Pinnacle Systems Media Composer - 2018.x User Manual

Avid® Media Composer® | Software

Effects and Color Correction Guide

Legal Notices

Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc.

This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement.

This product may be protected by one or more U.S. and non-U.S patents. Details are available at www.avid.com/patents.

This document is protected under copyright law. An authorized licensee of Avid Media Composer, NewsCutter, or Symphony may reproduce this publication for the licensee’s own use in learning how to use the software. This document may not be reproduced or distributed, in whole or in part, for commercial purposes, such as selling copies of this document or providing support or educational services to others. This document is supplied as a guide for Avid Media Composer, NewsCutter, or Symphony. Reasonable care has been taken in preparing the information it contains. However, this document may contain omissions, technical inaccuracies, or typographical errors. Avid Technology, Inc. does not accept responsibility of any kind for customers’ losses due to the use of this document. Product specifications are subject to change without notice.

The following disclaimer is required by Apple Computer, Inc.:

APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE.

The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library:

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.

THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.

The following disclaimer is required by the Independent JPEG Group:

This software is based in part on the work of the Independent JPEG Group.

This Software may contain components licensed under the following conditions:

Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph are duplicated in all such forms and that any documentation, advertising materials, and other materials related to such distribution and use acknowledge that the software was developed by the University of California, Berkeley. The name of the University may not be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED ``AS IS'' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE.

Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided " as is" without express or implied warranty.

Permission to use, copy, modify, distribute, and sell this software for any purpose is hereby granted without fee, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation, and that the name of Daniel Dardailler not be used in advertising or publicity pertaining to distribution of the software without specific, written prior permission. Daniel Dardailler makes no representations about the suitability of this software for any purpose. It is provided " as is" without express or implied warranty.

Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this entire notice is included in all copies of any software which is or includes a copy or modification of this software and in all copies of the supporting documentation for such software.

THIS SOFTWARE IS BEING PROVIDED " AS IS" , WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN PARTICULAR, NEITHER THE AUTHOR NOR AT&T MAKES ANY REPRESENTATION OR WARRANTY OF ANY KIND CONCERNING THE MERCHANTABILITY OF THIS SOFTWARE OR ITS FITNESS FOR ANY PARTICULAR PURPOSE.

This product includes software developed by the University of California, Berkeley and its contributors.

The following disclaimer is required by Nexidia Inc.:

© 2010 Nexidia Inc. All rights reserved, worldwide. Nexidia and the Nexidia logo are trademarks of Nexidia Inc. All other trademarks are the property of their respective owners. All Nexidia materials regardless of form, including without limitation, software applications, documentation and any other information relating to Nexidia Inc., and its products and services are the exclusive property of Nexidia Inc. or its licensors. The Nexidia products and services described in these materials may be covered by Nexidia's United States patents: 7,231,351; 7,263,484; 7,313,521; 7,324,939; 7,406,415, 7,475,065; 7,487,086 and/or other patents pending and may be manufactured under license from the Georgia Tech Research Corporation USA.

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

The following disclaimer is required by Ray Sauers Associates, Inc.:

“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.

The following disclaimer is required by Videomedia, Inc.:

“Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose.”

“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.”

The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source Code:

The following disclaimer is required by Ultimatte Corporation:

Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection.

The following disclaimer is required by 3Prong.com Inc.:

Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc.

The following disclaimer is required by Interplay Entertainment Corp.:

The “Interplay” name is used with the permission of Interplay Entertainment Corp., which bears no responsibility for Avid products.

This product includes portions of the Alloy Look & Feel software from Incors GmbH.

This product includes software developed by the Apache Software Foundation (http://www.apache.org/).

This product may include the JCifs library, for which the following notice applies:

Avid Interplay contains components licensed from LavanTech. These components may only be used as part of and in connection with Avid Interplay.

Attn. Government User(s). Restricted Rights Legend

U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or “commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.

Trademarks

Avid, the Avid Logo, Avid Everywhere, Avid DNXHD, Avid DNXHR, Avid Nexis, AirSpeed, Eleven, EUCON, Interplay, iNEWS, ISIS, Mbox, MediaCentral, Media Composer, NewsCutter, Pro Tools, ProSet and RealSet, Maestro, PlayMaker, Sibelius, Symphony, and all related product names and logos, are registered or unregistered trademarks of Avid Technology, Inc. in the United States and/or other countries. The Interplay name is used with the permission of the Interplay Entertainment Corp. which bears no responsibility for Avid products. All other trademarks are the property of their respective owners. For a full list of Avid trademarks, see: http://www.avid.com/US/about-avid/

legal-notices/trademarks.

Adobe and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Windows is either a registered trademark or 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 British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. It’s Shuttletime — Courtesy of BCP & Canadian Airlines. Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Saturn “Calvin Egg” — Courtesy of Cossette Communications. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. " The Big Swell" — Courtesy of Swell Pictures, Inc. Windhorse — Courtesy of Paul Wagner Productions.

Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc., Editor/Producer Bryan Foote. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Ice Island — Courtesy of Kurtis Productions, Ltd. Tornados + Belle Isle footage — Courtesy of KWTV News 9. WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA. Women in Sports – Paragliding — Courtesy of Legendary Entertainment, Inc.

Avid Media Composer Effects and Color Correction Guide • Created 10/17/18

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Chapter 1 Effects Concepts and Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Types of Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Real-Time Effects and Non-Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Color Coding on Effect Icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Understanding the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Displaying and Adjusting the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Working with Effects in HD and in Progressive Frame Projects . . . . . . . . . . . . . . . . . . . . . . . 21

Changing Timeline View Settings for Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Adjusting Trim Settings for Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Setting Effect Grid Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Setting Effect Aperture Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Chapter 2 Basics of Effects Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Deleting Effects in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Sizing Effects to Fit the Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Adjusting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Updating and Reverting Existing Effects in Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Working with Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Promoting Existing Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Playing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Basics of Effects Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Chapter 3 Applying and Customizing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Applying Dissolve Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Working with the Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Adjusting Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Modifying Transition Effects in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Preserving Effect Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Replacing an Effect in Effect Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Using the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Stepping Through Field-Based Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Using the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Manipulating Effects Directly in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Chapter 4 Working with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Understanding Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Track Types for Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Viewing Advanced Keyframe Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Manipulating Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Controls and Settings for Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Working with Standard Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Chapter 5 Playing Effects, Rendering Effects, and Managing Effect Media Files. . . . . . 122

Real-Time Playback of Video Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Creating and Using Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Render Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Using Partial Render. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Using 16-Bit Processing Support for Rendered Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Ensuring the Quality Level of Precomputed Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Rendering 3D Effects Using the HQ (Highest Quality) Option . . . . . . . . . . . . . . . . . . . . . . . 140

Managing Effect Media Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Chapter 6 Working with Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Understanding AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Freeing Memory Used by AVX 1.x Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Installing AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Locating the AVX 1.x Plug-Ins Folder (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Updating and Promoting AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Assigning Multiple Tracks in Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Using AVX Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Using the Client Monitor to Preview a Plug-In Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Troubleshooting AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Chapter 7 Creating and Customizing Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Understanding Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Creating Traditional Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Playing and Rendering Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Understanding Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Creating Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Promoting a Traditional Motion Effect to Timewarp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Using the Motion Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Scaling a Graph Display in the Motion Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Using the Source Anchor Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Using Adaptive Deinterlacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Motion Effect Editor Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Rendering Options for Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Timewarp Speed Graph Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Timewarp Position Graph Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Timewarp Effect Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Understanding FluidMotion Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

FluidMotion Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Using FluidMotion Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Example of Correcting FluidMotion Artifacts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Timewarp Preset Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

FluidFilm Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Setting Source and Output Options for Format Conversion with Timewarp Effects . . . . . . . 193

Chapter 8 Layered and Nested Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Working with Imported Graphics and Animation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Submaster Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Collapsing Layers into a Submaster Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Performing a Video Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Chapter 9 Working with Camera Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Using the Reformat Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Working with the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Using Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Chapter 10 Motion Tracking and Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Understanding Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Workflow for Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Effects and Effect Parameters That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Understanding the Tracking Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Opening The Tracking Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Tracking Window Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Setting Up an Effect for Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Preparing to Generate Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Generating Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Offset Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Understanding Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Customizing the Display of Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Setting the Reference Frame for a Tracker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Understanding the SteadyGlide and Smoothing Options for Tracking . . . . . . . . . . . . . . . . . 262

Using SteadyGlide or Smoothing to Process Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . 263

Selecting, Deleting, and Moving Tracking Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Moving Tracker Data Points Outside the Frame Boundary . . . . . . . . . . . . . . . . . . . . . . . . . 266

Stretching a Range of Tracker Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Limiting the Effect of Position Tracking Data to a Single Axis . . . . . . . . . . . . . . . . . . . . . . . 267

Playing Effects That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Understanding Stabilizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Stabilizing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Reviewing and Adjusting a Stabilized Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Guidelines for Using Multiple Trackers When Stabilizing . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Using the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Making Adjustments to the Region Stabilize Region of Interest . . . . . . . . . . . . . . . . . . . . . . 275

Editing Segments That Use Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Reusing Existing Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Copying and Pasting Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Examples of Effects Using Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Chapter 11 Working with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Understanding 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Applying the 3D Warp Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Using Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Promoting 2D Effects to 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Using Matte Keys with 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Real-Time Playback of 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Understanding 3D Geometry and Degrees of Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Working with 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Manipulating 3D Effects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Applying 3D Effects: Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Chapter 12 Creating Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Opening the Title Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Using Marquee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Overview of Title Creation in the Title Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Installing Fonts for Use in the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Understanding the Title Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Toolbar Reference for the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Using the Selection and Text Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Understanding the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Setting Up the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Creating Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Sizing and Positioning Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Editing a Text String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Formatting Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Creating Graphic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Creating Rolling and Crawling Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Modifying and Manipulating Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Modifying Box Corners, Lines, and Borders on Title Objects . . . . . . . . . . . . . . . . . . . . . . . . 317

Understanding Color and Transparency Controls in the Title Tool. . . . . . . . . . . . . . . . . . . . 319

Selecting Colors and Setting Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Adding Shadows to Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Adjusting Shadows on Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Manipulating Title Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Saving Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Revising a Title in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Creating and Using Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Saving and Recalling Title Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Exporting a Title as a Graphics File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Chapter 13 Editing with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Displaying Title Clips and Frames in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Editing a Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Removing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Replacing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Fading a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Setting Marks in a Rolling or Crawling Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Trimming the Duration of Rolling and Crawling Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Adjusting Title Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Revising a Title in a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Replacing Fill Tracks in a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Rendering Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Re-creating Title Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Troubleshooting Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Chapter 14 Working with the SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Understanding the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

How the SubCap Effect Handles Caption Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Applying the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Entering Caption Text Directly in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Importing a Caption File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Adding Information to a SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Editing Text in the Master Caption List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Adjusting SubCap Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Synchronizing SubCap Effect Parameters and Information . . . . . . . . . . . . . . . . . . . . . . . . . 356

Exporting SubCap Effect Data to Caption Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Working with Unicode Text in the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Working with SubCap Effect Stylesheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Examples of SubCap Effect Parameter Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Chapter 15 Intraframe Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Understanding the Intraframe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Rendering Intraframe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Applying the Paint or AniMatte Effect to a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Effect Editor Reference for the Paint and AniMatte Effects . . . . . . . . . . . . . . . . . . . . . . . . . 366

Using the Intraframe Drawing Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Working with Vector-Based Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Using the Previsualization Marker Tool for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Manipulating Intraframe Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Layering, Grouping, and Locking Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Exporting a Matte Key Created With the AniMatte Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Scratch Removal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Intraframe Editing Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Working with the Blur Effect and Mosaic Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Chapter 16 PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Understanding PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Folder Structure for PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Using PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Creating Gradient Images for PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Understanding PlasmaWipe Frame and Border Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Applying and Adjusting PlasmaWipe Frame and Border Effects . . . . . . . . . . . . . . . . . . . . . 428

Creating Custom PlasmaWipe Border and Frame Effects . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Chapter 17 Effects Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Blend Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Box Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Conceal Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Edge Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Film Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Generator Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Illusion FX Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

L-Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452

Matrix Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Peel Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Push Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Reformat Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Sawtooth Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Shape Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Spin Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Squeeze Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Title Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Comparison of Similar Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Chapter 18 Effects Parameter Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Color Parameter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Common 2D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Film Effects Blowup Parameter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Generator Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

Illusion FX Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490

Image Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

Key Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Motion Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

Reformat Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548

FluidMotion Edit Parameters for Timewarp Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

Rolling Title and Crawling Title Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

3D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553

Chapter 19 Understanding Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Overview of Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Reasons for Making Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576

Entering and Exiting Color Correction Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577

The Color Correction Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577

The Color Correction Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583

Working with Color Correction Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599

(Media Composer | Symphony Option) Displaying Color Correction Information in the Timeline

605

(Media Composer | Symphony Option) Understanding Color Correction Indicator Lines in the

Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

Chapter 20 Performing Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

General Workflow for Making Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Using Automatic Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608

Using the Color Match Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614

The HSL (Hue, Saturation, Luminance) Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622

The Channels Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636

(Media Composer | Symphony Option) The Levels Group . . . . . . . . . . . . . . . . . . . . . . . . . . 640

The Curves Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651

(Media Composer | SymphonyOption) The Secondary Group . . . . . . . . . . . . . . . . . . . . . . . 661

Keyframing Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677

Working with the Waveform Monitors and Vectorscope Monitor . . . . . . . . . . . . . . . . . . . . . 681

Applying Color Corrections to an Entire Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687

Using the Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688

Chapter 21 (Media Composer | Symphony Option) Managing Color-Corrected Sequences . .

695

Updating Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695

Merging Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696

Color Correction Merging Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699

Flattening Color-Corrected Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700

Removing Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701

Chapter 22 Color Correction Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703

Guiding Principles for Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703

Examples of Color Correction Problems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708

Chapter 23 Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717

Overview of Safe Color Limits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717

Safe Color Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718

Understanding the Graphical View of Safe Color Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Understanding Safe Color Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 720

Managing Safe Color Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721

Making Adjustments to Achieve Safe Color Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722

Safe Color Limits with Waveform and Vectorscope Information. . . . . . . . . . . . . . . . . . . . . . 723

Working with the Safe Color Limiter Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725

Chapter 24 (Media Composer | Symphony Option) Spot Color Correction . . . . . . . . . . . . 728

Understanding the Spot Color Correction Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728

Making Corrections Using the Spot Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . 729

Using Paint Effect Modes for Color Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730

Chapter 25 Using Avid Artist Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732

Installing EuControl Software and Configuring the Avid Artist Color . . . . . . . . . . . . . . . . . . 732

Using Artist Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740

Editing Without Entering Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747

Avid Artist Color Soft Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748

Customizing Avid Artist Color Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749

Avid Artist Color Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752

Controller Application Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753

Using This Guide

This guide provides conceptual information and step-by-step instructions for the effects and color correction features of your Avid effect and effect parameter available in your application.

Unless noted otherwise, the material in this document applies to the Windows operating systems. The majority of screen shots in this document were captured on a Windows system, but the information applies to both Windows and Mac OS X systems. Where differences exist, both Windows and Mac OS X screen shots are shown.

The documentation describes the features and hardware of all models and applies to both the

Windows and Mac OS X operating systems. Your system might not contain certain features and hardware that are covered in the documentation, and might not be available on both Windows and Mac OS X.

editing application. It also provides reference information for every

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

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.

and Mac OS® X

A warning describes an action that could cause you physical harm.

> This symbol indicates menu commands (and subcommands) in the

(Windows), (Windows only), (Macintosh), or (Macintosh only)

Bold font Bold font is primarily used in task instructions to identify user interface

Italic font Italic font is used to emphasize certain words and to indicate variables.

Courier Bold font

Ctrl+key or mouse action Press and hold the first key while you press the last key or perform the

Follow the guidelines in this document or on the unit itself when handling electrical equipment.

order you select them. For example, File > Import means to open the File menu and then select the Import command.

This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed.

This text indicates that the information applies only to the specified operating system, either Windows or Macintosh OS X.

items and keyboard sequences.

Courier Bold font identifies text that you type.

mouse action. For example, Command+Option+C or Ctrl+drag.

If You Need Help

If you are having trouble using your Avid product:

1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow.

2. Check the latest information that might have become available after the documentation was published:

You should always check online for the most up-to-date release notes or ReadMe because the online version is updated whenever new information becomes available. To view these

online versions, select ReadMe from the Help menu, or visit the Knowledge Base at

www.avid.com/readme.

3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues.

4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read or join online message-board discussions.

Avid Training Services

Avid makes lifelong learning, career advancement, and personal development easy and convenient. Avid understands that the knowledge you need to differentiate yourself is always changing, and Avid continually updates course content and offers new training delivery methods that accommodate your pressured and competitive work environment.

For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/support and follow the Training links, or call Avid Sales at 800-949-AVID (800-949-2843).

1 Effects Concepts and Settings

This chapter describes concepts you should understand before you begin creating effects and common settings adjustments that affect how you work with effects:

• Types of Effects

• Real-Time Effects and Non-Real-Time Effects

• Color Coding on Effect Icons

• Understanding the Effect Palette

• Displaying and Adjusting the Effect Palette

• Working with Effects in HD and in Progressive Frame Projects

• Changing Timeline View Settings for Effects

• Adjusting Trim Settings for Effects

• Setting Effect Grid Options

• Setting Effect Aperture Options

Types of Effects

You can divide the effects in Avid editing applications into a number of groupings, which are described in the remainder of this topic.

There is considerable overlap within these groupings. For example, Timewarp effects are one of the main types of motion effects in Avid editing applications, but they are also examples of segment effects. The following descriptions give you a basic understanding of the range of effects available, and an introduction to some of the terminology Avid uses in its effects documentation.

Transition Effects

You apply transition effects at the cut point between two video clips that are on the same track (the same video layer) in a sequence. Examples of transition effects are dissolves, fades, and wipes.

Segment Effects

You apply segment effects to an entire clip or group of clips in a sequence. For example, you might apply a Color Effect to several segments in a sequence to tint those segments, suggesting that the action they contain is taking place in the past.

Segment effects fall into two subgroups:

• Single-layer

You apply a single-layer segment effect to a segment on one video track. A single-layer segment effect only needs one stream of video to create its effect. For example, the Mask effect lets you mask out some parts of the video in a segment, replacing it with a solid color.

• Multilayer

Types of Effects

You apply a multilayer segment effect to the top layer or a middle layer of segments that contain two or more video tracks that will play simultaneously. A multilayer segment effect requires more than one video stream to create its effect. For example, a Picture-in-Picture effect displays video from an upper video track inside video from a lower track.

Motion Effects

Motion effects manipulate the motion characteristics in a clip, for example, by freezing action or by varying the speed at which a clip plays. You create motion effects either by generating new clips with fixed motion characteristics, or by using the Timewarp effects to change the motion characteristics of clips already in a sequence. For information on motion effects, see “Creating and Customizing

Motion Effects” on page 152.

Title Effects

Title effects contain text and graphic objects that you create with one of the title tools in your Avid editing application. You save title effects into bins as a special clip type, and edit them onto their own layers in a sequence, usually above all other video layers. For information on title effects, see

“Creating Titles” on page 296.

2D Effects and 3D Effects

Effects in Avid editing applications are either 2D or 3D. 2D effects appear to be acting in the two dimensions of the screen the viewer is watching and do not give an impression of depth. 3D effects give an impression of depth, for example, by wrapping a video image around a sphere. Some Avid effects are 2D only or 3D only, while others have both 2D and 3D versions, or can be promoted from 2D to 3D. For specific information on working with 3D effects, see “Working with 3D Effects” on

page 281.

Nested Effects

You apply nested effects inside other effects on the same video layer. Effect nesting allows you great flexibility to apply multiple effects to the same segment in a sequence. For example, you might want to apply a color effect within an existing Picture-in-Picture effect. To do this, you can nest the color effect inside the Picture-in-Picture. For more information, see “Layered and Nested Effects” on

page 195.

Key Effects

Key effects use specific rules to define how parts of one image show through another image. The best-known example of a key effect is a chroma key, for example, where an actor shot in front of a blue or green screen appears to be standing in front of another background. The key effect replaces the blue or green color in the foreground shot with parts of the background shot. For more information, see “Layered and Nested Effects” on page 195.

Camera Effects

Camera effects control aspect ratio, format, or the apparent motion of the camera. For example, Avid editing applications can reformat video media to different aspect ratios, allowing you to select the area of video that is preserved in the new aspect ratio. For more information, see “Working with

Camera Effects” on page 219.

Real-Time Effects and Non-Real-Time Effects

Motion Tracking and Stabilization Effects

Motion tracking lets you track the motion of an area in an image and then use the tracking data to control the motion of another effect. You can also use tracking to stabilize an image to compensate for camera motion. For more information, see “Motion Tracking and Stabilization” on page 239.

Intraframe Effects

Intraframe effects let you perform paint or animated matte effect operations within one or more individual frames in a clip. For example, you can identify part of an image with drawing tools and apply a blur to only that part of the image. You can also use this technique to repair scratches and other flaws on individual frames. For more information, see “Intraframe Editing” on page 363.

PlasmaWipe Effects

PlasmaWipe effects use gradient image bitmaps to create highly-customizable wipes and segment effects. You can use one of the many preset effects or create your own using new gradient images. For more information, see “PlasmaWipe Effects” on page 416.

AVX Plug-In Effects

Avid editing applications support the Avid Visual Extensions (AVX™) standard. AVX is a crossplatform technology that allows software effect modules (plug-ins) to be dynamically linked to an Avid editing application. Some effects that Avid supplies with your Avid editing application use the AVX technology, while others do not. In general, you work in exactly the same way with both types.

Third-party developers use AVX to create effect plug-ins that you can purchase, install, and use to extend the effects functionality of your Avid editing application. Third-party AVX plug-in effects might have controls that look very similar to standard Avid effect controls, or they might have custom user interfaces.

For more information on working with third-party plug-ins, see “Working with Plug-In Effects” on

page 144.

Real-Time Effects and Non-Real-Time Effects

Effects in Avid editing applications can be either real-time or non-real-time. A real-time effect is one that you can apply to a sequence and play without having to render it first. Rendering is a processing operation that your Avid editing application performs to merge effect layers, creating one stream of digital video for playback in real time. (Rendering takes time and creates a new media file that occupies drive space.) You must render non-real-time effects before you can play them back. You can preview non-real-time effects, or play them as an outline, without rendering them.

A real-time effect has a small green dot in the Effect Palette and within the effect icon in the Timeline. Effects that you must render have a small blue dot within the effect icon in the Timeline. For more information, see “Color Coding on Effect Icons” on page 18.

You can create a sequence that has any number of real-time and non-real-time effects. However, there are limits on how many real-time effects your Avid editing application can play at once without rendering or otherwise reducing the amount of processing necessary during playback. For more information, see “Real-Time Playback of Video Effects” on page 122.

Color Coding on Effect Icons

When you want to play a sequence that includes effects at full quality, you might have to render some of the effects. You will have to render any effect that is non-real-time, and you might need to render some of the effects that are normally real-time.

The exact number of effects that you must render for output depends on the following factors:

• Whether or not you have Avid input/output hardware attached to your system. If you do not have Avid input/output hardware attached, you must render all effects before you perform a digital cut.

• How complex your sequence is, and especially how your effects are layered on multiple video tracks. If you have Avid input/output hardware attached to your system, real-time effects might cause dropped frames during a digital cut. You can have your Avid editing application select and render real-time effects that might cause dropped frames. For more information, see “Recording a Digital Cut to Tape (Remote Mode)” and “Recording a Digital Cut to Tape (Local Mode)” in the Help.

If you attempt to play or output a sequence that your Avid editing application cannot play in realtime, you can display information in the Timeline that shows where the demands of the sequence are preventing successful real-time play. For more information, see “Understanding Real-Time Playback

Information in the Timeline” on page 123. You have several options for how to proceed in these

circumstances:

• For playing alone, you can use the Video Quality menu or Video Display settings to ease the playback demands by reducing the display quality of the video. For more information, see

“Options for Controlling Real-Time Effects Playback” on page 124.

• For output, where anything less than the best quality is not an option, you can use the ExpertRender feature to identify the minimum number of effects that you must render in order for the sequence to play in real time. For more information, see “ExpertRender” on page 127.

Color Coding on Effect Icons

Effect icons in the Effect Palette and in the Timeline display colored dots to help you determine whether an effect is real-time or non-real-time.

Real-time effects show a green dot. Real-time effects play in real time in a sequence, subject to the playback capabilities and constraints of your Avid editing system. For more information, see “Real-

Time Playback of Video Effects” on page 122.

Relationship color corrections (Symphony Option) are also real-time effects that display in the

Timeline with a green dot. For more information, see “(Media Composer | Symphony Option)

Displaying Color Correction Information in the Timeline” on page 605.

Non-real-time effects have no dot in the Effect Palette. In the Timeline, the effect icon shows a blue dot until you render the effect.

Understanding the Effect Palette

In the Effect Palette (left), green dots indicate real-time effects. (Real-time effects might not be playable in real time depending on system resources and the complexity of your sequence.) Non-real-time effects have no dot in the Effect Palette. Non-real-time effects have a blue dot in the Timeline until they are rendered.

All colored dots disappear in the Timeline when you render effects.

Understanding the Effect Palette

The Effect Palette lists all transition and segment effects, and some motion effects, that are available for your Avid editing application. The Effect Palette is the primary tool that you use to apply effects to your sequences. For information on accessing the Effect Palette, see “Displaying and Adjusting

the Effect Palette” on page 20.

The Effects Palette allows you to find and filter effects quickly and easily. Effects are divided into two categories for video (Filters and Transitions); and two categories for audio (Clip Effects and Track Effects).

There is also a Quick Find allowing you search for a specific effect. By default, the search is done on all categories, but you can refine this search by selecting the appropriate category.The left side of the Effect Palette displays a list of effect categories. The right side shows the various effects that are available for the currently selected effect category.

Displaying and Adjusting the Effect Palette

The Effect Palette displays all of the effect categories available for your Avid editing application, including any third-party AVX plug-in effects you have installed. If you save any effect templates to a bin, and have that bin open, those templates also display in the Effect Palette. For reference information on all Avid effects, see “Effects Reference” on page 431.

Displaying and Adjusting the Effect Palette

This topic provides basic information on displaying and adjusting the Effect Palette. For information on the organization and purpose of the Effect Palette, see “Understanding the Effect Palette” on

page 19.

To display the Effect Palette:

t In the Project window, click the Effects tab.

To resize the Effect Palette:

t Click the lower right corner of the palette, drag the palette to the size you want, and release the

mouse button.

To display effect templates saved to a bin in the Effect Palette:

1. Open the bin containing the effect templates.

2. If the Effect Palette is not already open, in the Project window, click the Effects tab.

3. Click the bin name below the effect category list to view the effect templates in the bin.

In the following illustration, the bin named “Effect Templates” is selected below the effect category list and the templates in that bin appear on the right.

Working with Effects in HD and in Progressive Frame Projects

Many video effects work the same way regardless of the project type or video format. This topic describes several situations where effect behavior varies depending on whether a project is SD or HD, or is interlaced or progressive.

Effects Considerations for HD Projects

Effects that use square geometry automatically use the correct pixel aspect ratios. These effects include Titles, Box Wipes, and certain paint modes like Mosaic. Effects such as Color Correction, Color Effect, and Luma keys automatically use the correct color space (ITU-709 for HD).

The Safe Color Limiter effect converts from 709 to 601 color space before limiting unsafe colors, and

then converts back to 709 color space. For more information, see “Understanding the Safe Color

Limiter Effect” on page 725.

Note the following:

• You do not need to generate 4:3 media for titles.

• Timewarp effects use a 60p input and output format in 720p/59.94 projects.

Effects Considerations for Progressive Frame Projects

Effects in progressive frame projects are frame based rather than field based, so their normal behavior is slightly different from effects in interlaced projects. In particular, temporal artifacts might appear in some effects under certain circumstances. This topic 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 — always look the same in progressive projects as they do in interlaced projects.

Effects that involve movement across the screen — for example, wipes, 3D shapes, or moving titles — might look different in 24p or 25p projects from their equivalents in interlaced projects for the following reasons:

• Because the effect uses 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

Changing Timeline View Settings for Effects

example, the edge of a 1-second Horizontal Edge Wipe effect appears in 24 or 25 different positions across the screen. For effects of short duration in particular, this difference might be perceptible to the viewer.

• When the 24p or 25p media is output (to the interlaced Client monitor or as a digital cut), it is interlaced again and pulldown is inserted to achieve 60 fields per second (NTSC). Your Avid editing application inserts pulldown by duplicating some of the existing frames to create the correct number of fields per second. Viewers might notice temporal artifacts created by this duplication process. 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 that you create in 24p or 25p projects, such as Variable Speed effects, might also look different from motion effects that you create in interlaced projects. For more information on 24p or 25p motion effects, see “Considerations for Motion Effects in Progressive Projects” on page 162.

For more information on how your Avid editing application handles 24p or 25p material, see

“Displaying 24p and 25p Media” in the Help.

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 are the movements between the increments of the effect.

• 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.

Changing Timeline View Settings for Effects

All effect icons display in the Timeline by default. You can change the Timeline settings to display all effect icons, all effect icons except Dissolve Effect icons, or no effect icons. If you change the setting to display no effect icons, you must reset it before you begin applying effects. The fewer effect icons you display, the faster your Avid editing application refreshes the screen.

To change the Timeline settings:

1. In the Timeline window, click the Fast Menu button, and then do one of the following:

t To display all effect icons in the Timeline, select Effect Icons.

t To display all effect icons except Dissolve icons, select Effect Icons and deselect Dissolve

Icons.

t To display no effect icons, deselect Effect Icons. Dissolve Icons appears dimmed and is now

unavailable.sd

2. (Option) To save your Timeline settings, click the Timeline View Name button, select Save As, and type a view name.

Timeline View Name button and menu below Timeline

Adjusting Trim Settings for Effects

In Trim mode in some Avid editing applications, 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 make trimming easier.

For more information on changing Trim settings, see “Trim Settings Basics” in the Help.

To change the Trim settings for Render On-the-Fly:

1. In the Project window, click the Settings tab.

Adjusting Trim Settings for Effects

The Settings list appears.

2. Double-click Trim.

The Trim Settings dialog box opens.

3. Click the Features tab, and then select or deselect Render On-The-Fly.

4. Click OK.

Setting Effect Grid Options

You can display a grid in the Effect Preview monitor in Effect mode to guide you as you create and adjust effects. For information on using the grid, see “Understanding the Effect Grid” on page 64.

The Grid Settings dialog box lets you customize the grid.

To set the default grid values, do one of the following:

t In the Settings list of the Project window, double-click Grid.

t If the effect you are working with has a Grid parameter group, click the Other Options button for

the Grid parameter group in the Effect Editor.

The Grid Settings dialog box opens.

For information on the Grid Settings options, see “Grid Settings” in the Help.

Setting Effect Aperture Options

In some Avid editing applications, the Effect Aperture setting lets you control the number of horizontal lines of an image that are used to create an effect. For example, if you are working with DV media and notice black lines above and below Picture-in-Picture effects, you can instruct the system to ignore the lines by changing the effect aperture.

The Effect Aperture feature applies only to NTSC projects.

For uncompressed and non-DV resolutions, your Avid editing application uses all 243 horizontal lines per field to display the image. For DV media, your Avid editing application uses 240 lines for the image and adds two black lines above the image and one black line below the image. The effect aperture lets you decide whether or not to use the three black lines when you create effects.

In a DV project the black lines can become visible when you create effects such as Picture-in-Picture or Squeeze effects.

The following illustrations show four PIP effects. In the first illustration, which uses the default ITU 601 aperture, you can clearly see the black lines between the effects. The second illustration displays the same media with the DV25 effect aperture — the black lines do not appear between the effects.

Setting Effect Aperture Options

In a project that uses only DV media, it is useful to switch to the DV 25 aperture setting. In a project using uncompressed or mixed resolution media, use the ITU 601 aperture.

To change the effect aperture:

1. In the Settings list in the Project window, double-click General.

The General Settings dialog box opens.

2. Select one of the following Effect Aperture options:

Option Description

ITU 601 (720x 486) Select this setting when you are using uncompressed media or

mixed resolutions. This is the default setting.

DV25 (720 x 480) Select this setting when you are using DV media exclusively.

3. Click OK.

Setting Effect Aperture Options

2 Basics of Effects Editing

This chapter provides basic procedures for creating, adjusting, playing, and rendering effects:

• Applying Effects

• Deleting Effects in a Sequence

• Sizing Effects to Fit the Media

• Adjusting Effects

• Updating and Reverting Existing Effects in Sequences

• Working with Effect Templates

• Promoting Existing Effect Templates

• Playing Effects

• Basics of Effects Rendering

Applying Effects

You apply most effects to video material after you edit it into a sequence. This section describes basic methods for applying effects using the Effect Palette and the Fade Effect button.

You can also apply and adjust basic transition effects using the Quick Transition button and the Quick Transition dialog box. For more information, see “Working with the Quick Transition Dialog

Box” on page 50

You can also create titles and some types of motion effects as new clips that you then edit into a sequence. For more information, see “Creating Titles” on page 296 and “Creating and Customizing

Motion Effects” on page 152.

You cannot apply effects to clips on a data (D1) track.

Applying Effects From the Effect Palette

You can apply effects either to transitions or to segments. Most effects are only suitable for one of these applications. For example, you cannot apply every effect in the Effect Palette to a transition. For more information on the use of an individual effect, see the reference information for the effect in

“Effects Reference” on page 431.

To apply an effect to a single transition or to a single segment in the Timeline, do one of the following:

t Click the effect’s icon in the Effect Palette, drag the icon over the transition or segment in the

Timeline, and release the mouse button.

t In Effect Mode, click the transition, and then double-click the effect’s icon in the Effect Palette.

t Select the segment in the Timeline, and then double-click the effect’s icon in the Effect Palette.

Applying Effects

For more information on selecting segments, see “Selecting and Deselecting Segments” in the Help.

If there is not enough incoming or outgoing media to apply a transition effect at its default length, the Insufficient Source dialog box opens. For more information, see “Sizing Effects to Fit

the Media” on page 31.

To apply an effect to multiple transitions in the Timeline:

1. Enter Effect mode, for example, by clicking the Effect Mode button.

For more information, see “Entering Effect Mode” on page 32.

2. Click the first or last transition to which you want 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.

4. Release the mouse button when the selection box includes all the transitions you want.

Your Avid editing application highlights the transitions that you select, and the position indicator moves to the first transition.

5. (Option) Shift+click any transition to deselect it.

6. In the Effect Palette, double-click the icon for the effect that you want to apply to the transitions.

Your Avid editing application applies the effect to the selected transitions in the Timeline.

If there is not enough incoming or outgoing media to apply the transition effect at its default length to one or more of the transitions, the Insufficient Source dialog box opens. For more information, see “Sizing Effects to Fit the Media” on page 31.

To apply an effect to multiple segments in the Timeline:

1. Enter Effect mode, for example, by clicking the Effect Mode button.

For more information, see “Entering Effect Mode” on page 32.

Applying Effects

2. 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.

3. Continue to drag to the right until the selection box includes the rightmost segment that you want to select.

4. Release the mouse button.

Your Avid editing application highlights the segments that you select.

5. (Option) Shift+click a segment to deselect it.

6. In the Effect Palette, double-click the icon for the effect that you want to apply to the segments.

Your Avid editing application applies the effect to the selected segments in the Timeline.

Using the Fade Effect Button

You can use the Fade Effect button to create basic fades for segment effects.

The Fade Effect feature creates keyframes for the effect automatically. You can access the keyframes in the Effect Editor.

The Fade Effect button appears in the FX tab of the Command palette and, for some Avid editing

applications, in the Tool Palette. You can map the Fade Effect button to another location. For more information, see “Mapping User-Selectable Buttons” in the Help.

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 one of the segment tools on the Timeline Palette, and

then Shift+click the segments.

Segment tools in the Timeline palette

2. Click the Fade Effect button.

The Fade Effect dialog box opens.

3. Type the number of frames to fade up and fade down, and click OK.

You can view the Fade effect by playing the segment or segments.

Deleting Effects in a Sequence

You can delete transition effects from a sequence in Source/Record mode, Trim mode, or Effect mode.

Deleting Effects in a Sequence

To delete a single effect:

1. Move the position indicator to the Timeline segment containing the effect’s icon.

2. If there are multiple tracks that contain effects at the same position in the Timeline, select only the track that contains the effect you want to delete.

In this example, only track V3 is selected.

3. Do one of the following:

t In Source/Record mode, click the Remove Effect button.

t In Effect mode, select the effect and press Delete.

t When trimming (for transition effects only), either press Delete or click the Remove Effect

button.

Your Avid editing application removes the effect.

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Pinnacle Systems Media Composer - 2018.x User Manual

Contents

Symbols and Conventions

If You Need Help

Avid Training Services

1 Effects Concepts and Settings

Types of Effects

Real-Time Effects and Non-Real-Time Effects

Color Coding on Effect Icons

Understanding the Effect Palette

Displaying and Adjusting the Effect Palette

Working with Effects in HD and in Progressive Frame Projects

Changing Timeline View Settings for Effects

Adjusting Trim Settings for Effects

Setting Effect Grid Options

Setting Effect Aperture Options

2 Basics of Effects Editing

Applying Effects

Applying Effects From the Effect Palette

Using the Fade Effect Button

Deleting Effects in a Sequence