped foreground (3D PIP) 236 Title 537 deconstructing 31 upgrading 146 deleting 49 Variable Speed 163 Dissolve, applying 41 Xpress 3D Effect category 539 Dissolve, applying in Trim mode 41 Effects (2D) Edge Wipe 414 Pan and Scan 191, 193 examples of 31 PlasmaWipe 287, 486 Film 422 Reformat category 191 Freeze Frame 160 Effects (3D) handles for adjusting 3D 233 compatibility between Avid applications 223 Illusion FX 430 Elastic command (Keyframe track shortcut menu) Image 455 111 in HD projects 32 Elastic keyframes 111 Key 464 Ellipse Shape Wipe effect 507 keys 377 Enable button (Effect Editor) 67 L-Conceal 469 Ending at Cut button (Quick Transition dialog box) 49 Matrix Wipe 472 Ending at Cut option 41, 390 media files, deleting 139 Enlarge button (Effect Editor) 62 media files, described 136 Enlarge button (Effect Preview Monitor toolbar) 53 media files, revealing 136 Enlarged image Motion 478 moving in the Effect Preview monitor 58 motion 155 Error messages Peel 478 Insufficient Source 235 PlasmaWipe 287, 486 Establish Origin parameter (2D) promoting 2D to 3D 225 for Pan and Scan 201 promoting to advanced keyframes 84 Expanding Push 487 nested effects 180 Quick Transition button 43 Export Title command (File menu) 276 real-time preview 122 Exporting real-time preview, delaying start 123 titles as graphics files 276 Region Stabilize 461 Extrapolate command (Keyframe track shortcut rendering at position 130 menu) 115 rendering between IN and OUT points 131 Extrapolate option rendering one 129 keyframe graph parameter values 112 replacing existing 59 rerendering 132
570 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
Eyedropper Fixed keyframes 111 selecting colors in titles 261 Flap, in Page Fold effect 557 using 68 Flare effect (Illusion FX) 433 Flare parameters (Illusion FX) 345 F Flip effect 458 Flip-Flop effect 459 Fade Effect button (Tool palette) 278 Flop effect 460 Fade from Color effect FluidBlur effect (Illusion FX) 434 parameter reference 395 FluidBlur parameters (Illusion FX) 346 Fade to Color effect FluidColorMap effect (Illusion FX) 434 parameter reference 396 FluidColorMap parameters (Illusion FX) 347 Fading FluidFilm effect template 169 effects using Head Fade and Tail Fade buttons 42 using 170 titles 278 FluidFilm NTSC motion effect (2D) 532 Fast Forward button (Effect Preview Monitor toolbar) FluidFilm PAL motion effect (2D) 533, 534 52 FluidMorph parameters (Illusion FX) 348, 371 Fast menus Fonts selecting effect parameters with 67 compatibility between systems 243 Fast-motion effects installing 243 creating 163 substituting 244 reversing 164 Foreground (2D) effect parameters 332 Field indicator in current position display 54 Foreground (3D) effect parameters 547 Field parameter for Blowup effects 324 Formatting Fill track in titles 282 crawling titles 258 Film Dissolve effect 427 rolling and crawling title text 254 Film effects rolling titles 258 1:1.66 Mask 423 title text 245 1:1.85 Mask 424 Four Corners Shape Wipe effect 502 16:9 Mask 424 Free Current Cache Anamorphic Mask 425 Avid Pan & Zoom effect 221 Blowup 426 Freeze Frame command (Clip menu) 160 Film Dissolve 427 Freeze Frame effect Film Fade 428 controlling with a single button or key 162 Mask 429 creating 160 Film Fade effect 428 parameter reference 379, 478 Film Grain effect (Illusion FX) 433 using after rolling clip 163 Film Grain parameters (Illusion FX) 344 Function keys Film negative confirming mapping of title styles 273 simulating look with solarization 329 mapping title styles to 271 Filtering parameter Avid Pan & Zoom effect 219 G Fit to Fill motion effects 381 Gain with key effects 373 Fit to Fill button (Command palette) 166 Gamma Fixed Aspect option (Scaling (2D) effect parameters) adjusting with Color Effect 328 390, 550 Gaussian Fixed command (Keyframe track shortcut menu) 111 Filtering option for Avid Pan & Zoom effect 219
571 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Generation parameters (Illusion FX) 338 High-contrast image Global effect parameters 314, 540 enhancing with Color Effect 176 Glow effect for titles 265 with Matte Key 175, 226 Glow parameters (Illusion FX) 340 Highest Quality (HQ) button 63, 134 Graphic images Histogram types of 177 working with PlasmaWipe effects 295 with alpha channel 177 Hold command (Keyframe track shortcut menu) 115 without alpha channel 178 Hold option Graphical display in Quick Transition dialog box 46 keyframe graph parameter values 112 Graphics for titles Horizontal Bands Shape Wipe effect 508 adding arrowheads to lines 250 Horizontal Blinds Shape Wipe effect 509 aligning 268 Horizontal Centered Squeeze effect 520 changing arrowhead size 251 Horizontal Edge Wipe effect 415 displaying grid for 244 Horizontal Open Edge Wipe effect 416 distributing evenly 269 Horizontal Open Sawtooth Wipe effect 499 layering of 266 Horizontal Sawtooth Wipe effect 498 line or border width 249 HQ button (Effect Editor) 63, 134 rounding box corners 249 HQ rendering 134 Green dot interrupting 136 with effect icons 34, 123 Render Settings dialog box 135 Grid Hue effect grid 55 adjusting with Color Effect 329 for title alignment 244 defined 323 parameters in Effect Editor 57 Grid button I in Effect mode 56 Grid button (Effect Editor and Tool palette) 54, 63 Illumination parameters (Illusion FX) 341 Grid Matrix Wipe effect 473 Illusion FX Group command (Object menu) 267 Border parameters 336 Grouping Center parameters 337 title objects 267 Circle parameters 337 Color Mix 431 H Color Mix parameters 342 Core parameters 338 Halo effect for titles 265 Crystal 432 Handles Crystal parameters 343 for adjusting 3D effects 233 Film Grain 433 for resizing foreground image 73 Film Grain parameters 344 hollow, for locked objects 268 Flare 433 in Quick Transition dialog box 47 Flare parameters 345 on arrowheads 251 FluidBlur 434 HD projects FluidBlur parameters 346 using effects in 32 FluidColorMap 434 HD resolutions FluidColorMap parameters 347 and older AVX plug-ins 142 FluidMorph 435 Head Fade button (Command palette) 42 FluidMorph parameters 348, 371 Hierarchy of 3D effect parameters 541 Generation parameters 338
572 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
Glow parameters 340 Timecode parameters 365, 372 Illumination parameters 341 Twist 454 Iris 435 Twist parameters 366 Iris parameters 349 Wave 455 Kaleidoscope 436 Wave parameters 367 Kaleidoscope parameters 337, 350, 371 Image effects Lightning 437 Avid Pan & Zoom Effect 456 Lightning parameters 338, 340 Color Effect 457 Melt 438 Flip 458 Melt parameters 350 Flip-Flop 459 Motion Blur 439 Flop 460 Motion Blur parameters 351 Mask 461 Motion parameters 368 Region Stabilize 461 Movement parameters 369 Resize 462 Number parameters 370 Safe Color Limiter 463 Offset parameters 371 Submaster 463 Page Curl 440 Image Resolution Page Curl parameters 352 Avid Pan & Zoom effect 221 Particle Blast 441 Images Particle Blast parameters 354 graphic, types of 177 Particle Orbit 441 with alpha channel 177 Particle Orbit parameters 355 without alpha channel 178 Particle Wind 443 Importing Particle Wind parameters 356 AVI files 177 Pattern Generator 335, 444 Indent Rows command (Effect Editor shortcut menu) Pattern Generator parameters 335, 337, 370 119 Pinch 445 Input parameters Pinch parameters 358 Color Mix 342 Radial Blur 446 Crystal 343 Radial Blur parameters 359, 360 Film Grain 344 Random Blend 446 Flare 345 Random Blend parameters 360 FluidBlur 346 Ripple 447 FluidColorMap 347 Ripple parameters 338, 341, 368 FluidMorph 348 Rollup 448 Iris 349 Rollup parameters 361 Kaleidoscope 350 Shear 449 Melt 350 Shear parameters 362 Motion Blur 351 Source parameters 371 Page Curl 352 Sparkler 450 Particle Blast 354 Sparkler parameters 338, 340, 369 Particle Orbit 355 Sphere 451 Particle Wind 356 Sphere parameters 363 Pinch 358 Start Timecode parameters 372 Radial Blur 359 Swirl 452 Random Blend 360 Swirl parameters 364 Rollup 361 Timecode 453 Shear 362
573 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Sphere 363 Keyframe graphs Swirl 364 active highlighting 86 Timecode 365 adjusting display 87 Twist 366 aligning keyframes 103 Wave 367 Bézier interpolation option 108 Insert Page command (Object menu) 257 controlling image updating 120 Installing controlling movement of position indicator 120 AVX plug-ins 143 copying and pasting keyframes in 106 Insufficient Source message 235 default Add Keyframe button behavior, setting Interfaces for AVX plug-ins 148 120 Interpolated Field option (Motion effects) 381 default view 86 Interpolated field, render settings option 126 described 83, 86 Interpolation options for keyframe graphs 107 displaying 85 Interrupting displaying thumbwheels in Effect Editor 119 render on-the-fly 122 Effect Editor shortcut menu 118 rendering of effects 128 elastic keyframes 111 Invert Key option (Foreground effect parameter) 333 enlarging text in Effect Editor 119 Inverting chrominance fixed keyframes 111 with Color Effect 329 indenting rows in Effect Editor 119 Inverting keys interpolation options 107 Full 547 Linear interpolation option 107 Iris effect (Illusion FX) 435 moving keyframes in 101 Iris parameters (Illusion FX) 349 opening 85 panning 90 J resetting view 90 resizing 87 Justification buttons (Title tool) 248 scaling 88 Justifying scroll thumbwheel 90 title text 248 scrolling 90 Shelf interpolation option 107 slipping keyframes 103 K Spline interpolation option 108 Kaleidoscope effect (Illusion FX) 436 zoom sliders 88 Kaleidoscope parameters (Illusion FX) 337, 350, zooming 88 371 Keyframe tracks Kerning of title text 246 described 83 Kerning selection button and text box (Title tool) 247 opening 85 Key Color parameter (2D) 375 Keyframeable effect parameters 314, 540 Key effect parameters 373 Keyframes Key effects See also Keyframes, advanced Chroma Key 465 3D effects 231 described 171 3D parameters with 540 editing with Matte Key 177 adding and deleting in keyframe graphs 92 Luma Key 174, 466 adjusting titles 280 Matte Key 175, 467 advanced, changing order of nested effects 182 Matte, in nested layers 183 changing parameters 81 RGB Keyer effect (AVX Plug-in effect) 468 copying and pasting standard 81
574 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
creating standard 80 Left to Right Conceal effect 410 defined 79 Left to Right Peel effect 482 deleting standard 82 Left to Right Push effect 491 moving standard 81 Left to Right Squeeze effect 522 selecting standard 80 Letterboxing 192 Keyframes, advanced Level parameter Add Keyframe Mode menu and Delete Keyframe Avid Pan & Zoom 221 Mode menu 95 Lightning effect (Illusion FX) 437 adding and deleting 92 Lightning parameters (Illusion FX) 338, 340 adjusting graph display 87 Linear keyframe interpolation option 107 aligning 103 Lines Bézier interpolation option 108 attribute options 248 bracketing keyframes 112 changing width 249 controlling parameter change 107 Locating AVX_Plug-Ins folder (Macintosh) 143 copying and pasting 106 Locating AVX_Plug-Ins folder (Windows) 144 described 83 Lock command (Object menu) 268 Effect Editor toolbar controls 115 Locked objects Effect Preview monitor 91 hollow handles 268 extrapolating 112 Locking holding 112 title objects 267 interpolation options 107 Lower Left Diagonal Edge Wipe effect 417 Linear interpolation option 107 Lower Right Diagonal Edge Wipe effect 418 moving in keyframe graphs 101 Luma Adjust effect parameters 325 opening keyframe graphs 85 Luma Clip effect parameters 328 options in Effect Editor shortcut menu 118 Luma Key effect 174, 466 promoting effects to 84 Luma Range effect parameters 326 selecting and deselecting 100 Luminance Shelf interpolation option 107 adjusting with Color Effect 325 slipping 103 defined 323 Spline interpolation option 108 inverting with Color Effect 325 trimming effects with 111 M L Macintosh Color Picker 70 Large Text command (Effect Editor shortcut menu) Make Crawl command (Object menu) 255 119 Managing Layering title styles in Project window 274 title objects 266 Manipulating L-Conceal effects title objects 266 Bottom Left 469 Manipulation of 3D Effect parameters 542 Bottom Right 470 Mapping Top Left 471 title styles to function keys 271 Top Right 472 Marquee Title tool Leading of title text 247 converting title styles to 272 Leading text box (Title tool) 248 described 239 Left Box Wipe effect 402 promoting titles to 280 Left Centered Squeeze effect 521 Mask effect 429, 461
575 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Mask effects for film 423 Add To Active Parameter (Add Keyframe Mode Master clips menu) 96 editing with imported 178 Add To All Parameters (Add Keyframe Mode Matching title and project resolutions 286 menu) 99 Matrix effect parameters 378 Add To Enabled Groups (Add Keyframe Mode Matrix Wipe effects menu) 98 Grid 473 Add To Open Graphs (Add Keyframe Mode One-Way Row 474 menu) 99 Speckle 475 Add To Open Groups (Add Keyframe Mode Spiral 476 menu) 98 Zig-Zag 477 Align Keyframe (Keyframe track shortcut menu) Matte Control parameters (2D) 376 104 Matte Key effect Align Objects (Alignment menu) 269 3D version 226 Align to Frame (Alignment menu) 268 creating 175 Auto Size Mode (Object menu) 253 described 467 Bring Forward (Object menu) 267 editing with 177 Bring to Front (Object menu) 267 in nested layers 183 Copy to Page (Object menu) 257 Media Creation tool Create Unrendered Title Media (Clip menu) 284 16-bit effects rendering 134 Delete From Active Group (Delete Keyframe Media files Mode menu) 97 deleting 139 Delete From Active Parameter (Delete Keyframe Melt effect (Illusion FX) 438 Mode menu) 96 Memory management Delete From All Parameters (Delete Keyframe in Avid Pan & Zoom 221 Mode menu) 99 Memory usage Delete From Enabled Groups (Delete Keyframe AVX plug-ins 142, 151 Mode menu) 98 Menu commands Delete From Open Graphs (Delete Keyframe Add Keyframe (Keyframe track shortcut menu) Mode menu) 99 92 Delete From Open Groups (Delete Keyframe Add Keyframes commands (Effect Editor shortcut Mode menu) 98 menu) 120 Deselect All Keyframes (Keyframe track shortcut Add Keyframes to Active Group (Effect Editor menu) 101 shortcut menu) 97 Distribute (Alignment menu) 269 Add Keyframes to Active Parameter (Effect Elastic (Keyframe track shortcut menu) 111 Editor shortcut menu) 96 Export Title (File menu) 276 Add Keyframes to All Parameters (Effect Editor Extrapolate (Keyframe track shortcut menu) 115 shortcut menu) 99 Fixed (Keyframe track shortcut menu) 111 Add Keyframes to Enabled Groups (Effect Editor Freeze Frame (Clip menu) 160 shortcut menu) 98 Group (Object menu) 267 Add Keyframes to Open Graphs (Effect Editor Hold (Keyframe track shortcut menu) 115 shortcut menu) 99 Indent Rows (Effect Editor shortcut menu) 119 Add Keyframes to Open Groups (Delete Insert Page (Object menu) 257 Keyframe Mode menu) 98 Large Text (Effect Editor shortcut menu) 119 Add Page (Object menu) 257 Lock (Object menu) 268 Add To Active Group (Add Keyframe Mode Make Crawl (Object menu) 255 menu) 97 Move to Page (Object menu) 257
576 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
New Video Track (Clip menu) 177 Motion effects Real-Time Update (Effect Editor shortcut menu) 0% To 100% 531 120 100% To 0% 531 Re-create Title Media (Clip menu) 284 50% Speed 532 Remove Page (Object menu) 257 color coding for 157 Render at Position (Clip menu) 130 controlling Freeze Frame with a single button or Render In/Out (Clip menu) 131 key 162 Render On-the-Fly (Clip menu) 121 deleting media 139 Render Ranges (Timeline Fast menu) 128 described 155 Reset Graph View (Keyframe track shortcut displaying type change information 159 menu) 90 Freeze Frame 160, 478 Reveal File (File menu) 138 icons 157 Safe Colors (Object menu) 244 playback capabilities for traditional 156 Send Backward (Object menu) 267 rendering existing 157 Send to Back (Object menu) 267 rendering options 126 Set Bin Display (Bin menu) 137 rendering requirements for 156 Set Position To Keyframe (Effect Editor shortcut rendering requirements for traditional 156 menu) 120 revealing media 136 Show Add Keyframe Mode Menu (Effect Editor Reverse Motion 534 shortcut menu) 120 reversing 381 Show Alignment Grid (Alignment menu) 244 Speed Boost 535 Slip Keyframe (Keyframe track shortcut menu) Speed Bump 535 106 Strobe Motion 166, 478 Soften Shadow (Object menu) 264 Timewarp 169 Thumbwheels (Effect Editor shortcut menu) 119 Trim to Fill 536 Title Tool (Windows menu) 245 type change messages in Console 159 UnGroup (Object menu) 267 using Freeze Frame after rolling clip 163 Unlock (Object menu) 268 Variable Speed 163, 478 Update Position While Playing (Effect Editor Motion effects (2D) shortcut menu) 120 FluidFilm NTSC effect 532 Video Mixdown (Clip menu) 190 FluidFilm PAL effect 533, 534 Midtones in 24p or 25p projects 168 adjusting with Color Effect 328 Motion parameters (Illusion FX) 368 Mixing down Motion path 71, 71 video 189 defining in Pan and Scan effect 203 Model effect parameter 386 Motion path editor 234 Modifying Move to Page command (Object menu) 257 crawling titles 258 Movement parameters (Illusion FX) 369 rolling titles 258 Moving Monitors keyframes in keyframe graphs 101 Avid After Effects External Monitor Preview Multilayer effects plug-in 151 See also specific effect categories, for example, setting up for Pan and Scan effect 197 Blend effects Motion Blur effect (Illusion FX) 439 3D Matte Key 226 Motion Blur parameters (Illusion FX) 351 creating with nesting 179 Motion Effect button (Source monitor) 164 deleting 51 Motion Effect parameters 378 keys 171
577 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Multilayer effects (2D) P Reformat 495 Multiple tracks Page Curl effect (Illusion FX) 440 and AVX plug-ins 147 Page Curl parameters (Illusion FX) 352 Multi-Resolution Page Fold (3D) Avid Pan & Zoom effect 221 as transition 234 Page Fold effect creation tips 558 N described 557 Nested effects Page Number text box (Title tool) 256 changing order of, with advanced keyframes 182 Pages creating 181 in rolling and crawling titles 252 described 179 Pan & Zoom expanding 180 See Avid Pan & Zoom re-creating title media 284 Pan & Zoom effect 456 stepping in and out 180 Pan and Scan effect (2D) video layers in 179 adjusting 204 with matte key 183 and Reformat effects 191 with Submaster effect 185 applying 194 New Video Track command (Clip menu) 177 combining with transition effects 205 Non-real-time effects defining a motion path 203 color coding for 34 described 193, 497 enabling and disabling 123 Establish Origin parameter 201 Number parameters (Illusion FX) 370 output formats for 194 placing on video track 205 positioning the Pan and Scan track 194 O Reset to Origin parameter 201 selecting aspect ratios in 195 Objects in titles setting an origin in 200 aligning 268 setting up monitors for 197 distributing evenly 269 subdividing 201 grouping and ungrouping 267 using Effect Grid with 199 layering 266 viewing media in 198 locking and unlocking 267 wire frame display in 202 manipulating 266 Pan and Scan Reformat effect 497 Offset parameters (Illusion FX) 371 Pan and Zoom One-Way Row Matrix Wipe effect 474 See Avid Pan & Zoom Opening Panning keyframe graphs 85 keyframe graphs 90 Origin Parameters setting, in Pan and Scan effect 200 for AVX plug-ins 148 Other Options button (Effect Editor) 67 See Effect parameters Outline/Path button (Effect Editor) 62, 234 Parameters (2D) Output formats Actions 385 for Pan and Scan effect 194 Aspect Ratio 385 Overwrite button (Tool palette) 163 Position H for 14:9 Letterbox effect 384 Partial render 128
578 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
Particle Blast effect (Illusion FX) 441 using the Level value 289 Particle Blast parameters (Illusion FX) 354 working with Adobe Photoshop 290 Particle Orbit effect (Illusion FX) 441 working with gradient images 295 Particle Orbit parameters (Illusion FX) 355 PlasmaWipe parameters 382 Particle Wind effect (Illusion FX) 443 Play button (Effect Editor) 63 Particle Wind parameters (Illusion FX) 356 Play button (Effect Preview Monitor toolbar) 53 Pasting Play Loop button (Effect Editor) 63 advanced keyframes 106 Play Loop button (Effect Preview Monitor toolbar) 53 Path of effect on screen 234 Play Preview button (Effect Preview Monitor toolbar) Path parameter 53 Avid Pan & Zoom effect 217 Playback Pattern Generator effect (Illusion FX) 444 individual tracks, restriction with Submaster Pattern Generator effect parameters 335 effect 463 Pattern Generator parameters (Illusion FX) 335, 337, titles, limitations 277 370 video effects, real-time 122 Peel effects Plug-in effects Bottom Left Corner 479 AVX (Avid Visual Extensions) 141 Bottom Right Corner 480 Digidesign AudioSuite, using 141 Bottom to Top 481 Position (2D) effect parameters 383 Left to Right 482 Position (3D) effect parameters 548 Right to Left 483 Position coordinates Top Left Corner 484 displaying 57 Top Right Corner 485 Position H parameter for 14:9 Letterbox effect 384 Top to Bottom 486 Position parameter Picture-in-Picture effect in Avid Pan & Zoom effect 215 3D PIP effect 557 Posterization foreground image movement 71 adjusting with Color Effect 329 reference 397 Post-key color correction 174 Pinch effect (Illusion FX) 445 Preview Pinch parameters (Illusion FX) 358 video effects, real-time 122 PIP Project window See Picture-in-Picture effect managing title styles 274 Pixels Promote to Advanced Keyframes button (Effect shape in Avid Pan & Zoom effect 220 Editor) 62 PlasmaWipe effects Promoting applying 289 2D effects to 3D 225 creating from a custom image 290 effects to advanced keyframes 84 creating from an existing image 294 titles to 3D 285 default values 303 Pulldown Insertion Timewarp effect 533, 534 folder structure 288, 300 Push effects frame and border effects 303 Bottom Left to Top Right 488 PAL and NTSC versions 291, 299 Bottom Right to Top Left 489 testing an animation 298 Bottom to Top 490 threshold point 287, 289 Left to Right 491 tips for adjusting 300, 302 Right to Left 492 using the Adobe Photoshop histogram 295 Top Left to Bottom Right 493 using the Adobe Photoshop Pencil tool 292
579 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Top Right to Bottom Left 494 Region Stabilize effect Top to Bottom 495 described 461 Model parameter 386 Q parameter reference 386 reference 461 Quadratic Region of Interest parameters 387 Filtering option for Avid Pan & Zoom effect 219 troubleshooting 209 Quick Transition button (Tool palette) 43 types 208 Quick Transition dialog box Remove Effect button (Tool palette) 50 graphical display in 46 Removing titles from sequences 277 Render at Position command (Clip menu) 130 R Render Effect button (Effect Editor) 62 Radial Blur effect (Illusion FX) 446 Render Effect button (Tool palette) 129 Radial Blur parameters (Illusion FX) 359, 360 Render In/Out command (Clip menu) 131 Random Blend effect (Illusion FX) 446 Render On-the-Fly command (Clip menu) 121 Real-time Render Ranges command (Timeline Fast menu) 128 Filtering option for Avid Pan & Zoom effect 219 Render settings preview of video effects 122 16-bit effects processing 133 Real-time effects activating 128 green dot color coding for 34 adjusting 125 Real-Time Update command (Effect Editor shortcut creating new 124 menu) 120 described 124 Recalling Effects Quality Render Using 135 title styles 272 HQ rendering 135 Re-create Title Media command (Clip menu) 284 options 125 Re-creating title media 284 Rendered effects Rectangular pixels color coding for 185 in Avid Pan & Zoom effect 220 Rendering Reduce button (Effect Editor) 62 16-bit effects processing 133 Reduce button (Effect Preview Monitor toolbar) 53 AVX plug-ins 150 Reformat effects displaying estimated time 130 14:9 Letterbox 496 displaying render ranges 128 16:9 Letterbox 496 effects at position 130 4:3 Sidebar 497 effects between IN and OUT points 131 Pan and Scan 497 fast saved titles 284 parameters for 384 HQ effects 134 Reformat effects (2D) interrupting 128 14:9 Letterbox 496 interrupting, with HQ effects 136 16:9 Letterbox 496 motion effects 126 4:3 Sidebar 497 multiple effects 131 aspect ratios and 192 multiple effects with Submaster 185 Pan and Scan 497 saving partially completed renders 128 Reformat effects category 191 single effect 129 Region of Interest effect parameters 387 Submaster restriction 463 titles 283
580 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
Replacing Rolling clip existing effects 59 using Freeze Frame after 163 fill track in titles 282 Rolling Title button (Title tool) 243 titles in sequences 278 Rolling titles Rerendering effects 132 adding pages 256 Reset Graph View command (Keyframe track automatic sizing 253 shortcut menu) 90 copying or moving objects 257 Reset to Origin parameter defined 251 for Pan and Scan effect 201 deleting pages 257 Resetting formatting text 258 keyframe graph view 90 going to a page 256 Resize effect 462 inserting a blank page 257 Resizing page, defined 252 foreground image 73 resizing width 255 keyframe graphs 87 scrolling 256 rolling or crawling titles 255 setting text formatting 254 Resolution typing text 255 compatibility in titles 286 Rollup effect (Illusion FX) 448 Reveal File command (File menu) 138 Rollup parameters (Illusion FX) 361 Revealing Rotation axes (3D) 228 effect media files 136 Rotation buttons 549 motion effect media 136 Rotation effect parameters 549 Reverse Animation option (Foreground effect parameter) 332 S Reverse Motion effect (2D) 534 Reversing Safe Action area fast-motion effects 164 Avid Pan & Zoom 213 motion effects 381 Safe Color Limiter effect (Image category) 463 slow-motion effects 164 parameter reference 388 Revising Safe Colors command (Object menu) 244 titles in sequences 280 Safe title/action area Rewind button (Effect Preview Monitor toolbar) 52 displaying 54, 63 RGB Keyer effect (AVX Plug-in) 468 for aligning objects 268 applying 173 Saturation described 172 adjusting with Color Effect 329 post-key color correction 174 of colors in titles 244 RGB settings Save Style Parameter button (Title tool) 241 in Avid Pan & Zoom effect 221, 322 Saving Right Box Wipe effect 403 partially completed renders 128 Right Centered Squeeze effect 523 title styles 270 Right to Left Conceal effect 411 Sawtooth Wipe effects Right to Left Peel effect 483 Horizontal 498 Right to Left Push effect 492 Horizontal Open 499 Right to Left Squeeze effect 524 Vertical 501 Ripple effect (Illusion FX) 447 Vertical Open 500 Ripple parameters (Illusion FX) 338, 341, 368 Scale button (Effect Editor) 233
581 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Scaling Settings keyframe graphs 88 Effect Aperture 35 Scaling (2D) effect parameters 389 Render 124 Scaling (3D) effect parameters 550 User 243 Scroll Position effect parameters 384 Shadows Scroll thumbwheel adjusting softness on-the-fly 264 for keyframe graphs 87 confirming current softness 265 keyframe graphs 90 depth 263 Scrolling drop 263 keyframe graphs 90 for 3D effects, parameter reference 551 rolling or crawling titles 256 for titles, adjusting color and transparency 263 Secondary Key effect parameters 374 for titles, described 263 Segment effects softness 263 See specific effect categories, for example, Image Shape effect parameters 552 effects Shape Wipe effects deleting 51 4 Corners 502 Luma Key 174 Center Box 503 Matte Key 175 Circle 504 saving with media 75 Clock 505 Submaster 185 Diamond 506 title editing 278 Ellipse 507 Segment effects (2D) Horizontal Bands 508 14:9 Letterbox 496 Horizontal Blinds 509 16:9 Letterbox 496 Vertical Blinds 510 4:3 Sidebar 497 Shear effect (Illusion FX) 449 FluidFilm NTSC motion effect 532 Shear parameters (Illusion FX) 362 FluidFilm PAL motion effect 533, 534 Shelf keyframe interpolation option 107 Pan and Scan 497 Show Action Safe parameter Reformat 495 Avid Pan & Zoom 213 Selecting Show Add Keyframe Mode Menu command (Effect advanced keyframes 100 Editor shortcut menu) 120 standard keyframes 80 Show Alignment Grid command (Alignment menu) Selection tool (Title tool) 244 described 241 Show Alpha option (Foreground effect parameter) viewing attributes with 245 333 Send Backward command (Object menu) 267 Size of effect Send to Back command (Object menu) 267 adjusting 553 Sequences foreground image 73 applying Submaster effect to 185 Slats, 3D effect 558 deleting effects from 49 Sliders editing titles 280 in Effect Editor 66 removing titles 277 Slip Keyframe command (Keyframe track shortcut replacing titles 278 menu) 106 Set Bin Display command (Bin menu) 137 Slipping Set Position To Keyframe command (Effect Editor advanced keyframes 103 shortcut menu) 120
582 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
Slow-motion effects Top to Bottom 528 creating 163 Vertical Centered 529 reversing 164 Stabilize effect Snap grid See Region Stabilize effect for titles 244 Stabilizing an image 206 Soft shadows Region Stabilize parameters 386 adjusting on-the-fly 264 using Region Stabilize 461 confirming current value 265 Start Timecode parameters (Illusion FX) 372 creating 263 Starting at Cut button (Quick Transition dialog box) Soften Shadow command (Object menu) 264 49 Solarization Starting at Cut option 41, 390 adjusting with Color Effect 329 Step Backward button (Effect Preview Monitor Source Has Square Pixels toolbar) 53 Avid Pan & Zoom effect 220 Step Forward button (Effect Preview Monitor Source parameters (Illusion FX) 371 toolbar) 53 Sparkler effect (Illusion FX) 450 Step In button (Timeline) 180 Sparkler parameters (Illusion FX) 338, 340, 369 Step Out button (Timeline) 180 Speckle Matrix Wipe effect 475 Stepping Speed Boost effect (2D) 535 in and out of nested effects 180 Speed Bump effect (2D) 535 Strobe Motion effect Sphere effect (Illusion FX) 451 creating 166 Sphere parameters (Illusion FX) 363 parameter reference 380, 478 Spill Suppression effect parameters 374 Styles Spin effects See Title styles X Spin 511 Styles button (Title tool) 241 Y Spin 512 Subdividing Z Spin 513 Pan and Scan effect 201 Spiral Matrix Wipe effect 476 Submaster effect Splice-in button (Tool palette) 163 applying 186 Spline keyframe interpolation option 108 applying to multilayered sequence 185 Square pixels color coding for 185 in Avid Pan & Zoom effect 220 creating EDL for 185 Squeeze effects described 185, 463 Bottom Centered 515 using with short clips 187 Bottom Left 516 Substituting fonts 244 Bottom Right 517 Superimpose effect 398 Bottom to Top 518 Swap Sources option (Foreground effect parameter) Centered Zoom 519 332 Horizontal Centered 520 Swapping effect tracks 547 Left Centered 521 Swirl effect (Illusion FX) 452 Left to Right 522 Swirl parameters (Illusion FX) 364 Right Centered 523 Right to Left 524 T Top Centered 525 Top Left 526 Tail Fade button (Command palette) 42 Top Right 527 Target effect parameters 553 Templates button (Title tool) 242
583 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Text for titles recalling 272 aligning 268 saving 270 color 259 Title templates crawling 252 creating 275 distributing evenly 269 defined 274 formatting 245 using 275 justifying 248 Title tool kerning 246 adding arrowheads to lines 250 layering of 266 adjusting shadow color 263 leading 247 adjusting shadow softness on-the-fly 264 rolling 251 adjusting shadow transparency 263 rolling or crawling, setting formatting 254 Auto Size mode 253 rolling or crawling, typing 255 Blend Direction box 260 Text tool (Title tool) blending colors 259 described 241 blending transparency 262 Third-party plug-in effects 141 bringing to foreground 245 Threshold point changing arrowhead size 251 PlasmaWipe effects 287, 289 color 259 Thumbwheel Color and Transparency Blend tools 259 Effect Editor 66 Color Picker 261 Thumbwheels command (Effect Editor shortcut Color Selection boxes 258 menu) 119 confirming current shadow softness 265 Timecode effect (Illusion FX) 453 crawling titles, defined 252 Timecode parameters (Illusion FX) 365, 372 installing fonts 243 Timeline justifying text 248 color coding for effects 34, 123 kerning 246 expanding nested effects in 180 leading 247 rendered effects in 185 line or border width 249 toolbar 180 lines, attributes for 248 Timewarp effects 169 overview 240 0% to 100% 531 Page Number text box 256 100% to 0% 531 rolling titles, defined 251 50% Speed 532 rounding box corners 249 FluidFilm 2:3 Cadence 532 setting up environment 243 FluidFilm Progressive 533 shadow softness 263 Pulldown Insertion 533, 534 toolbar 240 Reverse motion 534 transparency 262 Speed boost 535 Transparency Level boxes 258 Speed bump 535 Transparency Value box 262 Trim to Fill 536 User settings 243 Title styles Title Tool command (Windows menu) 245 applying to title objects 273 Titles confirming function key mapping 273 adjusting parameters in Effect Editor 279 converting to Marquee 272 aligning 268 managing in Project window 274 alignment grid 244 mapping to function keys 271 applying styles to objects 273 color saturation 244
584 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index compatible resolutions with 286 unlocking objects 267 copying or moving objects 257 workflow options for crawling 254 crawling, defined 252 Wrong Format image 286 crawling, deleting pages 257 Toolbars crawling, formatting 258 Effect Preview monitor 52 crawling, inserting a blank page 257 Timeline 180 creating a glow or halo effect 265 Title tool 240 creating templates 275 Top Box Wipe effect 404 distributing objects 269 Top Centered Squeeze effect 525 editing in sequences 280 Top Left Corner Peel effect 484 editing, overview 276 Top Left L-Conceal effect 471 effect parameter reference 537 Top Left Squeeze effect 526 exporting as a graphics file 276 Top Left to Bottom Right Box Wipe effect 405 fading 278 Top Left to Bottom Right Conceal effect 412 formatting text in 245 Top Left to Bottom Right Push effect 493 grouping objects 267 Top Right Corner Peel effect 485 layering objects 266 Top Right L-Conceal effect 472 locking objects 267 Top Right Squeeze effect 527 main topics 239 Top Right to Bottom Left Box Wipe effect 406 manipulating objects 266 Top Right to Bottom Left Conceal effect 413 overview 240 Top Right to Bottom Left Push effect 494 playback limitations 277 Top to Bottom Conceal effect 414 promoting to 3D 285 Top to Bottom Peel effect 486 promoting to Marquee 280 Top to Bottom Push effect 495 recalling styles 272 Top to Bottom Squeeze effect 528 re-creating media for 284 Tracking information in Effect Preview monitor 54 removing from sequences 277 Tracks of video rendering 283 gain levels 373 rendering fast saves 284 in nested effects 179 replacing fill track 282 swapping effects on (3D) 547 replacing in sequences 278 Trail effect parameters 554 rolling and crawling, defined 251 Transition Effect Alignment button (Effect Editor) rolling and crawling, deleting pages 257 41, 62 rolling and crawling, formatting 258 Transition Effect Duration box (Effect Editor) 62 rolling and crawling, inserting a blank page 257 Transition effects rolling or crawling, adding pages 256 See also specific effect categories, for example, rolling or crawling, going to a page 256 Blend effects rolling or crawling, resizing width 255 adjusting with graphical display in Quick rolling or crawling, scrolling 256 Transition dialog box 46 rolling or crawling, setting text formatting 254 alignment 390 selecting colors with eyedropper 261 alignment options 41 shadows, described 263 deleting 51 snap grid 244 dissolves 41 templates, defined 274 parameter reference 390 templates, using 275 trimming 51 typing rolling or crawling text 255 with Page Fold (3D) 234 ungrouping objects 267
585 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Transition effects (2D) V Reformat 495 with Pan and Scan effect 205 Variable Speed motion effect Transparency creating 163 adjusting for shadows in titles 263 parameter reference 380, 478 blending in Title tool 262 sizing to fit marked duration 166 setting in Title tool 262 Velocity parameter Transparency Level boxes (Title tool) 258 in Avid Pan & Zoom effect 215 Transparency Value box (Title tool) 262 Vertical Blinds Shape Wipe effect 510 Triangle Vertical Centered Squeeze effect 529 Filtering option for Avid Pan & Zoom effect 219 Vertical Edge Wipe effect 421 Triangular opener Vertical Open Edge Wipe effect 422 using with keyframe tracks 85 Vertical Open Sawtooth Wipe effect 500 Trim Left 1 Frame button 81 Vertical Sawtooth Wipe effect 501 Trim Left 10 Frames button 81 Video Display settings Trim mode Effect Aperture 35 applying Dissolve effect 41 Video effects trimming transitions in 51 real-time preview 122 Trim Right 1 Frame button 81 Video mixdown 189 Trim Right 10 Frames button 81 Video Mixdown command (Clip menu) 190 Trim to Fill effect template 170 Video Placement tool (Title tool) 241 Trim to Fill motion effect 536 Video Resolution Troubleshooting Avid Pan & Zoom effect 221 AVX plug-ins 150 VTR-Style option (Motion effects) 382 Twist effect (Illusion FX) 454 VTR-Style, render settings option 126 Twist parameters (Illusion FX) 366 Typing W text for rolling and crawling titles 255 Wave effect (Illusion FX) 455 Wave parameters (Illusion FX) 367 U White point UnGroup command (Object menu) 267 adjusting with Color Effect 327 Ungrouping Windows Color dialog box 68 title objects 267 Wipe effects Unlock command (Object menu) 268 Box Wipe 398 Unlocking Edge Wipe 414 title objects 267 Matrix Wipes 472 Update Position While Playing command (Effect Sawtooth Wipes 498 Editor shortcut menu) 120 Shape Wipes 501 Upgrading AVX plug-ins and effects 146 Wire frame Upper Left Diagonal Edge Wipe effect 419 in Pan and Scan effect 202 Upper Right Diagonal Edge Wipe effect 420 Wire-frame preview of effects 71 User settings Wire-frame resize handles 73 controlling Title tool with 243 Workflow creating render settings 124 crawling titles 254 Wrong Format image titles 286
586 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
X Z X Rotation button (Effect Editor) 233 Z Rotation button (Effect Editor) 233 X Spin effect 511 Z Spin effect 513 X Y Z coordinate system 227 Zig-Zag Matrix Wipe effect 477 Xpress 3D effects Zoom Factor parameter 3D Ball 555 Avid Pan & Zoom effect 214 3D Page fold 557 Zoom sliders 3D PIP 557 for keyframe graphs 87 3D Slats 558 keyframe graphs 88 XY Position button (Effect Editor) 233 Zooming in Avid Pan & Zoom 214 Y in Effect Preview monitor 232 keyframe graphs 88 Y Rotation button (Effect Editor) 233 on an effect 71 Y Spin effect 512
587 Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
588 The following disclaimer is required by the Independent JPEG Group: This software is based in part on the work of the Independent JPEG Group.
This Software may contain components licensed under the following conditions:
Copyright (c) 1989 The Regents of the University of California. All rights reserved.
Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph are duplicated in all such forms and that any documentation, advertising materials, and other materials related to such distribution and use acknowledge that the software was developed by the University of California, Berkeley. The name of the University may not be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED ``AS IS'' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE.
Copyright (C) 1989, 1991 by Jef Poskanzer.
Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty.
Copyright 1995, Trinity College Computing Center. Written by David Chappell.
Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty.
Copyright 1996 Daniel Dardailler.
Permission to use, copy, modify, distribute, and sell this software for any purpose is hereby granted without fee, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation, and that the name of Daniel Dardailler not be used in advertising or publicity pertaining to distribution of the software without specific, written prior permission. Daniel Dardailler makes no representations about the suitability of this software for any purpose. It is provided "as is" without express or implied warranty.
Modifications Copyright 1999 Matt Koss, under the same license as above.
Copyright (c) 1991 by AT&T.
Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this entire notice is included in all copies of any software which is or includes a copy or modification of this software and in all copies of the supporting documentation for such software.
THIS SOFTWARE IS BEING PROVIDED "AS IS", WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN PARTICULAR, NEITHER THE AUTHOR NOR AT&T MAKES ANY REPRESENTATION OR WARRANTY OF ANY KIND CONCERNING THE MERCHANTABILITY OF THIS SOFTWARE OR ITS FITNESS FOR ANY PARTICULAR PURPOSE.
This product includes software developed by the University of California, Berkeley and its contributors.
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