Pinnacle Systems NewsCutter - 9.0, Media Composer - 5.0 User Manual

Avid® Media Composer® and NewsCutter
Effects and Color Correction Guide
®
Legal Notices
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Copyright © 1988–1997 Sam Leffler Copyright © 1991–1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics.
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This software is based in part on the work of the Independent JPEG Group.
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This Software may contain components licensed under the following conditions:
Copyright (c) 1989 The Regents of the University of California. All rights reserved.
Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph are duplicated in all such forms and that any documentation, advertising materials, and other materials related to such distribution and use acknowledge that the software was developed by the University of California, Berkeley. The name of the University may not be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED ``AS IS'' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE.
Copyright (C) 1989, 1991 by Jef Poskanzer.
Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty.
Copyright 1995, Trinity College Computing Center. Written by David Chappell.
Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty.
Copyright 1996 Daniel Dardailler.
Permission to use, copy, modify, distribute, and sell this software for any purpose is hereby granted without fee, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation, and that the name of Daniel Dardailler not be used in advertising or publicity pertaining to distribution of the software without specific, written prior permission. Daniel Dardailler makes no representations about the suitability of this software for any purpose. It is provided "as is" without express or implied warranty.
Modifications Copyright 1999 Matt Koss, under the same license as above.
Copyright (c) 1991 by AT&T.
Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this entire notice is included in all copies of any software which is or includes a copy or modification of this software and in all copies of the supporting documentation for such software.
THIS SOFTWARE IS BEING PROVIDED "AS IS", WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN PARTICULAR, NEITHER THE AUTHOR NOR AT&T MAKES ANY REPRESENTATION OR WARRANTY OF ANY KIND CONCERNING THE MERCHANTABILITY OF THIS SOFTWARE OR ITS FITNESS FOR ANY PARTICULAR PURPOSE.
This product includes software developed by the University of California, Berkeley and its contributors.
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© 2006 Nexidia. All rights reserved.
Manufactured under license from the Georgia Tech Research Corporation, U.S.A. Patent Pending.
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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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The following disclaimer is required by Videomedia, Inc.:
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“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.”
The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source Code:
©1993–1998 Altura Software, Inc.
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.
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Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc.
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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/).
© DevelopMentor
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.
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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.
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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 and NewsCutter Effects and Color Correction Guide • 0130-30394-01 Rev A • June 2010
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Contents

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Chapter 1 Effects Concepts and Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Types of Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Real-Time Effects and Non-Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Color Coding on Effect Icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Understanding the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Displaying and Adjusting the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Working with Effects in HD and in Progressive Frame Projects . . . . . . . . . . . . . . . . 27
Changing Timeline View Settings for Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Adjusting Trim Settings for Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Setting Effect Grid Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Setting Effect Aperture Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Chapter 2 Basics of Effects Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Deleting Effects in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Sizing Effects to Fit the Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Adjusting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Updating and Reverting Existing Effects in Sequences . . . . . . . . . . . . . . . . . . . . . . 44
Working with Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Promoting Existing Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Playing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Basics of Effects Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
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Chapter 3 Applying and Customizing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Applying Dissolve Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Working with the Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Adjusting Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Preserving Effect Transitions in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Replacing an Effect in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Using the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Stepping Through Field-Based Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Using the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Manipulating Effects Directly in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . 97
Chapter 4 Working with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Understanding Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Track Types for Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Viewing Advanced Keyframe Graphs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Manipulating Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Controls and Settings for Advanced Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Working with Standard Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Chapter 5 Playing Effects, Rendering Effects, and Managing Effect Media Files 151
Real-Time Playback of Video Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Creating and Using Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Render Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Using Partial Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Using 16-Bit Processing Support for Rendered Effects . . . . . . . . . . . . . . . . . . . . . 173
Ensuring the Quality Level of Precomputed Clips . . . . . . . . . . . . . . . . . . . . . . . . . 175
Rendering 3D Effects Using the HQ (Highest Quality) Option . . . . . . . . . . . . . . . . 176
Rendering Effects for the Media Station XL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Managing Effect Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Chapter 6 Working with Plug-In Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Understanding AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Freeing Memory Used by AVX 1.x Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Installing AVX Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Locating the AVX 1.x Plug-Ins Folder (Windows Only) . . . . . . . . . . . . . . . . . . . . . 188
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Updating and Promoting AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Assigning Multiple Tracks in Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Using AVX Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Using the Client Monitor to Preview a Plug-In Effect . . . . . . . . . . . . . . . . . . . . . . . 192
Troubleshooting AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Working with the Avid After Effects EMP Plug-In (Windows Only) . . . . . . . . . . . . . 194
Considerations for Using the Avid After Effects EMP Plug-in (Windows Only). . . . 196
Chapter 7 Creating and Customizing Motion Effects. . . . . . . . . . . . . . . . . . . . . . . 197
Understanding Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Creating Traditional Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Playing and Rendering Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Understanding Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Creating Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Promoting a Traditional Motion Effect to Timewarp . . . . . . . . . . . . . . . . . . . . . . . . 213
Using the Motion Effect Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Scaling a Graph Display in the Motion Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . 217
Using the Source Anchor Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Using Adaptive Deinterlacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Motion Effect Editor Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Rendering Options for Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Timewarp Speed Graph Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Timewarp Position Graph Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Timewarp Effect Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Understanding FluidMotion Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
FluidMotion Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Using FluidMotion Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Example of Correcting FluidMotion Artifacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Timewarp Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
FluidFilm Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Setting Source and Output Options for Format Conversion with
Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
9
Chapter 8 Layered and Nested Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Working with Imported Graphics and Animation . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Submaster Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Collapsing Layers into a Submaster Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Performing a Video Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Chapter 9 Working with Camera Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Using the Reformat Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Working with the Pan and Scan Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Using Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Chapter 10 Motion Tracking and Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Understanding Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Workflow for Motion Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Effects and Effect Parameters That Use Tracking Data. . . . . . . . . . . . . . . . . . . . . 313
Understanding the Tracking Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Opening The Tracking Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Tracking Window Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Setting Up an Effect for Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Preparing to Generate Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Generating Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Offset Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Understanding Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Customizing the Display of Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Setting the Reference Frame for a Tracker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Understanding the SteadyGlide and Smoothing Options for Tracking. . . . . . . . . . 339
Using SteadyGlide or Smoothing to Process Tracking Data . . . . . . . . . . . . . . . . . 340
Selecting, Deleting, and Moving Tracking Data Points . . . . . . . . . . . . . . . . . . . . . 341
Moving Tracker Data Points Outside the Frame Boundary . . . . . . . . . . . . . . . . . . 344
Stretching a Range of Tracker Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Limiting the Effect of Position Tracking Data to a Single Axis . . . . . . . . . . . . . . . . 346
Playing Effects That Use Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Understanding Stabilizing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
10
Stabilizing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Reviewing and Adjusting a Stabilized Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Guidelines for Using Multiple Trackers When Stabilizing . . . . . . . . . . . . . . . . . . . . 353
Using the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Making Adjustments to the Region Stabilize Region of Interest . . . . . . . . . . . . . . . 355
Editing Segments That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Reusing Existing Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Copying and Pasting Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Conforming Symphony Meridien Sequences with Tracking Data . . . . . . . . . . . . . . 359
Examples of Effects Using Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Chapter 11 Working with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Understanding 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Applying the 3D Warp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Using Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Promoting 2D Effects to 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Using Matte Keys with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Real-Time Playback of 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Understanding 3D Geometry and Degrees of Rotation . . . . . . . . . . . . . . . . . . . . . 368
Working with 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Manipulating 3D Effects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Applying 3D Effects: Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Chapter 12 Creating Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Opening the Title Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Using Marquee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Overview of Title Creation in the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Installing Fonts for Use in the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Understanding the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Toolbar Reference for the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Using the Selection and Text Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390
Understanding the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Setting Up the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Creating Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Sizing and Positioning Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
11
Editing a Text String. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Formatting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Creating Graphic Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Creating Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
Modifying and Manipulating Title Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Modifying Box Corners, Lines, and Borders on Title Objects. . . . . . . . . . . . . . . . . 412
Understanding Color and Transparency Controls in the Title Tool . . . . . . . . . . . . 415
Selecting Colors and Setting Transparency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Adding Shadows to Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420
Adjusting Shadows on Title Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Manipulating Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Saving Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
Revising a Title in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
Creating and Using Title Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Working with Multiple Title Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Saving and Recalling Title Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Exporting a Title as a Graphics File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
Chapter 13 Editing with Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Displaying Title Clips and Frames in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Editing a Title into a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Removing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Replacing a Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Fading a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
Setting Marks in a Rolling or Crawling Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
Trimming the Duration of Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . 446
Adjusting Title Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Revising a Title in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Working with Existing Multiple Format Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Replacing Fill Tracks in a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Rendering Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Re-creating Title Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Troubleshooting Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
12
Chapter 14 Working with the SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Understanding the SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
How the SubCap Effect Handles Caption Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Applying the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Entering Caption Text Directly in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . 465
Importing a Caption File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Adding Information to a SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Editing Text in the Master Caption List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
Adjusting SubCap Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
Synchronizing SubCap Effect Parameters and Information . . . . . . . . . . . . . . . . . . 469
Exporting SubCap Effect Data to Caption Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Working with Unicode Text in the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Working with SubCap Effect Stylesheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Examples of SubCap Effect Parameter Adjustments . . . . . . . . . . . . . . . . . . . . . . . 476
Chapter 15 Intraframe Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Understanding the Intraframe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Rendering Intraframe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Applying the Paint or AniMatte Effect to a Sequence . . . . . . . . . . . . . . . . . . . . . . . 482
Effect Editor Reference for the Paint and AniMatte Effects . . . . . . . . . . . . . . . . . . 483
Using the Intraframe Drawing Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
Working with Vector-Based Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Using the Previsualization Marker Tool for Film Projects . . . . . . . . . . . . . . . . . . . . 507
Manipulating Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
Layering, Grouping, and Locking Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . 514
Exporting a Matte Key Created With the AniMatte Effect . . . . . . . . . . . . . . . . . . . . 516
Scratch Removal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Intraframe Editing Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Working with the Blur Effect and Mosaic Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
Chapter 16 PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
Understanding PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
Folder Structure for PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Using PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Creating Gradient Images for PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . 554
13
Understanding PlasmaWipe Frame and Border Effects. . . . . . . . . . . . . . . . . . . . . 564
Applying and Adjusting PlasmaWipe Frame and Border Effects . . . . . . . . . . . . . . 566
Creating Custom PlasmaWipe Border and Frame Effects. . . . . . . . . . . . . . . . . . . 567
Using PlasmaWipes with HD Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569
Chapter 17 Effects Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573
Blend Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Box Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
Edge Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
Film Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Generator Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
Illusion FX Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
L-Conceal Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Matrix Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Peel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Push Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
Reformat Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605
Sawtooth Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Shape Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Spin Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Squeeze Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Title Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
Xpress 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Comparison of Similar Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
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Chapter 18 Effects Parameter Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
Color Parameter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
Common 2D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
Film Effects Blowup Parameter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
Generator Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
Illusion FX Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644
Image Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
Key Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Motion Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715
Reformat Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718
FluidMotion Edit Parameters for Timewarp Effects. . . . . . . . . . . . . . . . . . . . . . . . . 720
Rolling Title and Crawling Title Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . 723
3D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724
Chapter 19 Understanding Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 751
Overview of Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751
Reasons for Making Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753
Entering and Exiting Color Correction Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754
The Color Correction Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754
The Color Correction Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 759
Working with Color Correction Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . 767
Chapter 20 Performing Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773
General Workflow for Making Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . 773
Using Automatic Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 775
Using the Color Match Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 782
The HSL (Hue, Saturation, Luminance) Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789
The Curves Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797
Keyframing Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811
Working with the Waveform Monitors and Vectorscope Monitor . . . . . . . . . . . . . . 815
Applying Color Corrections to an Entire Sequence. . . . . . . . . . . . . . . . . . . . . . . . . 824
Using the Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 825
Chapter 21 Color Correction Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 829
Guiding Principles for Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 829
Examples of Color Correction Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835
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Chapter 22 Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843
Overview of Safe Color Limits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843
Safe Color Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844
Understanding the Graphical View of Safe Color Settings. . . . . . . . . . . . . . . . . . . 846
Understanding Safe Color Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847
Managing Safe Color Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 849
Making Adjustments to Achieve Safe Color Values . . . . . . . . . . . . . . . . . . . . . . . . 850
Safe Color Limits with Waveform and Vectorscope Information . . . . . . . . . . . . . . 852
Working with the Safe Color Limiter Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 853
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 859
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Using This Guide

This guide provides conceptual information and step-by-step instructions for the effects and color correction features of your Avid information for every effect and effect parameter available in your application.
Unless noted otherwise, the material in this document applies to the Windows Mac OS 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
n
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.
®
X operating systems. The majority of screen shots in this document were captured
®
editing application. It also provides reference
Symbols and Conventions
Avid documentation uses the following symbols and conventions:
Symbol or Convention Meaning or Action
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c
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
w
> 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
(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:
- If the latest information for your Avid product is provided as printed release notes,
they are shipped with your application and are also available online.
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.
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- If the latest information for your Avid product is provided as a ReadMe file, it is
supplied on your Avid installation CD or DVD as a PDF document (README_product.pdf) and is also available online.
You should always check online for the most up-to-date release notes or ReadMe because the online version is updated whenever new information becomes available. To view these online versions, select ReadMe from the Help menu, or visit
the Knowledge Base at www.avid.com/readme.
3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues.
4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read or join online message-board discussions.
Accessing the Goodies Folder
Avid supplies a Goodies folder located on the editing application DVD. Access the Goodies folder by browsing the DVD. This folder contains programs and files you might find useful when trying to perform functions beyond the scope of your Avid editing application.
The information in the Goodies folder is provided solely for your reference and as suggestions for you to decide if any of these products fit into your process. Avid is not responsible for the manufacture, support, or sales of these products. Avid is also not responsible for any loss of data or time, or any other adverse results related to the use of these products. All risks of using such products or accessing such Web sites are entirely your own. The Web sites listed in the Goodies folder are not under the control of Avid, and Avid is not responsible for their content, any changes or updates to them, or the collection of any personal data or information by the operators of such Web sites. All information and product availability is subject to change without notice.
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.
Accessing the Goodies Folder
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).
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20

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.
1 Effects Concepts and Settings
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
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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 197.
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 383.
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 363.
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 “Layered and Nested Effects” on page 251.
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 251.
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 283.
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 309.
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 479.
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 551.
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1 Effects Concepts and Settings
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 “Working with Plug-In
Effects” on page 185.

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.
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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 25.
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 151.
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.

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 153. 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 154.
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 158.
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 151.
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.
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1 Effects Concepts and Settings
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
“Displaying and Adjusting the Effect Palette” on page 26.
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 573.

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

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.
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1 Effects Concepts and Settings
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
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colors, and then converts back to 709 color space. For more information, see
“Understanding the Safe Color Limiter Effect” on page 854.
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.
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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
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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 209.
For more information on how your Avid editing application handles 24p or 25p material, see
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“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.
In a 24p or 25p project, if you select Output to DV Device from the Video Quality menu in
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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.
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1 Effects Concepts and Settings
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.
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

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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.
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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.
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