Pinnacle Systems Xpress - 4.0 User Manual

Download

Avid Xpress®

Effects Guide

tools for storytellers®

Avid Xpress Effects Guide • Part 0130-04548-01 Rev. A • August 2000

Chapter 1 Preparing to Work with Effects

Effect Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Effects Creation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

About Real-Time and Downstream Key Effects . . . . . . . . . . . . . . . . 23

About Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Playing Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Playback Capabilities for Two-Stream Video . . . . . . . . . . . 24

Playback Capabilities for Single-Stream

Uncompressed Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Playing Complex Effect Combinations . . . . . . . . . . . . . . . . . 26

Combined Rendering of Real-Time and

Non-Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Displaying Effects On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Interrupting Render On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . 27

About Downstream Key Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Using the Effect Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Displaying the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Resizing the Effect Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Understanding the Color Coding. . . . . . . . . . . . . . . . . . . . . . . . . . 30

Displaying Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Using Third-Party Plug-in Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Installing AVX Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Locating the AVX_Plug-Ins Folder (Windows) . . . . . . . . . . . . . . 37

Upgrading AVX Plug-ins and Effects . . . . . . . . . . . . . . . . . . . . . . 38

Assigning Multiple Tracks in Plug-in Effects . . . . . . . . . . . . . . . 39

Using AVX Plug-in Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Accessing an AVX Custom Interface . . . . . . . . . . . . . . . . . . . 40

Troubleshooting AVX Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Plug-in Does Not Appear in the Effect Palette. . . . . . . . . . . 42

Plug-in Does Not Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Avid Xpress Cannot Render the Plug-In . . . . . . . . . . . . . . . . 42

Blank Effect Icons in the Timeline . . . . . . . . . . . . . . . . . . . . . 43

Missing Effect Categories in the Effect Palette . . . . . . . . . . 43

Chapter 2 Basics of Effects Editing

Deconstructing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Applying Effects to a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Applying an Effect to a Single Transition or Segment . . . . . . . 47

Dragging an Effect from the Effect Palette . . . . . . . . . . . . . . 47

Double-Clicking an Effect Icon in the Effect Palette . . . . . 49

Applying an Effect to Multiple Transitions. . . . . . . . . . . . . . . . . 50

Applying an Effect to Multiple Segments . . . . . . . . . . . . . . . . . . 52

Deleting Effects in a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Deleting a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Deleting Multiple Transition Effects . . . . . . . . . . . . . . . . . . . . . . 55

Deleting Multiple Segment Effects . . . . . . . . . . . . . . . . . . . . . . . . 56

Using the Fade Effect Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Working with Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Types of Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Applying a Dissolve Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Using the Effect Palette to Create a Dissolve Effect . . . . . . 58

Using the Add Dissolve Button . . . . . . . . . . . . . . . . . . . . . . . 59

Using the Add Dissolve Button to Apply Effects to

Multiple Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Understanding the Graphical Display in the

Quick Dissolve Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . 66

Creating a Dissolve in Trim Mode . . . . . . . . . . . . . . . . . . . . . 70

Sizing the Effect to Fit the Media. . . . . . . . . . . . . . . . . . . . . . . . . . 71

Trimming a Transition Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Creating Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Playing and Rendering Motion Effects. . . . . . . . . . . . . . . . . . . . . 72

Rendering Considerations When Creating

Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Rendering and Rerendering Existing Motion Effects. . . . . 74

Understanding Motion Effect Type Changes . . . . . . . . . . . . 77

Creating a Freeze Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Controlling a Freeze Frame with a Single Button or Key . . . . . 81

Creating a Rolling Clip That Freezes . . . . . . . . . . . . . . . . . . . . . . 82

Creating a Variable Speed Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Creating a Strobe Motion Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Chapter 3 Customizing Effects with the Effect Editor

Opening the Effect Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Customizing the Effect Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Understanding the Effect Preview Monitor. . . . . . . . . . . . . . . . . 93

Understanding the Tracking Information . . . . . . . . . . . . . . . . . . 94

Displaying the Safe Title and Safe Action Guidelines . . . . . . . 94

Moving an Enlarged Image in the Effect Preview Monitor . . . 96

Changing Position in an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Replacing an Effect in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Using the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Effect Editor Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

About Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Using Parameter Sliders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Using Parameter Enable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . 105

Using Fast Menu Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Using the Other Options Button to Access Parameters . . . . . . 106

Adjusting a Color Parameter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Using the Eyedropper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Using the Windows Color Dialog Box. . . . . . . . . . . . . . . . . 107

Using the Macintosh Color Picker . . . . . . . . . . . . . . . . . . . . 109

Using Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Adding a Keyframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Selecting a Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Moving a Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Changing a Keyframe’s Parameters. . . . . . . . . . . . . . . . . . . . . . . 113

Copying and Pasting Keyframe Parameters . . . . . . . . . . . . . . . 113

Deleting a Keyframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Manipulating Effects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Defining Motion Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Moving the Image Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Resizing a Foreground Image by Dragging Handles. . . . . . . . 118

Using an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Saving an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Applying an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Playing an Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Basic Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Playing an Effect in a Continuous Loop. . . . . . . . . . . . . . . . . . . 123

Playing a Preview of an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Rendering Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Creating and Using Render Settings. . . . . . . . . . . . . . . . . . . . . . 125

Creating a New Render Setting. . . . . . . . . . . . . . . . . . . . . . . 125

Adjusting Render Settings Parameters . . . . . . . . . . . . . . . . 126

Activating a Render Setting. . . . . . . . . . . . . . . . . . . . . . . . . . 128

Partial Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Interrupting a Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Customizing Render Ranges Display . . . . . . . . . . . . . . . . . 130

Rendering a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Rendering Effects at Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Rendering Effects Between IN and OUT Points. . . . . . . . . . . . 133

ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Rendering Effects by Using ExpertRender. . . . . . . . . . . . . 136

Modifying ExpertRender Results . . . . . . . . . . . . . . . . . . . . . 138

Considerations When Using ExpertRender . . . . . . . . . . . . 140

Examples of ExpertRender Behavior. . . . . . . . . . . . . . . . . . . . . . 140

Example 1: Nested Effect with Dissolves . . . . . . . . . . . . . . 141

Example 2: Multilayer Sequence with a 3D Effect . . . . . . 142

Example 3: Titles with a Dissolve Effect . . . . . . . . . . . . . . . 144

Managing Effect Media Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Understanding Effect Media Files. . . . . . . . . . . . . . . . . . . . . . . . 147

Revealing Effect Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Deleting Effect Media Files from a Bin . . . . . . . . . . . . . . . . . . . 152

Chapter 4 Creating Layered and Nested Effects

Creating Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Using the Chroma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

About the Chroma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . 155

Creating a Chroma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . 156

Creating a Luma Key Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Creating a Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Using the Color Effect to Prepare a

High-Contrast Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Working with Imported Graphics and Animation . . . . . . . . . . . . . 161

Editing with Imported Matte Key Clips. . . . . . . . . . . . . . . . . . . 162

Editing with Imported Master Clips . . . . . . . . . . . . . . . . . . . . . . 164

Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Expanding Nested Effects in the Timeline. . . . . . . . . . . . . . . . . 166

Creating a Simple Nested Effect . . . . . . . . . . . . . . . . . . . . . . . . . 166

Nesting a Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Submaster Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Applying the Submaster Effect to a

Multilayered Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Using the Submaster Effect with a Series of

Short Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Collapsing Layers into One Submaster Effect . . . . . . . . . . . . . 173

Performing a Video Mixdown. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Chapter 5 Working with 3D Effects

About the 3D Effects Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Turning the 3D Effects Option On and Off . . . . . . . . . . . . . . . . 179

Turning the 3D Effects Option On and Off

at Startup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Turning the 3D Effects Option On and Off

in the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Accessing 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Promoting 2D Effects to 3D Effects . . . . . . . . . . . . . . . . . . . . . . . 182

Using Matte Keys with 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . 183

Understanding the 3D Effects Interface. . . . . . . . . . . . . . . . . . . . . . . 185

Moving in 3D Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

The 3D Coordinate System . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Rotation Axes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

About 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Accessing 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . 188

Manipulating 3D Effects Parameters. . . . . . . . . . . . . . . . . . 188

Using the Default Keyframe Parameter Values. . . . . . . . . 189

Resetting Default Parameter Values . . . . . . . . . . . . . . . . . . 190

Using Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Zooming In or Out on the Effect Preview Monitor . . . . . . . . . 191

Manipulating 3D Effects Directly . . . . . . . . . . . . . . . . . . . . . . . . 191

Manipulating 3D Effect Handles . . . . . . . . . . . . . . . . . . . . . 191

Using the Motion Path Editor . . . . . . . . . . . . . . . . . . . . . . . . 192

Applying 3D Effects: Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Creating a Page Curl Transition . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Creating a Cropped Foreground Effect. . . . . . . . . . . . . . . . . . . . 195

Avid Xpress Effects and Effects in Other Avid Systems. . . . . . . . . 197

Chapter 6 Creating Titles and Graphic Objects

Overview: Creating Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Downstream Keying of Titles and Graphics . . . . . . . . . . . . . . . . . . 199

Opening the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Understanding the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Understanding the Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Using the Selection Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Setting Up the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . 205

Installing Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Previewing Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Using Title and Action Guidelines . . . . . . . . . . . . . . . . . . . . . . . 207

Using Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Selecting a Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Using a Video Background . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Updating the Video Background . . . . . . . . . . . . . . . . . . . . . 209

Creating a Color Background . . . . . . . . . . . . . . . . . . . . . . . . 209

Using the Alignment Grid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Displaying a Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Snapping to a Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Bringing the Title Tool to the Foreground . . . . . . . . . . . . . . . . . 211

Using the 16:9 Display Format for Titles . . . . . . . . . . . . . . . . . . 211

Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Creating Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Copying and Pasting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Resizing Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Repositioning Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Editing a Text String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Formatting the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Selecting Text for Formatting . . . . . . . . . . . . . . . . . . . . . . . . 216

Setting the Default Text Attributes . . . . . . . . . . . . . . . . . . . 217

Selecting a Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Changing the Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Changing the Point Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Making Text Bold or Italic . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Justifying the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Kerning the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Adjusting Leading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Creating Graphic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Drawing a Square or Rectangle . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Drawing a Circle or Oval. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Drawing a Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Selecting Line Attributes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Rounding Corners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Selecting a Line or Border Width . . . . . . . . . . . . . . . . . . . . . 226

Adding Arrowheads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Changing Arrowhead Size. . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Creating Rolling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Page Count Limits for Rolling Titles. . . . . . . . . . . . . . . . . . . . . . 229

Using Auto Size Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Setting Up Text Formatting for Rolling Titles. . . . . . . . . . . . . . 231

Typing the Rolling Title Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Resizing the Width of a Rolling Title . . . . . . . . . . . . . . . . . . . . . 232

Scrolling Through a Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Going to a Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Adding Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Deleting Additional Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Formatting Rolling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Selecting Colors and Setting Transparency. . . . . . . . . . . . . . . . . . . . 235

Adjusting the Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Blending Two Colors in an Object . . . . . . . . . . . . . . . . . . . . . . . 237

Using the Title Tool Color Picker. . . . . . . . . . . . . . . . . . . . . . . . . 238

Adjusting the Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Blending Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Working with Shadows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Applying Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Adjusting Shadow Color and Transparency . . . . . . . . . . . . . . . 243

Adjusting Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Setting Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Adjusting Shadow Softness On-the-Fly . . . . . . . . . . . . . . . 245

Viewing Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Creating a Glow Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Manipulating Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Basic Manipulation Operations . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Layering Text and Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Grouping and Ungrouping Objects . . . . . . . . . . . . . . . . . . . . . . 249

Locking and Unlocking Objects. . . . . . . . . . . . . . . . . . . . . . . . . . 250

Aligning Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Distributing Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Saving Titles and Title Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Matching Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Saving a Title and Exiting the Title Tool . . . . . . . . . . . . . . . . . . 255

Saving Multiple Titles in a Session. . . . . . . . . . . . . . . . . . . . . . . 256

Using the Fast Save Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Saving a Title with Fast Save. . . . . . . . . . . . . . . . . . . . . . . . . 258

Viewing Fast-Saved Titles in a Bin. . . . . . . . . . . . . . . . . . . . 259

Rendering Fast-Saved Titles . . . . . . . . . . . . . . . . . . . . . . . . . 259

Revising a Title in a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Using a Keyboard Shortcut to Save a Title

(Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Saving and Recalling Title Styles . . . . . . . . . . . . . . . . . . . . . . . . 262

Saving a Title Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Recalling a Title Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Confirming Function Key Mapping of Title Styles . . . . . 265

Applying Title Styles to Text Objects . . . . . . . . . . . . . . . . . 266

Managing Title Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Creating and Using Title Templates . . . . . . . . . . . . . . . . . . . . . . 267

Creating Title Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Using Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Exporting a Title as a Graphics File . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Chapter 7 Editing with Titles

Workflow for Editing with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Guidelines for Working with Titles and Title Media. . . . . . . . . . . 271

Downstream Keying of Titles and Graphics . . . . . . . . . . . . . . . 271

Restrictions of Downstream Key Titles . . . . . . . . . . . . . . . . . . . 272

Converting Downstream Key Titles . . . . . . . . . . . . . . . . . . . . . . 273

Restrictions of Non-Downstream Key Titles. . . . . . . . . . . . . . . 274

Playback Capabilities of Title Effects . . . . . . . . . . . . . . . . . . . . . 275

Playback Capabilities for Titles with

Two Video Streams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Playback Capabilities for Titles with

One Video Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

About Title Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Displaying Title Frames in the Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Editing a Title into a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Setting Marks in Rolling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Splicing or Overwriting a Title into a Sequence. . . . . . . . . . . . 281

Dragging a Marked Title into a Sequence . . . . . . . . . . . . . . . . . 283

Dragging an Unmarked Title into a Sequence . . . . . . . . . . . . . 285

Trimming the Duration of Rolling Titles . . . . . . . . . . . . . . . . . . 286

Removing Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Replacing Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Fading a Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Adjusting Title Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Revising a Title in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Replacing Fill Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Rendering Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Re-creating Title Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Promoting a 2D Title to 3D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Troubleshooting Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Title Does Not Display Over Video. . . . . . . . . . . . . . . . . . . . . . . 297

Downstream Key Error Messages . . . . . . . . . . . . . . . . . . . . . . . . 297

Wrong Title Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Chapter 8 2D Effects Reference

2D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Global and Keyframeable Parameters . . . . . . . . . . . . . . . . . . . . 301

Acceleration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Border . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Color Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Luma Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Luma Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Luma Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Chroma Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Color Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Color Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Downstream Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Foreground . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Key Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Secondary Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Spill Suppression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Matrix Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Motion Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Freeze Frame Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Variable Speed and Strobe Motion Parameters . . . . . . . . . 324

Plug-in Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Scroll Position V. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Transition Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

2D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Blend Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Dip to Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Dissolve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Fade from Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Fade to Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Picture-in-Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Superimpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Box Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Bottom Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Bottom Left to Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Bottom Right to Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Left Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Right Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Top Bo x . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Top Left to Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Top Right to Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Conceal Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Bottom Left to Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Bottom Right to Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Top Left to Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Top Right to Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Edge Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Horizontal Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Lower Left Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Lower Right Diagonal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Upper Left Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Upper Right Diagonal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Ve r ti c a l . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Vertical Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Film Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

1.66 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

1.85 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Anamorphic Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

16:9 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Blowup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Film Dissolve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Film Fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Color Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Flip-Flop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Flop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Resize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Submaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Chroma Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Luma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Matte Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

L-Conceal Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Bottom Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Top Ri gh t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Matrix Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Grid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

One-Way Row. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Speckle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Spiral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Zig-Zag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Freeze Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Variable Speed and Strobe Motion . . . . . . . . . . . . . . . . . . . 397

Peel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Bottom Left Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Bottom Right Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Top Left Corner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Top Right Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Push Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Bottom Left to Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Bottom Right to Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Top Left to Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Top Right to Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Sawtooth Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Horizontal Open Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Horizontal Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Vertical Open Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Vertical Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Shape Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

4 Corners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Center Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Circle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Clock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Diamond . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Ellipse. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Horizontal Bands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Horizontal Blinds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Vertical Blinds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Spin Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

X Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Y Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Z Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Squeeze Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Bottom Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Bottom Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Centered Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Horizontal Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Left Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Right Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Top Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Top Ri gh t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Vertical Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Title Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Comparison of Similar Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Chapter 9 3D Effects Reference

3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Global Versus Keyframeable Parameters. . . . . . . . . . . . . . . . . . 454

The Hierarchy of Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Direct Manipulation of 3D Effect Parameters. . . . . . . . . . . . . . 455

Acceleration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Axis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Border . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Foreground . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466

Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Spline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Ta rg e t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Trail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Page Turns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Tips for Page Curl Creation . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Page Curl Angle Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Radial Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

3D Multi Wave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

3D Ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Limitations to Radial Shapes. . . . . . . . . . . . . . . . . . . . . . . . . 479

Offset Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480

3D Slats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

3D Arrow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

3D Center Burst . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

3D Sine Wave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

3D Bumps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Index

Tables

Table 2-1 Playback Capabilities of Motion Effects . . . . . . . . . . . 74

Table 3-1 Effect Editor Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Table 3-2 Render Settings Options . . . . . . . . . . . . . . . . . . . . . . . . 127

Table 6-1 Toolbar Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Table 6-2 Title Object Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Table 7-1 DSK and Non-DSK Title Playback Capabilities . . . . 276

Table 7-2 Title Effect Playback Capabilities . . . . . . . . . . . . . . . . 277

CHAPTER 1

Preparing to Work with Effects

Avid Xpress offers many effects that you can apply to your sequences. This chapter describes concepts you should understand before you begin creating and editing effects into sequences.

• Effect Types

• Effects Creation Tools

• About Real-Time and Downstream Key Effects

• Using the Effect Palette

• Using Third-Party Plug-in Effects

Effect Types

Much overlapping occurs between the various types of effects you can create, as well as the methods used to create them. Your system offers four basic effect types.

• Transition effects (dissolves, wipes, and so forth) are applied at the cut point between two video clips that are on the same video track (that is, the same video layer). For more information on creating transition effects, see Chapter 2, “Basics of Effects

Editing” and Chapter 3, “Customizing Effects with the Effect Editor.”

• Segment effects are applied to an entire clip or group of clips. There are two types of segment effects:

-A single-layer segment effect, such as the Mask effect, is

applied to a segment on one video track. Single-layer segment effects use one stream of video. For more information on creating single-layer segment effects, see Chapter 2, “Basics of

Effects Editing” and Chapter 3, “Customizing Effects with the Effect Editor.”

-A multilayer segment effect, such as the Picture-in-Picture

effect, is applied to the top layer or a middle layer of segments that contain two or more video tracks that will be played simultaneously. For more information on techniques for creating multilayer effects, see Chapter 4, “Creating Layered

and Nested Effects.”

• Title effects are created with the Title tool and edited onto their own layers in a sequence. For more information on techniques for creating and editing title effects, see Chapter 6, “Creating Titles

and Graphic Objects” and Chapter 7, “Editing with Titles.”

• Motion effects (freeze frame, variable speed, and strobe) are created by manipulating the playback characteristics of a clip of footage. For more information on techniques for creating motion effects, see Chapter 2, “Basics of Effects Editing.”

A number of effects across these categories have both 2D (two-dimensional) and 3D (three-dimensional) versions on systems equipped with the 3D Effects option. For more information on techniques for creating 3D effects, see Chapter 5, “Working with 3D

Effects.”

For a list of effects for each model of Avid Xpress, see the Avid Xpress Release Notes.

Effects Creation Tools

The following chart presents the basic tools used to create effects.

Sources of effects:

Effect Palette

Apply transition and segment effects directly to tracks.

Effects editing in default editing mode:

Motion Effect dialog box

Edit effect clips into the Timeline.

Title tool

Title and motion effects appear first as clips in the bin.

Effects adjustment in Effect mode:

Effect Preview monitor: Allows you to preview an effect, manipulate keyframes, and manipulate wire-frame representations of the effect.

Effect Editor: Allows you to adjust effect parameters.

About Real-Time and Downstream Key Effects

Many effects are real time, which means you do not have to render them before you play them. Other effects require rendering before you can play them back at full speed. You can preview effects that are not real time before rendering.

Titles and graphic elements imported with an alpha channel display as downstream key (DSK) effects. DSK effects play in real time.

About Real-Time Effects

A real-time effect is an effect that you can apply to a sequence and play without having to render it first (rendering takes time and disk space). A real-time effect has a small orange dot within the effect icon in the Timeline. Effects that must be rendered have a small blue dot within the effect icon in the Timeline. Effects that might need to be rendered have a small green dot within the effect icon in the Timeline. For more information, see “Understanding the Color Coding” on page 30.

Some systems have a mix of real-time and non-real-time effects. For a list of effects capabilities of Avid Xpress models, see the Avid Xpress Release Notes.

Playing Real-Time Effects

You can create a sequence that has any number of real-time and non-real-time effects. However, the maximum real-time playback capabilities of your system vary, depending on whether you are working with two streams of video (compressed resolutions or the two-stream uncompressed option) or with the single-stream uncompressed video option. Uncompressed video options are available for some models of Avid Xpress.

Playback Capabilities for Two-Stream Video

If you are working with compressed video resolutions or with the two-stream uncompressed option, your system can play two video streams in real time. The following are the maximum real-time playback capabilities for two streams of video.

• You can play up to a maximum of two real-time segment effects at a time.

• You can add a maximum of one additional DSK title or graphic. The DSK Title effect can be either a rolling title or a static title or graphic.

• You can add a Dissolve effect between adjacent segments containing real-time segment effects, and the track will continue to play in real time. However, if another segment effect is on another track, the system can no longer play the sequence in real time; it cannot process three video streams simultaneously.

The following sequence demonstrates the maximum real-time playback capabilities of the system.

DSK Title effect

Nested Mask effect

Color effect

Playback Capabilities for Single-Stream Uncompressed Video

If your system includes the single-stream uncompressed (1:1) video option and you are working with uncompressed video, your system can play only one video stream in real time. The following are the maximum real-time playback capabilities for single-stream uncompressed video.

• You can play effects that use only one video stream, for example, color effects or resizes. These effects will appear with an orange dot in the Timeline.

• You can add a DSK title or graphic to a sequence that plays in real time, and the sequence will continue to play in real time. For more information on the playback capabilities of titles and graphics when working with uncompressed video, see Chapter 7, “Editing

with Titles.”

• You cannot play effects that require more than one video stream, for example, dissolves and Picture-in-Picture effects, in real time. This includes all transition effects and all multilayer segment effects. These effects will appear with a green dot in the Timeline.

Playing Complex Effect Combinations

If your sequence contains a combination of effects that exceeds the real-time playback capabilities of the system, you can achieve successful playback by using the following additional techniques:

• Render some or all of the effects. For more information, see

“Rendering Effects” on page 124.

Consider rendering transition effects such as the Dissolve effect or wipe effects first; they take less time to render than titles or segment effects.

• Use the Submaster effect to reduce the amount of rendering. For more information, see “Submaster Editing” on page 171.

• Perform a mixdown of video tracks. For more information, see

“Performing a Video Mixdown” on page 176.

If your sequence contains multiple short clips with multiple real-time effects or images with a high level of complexity, you might exceed the capacity of the hardware to play these in real time, even if these effects would not normally exceed the real-time playback capabilities of your system. This results in Video Underrun error messages. In this case, render some of the intermediate effects before playing the sequence.

Combined Rendering of Real-Time and Non-Real-Time Effects

The combination of real-time and non-real-time effects on the same video track can show different results, depending on when you render the non-real-time effects:

• If you render non-real-time segment effects after you apply a real-time transition effect, the sequence plays in real time.

• If you render non-real-time segment effects and then apply a real-time transition effect, the transition effect plays as a cut.

Displaying Effects On-the-Fly

The Render On-the-Fly option allows you to play back real-time effects and preview non-real-time effects frame by frame, immediately after applying them.

To display effects immediately during effects editing:

t Choose Render On-the-Fly from the Clip menu.

Interrupting Render On-the-Fly

Using Render On-the-Fly can slow down your editing of a sequence. If you are compositing and then change the frame you are monitoring, you must wait for the system to render the single frame.

Instead of waiting for the system to finish rendering, you can interrupt Render On-the-Fly. Interrupting Render On-the-Fly interrupts only the rendering of non-real-time effects.

To interrupt Render On-the-Fly, do one of the following:

t Drag the position indicator in the Timeline.

While you are dragging, the sequence appears in the Composer monitor as it would if Render On-the-Fly were not selected from the Clip menu.

t If you click in the Timeline and the system begins to render,

quickly move to another location in the Timeline. This interrupts the rendering process until you release the mouse button.

About Downstream Key Effects

By default, the Avid system creates all titles using its DSK capabilities. Graphic elements imported with an alpha channel are also created as DSK clips.

Downstream keying allows you to add uncompressed titles or graphics over multiple streams of compressed media and continue to play the sequence in real time. You see the real benefits of downstream keying during editing of Title Effect clips into sequences.

For information about editing with DSK titles, including descriptions of various restrictions and playback capabilities, see Chapter 6.

Using the Effect Palette

The Effect Palette is a window that lists all the effects available on your Avid Xpress system. The effects that are available on your system depend on the model and options that you purchased and on what third-party plug-ins you might have installed. For the list of effects available for your model, see the Avid Xpress Release Notes. You select transition and segment effects from the Effect Palette.

The left side of the Effect Palette displays a scrollable list of effect categories that includes the following standard categories as well as categories for any third-party plug-ins you have installed.

The effect categories list also includes open bins when those bins contain effect templates or other kinds of effect files.

•3D Effect

•Blend

• Box Wipe

• Conceal

• Edge Wipe

•Image

• Key

• L-Conceal

•Matrix Wipe

•Peel

•Push

• Sawtooth Wipe

•Shape Wipe

•Spin

• Squeeze

The right side of the Effect Palette shows a list of the individual effects that are available for the currently selected effect category. Each effect has its own effect icon. Effects that are or might be playable in real time appear with a color-coded dot. For more information, see

“Understanding the Color Coding” on page 30.

Displaying the Effect Palette

You can also display the Effect Palette by pressing Ctrl+8 (Windows) or k+8 (Macintosh) on your keyboard.

Scrollable list of effect categories

To display the Effect Palette:

1. Choose Effect Palette from the Tools menu

The Effect Palette opens.

Blend effect choices

2. Click an effect category in the left side of the Effect Palette to select it and display effects in that category in the right side.

The 3D Effect category is available only on systems with the 3D Effects option. For information on 3D effects, see Chapter 5, “Working with 3D

Effects.”

Resizing the Effect Palette

You can resize the Effect Palette to display more effects when a particular category includes a long list of icons.

To resize the Effect Palette:

t Click the lower right corner of the palette, drag the palette to the

size you want, and then release the mouse button.

Understanding the Color Coding

Effect icons in the Effect Palette and in the Timeline display color-coded dots to help you determine whether an effect is real-time or non-real-time. After opening the Effect Palette, you will notice that:

• Real-time effects are preceded by an orange dot. These effects take advantage of fast rendering.

• Real-time effects that might not be playable in real time due to their position in a sequence or the options available on your system are preceded by a green dot. These effects take advantage of fast rendering.

The Submaster effect has a green dot in the Effect Palette. Other effects might show a green dot in the Timeline, based on the complexity of the sequence.

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

When you edit a non-real-time effect into a sequence, the effect icon appears with a blue dot in the Timeline, which indicates that you must render the effect to play it in real time. After you render the effect, the effect icon appears in the Timeline without a dot.

All color-coded dots disappear in the Timeline when you render effects.

Orange dots indicate real-time effects.

Green dot indicates a real-time effect that might not be playable in real time.

No dot indicates a non-real-time effect; in the Timeline, a non-real-time effect icon contains a blue dot until the effect is rendered.

A real-time effect might not be playable in real time for a variety of reasons involving the complexity of the sequence and the real-time effects capabilities of the system. For more information, see “About

Real-Time and Downstream Key Effects” on page 23.

For a complete listing of all effects and their real-time playback capabilities, see the Avid Xpress Release Notes.

Displaying Effect Templates

Effect templates allow you to save the parameters of an effect to a bin and use them again to create or modify other effects. To learn more about applying templates, see “Using an Effect Template” on

page 120.

In addition to allowing you to view all the standard effects, the Effect Palette allows you to view and access effect templates stored in open bins. The names of open bins containing effects appear in a list below the effect categories.

To view the effect template:

1. Open the bin containing the effect templates.

2. Choose Effect Palette from the Tools menu.

The Effect Palette opens.

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

Effect category list

Bin name containing effect templates

Effect templates

For example, in the preceding illustration, the bin named Effects contains a series of effect templates using the Picture-in-Picture, Mask, and Superimpose effects.

The Effect Palette also displays other effect files, such as matte key clips.

Whenever you open or close a bin or whenever you drop an effect into a bin, Avid Xpress automatically updates both lists. Once a template appears in the right side of the Effect Palette, you can apply it as you would any other effect.

Using Third-Party Plug-in Effects

You can use third-party plug-in effects to add new effects to your Avid Xpress system or to update existing effects. Third-party plug-in effects are compatible with the Avid Visual Extensions (AVX standard. AVX is a cross-platform software architecture designed to allow software effect modules to be dynamically linked with a host application such as an Avid editing system.

™

)

If you are transferring from another system a project that includes sequences with AVX plug-in effects, you must install matching AVX plug-ins to see the effects.

You can purchase these plug-ins directly from a third-party vendor. Two of the current AVX plug-in vendors are:

• Ultimatte Corporation (Ultimatte

www.ultimatte.com

™

• Artel Software (Boris FX

www.borisfx.com or www.artelsoft.com

For a complete, up to date list of AVX plug-in vendors and other information on AVX, visit the AVX Web site:

www.avid.com/3rdparty/avx/index.html

After you install third-party plug-ins, the effects appear in the Effect Palette in their own category (usually the name of the plug-in vendor). Individual effects all have a plug effect icon. The plug icon also appears in the Timeline when you apply a third-party plug-in effect. After you create an effect, you can save it as an effect template and reapply the template to other transitions or segments in your sequence. Effect templates also appear in a special section at the bottom of the Effect Palette.

)

Your Avid Xpress system also supports Digidesign® AudioSuite™ plug-ins. These plug-ins apply only to audio clips and do not appear in the Effect Palette. For more information, see the chapter “Working with Audio” in the

user’s guide.

Installing AVX Plug-Ins

AVX plug-ins usually come complete with any necessary documentation. This section describes how to install the plug-ins and how to access them from your Avid Xpress system.

Most AVX plug-ins have their own installation program. This program locates the AVX_Plug-Ins folder and installs the plug-ins automatically when you follow the installation instructions.

If an AVX plug-in has an installation program, you should always use the program to install the plug-ins. For more information, see the documentation for the plug-in.

Some AVX plug-ins do not have an installation program and must be installed manually.

To install AVX plug-ins manually:

1. Quit the Avid Xpress application.

Do not add or remove plug-ins while Avid Xpress is running.

2. Copy the plug-in files from the software vendor’s folder to the AVX_Plug-Ins folder located on your Avid Xpress system.

The default location for the AVX_Plug-Ins folder is:

C:\Program Files\Avid\AVX_Plug-Ins (Windows)

Avid:Avid Xpress:SupportingFiles:AVX_Plug-Ins (Macintosh)

However, the AVX_Plug-Ins folder might be in a different location on your system.

(Windows only) If the AVX Plug-Ins folder does not appear in the default

location and you don’t know its location, you can locate the folder by using the Regedit application. For more information, see “Locating the

AVX_Plug-Ins Folder (Windows)” on page 37.

The following illustration shows the location of the AVX_Plug-Ins folder within the Avid file structure on a Macintosh system.

3. Restart the Avid Xpress application, and open the Effect Palette. The AVX plug-in effects appear in the Effect Palette, usually in their own category under the name of the vendor.

You must place the plug-ins directly in the AVX_Plug-Ins folder. They cannot be inside another folder within this folder or elsewhere on your Avid Xpress system. If they are, Avid Xpress will not recognize them.

If the plug-in effects do not appear in the Effect Palette after installation, see

“Troubleshooting AVX Plug-Ins” on page 41.

Locating the AVX_Plug-Ins Folder (Windows)

When the Avid Xpress application is first installed, the installation program asks the administrator to choose a location for the AVX_Plug-Ins folder. The default path is:

C:\Program Files\Avid\AVX_Plug-Ins

If the administrator accepts the default location for the AVX_Plug-Ins folder, you can install AVX plug-ins here.

If the AVX_Plug-Ins folder is not in the default location, or if the effects are not appearing in the Effect Palette after you install them, you can use the Regedit application that comes with your Windows system to identify the location of the AVX_Plug-Ins folder.

Use the following procedure only to obtain information on the location of the AVX_Plug-Ins folder. Do not change any of the information in the Windows Registry. Changing values in the Windows Registry might affect the performance of your system.

To locate the AVX_Plug-Ins folder by using Regedit:

1. Click the Start button, and then click Run.

2. Type regedit in the command line and click OK.

The Registry Editor window opens.

3. In the left pane of the window, navigate to the following path:

HKEY_LOCAL_MACHINE\SOFTWARE\Avid Technology\AVX

lug-Ins

4. Click the AVX Plug-Ins folder in the left pane, and then check the

entry for “Directory” in the right pane.

The value of this entry is the path that contains the AVX_Plug-Ins folder. For example, if the AVX_Plug-Ins folder is in its default location, the Directory entry will be “C:\Program Files\Avid.” If you navigate to C:\Program Files\Avid by using My Computer or

the Windows Explorer, you will find the AVX_Plug-Ins folder in that location.

HKEY_LOCAL_MACHINE\SOFTWARE\Avid Technology\AVX Plug-Ins

Remember that AVX plug-ins must be installed in the AVX_Plug-Ins folder itself, not elsewhere in the path that contains that folder.

Directory entry. The path listed here is the path that contains the AVX Plug-Ins folder.

Upgrading AVX Plug-ins and Effects

You can upgrade an AVX plug-in simply by uninstalling the old version of the plug-in and installing the new version in your AVX_Plug-Ins folder.

Once you have installed a new version of an AVX plug-in, Avid Xpress upgrades older effects in sequences to be compatible with the new version. The parameter values previously set by the user for an effect

appear in the Effect Editor or in the plug-in’s own user interface.

If the new version of the plug-in has new or redesigned parameter controls, Avid Xpress sets these controls to their default settings when upgrading existing effects. Controls that are unchanged from the older version of the plug-in retain the values previously set by the user when Avid Xpress upgrades existing effects.

After you upgrade a plug-in effect or transition, you should not reinstall the older version of the plug-in. Avid Xpress cannot use an older version of a plug-in to process effects that have been created with a newer version. Similarly, if you transfer projects between systems, an effect created with a newer version of a plug-in will not work on a system that has an older version installed.

Assigning Multiple Tracks in Plug-in Effects

Some plug-in effects can take an arbitrary number of tracks as input. Your system allows you to choose the number of video inputs from the AVX Optional Inputs dialog box.

For more information on the multiple track capabilities of a plug-in, see the documentation for that plug-in.

To assign multiple tracks to a plug-in effect by using the AVX Optional Inputs dialog box:

1. Drag the plug-in icon to the Timeline.

2. When the AVX Optional Inputs dialog box appears, select the number of video inputs you want from the Number of Tracks pop-up menu, and then click OK.

For more information on nested effects, see “Nesting Effects” on

page 165.

Using AVX Plug-in Controls

AVX plug-ins use a variety of different interfaces that give you control over the effects. Some plug-ins use custom interfaces that appear in their own dialog boxes. Others use some combination of controls that appear within the Effect Editor. These controls might include standard Avid controls familiar from Avid effects, custom controls designed by Avid for use by plug-in vendors, and custom controls designed by the plug-in vendors themselves.

Accessing an AVX Custom Interface

If an AVX plug-in has a custom interface, you access that interface from the Effect Editor.

To access an AVX plug-in’s custom interface:

t Click the Other Options button in the Effect Editor.

The AVX plug-in’s custom interface appears.

Dialog boxes that appear as part of an AVX plug-in’s custom interface are modal dialog boxes. If you move one of these dialog boxes, the screen behind the dialog box will not redraw. To restore your screen, close the dialog box.

Custom AVX Controls in the Effect Editor

This section introduces some of the custom controls that might appear in the Effect Editor for an AVX plug-in effect. For more information on using these controls, and other controls specific to individual effects, see the documentation for the plug-in.

Some plug-in effects allow you to adjust an image by using controls that appear as overlays, such as handles and wire frames, in the Effect

Preview monitor. You access these overlays by clicking the Outline/Path button at the bottom of the Effect Editor. In some cases, you can then access additional controls by clicking buttons on the right side of the Effect Editor that are similar to the buttons available in the Effect Editor for standard Avid 3D effects.

The following Effect Editor parameters, which are not available in standard Avid effects, are available to some AVX plug-in effects:

• The Treadmill is a slider that provides a window on a wide range of values and allows precise control over increments.

• The Angle parameter category allows you to manipulate an effect’s angle or direction by dragging within a graphic representation of a circle to alter the angle or direction value. Values can be positive or negative and are not limited to a single

rotation.

360

Troubleshooting AVX Plug-Ins

This section describes problems that you might encounter with AVX plug-ins and makes suggestions for possible solutions or sources for more information.

If a plug-in does not work as expected and the following suggestions do not solve the problem, contact the plug-in vendor.

Plug-in Does Not Appear in the Effect Palette

AVX plug-ins have a plug icon in the Effect Palette and in the Timeline. If the plug icon does not appear in the Effect Palette after installation, the plug-in might be in the wrong folder. For information on locating the AVX_Plug-Ins folder on a Windows system, see “Locating the

AVX_Plug-Ins Folder (Windows)” on page 37.

Plug-in Does Not Load

AVX plug-ins might not load correctly for a variety of reasons. In particular, even though it is installed correctly in the AVX Plug-Ins folder, a plug-in might require supporting files, for example .dll files, that are missing from your system or are installed in the wrong location.

If a correctly located plug-in does not load, check the plug-in documentation for information on required supporting files.

Avid Xpress Cannot Render the Plug-In

If Avid Xpress cannot render the plug-in, possible causes include the following:

• The plug-in has expired.

• The plug-in’s application key is missing or damaged.

Some plug-ins write more information about the failure to the Console window. Also, some plug-ins might report the problem in a message box.

Blank Effect Icons in the Timeline

AVX plug-ins have a plug icon in the Effect Palette and in the Timeline. If the effect icon in the Timeline is blank, Avid Xpress could not find the plug-in.

To identify a plug-in that is missing or misplaced:

t Open the Console window (choose Console from the Tools menu)

and look for the message “Can’t find effect.”

The message identifies the plug-in that Avid Xpress cannot locate. You can then reinstall the plug-in in your AVX_Plug-Ins folder and restart Avid Xpress.

Missing Effect Categories in the Effect Palette

If you cannot see the plug-in categories in the Effect Palette, you might have an incorrect version of the AVXLibrary or the plug-ins might not have been installed correctly. In this case, check the Console window for a message that states that AVX is disabled. If it is not disabled, quit the Avid Xpress application, reinstall the plug-ins, and restart the application.

If the message in the Console window states that AVX is disabled, call Avid Customer Support to determine whether you need a new version of the AVXLibrary.

CHAPTER 2

Basics of Effects Editing

This chapter explains how to create basic transition and single-layer segment effects, including motion effects.

• Deconstructing Effects

• Applying Effects to a Sequence

• Deleting Effects in a Sequence

• Using the Fade Effect Button

• Working with Transition Effects

• Creating Motion Effects

Deconstructing Effects

One good way to understand how effects are built by Avid Xpress is to break down existing effects into their basic elements. By learning how the various pieces fit together, and how Avid Xpress allows you to manipulate them, you can begin to construct new effects from these building blocks.

The sequence depicted in the following screen image contains a series

of effects that cover all the basic techniques — from simple dissolves to 3D nested layers — described throughout Chapters 2, 3, 4, and 5 of this guide.

Layered background elements

Layered foreground elements

Imported title elements set in motion with a 3D wipe effect

In the PDF version of this guide, available on the Avid Xpress Online Publications CD-ROM, you can double-click the following image to view

the entire sequence.

The following Timeline for this sequence includes both transition and segment effects applied horizontally, vertically, and nested within video tracks. The callouts summarize deconstructed elements and list the sections of this guide that describe them in more detail.

Deconstructing an effects sequence

Imported graphic promoted to a 3D Slat wipe:

See “Using Matte Keys with 3D Effects” on

page 183.

Effect template applied repeatedly to crop and position foreground images on V2: See

“Creating a Cropped Foreground Effect” on page 195.

Nested segments add more layer s to the foreground track:

See “Nesting

Effects” on page 165.

Submaster segment, created from collapsed layers, forms the background on V1: See

“Submaster Editing” on page 171.

Title graphics imported as Matte Key effects: See

“Working with Imported Graphics and Animation” on page 161.

Keyed titles are faded in and out: See “Using

the Fade Effect Button” on page 56.

Dissolve sequence forms the foreground on V2:

See “Applying an Effect to Multiple Transitions” on

page 50 and “Working with Transition Effects” on page 57.

Various effect parameters are adjusted throughout to soften, distort, or position images: See “Using

the Effect Editor” on page 98.

Applying Effects to a Sequence

This section explains how to apply an effect to a sequence in the Timeline. You can apply an effect to:

• One transition or segment on a single video layer

• Multiple transitions or segments on a single video layer

• Multiple transitions or segments on multiple video layers

The effect type (transition or segment) determines where you can place the effect in the sequence. For an explanation of the effect types, see “Effect Types” on page 20. For information on each individual

effect, see “2D Effects” on page 331.

After you apply an effect, the next step is to adjust the effect’s parameters. To understand how to adjust the effect parameters, see

“About Effect Parameters” on page 103.

Applying an Effect to a Single Transition or Segment

This section describes how to add a single transition or segment effect to a single video layer by dragging an effect from the Effect Palette or by double-clicking a segment or transition.

You can also apply several of the most common transition effects, such as the Dissolve effect, by clicking the Add Dissolve button. For more information, see “Using the Add Dissolve Button” on page 59.

Dragging an Effect from the Effect Palette

To apply an effect to a single transition or segment:

For information about editing a sequence, see

your user’s guide.

1. Create a sequence in the Composer monitor, using standard Avid editing procedures.

2. Choose Effect Palette from the Tools menu.

For an explanation of the Effect Palette, see “Using the Effect

Palette” on page 28.

3. Click the effect icon in the Effect Palette, drag it to the segment or transition in the Timeline, and release the mouse button.

The effect icon appears in the Timeline as shown in the following example.

Drag the effect icon from the Effect Palette to the sequence.

Effect icon

If the effect is a transition effect and the sequence does not have enough incoming or outgoing media to apply that effect, a dialog box appears. For more information, see “Sizing the Effect to Fit the Media” on page 71.

Double-Clicking an Effect Icon in the Effect Palette

If the effect is a segment effect, one segment at a time is highlighted as you drag the effect within the Timeline. If the effect is a transition effect, one transition at a time is highlighted as you drag the effect within the Timeline. Some effects are both transition and segment effects; when you drag such an effect within the Timeline, both transitions and segments are highlighted.

To apply an effect to a single segment:

1. Create a sequence in the Composer monitor, using standard Avid editing procedures.

2. Choose Effect Palette from the Tools menu.

3. Click either the Extract/Splice-in button or the Lift/Overwrite button below the Timeline.

4. Click the segment to which you want to add the effect.

5. Double-click the effect icon in the Effect Palette.

The effect icon appears in the Timeline.

To apply an effect to a single transition in Trim mode:

1. Create a sequence in the Composer monitor, using standard Avid editing procedures.

2. Choose Effect Palette from the Tools menu.

3. Click the transition where you want to add the effect.

4. Double-click the effect icon in the Effect Palette.

The effect icon appears in the Timeline.

This procedure for adding a transition effect works only in Trim mode. See

“Creating a Dissolve in Trim Mode” on page 70.

Applying an Effect to Multiple Transitions

To apply an effect to multiple transitions:

1. If there is not already an effect on one of the transitions, add a transition effect. Avid Xpress allows you to perform this procedure only if one of the transitions already has an effect on it.

2. Click the Effect Mode button in the Tool palette to open the Effect Editor.

3. Click the transition effect described in step 1.

4. If the Effect Editor is blank, click the Effect Editor to display the information for the transition effect.

5. Click above the Timeline and begin dragging to activate a selection box. Continue to drag down and either to the left or right to include additional transitions in the selection.

Cursor selection box

6. Release the mouse button when you have lassoed all the transitions you want.

The transitions that you selected are highlighted, and the position indicator moves to the first transition.

7. If the transitions where you want to apply the effect are not contiguous, Shift+click any transition to deselect it.

8. Open the Effect Palette, and double-click the icon for the effect that you want to apply to the transitions.

The effect appears on the highlighted transitions in the Timeline.

If the sequence does not have enough incoming or outgoing media to apply the transition effect, a dialog box appears. For more information, see “Sizing the Effect to Fit the Media” on page 71.

Applying an Effect to Multiple Segments

You can apply an effect to multiple segments on the same video layer or on multiple video layers in a single step. The following procedure describes selecting multiple segments in the same video layer. You can also use this procedure to select segments on multiple layers.

You cannot apply effects to multiple segments while in Trim mode.

To apply an effect to multiple segments on the same video layer:

1. In normal editing mode or in Effect mode, click above the Timeline and to the left of the leftmost segment that you want to select, and begin dragging to the right and down to activate a selection box.

2. Continue to drag the selection box to the right until you lasso the rightmost segment that you want to select.

Cursor selection box

3. Release the mouse button.

Avid Xpress highlights the segments you selected.

4. If the segments where you want to apply the effect are not contiguous, Shift+click a segment to deselect it. You can also Shift+click to add one or more segments.

5. Open the Effect Palette, and double-click the effect’s icon that you

want to apply to the segments.

Avid Xpress applies the effect to the highlighted segments in the Timeline.

Deleting Effects in a Sequence

You can delete transition effects from a sequence in the Timeline at any time. You can delete segment effects from a sequence in the Timeline at any time except when you are in Trim mode. Use the following procedures to either delete a single effect from a sequence or delete effects in multiple segments.

Deleting a Single Effect

To delete a single effect:

1. Move the position indicator to the Timeline segment containing

the effect’s icon.

The track containing the effect is selected.

2. If there are multiple tracks that contain effects at the same position in the Timeline, select only the track where the effect to be deleted resides.

In this example, only track V3 is selected.

If you are deleting a segment effect and the segment contains a transition effect, the transition effect will be deleted also, because

the transition effect resides “on top of” the segment effect. If necessary, you will have to reapply the transition effect.

3. Delete the effect by doing one of the following:

t If the Effect Editor is not active, click the Remove Effect button

in the Tool palette.

t When the Effect Editor is active, select the effect and press the

Delete key.

t In Trim mode (for transition effects only), either press the

Delete key or click the Remove Effect button.

The effect is removed.

When you delete an effect from a sequence, Avid Xpress does not delete the

associated media file. To delete the effect’s media file, you must manually remove it from the drive. Avid Xpress operates this way so that you will be able to undo the deletion of an effect or undo the change you made to an effect. To delete an effect’s media file, see “Managing Effect Media Files” on

page 147.

Deleting Multiple Transition Effects

To delete multiple transition effects:

1. Shift+click each transition effect you want to delete.

2. Click the Remove Effect button, or press the Delete key.

Deleting Multiple Segment Effects

To delete multiple segment effects:

1. Click either the Extract/Splice-in button or the Lift/Overwrite button below the Timeline.

2. Shift+click each segment that contains a segment effect you want to delete.

3. Click the Remove Effect button, or press the Delete key.

Using the Fade Effect Button

You can use the Fade Effect button to fade segment effects quickly and easily. A dialog box appears that allows you to enter the number of frames to fade up and fade down.

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

To fade one or more segment effects in a sequence:

1. Make a selection in the Timeline by doing one of the following:

t To fade a single segment effect, move the position indicator to

the segment.

t To fade multiple segment effects, click either the

Extract/Splice-in button or the Lift/Overwrite button below the Timeline; then Shift+click the segments.

2. Click the Fade Effect button in the Tool palette.

The Fade Effect dialog box appears.

3. In the Fade Effect dialog box, type the number of frames to fade up and fade down, and click OK.

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

Working with Transition Effects

You apply a transition effect to the cut point between two clips on the same video track. You can adjust the alignment and duration of a transition effect. Depending on the specific effect, other effect parameters might also be available.

Types of Transition Effects

Transition effects are included in all effect categories in the Effect Palette, except the Image effect category. For an explanation of the transition effects in each effect category, see Chapter 8 and Chapter 9.

Applying a Dissolve Effect

One of the most common transition effects is a dissolve. Avid Xpress has three methods you can use to apply the Dissolve effect:

• Select the Dissolve effect from the Effect Palette. For more information, see “Using the Effect Palette to Create a Dissolve

Effect” on page 58.

• Click the Add Dissolve button in the Tool palette. For more information, see “Using the Add Dissolve Button” on page 59.

• In Trim mode, use the Transition parameters to create a dissolve. For more information, see “Creating a Dissolve in Trim Mode”

on page 70.

Using the Effect Palette to Create a Dissolve Effect

To apply a Dissolve effect by using the Effect Palette:

1. Create a sequence in the Composer monitor by using the standard Avid Xpress editing procedures. For information about editing a

sequence, see your user’s guide.

2. Choose Effect Palette from the Tools menu.

3. Click the Blend category.

4. Drag the Dissolve Effect icon to the transition in the Timeline, and release the mouse button.

The Dissolve Effect icon appears in the Timeline.

If the sequence does not have enough incoming or outgoing media to apply a transition effect, a dialog box appears. See “Sizing the Effect to Fit the

Media” on page 71.

Using the Add Dissolve Button

You can create a transition effect by clicking the Add Dissolve button. This button allows you to apply a Dissolve effect or any of the following transition effects without using the Effect Palette:

• Dissolve

• Film Dissolve (optional on some models)

• Film Fade (optional on some models)

• Fade to Color

• Fade from Color

• Dip to Color

You can choose to add the same transition effect to multiple transitions at the same time by marking IN and OUT points in your sequence that select all the transitions to which you want to apply the effect. When you click the Add Dissolve button, the Quick Dissolve dialog box will contain a check box for Apply to All Transitions (IN -> OUT). For more information, see “Using the Add Dissolve Button to Apply Effects to

Multiple Transitions” on page 63.

To create an effect by using the Add Dissolve button:

1. Move the position indicator to the transition in the Timeline.

2. Click the Add Dissolve button in the Tool palette.

The Quick Dissolve dialog box appears.

Graphical display of media and effect

The dialog box includes a graphical display of the outgoing media and incoming media, with the effect icon applied to the transition. For more information, see “Understanding the Graphical Display

in the Quick Dissolve Dialog Box” on page 66.

3. Choose a transition effect from the Add pop-up menu.

For an explanation of individual effects shown in the menu, see

Chapter 8, “2D Effects Reference.”

When you save a Dissolve effect template into a bin named Quick Dissolves, the effect template appears in the Add pop-up menu. See “Using an Effect

Template” on page 120.

When you choose a color transition with Add Dissolve, the default color is black. You must enter Effect mode to choose another color. For more information, see “Using the Effect Editor” on page 98.

4. Select the transition duration by doing one of the following:

t Type the duration in frames in the Duration text box.

t Click either the left or right edge of the Dissolve Effect icon

and drag it to change the duration. For more information, see

“Understanding the Graphical Display in the Quick Dissolve Dialog Box” on page 66.

The graphical display changes — the size of the effect icon gets smaller or larger, and the numbers in the Duration and Start text boxes change — to reflect the new duration.

5. Adjust the effect’s alignment relative to the cut point in one of the following ways:

t Choose an alignment from the Position pop-up menu to have

the effect start at the cut point, center on the cut point, or end at the cut point.

t Choose Custom from the Position pop-up menu, and then

type a number in the Start text box to specify how many frames before the cut point you want the effect to begin.

The system automatically selects the Custom option in the Position pop-up menu when you click in the graphical display.

t Click inside the effect in the graphical display, and drag it to

position the effect with respect to the cut point.

t Click one of the alignment buttons below the graphical

display.

For more information on the graphical display options, see

“Understanding the Graphical Display in the Quick Dissolve Dialog Box” on page 66.

The system positions the effect, updates the graphical display to show the new position of the effect, and updates the value in the Start text box.

If you select an alignment for which there is not enough media, the system comes as close as it can to the alignment you requested.

6. Click Target Drive, and from the pop-up menu choose a drive on which to store the effect if you choose to render it.

The Effect Source Drive is the drive where the media on the outgoing shot of a transition resides.

7. (Option) If you have IN and OUT points marked in your sequence, the Quick Dissolve dialog box contains a check box for Apply to All Transitions (IN -> OUT). Select this option to apply the same effect to all transitions between the IN and OUT points. Deselect this option to apply the effect only to the transition to which you have moved the position indicator.

8. If the effect you selected is real-time, select Skip Real-Time Effects to prevent real-time effects from being rendered.

9. Do one of the following:

t To add the effect without rendering it, click Add.

t To add the effect and render it, click Add and Render.

Avid Xpress adds the effect to the selected transition in the sequence, or, if you selected Apply to All Transitions (IN -> OUT), the system adds the effect to all transitions between the IN and OUT points.

Using the Add Dissolve Button to Apply Effects to Multiple Transitions

You can select multiple transitions by marking IN and OUT points. Then apply an effect from the Quick Dissolve dialog box to all the selected transitions at once.

To apply an effect to multiple transitions by using the Add Dissolve button:

1. Mark IN and OUT points around the transitions to which you want to add the effect.

2. Make sure that the Record Track buttons in the Track Selector panel are selected for the tracks to which you want to add the effect.

3. (Option) If you want to see a particular transition in the graphical display of the Quick Dissolve dialog box, move the position indicator to that transition.

The graphical display in the Quick Dissolve dialog box always shows the transition closest to the position indicator. When you are defining an effect to apply to multiple transitions, the positioning details of any one transition might not be useful since you need to create an effect that will fit all the transitions. However, you might want to choose one transition as a model. For example, you might use the transition with the least amount of handle as a model. If your effect fits that transition, it should fit all the others you have selected.

4. Click the Add Dissolve button.

The Quick Dissolve dialog box appears.

Apply to All T ransitions check box

5. Choose a transition effect from the Add pop-up menu.

For an explanation of individual effects shown in the menu, see

Chapter 8, “2D Effects Reference.”

When you save a Dissolve effect template into a bin named Quick Dissolves, the effect template appears in the Add pop-up menu. See “Using an Effect

Template” on page 120.

6. Select the transition duration by doing one of the following:

t Type the duration in frames in the Duration text box.

t Click either the left or right edge of the Dissolve Effect icon

and drag it to change the duration. For more information, see

“Understanding the Graphical Display in the Quick Dissolve Dialog Box” on page 66.

The graphical display changes — the size of the effect icon gets smaller or larger, and the numbers in the Duration and Start text boxes change — to reflect the new duration.

7. Adjust the effect’s position relative to the cut point in one of the following ways:

t Choose an option from the Position pop-up menu to have the

effect start at the cut point, center on the cut point, or end at the cut point.

t Choose Custom from the Position pop-up menu, and then

type a number in the Start text box to specify how many frames before the cut point you want the effect to begin.

The system automatically selects the Custom option in the Position pop-up menu when you click in the graphical display.

t Click inside the effect in the graphical display and drag it to

position the effect with respect to the cut point.

t Click one of the alignment buttons below the graphical

display.

For more information on the graphical display options, see

“Understanding the Graphical Display in the Quick Dissolve Dialog Box” on page 66.

The system positions the effect, updates the graphical display to show the new position of the effect, and updates the value in the Start text box.

8. Click Target Drive, and from the pop-menu choose a drive on which to store the effect if you choose to render it.

The Effect Source Drive is the drive where the media on the outgoing shot of a transition resides.

9. If the effect you selected is real time, select Don’t Render Real-time

Effects to prevent real-time effects from being rendered.

10. Select Apply to All Transitions (IN -> OUT).

11. Do one of the following:

t To add the effect without rendering it, click Add.

t To add the effect and render it, click Add and Render.

This adds the selected effect to all the transitions between the marked IN and OUT points on the selected tracks in the sequence.

If there is not enough incoming or outgoing media material to apply the effect to a transition, a dialog box appears. For more information, see “Sizing the

Effect to Fit the Media” on page 71.

Understanding the Graphical Display in the Quick Dissolve Dialog Box

The graphical display of the transition effect that appears in the Quick Dissolve dialog box allows you to control the length and position of the effect with frame accuracy simply by dragging. You can also quickly reset the position of the effect by using the three alignment buttons.

Features of the Graphical Display

The following illustration shows the graphical display in the Quick Dissolve dialog box.

Frames of incoming media available for the effect

Outgoing media

incoming media

Transition effect

Alignment buttonsHandle on

Handle on outgoing media

Frames of outgoing media available for the effect

Incoming media

The graphical display shows the following:

• The outgoing (A) and incoming (B) media for the transition to which you are applying the effect. The amount of handle that is available for each piece of media is clearly indicated both as a darker area on the graphic itself and as a number of frames.

• The transition effect that you are applying. The display shows the effect icon and indicates the length and position of the effect in relation to the media.

• Three alignment buttons. These buttons appear when you choose Custom from the Position pop-up menu or click in the graphical display. They allow you to quickly reposition the effect so that it either starts at the cut point, is centered on the cut point, or ends at the cut point.

The system draws and scales the graphical display so that it always represents the relative size and position of the transition effect in relation to the media. For example, in the illustration above, the effect is 30 frames long while the outgoing handle is 20 frames long. The effect is therefore shown 50% longer than the outgoing handle.

Adjusting the Effect By Dragging

You can control the length or position of the transition effect by dragging in the graphical display.

To adjust the length of the effect:

1. Do one of the following:

t To adjust the length of the effect without changing its Start

point, move the pointer over the right edge of the effect.

t To adjust the length of the effect without changing its End

point, move the pointer over the left edge of the effect.

The pointer changes to a resizing arrow.

2. Do one of the following:

Resizing arrow

t Drag away from the effect icon in the center to lengthen the

effect.

t Drag toward the effect icon in the center to shorten the effect.

The graphical display and the Duration text box update to reflect your adjustment. If you are dragging the left edge of the effect, the Start text box also updates to reflect the changed Start point.

To adjust the position of the effect:

1. Move the pointer inside the effect.

The pointer changes to a hand.

2. Drag the effect to adjust its position with respect to the cut point.

The graphical display updates to show the new effect position, and the Start text box updates to show the new number of frames before the cut point.

You cannot drag an effect beyond the ends of the handles on the media because the system cannot create a transition unless both incoming and outgoing media are available for every frame of the transition. You also cannot drag an effect beyond the cut point.

Repositioning the Effect With the Alignment Buttons

You can use the alignment buttons to quickly reposition the effect so that it either starts at the cut, is centered on the cut, or ends at the cut. The buttons have the same effect as the Starting at Cut, Centered on Cut, and Ending at Cut commands in the Position pop-up menu.

Centered on Cut Ending at CutStarting at Cut

To reposition the effect with an alignment button:

t Click one of the following buttons:

• Starting at Cut, to have the effect begin at the cut point

• Centered on Cut, to center the effect on the cut point

• Ending at Cut, to have the effect end at the cut point

Creating a Dissolve in Trim Mode

You can create a Dissolve effect in Trim mode by using the Transition parameters displayed in the Effect Editor and in the Composer monitor.

To create a Dissolve effect by using the Transition parameters:

1. Click a transition in the Timeline while in Trim mode.

2. In the Transition Effect Duration box in the Effect Editor or in the

Composer monitor, type the dissolve’s duration.

Transition Effect Alignment button

Transition Effect Alignment pop-up menu

The duration format is determined by the Duration setting above the Composer monitor, for example, seconds:frames. For more information, see

”Performing a Basic Trim” in the chapter “Working in Trim Mode” of the user’s guide.

Transition Effect Duration box

This adds the Dissolve effect at the transition and a Dissolve effect in the Timeline.

3. Click the Transition Effect Alignment button, and select the effect’s

position relative to the cut point from the pop-up menu.

For an explanation of the Transition Effect Alignment pop-up menu selections, see “Transition Parameters” on page 330.

Sizing the Effect to Fit the Media

When you select a transition effect from the Effect Palette and not enough source media exists to apply the effect, the Insufficient Source dialog box appears.

The dialog box shows a graphical display that indicates whether the source that has insufficient material is Media A (outgoing footage), Media B (incoming footage), or both.

To automatically size the effect to fit the media:

t Click Size to Fit.

Avid Xpress sets the duration of the effect to fit the available media. If you have selected an alignment, Avid Xpress attempts to preserve it.

To change the alignment or duration of the transition effect, see

“Creating a Dissolve in Trim Mode” on page 70.

Although the graphical display in the Insufficient Source dialog box is similar to the graphical display in the Quick Dissolve dialog box, you cannot adjust an effect by dragging in the Insufficient Source dialog box.

Trimming a Transition Effect

Avid Xpress lets you do the following:

• Trim a transition effect, using the standard transition trim procedures. For more information, see the chapter “Working in Trim Mode” in the user’s guide.

• Customize a transition effect, such as changing the fade color. For a description of how to change effect parameters, see Chapter 3.

Creating Motion Effects

A motion effect, applied to a clip in the Source pop-up monitor, allows you to alter the playback characteristics of the clip. Motion effects include Freeze Frame, Variable Speed (such as slow motion or fast motion), and Strobe Motion effects. You can also combine Variable Speed and Strobe Motion effects in a single clip.

Avid Xpress creates a motion effect by creating a new clip in a bin. You then edit the clip into your sequence by using standard editing techniques.

Playing and Rendering Motion Effects

Some motion effect clips play in real time when edited into a sequence; others must be rendered before they can be played.

Playback capabilities for motion effects depend on the type of effect, the options you choose when creating the effect, and how you work with the effect after you first create it.

Rendering Considerations When Creating Motion Effects

Some motion effects play in real time, and some require rendering before they will play. When you first create a motion effect that requires rendering, you can render immediately or create an unrendered version that you can render later in your workflow.

Avid Xpress creates motion effects using one of four different types —

Duplicated Field, Both Fields, Interpolated Field, and VTR-Style. The Duplicated Field and Both Fields types enable some motion effects to play in real time; the Interpolated Field and VTR-Style types always require rendering. You choose motion effect types based on the quality you need for the final motion effect, the rendering time that each type requires, and the media with which you are working (some types are useful only when you are working with two-field media).

For more information on motion effect types, including their relative quality and their compatibility with different types of media, see “Motion Effect

Parameters” on page 322.

Avid Xpress allows you to preview some kinds of unrendered motion effects in real time even if they require rendering for final playback. Avid Xpress cannot preview other kinds of unrendered motion effects; these effects will play as filler until they are rendered. Tab l e 2 - 1 provides a summary of playback capabilities for motion effects.

Table 2-1 Playback Capabilities of Motion Effects

Effect Playback Capability Preview Capability

Freeze Frame (all types) Real-time Real-time

Variable Speed effects — forward slow motion — created by using the Duplicated Field or Both Fields type. (Use a value between 0 and 100 in the % speed text box of the Motion Effect dialog box.)

Variable Speed effects — forward slow motion — created by using the Interpolated Field or VTR-Style type. (Use a value between 0 and 100 in the % speed text box of the Motion Effect dialog box.)

Variable Speed effects — fast motion and reverse motion (all types). (Use a value over 100 or a negative value in the % speed text box of the Motion Effect dialog box.)

Strobe Motion effects (all types) Non-real-time Play back as filler

Strobe Motion effects combined with Variable Speed effects (all types)

Real-time Real-time

Non-real-time Play in real time as

Duplicate Field motion effects until rendered

Non-real-time Play back as filler

(black image) until rendered

Non-real-time Play back as filler

(black image) until rendered

Rendering and Rerendering Existing Motion Effects

In certain situations, you might need to render or rerender existing motion effects. To do this, follow one of the procedures described in

“Rendering Effects” on page 124.

Information about the type and render status of motion effects appears in the Timeline in the same form as that used for other effects. Each motion effect type has a distinct effect icon, as shown in the following illustration.

Duplicated Field Motion Effect icon

Both Fields Motion Effect icon

Interpolated Field Motion Effect icon

VTR-Style Motion Effect icon

Color-coded dots appear on Motion Effect icons to indicate whether they require rendering. The following illustration shows several typical examples of Motion Effect icons in the Timeline.

Rendered VTR-Style motion effect (no dot)

On systems that include the ExpertRender

Unrendered Both Fields motion effect (orange dot

— plays in real time)

Unrendered Interpolated Field motion effect (blue dot — plays as a Duplicated Field motion effect until rendered)

™

feature, ExpertRender

correctly identifies motion effects that require rendering.

When you render existing motion effects, Avid Xpress checks the Motion Effects Render Using option in the active Render setting. If the Motion Effects Render Using option is set to Original Preference (the default setting), the system makes no change to the type of motion effects when it renders them. If the Motion Effects Render Using option is set to a specific motion effect type, Avid Xpress changes all motion effects to that type when it renders them. This option is particularly important for controlling the look of motion effects when you are working with two-field media.

Whenever Avid Xpress changes the motion effect type during a rendering operation, a message appears in the Console, providing information about the change. For more information, see “Creating

and Using Render Settings” on page 125 and “Understanding Motion Effect Type Changes” on page 77.

The following is a list of the circumstances in which you might need to render or rerender motion effects.

• You need to render any motion effect that requires rendering for successful playback if you did not render that effect at the time you created it. This kind of effect appears with a blue dot in the Timeline until it is rendered.

• You might need to render a motion effect so that it will play successfully in a complex sequence even if that effect would not normally require rendering. (Motion effects that display a green dot in the Timeline might not play back in real time under some circumstances.) For more information on the overall real-time playback capabilities of your system, see “About Real-Time and

Downstream Key Effects” on page 23.

• You might need to render or rerender motion effects when you edit them into a sequence and perform trims or apply transition effects. If an effect that was previously rendered (no colored dot in the Timeline) or that previously played in real time (orange dot in the Timeline) changes in such a way that it requires rendering, it will appear with a blue dot in the Timeline. On systems that include the Partial Render feature, only those parts of the Motion Effect clip that have been changed by your editing require rendering. You can see which parts of the motion effect require rendering by using the Render Ranges command in the Timeline Fast menu. For more information, see “Customizing Render

Ranges Display” on page 130.

• You need to rerender motion effects when you redigitize media at a different resolution. For example, if you edit a sequence by using a single-field resolution and then redigitize at a two-field resolution, you will need to rerender all motion effects before they will play back correctly. In this circumstance, it is important to

manage the quality of the finished effects by using the most appropriate Render Settings options. For more information, see

“Creating and Using Render Settings” on page 125 and “Understanding Motion Effect Type Changes” on page 77.

Understanding Motion Effect Type Changes

Whenever motion effects in the Timeline are rendered or rerendered, the system uses the Motion Effects Render Using option in the active Render setting to define the motion effect type for the new versions of the motion effects. For example, you might start a project using single-field media and the Duplicated Field type for motion effects. Later, you might redigitize the media at a two-field resolution, set the Motion Effects Render Using option in the active Render setting to VTR-Style, and submit the whole sequence for rendering. By doing this, you create new motion effects that are higher quality and that can play with the two-field media.

Changes to motion effect types are permanent changes to both the Motion Effect clip and its associated media. You can return to the old motion effect type only by rerendering. To avoid unnecessary rerendering, make sure that the Motion Effects Render Using option in the active Render setting is set to the motion effect type you need.

Avid Xpress writes a message in the Console whenever it changes the type of a motion effect during rendering. You can check these messages to verify the changes that the system has made to your motion effects. Motion Effect icons in the Timeline also change to reflect the new motion effect type.

To display information about motion effect type changes in the Console:

1. Choose Console from the Tools menu.

The Console window opens.

2. Render one or more motion effects by using one of the procedures described in “Rendering Effects” on page 124.

For each motion effect whose type is changed by rendering, a message appears in the Console.

The following illustration shows a typical message. In this example, the Motion Effects Render Using option in the active Render settings is set to Interpolated Field.

3. (Option) If the new motion effect type is not the one you want, change the Motion Effects Render Using option in the active Render settings, and then rerender the motion effects.

Creating a Freeze Frame

A Freeze Frame effect is a still image, based on a chosen frame from a clip, that continues to display for the duration that you choose. When

combined with the original clip, the footage plays and then “freezes” and holds on the frame that you specified.

To create a Freeze Frame effect:

1. Open a clip in the Source pop-up monitor.

2. Cue the clip to the frame that you want to freeze.

3. Choose Freeze Frame from the Clip menu.

A pop-up menu appears.

4. If you are using two-field media (created with 20:1, 10:1, 3:1, 2:1, or uncompressed choices in the Digitize tool), choose Two Field Freeze Frames, and then choose one of the following:

• Using Duplicated Field — Avid Xpress creates the effect using

a single field. While this reduces the vertical resolution of the image by one-half, it is often the best option if the source footage contains rapid motion.

• Using Both Fields — Avid Xpress uses both fields to create the

effect. This option is especially useful when there is little or no motion in the footage since it preserves all vertical resolution.

• Using Interpolated Field — Avid Xpress creates a second field

for the effect by combining scan line pairs from the first field in the original media. This might result in a slightly softer look to the freeze frame.

The chosen option becomes the default until you choose another option.

5. Choose Freeze Frame from the Clip menu, and then do one of the following:

t Choose a preconfigured duration.

t Choose Other and type a custom duration in the dialog box;

then click OK to enter the new duration.

A dialog box appears, prompting you to choose a target drive for the freeze frame media.

6. Choose a drive from the pop-up menu, and click OK.

A new clip appears in the Source pop-up monitor and in the current bin preceded by a Motion Effect icon. The new clip has the original clip name followed by the letters FF.

Controlling a Freeze Frame with a Single Button or Key

You can map the Freeze Frame command to a button or key. The system remembers the duration of the freeze frame and the option for two-field media if appropriate. After you have mapped the command, you can create a freeze frame of the same type and duration simply by clicking the button or pressing the key.

To map the Freeze Frame command to a button or key:

1. (Option) If you plan to use the mapped Freeze Frame command with two-field media (created with 20:1, 10:1, 3:1, 2:1, or uncompressed choices in the Digitize tool), choose Freeze Frame from the Clip menu, choose Two Field Freeze Frames, and then choose one of the following:

• Using Duplicated Field — Avid Xpress creates the effect using

a single field. While this reduces the vertical resolution of the image by one-half, it is often the best option if the source footage contains rapid motion.

• Using Both Fields — Avid Xpress uses both fields to create the

effect. This option is especially useful when there is little or no motion in the footage since it preserves all vertical resolution.

• Using Interpolated Field — Avid Xpress creates a second field

for the effect by combining scan line pairs from the first field in the original media. This might result in a slightly softer look to the freeze frame.

2. Do one of the following:

t To map to a button, open the Tool palette.

t To map to a key, open the Keyboard palette by double-clicking

Keyboard in the Settings scroll list of the Project window.

3. Choose Command Palette from the Tools menu.

The Command palette opens.

4. Select Menu to Button Reassignment.

5. Do one of the following:

t To map to a button, click a blank button in the Tool palette.

t To map to a key, click a blank key in the Keyboard palette.

6. Choose Freeze Frame from the Clip menu.

7. Do one of the following:

t Choose a preconfigured duration.

t If you want to type a custom duration when you create a

freeze frame using the button or key, choose Other.

Avid Xpress maps the Freeze Frame menu command to the button or key.

8. Close the Command palette.

Creating a Rolling Clip That Freezes

One common use for freeze frames is to create a segment that plays normally and then freezes, either to superimpose text information or to add emphasis to the end of a sequence before fading.

To create a rolling clip that freezes:

1. Edit the clip into the sequence.

2. Mark an IN point in the sequence at the frame where you want the freeze frame to occur.

3. Create the Freeze Frame effect from the source footage as described in “Creating a Freeze Frame” on page 78.

4. Click either the Extract/Splice-in button or the Lift/Overwrite button below the Timeline to edit the freeze frame into the sequence at the previously marked IN point.

When you play the sequence, the footage plays full-motion and then freezes at the chosen frame.

Creating a Variable Speed Effect

Variable Speed effects involve changing the rate of playback to achieve fast-motion or slow-motion effects. Avid Xpress creates slow-motion effects by duplicating frames in the original media. It creates fast-motion effects by eliminating frames from the original media.

To create a Variable Speed effect:

1. (Option) If you require a fixed duration for the clip based on a segment in the sequence, mark the segment in the Timeline with IN and OUT points.

2. (Option) If you want to use only part of the source clip for the motion effect, mark IN and OUT points in the Source pop-up monitor.

3. Click the Motion Effect button in the Source pop-up monitor.

The Motion Effect dialog box appears.

Variable Speed option

4. Select the Variable Speed option.

5. Specify the play speed for the Variable Speed motion effect in one of the following ways:

t Type a number of frames in the Frames text box.

t Type a frame rate in the FPS text box. To indicate reverse

motion, enter a negative number for the play rate.

t Type a percentage of the current play rate in the % Speed text

box. To indicate reverse motion, enter a negative number for the percentage.

t Select the Fit To Fill option to automatically set the Variable

Speed parameters so that the duration of the motion effect will match the IN to OUT duration marked in the Composer monitor.

When you set one of these, all values change to reflect the specified play rate.

6. (Option) If you are using two-field media (created with 20:1, 10:1, 3:1, 2:1, or uncompressed choices in the Digitize tool), and Original Preference is set as the Motion Effects Render Using option in the active Render setting, select one of the following four available options:

• Duplicated Field — Avid Xpress creates the effect using one

field.

• Both Fields — Avid Xpress creates the effect using both fields.

• Interpolated Field — Avid Xpress creates a second field for the

effect by combining scan line pairs from the first field in the original media.

• VTR-Style — Avid Xpress creates a second field for the effect

by shifting selected video fields of the original media by a full scan line. This technique is similar to that used by high-quality professional video decks when playing footage at less than normal speed.

For more information on these options, see “Motion Effect Parameters” on

page 322.

7. (Option) If you are using two-field media and a specific motion effect type is set as the Motion Effects Render Using option in the active Render setting, Avid Xpress automatically selects that type in the Motion Effect dialog box, makes all other types unavailable, and displays the Ignore Render Setting check box. If you want to

override the Render setting, click the Ignore Render Setting check box, and then select one of the four options described in step 6.

8. Complete the effect by doing one of the following:

t Click Create to create the new clip and close the dialog box.

Another dialog box asks you to choose the target bin for the effect.

t Click Create and Render to render the clip — creating new

media files — and close the dialog box. Another dialog box asks you to choose the bin for the effect.

A new clip appears in the Source pop-up monitor and in the current bin. The clip has the original clip name followed by the frame rate in parentheses. You can then edit this clip into your sequence as you would any other clip.

Creating a Strobe Motion Effect

Strobe motion results in a stuttering effect during playback of a clip.

You determine the degree of the “stutter” when you create the effect.

You can also combine the Strobe Motion effect with the Variable Speed effect. For more information on the Variable Speed effect, see “Creating a Variable

Speed Effect” on page 83.

To create a Strobe Motion effect:

1. (Option) If you want to use only part of the source clip for the effect, mark IN and OUT points in the Source pop-up monitor.

2. Click the Motion Effect button in the Source pop-up monitor.

The Motion Effect dialog box appears.

Strobe Motion option

3. Select the Strobe Motion option.

4. Specify the update rate in frames for the Strobe Motion effect. For example, a rate of 5 causes every fifth frame to be held for five frames before updating in the Strobe Motion effect.

5. (Option) If you are using two-field media (created with 20:1, 10:1, 3:1, 2:1, or uncompressed choices in the Digitize tool), and Original Preference is set as the Motion Effects Render Using option in the active Render setting, select one of the following four available options:

• Duplicated Field — Avid Xpress creates the effect using one

field.

• Both Fields — Avid Xpress creates the effect using both fields.

• Interpolated Field — Avid Xpress creates a second field for the

effect by combining scan line pairs from the first field in the original media.

• VTR-Style — Avid Xpress creates a second field for the effect

For more information on these options, see “Motion Effect Parameters” on

page 322.

6. (Option) If you are using two-field media and a specific motion effect type is set as the Motion Effects Render Using option in the active Render setting, Avid Xpress automatically selects that type in the Motion Effect dialog box, makes all other types unavailable, and displays the Ignore Render Setting check box. If you want to override the Render setting, click the Ignore Render Setting check box, and then select one of the four options described in step 5.

7. Complete the effect by doing one of the following:

t Click Create to create the new clip and close the dialog box.

Another dialog box asks you to choose the target bin for the effect.

t Click Create and Render to render the clip — creating new

media files — and close the dialog box. Another dialog box asks you to choose the bin for the effect.

You must render a Strobe Motion effect to play it back in real time. If you do not render a Strobe Motion effect when you first create it, the effect will play back as filler until you render.

A new clip appears in the Source pop-up monitor and in the current bin preceded by a Motion Effect icon. The new clip has the original clip name followed by the word Strobe and the number of update frames in parentheses.

CHAPTER 3

Customizing Effects with the Effect Editor

After you have created an effect and have applied it to a transition or segment in your sequence, you can adjust its appearance and operation by changing its effect parameters in the Effect Editor. This chapter explains how to use the Effect Editor to adjust effect parameters.

• Opening the Effect Editor

• Customizing the Effect Display

• Changing Position in an Effect

• Replacing an Effect in Effect Mode

• Using the Effect Editor

• Using Keyframes

• Manipulating Effects Directly

• Using an Effect Template

• Playing an Effect

• Rendering Effects

• Managing Effect Media Files

Opening the Effect Editor

After you add an effect to a sequence, you must open the Effect Editor to change the parameters of the effect. Opening the Effect Editor transforms the Composer monitor into the Effect Preview monitor.

To open the Effect Editor:

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

2. Click the Effect Mode button in the Tool palette.

Avid Xpress opens the Effect Editor and displays the values for the current effect in the window. At the same time, Avid Xpress transforms the Composer monitor into the Effect Preview monitor.

monitor

Effect EditorEffect Preview

Timeline

If the Effect Editor is blank, click an effect icon in the Timeline and then click in the Effect Editor.

Customizing the Effect Display

You can adjust the appearance and functionality of various aspects of the Effect display by resizing windows and images, by displaying tracking information, or by displaying guidelines for the placement of effects and titles, as described in this section.

Understanding the Effect Preview Monitor

The Effect Preview monitor displays the selected effect in the sequence

where the position indicator is located in the Timeline. The effect’s position bar, located directly below the Effect Preview monitor, represents only the selected effect, not the entire sequence.

Effect Preview monitor

Effect’s position indicator (blue line)

Pop-up scale bar for expanding the position bar

Tracking information

Length of effect

Current position in effect

Effect’s position bar

Keyframe

If the effect you expect does not appear in the Effect Preview monitor, make sure that you have selected the Record Track Monitor button in the Track Selector panel. If a black frame appears in the Effect Preview monitor, the position indicator might be at a location in the Timeline where an effect has not been applied to the sequence.

Understanding the Tracking Information

The two boxes above the Effect Preview monitor display the length of

the effect in seconds and frames and the current position in the effect’s position bar. If you are working with two-field media, the current position display indicates the field that appears in the monitor. The current position display ends with .1 for the first field of a frame and with .2 for the second field. These boxes replace the name of the sequence that appears in this position in the Composer monitor.

Displaying the Safe Title and Safe Action Guidelines

Many effects can utilize the outer edges of the viewing screen area. If you are editing material that will be viewed on screens with more limited viewing areas, such as standard televisions, you can use the Safe Title and Safe Action options to provide visual guidelines in the Effect Preview monitor that replicate the actual viewable area on a standard television screen.

For example, you can use the Safe Title option as a template for the area in which you want the effect to operate. In this way, you can avoid the appearance of the effect floating off into a nonviewable area of a standard television screen.

Safe title area

Safe action area

To display the Safe Title/Action guidelines, do one of the following:

t Click the Grid button in the Tool palette.

t Click the Grid button in the Effect Editor.

t Choose Safe Title Area/Global Grid from the Object menu when

using the Title tool.

Two outlined boxes appear in the Effect Preview monitor. The inner box is the safe title area. All text and objects should remain within the inner box. The outer box is the safe action area for video display.

To display the safe title and safe action areas in the Source pop-up monitor:

t Click the Grid button in the Tool palette of the Source pop-up

monitor.

Moving an Enlarged Image in the Effect Preview Monitor

You can use the Enlarge and Reduce buttons in the Effect Editor to zoom in or out on an image in the Effect Preview monitor. This allows you to view parts of an image in detail or to view parts of effects and effect controls that extend beyond the limits of the standard-size image. For more information, see “Effect Editor Buttons” on page 99.

When you use the Enlarge button to increase the size of the image in the Effect Preview monitor, you cannot view the entire frame all at once. When you are creating an effect that requires great detail, you can reposition the enlarged frame in the monitor to view the sections that need your attention.

This feature applies only to an enlarged image in the Effect Preview monitor, not to a standard-size or reduced image.

To move an enlarged image within the Effect Preview monitor:

1. Click within the boundaries of the Effect Preview monitor.

2. Press and hold Ctrl+Alt (Windows) or k+Option (Macintosh).

The cursor changes to a hand.

Zoom ratioCursor

3. Drag the hand in any direction to reposition the image within the Effect Preview monitor.

Changing Position in an Effect

To change your position in an effect, do one of the following:

t Drag the position indicator in the effect’s position bar.

t Type the timecode in the same way you do when you are editing a

sequence. For more information, see ”Finding Frames and Clips” in the chapter “Viewing and Marking Footage” of the user’s guide.

The type of timecode you enter (master timecode or absolute timecode) depends on the tracking information you are displaying. The position information boxes above the Effect Preview monitor update as you change position.

Replacing an Effect in Effect Mode

While in Effect mode, you can replace an existing effect.

To replace an effect:

1. Choose Effect Palette from the Tools menu.

The Effect Palette opens.

2. Click an effect category in the left side of the Effect Palette.

3. Do one of the following:

t Click the icon for the new effect in the right side of the Effect

Palette, and drag the icon to the Timeline. To replace an

existing effect, move the new effect’s icon on top of the existing effect’s icon.

t Click the icon for the new effect in the right side of the Effect

Palette, and drag the icon to the Effect Preview monitor.

t Select the effect in the Timeline, and double-click the new

effect’s icon in the Effect Palette.

4. Set the applicable effect parameters in the Effect Editor.

Some effects cannot replace other effects. For example, some segment effects, such as the Mask effect, cannot replace transition effects. In addition, two-layer effects, such as wipes, cannot replace three-layer effects, such as matte keys.

Using the Effect Editor

The Effect Editor contains the buttons and parameter controls that you use to adjust effects.

Effect Editor buttons provide controls for the effect adjustment process. Parameter controls allow you to set values that define the

appearance of an effect. The following sections explain how to access and use Effect Editor buttons and parameter controls.

Effect Editor Buttons

This section describes the buttons in the Effect Editor. Not all buttons apply to each effect. If a button is not applicable, it does not appear in the Effect Editor for that effect.

The following illustration shows the location of buttons within the Effect Editor. Ta b l e 3 - 1 describes each button in detail.

Triangular opener

Other Options button

Add Keyframe button

Play Preview button

Render Effect button

Outline/Path

Grid button

Transition Effect Alignment button

Transition Effect Duration box

Reduce button

Enlarge button

Play Loop button

Play button

3D Promote button (for some effect s on systems with 3D effects capability)

Additional buttons appear in the Effect Editor, depending on which effect you are using. For example, if you are working with a 3D effect, a set of 3D-specific buttons appears along the right side of the Effect Editor. For more information on 3D-specific Effect Editor buttons, see

“Understanding the 3D Effects Interface” on page 185.

Table 3-1 Effect Editor Buttons

Button Location Description

Triangular opener Left side of Effect

Editor

Other Options Inside some

parameter categories

Reduce Right side of Effect

Editor

Enlarge Right side of Effect

Editor

Play Loop Right side of Effect

Editor

Play Right side of Effect

Editor

Click to display or hide the parameter category. A downward-pointing triangle displays the parameter category; a right-pointing triangle displays only the parameter name.

Click to access additional parameters for some effects, including access to the Macintosh Color Picker or the Windows Color dialog box for color selection. For more information, see “Using the

Other Options Button to Access Parameters” on page 106.

Click to reduce the size of the image in the Effect Preview monitor.

Click to enlarge the size of the image in the Effect Preview monitor.

Click to play back the current effect repeatedly in a loop. Click again or press the space bar to stop play. Real-time and rendered effects play at full speed; unrendered effects play at single-frame rate.

Click to play the effect from the current position in

the effect’s position bar. Click again or press the space bar to stop play. Real-time and rendered effects play at full speed; unrendered effects play at single-frame rate.

100

Pinnacle Systems Xpress - 4.0 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Preparing to Work with Effects

Effect Types

Effects Creation Tools

About Real-Time and Downstream Key Effects

About Real-Time Effects

Playing Real-Time Effects

Playback Capabilities for Two-Stream Video

Playback Capabilities for Single-Stream Uncompressed Video

Playing Complex Effect Combinations

Combined Rendering of Real-Time and Non-Real-Time Effects

Displaying Effects On-the-Fly

Interrupting Render On-the-Fly

About Downstream Key Effects

Using the Effect Palette

Displaying the Effect Palette

Resizing the Effect Palette

Understanding the Color Coding

Displaying Effect Templates

Using Third-Party Plug-in Effects

Installing AVX Plug-Ins

Locating the AVX_Plug-Ins Folder (Windows)

Upgrading AVX Plug-ins and Effects

Assigning Multiple Tracks in Plug-in Effects

Using AVX Plug-in Controls

Accessing an AVX Custom Interface

Custom AVX Controls in the Effect Editor

Troubleshooting AVX Plug-Ins

Plug-in Does Not Appear in the Effect Palette

Plug-in Does Not Load

Avid Xpress Cannot Render the Plug-In

Blank Effect Icons in the Timeline

Missing Effect Categories in the Effect Palette

Basics of Effects Editing

Deconstructing Effects

Applying Effects to a Sequence

Applying an Effect to a Single Transition or Segment

Dragging an Effect from the Effect Palette

Double-Clicking an Effect Icon in the Effect Palette

Applying an Effect to Multiple Transitions

Applying an Effect to Multiple Segments

Deleting Effects in a Sequence

Deleting a Single Effect

Deleting Multiple Transition Effects

Deleting Multiple Segment Effects

Using the Fade Effect Button

Working with Transition Effects

Types of Transition Effects

Applying a Dissolve Effect

Using the Effect Palette to Create a Dissolve Effect

Using the Add Dissolve Button

Understanding the Graphical Display in the Quick Dissolve Dialog Box

Creating a Dissolve in Trim Mode

Sizing the Effect to Fit the Media

Trimming a Transition Effect

Creating Motion Effects

Playing and Rendering Motion Effects

Rendering Considerations When Creating Motion Effects

Rendering and Rerendering Existing Motion Effects

Understanding Motion Effect Type Changes

Creating a Freeze Frame

Controlling a Freeze Frame with a Single Button or Key

Creating a Rolling Clip That Freezes

Creating a Variable Speed Effect

Creating a Strobe Motion Effect

Customizing Effects with the Effect Editor

Opening the Effect Editor

Customizing the Effect Display

Understanding the Effect Preview Monitor

Understanding the Tracking Information

Displaying the Safe Title and Safe Action Guidelines

Moving an Enlarged Image in the Effect Preview Monitor

Changing Position in an Effect

Replacing an Effect in Effect Mode

Using the Effect Editor

Effect Editor Buttons