Pinnacle Systems Xpress Pro - 5.2 User Manual

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Avid Xpress® Pro

Advanced Effects Guide

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Avid

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

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Portions of this software are based on work of the Independent JPEG Group.

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“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages.

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

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Footage

Arri — Courtesy of Arri/Fauer — John Fauer, Inc. Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. It’s Shuttletime — Courtesy of BCP & Canadian Airlines. Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Saturn “Calvin Egg” — Courtesy of Cossette Communications. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. "The Big Swell" — Courtesy of Swell Pictures, Inc. Windhorse — Courtesy of Paul Wagner Productions.

GOT FOOTAGE?

Editors — Filmmakers — Special Effects Artists — Game Developers — Animators — Educators — Broadcasters — Content creators of every genre — Just finished an incredible project and want to share it with the world?

Send us your reels and we may use your footage in our show reel or demo!*

For a copy of our release and Avid’s mailing address, go to www.avid.com/footage.

*Note: Avid cannot guarantee the use of materials submitted.

Avid Xpress Pro Advanced Effects Guide • Part 0130-07209-01• September 2005 • 08/03/05 14:30

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Accessing the Online Library and Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Avid Educational Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Chapter 1 Effect Concepts and Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Effects Creation Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Deconstructing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Video Effects for HD Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Working with Effects in 24p or 25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Understanding Effect Color Coding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Effect Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

What is an Effect Aperture? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Changing the Effect Aperture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Chapter 2 Applying and Customizing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Applying Effects to Multiple Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Additional Methods for Applying Dissolve Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Creating a Dissolve in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Adding Dissolves with the Head Fade Button and the Tail Fade Button . . . . . . 42

Additional Information for the Quick Transition Button . . . . . . . . . . . . . . . . . . . . . . . 43

Using the Quick Transition Button to Apply Effects to Multiple Transitions . . . . 44

Understanding the Graphical Display in the

Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Adjusting a Transition Effect by Dragging in the

Quick Transition Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Repositioning a Transition Effect with the

Quick Transition Alignment Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Deleting Effects in a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Deleting a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Deleting Multiple Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Deleting Multiple Segment Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Trimming Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Using the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Understanding the Effect Preview Monitor Toolbar. . . . . . . . . . . . . . . . . . . . . . 52

Understanding Effect Preview Monitor Tracking Information . . . . . . . . . . . . . . 54

Displaying Safe Title and Safe Action Guidelines in the

Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Moving an Enlarged Image in the Effect Preview Monitor. . . . . . . . . . . . . . . . . 55

Changing Position in an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Replacing an Effect in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Using the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Effect Editor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Displaying an Effect’s Parameters in the Effect Editor . . . . . . . . . . . . . . . . . . . 61

Understanding Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Using Parameter Sliders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Using Parameter Enable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Using Fast Menu Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Using the Other Options Button to Access Parameters . . . . . . . . . . . . . . . . . . 64

Adjusting a Color Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Using the Eyedropper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Using the Windows Color Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Manipulating Effects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Defining Motion Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Moving the Image Directly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Resizing a Foreground Image by Dragging Handles. . . . . . . . . . . . . . . . . . . . . 69

Using Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Saving an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Displaying Effect Templates in the Effect Palette. . . . . . . . . . . . . . . . . . . . . . . . 72

Applying an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Chapter 3 Working with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Using Standard Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Adding a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Selecting a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Moving a Standard Keyframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Changing a Standard Keyframe’s Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . 77

Copying and Pasting Standard Keyframe Parameters. . . . . . . . . . . . . . . . . . . . 77

Deleting a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Using Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Promoting Effects to Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Opening Keyframe Parameter Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Using Keyframes in the Effect Track and the Parameter Group Track . . . . . . . 81

Effect Editor Controls for Advanced Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . 84

Shortcut Menus for Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Adding and Deleting Keyframes in Keyframe Graphs . . . . . . . . . . . . . . . . . . . . 87

Using the Add Keyframe Mode Menu and the

Delete Keyframe Mode Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Working with Keyframes in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . 95

Selecting and Deselecting Advanced Keyframes. . . . . . . . . . . . . . . . . . . . . . . . 96

Deselecting All Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Moving a Keyframe in a Keyframe Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Selecting Multiple Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Moving Keyframes Vertically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Moving a Keyframe Horizontally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Moving a Keyframe in Any Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Moving Multiple Keyframes Horizontally . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Moving Keyframes in a Closed Keyframe Graph . . . . . . . . . . . . . . . . . . . 103

Copying and Pasting Advanced Keyframe Parameters . . . . . . . . . . . . . . . . . . 104

Reverse Keyframes Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Elastic Keyframes and Fixed Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Parameter Changes at Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Options for Controlling Parameter Changes at Keyframes . . . . . . . . . . . 109

Adjusting Parameter Values with the Bézier Interpolation Option . . . . . . 112

Changing the Adjustment Method for the

Bézier Interpolation Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Align Keyframes and Slip Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Aligning Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Slipping Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Extrapolate and Hold. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Adjusting the View in a Keyframe Graph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Zooming and Scrolling Keyframe Graphs. . . . . . . . . . . . . . . . . . . . . . . . . 122

Resizing Keyframe Graphs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Moving Keyframe Graph Views Up or Down . . . . . . . . . . . . . . . . . . . . . . 124

Resetting Keyframe Graph Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Options for Using Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Chapter 4 Playing and Rendering Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Previewing Effect Frames with Render On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . 127

Advanced Effects Playback Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Controlling Real-Time Effects Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Playing Real-Time Effects Through a Separate IEEE-1394 Connection. . . . . 129

Real-Time Effects and Effect Icon Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Rendering Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Creating and Using Render Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Creating a New Render Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Adjusting Render Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Activating a Render Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Partial Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Interrupting a Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Customizing Render Ranges Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Rendering a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Rendering Effects at Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Rendering Effects Between IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . 138

16-Bit Processing Support for Rendered Effects . . . . . . . . . . . . . . . . . . . . . . . 139

Rendering HQ (Highest Quality) Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Managing Effect Media Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Understanding Effect Media Files Management . . . . . . . . . . . . . . . . . . . . . . . 142

Revealing Effect Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Deleting Effect Media Files from a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Chapter 5 Working with Third-Party Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . 147

Working with AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Support for AVX 1.x and AVX 2.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

AVX 1.x Plug-ins and Memory Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Installing AVX Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Locating the AVX 1.x Plug-Ins Folder (Windows Only) . . . . . . . . . . . . . . . . . . 150

Upgrading and Promoting AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Displaying AVX Plug-Ins on an External Monitor . . . . . . . . . . . . . . . . . . . . . . . 153

Assigning Multiple Tracks in Plug-in Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Using AVX Plug-in Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Using AVX 1.x Plug-In Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Using AVX 2.0 Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Using the Client Monitor to Preview the Plug-In Effect. . . . . . . . . . . . . . . . . . . 155

Troubleshooting AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Avid After Effects External Monitor Preview Plug-In (Windows Only). . . . . . . . . . . 157

Installing the Avid After Effects EMP Plug-in (Windows Only) . . . . . . . . . . . . . 157

Using the Avid After Effects EMP Plug-in (Windows Only) . . . . . . . . . . . . . . . 158

Tips for Using the Avid After Effects EMP Plug-in (Windows Only) . . . . . . . . . 159

Chapter 6 Creating and Customizing Motion Effects. . . . . . . . . . . . . . . . . . . . . . . 161

Understanding Traditional Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Creating Traditional Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Playing and Rendering Traditional Motion Effects . . . . . . . . . . . . . . . . . . . . . . 162

Rendering Considerations When Creating

Traditional Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Rendering and Rerendering Existing Traditional Motion Effects. . . . . . . . 163

Displaying Information About Motion Effect Type Changes . . . . . . . . . . . 165

Freeze Frame Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Creating a Freeze Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Controlling a Freeze Frame with a Single Button or Key . . . . . . . . . . . . . 167

Creating a Rolling Clip That Freezes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Creating a Variable Speed Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Using the Fit to Fill Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Creating a Strobe Motion Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Considerations for Motion Effects in 24p or 25p Projects . . . . . . . . . . . . . . . . . . . 174

Using Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Using the FluidFilm Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Chapter 7 Creating Layered and Nested Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Creating Key Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Using the Chroma Key Effect and the RGB Keyer Effect . . . . . . . . . . . . . . . . 177

Chroma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

RGB Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Using Post-Key Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Creating a Luma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Creating a Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Using the Color Effect to Prepare a High-Contrast Image. . . . . . . . . . . . . . . . 182

Working with Imported Graphics and Animation . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Editing with Imported Matte Key Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Editing with Imported Master Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Expanding Nested Effects in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Stepping Into and Out of Nested Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Creating a Simple Nested Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Changing the Order of Nested Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Nesting a Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Submaster Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Applying the Submaster Effect to a Multilayered Sequence . . . . . . . . . . . . . . 191

Using the Submaster Effect with a Series of Short Clips. . . . . . . . . . . . . . . . . 193

Collapsing Layers into One Submaster Effect. . . . . . . . . . . . . . . . . . . . . . . . . 193

Performing a Video Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Chapter 8 Working with Camera Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Using the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Stabilizing an Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Making Adjustments to the Region of Interest . . . . . . . . . . . . . . . . . . . . . . . . . 200

Using Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Working with Image Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Applying the Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Viewing the Image While You Work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Adjusting the Field of View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Zooming Into and Out Of the Source Image . . . . . . . . . . . . . . . . . . . . . . . 204

Panning Over the Source Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Using Velocity In and Velocity Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Using Ease In and Ease Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Creating a Path with Constant Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Setting the Path Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Options for Rendering the Avid Pan & Zoom Effect. . . . . . . . . . . . . . . . . . . . . 209

Selecting the Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Advanced Parameter Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Pixel Types in the Source and Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Color Levels for Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Memory Management with the Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . 211

Chapter 9 Working with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Using Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Accessing 3D Effects in the Effects Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Promoting 2D Effects to 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Creating a Matte Key for Use with 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Understanding the 3D Effects Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Moving in 3D Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Working with 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Accessing 3D Effects Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Manipulating 3D Effects Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Using the Default Keyframe Parameter Values. . . . . . . . . . . . . . . . . . . . . 220

Resetting Default Parameter Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Using Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Zooming In or Out on the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . 222

Manipulating 3D Effects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Manipulating 3D Effect Handles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Using the Motion Path Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Applying 3D Effects: Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Creating a Page Fold Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Creating a Cropped Foreground Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Chapter 10 Working with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Workflow for Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Understanding the Title Tool Toolbar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Advanced Title Tool Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Installing Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Using Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Using the Alignment and Snap Grids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Bringing the Title Tool to the Foreground . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Advanced Text Formatting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Adjusting Text Kerning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Adjusting Leading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Justifying the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Selecting Line Attributes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Rounding Corners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Selecting a Line or Border Width. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Adding Arrowheads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Changing Arrowhead Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Creating Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Page Count Limits in Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . 240

Using Auto Size Mode for Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . 241

Setting Up Text Formatting for Rolling and Crawling Titles. . . . . . . . . . . . . . . 242

Workflow Options for Creating Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . 242

Typing the Rolling and Crawling Title Text . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Resizing the Width of Rolling and Crawling Titles. . . . . . . . . . . . . . . . . . . . . . 243

Scrolling Through a Rolling or Crawling Title . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Working with Pages in Rolling or Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . 244

Formatting Rolling and Crawling Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Selecting Colors and Setting Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Selecting Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Blending Two Colors in an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Using the Title Tool Color Picker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Setting Transparency Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Blending Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Adjusting Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Adjusting Shadow Color and Transparency. . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Setting Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Adjusting Shadow Softness On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Viewing Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Creating a Glow Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Manipulating Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Basic Manipulation Operations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Layering Text and Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Grouping and Ungrouping Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Locking and Unlocking Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Aligning Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Distributing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Saving and Recalling Title Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Saving a Title Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Title Style Sheet Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Recalling a Title Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Confirming Function Key Mapping of Title Styles. . . . . . . . . . . . . . . . . . . . . . . 261

Applying Title Styles to Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Managing Title Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Creating and Using Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Creating Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Using Title Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Exporting a Title as a Graphics File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Workflow for Editing with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Restrictions on Title Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Removing Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Replacing Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Fading a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Adjusting Title Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Revising a Title in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Replacing Fill Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Rendering Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Rendering Fast-Saved Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Re-creating Title Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Promoting a 2D Title to 3D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Troubleshooting Wrong Title Format Errors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Chapter 11 Working with PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Understanding PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

PlasmaWipe Folder Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Using PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Creating PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Creating PAL and NTSC Versions of the Image . . . . . . . . . . . . . . . . . . . . . . . 279

Creating a PlasmaWipe from a Custom Image . . . . . . . . . . . . . . . . . . . . . . . . 279

Creating a Wipe Using the Photoshop Pencil Tool . . . . . . . . . . . . . . . . . . . . . 280

Creating a PlasmaWipe Effect from an Existing Image. . . . . . . . . . . . . . . . . . 282

Tips for Working with Gradient Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Testing the Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Saving the Image for PAL and NTSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Storing Images in the PlasmaWipes Folder Structure. . . . . . . . . . . . . . . . . . . 288

Tips for Adjusting an Existing PlasmaWipe Effect While the

Application is Running . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Using PlasmaWipe Frame and Border Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Applying and Adjusting Frame and Border Effects . . . . . . . . . . . . . . . . . . . . . 293

Default Values for PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Creating Custom Border and Frame Effects . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Chapter 12 2D Effects Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

2D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Global and Keyframeable Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Acceleration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Avid Pan & Zoom Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Other Options button for the Avid Pan & Zoom Effect. . . . . . . . . . . . . . . . 302

Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Display Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Position for the Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Background for the Avid Pan & Zoom Effect. . . . . . . . . . . . . . . . . . . . . . . 307

Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Cache . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Render Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Border. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Color Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Luma Adjust. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Luma Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Luma Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Chroma Adjust. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Color Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Color Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Foreground. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Illusion FX Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Border . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Core . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Generation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Illumination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Color Mix Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Crystal Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Film Grain Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Flare Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

FluidBlur Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

FluidColorMap Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

FluidMorph Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Iris Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Kaleidoscope Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Melt Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Motion Blur Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Page Curl Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Particle Blast Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Particle Orbit Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Particle Wind Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Pinch Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Radial Blur Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Random Blend Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Rollup Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Shear Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Sphere Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Swirl Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Timecode Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Twist Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Wave Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Movement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Number. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Offset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Start Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Key Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Secondary Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Spill Suppression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Key Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Chroma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Matte Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Matrix Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Traditional Motion Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Freeze Frame Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Variable Speed and Strobe Motion Parameters . . . . . . . . . . . . . . . . . . . . 364

PlasmaWipe Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Plug-in Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Scroll Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Region Stabilize Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Region of Interest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Auto Zoom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Progressive Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Transition Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

2D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Blend Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Dip to Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Dissolve. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Fade from Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Fade to Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Picture-in-Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Superimpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Box Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Bottom Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Bottom Left to Top Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Bottom Right to Top Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Left Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Right Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Top Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Top Left to Bottom Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Top Right to Bottom Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Bottom Left to Top Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Bottom Right to Top Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Bottom to Top. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Top Left to Bottom Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Top Right to Bottom Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Edge Wipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Horizontal Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Lower Left Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Lower Right Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Upper Left Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Upper Right Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Vertical Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Film Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

1.66 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

1.85 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

16:9 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Anamorphic Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Blowup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Film Dissolve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Film Fade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Illusion FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Color Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Crystal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Film Grain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Flare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

FluidBlur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

FluidColorMap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

FluidMorph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Iris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Kaleidoscope. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Lightning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Melt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Motion Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Page Curl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Particle Blast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Particle Orbit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Particle Wind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Pattern Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Pinch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Radial Blur. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Random Blend. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Ripple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Rollup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Shear. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Sparkler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Sphere. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Swirl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Twist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Wave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Avid Pan & Zoom (AVX Plug-In Effect) . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Color Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Flip-Flop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Flop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Region Stabilize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Resize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Submaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Chroma Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Luma Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Matte Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

RGB Keyer (AVX Plug-in Effect) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

L-Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Bottom Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Matrix Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Grid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

One-Way Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Speckle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Spiral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Zig-Zag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Freeze Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Variable Speed and Strobe Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Peel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Bottom Left Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452

Bottom Right Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Top Left Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Top Right Corner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Push Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Bottom Left to Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Bottom Right to Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Top Left to Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466

Top Right to Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Sawtooth Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Horizontal Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Horizontal Open Sawtooth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Vertical Open Sawtooth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Vertical Sawtooth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Shape Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

4 Corners. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Center Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Diamond . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Ellipse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

Horizontal Bands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479

Horizontal Blinds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480

Vertical Blinds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Spin Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

X Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

Y Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Squeeze Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Bottom Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Bottom Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

Bottom to Top. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

Centered Zoom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Horizontal Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490

Left Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492

Right Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493

Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494

Top Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

Vertical Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499

Timewarp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500

Timewarp: 0% To 100% . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

Timewarp: 100% To 0% . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

Timewarp: 50% Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

Timewarp: FluidFilm 2:3 Cadence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Timewarp: FluidFilm Progressive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Timewarp: Trim to Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504

Timewarp: Reverse Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Timewarp: Speed Boost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

Timewarp: Speed Bump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507

Title Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

Comparison of Similar Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509

Chapter 13 3D Effects Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

Global Versus Keyframeable Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512

The Hierarchy of Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513

Direct Manipulation of 3D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 514

Acceleration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514

Axis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516

Border. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518

Foreground. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522

Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523

Shape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524

Spline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

Target. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

Trail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

3D Ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

3D PIP Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Page Fold. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

3D Slats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Using This Guide

You can use the tools and techniques described in this guide to create and incorporate into your sequence titles and effects with a wide variety of attributes. This guide also describes how to apply third-party plug-in effects.

This guide contains all effects and titling information not covered in the Avid Xpress Pro Basics Guide, and is intended for all Avid Xpress Pro users, from beginning to advanced.

The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in the documentation.

Symbols and Conventions

Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

> This symbol indicates menu commands (and

A note provides important related information, reminders, recommendations, and strong suggestions.

A caution means that a specific action you take could cause harm to your computer or cause you to lose data.

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

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

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

Using This Guide

Symbol or Convention Meaning or Action

Margin tips

Italic font Italic font is used to emphasize certain words and to

Courier Bold font

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

If You Need Help

If you are having trouble using this Avid editing application:

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

2. Check for the latest information that might have become available after the documentation was published in one of two locations:

- If release notes are available, they ship with your application.

- If ReadMe files are available, they are supplied in your Avid application folder.

ReadMe files are also available from Help.

In the margin, you will find tips that help you perform tasks more easily and efficiently.

indicate variables.

Courier Bold font identifies text that you type.

key or perform the mouse action. For example, Ctrl+drag.

Release notes and ReadMe files are also available on the Avid Knowledge Base.

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

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

Accessing the Online Library and Tutorial

The Avid Xpress Pro Online Library and Tutorial CD-ROM contains a multimedia tutorial and all the product documentation in PDF format. Avid recommends the multimedia tutorial as your first resource for learning how to use your application. You can access the tutorial and the library from the Online Library and Tutorial CD-ROM or from the Help menu.

How to Order Documentation

The Online Library that ships with all Avid editing applications includes a Master Glossary of all specialized terminology used in the documentation for Avid products.

You need Adobe® Reader® installed to view the documentation online. You can download the latest version of Adobe Reader from the Adobe web site. The tutorial and the effects reference guide require Apple’s QuickTime can download the latest version of QuickTime from the Apple

To access the tutorial and online library from the Online Library CD-ROM:

1. Insert the Avid Xpress Pro Online Library and Tutorial CD-ROM into the CD-ROM drive.

2. Double-click the Mainmenu file.

To access the online library and tutorial from the Help:

1. Insert the Avid Xpress Pro Online Library and Tutorial CD-ROM into the CD-ROM drive.

2. In your Avid application, select Help > Online Library & Tutorial.

application to view the QuickTime movies. You

How to Order Documentation

To order additional copies of this documentation from within the United States, call Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United States, contact your local Avid representative.

Web s ite.

Avid Educational Services

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

2843).

Using This Guide

Chapter 1

Effect Concepts and Settings

Your Avid editing application offers many effects that you can apply to your sequences. This chapter provides visual overviews of the effects creation proceess, describes several advanced concepts you should understand before you begin creating and editing effects into sequences, as well as settings adjustments that affect how you work with effects.

• Effects Creation Tools

• Deconstructing Effects

• Video Effects for HD Projects

• Working with Effects in 24p or 25p Projects

• Effect Aperture

For basic information on effects, see “Main Topics: Working with Effects: Basics” in the Help.

Chapter 1 Effect Concepts and Settings

Titl

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.

e too

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.

Deconstructing Effects

Breaking down existing effects into their basic elements provides one good way to understand how the Avid editing application builds effects. By learning how the various pieces fit together, and how the application allows you to manipulate them, you can begin to construct new effects from these building blocks.

The sequence depicted in the following Timeline contains a series of effects that cover all the basic techniques — from simple dissolves to nested layers.

Layered background elements

Layered foreground elements

Deconstructing Effects

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

The 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.

Chapter 1 Effect Concepts and Settings

Deconstructing an Effects Sequence

Imported graphic used as a wipe. See “Working with Imported Graphics and Animation”

on page 183.

Effect template applied repeatedly to crop and position foreground images on V2. See “Applying an Effect Template” on page 72.

Nested segments add more layers to the foreground track. See “Nesting Effects”

on page 185.

Submaster segment, created from collapsed layers, forms the background on V1. See “Submaster Editing” on page 191.

Various effect parameters are adjusted throughout to soften, distort, or position images.See “Using the Effect Editor” on page 57.

Title graphics imported as Matte Key effects. See “Working with Imported Graphics and Animation”

on page 183.

Keyed titles are faded in and out. See “Using the Fade Effect Button” in the Help.

Dissolve sequence forms the foreground on V2. See “Applying Effects to Multiple Transitions” on page 39.

Video Effects for HD Projects

Many video effects work the same way in SD and HD, for example, dissolves, superimposes, flips, and so on.

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

Note the following:

• Titles: There is no need to generate 4:3 media.

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

Working with Effects in 24p or 25p Projects

All effects are rendered at Full Quality. Real-time previews of effects in HD projects play at either Best Quality or Best Performance. For more information, see “Playing Back at Different Video Qualities” in the Help.

Working with Effects in 24p or 25p Projects

Since effects in 24p or 25p projects are frame based rather than field based, their normal behavior is slightly different from effects in interlaced projects. In particular, temporal artifacts might appear in some effects under certain circumstances. This section explains when temporal artifacts might appear and suggests ways to create effects that do not show perceptible temporal artifacts.

Effects with and Without Motion

Effects that do not involve any movement across the screen — for example, masks, Color Effects, and dissolves — look the same in 24p or 25p projects as in interlaced projects.

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

• Since the effect is created using 24 or 25 progressive frames per second (24p or 25p), motion across the screen is interpolated in 24 or 25 increments per second. (Contrast the 50 increments per second for a PAL interlaced project or the 60 increments per second for an NTSC interlaced project.) For example, the edge of a 1-second Horizontal Edge Wipe effect will appear in 24 or 25 different positions across the screen. For effects of short duration in particular, this difference might be perceptible to the viewer.

• When the 24p or 25p media is output (to the interlaced Client monitor or as a digital cut), it is re-interlaced and pulldown is inserted to achieve 60 fields per second (NTSC). The Avid application inserts pulldown by duplicating some of the existing frames to create the correct number of fields per second. Temporal artifacts created by this duplication process might be perceptible to the viewer. This behavior is a normal result of the pulldown insertion process and is often perceptible in conventional transfers of films to video formats.

PAL output with pulldown also duplicates certain frames but is less likely to exhibit perceptible temporal artifacts since fewer frames require duplication.

Motion effects created in 24p or 25p projects, such as Variable Speed effects, might also look different from motion effects created in interlaced projects. For more information on 24p or 25p motion effects, see “Considerations for Motion Effects in 24p or 25p Projects”

on page 174.

Chapter 1 Effect Concepts and Settings

For more information on how the Avid application handles 24p or 25p material, see “Working with 24p Media” and “Working with 25p Media” in the Help.

Smoothing Effects in 24p and 25p Projects

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

• Slow down the effect. For example, a 2-second Horizontal Edge Wipe effect, while it is still performing at the

same rate (24 increments per second), moves across the screen in 48 steps. These smaller movements make the wipe appear smoother to the viewer.

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

the increments of the effect will be.

• When working with moving titles, avoid small font sizes and sharp edges. In a moving title such as a roll, lines of small text might move less smoothly than lines

of larger text.

Understanding Effect 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 a green dot. Real-time effects might not be playable in real time due to their position in a sequence or the options available with your Avid editing application.

• 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.

Effect Aperture

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

Effect Aperture

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

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

This feature only applies to NTSC projects.

What is an Effect Aperture?

The Avid application uses 243 horizontal lines per field to display media for NTSC video as follows:

• For uncompressed and non-DV resolutions, the system uses all 243 lines to display the image.

• For DV media, the system uses 240 lines for the image and adds two black lines above the image and one black line below the image.

The effect aperture allows you to decide whether to use all 243 lines of the image to create an effect. For DV resolutions this allows you to decide whether or not to use the three black lines when you create effects.

In a DV project the black lines can become visible when you create effects such as Picturein-picture or Squeeze effects. The following example shows four PIP effects. In the first illustration you can clearly see the black lines between the effects. This illustration uses the default ITU 601 aperture.

Chapter 1 Effect Concepts and Settings

ITU 601 aperture used with DV 25 media. Black lines are visible between the PIP effects.

The following example displays the same media with the DV25 effect aperture. In this illustration the lines are removed.

DV25 aperture used with DV 25 media. Black lines are no longer visible between the PIP effects.

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

Changing the Effect Aperture

To change the effect aperture:

1. Double-click General in the Settings scroll list in the Project window. The General Settings dialog box is displayed.

Effect Aperture

2. Select one of the following Effect Aperture options:

- DV25: Select this setting when you are using DV media exclusively.

- ITU 601 (default): Select this setting when you are using uncompressed media or

mixed resolutions.

Chapter 1 Effect Concepts and Settings

Chapter 2

Applying and Customizing Effects

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 in a variety of ways. This chapter provides advanced information on applying and customizing effects.

• Applying Effects to Multiple Transitions

• Additional Methods for Applying Dissolve Effects

• Additional Information for the Quick Transition Button

• Deleting Effects in a Sequence

• Trimming Transition Effects

• Using the Effect Preview Monitor

• Replacing an Effect in Effect Mode

• Using the Effect Editor

• Manipulating Effects Directly

• Using Effect Templates

For basic information on applying and customizing effects, see “Applying Effects” and “Adjusting Effects” in the Help.

Applying Effects to Multiple Transitions

When you already have one effect applied to a transition in a sequence, you can apply an effect to multiple transitions at the same time.

To apply an effect to multiple transitions in the Timeline:

1. If there is not already an effect on one of the transitions, add a transition effect.

2. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” in the Help.

3. Click the existing transition effect to select it.

Chapter 2 Applying and Customizing Effects

4. 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.

Selection box

5. Release the mouse button when you have lassoed all the transitions you want. Your Avid editing application highlights the transitions that you selected, and the

position indicator moves to the first transition.

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

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

The application applies the effect to the highlighted transitions in the Timeline.

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

Additional Methods for Applying Dissolve Effects

One of the most common transition effects is a dissolve. You can use the following methods to apply the Dissolve effect:

• Select the Dissolve effect from the Effect Palette. For more information, see “Applying Effects from the Effect Palette” in the Help.

• Click the Quick Transition button. For more information, see “Using the Quick Transition Button” in the Help.

• In Trim mode, use the Transition parameters to create a dissolve. For more information, see “Creating a Dissolve in Trim Mode” on page 41.

• Use the Head Fade button or the Tail Fade button. For more information, see “Adding

Dissolves with the Head Fade Button and the Tail Fade Button” on page 42.

Creating a Dissolve in Trim Mode

You can create a Dissolve effect in Trim mode using the Transition parameters displayed in the Effect Editor and in the Composer monitor.

To create a Dissolve effect 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

This adds the Dissolve effect at the transition and a Dissolve effect in the Timeline.

The Duration setting determines the duration format above the Composer monitor, for example, seconds:frames. For more information, see “Performing a Basic Trim” in the Help.

3. Click the Transition Effect Alignment button, and select the effect’s position relative to the cut point.

For an explanation of the Transition Effect Alignment button selections, see “Transition

Parameters” on page 371.

Transition Effect Duration box

Chapter 2 Applying and Customizing Effects

Adding Dissolves with the Head Fade Button and the Tail Fade Button

You can use the Head Fade button and the Tail Fade button to add dissolves on one or more video tracks (or fades on one or more audio tracks).

You can map the Head Fade button and the Tail Fade button from the Command palette to a key on your keyboard or to an existing button location such as the Tool palette. For more information, see “Mapping User-Selectable Buttons” in the Help.

To add dissolves using the Head Fade button and the Tail Fade button:

1. Move the position indicator to a clip where you want the dissolve to end or begin. For example, if you move the position indicator ten frames after the beginning of the

clip and then use the Head Fade button, the Avid editing application creates a ten-frame dissolve that lasts from the beginning of the clip to the location of the position indicator.

2. Select the tracks on which you want to create dissolves. If you select more than one track, the editing application creates dissolves of appropriate

lengths for each track, as shown in the following illustration.

Before

After — Two dissolves of different lengths are created on the two tracks.

3. Select Tools > Command Palette.

4. Click the FX tab, and then click Active Palette.

5. Click the Head Fade button or the Tail Fade button. The dissolves appear in the Timeline. If a dissolve begins or ends at the edit point

between two clips, the dissolve crosses between the two clips. Otherwise the dissolve is a fade from or to black.

Additional Information for the Quick Transition Button

6. (Option) If, for any selected track, there is insufficient source media to create a dissolve of the length you specified with the position indicator, a message box opens.

Do one of the following: t Click Size to Fit.

The Avid editing application creates the longest dissolve possible. For more information on sizing effects to fit available media, see “Sizing the Effect to Fit the Media” in the Help.

t Click Skip Track.

The Avid editing application does not create a dissolve on the track with insufficient source material but does create dissolves on any other selected tracks with sufficient source material.

t Click Cancel.

The Avid editing application does not create any dissolves.

Additional Information for the Quick Transition Button

You use the Quick Transition button to apply basic transition effects without using the Effect Palette or entering Effect mode.

You can apply a single transition effect using the Quick Transition button by following the procedure in “Using the Quick Transition Button” in the Help.This section includes instructions for appying effects to multiple transitions at one time using the Quick Transition button, as well as detailed information about the graphical controls in the Quick Transition dialog box.

Chapter 2 Applying and Customizing Effects

Using the Quick Transition Button to Apply Effects to Multiple Transitions

You can select multiple transitions by marking IN and OUT points. Then you can apply an effect from the Quick Transition dialog box as follows:

• Apply the effect to all transitions between the IN and OUT points.

• Or apply the effect to only those transitions that do not already have an effect applied.

To apply an effect to multiple transitions using the Quick Transition 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 Transition dialog box, move the position indicator to that transition.

Apply to All Transitions check box

The graphical display in the Quick Transition dialog box always shows the transition closest to the position indicator. When you define 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 Quick Transition button. The Quick Transition dialog box opens.

Additional Information for the Quick Transition Button

5. Click the Add pop-up menu, and select a transition effect.

For an explanation of individual effects shown in the menu, see “Blend Effects” on

page 373.

When you save a Dissolve effect template into a bin named Quick Transitions, the effect template appears in the Add pop-up menu. For more information, see “Using Effect

Templates” on page 70.

When you select a color transition with Quick Transition, the default color is black. You must enter Effect mode to select another color. For more information, see “Using the Effect

Editor” on page 57.

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 “Adjusting a Transition Effect by Dragging

in the Quick Transition Dialog Box” on page 47.

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. For more information, see “Understanding the Graphical Display in the

Quick Transition Dialog Box” on page 46.

7. Adjust the effect’s position relative to the cut point in one of the following ways: t Click the Position menu, and select an option to have the effect end at the cut point,

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

Chapter 2 Applying and Customizing Effects

t Click the Position menu, select Custom, 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 Avid editing application 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 Transition Dialog Box” on page 46.

The Avid editing application 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 the Target Drive menu, and select 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. Select Apply to All Transitions (IN -> OUT).

10. (Option) To apply the effects only to transitions that do not already have a transition effecet applied, select Skip Existing Transtion Effects.

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.

The Avid editing application 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 opens. For more information, see “Sizing the Effect to Fit the Media” in the Help.

Understanding the Graphical Display in the Quick Transition Dialog Box

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

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

Additional Information for the Quick Transition Button

Frames of incoming media available for the effect

The graphical display shows the following:

• The outgoing (A) and incoming (B) media for the transition to which you are applying

• The transition effect that you are applying. The display shows the effect icon and

• Three alignment buttons. These buttons appear when you click the Position button and

The Avid editing application draws and scales the graphical display so that it 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 incoming handle is 33 frames long. The effect is therefore shown slightly shorter than the incoming handle.

Outgoing media

Transition effect

Alignment buttonsHandle on incoming media

Handle on outgoing media

Frames of outgoing media available for the effect

Incoming media

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.

indicates the length and position of the effect in relation to the media.

select Custom or when you click in the graphical display. They allow you to quickly reposition the effect so that it either ends at the cut point, is centered on the cut point, or starts at the cut point.

Adjusting a Transition Effect by Dragging in the Quick Transition Dialog Box

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.

Chapter 2 Applying and Customizing Effects

Resizing arrow

2. Do one of the following:

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 Avid editing application 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 a Transition Effect with the Quick Transition Alignment Buttons

You can use the alignment buttons to quickly reposition the effect so that it either ends at the cut, is centered on the cut, or starts at the cut. The buttons have the same effect as the Ending at Cut, Centered on Cut, and Starting at Cut commands in the Position pop-up menu.

Centered on Cut Starting at CutEnding at Cut

The t

To reposition the effect with an alignment button:

t Click one of the following buttons:

- Ending at Cut, to have the effect end at the cut point

- Centered on Cut, to center the effect on the cut point

- Starting at Cut, to have the effect begin at the cut point

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 Effects in a Sequence

Deleting a Single Effect

To delete a single effect:

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

2. If multiple tracks 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.

rack containing the effect is selected.

Chapter 2 Applying and Customizing Effects

If you delete a segment effect and the segment contains a transition effect, the transition effect will be deleted as well, 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.

For information on opening the Tool palette, see “Using the Tool Palette” in the Help.

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

To open the Effect Editor, select Tools > Effect Editor.

t In Trim mode (for transition effects only), either press the Delete key or click the

Remove Effect button. For information on entering Trim mode, see For information on entering Trim

mode, see “Entering Trim Mode” in the Help.

When you delete an effect from a sequence, the Avid editing application does not delete the associated media file. To delete the effect’s media file, you must manually remove it from the drive. The application 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 142.

The effect is removed.

Deleting Multiple Transition Effects

To delete multiple transition effects:

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

2. Do one of the following: t In the Tool palette, click the Remove Effect button.

For information on opening the Tool palette, see “Using the Tool Palette” in the Help.

t Click the Delete button.

Deleting Multiple Segment Effects

To delete multiple segment effects:

1. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline.

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

3. Do one of the following: t In the Tool palette, click the Remove Effect button.

For information on opening the Tool palette, see “Using the Tool Palette” in the Help.

t Click the Delete button.

Trimming Transition Effects

You can adjust transition effects directly in the Timeline when you are in Trim mode. For more information, start with Working in Trim Mode: Basics.For more information, start with “Main Topics: Working in Trim Mode: Basics” in the Help.

Trimming Transition Effects

Using 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.

For information on entering Effect mode and displaying the Effect Preview monitor, see Entering Effect Mode in the Help.

Chapter 2 Applying and Customizing Effects

Effect Preview monitor

Pop-up slider for expanding the position bar

Effect Preview Monitor toolbar

Tracking information

Length of effect

Current position in effect

Effect’s position indicator (blue line)

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 Effect Preview Monitor Toolbar

The Effect Preview Monitor toolbar has buttons for controlling effect position and adjustment. The following table describes the buttons in the toolbar that you use to play and adjust the effect.

Effect Preview Monitor Toolbar Buttons

Button Description

Rewind Places the position indicator at the first frame of the effect.

Fast Forward Places the position indicator at the last frame of the effect.

Using the Effect Preview Monitor

Effect Preview Monitor Toolbar Buttons (Continued) (Continued)

Button Description

Add Keyframe Creates a keyframe at the current position of the position

indicator in the effect’s position bar. Alt+click to delete the selected keyframe.

Step Backward Moves the position indicator one frame backward.

Step Forward Moves the position indicator one frame forward.

Play Plays the effect from the current position in the effect’s position

bar. Click again or press the space bar to stop play. Rendered effects play at full speed. Most unrendered effects play

at full speed when Real-Time Effects is enabled. Effects play at single-frame rate in other circumstances. For more information, see “Playback of Video Effects” in the Help.

Play Preview Plays back a wire-frame preview of an unrendered effect.

Play Loop Plays back the current effect repeatedly in a loop. Click again or

press the space bar to stop play. Rendered effects play at full speed. Most unrendered effects play

at full speed when Real-Time Effects is enabled. Effects play at single-frame rate in other circumstances. For more information, see “Playback of Video Effects” in the Help.

Dual Split Click to divide the Effect Preview monitor in half, showing the

image with and without the effect applied. Click again to remove.

Reduce Reduces the size of the image in the Effect Preview monitor.

Enlarge Enlarges the size of the image in the Effect Preview monitor.

You can also Ctrl+click in the Effect Preview monitor to enlarge the image.

Chapter 2 Applying and Customizing Effects

Understanding Effect Preview Monitor 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 twofield 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 Safe Title and Safe Action Guidelines in the Effect Preview Monitor

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.

To display the Safe Title/Action guidelines in the Effect Preview monitor, do one of the following:

t In the Tool palette, click the Grid button.

For information on opening the Tool palette, see “Using the Tool Palette” in the Help.

t In the Effect Editor, click the Grid button.

To open the Effect Editor, select Tools > Effect Editor.

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.

Safe title area

Safe action area

To display the safe title and safe action areas in a Source pop-up monitor:

t In the Tool palette of the Source pop-up monitor, click the Grid button.

To display the safe title and safe action areas in the Source/Record monitor:

Using the Effect Preview Monitor

t Click in either the Source or Record monitor and choose the Grid button from the Tool

palette.

You can also display Safe Title/Action guidelines in the Title tool. For more information, see Displaying Safe Title and Safe Action Guidelines in the Help.

Moving an Enlarged Image in the Effect Preview Monitor

You can use the Enlarge and Reduce buttons in the Effect Editor or the Effect Preview Monitor toolbar 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 Controls” on page 58 and “Understanding the Effect Preview Monitor Toolbar” on page 52.

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.

Chapter 2 Applying and Customizing Effects

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. The pointer changes to a hand.

Zoom ratio

Pointer

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 Help.

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. Open the Effect Palette by doing one of the following:

t In the Project window, click the Effects tab. t Select Tools > Effect Palette.

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.

Replacing an Effect in Effect Mode

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 buttons that provide controls for effect adjustment and parameter controls that allow you to set values to define the appearance of an effect. The following sections explain how to use Effect Editor buttons and parameter controls.

The Effect Preview Monitor toolbar also contains buttons that you use to adjust and preview effects. For more information, see “Understanding the Effect Preview Monitor Toolbar” on

page 52.

When you are working with the Picture-in-Picture, 3D PIP, or Resize effect, you can expand the Effect Editor to display keyframe graphs. You can then create and adjust independent keyframes for each keyframeable effect parameter. For more information, see “Using

Advanced Keyframes” on page 78.

Chapter 2 Applying and Customizing Effects

Oth

Effect Editor Controls

This section describes the controls in the Effect Editor. Not all controls apply to each effect. If a control is not applicable, it does not appear in the Effect Editor for that effect.

The following illustration shows the location of controls within the Effect Editor.

er Options button

Effect name

Triangular opener

Effect icon

Parameter category

Slider used to adjust parameters

Parameter name

Outline/Path button

Render Effect button

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 217.

Additional buttons appear in the bottom toolbar of the Effect Editor when you are working with advanced keyframes. For more information, see “Effect Editor Controls for Advanced

Keyframes” on page 84. The following table describes each button in detail.

Transition Effect Alignment button

Transition Effect Duration box

Reduce button Enlarge button Dual Split button Play Loop button Play button

Highest Quality Render button

Grid button

3D Promote button

Promote to Advanced Keyframes button

Effect Editor Controls

Button Location Description

Using the Effect Editor

Triangular opener Left side of

Effect Editor

Other Options Inside some

parameter categories

Render Effect Bottom of

Effect Editor

Outline/Path Bottom of

Effect Editor

Transition Effect Alignment

Transition Effect Duration box

Promote to Advanced Keyframes button

Bottom 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 Windows Color dialog box for color selection. For more information, see “Using the

Other Options Button to Access Parameters” on page 64.

Click to render the current effect.

Click to display a wire-frame path to illustrate the movement of an effect from the first keyframe through the last keyframe.

Click to open a pop-up menu with options for selecting the alignment of a transition effect relative to the cut point.

Click in this box to type a duration for the transition effect other than the duration displayed.

Promotes a Picture-in-Picture, 3D PIP, or Resize effect to advanced keyframes. Not available for other effects. For more information, see “Promoting Effects to

Advanced Keyframes” on page 80.

Reduce Right side of

Effect Editor

Enlarge Right side of

Effect Editor

Dual Split Right side of

Effect Editor

Reduces the size of the image in the Effect Preview monitor.

Enlarges the size of the image in the Effect Preview monitor.

Click to divide the Effect Preview monitor in half, showing the image with and without the effect applied. Click again to remove.

Chapter 2 Applying and Customizing Effects

Effect Editor Controls (Continued)

Button Location Description

Play Loop Right side of

Effect Editor

Play Right side of

Effect Editor

HQ Right side of

Effect Editor

Grid Right side of

Effect Editor

Plays back the current effect repeatedly in a loop. Click again or press the space bar to stop play.

Rendered effects play at full speed. Most unrendered effects play at full speed when Real-Time Effects is enabled. Effects play at single-frame rate in other circumstances. For more information, see “Playback of Video Effects” in the Help.

Plays the effect from the current position in the effect’s position bar. Click again or press the space bar to stop play.

Appears when the effect has an HQ (Highest Quality) rendering option. Click to select the HQ implementation or the standard implementation with which to render the effect. The button is green when the HQ implementation is selected. For more information, see “Rendering HQ (Highest Quality) Effects” on

page 141.

Click to display the Safe Title and Safe Action guidelines.

3D Promote Bottom right

corner of Effect Editor

The Effect Preview Monitor toolbar also contains buttons that you use to adjust and preview effects. For more information, see “Understanding the Effect Preview Monitor Toolbar” on

page 52.

Available for certain effects on systems with 3D effects capabilities. Click to promote the effect to a 3D effect. See “Promoting 2D Effects to 3D Effects” on page 215.

Displaying an Effect’s Parameters in the Effect Editor

To display an effect’s parameters in the Effect Editor:

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

2. Make sure that the Record Track button for the track that contains the effect is selected in the Track Selector panel.

3. (Option) If you are not already in Effect mode, select Tools > Effect Editor. The Effect Editor opens. The name of the effect and its icon appear at the top of the Effect Editor and the

parameters that pertain to the effect appear in the Effect Editor.

Using the Effect Editor

Other Options button

Effect name

Parameter category

Triangular opener

This example shows the Grid effect parameters.

Effect icon

Slider used to adjust parameter

Transition parameters

Chapter 2 Applying and Customizing Effects

Understanding Effect Parameters

Effect parameters are values that define the appearance of an effect. For example, you can set parameters that control the size and position of a Picture-in-Picture effect.

Not all effect parameters apply to all effects. Parameters that do not apply to an effect do not appear in the Effect Editor for that effect. For reference information on the parameters available in each effect, see “2D Effects Reference” on page 299 and “3D Effects

Reference” on page 511.

If the position indicator is not on an effect’s icon in the Timeline, or if the track that contains the effect is not selected, then the Effect Editor is blank.

Effect parameters are either global or keyframeable. You adjust a global parameter once for the entire effect; its values cannot change over time. You can adjust keyframeable parameters once for the entire effect, or you can use the Effect Editor along with keyframes to adjust the parameter multiple times and change its value over time. For more information, see “Global and Keyframeable Parameters” on page 300.

For most effects, a keyframe applies to every keyframeable effect parameter in the effect. If you are working with the Picture-in-Picture effect or 3D PIP effect, however, you can use keyframe graphs to create independent keyframes for each keyframeable effect parameter. This greatly increases your control of how the effect changes over time. For more information, see “Using Advanced Keyframes” on page 78.

Parameter controls are grouped in parameter categories within the Effect Editor. For example, the Border parameter category includes all the controls that you can use to define the color and appearance of an effect border.

Several types of parameter controls might appear for a particular effect. For more information, see the following sections:

• “Using Parameter Sliders” on page 63

• “Using Parameter Enable Buttons” on page 64

• “Using Fast Menu Parameters” on page 64

• “Using the Other Options Button to Access Parameters” on page 64

• “Adjusting a Color Parameter” on page 65

Using Parameter Sliders

Parameter sliders allow you to adjust effect parameters that have a range of possible values. For example, use the Level slider in the Foreground parameter category to adjust the degree of opacity of the foreground material on a scale from 0 to 100.

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

The parameter’s numeric value changes as you move the slider.

Slider Thumbwheel

Using the Effect Editor

Parameter’s slider

To activate a parameter that has a slider:

t Click the slider.

To move from one slider to the next slider:

t Press the Tab key.

To change the value of a parameter that has a slider, click the slider and do one or more of the following:

t Move the slider with the mouse. t Type a new value using the numeric keypad. t Use the Left Arrow or Right Arrow key to change the value by –1 or +1. t Press the Ctrl key and use the mouse scroll wheel to change the value by increments of

t Press the Shift key, and use the Left Arrow key or Right Arrow key to change the value

t Press the Ctrl and Shift keys, or the Ctrl and Alt keys, and use the mouse scroll wheel to

Parameter’s numeric value

When you activate a slider, it changes to pink.

–1 or +1.

by –10 or +10.

change the value by increments of -10 or +10.

Parameter’s numeric valueActivated thumbwheel

Chapter 2 Applying and Customizing Effects

Using Parameter Enable Buttons

Some parameter categories contain parameter Enable buttons. These buttons control parameters that can either be active or inactive but cannot be adjusted over a range of values. For example, the Fixed Aspect parameter Enable button controls whether the aspect ratio of an image is maintained when you adjust one of its dimensions.

To turn a parameter on or off using a parameter Enable button:

t Click the Enable button.

Parameter Enable button

Off On

Parameter Enable buttons are pink when the parameter is active and gray when the parameter is inactive.

Using Fast Menu Parameters

Some effects have additional parameters that you select from the current parameter’s Fast menu. For example, border types for 3D effects are on the same Fast menu.

To select an additional parameter:

t In the parameter, click the Fast Menu button, and then select an option.

Fast Menu button

Menu showing other parameters

Using the Other Options Button to Access Parameters

Some effects have additional parameters that control their operation. For example, the Grid effect has additional parameters in which you set the number of columns and rows in the wipe. When an effect has additional parameters, the Other Options button appears next to the effect name or in a parameter category.

Using the Effect Editor

To use an effect’s additional parameters:

t Next to the effect name or in a parameter category, click the Other Options button.

A dialog box opens in which you set the additional parameters.

You also use the Other Options button to use the parameters for third-party plug-in effects, for the Windows Color dialog box, to open a title edited into a sequence in the Title tool (when you want to revise that title), and for other effects that allow you to change color parameters.

Adjusting a Color Parameter

You can change a color parameter or select a key color using the eyedropper or the Windows Color dialog box instead of the Hue, Sat (saturation), and Lum (luminance) sliders.

Other Options button

Using the Eyedropper

To select a color using the eyedropper:

1. Position the pointer over the Color Preview window to activate the eyedropper.

Eyedropper

Color Preview window

2. Click the eyedropper, drag it into the Effect Preview monitor, and release the mouse button on the color you want to select from the video image.

The Avid editing application updates the parameter’s numeric values, and the selected color appears in the Color Preview window.

Using the Windows Color Dialog Box

The Windows Color dialog box is a standard application that ships with the Windows operating system.

To open the Windows Color dialog box:

t In a color parameter pane, click the Other Options button.

The Windows Color dialog box opens.

Chapter 2 Applying and Customizing Effects

Color|Solid box

Default choices

Custom colors palette

Color matrix

To use the Windows Color dialog box:

1. To select a color from the Basic colors palette, click the color you want.

2. To specify a custom color, do one of the following: t Click in the color matrix to select a color, and then drag the color slider to adjust the

amount of white and black in the color.

Color slider

Currently selected color

Color selection text boxes

t Type numerical values for each color component in the color selection text boxes. The new color is displayed on the left side of the Color|Solid box. The right side of this

box displays the solid color closest to the color you have specified. You can select the displayed solid color by double-clicking the right side of the box.

3. When you are satisfied with the color, click Add to Custom Colors to add it to the Custom colors palette.

4. To select a custom color from the Windows Color dialog box, click the color you want.

5. Click OK. The Windows Color dialog box closes, and the color is applied to the parameter in the

Effect Editor.

Manipulating Effects Directly

In addition to defining effects using parameter controls, you can make some adjustments to effects by manipulating them directly in the Effect Preview monitor. These adjustments use handles and wire-frame outlines that you can display in the monitor.

You can create a motion path that defines how the foreground image moves across the background video. You can also resize a foreground image, as in a picture-in-picture effect.

Defining Motion Paths

You can define how the foreground image of a multilayer effect moves across the background video by building a motion path, or string of keyframes.

You can define a motion path on multilayer video effects, such as Picture-in-Picture effects. Use the wire-frame preview feature when you want to see the path an image takes on the screen.

When you are creating a motion path that moves beyond the viewing screen, you can use the Reduce button to view an outline of the image at a reduced scale. The reduced scale view shows the area outside the background image and allows you to extend the motion path into that area. The Enlarge button returns the screen to full view.

Manipulating Effects Directly

To define a motion path for the foreground image, do one of the following:

t Move the image directly and automatically add keyframes.

For more information, see “Moving the Image Directly” on page 67.

t Add keyframes and adjust the parameter sliders.

For more information, see “Working with Keyframes” on page 75.

Moving the Image Directly

To add a motion path to the foreground image by moving the image directly:

1. Create a sequence with two video layers (foreground video on track V2, background video on track V1).

For information about creating a sequence, see “Setting Up a New Sequence” in the Help.

2. Apply a multilayer effect (for example, a PIP effect) to the foreground segment on track V2.

3. Select the foreground effect segment on track V2.

Chapter 2 Applying and Customizing Effects

4. Select Tools > Effect Editor. The Effect Editor opens, and the Composer monitor becomes the Effect Preview

monitor. The foreground image is outlined, and both the starting and ending keyframe indicators are highlighted (pink) in the effect’s position bar.

Wire frame outlining foreground image on track V2

Background image on track V1

Starting keyframe indicator Ending keyframe indicatorEffect’s position bar

By default, the wire frame is active in the Effect Preview monitor. If the wire frame is not displayed, click the Outline/Path button in the Effect Editor to activate the wire frame.

5. Drag the wire frame to the start point of the motion path you are creating. The starting keyframe indicator represents the start point.

6. Click the ending keyframe indicator to select it. Make sure the ending keyframe indicator is the only indicator selected (pink).

7. Drag the wire frame to the end point of the motion path. A path line from the center of the starting position to the center of the ending position

appears.

Path line

Manipulating Effects Directly

8. Drag the position indicator in the position bar below the Effect Preview monitor to a new location.

The wire frame moves with the position indicator; notice the path line does not change.

9. Click inside the wire frame, and drag or stretch the wire frame to add a keyframe at the new location.

A handle appears in the center of the wire frame, indicating the path position of the new keyframe.

10. Drag the wire frame to change the effect’s path.

Wire frame

Effect’s position bar

11. Repeat steps 8, 9, and 10 to add more variation to the path.

Resizing a Foreground Image by Dragging Handles

To resize the foreground image by dragging wire-frame handles:

1. Create a sequence with two video layers (foreground video on track V2, background video on track V1).

For information about creating a sequence, see “Setting Up a New Sequence” in the Help.

2. Apply a multilayer effect to the foreground segment on track V2.

Center handle

Selected keyframe (pink)

Chapter 2 Applying and Customizing Effects

3. Select the foreground effect segment on track V2.

4. Select Tools > Effect Editor. The Effect Editor opens, and the Composer monitor becomes the Effect Preview

monitor. By default, the wire frame is active in the Effect Preview monitor.

Wire-frame resize handles

If the wire frame is not displayed, click the Outline/Path button in the Effect Editor to activate the wire frame.

5. Drag one of the handles to resize the image:

t Drag the top center handle to adjust the image’s height. t Drag the right center handle to adjust the image’s width. t Drag the top right corner handle to equally change the image’s height and width.

This option maintains the aspect ratio while resizing the image.

Using Effect Templates

The complete set of parameter values for an effect is called the effect template. You can reuse an effect template in multiple places in a sequence by saving the template in a bin and later applying the template to other effects or video clips in the sequence.

Saving an Effect Template

You can save the parameters from an effect in the Effect Editor and reuse them for another effect. You can also save a segment effect with its source media, which is useful when you want to save an imported PICT file or Matte Key clip for future editing into a sequence.

To save the parameters from an effect as an effect template:

1. Drag the effect icon from the Effect Editor to a bin.

This creates a new effect template in the bin, containing the parameter setting information for the effect. The new effect template is identified in the bin by its effect icon.

Using Effect Templates

Effect icon

2. To rename the template, click the template name and type a new name.

To save a segment effect with its source media:

1. Press and hold the Alt key, and then drag the effect icon from the Effect Editor to a bin.

2. To rename the template, click the template name and type a new name.

The Avid editing application saves title effects with source by default. If you press and hold the Alt key while dragging the icon, you will get a keyframe-only template. This template retains the movement of the title without the source.

Chapter 2 Applying and Customizing Effects

Displaying Effect Templates in the Effect Palette

Effect templates in open bins display in the Effect Palette. Each open bin that contains effect templates appears by name at the bottom of the effect category list.

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

1. Open the bin containing the effect templates.

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

Effect templates

Effect category list

Bin name containing effect templates

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

Applying an Effect Template

You can take an effect template that has been saved in a bin and apply the template and its parameters to other transitions or segments in your sequence. Effect templates saved in open bins appear in the Effect Palette as well as in the bin itself.

You can also apply specific parameters from the template.

Do not drag an effect template through the Timeline because this deselects the effect.

Using Effect Templates

To apply an effect template with all its parameters directly to a segment or transition:

t Drag the effect template icon from the bin or from the Effect Palette, and drop it on the

segment or transition in the Timeline.

Effect template example: In this example, a 3D PIP Effect template was saved and then applied repeatedly to a series of segments to achieve the same cropping and positioning of foreground footage.

To apply a specific parameter from an effect template:

1. Select an effect transition or segment in the Timeline.

2. Select Tools > Effect Editor.

3. Open the parameter category you want to change. For example, the following illustration shows the Position parameter category.

4. Click the effect template icon in the bin or in the Effect Palette, and drag it to the specific parameter category in the Effect Editor.

The effect template is applied only to the effect parameter category you selected.

New position parameters

Chapter 2 Applying and Customizing Effects

Chapter 3

Working with Keyframes

You us e keyframes to change the appearance and behavior of an effect over time. A keyframe is a point in the effect at which you can set parameters. Modifying an effect’s parameters at various points causes the effect’s appearance to vary as it plays. For example, you can add keyframes to a Picture-in-Picture effect and change the position parameters for each keyframe to add movement to the effect.

Standard keyframe indicators appear as triangles in the position bar of the Effect Preview monitor when you select an effect and the Effect Editor is active. You adjust keyframe parameters using the Effect Editor. For more information, see “Using Standard Keyframes”

on page 75.

Starting keyframe Ending keyframeSelected keyframe (pink)Add Keyframe button

For many effects, you can increase your control of the way effect parameters change over time using advanced keyframes. With this capability, each keyframeable effect parameter has a separate Timeline track — a keyframe track that opens to display a keyframe graph — where you set and customize keyframes that are independent of other parameters’ keyframes. For more information, see “Using Advanced Keyframes” on page 78.

You can still select standard keyframes, in which each keyframe affects all parameters. You can also use advanced keyframes as if they were standard keyframes.

Using Standard Keyframes

With standard keyframes, the Avid editing application always provides the starting and ending keyframes of an effect. These keyframes are selected by default, and thus any parameter changes are constant throughout the effect. Using techniques for adding, deleting, moving, selecting, and deselecting keyframes, you can begin to change the appearance and operation of the effect over time by applying parameter changes to specific keyframes.

Chapter 3 Working with Keyframes

Adding a Standard Keyframe

You can create a standard keyframe at any point in the effect’s position bar.

To create a standard keyframe:

1. Click in the position bar below the Effect Preview monitor at the point in the effect where you want to add the keyframe.

The position indicator moves to that frame.

2. Do one of the following to add a keyframe: t Either in the Effect Preview Monitor toolbar or in the Tool palette, click the Add

Keyframe button. For information on opening the Tool palette, see “Using the Tool Palette” in the

Help.

t Manually adjust a parameter in the Effect Preview monitor (segment effects only).

For example, when you click a handle on an effect outline and drag to resize or reposition it, the Avid editing application automatically creates a new keyframe.

Selecting a Standard Keyframe

You can select a single standard keyframe or multiple standard keyframes at the same time. A keyframe indicator changes to pink when selected.

To select one keyframe:

t In the position bar below the Effect Preview monitor, click the keyframe indicator.

To select multiple keyframes:

t Shift+click the keyframe indicators that you want in the effect’s position bar.

To select all keyframes in the effect’s position bar, do one of the following:

t Press Ctrl+A. t Press and hold Ctrl+Alt, and click one keyframe indicator.

For a quick way to jump to the next or previous keyframe indicator, use the Fast Forward and Rewind buttons on the Effect Preview Monitor toolbar.

Moving a Standard Keyframe

After you have created a standard keyframe, you can move it to another position in the position bar below the Effect Preview monitor.

Using Standard Keyframes

With standard keyframes, you cannot move the starting and ending keyframes.

To move a standard keyframe, do one of the following:

t Alt+click the keyframe indicator, and drag it to its new position. t Select a keyframe indicator, and click the Trim Left 1 Frame or Trim Right 1 Frame

button or the Trim Left 10 Frames or Trim Right 10 Frames button.

These buttons are located in the Trim tab of the Command palette. You can map them to buttons on the tool palette. For more information, see “Mapping User-Selectable Buttons” in the Help.

Changing a Standard Keyframe’s Parameters

When you work with standard keyframes, with certain parameter categories, such as Acceleration, you adjust parameters globally (over all keyframes in the effect). You can also change many parameters for individual standard keyframes. For information on the scope of adjustments (global or keyframeable) for each parameter category, see “2D Effects

Reference” on page 299 or “3D Effects Reference” on page 511.

To change a standard keyframe’s parameters:

1. In the position bar below the Effect Preview monitor, click the keyframe indicator. The keyframe indicator changes to pink when selected.

2. Adjust any of the applicable parameters in the Effect Editor.

Copying and Pasting Standard Keyframe Parameters

You can copy and paste parameters from one standard keyframe and apply them to another standard keyframe. You can also copy keyframe parameters from one effect to another effect.

To copy and paste standard keyframe parameters:

1. Click one keyframe indicator in the position bar below the Effect Preview monitor whose parameters you want to copy.

2. Select Edit > Copy.

Chapter 3 Working with Keyframes

3. Select one or more standard keyframes:

t To copy the parameters to one keyframe, click the keyframe indicator. t To copy the parameters to multiple keyframes, Ctrl+click multiple keyframe

indicators.

t To copy the parameters to all keyframes, select Edit > Select All.

4. Select Edit > Paste. The parameters that you copied from one standard keyframe are pasted to the keyframe,

or frames, you selected.

Deleting a Standard Keyframe

You can delete any standard keyframe you create. You cannot delete the starting and ending keyframes the Avid editing application creates.

To delete a standard keyframe:

1. In the position bar below the Effect Preview monitor, click the keyframe indicator. The keyframe indicator changes to pink when selected.

2. Do one of the following:

t Press the Delete key. t Alt+click the Add Keyframe button.

Using Advanced Keyframes

This section describes how to use advanced keyframes. When you use advanced keyframes, separate timeline tracks — keyframe tracks — appear in the Effect Editor. These keyframe tracks allow you to manipulate keyframes in groups or to open a separate keyframe graph for each individual parameter.

One of the main benefits of using the advanced keyframe model is that it allows you to modify a parameter’s keyframes independently from other parameters’ keyframes. With standard keyframes, every keyframe affects every parameter.

The following illustration shows a Center Box effect promoted to advanced keyframes. The illustration shows the three types of keyframe tracks and an open keyframe graph.

The following list describes the tracks in the Effect Editor window:

Using Advanced Keyframes

Effect track

Parameter grou tracks

Parameter tracks

Keyframe graph

• Effect track — The keyframes in this track correspond to the keyframes in the Effect Preview monitor. If you select a keyframe in the effect track, the system automatically selects all of the keyframes at that point in time in the effect (all the keyframes directly under that keyframe in the Effect Editor window). This makes it easy to move, delete, or perform other operations on many keyframes at the same time.

• Parameter group track — This track shows all the keyframes in the specific parameter group. If you select a keyframe in the parameter group track, the system automatically selects all the corresponding parameter keyframes in the group. Parameter groups can have subgroups. For example, in the previous illustration, Color and Blend Color are subgroups of Border.

• Parameter track — This track shows the keyframes for the individual parameter. Parameter tracks are lighter in color than the parameter group tracks. You can open individual parameter tracks to fine-tune the parameter values in a keyframe graph.

If you can perform an operation on all three types of tracks, this guide refers to the track as a keyframe track.

You do not have to use advanced keyframes in the Effect Editor. You can work using standard keyframes, in which each keyframe affects all parameters. In addition, advanced keyframe functions are available even when a keyframe graph is closed to show only the keyframe parameter track.

Chapter 3 Working with Keyframes

Promoting Effects to Advanced Keyframes

Many effects support advanced keyframes. If you can promote an effect to the advanced keyframe model, a Promote to Advanced Keyframes button appears in the Effect Editor toolbar.

To promote an effect to advanced keyframes:

t In the Effect Editor toolbar, click the Promote to Advanced Keyframes button.

The Effect Editor displays the effect with keyframe tracks.

The following are some things to consider when you promote an effect to advanced keyframes:

• You can choose whether or not a newly promoted effect first appears with no keyframes or with two keyframes, one at the start and one at the end of each parameter. You set this option in the Effect Editor entry of the Settings list. For more information, see “Options

for Using Advanced Keyframes” on page 124.

• Once you promote an effect to advanced keyframes, the Acceleration parameter category no longer appears. You manipulate acceleration (ease-in and ease-out) of the effect using the spline or Bézier interpolation options, which give you more control than the standard Acceleration parameter category. See “Parameter Changes at Keyframes”

on page 108.

• Using advanced keyframes, you can change the order of nested effects by manipulating the Nesting Priority icons that appear in the Effect Editor. See “Changing the Order of

Nested Effects” on page 188.

Opening Keyframe Parameter Tracks

Effects using advanced keyframes appear with keyframe parameter tracks at the right side of the Effect Editor. Next to each keyframe parameter track is a triangular opener.

Triangular openers for keyframe graphs

Keyframe graph (open)

Keyframe parameter track (closed)

Using Advanced Keyframes

You do not have to open a keyframe graph to set and manipulate advanced keyframes. You can add and delete keyframes, customize keyframe interpolation options, and use the standard controls for each parameter to set the values for its keyframes while a keyframe graph is closed.

To open a keyframe graph:

t Click the triangular opener.

The keyframe parameter track opens to display a keyframe graph.

Triangular opener

Start of effect

Depending on how you have the keyframe graph zoomed and scaled, the lines representing the keyframe graph boundaries — start and end of effect, maximum and minimum parameter values — might not be visible. For more information, see “Adjusting the View in

a Keyframe Graph” on page 121.

End of effect

Using Keyframes in the Effect Track and the Parameter Group Track

When you add a keyframe to a parameter, corresponding keyframes appear in the effect track, in the parameter group track, and in the Effect Preview monitor. The following illustration shows the result after keyframes are added to the Position parameters H Pos and V Pos.

Chapter 3 Working with Keyframes

Keyframe in the effect trackKeyframe in the parameter group track

New keyframe in the Effect Preview monitor

The keyframe in the effect track corresponds to the keyframe in the Effect Preview monitor. When you select the keyframe in the effect track or in the Effect Preview monitor, the system automatically selects all of the keyframes in the column. This allows you to perform actions on all of the keyframes at that position at the same time.

When you select the keyframe in the parameter group track, all the keyframes in the associated parameters (and subgroups) are also selected. This allows you to perform actions on all of the parameters in the group (and any subgroups).

In earlier versions of Avid editing applications, the system highlighted the keyframe in the Effect Preview monitor if you selected any keyframe in the associated column. Now the system highlights the keyframe in the Effect Preview monitor only if all the keyframes in the column are highlighted.

Using Advanced Keyframes

If you drag a keyframe for a parameter out of a column containing many keyframes, the system creates new keyframes on the effect track, on the corresponding parameter group track, and in the Effect Preview monitor.

For example, the following illustration shows a column of keyframes. Only one of the Position parameters (H Pos) is selected.

The column of keyframes used in this example

Keyframes in the Effect Preview monitor before the drag operation

The following illustration shows what happens when one of the keyframes is dragged out of the column. New keyframes appear in the effect track, in the corresponding Position parameter group track, and in the Effect Preview monitor.

Chapter 3 Working with Keyframes

New keyframes

Effect Editor Controls for Advanced Keyframes

You use the Effect Editor toolbar and the shortcut menus to create, delete, and customize advanced keyframes.

Zoom slider

Effect Editor buttons — see “Effect

Editor Controls” on page 58.

The following table describes the components of the Effect Editor toolbar for advanced keyframes.

Scale bar

croll thumbwhee

Using Advanced Keyframes

Effect Editor Toolbar for Advanced Keyframes

Control Description

Rewind Moves the position indicator one keyframe to the left and activates the

keyframe. If there is no keyframe to the left, the position indicator does not move. That is, the position indicator does not move to the beginning of the effect unless you have a keyframe there.

Fast Forward Moves the position indicator one keyframe to the right and activates the

keyframe. If there is no keyframe to the right, the position indicator does not move. That is, the position indicator does not move to the end of the effect unless you have a keyframe there.

Add Keyframe Creates a keyframe at the current position. Alt+click this button to delete a

keyframe. When you add or delete a keyframe, a pop-up menu gives you additional selections. See “Adding and Deleting Keyframes in Keyframe

Graphs” on page 87.

Controls how the keyframe graph displays. Use the zoom slider in the scale

Zoom slider

Scroll thumbwheel

bar, and the adjacent scroll thumbwheel, to zoom and scroll the view in the keyframe graph. See “Adjusting the View in a Keyframe Graph” on

page 121.

3D Promote button Promotes some effects to 3D effects. This option is available for some

effects on Avid editing applications with 3D effects capabilities. Click to promote the effect to a 3D effect.

In addition to the controls in the preceding table, a Nesting Priority icon appears in line with the effect name at the top of the Effect Editor. For more information, see “Changing the

Order of Nested Effects” on page 188.

Other controls appear in a pop-up menu when you click the Add Keyframe button, and in the keyframe track shortcut menu that appears when you right-click in the keyframe track area.

Shortcut Menus for Advanced Keyframes

Advanced keyframes use two shortcut menus. You invoke the keyframe track shortcut menu from the area of the Effect Editor that displays keyframe graphs. You invoke the Effect Editor shortcut menu from the part of the Effect Editor that does not display the keyframe graphs. For more information about the Effect Editor shortcut menu, see “Options for Using

Advanced Keyframes” on page 124.

Chapter 3 Working with Keyframes

To display the keyframe track shortcut menu:

t Right-click a keyframe track, a keyframe graph, a parameter group track, or the effect

track.

The following table describes the options available with the keyframe track shortcut menu.

Keyframe Track Shortcut Menu Options

Option Description

Add Keyframe Adds a keyframe at the position indicator. See “Adding and Deleting Keyframes in

Keyframe Graphs” on page 87.

Delete Keyframe Deletes the selected keyframe. See “Adding and Deleting Keyframes in Keyframe

Graphs” on page 87.

Select All Keyframes

Deselect All Keyframes

Align Keyframes Moves the selected keyframe in one or more keyframe graphs to the position indicator,

Slip Keyframes Moves all the keyframes of the parameter so the active keyframe aligns with the position

Reverse Keyframes Allows you to reverse the keyframes in time for a parameter, a parameter group, or an

Shelf Linear Spline Bézier

Fixed Keyframes Elastic Keyframes

Extrapolate Hold

Selects all keyframes in the section of the editor where you click to bring up the shortcut menu. See “Selecting and Deselecting Advanced Keyframes” on page 96.

Deselects all the keyframes in the currently active track, parameter group, or effect. See

“Deselecting All Keyframes” on page 98.

depending on which keyframes you select and on where you click to bring up the shortcut menu. See “Align Keyframes and Slip Keyframes” on page 114.

indicator, and the rest of the keyframes maintain their relative location. See “Align

Keyframes and Slip Keyframes” on page 114.

entire effect. See “Reverse Keyframes Command” on page 104.

Set the way parameter changes occur at keyframes. See “Parameter Changes at

Keyframes” on page 108.

Sets how the Avid editing application moves keyframes when an effect is trimmed in or trimmed out. Elastic keyframes change the time at which they occur when you trim an effect, in proportion to the new effect length. Fixed keyframes do not change. See “Elastic

Keyframes and Fixed Keyframes” on page 106.

Determines how the Avid editing application sets parameter values before the first keyframe and after the last keyframe. See “Extrapolate and Hold” on page 118.

Reset Graph View Recenters the graph view. See “Resetting Keyframe Graph Views” on page 124.

Adding and Deleting Keyframes in Keyframe Graphs

You can use the following buttons and commands to add a keyframe:

• The Add Keyframe button on the Effect Editor toolbar

• The Add Keyframe button on the Effect Preview monitor

• The commands in the first panel of the keyframe track shortcut menu

To add a keyframe to the active parameter:

1. Move the position indicator to the point where you want to add a keyframe.

2. Right-click the keyframe graph, keyframe track, parameter group track, or effect track, and select Add Keyframe.

An active keyframe indicator appears at the position indicator.

Using Advanced Keyframes

Adding a keyframe to a parameter group track adds the keyframe to all of its parameters. Adding a keyframe to the effect track adds it to all parameters in the effect. The same applies to deleting keyframes from the group parameter track or effect track.

To add a keyframe to a keyframe graph using the Add Keyframe button:

1. Move the position indicator to the point where you want to add a keyframe.

2. On the Effect Editor toolbar, click the Add Keyframe button. The Add Keyframe Mode menu opens.

If the Add Keyframe Mode menu does not appear, it is deselected on the Effect Editor shortcut menu. For more information, see “Options for Using Advanced Keyframes” on

page 124.

For more information on the command selections, see “Using the Add Keyframe Mode

Menu and the Delete Keyframe Mode Menu” on page 88.

Chapter 3 Working with Keyframes

3. Click the Add Keyframe button a second time to select the command that has a check mark next to it, or select another command from the Add Keyframe Mode menu.

An active keyframe indicator appears at the position indicator. If you selected a command that results in multiple keyframes, other keyframe indicators appear at the proper locations.

If you select a new command from the Add Keyframe Mode menu, the Delete Keyframe mode also changes.

You can set a default command using the Effect Editor shortcut menu. For more information, see “Options for Using Advanced Keyframes” on page 124.

To delete a keyframe from a keyframe graph:

1. Click a keyframe indicator to activate it.

2. (Option) Ctrl+click additional keyframes in the same graph or in other graphs.

3. Do one of the following:

t Press the Delete key. t Right-click the keyframe graph or keyframe track, and select Delete Keyframe. t On the Effect Editor toolbar, Alt+click the Add Keyframe button.

The Delete Keyframe Mode menu opens. For more information on the commands, see “Using the Add Keyframe Mode Menu and the Delete Keyframe Mode Menu”

on page 88.

If you select a new command from the Delete Keyframe Mode menu, the Add Keyframe mode also changes.

If the Delete Keyframe Mode menu does not appear, Show Add Keyframe Mode Menu is deselected on the Effect Editor shortcut menu. For more information, see “Options for Using

Advanced Keyframes” on page 124.

Using the Add Keyframe Mode Menu and the Delete Keyframe Mode Menu

Before you begin adding keyframes, it is important to understand the terms your Avid editing application uses to refer to parameters and parameter groups. These terms are on the menu that appears when you add or delete a keyframe using the Add Keyframe button on the Effect Editor toolbar.

If the Add Keyframe Mode menu or the Delete Keyframe Mode menu does not appear, it is deselected on the Effect Editor shortcut menu. For more information, see “Options for Using

Advanced Keyframes” on page 124.

Using Advanced Keyframes

You can set a default command using the Effect Editor shortcut menu. For more information, see “Options for Using Advanced Keyframes” on page 124.

The selection you make for the Add Keyframe mode is mirrored in the Delete Keyframe Mode menu, and vice versa. That is, when you change one, you change both.

In the following descriptions, group refers to the parameter category. Each description first defines the term that appears in the Add Keyframe Mode menu and the Delete Keyframe Mode menu and then illustrates the result of using that command when adding or deleting a keyframe.

Parameter group (parameter category)

Chapter 3 Working with Keyframes

Active Parameter

The active parameter is the parameter that is currently selected. For example, a slider that you clicked is pink.

• Add To Active Parameter — The keyframe appears in the keyframe parameter track or keyframe graph for the active parameter only. Corresponding keyframes appear in the parameter group track and effect track.

• Delete From Active Parameter — The Avid editing application removes selected keyframes in the keyframe parameter track or keyframe graph for the active parameter only.

Active parameter (pink)

Active Group

The active group is the group to which the active parameter belongs.

• Add To Active Group — Keyframes appear in the keyframe tracks or keyframe graphs

• Delete From Active Group — The Avid editing application deletes selected keyframes

Active parameter (pink)

Active group (contains active parameter)

Using Advanced Keyframes

of all parameters that are in the same group as the active parameter. If the active group is part of a larger group (for example, Color is a subgroup or subcategory of Border), keyframes appear only in the active group and not in the larger group. The parameter group does not have to be enabled.

from the keyframe tracks or keyframe graphs of all parameters that are in the same group as the active parameter. The parameter group does not have to be enabled.

The following illustration is an example of selecting Add To Active Group.

Chapter 3 Working with Keyframes

Active parameter (pink)

New keyframes added to active group only

New keyframes

Open Groups

Open groups are those groups that you opened by clicking the triangular opener next to the group name.

• Add To Open Groups — Keyframes appear in the keyframe tracks or keyframe graphs of all parameters in groups that are currently open, whether the group is enabled or disabled.

• Delete From Open Groups — The Avid editing application deletes selected keyframes from keyframe tracks or keyframe graphs of all parameters in groups that are currently open, whether the group is enabled or disabled.

Open group

Using Advanced Keyframes

The following illustration is an example of selecting Add To Open Groups.

Chapter 3 Working with Keyframes

Add To Open Groups: New keyframes added to all open groups, even if the keyframe tracks are closed.

Open group and subgroups

Closed group

Open group

Closed groups

New keyframes

Enabled Groups

The Avid editing application does not use enabled groups. It treats all groups as enabled at all times.

• Add To Enabled Groups — Keyframes appear in all keyframe tracks. This is the same as Add To All Parameters.

• Delete From Enabled Groups — The Avid editing application deletes selected keyframes from all keyframe tracks. This is the same as Delete From All Parameters.

Open Graphs

Open graphs are the keyframe tracks that you opened by clicking the triangular opener next to the keyframe parameter track.

• Add To Open Graphs — Keyframes appear in the keyframe graphs of all parameters with open graphs.

• Delete From Open Graphs — The Avid editing application deletes selected keyframes from the keyframe graphs of all parameters with open graphs.

Open graph

Using Advanced Keyframes

All Parameters

The term “All parameters” includes every parameter represented in the Effect Editor that has a keyframe track and is, therefore, keyframeable.

• Add To All Parameters — Keyframes appear in all keyframe tracks.

• Delete From All Parameters — The Avid editing application deletes selected keyframes from all keyframe tracks.

Working with Keyframes in the Effect Preview Monitor

Commands you select in the Effect Editor window apply to the keyframes in the Effect Preview monitor. For example, if you select “Add Keyframes to Enabled Groups” from the Effect Editor shortcut menu and then deselect all groups, you cannot add any keyframes to the Effect Preview monitor. In this case, enable a group in the Effect Editor shortcut menu before you add keyframes or select another command from the shortcut menu.

When you select a keyframe in the Effect Preview monitor, the system automatically selects the corresponding keyframe in the effect track and all keyframes directly under that keyframe. The following illustration shows the result of selecting a keyframe in the Effect Preview monitor.

Chapter 3 Working with Keyframes

Selected keyframe

The system selects the corresponding keyframes in the Effect Editor

Selecting and Deselecting Advanced Keyframes

A keyframe graph does not have to be open when you select a keyframe. You can select keyframes in closed keyframe graphs.

To select a keyframe:

t Click the keyframe.

The keyframe changes to pink (active).

When you select more than one keyframe in a single keyframe track, the Avid editing application uses the most recently selected one as the reference keyframe for aligning and slipping keyframes. In addition, there are special considerations when you align keyframes in a track with both selected keyframes and deselected keyframes. See “Al ig ni ng

Keyframes” on page 115.

Using Advanced Keyframes

To select more than one keyframe in a keyframe track:

1. Click the first keyframe that you want to select. The keyframe changes to pink (active).

2. Press and hold the Shift key, and click each additional keyframe. Each keyframe changes to pink (active).

To select keyframes in more than one keyframe track:

1. Click the first keyframe that you want to select. The keyframe changes to pink (active).

2. In each keyframe track that you want to add to your selection, click the additional keyframe.

3. (Option) If you want to select multiple keyframes in a keyframe track, Shift+click each additional keyframe

The following illustration shows the location of various components of keyframe graphs in the Effect Editor.

Effect track

Parameter group tracks

To select all keyframes in a keyframe track:

t Right-click a keyframe track, and select Select All Keyframes.

To select all keyframes in a parameter group:

t Right-click the parameter group track, and select Select All Keyframes.

To select all keyframes in the effect:

t Right-click the effect track, and select Select All Keyframes.

Parameter track

Keyframe graph

Parameter tracks

Chapter 3 Working with Keyframes

To deselect a keyframe:

t Shift+click the keyframe.

Occasionally, you might want to deselect all but one keyframe in a keyframe graph.

To deselect all keyframes but one in a track:

t Click the keyframe you want to remain selected.

The keyframe you click changes to pink (active). All other keyframes in the track appear gray and are deselected.

Deselecting All Keyframes

To deselect all keyframes in the active keyframe track:

t Select Edit > Deselect All Keyframes. t Right-click the keyframe track, and select Deselect All Keyframes.

The Deselect All Keyframes (Ctrl+Shift+A) command, available on the Edit menu, only applies to the active keyframe track when the active parameter’s slider is enabled. Rightclick the keyframe track and use the keyframe track shortcut menu to deselect keyframes for a parameter, parameter group, or the entire effect.

To deselect all keyframes in a parameter group:

t Right-click the parameter group track, and select Deselect All Keyframes.

The following illustration deselects all keyframes in the Border parameter group. When you right-click the parameter group track, the system displays the text “Apply to Group” in the parameter group track.

To deselect all keyframes in the effect:

Using Advanced Keyframes

keyframe track shortcut menu

t Right-click the effect track, and select Deselect All Keyframes.

Moving a Keyframe in a Keyframe Graph

Once you create an advanced keyframe, you can move it to another location in the keyframe graph. The methods described here use the mouse to move a keyframe. You can also use commands on the keyframe track shortcut menu. For more information, see “A lig n

Keyframes and Slip Keyframes” on page 114.

Selecting Multiple Keyframes

You can select multiple keyframes within a parameter group as well as keyframes in different parameter groups.

To select multiple keyframes:

t Click the first keyframe, and then Ctrl+click any additional keyframes.

To select a range of keyframes on a single parameter:

t Click the first keyframe in the range, and then Shift+click the last keyframe in the range.

Chapter 3 Working with Keyframes

In earlier versions of the Avid editing applications, you could single-click a keyframe in a different parameter group to select it. Now you must Ctrl+click the keyframe in a different group if you want to add it to a multiple-keyframe selection.

Moving Keyframes Vertically

To move a keyframe vertically, changing its value:

t With the keyframe graph open, click the keyframe, and drag it to its new position.

The system changes the value but does not change the time at which the keyframe occurs.

To change the value of multiple keyframes in the same parameter group:

t Ctrl+click the keyframes, and then drag one of the keyframes up or down.

For example, the following illustrations show how to move two X Position parameters.

Select two keyframes in the same parameter group.

100

Drag one of the keyframes to move both.

Pinnacle Systems Xpress Pro - 5.2 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Using This Guide

Symbols and Conventions

If You Need Help

Accessing the Online Library and Tutorial

How to Order Documentation

Avid Educational Services

Effect Concepts and Settings

Effects Creation Tools

Deconstructing Effects

Video Effects for HD Projects

Working with Effects in 24p or 25p Projects

Understanding Effect Color Coding

Effect Aperture

What is an Effect Aperture?

Changing the Effect Aperture

Applying and Customizing Effects

Applying Effects to Multiple Transitions

Additional Methods for Applying Dissolve Effects

Creating a Dissolve in Trim Mode

Adding Dissolves with the Head Fade Button and the Tail Fade Button

Additional Information for the Quick Transition Button

Using the Quick Transition Button to Apply Effects to Multiple Transitions

Understanding the Graphical Display in the Quick Transition Dialog Box

Adjusting a Transition Effect by Dragging in the Quick Transition Dialog Box

Repositioning a Transition Effect with the Quick Transition Alignment Buttons

Deleting Effects in a Sequence

Deleting a Single Effect

Deleting Multiple Transition Effects

Deleting Multiple Segment Effects

Trimming Transition Effects

Using the Effect Preview Monitor

Understanding the Effect Preview Monitor Toolbar

Understanding Effect Preview Monitor Tracking Information

Displaying Safe Title and Safe Action Guidelines in the Effect Preview Monitor

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 Controls

Displaying an Effect’s Parameters in the Effect Editor

Understanding Effect Parameters

Using Parameter Sliders

Using Parameter Enable Buttons

Using Fast Menu Parameters

Using the Other Options Button to Access Parameters

Adjusting a Color Parameter

Using the Eyedropper

Using the Windows Color Dialog Box

Manipulating Effects Directly

Defining Motion Paths

Moving the Image Directly

Resizing a Foreground Image by Dragging Handles

Using Effect Templates

Saving an Effect Template

Displaying Effect Templates in the Effect Palette

Applying an Effect Template

Working with Keyframes

Using Standard Keyframes

Adding a Standard Keyframe

Selecting a Standard Keyframe

Moving a Standard Keyframe

Changing a Standard Keyframe’s Parameters

Copying and Pasting Standard Keyframe Parameters

Deleting a Standard Keyframe

Using Advanced Keyframes

Promoting Effects to Advanced Keyframes

Opening Keyframe Parameter Tracks

Using Keyframes in the Effect Track and the Parameter Group Track

Effect Editor Controls for Advanced Keyframes

Shortcut Menus for Advanced Keyframes

Adding and Deleting Keyframes in Keyframe Graphs

Using the Add Keyframe Mode Menu and the Delete Keyframe Mode Menu

Working with Keyframes in the Effect Preview Monitor

Selecting and Deselecting Advanced Keyframes

Deselecting All Keyframes