Pinnacle Systems Media Composer - 11.0 User Guide

Avid® Media Composer® and

Film Composer

Effects Guide

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Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics.

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Portions of this software are based on work of the Independent JPEG Group.

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Portions of this software licensed from Paradigm Matrix.

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“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages.

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“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.”

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Trademarks

AirPlay, AudioVision, Avid, Avid Xpress, CamCutter, Digidesign, FieldPak, Film Composer, HIIP, Image Independence, Marquee, Media Composer, Media Recorder, NewsCutter, OMF, OMF Interchange, Open Media Framework, Pro Tools, and Softimage are registered trademarks and 888 I/O, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AutoSync, AVIDdrive, AVIDdrive Towers, AvidNet, Avid Production Network, AvidProNet, AvidProNet.com, AVIDstripe, Avid Unity, AVX, DAE, D-Fi, D-fx, Digidesign Audio Engine, DINR, D-Verb, ExpertRender, FilmScribe, HyperSPACE, HyperSPACE HDCAM, Intraframe, iS9, iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media, Matador, Maxim, MCXpress, MEDIArray, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, MediaShare, Meridien, NaturalMatch, NetReview, OMM, Open Media Management, ProEncode, QuietDrive, R&A, Recti-Fi, Review & Approval, rS9, rS18, Sci-Fi, Sound Designer II, SPACE, SPACEShift, Symphony, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver, and VideoSPACE are trademarks of Avid Technology, Inc.

iNEWS and Media Browse are trademarks of iNews, LLC.

Adobe, Acrobat Reader, and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Boris FX is a trademark of Artel Software, Inc. Macintosh and TrueType are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. QuickTime and the QuickTime logo are trademarks used under license from Apple Computer, Inc. The QuickTime logo is registered in the U.S. and other countries. Ultimatte is a registered trademark of Ultimatte Corporation. Windows is a registered trademark of Microsoft Corporation in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners.

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 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. Windhorse — Courtesy of Paul Wagner Productions.

Avid Media Composer and Film Composer Effects Guide • Part 0130-05014-01 Rev. A • April 2002

Chapter 1 Preparing to Work with Effects

Types of Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Overview of Horizontal, Vertical, and Nested Effects. . . . . . . . . . . . . 45

Effects Creation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Real-Time and Downstream Key Effects . . . . . . . . . . . . . . . . . . . . . . . . 47

Downstream Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Playing Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Playback Capabilities for Two-Stream Video . . . . . . . . . . . . . 48

Playback Capabilities for Single-Stream

Uncompressed Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Additional Suggestions for Playback . . . . . . . . . . . . . . . . . . . . 50

Hardware Limitations for Real-Time Effects . . . . . . . . . . . . . 51

Combined Rendering of Real-Time and

Non-Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Displaying Effects On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Interrupting Render On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Working with Effects in 24p or 25p Projects . . . . . . . . . . . . . . . . . . . . . 52

Using the Effect Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Displaying the Effect Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Resizing the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Understanding Effect Icon Color Coding . . . . . . . . . . . . . . . . . . . . 57

Displaying Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Using Third-Party Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

AVX Plug-ins and Memory Usage. . . . . . . . . . . . . . . . . . . . . . . . . . 62

Installing Photoshop-Compatible Plug-in Effects

(Macintosh Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Installing AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Locating the AVX_Plug-Ins Folder (Windows Only). . . . . . . . . . 65

Upgrading AVX Plug-ins and Effects. . . . . . . . . . . . . . . . . . . . . . . 67

Assigning Multiple Tracks in Plug-in Effects . . . . . . . . . . . . . . . . 68

Using AVX Plug-in Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Accessing an AVX Custom Interface. . . . . . . . . . . . . . . . . . . . 69

Custom AVX Controls in the Effect Editor. . . . . . . . . . . . . . . 70

Troubleshooting AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Plug-In Does Not Appear in the Effect Palette. . . . . . . . . . . . 71

Plug-In Does Not Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

The Avid System Cannot Render the Plug-In . . . . . . . . . . . . 71

Blank Effect Icons in the Timeline . . . . . . . . . . . . . . . . . . . . . . 72

Missing Effect Categories in the Effect Palette. . . . . . . . . . . . 72

The Avid System Is Running Out of Free Memory. . . . . . . . 72

Changing Timeline View Settings for Effects . . . . . . . . . . . . . . . . . . . . 73

Adjusting Trim Settings for Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Chapter 2 Basics of Effects Editing

Deconstructing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Applying Effects to a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Applying an Effect to a Single Transition or Segment. . . . . . . . . 78

Applying an Effect to Multiple Transitions . . . . . . . . . . . . . . . . . . 80

Applying an Effect to Multiple Segments . . . . . . . . . . . . . . . . . . . 81

Deleting Effects in a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Deleting a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Deleting Multiple Transition Effects. . . . . . . . . . . . . . . . . . . . . . . . 85

Deleting Multiple Segment Effects . . . . . . . . . . . . . . . . . . . . . . . . . 85

Using the Fade Effect Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Working with Transition Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Types of Transition Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Applying a Dissolve Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Using the Effect Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Using the Transition Parameters. . . . . . . . . . . . . . . . . . . . . . . . 88

Using the Quick Transition Button. . . . . . . . . . . . . . . . . . . . . . 89

Using the Quick Transition Button to Apply

Effects to Multiple Transitions. . . . . . . . . . . . . . . . . . . . . . . . 93

Understanding the Graphical Display in the

Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . 96

Adding Fades (Dissolves) with the Head Fade and

Tail Fade Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Sizing the Effect to Fit the Media . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Trimming a Transition Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Adjusting Transitions in the Timeline. . . . . . . . . . . . . . . . . . . . . . 101

Chapter 3 Customizing Effects

Entering Effect Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Customizing the Effect Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Understanding the Effect Preview Monitor . . . . . . . . . . . . . . . . . 105

Effect Preview Monitor Toolbar Buttons . . . . . . . . . . . . . . . . 106

Using Big Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Mapping User-Selectable Buttons in Effect Mode. . . . . . . . . . . . 108

Understanding the Tracking Information. . . . . . . . . . . . . . . . . . . 109

Displaying the Safe Title and Safe Action Guidelines . . . . . . . . 109

Working with the Effect Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Setting the Effect Grid Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Displaying the Effect Grid in Effect Mode. . . . . . . . . . . . . . . 115

Displaying Position Coordinates . . . . . . . . . . . . . . . . . . . . . . 115

Using Local Grid Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . 116

Obtaining Position Information in a Film Project . . . . . . . . . . . . 116

Position Information for the Paint and AniMatte Effects . . 117

Position Information for the Blowup Effect . . . . . . . . . . . . . 118

Navigating in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Changing Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Using Single-Field Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Using the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Effect Editor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Moving an Enlarged Image in Effect Mode. . . . . . . . . . . . . . . . . 125

Selecting a Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Changing a Parameter with a Slider . . . . . . . . . . . . . . . . . . . . . . . 127

Accessing an Effect’s Additional Parameters . . . . . . . . . . . . . . . 128

Adjusting a Color Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Using the Eyedropper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Using the Windows Color Dialog Box . . . . . . . . . . . . . . . . . 129

Using the Macintosh Color Picker . . . . . . . . . . . . . . . . . . . . . 130

Replacing an Effect with the Effect Editor . . . . . . . . . . . . . . . . . . 132

Understanding Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Using Standard Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Adding a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Selecting a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Moving a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Changing a Standard Keyframe’s Parameters . . . . . . . . . . . . . . 136

Copying and Pasting Standard Keyframe Parameters . . . . . . . 136

Deleting a Standard Keyframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Working with Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Promoting Effects to Advanced Keyframes. . . . . . . . . . . . . . . . . 138

Promotion Paths for Advanced Keyframes . . . . . . . . . . . . . 139

Opening Keyframe Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Effect Editor Controls for Advanced Keyframes . . . . . . . . . . . . 141

Shortcut Menus for the Motion Effect Editor and

Keyframe Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Adding and Deleting Keyframes for Advanced Keyframes. . . 144

Using the Add Keyframe Mode Menu and the Delete

Keyframe Mode Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Moving a Keyframe in a Keyframe Graph. . . . . . . . . . . . . . . . . . 153

Selecting and Deselecting Advanced Keyframes . . . . . . . . . . . . 155

Elastic Keyframes and Fixed Keyframes . . . . . . . . . . . . . . . . . . . 156

Parameter Changes at Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . 158

Options for Controlling Parameter Changes

at Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Adjusting a Parameter Value with the Bézier

Interpolation Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Changing the Adjustment Method for the

Bézier Interpolation Option . . . . . . . . . . . . . . . . . . . . . . . . . 164

Align Keyframes and Slip Keyframes . . . . . . . . . . . . . . . . . . . . . . 165

Aligning Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Slipping Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Extrapolate and Hold. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Adjusting the View in a Keyframe Graph . . . . . . . . . . . . . . . . . . 172

Zoom and Scroll. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Resizing the Keyframe Graph . . . . . . . . . . . . . . . . . . . . . . . . . 174

Moving the Keyframe Graph View Up or Down . . . . . . . . . 175

Resetting the Graph View . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Options for Using Advanced Keyframes . . . . . . . . . . . . . . . . . . . 176

Defining a Motion Path. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Moving the Image Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Using an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Saving an Effect Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Applying an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Chapter 4 Playing and Rendering Effects

Playing an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Basic Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Playing an Effect in a Continuous Loop . . . . . . . . . . . . . . . . . . . . 188

Playing a Preview of an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Rendering Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Creating and Using Render Settings . . . . . . . . . . . . . . . . . . . . . . . 191

Creating a New Render Setting. . . . . . . . . . . . . . . . . . . . . . . . 191

Adjusting Render Settings Parameters . . . . . . . . . . . . . . . . . 191

Activating a Render Setting. . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Rendering a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Rendering Effects at Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Rendering Effects Between IN and OUT Points . . . . . . . . . . . . . 197

Saving a Partially Completed Render . . . . . . . . . . . . . . . . . . . . . . . . . 198

Partially Completed Render Example . . . . . . . . . . . . . . . . . . . . . 198

Interrupting a Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Customizing Render Range Display. . . . . . . . . . . . . . . . . . . . . . . 200

ExpertRender. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Rendering Effects by Using ExpertRender . . . . . . . . . . . . . . . . . 203

Modifying ExpertRender Results . . . . . . . . . . . . . . . . . . . . . . . . . 205

Some Considerations When Using ExpertRender . . . . . . . . . . . 206

Examples of ExpertRender Behavior . . . . . . . . . . . . . . . . . . . . . . 207

Example 1: Nested Effect with Dissolves . . . . . . . . . . . . . . . 207

Example 2: Multilayer Sequence with a 3D Effect. . . . . . . . 209

Example 3: Titles with a Dissolve Effect . . . . . . . . . . . . . . . . 211

Rendering Effects for the Media Station XL . . . . . . . . . . . . . . . . . . . . 213

Modifying the Render to Media Station XL Results. . . . . . . . . . 216

Managing Effect Media Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Understanding Effect Media Files. . . . . . . . . . . . . . . . . . . . . . . . . 218

Revealing Effect Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Deleting Effect Media Files from a Bin. . . . . . . . . . . . . . . . . . . . . 222

Chapter 5 Creating and Customizing Motion Effects

Understanding Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Creating Traditional Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Playing and Rendering Motion Effects. . . . . . . . . . . . . . . . . . . . . 228

Rendering Considerations When Creating

Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Rendering and Rerendering Existing Motion Effects . . . . . 230

Understanding Motion Effect Type Changes. . . . . . . . . . . . 232

About Motion Effects in 24p or 25p Projects . . . . . . . . . . . . . . . . 234

Freeze Frame Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Creating a Rolling Clip That Freezes . . . . . . . . . . . . . . . . . . . . . . 237

Creating a Traditional Variable Speed Effect . . . . . . . . . . . . . . . . 238

Using the Fit to Fill Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Creating a Traditional Strobe Motion Effect. . . . . . . . . . . . . . . . . 242

Working with the Timewarp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Speed and Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Interpolation Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Rendering Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Creating a Timewarp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Promoting Traditional Motion Effects. . . . . . . . . . . . . . . . . . . . . . 249

Opening the Motion Effect Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Understanding the Motion Effect Editor Display. . . . . . . . . . . . . . . . 252

Selecting the Active Control Graph . . . . . . . . . . . . . . . . . . . . . . . . 255

Setting Input Format and Output Format Options . . . . . . . . . . . 256

Selecting a Rendering Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Speed Graph Display and Position Graph Display. . . . . . . . . . . 260

Changing a Graph Display with the Scale Bars . . . . . . . . . . . . . . 261

Motion Effect Editor Fast Menu Options . . . . . . . . . . . . . . . . . . . 263

Toolbar Buttons for the Active Control Graph. . . . . . . . . . . . . . . 264

Using the Timewarp Speed Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Using the Source Anchor Frame . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Using the Timewarp Position Graph . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Setting Up the Motion Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Timewarp Effect Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Speed Graph Example: Creating a Rolling Clip That Freezes . . 272

Speed Graph Variations: Moving Keyframes. . . . . . . . . . . . . . . . 276

Strobe Motion Using the Timewarp Effect . . . . . . . . . . . . . . . . . . 278

Setting Effect Position with the Position Graph. . . . . . . . . . . . . . 279

Position Graph Example: Reverse Motion . . . . . . . . . . . . . . . . . . 280

Using the Region Stabilize Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Stabilizing an Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Making Adjustments to the Region of Interest . . . . . . . . . . . . . . 287

Chapter 6 Creating Layered and Nested Effects

Creating Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Using the Chroma Key Effect and the RGB Keyer . . . . . . . . . . . 290

Creating a Chroma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . 292

Using Post-Key Color Correction. . . . . . . . . . . . . . . . . . . . . . 294

Creating a Luma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Creating a Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Real-Time Moving Mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Using the Color Effect to Prepare a High-Contrast Image . . . . 298

Working with Imported Graphics and Animation . . . . . . . . . . . . . . 299

Editing with Imported Matte Key Clips. . . . . . . . . . . . . . . . . . . . 300

Editing with Imported Master Clips. . . . . . . . . . . . . . . . . . . . . . . 302

Using the Reformat Effects and the Pan and Scan Effect . . . . . . . . . 303

Understanding the Pan and Scan Effect. . . . . . . . . . . . . . . . . . . . 304

Working with the Reformat Effects. . . . . . . . . . . . . . . . . . . . . . . . 305

Outputting the Media with the Pan and Scan Effect . . . . . . . . . 306

Positioning the Pan and Scan Track . . . . . . . . . . . . . . . . . . . . . . . 306

Applying the Pan and Scan Effect. . . . . . . . . . . . . . . . . . . . . . . . . 307

Selecting the Source and Target Aspect Ratios . . . . . . . . . . . . . . 308

Setting Up Your Monitors for the Pan and Scan Effect . . . . . . . 311

Viewing Pan and Scan Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Using the Effect Grid with the Pan and Scan Effect . . . . . . . . . . 314

Setting an Origin in the Pan and Scan Effect . . . . . . . . . . . . . . . . 316

Subdividing the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . . 317

Using the Wire Frame in the Pan and Scan Effect . . . . . . . . . . . 318

Scaling the Wire Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Positioning the Wire Frame . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Adjusting the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . . . . 320

Combining the Pan and Scan Effect with Transition Effects. . . 321

Placing Pan and Scan Effects on the Video Track. . . . . . . . . . . . 322

Nesting Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Stepping Into and Out of Nested Effects . . . . . . . . . . . . . . . . . . . 325

Expanding Nested Effects in the Timeline. . . . . . . . . . . . . . . . . . 325

Creating a Simple Nested Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Changing the Order of Nested Effects. . . . . . . . . . . . . . . . . . . . . . 328

Nesting a Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Submaster Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Applying the Submaster Effect to a Multilayered Sequence . . . 332

Using the Submaster Effect with a Series of Short Clips . . . . . . 334

Collapsing Layers into One Submaster Effect . . . . . . . . . . . . . . . 335

Performing a Video Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Chapter 7 Working with 3D Effects

Understanding 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Turning the 3D Effects Option On and Off. . . . . . . . . . . . . . . . . . 340

Turning the 3D Effects Option On and Off at Startup. . . . . 341

Turning the 3D Effects Option On and Off in the Console. 342

Accessing 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Applying the 3D Warp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Promoting 2D Effects to 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . 344

Using Matte Keys with 3D Effects . . . . . . . . . . . . . . . . . . . . . 345

Understanding the 3D Effects Interface . . . . . . . . . . . . . . . . . . . . . . . . 347

Moving in 3D Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

The 3D Coordinate System . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Rotation Axes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Accessing 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . 350

Manipulating 3D Effects Parameters . . . . . . . . . . . . . . . . . . . 350

Resetting Default Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Using Effect Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Zooming In or Out on the Effect Preview Monitor . . . . . . . . . . . 352

Manipulating 3D Effects Directly. . . . . . . . . . . . . . . . . . . . . . . . . . 353

Manipulating 3D Effect Handles. . . . . . . . . . . . . . . . . . . . . . . 353

Using the Motion Path Editor . . . . . . . . . . . . . . . . . . . . . . . . . 354

Creating Custom 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Some Tips for Creating 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . 355

Creating a Page Curl Transition . . . . . . . . . . . . . . . . . . . . . . . . . . 357

A Simple Variation on the Page Turn Transition . . . . . . . . 359

Creating a Splash Dissolve. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Turning a Splash into a Flat Image . . . . . . . . . . . . . . . . . . . . . . . . 362

Creating a Cropped Foreground Effect . . . . . . . . . . . . . . . . . . . . 365

Using the Spline Parameters with 3D Effects . . . . . . . . . . . . . . . 368

Corner Pinning an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Creating a Stamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Using Axis for a Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Applying a Chroma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Using Avid Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Chapter 8 Creating Titles and Graphic Objects

Workflow for Creating and Editing Titles . . . . . . . . . . . . . . . . . . . . . 380

Downstream Keying of Titles and Graphics. . . . . . . . . . . . . . . . . . . . 381

Opening the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Understanding the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Understanding the Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Using the Selection Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Setting Up the Drawing Environment. . . . . . . . . . . . . . . . . . . . . . . . . 386

Installing Fonts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Previewing Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Using Title and Action Guidelines . . . . . . . . . . . . . . . . . . . . . . . . 388

Using Safe Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Selecting a Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Using a Video Background . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Updating the Video Background . . . . . . . . . . . . . . . . . . . . . . 390

Creating a Color Background . . . . . . . . . . . . . . . . . . . . . . . . . 390

Displaying a Grid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Snapping to a Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Bringing the Title Tool to the Foreground . . . . . . . . . . . . . . . . . . 392

Using the 16:9 Display Format for Titles . . . . . . . . . . . . . . . . . . . 392

Working with Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Creating Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Copying and Pasting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Resizing Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Repositioning Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Editing a Text String. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Formatting the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Setting the Default Text Attributes. . . . . . . . . . . . . . . . . . . . . 398

Selecting a Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Changing the Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Making Text Bold or Italic . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Justifying the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Kerning the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Adjusting Leading. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Working with the Drawing Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Creating Graphic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Drawing a Square or Rectangle . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Drawing a Circle or Oval. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Drawing a Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Selecting Line Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Rounding Corners. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Selecting a Line or Border Width . . . . . . . . . . . . . . . . . . . . . . 407

Adding Arrowheads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Changing Arrowhead Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Creating Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Page Count Limits for Rolling and Crawling Titles . . . . . . . . . . 411

Using Auto Size Mode for Rolling and Crawling Titles. . . . . . . 411

Setting Up Text Formatting for Rolling and Crawling Titles. . . 412

Workflow Options for Creating Crawling Titles. . . . . . . . . . . . . 412

Typing the Text in a Rolling or Crawling Title . . . . . . . . . . . . . . 413

Resizing the Width of a Rolling or Crawling Title . . . . . . . . . . . 414

Scrolling Through a Rolling or Crawling Title. . . . . . . . . . . . . . . 414

Going to a Page in a Rolling or Crawling Title . . . . . . . . . . . . . . 415

Adding Pages to a Rolling or Crawling Title. . . . . . . . . . . . . . . . 416

Copying or Moving Objects to Pages in a

Rolling or Crawling Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Inserting Blank Pages in a Rolling or Crawling Title . . . . . . . . . 417

Deleting Pages in a Rolling or Crawling Title. . . . . . . . . . . . . . . 417

Formatting Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . 418

Selecting Colors and Setting Transparency. . . . . . . . . . . . . . . . . . . . . 418

Adjusting the Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Blending Two Colors in an Object. . . . . . . . . . . . . . . . . . . . . . . . . 421

Adjusting the Transparency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Blending Transparency of Fills and Borders . . . . . . . . . . . . . . . . 423

Working with Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Applying Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Adjusting Shadow Color and Transparency . . . . . . . . . . . . . . . . 426

Adjusting Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Setting Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Adjusting Shadow Softness On-the-Fly . . . . . . . . . . . . . . . . 427

Viewing Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Creating a Glow Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Manipulating Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Basic Object Manipulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Layering Text and Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Grouping and Ungrouping Objects . . . . . . . . . . . . . . . . . . . . . . . 431

Locking and Unlocking Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Aligning Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Distributing Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Saving Titles and Title Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Matching Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Saving a Title and Exiting the Title Tool . . . . . . . . . . . . . . . . . . . 436

Saving Multiple Titles in a Session . . . . . . . . . . . . . . . . . . . . . . . . 437

Using a Keyboard Shortcut to Save a Title. . . . . . . . . . . . . . . . . . 438

Using the Fast Save Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Saving a Title with Fast Save . . . . . . . . . . . . . . . . . . . . . . . . . 439

Viewing Fast-Saved Titles in a Bin . . . . . . . . . . . . . . . . . . . . . 440

Revising a Title in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Creating and Using Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Creating Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Using Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Working with Titles on Systems with 24p or 25p Support . . . . . . . . 443

Creating Titles on Systems with 24p or 25p Support . . . . . . . . . 444

Saving Titles on Systems with 24p or 25p Support . . . . . . . . . . . 445

Saving and Recalling Title Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Saving a Title Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Title Style Sheet Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Recalling a Title Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Confirming Function Key Mapping of Title Styles . . . . . . . . . . . 450

Applying Title Styles to Text Objects . . . . . . . . . . . . . . . . . . . . . . 451

Managing Title Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Exporting a Title as a Graphics File . . . . . . . . . . . . . . . . . . . . . . . . . . . 452

Chapter 9 Editing with Titles

Workflow for Editing with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Downstream Keying of Titles and Graphics . . . . . . . . . . . . . . . . 454

Restrictions of Downstream Key Titles . . . . . . . . . . . . . . . . . . . . . 455

Converting Downstream Key Titles . . . . . . . . . . . . . . . . . . . . . . . 456

Restrictions of Non-Downstream Key Titles . . . . . . . . . . . . . . . . 458

Playback Capabilities of Title Effects. . . . . . . . . . . . . . . . . . . . . . . 459

Playback Capabilities for Titles with Two Video Streams . 459

Playback Capabilities for Titles with One Video Stream . . 460

Title Effect Clips in the Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Displaying Title Frames in the Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Editing a Title into a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Setting Marks in a Rolling or Crawling Title . . . . . . . . . . . . . . . . 463

Splicing or Overwriting a Title into a Sequence . . . . . . . . . . . . . 463

Dragging a Marked Title into a Sequence. . . . . . . . . . . . . . . . . . . 466

Dragging an Unmarked Title into a Sequence . . . . . . . . . . . . . . 467

Trimming the Duration of Rolling and Crawling Titles . . . . . . 468

Removing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Replacing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Fading a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Adjusting Title Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Revising a Title in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Working with Existing Multiformat Titles . . . . . . . . . . . . . . . . . . . . . 474

Replacing Fill Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Rendering Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Re-creating Title Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Re-creating Title Media from the Timeline . . . . . . . . . . . . . . . . . 477

Creating Media for Unrendered Titles in a Bin. . . . . . . . . . . . . . 478

Re-creating Title Media on Systems with 24p or 25p Support . 479

Promoting a 2D Title to 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480

Troubleshooting Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Downstream Key Error Messages. . . . . . . . . . . . . . . . . . . . . . . . . 481

Wrong Title Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

Chapter 10 Intraframe Editing

Understanding the Intraframe Effects . . . . . . . . . . . . . . . . . . . . . . . . . 484

Rendering Intraframe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Rendering Paint Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Rendering AniMatte Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Getting Started with the Paint and AniMatte Effects . . . . . . . . . . . . 487

Applying the Paint or AniMatte Effect to a Sequence . . . . . . . . 488

Using the Effect Editor with the Paint Effect. . . . . . . . . . . . . . . . 489

Using the Effect Editor with the AniMatte Effect . . . . . . . . . . . . 492

Editing with Single-Field Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493

Using Effect Templates with the Intraframe Effects. . . . . . . . . . 493

Using the Intraframe Drawing Tools. . . . . . . . . . . . . . . . . . . . . . . . . . 494

Understanding Intraframe Modes . . . . . . . . . . . . . . . . . . . . . . . . 494

Using an Optional Pen Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

Using the Brush Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

Choosing a Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Shortcut for Selecting a Color with the Brush Tool . . . . . . . 496

Painting with the Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Creating a Custom Brush Head from a Template . . . . . . . . 497

Saving a Brush Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499

Using Path to Create a Signature Effect . . . . . . . . . . . . . . . . . 500

Using the Selection Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

Creating Rectangular Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

Creating Oval Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Drawing Polygons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504

Creating Polygons with Straight-Line Segments . . . . . . . . . 505

Creating Polygons with Curved Segments . . . . . . . . . . . . . . 507

Creating a Straight Line Following a Curve . . . . . . . . . . . . . 509

Creating Curved Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

Changing the Parameters of a Painted Object . . . . . . . . . . . . . . . 511

Working with Vector-Based Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . 513

The Elements of Vector-Based Objects . . . . . . . . . . . . . . . . . . . . . 513

Getting Started with Bézier Curves . . . . . . . . . . . . . . . . . . . . . . . . 515

Transforming a Rectangle into a Circle . . . . . . . . . . . . . . . . . 515

Experimenting with Direction Handles. . . . . . . . . . . . . . . . . 517

Creating a Corner Join . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Modifying Lines and Curves Summarized. . . . . . . . . . . . . . . . . . 521

Painting a New Object with Bézier Curves . . . . . . . . . . . . . . . . . 522

Adding a Control Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523

Removing a Control Point. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524

Moving to Adjacent Control Points . . . . . . . . . . . . . . . . . . . . . . . . 524

Moving Control Points Manually . . . . . . . . . . . . . . . . . . . . . . . . . 525

Moving Control Points and Objects in Small Increments. . . . . . 526

Previsualization Marker Tool for Film Projects . . . . . . . . . . . . . . . . . 527

Applying a Previsualization Marker Effect . . . . . . . . . . . . . . . . . 528

Creating a Cut List with Previsualization

Marker Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

Manipulating Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Moving Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Reshaping Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Reshaping Objects Created with the Curve Tool. . . . . . . . . 531

Rotating Intraframe Objects Along the Z Axis . . . . . . . . . . . . . . 532

Scaling Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Changing Intraframe Object Parameters over Time. . . . . . . . . . 535

Layering, Grouping, and Locking Intraframe Objects . . . . . . . . . . . 535

Layering with the Paint Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Layering with the AniMatte Effect . . . . . . . . . . . . . . . . . . . . . . . . 536

Locating Layered Objects with the Outline/Path Button . . . . . 536

Bringing Objects and Mattes Forward by One Layer . . . . . 537

Sending Objects and Mattes Backward by One Layer . . . . 537

Bringing Objects and Mattes to the Front . . . . . . . . . . . . . . . 538

Sending Objects or Mattes to the Back . . . . . . . . . . . . . . . . . 538

Grouping and Ungrouping Intraframe Objects . . . . . . . . . . . . . 539

Locking and Unlocking Intraframe Objects. . . . . . . . . . . . . . . . . 540

Exporting a Matte PICT File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540

Scratch Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

Understanding Scratch Removal Options . . . . . . . . . . . . . . . . . . 543

Processing by Frame or Field When Using Scratch Removal . . 544

Understanding Frame Processing . . . . . . . . . . . . . . . . . . . . . 545

Understanding Field Processing . . . . . . . . . . . . . . . . . . . . . . 546

Removing a Flaw Within a Frame. . . . . . . . . . . . . . . . . . . . . . . . . 547

Removing a Flaw by Using Nearby Frames . . . . . . . . . . . . . . . . 547

Selecting Material to Use When Correcting Flaws . . . . . . . . . . . 548

Isolating a Flaw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548

Isolating a Flaw by Using the Scratch Removal Button . . . 549

Isolating a Flaw by Using Add Edits. . . . . . . . . . . . . . . . . . . 550

Detecting Video Dropout in 24p or 25p Material . . . . . . . . 551

Removing a Flaw by Using Intraframe Tools . . . . . . . . . . . . . . . 552

Drawing a Shape over a Flaw. . . . . . . . . . . . . . . . . . . . . . . . . 552

Dragging Replacement Material over a Flaw. . . . . . . . . . . . 555

Scratch Removal Using IN and OUT Points. . . . . . . . . . . . . . . . . 556

Using the Scratch Removal Positioning Parameters . . . . . . . . . . 558

Examples of Scratch Removal Parameter Settings . . . . . . . . . . . 559

Example 1: Replacement Material in the Same Frame. . . . . 560

Example 2: Replacement Material from a

Two-Frame Relative Offset. . . . . . . . . . . . . . . . . . . . . . . . . . 560

Example 3: Replacement Material from a

Single Clean Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Common Intraframe Editing Techniques . . . . . . . . . . . . . . . . . . . . . . 562

Colorizing with Magic Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

Applying the Paint Effect to Regions of a Clip . . . . . . . . . . . . . . 568

Creating Animated Matte Key Effects. . . . . . . . . . . . . . . . . . . . . . 571

Applying the Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . . . 572

Animating the AniMatte Effect . . . . . . . . . . . . . . . . . . . . . . . . 575

Creating a Single-Layer Organic Matte Wipe . . . . . . . . . . . . . . . 576

Chapter 11 2D Effects Reference

2D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580

Global and Keyframeable Parameters. . . . . . . . . . . . . . . . . . . . . . 581

Acceleration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582

Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583

AniMatte and Paint Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Feathering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596

Magic Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598

Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600

Aspect Ratios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603

Blowup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604

Border. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

Color Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Luma Adjust. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Luma Range. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608

Luma Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610

Chroma Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611

Color Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612

Color Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614

Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

Downstream Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616

Foreground . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617

Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619

Key Control Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621

Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621

Secondary Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622

Spill Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623

Key Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624

Chroma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624

Matte Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625

Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626

Matrix Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627

Motion Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628

Freeze Frame Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629

Variable Speed and Strobe Motion Parameters . . . . . . . . . . 630

Paint Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634

Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635

Position H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635

Position V. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636

Scroll Position H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637

Scroll Position V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637

Profile. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638

Adjusting Foreground Level in the Profile Window . . . . . 639

Region Stabilize Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639

Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639

Region of Interest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640

Auto Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641

Progressive Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641

Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642

Scratch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643

Transition Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646

Transition Effect Alignment . . . . . . . . . . . . . . . . . . . . . . . . . . 646

Transition Effect Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647

Plug-in Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647

2D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648

Blend Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649

Blend: Dip to Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650

Blend: Dissolve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651

Blend: Fade from Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652

Blend: Fade to Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653

Blend: Picture-in-Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654

Blend: Superimpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655

Box Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656

Box Wipe: Bottom Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657

Box Wipe: Bottom Left to Top Right. . . . . . . . . . . . . . . . . . . . 658

Box Wipe: Bottom Right to Top Left. . . . . . . . . . . . . . . . . . . . 659

Box Wipe: Left Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660

Box Wipe: Right Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661

Box Wipe: Top Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662

Box Wipe: Top Left to Bottom Right. . . . . . . . . . . . . . . . . . . . 663

Box Wipe: Top Right to Bottom Left. . . . . . . . . . . . . . . . . . . . 664

Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665

Conceal: Bottom Left to Top Right . . . . . . . . . . . . . . . . . . . . . 666

Conceal: Bottom Right to Top Left . . . . . . . . . . . . . . . . . . . . . 667

Conceal: Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668

Conceal: Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669

Conceal: Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670

Conceal: Top Left to Bottom Right . . . . . . . . . . . . . . . . . . . . . 671

Conceal: Top Right to Bottom Left . . . . . . . . . . . . . . . . . . . . . 672

Conceal: Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673

Edge Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674

Edge Wipe: Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675

Edge Wipe: Horizontal Open . . . . . . . . . . . . . . . . . . . . . . . . . 676

Edge Wipe: Lower Left Diagonal. . . . . . . . . . . . . . . . . . . . . . 677

Edge Wipe: Lower Right Diagonal . . . . . . . . . . . . . . . . . . . . 678

Edge Wipe: Upper Left Diagonal. . . . . . . . . . . . . . . . . . . . . . 679

Edge Wipe: Upper Right Diagonal . . . . . . . . . . . . . . . . . . . . 680

Edge Wipe: Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681

Edge Wipe: Vertical Open. . . . . . . . . . . . . . . . . . . . . . . . . . . . 682

Film Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683

Film: 1.66 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684

Film: 1.85 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685

Film: 16:9 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686

Film: Anamorphic Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686

Film: Blowup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687

Film: Film Dissolve. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688

Film: Film Fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689

Film: Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690

Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691

Image: Color Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692

Image: Flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693

Image: Flip-Flop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

Image: Flop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695

Image: Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696

Image: Paint Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697

Image: Region Stabilize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698

Image: Resize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699

Image: Scratch Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700

Image: Submaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700

Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701

Key: AniMatte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701

Key: Chroma Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Key: Luma Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703

Key: Matte Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704

Key: RGB Keyer (AVX Plug-in Effect) . . . . . . . . . . . . . . . . . . 705

L-Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

L-Conceal: Bottom Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707

L-Conceal: Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708

L-Conceal: Top Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

L-Conceal: Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710

Matrix Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711

Matrix Wipe: Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712

Matrix Wipe: One-Way Row . . . . . . . . . . . . . . . . . . . . . . . . . . 713

Matrix Wipe: Speckle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714

Matrix Wipe: Spiral. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715

Matrix Wipe: Zig-Zag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716

Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717

Motion Effect: 0% To 100% . . . . . . . . . . . . . . . . . . . . . . . . . . . 718

Motion Effect: 100% To 0% . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Motion Effect: Freeze Frame . . . . . . . . . . . . . . . . . . . . . . . . . . 720

Motion Effect: Pulldown Insertion . . . . . . . . . . . . . . . . . . . . . 721

Motion Effect: Pulldown Removal . . . . . . . . . . . . . . . . . . . . . 722

Motion Effect: Reverse Motion . . . . . . . . . . . . . . . . . . . . . . . . 723

Motion Effect: Speed Boost . . . . . . . . . . . . . . . . . . . . . . . . . . . 724

Motion Effect: Speed Bump . . . . . . . . . . . . . . . . . . . . . . . . . . . 725

Motion Effect: Timewarp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726

Motion Effect: Variable Speed and Strobe Motion . . . . . . . . 726

Peel Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727

Peel: Bottom Left Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728

Peel: Bottom Right Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729

Peel: Bottom to Top. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730

Peel: Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731

Peel: Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732

Peel: Top Left Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733

Peel: Top Right Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734

Peel: Top to Bottom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735

Push Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736

Push: Bottom Left to Top Right . . . . . . . . . . . . . . . . . . . . . . . 737

Push: Bottom Right to Top Left . . . . . . . . . . . . . . . . . . . . . . . 738

Push: Bottom to Top. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739

Push: Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740

Push: Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741

Push: Top Left to Bottom Right . . . . . . . . . . . . . . . . . . . . . . . 742

Push: Top Right to Bottom Left . . . . . . . . . . . . . . . . . . . . . . . 743

Push: Top to Bottom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744

Reformat Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745

Reformat: 14:9 Letterbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745

Reformat: 16:9 Letterbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746

Reformat: 4:3 Sidebar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746

Reformat: Pan and Scan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747

Sawtooth Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748

Sawtooth Wipe: Horizontal Sawtooth. . . . . . . . . . . . . . . . . . 749

Sawtooth Wipe: Horizontal Open Sawtooth . . . . . . . . . . . . 750

Sawtooth Wipe: Vertical Open Sawtooth . . . . . . . . . . . . . . . 751

Sawtooth Wipe: Vertical Sawtooth . . . . . . . . . . . . . . . . . . . . 752

Shape Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753

Shape Wipe: 4 Corners. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754

Shape Wipe: Center Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755

Shape Wipe: Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756

Shape Wipe: Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757

Shape Wipe: Diamond . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 758

Shape Wipe: Ellipse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 759

Shape Wipe: Horizontal Bands. . . . . . . . . . . . . . . . . . . . . . . . 760

Shape Wipe: Horizontal Blinds . . . . . . . . . . . . . . . . . . . . . . . 761

Shape Wipe: Vertical Blinds . . . . . . . . . . . . . . . . . . . . . . . . . . 762

Spin Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763

Spin: X Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764

Spin: Y Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765

Spin: Z Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766

Squeeze Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767

Squeeze: Bottom Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768

Squeeze: Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 769

Squeeze: Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 770

Squeeze: Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771

Squeeze: Centered Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 772

Squeeze: Horizontal Centered. . . . . . . . . . . . . . . . . . . . . . . . . 773

Squeeze: Left Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 774

Squeeze: Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 775

Squeeze: Right Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 776

Squeeze: Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 777

Squeeze: Top Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778

Squeeze: Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 779

Squeeze: Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780

Squeeze: Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781

Squeeze: Vertical Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . 782

Title Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 783

Title Effects: Crawling Title . . . . . . . . . . . . . . . . . . . . . . . . . . . 784

Title Effects: Rolling Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785

Title Effects: Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 786

Comparison of Similar Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787

Chapter 12 3D Effects Reference

3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 790

Global Versus Keyframeable Parameters . . . . . . . . . . . . . . . . . . . 791

The Hierarchy of Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 792

Acceleration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794

Axis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795

Background Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 796

Border. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797

Corner Pin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 799

Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800

Defocus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 801

Erode/Expand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 803

Foreground . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804

Full Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805

Luma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806

Chroma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808

Using the Chroma Key Sliders . . . . . . . . . . . . . . . . . . . . . . . . 810

Highlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811

Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813

Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814

Profile. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 815

Adjusting Foreground Level in the Profile Window . . . . . 815

Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 816

Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817

Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818

Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819

Skew. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819

Spill Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 820

Spline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822

Tension (Tens.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823

Continuity (Cont.). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 824

Difference Between Tension and Continuity . . . . . . . . . . . . 824

Bias . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 825

Adding a New Point to a Spline Curve. . . . . . . . . . . . . . . . . 825

Stamp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 826

Target. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828

Trail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 829

3D Shape Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830

Page Turns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831

Page Turn Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831

Using the Page Turn Fast Menus . . . . . . . . . . . . . . . . . . . . . . 833

Splashes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 840

Splash Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 840

Limitations to Splash Effects. . . . . . . . . . . . . . . . . . . . . . . . . . 841

Ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842

Ball Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842

Limitations to Ball Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843

Offset Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844

Offset Shape Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844

Slats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846

Arrow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846

One Burst . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847

Center Burst . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847

Sine Wave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 848

Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 848

Bumps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 849

Scaling Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 850

Scaling Shape Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 850

Hour Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 851

Bow Tie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 852

Octagon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 852

Hexagon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 853

Rain Drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 853

Hour Glass 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854

Hex Medium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854

Hex Wide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855

Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855

Ellipse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 856

Goblet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 856

Avid Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 857

Xpress 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 858

Index

Tables

Table 3-1 Effect Preview Monitor Toolbar Buttons . . . . . . . . . . .106

Table 3-2 Grid Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . .112

Table 3-3 Effect Editor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . .123

Table 3-4 Promotion Paths for Advanced Keyframes . . . . . . . . .139

Table 3-5 Effect Editor Toolbar for Advanced Keyframes . . . . .142

Table 3-6 Advanced Keyframe Shortcut Menu Options. . . . . . .143

Table 3-7 Effect Editor Options . . . . . . . . . . . . . . . . . . . . . . . . . . . .177

Table 4-1 Render Setting Options. . . . . . . . . . . . . . . . . . . . . . . . . .192

Table 5-1 Playback Capabilities of Motion Effects . . . . . . . . . . . .229

Table 5-2 Motion Effect Editor Options. . . . . . . . . . . . . . . . . . . . .253

Table 5-3 Motion Effect Editor Toolbar . . . . . . . . . . . . . . . . . . . . .255

Table 5-4 Timewarp Effect Input Format and

Output Format Options. . . . . . . . . . . . . . . . . . . . . . . .256

Table 5-5 Timewarp Effect Rendering Options . . . . . . . . . . . . . .258

Table 5-6 Active Control Graph Toolbar Buttons . . . . . . . . . . . .264

Table 5-7 Speed Graph Components . . . . . . . . . . . . . . . . . . . . . . .266

Table 5-8 Position Graph Components . . . . . . . . . . . . . . . . . . . . .269

Table 8-1 Toolbar Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .383

Table 8-2 Title Style Sheet Options. . . . . . . . . . . . . . . . . . . . . . . . .449

Table 9-1 Title Effect Playback Capabilities . . . . . . . . . . . . . . . . .459

Table 10-1 Effect Editor Components for the

Paint Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .490

Table 10-2 Methods of Modifying Lines and Curves . . . . . . . . . .521

Table 11-1 Actions Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .583

Table 11-2 Mode Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .585

Table 11-3 AniMatte Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .588

Table 11-4 Paint Effect Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589

Table 11-5 Feathering Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 597

Table 11-6 Magic Mask Parameters . . . . . . . . . . . . . . . . . . . . . . . . 599

Table 11-7 Brush Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

Table 11-8 Aspect Ratio Parameters . . . . . . . . . . . . . . . . . . . . . . . . 602

Table 11-9 Background Parameters. . . . . . . . . . . . . . . . . . . . . . . . . 603

Table 11-10 Blowup Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604

Table 11-11 Border Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606

Table 11-12 Luma Adjust Parameters. . . . . . . . . . . . . . . . . . . . . . . . 607

Table 11-13 Luma Range Parameters . . . . . . . . . . . . . . . . . . . . . . . . 609

Table 11-14 Luma Clip Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 610

Table 11-15 Chroma Adjust Parameters. . . . . . . . . . . . . . . . . . . . . . 611

Table 11-16 Color Style Parameters . . . . . . . . . . . . . . . . . . . . . . . . . 612

Table 11-17 Color Gain Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . 614

Table 11-18 Crop Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

Table 11-19 Foreground Parameters. . . . . . . . . . . . . . . . . . . . . . . . . 617

Table 11-20 Grid Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619

Table 11-21 Key Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621

Table 11-22 Key Color Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 624

Table 11-23 Chroma Key Parameters . . . . . . . . . . . . . . . . . . . . . . . . 625

Table 11-24 Matte Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626

Table 11-25 Color Correction Parameters . . . . . . . . . . . . . . . . . . . . 626

Table 11-26 Freeze Frame Menu Commands . . . . . . . . . . . . . . . . . 629

Table 11-27 Variable Speed and Strobe Motion Options . . . . . . . . 632

Table 11-28 Position Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635

Table 11-29 Model Parameter Options. . . . . . . . . . . . . . . . . . . . . . . 640

Table 11-30 Region of Interest Parameter Controls . . . . . . . . . . . . .640

Table 11-31 Scaling Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .642

Table 11-32 Scratch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .643

Table 12-1 Axis Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .795

Table 12-2 Background Color Parameters. . . . . . . . . . . . . . . . . . . .796

Table 12-3 Border Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .798

Table 12-4 Corner Pin Parameters . . . . . . . . . . . . . . . . . . . . . . . . . .799

Table 12-5 Crop Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .800

Table 12-6 Defocus Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .802

Table 12-7 Erode/Expand Parameters. . . . . . . . . . . . . . . . . . . . . . .803

Table 12-8 Foreground: Full Key Parameters . . . . . . . . . . . . . . . . .805

Table 12-9 Foreground: Luma Key Parameters . . . . . . . . . . . . . . .807

Table 12-10 Foreground: Chroma Key Parameters . . . . . . . . . . . . .809

Table 12-11 Highlight Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . .812

Table 12-12 Perspective Parameters. . . . . . . . . . . . . . . . . . . . . . . . . .813

Table 12-13 Position Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . .814

Table 12-14 Rotation Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . .816

Table 12-15 Scaling Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .817

Table 12-16 Shadow Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . .818

Table 12-17 Skew Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .819

Table 12-18 Spill Suppression Parameters . . . . . . . . . . . . . . . . . . . .820

Table 12-19 Spline Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .823

Table 12-20 Stamp Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .826

Table 12-21 Target Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .828

Table 12-22 Trail Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .829

Table 12-23 Page Turn Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . .832

Table 12-24 Page Turn Shapes from the

Shape Parameter Fast Menu . . . . . . . . . . . . . . . . . . . 833

Table 12-25 Page Turn Splitting Options . . . . . . . . . . . . . . . . . . . . . 835

Table 12-26 Page Turn Tuck and Flap Options . . . . . . . . . . . . . . . . 838

Table 12-27 Page Turn Highlight Options . . . . . . . . . . . . . . . . . . . . 839

Table 12-28 Splash Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . 840

Table 12-29 Ball Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 842

Table 12-30 Offset Shape Parameters . . . . . . . . . . . . . . . . . . . . . . . . 845

Table 12-31 Scaling Shape Parameters . . . . . . . . . . . . . . . . . . . . . . . 850

Using This Guide

This guide is your introduction to the wealth of effects and design options available for use in your projects. Along with the standard editing features included with this latest release of Avid Media Composer® and Film Composer®, you have at your fingertips all the sophisticated effects capabilities of a high-end postproduction suite, combined with the versatility of a digital nonlinear system.

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 for stunning effects formerly available only on high-end graphics workstations.

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.

Who Should Use This Guide

This guide is intended for all Avid Media Composer and Film Composer users, from beginning to advanced.

About This Guide

The information provided in this guide builds on editing procedures described in the Avid Media Composer and Film Composer Getting Started Guide and the Avid Media Composer and Film Composer Editing Guide, while adding a complete explanation of all the tools and techniques required to create, apply, and adjust various effects and graphics, including useful tips, shortcuts, and custom options.

The Contents lists all topics included in the book. They cover the following general areas:

• Effects editing: The first six chapters of this book describe various beginning and advanced techniques for incorporating literally hundreds of digital video effects (DVEs), third-party effects, keys, and layering options.

• Working with 3D effects: Chapter 7 provides examples of effects you can re-create to become familiar with the 3D parameters and shapes.

Using This Guide

• Creating and editing titles and graphic objects: Chapter 8 and

Chapter 9 cover real-time titling and use of the tools to create and

control the attributes of on-screen text, backgrounds, lines, boxes, ovals, and other graphics objects. You can create multiple titles without exiting the Title tool and apply shadows, color, transparency, layers, and alignment to both objects and text.

• Intraframe creating Paint and AniMatte

™

editing: Chapter 10 covers tools and techniques for

™

effects on individual or multiple frames of footage, including methods for removing scratches and other flaws.

• 2D effects reference: Chapter 11 provides quick access to specific information about the 2D effects and parameters available on your Avid editing system.

• 3D effects reference: Chapter 12 provides quick access to specific information about the 3D effects and parameters available on systems equipped with the 3D Effects option.

Symbols and Conventions

Unless noted otherwise, the material in this document applies to the Windows applies to a specific operating system, it is marked as follows:

• (Windows) or (Windows only) means the information applies to

• (Macintosh) or (Macintosh only) means the information applies to

Most screen shots in this document were captured on a Windows 2000 system, but the information applies to both Windows 2000 and Macintosh systems. Where differences exist, both Windows 2000 and Macintosh screen shots are shown.

This guide uses the following special symbols and conventions:

1. Numbered lists, when the order of the items is important.

• Bulleted lists, when the order of the items is unimportant.

2000 and Macintosh® operating systems. When the text

the Windows 2000 operating system.

the Macintosh operating system.

a. Alphabetical lists, when the order of secondary items is

important.

- Indented dashed lists, when the order of secondary items is unimportant.

t One arrow indicates a single-step procedure. Multiple arrows in a

list indicate that you perform one of the actions listed.

The k symbol refers to the Apple or Command key. Press and hold the Command key and another key to perform a keyboard shortcut.

In this document, Avid drive refers to the Macintosh system’s internal hard drive. Apple Computer, Inc. names the internal hard drive Macintosh HD. Depending on your system’s setup, the internal hard drive might have a different name.

Symbols and Conventions

Courier Bold font identifies text that you type.

Look here in the margin for tips.

In the margin, you will find tips that help you perform tasks more easily and efficiently.

A note provides important related information, reminders, recommendations, and strong suggestions.

A caution means that a specific action you take could cause harm to your computer or cause you to lose data.

The following terms are used for documents in the Avid Media Composer and Film Composer documentation set:

• “Editing guide” refers to the Avid Media Composer and

Film Composer Editing Guide.

• “Input and output guide” refers to the Avid Media Composer and

Film Composer Input and Output Guide.

• “Setup guide” refers to the Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System or to the Avid Composer Products Setup Guide for the Macintosh Operating System.

• “Online publications CD-ROM” refers to the Avid Media Composer Products Online Publications CD-ROM.

Using This Guide

• “Quick reference card” refers to the Avid Media Composer and Film Composer Quick Reference.

If You Need Help

If you are having trouble using your Avid editing system, you should:

1. Retry the action, carefully following the instructions given for that task in this guide.

2. Check the documentation that came with your hardware for maintenance or hardware-related issues.

3. Check the release notes supplied with your Avid application for information on accessing the Avid Web site and the Avid Knowledge Center.

4. For support services, call Avid Customer Support:

- Broadcast products — call 800-NEWS-DNG (639-7364).

- Postproduction products — call 800-800-AVID (2843).

Related Information

The following documents provide more information about your Avid editing system:

• Avid Media Composer and Film Composer Release 11.0 Release Notes for the Windows 2000 Operating System

• Avid Media Composer and Film Composer Release 11.0 Release Notes for the Macintosh Operating System

• Avid Symphony and Composer Products Site Preparation Guide for the Windows 2000 Professional Operating System

• Avid Composer Products Site Preparation Guide for the Macintosh Operating System

If You Need Help

• Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System

• Avid Composer Products Setup Guide for the Macintosh Operating System

• Avid Media Composer and Film Composer Getting Started Guide for Video Editing

• Avid Film Composer and Universal Offline Editing Getting Started Guide

• Avid Media Composer and Film Composer Quick Reference for the Windows 2000 Operating System

• Avid Media Composer and Film Composer Quick Reference for the Macintosh Operating System

• Avid Media Composer and Film Composer Editing Guide

• Avid Media Composer and Film Composer Input and Output Guide

• Avid Products Collaboration Guide

Using This Guide

This guide provides step-by-step instructions for transferring project files, audio files, and graphics and effects files between various Avid products.

The most recent update of the Avid Products Collaboration Guide is provided online. Check the release notes supplied with your Avid application for information on accessing online documentation.

• Avid Media Composer and Film Composer Online Publications

This online collection provides electronic versions of most documents listed in this section, as well as documents for related Avid applications. You can view these documents with Adobe Acrobat® Reader®, which you can install from the CD-ROM.

• Avid Media Composer and Film Composer Help

The Help system provides all the information included in the

Avid Media Composer and Film Composer Editing Guide, the Avid Media Composer and Film Composer Input and Output Guide, and the Avid Media Composer and Film Composer Effects Guide supplied with

your system. The Help operates in a Web browser. To open the Help, choose Media Composer Help or Film Composer Help from the Help menu in the Media Composer or Film Composer application. For information on using Help, click the Using Help button in the Help system.

If You Have Documentation Comments

Avid Technology continuously seeks to improve its documentation. We value your comments about this guide, the Help, the Online Publications CD-ROM, and other Avid-supplied documentation.

Simply e-mail your documentation comments to Avid Technology at

TechPubs@avid.com

Please include the title of the document, its part number, revision, and the specific section you are commenting on in all correspondence.

How to Order Documentation

To order additional copies of this documentation from within the United States, call Avid Telesales at 800-949-AVID (2843). If you are placing an order from outside the United States, contact your local Avid representative.

If You Have Documentation Comments

Using This Guide

CHAPTER 1

Preparing to Work with Effects

Your Avid editing system offers many effects that you can apply to your sequences. This chapter describes some of the concepts with which you must become familiar before you begin creating and editing effects into sequences.

• Types of Eff e c ts

• Overview of Horizontal, Vertical, and Nested Effects

• Effects Creation Tools

• Real-Time and Downstream Key Effects

• Working with Effects in 24p or 25p Projects

• Using the Effect Palette

• Using Third-Party Plug-in Effects

• Changing Timeline View Settings for Effects

• Adjusting Trim Settings for Effects

Types of Effects

Much overlapping occurs between the various types of effects you can create, as well as the methods used to create them. Roughly speaking, there are four basic types of effects:

• Transition effects (dissolves, wipes, and so forth) are applied at the cut point between two video clips that are on the same video track (that is, the same video layer).

Chapter 2 and Chapter 3 describe techniques for creating

transition effects.

• Segment effects (both single-layer and multilayer) are applied to an entire clip or group of clips. There are two types of segment effects:

- A single-layer segment effect, such as the Mask effect, is

applied to a segment on one video track. Single-layer segment effects use one stream of video.

• Title effects are created with the Title tool and edited onto their

• Motion effects (freeze frame, variable speed, and strobe) are

Preparing to Work with Effects

Chapter 2 and Chapter 3 describe techniques for creating

single-layer segment effects.

- A multilayer segment effect, such as the Picture-in-Picture

(PIP) effect, is applied to the top layer or a middle layer of segments that contain two or more video tracks that will be played simultaneously.

Chapter 6 describes techniques for creating multilayer effects.

own layers in a sequence.

Chapter 8 and Chapter 9 describe techniques for creating and

editing title effects.

created by manipulating the playback characteristics of a clip of footage.

Chapter 2 describes basic techniques for creating motion effects.

More advanced techniques can be found in Chapter 5.

A number of effects have both 2D (two-dimensional) and 3D (three-dimensional) versions on systems equipped with the 3D Effects option. Chapter 7 describes techniques for creating 3D effects.

For a complete list of effects, with information on the capabilities of each effect, see the Knowledge Center section of the Avid Web site at www.avid.com.

Overview of Horizontal, Vertical, and Nested Effects

You can break down effect designs into two different types: horizontal and vertical.

Horizontal refers to effects that you apply across an individual video track. Horizontal effects include:

• Transition effects between two video clips (dissolves, wipes)

• Segment effects and motion effects that modify the appearance of

a single clip (color effects, flops)

Vertical refers to effects that you apply by adding video elements on more than one track to create a composite. They are called vertical effects because you add elements by creating additional video tracks that appear vertically above existing tracks. Vertical effects include picture-in-pictures, titles, and superimpositions. Individual elements in a vertical effect can also contain horizontal effects.

You might need to change a single element in a vertical effect sequence. For example, you might want to apply a color effect within an existing Picture-in-Picture effect. To do this, you can nest an effect inside another effect. Instead of one video layer being physically above another video layer, a nested effect is contained within another effect on the same video layer. For more information, see “Nesting Effects”

on page 323.

Overview of Horizontal, Vertical, and Nested Effects

Effects Creation Tools

The following chart presents the basic tools used to create effects.

Sources of effects:

Effect Palette

Apply transition and segment effects directly to tracks.

Effects editing:

Effects adjustment in Effect mode:

Motion Effect dialog box

Edit effect clips into the Timeline.

Title tool

Title and motion effects appear first as clips in the bin.

Effect Editor: Allows you to adjust effect parameters.

Preparing to Work with Effects

Effect Preview monitor: Allows you to preview an effect, manipulate keyframes, and manipulate wire-frame representations of the effect.

Real-Time and Downstream Key Effects

Many effects are real time, which means you do not have to render them before you play them. You can preview effects that are not real time before rendering. In addition, titles and graphic elements imported with an alpha channel display as downstream key (DSK) effects.

Downstream Key Effects

By default, all titles are created using your Avid editing system’s DSK capabilities. Graphic elements imported with an alpha channel are also created as DSK clips.

Downstream keying allows you to add uncompressed titles or graphics over multiple streams of compressed media and continue to play the sequence in real time. The real benefits of downstream keying are seen during editing of Title Effect clips into sequences.

For information about editing with DSK titles, including descriptions of various restrictions and playback capabilities, see Chapter 9.

Real-Time Effects

A real-time effect is an effect that you can apply to a sequence and play without having to render it first (rendering takes time and drive space). A real-time effect has a small orange dot within the effect icon in the Timeline. Effects that must be rendered have a small blue dot within the effect icon in the Timeline. Effects that might need to be rendered have a small green dot within the effect icon in the Timeline. For more information, see “Understanding Effect Icon Color Coding”

on page 57.

Real-Time and Downstream Key Effects

Your Avid editing system has a mix of real-time and non-real-time effects. For a complete list of effects and their real-time status, see the Knowledge Center section of the Avid Web site at www.avid.com.

Playing Real-Time Effects

You can create a sequence that has any number of real-time and non-real-time effects. However, the maximum real-time playback capabilities of your Avid editing system depend on whether you are working with two streams of video (compressed resolutions or the two-stream uncompressed option) or with the single-stream uncompressed video option.

Playback Capabilities for Two-Stream Video

If you are working with compressed video resolutions or with the two-stream uncompressed option, your Avid editing system can play two video streams in real time. The following are the maximum real-time playback capabilities for two streams of video:

• You can play up to a maximum of two real-time segment effects at a time.

• You can add a maximum of one additional DSK title or graphic.

Preparing to Work with Effects

The DSK Title effect can be either a rolling title, a static title, or a graphic.

The following sequence shows one example of the maximum real-time playback capabilities of your Avid editing system. The system can successfully play the Color Effect, the Mask effect, and the DSK Title effect at the same time. At any point in the sequence, your Avid editing system is using one video stream for the Color Effect, a second video stream for the Mask effect, and is applying the DSK Title effect downstream.

DSK title or graphic (rolling title)

Segment effect (nested mask)

Segment effects (Color Effects)

• You can add a Dissolve effect between adjacent segments

containing real-time segment effects, and the track will continue to play in real time. However, if another segment effect is on another track, your Avid editing system can no longer play the sequence in real time, since it cannot process three video streams simultaneously.

In the following illustration, a Dissolve effect is placed between the two Color Effects on track V1. This prevents the sequence from playing in real time. Your Avid editing system would exceed its limits since it would require one video stream for the outgoing part of the Dissolve effect, a second stream for the incoming part of the Dissolve effect, and a third for the nested Mask effect. In this instance, the Dissolve effect appears with a green dot and must be rendered.

Segment effects (Color Effects)

DSK title or graphic (rolling title)Segment effect (nested mask)

Dissolve effect appears with a green dot. It must be rendered for this sequence to play in real time.

Real-Time and Downstream Key Effects

Playback Capabilities for Single-Stream Uncompressed Video

If your system includes the single-stream uncompressed (1:1) video option and you are working with uncompressed video, your system can play only one video stream in real time. The following are the maximum real-time playback capabilities for single-stream uncompressed video.

• You can play effects that use only one video stream, for example color effects or resizes. These effects will appear with an orange dot in the Timeline.

• You can add a DSK title or graphic to a sequence that plays in real time, and the sequence will continue to play in real time. For more information on the playback capabilities of titles and graphics when working with uncompressed video, see Chapter 9.

• You cannot play effects that require more than one video stream, for example, dissolves and Picture-in-Picture effects, in real time. This includes all transition effects and all multilayer segment effects. These effects will appear with a green dot in the Timeline.

Additional Suggestions for Playback

You can play back any number of effects beyond the real-time playback capabilities of your system by using one or more of the following additional techniques:

• Render some or all of the effects. You can use ExpertRender identify those effects in a sequence that must be rendered to achieve successful playback. For more information, see

“Rendering Effects” on page 189.

Preparing to Work with Effects

In general, consider rendering transition effects such as the Dissolve effect or wipe effects first, because they take less time to render than titles or segment effects.

™

• Use the Submaster effect to reduce the amount of rendering. For

more information, see “Submaster Editing” on page 331.

• Perform a mixdown of video tracks. For more information, see

“Performing a Video Mixdown” on page 337.

Hardware Limitations for Real-Time Effects

If you have multiple short clips with multiple real-time effects or images with a high level of complexity, you might exceed the capacity of the hardware to play these in real time, resulting in Video Underrun error messages. In this case, render some of the intermediate effects before playing the sequence.

Combined Rendering of Real-Time and Non-Real-Time Effects

The combination of real-time and non-real-time effects on the same video track can show different results, depending on when you render the non-real-time effects:

• If you render non-real-time segment effects after you apply a

real-time transition effect, the sequence will play in real time.

• If you render non-real-time segment effects and then apply a

real-time transition effect, the transition effect will play as a cut.

Displaying Effects On-the-Fly

The Render On-the-Fly option allows you to play back real-time effects and preview non-real-time effects frame by frame, immediately after applying them.

To display effects immediately during effects editing:

t Choose Render On-the-Fly from the Special menu.

A separate setting for Render On-the-Fly exists for Trim mode. See

“Adjusting Trim Settings for Effects” on page 74.

Real-Time and Downstream Key Effects

Interrupting Render On-the-Fly

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 Avid system to render the single frame.

Instead of waiting for the Avid system to finish rendering, you can interrupt Render On-the-Fly. Interrupting Render On-the-Fly interrupts the rendering of only non-real-time effects.

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 Record monitor as it would if Render On-the-Fly were not selected in the Special menu.

t If you click in the Timeline and the Avid system begins to render,

quickly move to another location in the Timeline. This cancels the rendering process.

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 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.

Preparing to Work with Effects

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 one-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). Your Avid system 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.

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 “About Motion Effects in 24p or 25p Projects” on page 234.

For more information on how your system handles 24p or 25p material, see the input and output guide.

Working with Effects in 24p or 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.

Using the Effect Palette

The Effect Palette is a window that lists all the effects available on your Avid system. The effects that are available on your system depend on the model and options that you purchased and on what third-party plug-ins you might have installed. For the list of effects available for your model, see the Knowledge Center section of the Avid Web site at www.avid.com.

You select transition and segment effects from the Effect Palette. The effects in the Effect Palette are grouped by category:

•Blend

•Box Wipe

•Conceal

• Edge Wipe

•Film

Preparing to Work with Effects

•Image

• Key

•L-Conceal

•Matrix Wipe

•Motion Effects

•Peel

•Push

•Reformat

• Sawtooth Wipe

•Shape Wipe

•Spin

• Squeeze

•Xpress 3D Effect

If you have effect templates saved in an open bin, or if you have third-party plug-in effects installed on your system, additional effect categories appear in the Effect Palette.

The IllusionFX™ category appears in the Effect Palette and contains the IllusionFX Pack plug-ins that are standard with your Avid system. For information on IllusionFX Pack effects, refer to your Avid Help system or to the documentation in the Goodies folder on the application CD-ROM: Goodies\IllusionFXPack\IllusionFXPack.pdf.

Each effect category contains multiple effects. Use the following procedure to display the Effect Palette.

Using the Effect Palette

Displaying the Effect Palette

To display the Effect Palette:

1. Do one of the following:

t Choose Effect Palette from the Tools menu.

t Click the Effects tab in the Project window.

t Press Ctrl+8 (Windows) or k+8 (Macintosh) on your

keyboard.

The Effect Palette opens.

Scrollable list of effect categories

Image effect choices

Preparing to Work with Effects

Some effects are available only on certain models. For example, the 3D Warp effect is available only on models equipped with 3D effects capability.

The left side of the Effect Palette displays a scrollable list of effect categories. The right side shows the various effects that are available for the currently selected effect category.

2. Click an effect category to select it and display effects in the category.

Resizing the Effect Palette

You can resize the Effect Palette to display more effects when a particular category includes a long list of icons.

To resize the Effect Palette:

t Click the lower right corner of the palette, drag the palette to the

size you want, and release the mouse button.

Understanding Effect Icon 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 an orange dot. These effects take

advantage of fast rendering.

• Real-time effects that might not be playable in real time due to their

position in a sequence or the options available on your system are preceded by a green dot. These effects take advantage of fast rendering.

The Submaster effect has a green dot in the Effect Palette. Other effects might show a green dot in the Timeline, based on the complexity of the sequence.

• Non-real-time effects have no dot in the Effect Palette. In the

Timeline, the effect icon contains a blue dot until the effect is rendered.

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.

Using the Effect Palette

Orange dot indicates a real-time effect.

Green dot indicates a real-time effect that might not be playable in real time.

No dot (as in Paint Effect above) indicates a non-real-time effect; in the Timeline, the effect icon contains a blue dot until you render the effect.

A real-time effect might not be playable in real time for a variety of reasons involving the complexity of the sequence and the real-time effects capabilities of the Avid editing system. For more information, see “Real-Time and Downstream Key Effects” on page 47.

Displaying Effect Templates

Effect templates allow you to save the parameters of an effect to a bin and use them again to create or modify other effects. To learn more about applying templates, see “Using an Effect Template” on page 183.

In addition to allowing you to view all the standard effects, the Effect Palette allows you to view and access effect templates that are stored in open bins. The names of open bins containing effects appear in a list below the effect categories.

Preparing to Work with Effects

Effect templates

To view the effect template:

1. Open the bin containing the effect templates.

2. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect

Palette” on page 56.

Effect category list

Bin name containing effect templates

The Effect Palette opens.

3. Click the bin name below the effect category list to view the effect templates in the bin.

Effect templates

Using the Effect Palette

For example, in the illustration in step 1, the bin named Effects contains a series of effect templates using the Paint Effect, Picture-in-Picture, and Timewarp effects.

In the previous illustration, notice that the Effect Palette also displays other effect files, such as titles and matte key clips.

Whenever you open or close a bin or drop an effect into a bin, your Avid system automatically updates both lists. Once a template appears on the right side of the Effect Palette, you can apply it as you would any other effect.

Using Third-Party Plug-in Effects

You can use third-party plug-in effects to add new effects to your Avid system or to update existing effects. Third-party plug-in effects are compatible with the Avid Visual Extensions (AVX a cross-platform software architecture designed to allow software effect modules to be dynamically linked with a host application such as an Avid editing system.

The IllusionFX category appears in the Effect Palette and contains the IllusionFX Pack plug-ins that are standard with your Avid system. For information on IllusionFX Pack effects, refer to your Avid Help system, or to the documentation in the Goodies folder on the application CD-ROM: Goodies\IllusionFXPack\IllusionFXPack.pdf.

™

) standard. AVX is

• Ultimatte Corporation (Ultimatte

•Artel Software (Boris FX

Preparing to Work with Effects

)

www.ultimatte.com

™

)

www.borisfx.com or www.artelsoft.com

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/avx

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 all 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.

Your Avid system 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 the chapter “Working with Audio” in the editing guide.

If you are transferring from another system a project that includes sequences with AVX plug-in effects, you must install matching AVX plug-ins in order to see the effects.

Using Third-Party Plug-in Effects

AVX Plug-ins and Memory Usage

Each time you apply an AVX plug-in to a sequence, your Avid system keeps the effect resident in memory. When you close the bin containing the sequence, the system also closes the AVX plug-ins, freeing the memory. If you have applied many plug-ins and you find your Avid system running out of memory, use the following procedure to free the memory being used by the plug-ins.

To close all the AVX plug-ins:

1. Choose Console from the Tools menu.

2. Type the command closeallavxplugins and press Enter

(Windows) or Return (Macintosh).

The Avid system closes all open AV X plu g - in s . Th e AV X p l u g- i n s will automatically open again as needed.

Installing Photoshop-Compatible Plug-in Effects (Macintosh Only)

Avid Media Composer and Film Composer for the Macintosh operating system can use many plug-in effects that are compatible with Adobe Photoshop directly from a third-party vendor.

To install Photoshop-compatible plug-ins:

Preparing to Work with Effects

Do not add or remove plug-ins while the Avid application is running.

1. Exit the Avid application.

2. Copy the plug-in files from the software vendor’s folder to the 3rd Party Plug-Ins folder located on your Avid drive.

The following illustration shows the location of the 3rd Party Plug-Ins folder within the Avid file structure.

Version 2.5. You purchase these plug-ins

3. Restart the Avid application, and open the Effect Palette. The plug-in effects will appear in the Effect Palette, usually in their own effect category.

You must place the plug-ins directly in the 3rd Party Plug-Ins folder. They cannot be inside another folder within this folder or elsewhere on the Avid system. If they are, the system will not recognize them.

Installing AVX Plug-ins

AVX plug-ins usually come complete with any necessary documentation. This section describes how to install the plug-ins and how to access them from your Avid system.

Most AVX plug-ins have their own installation program. This program locates the AVX_Plug-Ins folder and installs the plug-ins automatically when you follow the installation instructions.

Using Third-Party Plug-in Effects

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.

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 AVX_Plug-Ins folder located on your Avid system.

You must place the 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 system will not recognize them.

t (Windows) The default location for the AVX_Plug-Ins folder

is:

Preparing to Work with Effects

If the AVX_Plug-Ins folder does not appear in the default location and you do not know where it is located, you can locate the folder by using the Regedit application that comes with your Windows system. For more information, see

“Locating the AVX_Plug-Ins Folder (Windows Only)” on page 65.

C:\Program Files\Avid\AVX_Plug-Ins

However, the AVX_Plug-Ins folder might be in a different location on your system.

t (Macintosh) The following illustration shows the location of

the AVX_Plug-Ins folder within the Avid file structure.

3. Restart the Avid application, and open the Effect Palette.

The AVX plug-in effects appear in the Effect Palette, usually in their own category under the name of the vendor.

(Windows only) If the plug-in effects do not appear in the Effect Palette after installation, see “Troubleshooting AVX Plug-Ins” on page 70.

Locating the AVX_Plug-Ins Folder (Windows Only)

When the Avid application is first installed, the system asks the administrator to choose a location for the AVX_Plug-Ins folder. The default path is:

C:\Program Files\Avid\AVX_Plug-Ins

Using Third-Party Plug-in Effects

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.

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.

2. Type regedit in the command line, and click OK.

The Registry Editor window opens.

3. In the left pane of the window, navigate to the following path:

HKEY_LOCAL_MACHINE\SOFTWARE\Avid Technology\AVX

lug-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 will be “C:\Program Files\Avid.” If you navigate to C:\Program Files\Avid by using My Computer or Windows Explorer, you will find the AVX_Plug-Ins folder in that location.

Preparing to Work with Effects

HKEY_LOCAL_MACHINE\SOFTWARE\ Avid Technology\AVX Plug-Ins

Remember that AVX plug-ins must be installed in the AVX_Plug-Ins folder itself, not elsewhere in the path that contains that folder. If AVX plug-ins are not in the folder, the system will not recognize them.

Upgrading AVX Plug-ins and Effects

You can upgrade an AVX plug-in simply by uninstalling the old version of the plug-in and installing the new version in your AVX_Plug-Ins folder.

Once you have installed a new version of an AVX plug-in, your Avid system 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.

Directory entry. The path listed here is the path that contains the AVX_Plug-Ins folder.

Using Third-Party Plug-in Effects

If the new version of the plug-in has new or redesigned parameter controls, your Avid system 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 when the system upgrades existing effects.

Once a plug-in effect or transition has been upgraded, you should not reinstall the older version of the plug-in. The Avid editing system 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 will not work on a system that has an older version installed.

Assigning Multiple Tracks in Plug-in Effects

Some plug-in effects take an arbitrary number of tracks as input. Your system allows you to choose the number of video inputs from the AVX Optional Inputs dialog box.

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.

2. If the AVX Optional Inputs dialog box appears, select the number of video inputs you want from the Number of Tracks pop-up menu, and then click OK.

For more information on nested effects, see “Nesting Effects” on

page 323.

Preparing to Work with Effects

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.

AVX plug-ins use a variety of interfaces that give you control over the effects. Plug-in vendors have the following styles for controls:

• The Avid system-style Effect Editor only

The Effect Editor for a specific plug-in might include only Avid standard buttons and parameter controls, or it might include additional custom controls.

• Custom dialog box only

In this case, when you click the Effect Mode button, 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 Custom Interface

If an AVX plug-in has a custom interface, you access that interface from the Effect Editor.

To access an AVX plug-in’s custom interface:

t Click the Other Options button in the Effect Editor.

The AVX plug-in’s custom interface appears.

Dialog boxes that appear as part of an AVX plug-in’s custom interface are modal dialog boxes. If you move one of these dialog boxes, the screen behind the dialog box will not redraw. To restore your screen, close the dialog box.

Using Third-Party Plug-in Effects

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 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.

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.

Preparing to Work with Effects

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. See “Locating

the AVX_Plug-Ins Folder (Windows Only)” on page 65.

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 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.

If a correctly located plug-in does not load, check the plug-in documentation for information on required supporting files.

The Avid System Cannot Render the Plug-In

If the Avid system 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 Edit monitor.

Using Third-Party Plug-in Effects

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 Avid system could not find the plug-in.

To identify the plug-in that is missing or misplaced:

t Open the Console window (choose Console from the Tools menu),

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 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, call Avid Customer Support to determine whether you need a new version of the AVXLibrary.

The Avid System Is Running Out of Free Memory

Memory Usage” on page 62.

Preparing to Work with Effects

Changing Timeline View Settings for Effects

All effect icons are displayed in the Timeline by default. You can change the Timeline settings to display all effect icons, all effect icons except Dissolve Effect icons, or no effect icons. If you have changed the setting to display no effect icons, you have to reset it before you begin applying effects. The fewer effect icons you display, the faster your Avid system refreshes the screen.

To change the Timeline settings:

t Click the Fast Menu button in the Timeline window.

The Timeline Settings Fast menu appears.

- To display all effect icons in the Timeline, choose Effect Icons.

- To display all effect icons except Dissolve icons, choose Effect Icons and deselect Dissolve Icons.

- To display no effect icons, deselect Effect Icons. Dissolve Icons appears dimmed and is now unavailable.

- To save your Timeline settings, click the Timeline View Name button, select Save As, and type a view name.

Timeline View Name button

Changing Timeline View Settings for Effects

Adjusting Trim Settings for Effects

When you are in Trim mode, you can control whether or not the effects you apply are computed immediately on the screen (that is, on-the-fly) or appear later when you render them. For example, viewing transitions as cuts (without rendering on-the-fly) can facilitate the trimming process. This setting is defined in the Trim Settings dialog box.

To change the Trim settings for render on-the-fly:

1. Click the Settings tab in the Project window.

The Settings scroll list appears.

2. Double-click Trim.

The Trim Settings dialog box appears.

3. Click the Features tab, and then select or deselect Render On-The-Fly.

Preparing to Work with Effects

For information on changing the Trim settings, see ”Working in Trim Mode” in the editing guide.

CHAPTER 2

Basics of Effects Editing

This chapter explains how to create basic transition and single-layer segment effects.

• Deconstructing Effects

• Applying Effects to a Sequence

• Deleting Effects in a Sequence

• Using the Fade Effect Button

• Working with Transition Effects

Deconstructing Effects

One good way to understand how effects are built in your Avid editing system is to break down existing effects into their basic elements. By learning how the various pieces fit together, and how the system allows you to manipulate them, you can begin to construct new effects from these building blocks.

The sequence depicted in the following screen image contains a series of effects that cover all the basic techniques — from simple dissolves to 3D nested layers — described throughout this guide.

Layered background elements

Layered foreground elements

Imported title elements set in motion with a 3D wipe effect

Basics of Effects Editing

The Timeline for this sequence, shown below, 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.

Deconstructing an effects sequence

Imported graphic promoted to a 3D Slat Wipe:

See “Using Matte Keys with 3D Effects” on

page 345.

Effect template applied repeatedly to crop and position foreground images on V2:

See “Creating a Cropped Foreground Effect”

on page 365.

Nested segments add more layers to the foreground track:

See “Nesting

Effects” on page 323.

Title graphics imported as Matte Key effects:

See “Working with Imported Graphics and Animation” on

page 299.

Keyed titles are faded in and out:

See “Using the Fade Effect Button” on page 86.

Titles “stamped” in place with 3D Warp:

See “Creating a Stamp” on page 372.

Submaster segment, created from collapsed layers, forms the background on V1:

See “Submaster Editing” on page 331.

Various effect parameters are adjusted throughout to soften, distort, or position images:

See “Using the Effect Editor” on page 120.

Dissolve sequence forms the foreground on V2:

See “Applying an Effect to Multiple Transitions” on page 80 and “Working with Transition Effects” on page 87.

Deconstructing Effects

Applying Effects to a Sequence

This section explains how to apply an effect to a sequence in the Timeline. You can apply an effect to:

• One transition or segment on a single video layer

• Multiple transitions or segments on a single video layer

• Multiple transitions or segments on multiple video layers

The effect type (transition or segment) determines where you can place the effect in the sequence. For an explanation of the effect types, see “Types of Effects” on page 44.

After you apply an effect, the next step is to adjust the effect’s parameters. To understand how to adjust the effect parameters, see

“Using the Effect Editor” on page 120.

Applying an Effect to a Single Transition or Segment

Use the following procedures to apply an effect to one transition or segment on a single video layer.

To apply an effect to a single transition or segment:

For information about editing a sequence, see the editing guide.

Basics of Effects Editing

1. Create a sequence in the Record monitor by using standard Avid editing procedures.

2. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect

Palette” on page 56.

For an explanation of the Effect Palette, see “Types of Effects” on

page 44.

3. To apply an effect, do one of the following:

t Click the effect icon in the Effect Palette, drag it to the segment

or transition in the Timeline, and release the mouse button.

t In Effect mode, click the transition or segment in the Timeline

where you want to apply the effect, and double-click the effect’s icon in the Effect Palette.

The effect icon appears in the Timeline, as shown in the following example.

If the effect is a segment effect, one segment at a time is highlighted as you drag the effect within the Timeline. If the effect is a transition effect, one transition at a time is highlighted as you drag the effect within the Timeline. Some effects can be both a transition and a segment effect; when you drag an effect within the Timeline, both transitions and segments are highlighted.

Applying Effects to a Sequence

Applying an Effect to Multiple Transitions

To apply an effect to multiple transitions:

1. Click the Effect Mode button to enter Effect mode.

2. Click the first or last transition to which you would like to apply the effect.

3. 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

Basics of Effects Editing

4. Release the mouse button when you have lassoed all the transitions you want.

The Avid system highlights the transitions that you selected, and the position indicator moves to the first transition.

5. If the transitions where you want to apply the effect are not contiguous, Shift+click any transition to deselect it.

6. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect

Palette” on page 56.

7. Double-click the effect’s icon that you want to apply to the transitions.

The Avid system applies the effect to the highlighted transitions in the Timeline.

If there is not enough incoming or outgoing media to apply the transition effect, a dialog box appears. For more information, see

“Sizing the Effect to Fit the Media” on page 100.

You can also apply the effects available in the Quick Transition dialog box to multiple transitions by marking IN and OUT points. For more information, see “Using the Quick Transition Button to Apply Effects to Multiple

Transitions” on page 93.

Applying an Effect to Multiple Segments

You can apply an effect to multiple segments on the same video layer or on multiple video layers in a single step. The following procedure describes selecting multiple segments in the same video layer. You can also use this procedure to select segments on multiple layers.

Applying Effects to a Sequence

To apply an effect to multiple segments on the same video layer:

1. In Source/Record mode or Effect mode, click above the Timeline and to the left of the leftmost segment that you want to select and begin dragging to the right and down to activate a selection box.

2. Continue to drag the selection box to the right until you lasso the rightmost segment that you want to select.

Selection box

3. Release the mouse button.

The segments that you selected are highlighted.

Basics of Effects Editing

4. If the segments where you want to apply the effect are not contiguous, Shift+click a segment to deselect it.

5. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect

Palette” on page 56.

6. Double-click the effect’s icon that you want to apply to the segments.

The effect is applied to the highlighted segments in the Timeline.

Deleting Effects in a Sequence

Transition effects can be deleted from a sequence in Source/Record mode, Trim mode, or Effect mode. Segment effects can be deleted in Source/Record mode or Effect 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 there are multiple tracks that contain effects at the same position in the Timeline, select only the track where the effect to be deleted resides.

Deleting Effects in a Sequence

Record Track button

In this example, only track V3 is selected.

If you are deleting a segment effect and the segment contains a transition effect, the transition effect will be deleted also, because the transition effect resides “on top of” the segment effect. If necessary, you will have to reapply the transition effect.

3. Use one of the following methods to delete the effect:

t If the Effect Editor is not active, click the Remove Effect

button.

t When the Effect Editor is active, select the effect and press the

Delete key.

t In Trim mode (for transition effects only), either press the

Delete key or click the Remove Effect button.

When you delete an effect from a sequence, the associated media file is not deleted. In order to delete the effect’s media file, you must manually remove it from the drive. Your Avid editing system 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 217.

Basics of Effects Editing

The effect is removed.

Deleting Multiple Transition Effects

To delete multiple transition effects:

1. Shift+click each transition effect you want to delete.

2. Click the Remove Effect button, or press the Delete key.

Deleting Multiple Segment Effects

To delete multiple segment effects:

1. Click one of the Segment Mode buttons (the Extract/Splice-in button or the Lift/Overwrite button) below the Timeline.

2. Shift+click each segment that contains a segment effect to be deleted.

3. Click the Remove Effect button, or press the Delete key.

Deleting Effects in a Sequence

Using the Fade Effect Button

You can use the Fade Effect button to fade segment effects quickly and easily. A dialog box appears that allows you to enter the number of frames to fade up and fade down.

The Fade Effect feature automatically creates keyframes for the effect. You can access the keyframes in the Effect Editor.

To fade one or more segment effects in a sequence:

1. Select the segment effects in the Timeline:

t To fade a single segment effect, move the position indicator to

the segment.

t To fade multiple segment effects, click either the

Extract/Splice-in button or the Lift/Overwrite button below the Timeline; then Shift+click the segments.

2. Click the Fade Effect button.

Basics of Effects Editing

You can map the Fade Effect button to the Record monitor, the Tool palette, or the keyboard. For more information on mapping buttons, see the editing guide.

3. In the Fade Effect dialog box, type the number of frames to fade up and fade down, and click OK.

You can immediately view the Fade effect by playing the segment or segments.

Working with Transition Effects

You apply a transition effect to the cut point between two clips on the same video track. You can adjust the alignment and duration of a transition effect. Depending on the specific effect, other effect parameters might also be available.

Types of Transition Effects

Transition effects are included in all effect categories on the Effect Palette, except the Image effect category. For an explanation of the transition effects in each effect category, see Chapter 11 and

Chapter 12.

Applying a Dissolve Effect

One of the most common transition effects is a dissolve. Your Avid editing system has the following methods you can use to apply the Dissolve effect:

• Select the Dissolve effect from the Effect Palette.

• Type a duration in the Transition parameters in Trim mode or in

the Effect Editor.

• Click the Quick Transition button.

• Use the Head Fade button or the Tail Fade button.

The following sections describe each of these methods.

Working with Transition Effects

Using the Effect Palette

To apply a Dissolve effect by using the Effect Palette:

1. Create a sequence in the Record monitor by using the standard

2. Choose Effect Palette from the Tools menu, or open the Effect

3. Click the Blend category.

4. Drag the Dissolve Effect icon to the transition in the Timeline, and

If the sequence does not have enough incoming or outgoing media to apply a transition effect, a dialog box appears. See “Sizing the Effect to

Fit the Media” on page 100.

Avid editing procedures. For information about editing a sequence, see the editing guide.

Palette using one of the other methods from “Displaying the Effect

Palette” on page 56.

release the mouse button.

The Dissolve Effect icon appears in the Timeline.

Using the Transition Parameters

You can create a Dissolve effect using the Transition parameters displayed in Trim mode and in the Effect Editor. Simply enter the duration for which the effect will play, and the system adds the Dissolve effect to the sequence.

To create a Dissolve effect by using the Transition parameters:

1. Click a transition in the Timeline while in Trim mode or Effect mode.

2. In the Transition Effect Duration box in the Effect Editor, type the dissolve’s duration.

Basics of Effects Editing

The duration format is determined by the Duration setting above the Record monitor — for example, seconds:frames.

Transition effect

duration box

Transition Effect Alignment button

The system adds the Dissolve effect at the transition, and a Dissolve Effect icon appears in the Timeline.

3. Click the Transition Effect Alignment button, and select the effect’s position relative to the cut point from the pop-up menu.

For an explanation of the Transition Effect Alignment menu selections, see “Transition Parameters” on page 646.

Using the Quick Transition Button

Another way to create a transition effect is to click the Quick Transition button. This button allows you to apply a Dissolve effect or any of the following transition effects without using the Effect Palette:

•Dissolve

• Film Dissolve (optional on some models)

• Film Fade (optional on some models)

• Fade to Color

Transition Effect Alignment pop-up menu

• Fade from Color

• Dip to Color

You can choose to add the same Dissolve effect to multiple transitions by marking IN and OUT points in your sequence that select all the transitions to which you want to apply the effect. When you click the Quick Transition button, the Quick Transition dialog box will contain a check box for Apply to All Transitions (IN -> OUT). See “Using the

Quick Transition Button to Apply Effects to Multiple Transitions” on page 93.

Working with Transition Effects

To create an effect by using the Quick Transition button:

1. Move the position indicator to the transition in the Timeline.

2. Click the Quick Transition button in the Tool palette.

The Quick Transition dialog box appears.

Outgoing media

Frames of incoming media available for the effect

Dissolve Effect icon

Incoming media Frames of

outgoing media available for the effect

The dialog box shows a graphical display of the outgoing media (A) and incoming media (B), with the Dissolve Effect icon applied to the transition.

The system scales the graphical display to show the relative size of the Dissolve effect and the media available for the effect.

3. Choose a transition effect from the Add pop-up menu:

-Dissolve

-Film Dissolve

Basics of Effects Editing

- Film Fade

- Fade to Color

- Fade from Color

- Dip to Color

For an explanation of individual effects shown in the menu, see

“Blend Effects” on page 649.

When you save a Dissolve effect template into a bin named Quick Transitions, the effect template appears in the Add pop-up menu. See “Using an Effect

Template” on page 183.

When you choose a color transition with Quick Transition, the default color is black. You must enter Effect mode to choose another color. For more information, see “Using the Effect Editor” on page 120.

4. Set 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 edge or right edge of the Dissolve Effect

icon and drag it to change the duration. For more information, see “Understanding the Graphical Display in the Quick

Transition Dialog Box” on page 96.

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.

5. Adjust the effect’s position relative to the cut point in one of the following ways:

t Choose an option from the Position pop-up menu to have the

effect end at the cut point, center on the cut point, or start at the cut point.

t Choose Custom from the Position pop-up menu, 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.

t Click one of the alignment buttons below the graphical

display.

Working with Transition Effects

t Click the Dissolve Effect icon and drag it to position the effect

with respect to the cut point. For more information, see

“Understanding the Graphical Display in the Quick Transition Dialog Box” on page 96.

The system positions the effect.

If you select an alignment for which there is not enough media, the system comes as close as it can to the alignment you requested.

6. If you click the Dissolve Effect icon and drag it, the Position pop-up menu changes to Custom. Indicate where the effect is to start — that is, how many frames before the cut you want to include in the Dissolve. Do one of the following:

t Click near the middle of the Dissolve Effect icon and drag it to

dynamically change the number of frames.

t Click one of the buttons below the graphical display to specify

the effect as ending at cut, centered on cut, or starting at cut.

t Type the number of frames in the Start text box.

Basics of Effects Editing

The graphical display changes to show the relative amount of media available and the relative position of the effect, and the new value appears in the Start text box.

7. Click Target Drive, and from the pop-up menu choose 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.

8. (Option) If you have IN and OUT points marked in your sequence, the Quick Transition dialog box contains a check box for Apply to All Transitions (IN -> OUT). Select this option to apply the same effect to all transitions between the IN and OUT points. Deselect this option to apply the effect only to the transition at which you have placed the position indicator.

9. If the effect you selected is real-time, select Skip Real-Time Effects to prevent real-time effects from being rendered.

10. 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.

Your Avid system adds the effect to the selected transition in the sequence, or, if you selected Apply to All Transitions (IN -> OUT), the system adds the effect to all transitions between the IN and OUT points.

Using the Quick Transition Button to Apply Effects to Multiple Transitions

You can select multiple transitions by marking IN and OUT points. Then apply an effect from the Quick Transition dialog box to all the selected transitions at once.

To apply an effect to multiple transitions by 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.

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.

Working with Transition Effects

4. Click the Quick Transition button.

The Quick Transition dialog box appears.

5. Choose a transition effect from the Add pop-up menu:

-Dissolve

-Film Dissolve

- Film Fade

- Fade to Color

- Fade from Color

- Dip to Color

For an explanation of individual effects shown in the menu, see

“Blend Effects” on page 649.

When you save a Dissolve effect template into a bin named Quick Transitions, the effect template appears in the Add pop-up menu. See “Using an Effect

Template” on page 183.

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 edge or right edge of the Dissolve Effect

icon and drag it to change the duration. For more information, see “Understanding the Graphical Display in the Quick

Transition Dialog Box” on page 96.

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.

Basics of Effects Editing

7. Adjust the effect’s position relative to the cut point in one of the following ways:

t Choose an option from the Position pop-up menu to have the

effect end at the cut point, center on the cut point, or start at the cut point.

t Choose Custom from the Position pop-up menu, 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.

t Click one of the alignment buttons below the graphical

display.

t Click the Dissolve Effect icon and drag it to position the effect

with respect to the cut point.

For more information on the graphical display options, see

“Understanding the Graphical Display in the Quick Transition Dialog Box” on page 96.

The system positions the effect, updates the graphical display to show the new position of the effect, and updates the value in the Start text box.

If you select an alignment for which there is not enough media, the system comes as close as it can to the alignment you requested.

8. Click Target Drive, and from the pop-up menu choose 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. If the effect you selected is real time, select Skip Real-Time Effects to prevent real-time effects from being rendered.

10. Select Apply to All Transitions (IN -> OUT).

Working with Transition 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 system adds the selected effect to all the transitions between the marked IN and OUT points on the selected tracks in the sequence.

to a transition, a dialog box appears. For more information, see “Sizing the

Effect to Fit the Media” on page 100.

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. You can also quickly reset the position of the effect by using the three alignment buttons.

Features of the Graphical Display

The following illustration shows the graphical display in the Quick Transition dialog box.

If there is not enough incoming or outgoing media material to apply the effect

Outgoing media

Frames of incoming media available for the effect

Transition effect

Handle on outgoing media

Frames of outgoing media available for the effect

Basics of Effects Editing

incoming media

Alignment buttonsHandle on

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 available for each piece of media is 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 choose Custom from the Position pop-up menu or 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 system 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 46 frames long. The effect is therefore shown about two-thirds the size of the incoming handle.

Adjusting the Effect by Dragging

You can control the length or position of the transition effect by dragging in the graphical display.

To adjust the length of the effect:

1. Do one of the following:

t To adjust the length of the effect without changing its start

point, move the pointer over the right edge of the effect.

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.

Working with Transition Effects

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.

Basics of Effects Editing

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.

You cannot drag an effect beyond the ends of the handles on the media because the system 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.

Repositioning the Effect with the 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.

Centered on Cut Starting at CutEnding 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

Adding Fades (Dissolves) with the Head Fade and Tail Fade Buttons

You can use the Head Fade button and Tail Fade button to add a fade (or dissolve) for audio and video tracks.

To add a fade (dissolve):

1. Move the position indicator to a clip where you want to end or begin the fade (dissolve).

2. Select the tracks on which you want the fade (dissolve) to appear.

3. Choose Command Palette from the Tools menu.

Working with Transition Effects

100

4. Click the FX tab, and then click Active Palette.

5. Click the Head Fade button or the Tail Fade button.

The fade (dissolve) appears in the Timeline.

If two clips are edited together, the fade (dissolve) crosses between the two.

Sizing the Effect to Fit the Media

When you select a transition effect from the Effect Palette and there is not enough source media to apply the effect, a dialog box appears describing whether the source that has insufficient material is Media A (outgoing footage) or Media B (incoming footage).

To automatically size the effect to fit the media:

t Click Size To Fit in the dialog box.

The system sets the duration of the effect to fit the available media. If you have selected an alignment, the system attempts to preserve it.

To change the alignment or duration of the transition effect, see “Using

the Transition Parameters” on page 88.

Trimming a Transition Effect

You can trim a transition effect by using the standard transition trim procedures. For more information, see the chapter “Working in Trim Mode” of the editing guide.

Basics of Effects Editing

Pinnacle Systems Media Composer - 11.0 User Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Using This Guide

Who Should Use This Guide

About This Guide

Symbols and Conventions

If You Need Help

Related Information

If You Have Documentation Comments

How to Order Documentation

Preparing to Work with Effects

Types of Effects

Overview of Horizontal, Vertical, and Nested Effects

Effects Creation Tools

Real-Time and Downstream Key Effects

Downstream Key Effects

Real-Time Effects

Playing Real-Time Effects

Playback Capabilities for Two-Stream Video

Playback Capabilities for Single-Stream Uncompressed Video

Additional Suggestions for Playback

Hardware Limitations for Real-Time Effects

Combined Rendering of Real-Time and Non-Real-Time Effects

Displaying Effects On-the-Fly

Interrupting Render On-the-Fly

Working with Effects in 24p or 25p Projects

Using the Effect Palette

Displaying the Effect Palette

Resizing the Effect Palette

Understanding Effect Icon Color Coding

Displaying Effect Templates

Using Third-Party Plug-in Effects

AVX Plug-ins and Memory Usage

Installing AVX Plug-ins

Locating the AVX_Plug-Ins Folder (Windows Only)

Upgrading AVX Plug-ins and Effects

Assigning Multiple Tracks in Plug-in Effects

Using AVX Plug-in Controls

Accessing an AVX Custom Interface

Custom AVX Controls in the Effect Editor

Troubleshooting AVX Plug-Ins

Plug-In Does Not Appear in the Effect Palette

Plug-In Does Not Load

The Avid System Cannot Render the Plug-In

Blank Effect Icons in the Timeline

Missing Effect Categories in the Effect Palette

The Avid System Is Running Out of Free Memory

Changing Timeline View Settings for Effects

Adjusting Trim Settings for Effects

Basics of Effects Editing

Deconstructing Effects

Applying Effects to a Sequence

Applying an Effect to a Single Transition or Segment

Applying an Effect to Multiple Transitions

Applying an Effect to Multiple Segments

Deleting Effects in a Sequence

Deleting a Single Effect

Deleting Multiple Transition Effects

Deleting Multiple Segment Effects

Using the Fade Effect Button

Working with Transition Effects

Types of Transition Effects

Applying a Dissolve Effect

Using the Effect Palette

Using the Transition Parameters

Using the Quick Transition Button

Using the Quick Transition Button to Apply Effects to Multiple Transitions

Understanding the Graphical Display in the Quick Transition Dialog Box

Adding Fades (Dissolves) with the Head Fade and Tail Fade Buttons

Sizing the Effect to Fit the Media

Trimming a Transition Effect