Pinnacle Systems Symphony - 5.0 User Manual

Avid® Symphony

™

Effects and Color Correction Guide

Legal Notices

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

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Avid products or portions thereof are protected by one or more of the following European Patents: 0506870; 0635188; 0674414; 0752174; 0857293; 0976108; 0988756; 1068723; 1068734; 1111910; 1173850; 1629675. Other patents are pending.

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

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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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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 Symphony Effects and Color Correction Guide • 0130-30396-01 Rev A • June 2010

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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

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

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 . . . . . . . . . . . . . . . . . . . 96

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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Chapter 5 Playing Effects, Rendering Effects, and Managing Effect Media Files 149

Real-Time Playback of Video Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

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 . . . . . . . . . . . . . . . . 174

Rendering Effects for the Media Station XL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Managing Effect Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Chapter 6 Working with Plug-In Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Understanding AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Freeing Memory Used by AVX 1.x Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Installing AVX Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Locating the AVX 1.x Plug-Ins Folder (Windows Only) . . . . . . . . . . . . . . . . . . . . . 186

Updating and Promoting AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Assigning Multiple Tracks in Plug-in Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Using AVX Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Using the Client Monitor to Preview a Plug-In Effect . . . . . . . . . . . . . . . . . . . . . . . 190

Troubleshooting AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Working with the Avid After Effects EMP Plug-In (Windows Only) . . . . . . . . . . . . . 192

Considerations for Using the Avid After Effects EMP Plug-in (Windows Only). . . . 194

Chapter 7 Creating and Customizing Motion Effects. . . . . . . . . . . . . . . . . . . . . . . 195

Understanding Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Creating Traditional Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Playing and Rendering Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Understanding Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Creating Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Promoting a Traditional Motion Effect to Timewarp . . . . . . . . . . . . . . . . . . . . . . . . 211

Using the Motion Effect Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Scaling a Graph Display in the Motion Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . 215

Using the Source Anchor Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Using Adaptive Deinterlacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Motion Effect Editor Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Rendering Options for Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Timewarp Speed Graph Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Timewarp Position Graph Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Timewarp Effect Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Understanding FluidMotion Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

FluidMotion Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Using FluidMotion Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Example of Correcting FluidMotion Artifacts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Timewarp Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

FluidFilm Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Setting Source and Output Options for Format Conversion with Timewarp Effects 246

Chapter 8 Layered and Nested Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Working with Imported Graphics and Animation. . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Submaster Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Collapsing Layers into a Submaster Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Performing a Video Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Chapter 9 Working with Camera Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Using the Reformat Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Working with the Pan and Scan Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Using Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Chapter 10 Motion Tracking and Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Understanding Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Workflow for Motion Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Effects and Effect Parameters That Use Tracking Data. . . . . . . . . . . . . . . . . . . . . 309

Understanding the Tracking Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Opening The Tracking Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Tracking Window Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Setting Up an Effect for Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Preparing to Generate Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Generating Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Offset Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Understanding Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Customizing the Display of Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Setting the Reference Frame for a Tracker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Understanding the SteadyGlide and Smoothing Options for Tracking. . . . . . . . . . 334

Using SteadyGlide or Smoothing to Process Tracking Data . . . . . . . . . . . . . . . . . 335

Selecting, Deleting, and Moving Tracking Data Points . . . . . . . . . . . . . . . . . . . . . 336

Moving Tracker Data Points Outside the Frame Boundary . . . . . . . . . . . . . . . . . . 339

Stretching a Range of Tracker Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Limiting the Effect of Position Tracking Data to a Single Axis . . . . . . . . . . . . . . . . 341

Playing Effects That Use Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Understanding Stabilizing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Stabilizing an Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Reviewing and Adjusting a Stabilized Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Guidelines for Using Multiple Trackers When Stabilizing. . . . . . . . . . . . . . . . . . . . 347

Using the Region Stabilize Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Making Adjustments to the Region Stabilize Region of Interest. . . . . . . . . . . . . . . 350

Editing Segments That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Reusing Existing Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Copying and Pasting Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Conforming Symphony Meridien Sequences with Tracking Data. . . . . . . . . . . . . . 354

Examples of Effects Using Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Chapter 11 Working with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Understanding 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Applying the 3D Warp Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Using Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Promoting 2D Effects to 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Using Matte Keys with 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Real-Time Playback of 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Understanding 3D Geometry and Degrees of Rotation . . . . . . . . . . . . . . . . . . . . . 364

Working with 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Manipulating 3D Effects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Applying 3D Effects: Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Chapter 12 Creating Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Opening the Title Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Using Marquee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Overview of Title Creation in the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Installing Fonts for Use in the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Understanding the Title Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Toolbar Reference for the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Using the Selection and Text Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Understanding the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Setting Up the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Creating Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Sizing and Positioning Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Editing a Text String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Formatting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Creating Graphic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Creating Rolling and Crawling Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Modifying and Manipulating Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Modifying Box Corners, Lines, and Borders on Title Objects . . . . . . . . . . . . . . . . . 406

Understanding Color and Transparency Controls in the Title Tool . . . . . . . . . . . . 409

Selecting Colors and Setting Transparency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Adding Shadows to Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Adjusting Shadows on Title Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Manipulating Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Saving Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Revising a Title in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Creating and Using Title Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Working with Multiple Title Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Saving and Recalling Title Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Exporting a Title as a Graphics File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Chapter 13 Editing with Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Displaying Title Clips and Frames in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Editing a Title into a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Removing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Replacing a Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Fading a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Setting Marks in a Rolling or Crawling Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Trimming the Duration of Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . 440

Adjusting Title Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Revising a Title in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Working with Existing Multiple Format Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Replacing Fill Tracks in a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Rendering Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Re-creating Title Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Troubleshooting Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Chapter 14 Working with the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Understanding the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

How the SubCap Effect Handles Caption Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Applying the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Entering Caption Text Directly in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . 457

Importing a Caption File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Adding Information to a SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Editing Text in the Master Caption List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Adjusting SubCap Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Synchronizing SubCap Effect Parameters and Information . . . . . . . . . . . . . . . . . . 461

Exporting SubCap Effect Data to Caption Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Working with Unicode Text in the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Working with SubCap Effect Stylesheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Examples of SubCap Effect Parameter Adjustments . . . . . . . . . . . . . . . . . . . . . . . 468

Chapter 15 Intraframe Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Understanding the Intraframe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Rendering Intraframe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Applying the Paint or AniMatte Effect to a Sequence . . . . . . . . . . . . . . . . . . . . . . . 474

Effect Editor Reference for the Paint and AniMatte Effects . . . . . . . . . . . . . . . . . . 475

Using the Intraframe Drawing Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Working with Vector-Based Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Using the Previsualization Marker Tool for Film Projects . . . . . . . . . . . . . . . . . . . . 498

Manipulating Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500

Layering, Grouping, and Locking Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . 505

Exporting a Matte Key Created With the AniMatte Effect . . . . . . . . . . . . . . . . . . . . 507

Scratch Removal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

Intraframe Editing Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523

Working with the Blur Effect and Mosaic Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Chapter 16 PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Understanding PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Folder Structure for PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541

Using PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542

Creating Gradient Images for PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . 542

Understanding PlasmaWipe Frame and Border Effects . . . . . . . . . . . . . . . . . . . . . 552

Applying and Adjusting PlasmaWipe Frame and Border Effects . . . . . . . . . . . . . . 553

Creating Custom PlasmaWipe Border and Frame Effects . . . . . . . . . . . . . . . . . . . 554

Using PlasmaWipes with HD Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Chapter 17 Effects Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559

Blend Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560

Box Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564

Edge Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565

Film Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566

Generator Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568

Illusion FX Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568

Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580

L-Conceal Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583

Matrix Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584

Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Peel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586

PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588

Push Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589

Reformat Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Sawtooth Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

Shape Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592

Spin Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594

Squeeze Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596

Title Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603

Xpress 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604

Comparison of Similar Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

Chapter 18 Effects Parameter Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Color Parameter Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608

Common 2D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609

Film Effects Blowup Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620

Generator Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620

Illusion FX Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630

Image Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656

Key Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681

Motion Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699

Reformat Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

FluidMotion Edit Parameters for Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . 703

Rolling Title and Crawling Title Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . 707

3D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708

Chapter 19 Understanding Color Correction Mode . . . . . . . . . . . . . . . . . . . . . . . . . 733

Overview of Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733

Reasons for Making Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736

Entering and Exiting Color Correction Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737

The Color Correction Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737

The Color Correction Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744

Working with Color Correction Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . 762

Displaying Color Correction Information in the Timeline . . . . . . . . . . . . . . . . . . . . . 768

Understanding Color Correction Indicator Lines in the Timeline. . . . . . . . . . . . . . . 769

Chapter 20 Performing Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771

General Workflow for Making Color Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . 771

Using Automatic Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773

Using the Color Match Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781

The HSL (Hue, Saturation, Luminance) Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . 790

The Channels Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806

The Levels Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811

The Curves Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 825

The Secondary Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836

Keyframing Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 857

Working with the Waveform Monitors and Vectorscope Monitor . . . . . . . . . . . . . . 862

Using the Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 871

Chapter 21 Managing Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 877

Updating Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 877

Merging Color-Corrected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879

Color Correction Merging Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881

Flattening Color-Corrected Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 883

Removing Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884

Chapter 22 Color Correction Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 887

Guiding Principles for Color Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 887

Examples of Color Correction Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 892

Chapter 23 Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 903

Overview of Safe Color Limits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 903

Safe Color Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 904

Understanding the Graphical View of Safe Color Settings. . . . . . . . . . . . . . . . . . . 905

Understanding Safe Color Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 907

Managing Safe Color Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 909

Making Adjustments to Achieve Safe Color Values . . . . . . . . . . . . . . . . . . . . . . . . 910

Safe Color Limits with Waveform and Vectorscope Information . . . . . . . . . . . . . . 911

Working with the Safe Color Limiter Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 913

Chapter 24 Spot Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 917

Understanding the Spot Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 917

Making Corrections Using the Spot Color Correction Effect . . . . . . . . . . . . . . . . . 918

Using Paint Effect Modes for Color Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . 919

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 921

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

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

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

> 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.

- 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).

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

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 195.

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 379.

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 359.

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 249.

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 249.

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 279.

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 305.

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 471.

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 539.

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 183.

Real-Time Effects and Non-Real-Time Effects

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

A real-time effect has a small green dot in the Effect Palette and within the effect icon in the Timeline. Effects that you must render have a small blue dot within the effect icon in the Timeline. For more information, see “Color Coding on Effect Icons” on page 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 149.

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.

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 150. You have

several options for how to proceed in these circumstances:

• For playing alone, you can use the Video Display settings to ease the playback demands. For more information, see “Options for Controlling Real-Time Effects Playback” on

page 151.

• 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 156.

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 149.

Color Coding on Effect Icons

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

Timeline with a green dot. For more information, see “Displaying Color Correction

Information in the Timeline” on page 768.

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.

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 559.

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.

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.

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

colors, and then converts back to 709 color space. For more information, see

“Understanding the Safe Color Limiter Effect” on page 913.

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 “Considerations for Motion Effects in

Progressive Projects” on page 207.

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

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

If an effect in a 24p or 25p project does not look completely smooth, do one or more of the following:

• Slow down the effect.

For example, a 2-second Horizontal Edge Wipe effect, while it is still performing at the same rate (24 increments per second), moves across the screen in 48 steps. These smaller movements make the wipe appear smoother to the viewer.

• Soften the edges of the effect.

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

• When working with moving titles, avoid small font sizes and sharp edges.

In a moving title such as a roll, lines of small text might move less smoothly than lines of larger text.

Changing Timeline View Settings for Effects

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

To change the Timeline settings:

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

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

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

Dissolve Icons.

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

and is now unavailable.

1 Effects Concepts and Settings

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

Timeline View Name button and menu below Timeline

Adjusting Trim Settings for Effects

In Trim mode in some Avid editing applications, you can control whether or not the effects you apply are computed immediately on the screen (that is, on-the-fly) or appear later when you render them. For example, viewing transitions as cuts (without rendering on-the-fly) can make trimming easier.

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

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

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

The Settings list appears.

2. Double-click Trim.

The Trim Settings dialog box opens.

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

4. Click OK.

Setting Effect Grid Options

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

Grid” on page 81.

The Grid Settings dialog box lets you customize the grid.

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

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

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

button for the Grid parameter group in the Effect Editor.

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Contents

1 Effects Concepts and Settings

Types of Effects

Real-Time Effects and Non-Real-Time Effects

Color Coding on Effect Icons

Understanding the Effect Palette

Displaying and Adjusting the Effect Palette

Working with Effects in HD and in Progressive Frame Projects

Changing Timeline View Settings for Effects

Adjusting Trim Settings for Effects

Setting Effect Grid Options