Pinnacle Systems Media Composer - 8.3 User’s Guide

Avid® Media Composer® | Software

Effects and Color Correction Guide

Legal Notices

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

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

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Trademarks

003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline, AirSpeed, ALEX, Alienbrain, AME, AniMatte, Archive, Archive II, Assistant Station, AudioPages, AudioStation, AutoLoop, AutoSync, Avid, Avid Active, Avid Advanced Response, Avid DNA, Avid DNxcel, Avid DNxHD, Avid DS Assist Station, Avid Ignite, Avid Liquid, Avid Media Engine, Avid Media Processor, Avid MEDIArray, Avid Mojo, Avid Remote Response, Avid Unity, Avid Unity ISIS, Avid VideoRAID, AvidRAID, AvidShare, AVIDstripe, AVX, Beat Detective, Beauty Without The Bandwidth, Beyond Reality, BF Essentials, Bomb Factory, Bruno, C|24, CaptureManager, ChromaCurve, ChromaWheel, Cineractive Engine, Cineractive Player, Cineractive Viewer, Color Conductor, Command|24, Command|8, Control|24, Cosmonaut Voice, CountDown, d2, d3, DAE, D-Command, D-Control, Deko, DekoCast, D-Fi, D-fx, Digi 002, Digi 003, DigiBase, Digidesign, Digidesign Audio Engine, Digidesign Development Partners, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiLink, DigiMeter, DigiPanner, DigiProNet, DigiRack, DigiSerial, DigiSnake, DigiSystem, Digital Choreography, Digital Nonlinear Accelerator, DigiTest, DigiTranslator, DigiWear, DINR, DNxchange, Do More, DPP-1, D-Show, DSP Manager, DS-StorageCalc, DV Toolkit, DVD Complete, D-Verb, Eleven, EM, Euphonix, EUCON, EveryPhase, Expander, ExpertRender, Fader Pack, Fairchild, FastBreak, Fast Track, Film Cutter, FilmScribe, Flexevent, FluidMotion, Frame Chase, FXDeko, HD Core, HD Process, HDpack, Home-to-Hollywood, HYBRID, HyperSPACE, HyperSPACE HDCAM, iKnowledge, Image Independence, Impact, Improv, iNEWS, iNEWS Assign, iNEWS ControlAir, InGame, Instantwrite, Instinct, Intelligent Content Management, Intelligent Digital Actor Technology, IntelliRender, Intelli-Sat, Intelli-sat Broadcasting Recording Manager, InterFX, Interplay, inTONE, Intraframe, iS Expander, iS9, iS18, iS23, iS36, ISIS, IsoSync, LaunchPad, LeaderPlus, LFX, Lightning, Link & Sync, ListSync, LKT-200, Lo-Fi, MachineControl, Magic Mask, Make Anything Hollywood, make manage move | media, Marquee, MassivePack, Massive Pack Pro, Maxim, Mbox, Media Composer, MediaFlow, MediaLog, MediaMix, Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MIDI I/O, Mix Rack, Moviestar, MultiShell, NaturalMatch, NewsCutter, NewsView, NewsVision, Nitris, NL3D, NLP, NSDOS, NSWIN, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Painterly Effects, Palladium, Personal Q, PET, Podcast Factory, PowerSwap, PRE, ProControl, ProEncode, Profiler, Pro Tools, Pro Tools|HD, Pro Tools LE, Pro Tools M-Powered, Pro Transfer, QuickPunch, QuietDrive, Realtime Motion Synthesis, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, Reprise, Res Rocket Surfer, Reso, RetroLoop, Reverb One, ReVibe, Revolution, rS9, rS18, RTAS, Salesview, Sci-Fi, Scorch, ScriptSync, SecureProductionEnvironment, Serv|GT, Serv|LT, Shape-to-Shape, ShuttleCase, Sibelius, SimulPlay, SimulRecord, Slightly Rude Compressor, Smack!, Soft SampleCell, Soft-Clip Limiter, SoundReplacer, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, SubCap, Sundance, Sundance Digital, SurroundScope, Symphony, SYNC HD, SYNC I/O, Synchronic, SynchroScope, Syntax, TDM FlexCable, TechFlix, Tel-Ray, Thunder, TimeLiner, Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, tools for storytellers, Transit, TransJammer, Trillium Lane Labs, TruTouch, UnityRAID, Vari-Fi, Video the Web Way, VideoRAID, VideoSPACE, VTEM, Work-N-Play, Xdeck, X-Form, Xmon and XPAND! are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

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 "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.

, Carol Amore, Executive Producer.

Avid Media Composer Effects and Color Correction Guide • 0130-30394-01 Rev F • December 2014

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Symbols and Conventions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Avid Training Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Chapter 2 Effects Concepts and Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Types of Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Real-Time Effects and Non-Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Color Coding on Effect Icons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Understanding the Effect Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Displaying and Adjusting the Effect Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Working with Effects in HD and in Progressive Frame Projects . . . . . . . . . . . . . . . . . . . 26

Changing Timeline View Settings for Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Adjusting Trim Settings for Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Setting Effect Grid Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Setting Effect Aperture Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Chapter 3 Basics of Effects Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Applying Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Deleting Effects in a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Sizing Effects to Fit the Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Adjusting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Updating and Reverting Existing Effects in Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 42

Working with Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Promoting Existing Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Playing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Basics of Effects Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Chapter 4 Applying and Customizing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Applying Dissolve Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Working with the Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Adjusting Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Modifying Transition Effects in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Preserving Effect Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Replacing an Effect in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Using the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Stepping Through Field-Based Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Using the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Manipulating Effects Directly in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . 93

Chapter 5 Working with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Understanding Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Track Types for Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Viewing Advanced Keyframe Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Manipulating Advanced Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Controls and Settings for Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Working with Standard Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Chapter 6 Playing Effects, Rendering Effects, and Managing Effect Media Files . . 150

Real-Time Playback of Video Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Creating and Using Render Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Render Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Using Partial Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Using 16-Bit Processing Support for Rendered Effects . . . . . . . . . . . . . . . . . . . . . . . . 170

Ensuring the Quality Level of Precomputed Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Rendering 3D Effects Using the HQ (Highest Quality) Option . . . . . . . . . . . . . . . . . . . 173

Managing Effect Media Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Chapter 7 Working with Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Understanding AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Freeing Memory Used by AVX 1.x Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Installing AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Locating the AVX 1.x Plug-Ins Folder (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . 182

Updating and Promoting AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Assigning Multiple Tracks in Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Using AVX Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Using the Client Monitor to Preview a Plug-In Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Troubleshooting AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Chapter 8 Creating and Customizing Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . 188

Understanding Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Creating Traditional Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Playing and Rendering Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Understanding Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Creating Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Promoting a Traditional Motion Effect to Timewarp . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Using the Motion Effect Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Scaling a Graph Display in the Motion Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Using the Source Anchor Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Using Adaptive Deinterlacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Motion Effect Editor Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Rendering Options for Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Timewarp Speed Graph Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Timewarp Position Graph Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Timewarp Effect Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Understanding FluidMotion Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

FluidMotion Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Using FluidMotion Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Example of Correcting FluidMotion Artifacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Timewarp Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

FluidFilm Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Setting Source and Output Options for Format Conversion with Timewarp Effects . . . 239

Chapter 9 Layered and Nested Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Working with Imported Graphics and Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Submaster Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Collapsing Layers into a Submaster Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Performing a Video Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Chapter 10 Working with Camera Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Using the Reformat Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Working with the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Using Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Chapter 11 Motion Tracking and Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Understanding Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Workflow for Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Effects and Effect Parameters That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . 300

Understanding the Tracking Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Opening The Tracking Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Tracking Window Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Setting Up an Effect for Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Preparing to Generate Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Generating Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Offset Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Understanding Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Customizing the Display of Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Setting the Reference Frame for a Tracker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Understanding the SteadyGlide and Smoothing Options for Tracking . . . . . . . . . . . . . 324

Using SteadyGlide or Smoothing to Process Tracking Data. . . . . . . . . . . . . . . . . . . . . 326

Selecting, Deleting, and Moving Tracking Data Points . . . . . . . . . . . . . . . . . . . . . . . . . 326

Moving Tracker Data Points Outside the Frame Boundary. . . . . . . . . . . . . . . . . . . . . . 329

Stretching a Range of Tracker Data Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Limiting the Effect of Position Tracking Data to a Single Axis. . . . . . . . . . . . . . . . . . . . 331

Playing Effects That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Understanding Stabilizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Stabilizing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Reviewing and Adjusting a Stabilized Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Guidelines for Using Multiple Trackers When Stabilizing . . . . . . . . . . . . . . . . . . . . . . . 337

Using the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Making Adjustments to the Region Stabilize Region of Interest . . . . . . . . . . . . . . . . . . 340

Editing Segments That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Reusing Existing Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Copying and Pasting Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Examples of Effects Using Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Chapter 12 Working with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Understanding 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Applying the 3D Warp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Using Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Promoting 2D Effects to 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Using Matte Keys with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Real-Time Playback of 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Understanding 3D Geometry and Degrees of Rotation . . . . . . . . . . . . . . . . . . . . . . . . 352

Working with 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Manipulating 3D Effects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Applying 3D Effects: Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Chapter 13 Creating Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Opening the Title Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Using Marquee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Overview of Title Creation in the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Installing Fonts for Use in the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Understanding the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Toolbar Reference for the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Using the Selection and Text Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Understanding the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Setting Up the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Creating Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Sizing and Positioning Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Editing a Text String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Formatting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Creating Graphic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Creating Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Modifying and Manipulating Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Modifying Box Corners, Lines, and Borders on Title Objects . . . . . . . . . . . . . . . . . . . . 391

Understanding Color and Transparency Controls in the Title Tool . . . . . . . . . . . . . . . . 394

Selecting Colors and Setting Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Adding Shadows to Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Adjusting Shadows on Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Manipulating Title Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Saving Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Revising a Title in a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Creating and Using Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Saving and Recalling Title Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Exporting a Title as a Graphics File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Chapter 14 Editing with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Displaying Title Clips and Frames in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Editing a Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Removing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Replacing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Fading a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Setting Marks in a Rolling or Crawling Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Trimming the Duration of Rolling and Crawling Titles. . . . . . . . . . . . . . . . . . . . . . . . . . 422

Adjusting Title Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Revising a Title in a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Replacing Fill Tracks in a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Rendering Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Re-creating Title Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Troubleshooting Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Chapter 15 Working with the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Understanding the SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

How the SubCap Effect Handles Caption Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Applying the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Entering Caption Text Directly in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Importing a Caption File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Adding Information to a SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Editing Text in the Master Caption List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Adjusting SubCap Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Synchronizing SubCap Effect Parameters and Information . . . . . . . . . . . . . . . . . . . . . 442

Exporting SubCap Effect Data to Caption Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Working with Unicode Text in the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Working with SubCap Effect Stylesheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Examples of SubCap Effect Parameter Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Chapter 16 Intraframe Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Understanding the Intraframe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Rendering Intraframe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Applying the Paint or AniMatte Effect to a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Effect Editor Reference for the Paint and AniMatte Effects . . . . . . . . . . . . . . . . . . . . . 454

Using the Intraframe Drawing Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Working with Vector-Based Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Using the Previsualization Marker Tool for Film Projects . . . . . . . . . . . . . . . . . . . . . . . 478

Manipulating Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479

Layering, Grouping, and Locking Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Exporting a Matte Key Created With the AniMatte Effect . . . . . . . . . . . . . . . . . . . . . . . 485

Scratch Removal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

Intraframe Editing Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500

Working with the Blur Effect and Mosaic Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512

Chapter 17 PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Understanding PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Folder Structure for PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Using PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Creating Gradient Images for PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Understanding PlasmaWipe Frame and Border Effects . . . . . . . . . . . . . . . . . . . . . . . . 530

Applying and Adjusting PlasmaWipe Frame and Border Effects . . . . . . . . . . . . . . . . . 531

Creating Custom PlasmaWipe Border and Frame Effects . . . . . . . . . . . . . . . . . . . . . . 532

Chapter 18 Effects Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535

Blend Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Box Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540

Edge Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541

Film Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542

Generator Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

Illusion FX Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556

L-Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559

Matrix Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560

Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Peel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562

PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564

Push Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564

Reformat Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565

Sawtooth Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566

Shape Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567

Spin Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569

Squeeze Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570

Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572

Title Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577

Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578

Comparison of Similar Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579

Chapter 19 Effects Parameter Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581

Color Parameter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582

Common 2D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583

Film Effects Blowup Parameter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593

Generator Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594

Illusion FX Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603

Image Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629

Key Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653

Motion Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671

Reformat Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674

FluidMotion Edit Parameters for Timewarp Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 675

Rolling Title and Crawling Title Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679

3D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680

Chapter 20 Understanding Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704

Overview of Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704

Reasons for Making Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

Entering and Exiting Color Correction Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707

The Color Correction Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708

The Color Correction Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715

Working with Color Correction Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734

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

line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741

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

in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 742

Chapter 21 Performing Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743

General Workflow for Making Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743

Using Automatic Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745

Using the Color Match Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753

The HSL (Hue, Saturation, Luminance) Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762

The Channels Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 779

(Media Composer | Symphony Option) The Levels Group . . . . . . . . . . . . . . . . . . . . . . 785

The Curves Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 799

(Media Composer | SymphonyOption) The Secondary Group . . . . . . . . . . . . . . . . . . . 812

Keyframing Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833

Working with the Waveform Monitors and Vectorscope Monitor . . . . . . . . . . . . . . . . . 837

Applying Color Corrections to an Entire Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . 846

Using the Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847

Chapter 22 (Media Composer | Symphony Option) Managing Color-Corrected Sequenc-

es 855

Updating Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855

Merging Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 857

Color Correction Merging Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 859

Flattening Color-Corrected Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 861

Removing Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 862

Chapter 23 Color Correction Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 864

Guiding Principles for Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 864

Examples of Color Correction Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 869

Chapter 24 Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880

Overview of Safe Color Limits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880

Safe Color Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881

Understanding the Graphical View of Safe Color Settings . . . . . . . . . . . . . . . . . . . . . . 882

Understanding Safe Color Warnings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884

Managing Safe Color Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 885

Making Adjustments to Achieve Safe Color Values . . . . . . . . . . . . . . . . . . . . . . . . . . . 886

Safe Color Limits with Waveform and Vectorscope Information . . . . . . . . . . . . . . . . . . 888

Working with the Safe Color Limiter Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 889

Chapter 25 (Media Composer | Symphony Option) Spot Color Correction . . . . . . . . 894

Understanding the Spot Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 894

Making Corrections Using the Spot Color Correction Effect . . . . . . . . . . . . . . . . . . . . . 895

Using Paint Effect Modes for Color Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 896

Chapter 26 Using Avid Artist Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 898

Installing EuControl Software and Configuring the Avid Artist Color. . . . . . . . . . . . . . . 898

Using Artist Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 908

Editing Without Entering Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 916

Avid Artist Color Soft Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 917

Customizing Avid Artist Color Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 918

Avid Artist Color Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 922

Controller Application Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 924

Chapter 27 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 970

Using This Guide

This guide provides conceptual information and step-by-step instructions for the effects and color correction features of your Avid for every 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

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

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

A warning describes an action that could cause you physical harm. Follow the guidelines in this document or on the unit itself when handling electrical equipment.

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.

Symbol or Convention Meaning or Action

If You Need Help

(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

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

www.avid.com/readme.

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.

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 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.

www.avid.com/onlinesupport. Online services are

Avid Training Services

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).

2 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.

Types of Effects

Segment Effects

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

Segment effects fall into two subgroups:

• Single-layer

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

• Multilayer

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

and Customizing Motion Effects” on page 188

“Creating

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

2D Effects and 3D Effects

“Creating Titles” on page 365.

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

with 3D Effects” on page 347

“Working

Types of Effects

Nested Effects

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

Nested Effects” on page 241

Key Effects

“Layered and

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

Camera Effects

“Layered and Nested Effects” on page 241.

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 271.

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

on page 296

Intraframe Effects

“Motion Tracking and Stabilization”

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

page 451

PlasmaWipe Effects

“Intraframe Editing” on

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 517.

Real-Time Effects and Non-Real-Time Effects

AVX Plug-In Effects

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

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

on page 179

“Working with Plug-In Effects”

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

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

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.

“Real-Time Playback of Video Effects” on page 150.

“Color Coding on Effect Icons” on page 24.

Color Coding on Effect Icons

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

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

• How complex your sequence is, and especially how your effects are layered on multiple video tracks. 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 real-time, 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 151

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 152.

• 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

page 157

. You have several options for

“ExpertRender” on

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 150.

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 741.

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

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

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

and Adjusting the Effect Palette” on page 25

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.

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 535.

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

Palette” on page 25

To display the Effect Palette:

t In the Project window, click the Effects tab.

“Understanding the Effect

“Displaying

Working with Effects in HD and in Progressive Frame Projects

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.

Working with Effects in HD and in Progressive Frame Projects

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 890.

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 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.

Changing Timeline View Settings for Effects

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

page 200

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.

• Soften the edges of 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.

The more the edges of the effect are blurred, the less noticeable are the movements between the increments of the effect.

“Considerations for Motion Effects in Progressive Projects” on

• 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.

In a 24p or 25p project, if you select Output to DV Device from the Video Quality menu in the

Timeline, the Realtime Encoding option is automatically turned off. For more information, see “Playing Back to a DV Device” in the Help.

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.

Adjusting Trim Settings for Effects

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.

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

page 77

The Grid Settings dialog box lets you customize the grid.

“Understanding the Effect Grid” on

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.

Setting Effect Aperture Options

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.

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Pinnacle Systems Media Composer - 8.3 User’s Guide

Contents

Using This Guide

Symbols and Conventions

If You Need Help

Avid Training Services

2 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