Avid DS Nitris 7.0 User manual

Avid DS Nitris 7.0 User manual
Avid DS Nitris
®
™
Reference
Version 7.0
m a k e m a n a g e m ove | m e d i a ™
Avid
®
Copyright and Disclaimer
Product specifications are subject to change without notice and do not represent a commitment on the part
of Avid Technology, Inc.
The software described in this document is furnished under a license agreement. You can obtain a copy of
that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the
product in the same directory as the software. The software may not be reverse assembled and may be
used or copied only in accordance with the terms of the license agreement. It is against the law to copy the
software on any medium except as specifically allowed in the license agreement.
No part of this document may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopying and recording, for any purpose without the express written permission
of Avid Technology, Inc.
Copyright © 2003 Avid Technology, Inc. and its licensors. All rights reserved.
The Avid|DS application uses JScript and Visual Basic Scripting Edition from Microsoft Corporation.
Attn. Government User(s). Restricted Rights Legend
U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial
computer software” or “commercial computer software documentation.” In the event that such Software or
documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with
respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to
FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.
Trademarks
888 I/O, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid,
Avid DNA, AVIDdrive, AVIDdrive Towers, AvidNet, AvidNetwork, AVIDstripe, Avid Mojo, Avid Unity, Avid
Xpress, AVoption, AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, D-Fi, D-fx, Digidesign, Digidesign
Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive, Digital Nonlinear Accelerator,
DigiTranslator, DINR, D-Verb, Equinox, ExpertRender, FieldPak, Film Composer, FilmScribe, FluidMotion,
HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, Intraframe, iS9, iS18, iS23,
iS36, Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress, Media
Composer, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media
Recorder, MEDIArray, MediaShare, Meridien, MetaSync, NaturalMatch, Nearchive, NetReview,
NewsCutter, Nitris, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management,
ProEncode, Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, Sci-Fi, Softimage, Sound Designer II,
SPACE, SPACEShift, Symphony, the Avid|DS logo, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver,
VideoSPACE, Xdeck, and XSI are either registered trademarks or trademarks of Avid Technology, Inc. in
the United States and/or other countries.
All other trademarks contained herein are the property of their respective owners.
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 DS Nitris Reference • 0130-05584-01 • September 2003
2
Contents
Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Using the Mouse, Pen, and Keyboard . . . . . . . . . . . . . . . . . . . . . . . 25
Customizing the Pen or Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Accessing the Online Documentation . . . . . . . . . . . . . . . . . . . . . . . 26
If You Have Documentation Comments. . . . . . . . . . . . . . . . . . . . . . 27
How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Avid Educational Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Avid DS Customer Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
E-mail Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Web Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
FTP Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Mailing List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Chapter 1
Desktop Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Property Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Recycling, Locking, and Focusing Property Editors. . . . . . . . . . . . . 45
Entering Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Layout Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
User Preferences Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Animation Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Editing Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Titling Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
3
Effects Tree Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Capture Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Data Management Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Level Meters Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Scripting/Logging Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Avid Explorer Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Time Display Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Favorites Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Toolbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Closing Toolbars Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Changing the Size and Look of Toolbar Buttons . . . . . . . . . . . . . . . 78
Toolbar Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Taskbar Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Command Mapping Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Using Templates for Command Maps . . . . . . . . . . . . . . . . . . . . . . . 83
Customizing the Command Map . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Viewing the Mapped Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Checking to See if a Key is Free . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Load Preset Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Save Preset Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Viewer Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Display Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Guides Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Image Grabber Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Onion Skinning Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Edit Layout Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Preference Management Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Export Preferences Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Import Preferences Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Splitter Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
View Switcher Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Chapter 2
Capture and Output Reference. . . . . . . . . . . . . . . . . . . . . . . . 101
AAF/AFE View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
4
AAF/AFE Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
AAF/AFE List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
ALE (Avid Log Exchange) Import View . . . . . . . . . . . . . . . . . . . . . . . . 105
ALE Import Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
ALE List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
ALE Create Logs Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Audio Input Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Audio Output Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Capture Error Log Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Capture List Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Capture Settings View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Video Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Audio Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Media Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Conform Error Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Capture Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Transport Controls (Capture and Output Tools) . . . . . . . . . . . . . . 126
Video Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Capture File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Deck Configuration View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Deck Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
EDL View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
EDL Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Edit List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Ripple Sources Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
EDL Conform Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
EDL Properties Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Print EDL Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
EDL Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Explorer Recapture Options Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . 145
Export Preferences Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Export to File Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
External Controller Setup View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Import Preferences Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Insert Tape Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
5
MediaManager Setup View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
MediaManager View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
MediaManager Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
OMF (Open Media Framework) View . . . . . . . . . . . . . . . . . . . . . . . . . . 155
OMF Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
OMF Conform Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Export Composition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Output Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Output Tool (Output to Tape) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Output Tool (Output to File) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Output Tool (Output to Reference) . . . . . . . . . . . . . . . . . . . . . . . . . 166
Output Tool (Output to ProEncode) . . . . . . . . . . . . . . . . . . . . . . . . 167
Video Output Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Converted Output Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Output File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
DPX Export Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Script Editor View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Script Editor Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Tape Library View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Tapes Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Add New Tape Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Timeline Recapture Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Chapter 3
Editing Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Animation Controls (Global in Status Bar) . . . . . . . . . . . . . . . . . . . . . . 184
Animation Key Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Animation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Animation Editor Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
File Menu (Animation Editor) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Edit Menu (Animation Editor) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
View Menu (Animation Editor) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Keys Menu (Animation Editor) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Curves Menu (Animation Editor). . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Animation Editor Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Editor Property Page (Animation Editor Preferences) . . . . . . . . . . 198
6
Keys Property Page (Animation Editor Preferences) . . . . . . . . . . . 199
Curve Processing (Animation Editor Preferences) . . . . . . . . . . . . 200
Paste Options (Animation Editor Preferences) . . . . . . . . . . . . . . . 202
Animation Graph Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Animation Tree Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Edit Animation Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Audio Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
3 Band Tone Control Property Editor. . . . . . . . . . . . . . . . . . . . . . . 212
4 Band Parametric EQ Property Editor . . . . . . . . . . . . . . . . . . . . . 213
10 Band Graphic EQ Property Editor. . . . . . . . . . . . . . . . . . . . . . . 215
Dynamics Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Dynamics Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Fade Property Editor (Audio Effect) . . . . . . . . . . . . . . . . . . . . . . . . 222
Gain Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Parametric EQ Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Reverb Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Timewarp (audio) Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . 225
Timewarp (audio timezone) Property Editor . . . . . . . . . . . . . . . . . 226
VST Host Property Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Avid Explorer Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Avid Explorer Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Bin Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Blend Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Timing Property Page (Blend) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Cache List View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Clip Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Clip Activeness Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Clip Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
General Property Page (Clip). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Source Property Page (Clip) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Position Property Page (Clip). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Clip Transition Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
CmdLine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Container Clip Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
7
Image Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Dissolve Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Crossfade Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Wipe Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Locator Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Locator Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
General Property Page (Locator) . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Position Property Page (Locator) . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Locator View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Media Storage Configuration Dialog Box . . . . . . . . . . . . . . . . . . . . . . . 261
Media Storage Information Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . 263
Media Options (1/2) Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Media Options (2/2) Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Media Properties Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Media Property Page (Media Properties) . . . . . . . . . . . . . . . . . . . . 266
General Property Page (Media Properties) . . . . . . . . . . . . . . . . . . 268
File Info Property Page (Media Properties) . . . . . . . . . . . . . . . . . . 269
Track Patching Property Page (Media Properties) . . . . . . . . . . . . . 270
Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Mixer: Standard View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Mixer: Routing View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Mixer Configuration Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Mixer Input Strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Mixer Output Strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Navigation Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
NLE Tools Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Project Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Archive Property Page (Project Manager) . . . . . . . . . . . . . . . . . . . 287
Restore Property Page (Project Manager) . . . . . . . . . . . . . . . . . . . 288
Delete Property Page (Project Manager) . . . . . . . . . . . . . . . . . . . . 289
Media Property Page (Project Manager) . . . . . . . . . . . . . . . . . . . . 290
Slip/Slide Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Surround Panner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Test Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
8
3:2 Contract Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
3:2 Expand Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Deinterlace Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Interlace Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Timewarp (video) Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . 297
Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Overview Area of the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Timeline Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Ruler Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Timeline Ribbon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Track Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Track Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Track Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Timeline Navigation Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Track Effect Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Effect Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Timeline Effect Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Timeline Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Timeline Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Timeline to Clip Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Position Bar Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Timecode Boxes (Transport Controls) . . . . . . . . . . . . . . . . . . . . . . 332
Timecode Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Customizing the Transport Controls . . . . . . . . . . . . . . . . . . . . . . . 335
Trim Mode Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Video Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Fade Property Editor (Video Effect) . . . . . . . . . . . . . . . . . . . . . . . . 337
Warp Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Viewers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Source and Record Viewers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Viewer Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Viewer Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Reconnect Viewer Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Configure Viewer Display Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . 349
9
Creating Media Archive Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
New Project Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Open Sequence Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
New Sequence Preferences Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . 360
Open Project Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Processing Options Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Purge Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Sample Rate Conversion Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Save Sequence Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Save Snapshot Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Sequence Preferences Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Video Property Page (Sequence Preferences). . . . . . . . . . . . . . . . 379
Audio Property Page (Sequence Preferences). . . . . . . . . . . . . . . . 386
Sequence View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Throttle Manager Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Cache Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Cache Node Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Data Management Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Edit View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
File Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Swift Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Avid DS RP Project List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Web Viewer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Avid Event Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Avid Event Log Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Event Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Avid Event Log Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . 404
Avid DS RP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Avid DS RP Project List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Chapter 4
Paint & Titling Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Graphics Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
The Graphics Combo View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Graphics Property Tree. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
10
Navigating the Graphics Property Tree . . . . . . . . . . . . . . . . . . . . . 410
Using the Pop-up Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Paint Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Graphics Combo View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Graphics Object View (GOV) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413
Changing the Time Scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Viewing Graphics Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Manipulating Graphics Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Graphics Bar Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Graphics Object View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422
Save Raster Paint Log Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422
Graphics Toolbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
General (graphics) Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
General 2 Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427
Tools Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
Bas Relief Brush. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436
Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Chrome Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
Clip Holder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Clone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Color Blend. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Type Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Cutout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Dodge and Burn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Main Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Range Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
Edit Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Tracker Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Edit Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Ellipse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Erase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Freehand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
Glass Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
11
Graphics Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
Raster Mode Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Options Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Magic Wand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Paper Grain Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Paint Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Polyline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Rectangle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Reshaper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Reshaper Tool Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Reshaper Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Reshaping a Stroke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Reveal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
Smear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Special Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Stack Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Stroke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Textured Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
Time Span (Graphics) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Titling Body . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
Titling Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
Color Editor Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
Mini Color Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492
Import Image Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Chapter 5
3D DVE and 3D Titling Reference. . . . . . . . . . . . . . . . . . . . . . 497
3D DVE Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
3D DVE Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499
3D DVE Layers Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504
12
3D DVE Property Editors Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . 505
3D DVE Combo View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
3D DVE Object View (3D OV) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
Selecting and Deselecting Objects . . . . . . . . . . . . . . . . . . . . . . . . 509
Hiding and Showing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
Changing an Object’s Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
Collapsing and Expanding Views. . . . . . . . . . . . . . . . . . . . . . . . . . 510
Zooming and Panning in the 3D DVE Object View . . . . . . . . . . . . 511
3D DVE Layers Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
3D DVE Object View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
3D DVE Page Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
3D DVE Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Creating and Deleting 3D DVE Layers . . . . . . . . . . . . . . . . . . . . . 515
Reordering 3D DVE Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Showing and Hiding 3D DVE Layers . . . . . . . . . . . . . . . . . . . . . . . 516
Changing a 3D DVE Layer’s Type . . . . . . . . . . . . . . . . . . . . . . . . . 517
Renaming 3D DVE Layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Manipulating Objects in 3D DVE Layers . . . . . . . . . . . . . . . . . . . . 518
Viewing a 3D DVE Layer from Different Sides. . . . . . . . . . . . . . . . 520
3D DVE Page (Viewer) Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Light Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Rotate Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
Shape Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Text Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Paragraph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Surfaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532
Time Span (3D DVE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537
3D DVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538
3D DVE/Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
13
Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547
Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
Chapter 6
Image Effects Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
3D Warp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
Timing Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Generic Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Source Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
Accented Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
Accented Edges Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
Angled Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557
Angled Strokes Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557
Bas Relief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558
Bas Relief Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558
Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
Bubble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561
Chalk and Charcoal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562
Chalk and Charcoal Property Page . . . . . . . . . . . . . . . . . . . . . . . . 562
Channel Switcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
Charcoal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Charcoal Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Chrome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566
Chrome Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566
Clouds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567
Color Gradient. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
Color Gradient Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
Color Space Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
Colored Pencil. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571
Colored Pencil Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571
14
Conte Crayon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Conte Crayon Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Craquelure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574
Craquelure Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574
Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574
Crosshatch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Crosshatch Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Custom Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576
Cutout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577
Cutout Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577
Dark Strokes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Dark Strokes Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Defield . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
Deflicker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
Black Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
White Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Depth of Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
Depth of Field Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
External Data Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
Deterministic Noise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
Deterministic Noise Property Page . . . . . . . . . . . . . . . . . . . . . . . . 584
Diffuse Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586
Diffuse Glow Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586
Dip to Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
Timing Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
Drop Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
Dry Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
Dry Brush Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
Edge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591
Emboss Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592
Emboss Image Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592
15
Field Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
RGB Curves Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Film Grain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Film Grain Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
Fog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
Fog Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
External Data Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Fractal Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Settings Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Transform Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Colors Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Frame Average . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Fresco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
Fresco Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605
Glass Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605
Glowing Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Glowing Edges Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Grain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Grain Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Granite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
Graphic Pen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Graphic Pen Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Halftone Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
Halftone Screen Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
Impressionist Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Brush Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Plot Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Size Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
Color Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
Paper Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
16
Ink Outlines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
Ink Outlines Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
Linear Gradient. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Properties Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Marble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
Morph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
Shapes Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
Render Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Mosaic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
Mosaic Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
Motion Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
Motion Blur Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
Negative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Neon Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Neon Glow Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Noise/Grain Remover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
Note Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639
Note Paper Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639
Optical Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640
Black Diffusion Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641
White Diffusion Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642
Outsource . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644
Paint Daubs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645
Paint Daubs Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646
Palette Knife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646
Palette Knife Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647
Patchwork. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648
Patchwork Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648
Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649
Photocopy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
Photocopy Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
Picture-in-Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651
17
Plaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652
Plaster Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652
Plastic Wrap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
Plastic Wrap Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
Creating Altered Polaroid Photos . . . . . . . . . . . . . . . . . . . . . . . . . . 653
Polar Coordinates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654
Poster Edges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654
Poster Edges Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
Posterize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656
Premultiplication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Radial Blur. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 658
Radial Blur Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 658
Radial Gradient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Properties Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Reticulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663
Reticulation Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663
Ripple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
Ripple Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
RGB-YUV Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
Rough Pastels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665
Rough Pastels Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666
Scatter Noise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667
Scatter Noise Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667
Sharpen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669
Smudge Stick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670
Smudge Stick Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670
Solarize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
Solid Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
Spatter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
Spatter Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673
Special Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673
18
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673
Spherize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
Spherize Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
Spill Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Spill Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Sponge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676
Sponge Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676
Sprayed Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Sprayed Strokes Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Stained Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678
Stained Glass Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678
Stamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680
Stamp Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680
Sumi-e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Sumi-e Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Texturizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Texturizer Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Threshold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683
General Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683
Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684
Timecode Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684
Torn Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686
Torn Edges Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686
Tracker/Stabilizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687
Input1/Input2/Output Property Pages . . . . . . . . . . . . . . . . . . . . . . 688
Advanced Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689
DVE Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
Quality Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693
Twirl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696
Twirl Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696
Underpainting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Underpainting Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Watercolor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698
Watercolor Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699
Waterpaper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699
19
Waterpaper Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
Wood. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701
Chapter 7
Compositing Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Layers View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704
Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704
Layer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Matte Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708
Result Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709
Compositing Tools Toolbar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710
Result Area Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711
Layer Effect Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712
Layer Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713
Matte Controls Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714
Interlayer Alpha Menu and Interlayer RGB Menu. . . . . . . . . . . . . . 716
External Matte Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722
Effects Tree. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724
Effects Node Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724
Input Node Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728
Output Node Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729
Effects Tree Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730
Compositing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731
AVX Host . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731
Blue-Green Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733
Chroma Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735
Color Correction Classic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737
Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741
Difference Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748
DVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751
Effects Tree Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753
Flicker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753
HSL Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755
Key Combiner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760
Linear Luma Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760
Luma Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760
20
Matte Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762
Matte Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763
Motion Tracker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765
Motion Path Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 769
Over Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 769
Premultiplication. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 770
Spill Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771
Tracker/Stabilizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 772
Transform Node . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778
Global DVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780
Chapter 8
Color Correction Reference . . . . . . . . . . . . . . . . . . . . . . . . . . 783
Color Correction Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784
HSL Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784
Channels Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 792
Levels Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794
Curves Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795
Chapter 9
Common Property Pages Reference . . . . . . . . . . . . . . . . . . . 801
Alpha Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 802
Border Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804
Color Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805
Color Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806
Colors Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 810
Crop Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811
DVE Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812
External Data Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 815
General Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 816
Key Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819
Key Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 821
Key Values Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823
Masking Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 825
Matte Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828
Matte Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831
Options Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833
21
Shapes Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835
Source Property Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837
Spill Matte 2 Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 838
Spill Replace Property P age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 840
R1–R4 and L1–L4 Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841
Tracker Property Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847
22
Using This Guide
Congratulations on your purchase of an Avid DS Nitris system. You can
use your system to create broadcast-quality output incorporating every
possible production element from full-speed, high-resolution footage, to
multimedia artwork and animation, to computer-generated effects and
titling.
n
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.
Who Should Use This Guide
This guide is intended for all Avid DS Nitris users, from beginning to
advanced. It includes information about supported file formats, dialog box
options, menus, and other reference material. Use this guide as a
supplement to the other guides in the Avid DS Nitris documentation set.
Using This Guide
Symbols and Conventions
Unless noted otherwise, the material in this document applies to the
Windows XP operating system.
Avid DS Nitris documentation uses the following symbols and
conventions:
Symbol or
Convention
Meaning or Action
n
A note provides important related information, reminders,
recommendations, and strong suggestions.
c
A caution means that a specific action you take could cause
harm to your computer or cause you to lose data.
w
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.
>
This symbol indicates menu commands (and subcommands)
in the order you select them. For example, File > Import
means to open the File menu and then select the Import
command.
t
This symbol indicates a single-step procedure. Multiple
arrows in a list indicate that you perform one of the actions
listed.
Margin tips
In the margin, you will find tips that help you perform tasks
more easily and efficiently.
Italic font
Italic font is used to emphasize certain words and to indicate
variables.
Courier Bold Courier Bold font identifies text that you type.
font
Bold font
24
Bold indicates a user interaction.
Symbols and Conventions
Using the Mouse, Pen, and Keyboard
In Avid DS Nitris, you can use a two-button mouse (with wheel) or a pen
and tablet. The left and right mouse buttons perform different operations.
Unless otherwise stated, use the left mouse button.
The mouse and pen operate slightly differently. All the procedures in this
guide are documented for the mouse. You can, however, easily use a pen
or the keyboard. The following table shows the terms relating to the
mouse, pen, and keyboard.
This Term
Means This with a Mouse Means This with a Pen
Click
Quickly click and release the
left mouse button. Always
use the left mouse button
unless otherwise stated.
Double-click Click the left mouse button
twice rapidly.
Tap the tablet once with the tip of
the pen, or touch the pen to the
tablet with enough pressure to
click.
Quickly tap the tablet twice in the
same screen pixel or press the F5
key to go from single to doubleclick.
Right-click
Quickly click and release the Press the top portion of the switch
right mouse button.
on the side of the pen or press the
F6 key to go from left to rightclick.
Drag
Click and hold the left mouse Press the pen to the tablet while
button or the wheel while you moving the pen.
move the mouse.
Alt+key,
Ctrl+key,
Shift+key,
etc.
Press and hold the first key while you press the second key. For
example, “Press Alt+F1” means to press and hold the Alt key
while you press the F1 key.
25
Using This Guide
Customizing the Pen or Mouse
By customizing the pen, you can adjust the click pressure, switch
functions, and other features. For information on customizing the pen,
refer to the documentation provided with your Avid DS Nitris system.
You can also customize the mouse. For example, you can select lefthanded configuration or change the double-click speed. For information on
customizing the mouse, refer to the Windows online Help.
If You Need Help
If you are having trouble using Avid DS Nitris:
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.
3. Check the documentation that came with your Avid application or
your hardware for maintenance or hardware-related issues.
4. See “Avid DS Customer Support” on page 28.
5. For Technical Support, please call 800-800-AVID (800-800-2843).
For international enquiries and support services, contact your local
Avid Reseller. Support offerings may vary per location.
Accessing the Online Documentation
The online library contains all the Avid DS Nitris documentation in PDF
format. If it was installed on your workstation, you can access it from the
Help menu in Avid DS Nitris.
26
If You Need Help
n
You will need Adobe® Acrobat® Reader® installed to view the
documentation online.
To access the online library, do one of the following:
t
In Avid DS Nitris, select Help > Online Library.
t
Insert the Drivers CD-ROM into your CD-ROM drive, and select
Online Library from the main menu.
To install Adobe Acrobat Reader:
1. Insert the Drivers CD-ROM into your CD-ROM drive.
2. Under the Various section, select Utilities.
If You Have Documentation Comments
We’d appreciate any comments or suggestions you may have about the
Avid DS Nitris documentation.
Please e-mail your documentation comments to:
[email protected]
Include the title of the document, its part number, and the specific section
you are commenting on in all correspondence.
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.
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).
27
Using This Guide
Avid DS Customer Support
The following sections describe various Avid DS Customer Support
options.
E-mail Support
The e-mail address for Avid DS Customer Support is:
[email protected]
You can use it for sending bug reports, usability questions, and avidds.cab
audit reports for system analysis. All e-mails are logged in the support
database and assigned a case number. Send one support request per e-mail.
n
It is mandatory that you include your SID number in the body of your
e-mail message for verification of your maintenance contract and case
logging, otherwise, response will be delayed.
Web Support
The Avid DS Customer Support and Download sections at
http://www.softimage.com/avidds provide quick access to a wide range
of resources from the Avid DS teams and user community. Downloads,
including presets, drivers, and Quick Fix Engineering (QFE), provide the
latest solutions for use with your Avid DS Nitris system. Online
documentation, tutorials, and Knowledge Base articles ensure that you get
the most out of your work with Avid DS Nitris. It's like having a dedicated
Avid DS Customer Support engineer sitting at your desk!
FTP Support
For troubleshooting purposes, an FTP server is available for uploading
large files for Avid DS Customer Support personnel to examine. You can
upload a project's archive, media files, or other large piece of data. Simply
zip the files to upload and use a short name for easy retrieval, such as
archive.zip or Case274877.zip. You can use a Windows Command Prompt
or an FTP application to upload files to our server.
28
Avid DS Customer Support
Command Prompt Commands
Command
Description
Site access
ftp ftp.softimage.com [Enter]
Folder access
cd incoming [Enter]
User name
anonymous [Enter]
Password
“your e-mail address” [Enter]
Transfer mode
bin [Enter]
Upload command
Put “path:\file name” [Enter]
Once the file upload is complete, send an e-mail to [email protected]
to inform Avid DS Customer Support as there is no automatic notification
when a file is uploaded on the FTP server. Please provide the complete and
exact file name (case sensitive) to retrieve.
Mailing List
Although the Avid DS mailing list is frequently monitored by Avid
employees, it is not part of the official support channels. You are invited to
send your support requests to any of the above channels when required.
If you have an e-mail account, you can join the worldwide network of Avid
DS users exchanging ideas. The mailing list has proven to be quite useful
for users, with a constant stream of new subscribers.
To subscribe, send an e-mail to [email protected] with the
following text in the body of your message: subscribe ds. You can get
further information on using the automated list server by e-mailing
[email protected] with “help” as your message.
You can also go to http://www.avid.com/support/forms.html, which is a
great source of information, available on the Avid web site for Avid DS.
29
Using This Guide
30
Chapter 1
Desktop Reference
This chapter contains reference information about the desktop.
•
Property Editors
•
Help
•
Layout Menu
•
User Preferences Dialog Box
•
Toolbars
•
Taskbar Menu
•
Command Mapping Dialog Box
•
Load Preset Dialog Box
•
Save Preset Dialog Box
•
Viewer Properties
•
Edit Layout Dialog Box
•
Preference Management Dialog Box
•
Splitter Menu
•
View Menu
•
View Switcher Menu
Desktop Reference
Property Editors
Property editors display the properties of a selected object or tool. You can
adjust the values of properties using the text boxes, lists, options, and
sliders, as well as set animation keyframes. Any values that you change are
immediately applied to the object.
Property editors contain global controls for loading, saving, and viewing
presets, processing, animating properties, selecting effects, and previewing
clips. Different property editors have different global controls.
Property editors come in two sizes: default and large. Most of the time, you
will see the default-sized property editors. But if you’re in the Effects
layout, you’ll see the large ones.
n
Unlike the default-sized property editors, the large ones do not recycle.
Instead, they display what is currently selected.
Tip: If you have used a Color Correction effect and you are not in the
Effects layout, you can open its property editor in two different sizes:
default or large. Press Ctrl+Shift to open a default size property editor and
press Ctrl to open a large property editor.
To open a property editor, do one of the following:
t
Right-click an object and select Properties.
t
Double-click an object.
Global Controls
The global controls let you determine how parameters are displayed in a
property editor window, create animation, process effects, save and load
presets, specify transitions, track DVEs, and set animation keyframes.
These controls are displayed on most property editors.
32
Property Editors
Title bar controls
Global controls
Title Bar Controls
The title bar controls let you focus, recycle, lock, and close property
editors as you select different objects.
Title bar
controls
33
Desktop Reference
Option
Focus
Description
In Focus mode, a property editor displays only one
specific type of property, regardless of which object is
selected.
For example, if you open the Brush FX property editor
in the Graphics layout and set it to Focus mode, the Fill
FX properties will appear in the same property editor
window, but the Time Span properties will open in a
new property editor window.
Recycle
In Recycle mode, the same property editor is reused
whenever you select an object that has an associated
property editor.
For example, if you open a video effect’s property
editor, then select an audio effect, the audio clip’s
properties replace the video clip’s properties in the
same property editor window.
Lock
In Lock mode, the property editor always displays the
properties of the object on which it’s locked.
For example, if you open a video effect’s property
editor, set it to Lock mode, and then select an audio
effect, the audio effect’s properties will be displayed in
a new property editor window.
Close
34
Closes the property editor
Property Editors
Tab Controls
The tab controls let you view additional tabs on a property editor. This is
useful for property editors that contains many property pages, such as the
keyers.
Tab controls
Option
Description
Display Previous Tab
Displays previous tab(s) on this property page
Display Next Tab
Displays next tab(s) on this property page
Animation Controls
The animation controls let you turn auto animation on or off, move
between keyframes, and set keyframes.
Animation controls
35
Desktop Reference
Option
Description
Auto
Automatically creates a keyframe when you make any
adjustments to properties. That is, you do not have to
click the Animation Key button each time you change a
property.
< (previous key)
Moves the position indicator to the previous keyframe
> (next key)
Moves the position indicator to the next keyframe
Animation Key
Sets a keyframe at the current frame with the current
property settings. Right-click this button to display the
Animation Key menu—see Animation Key Menu.
Animating Parameters
In the property editors, an animation button appears beside numeric
parameters that you can animate. This lets you set keyframes after you
adjust the parameter’s value. Also, you can easily access the animation
editor from the Animation pop-up menu.
36
Property Editors
Animation button
To animate a parameter:
t
Click the Animation button beside the parameter you want to animate.
The Animation button turns red to indicate that a keyframe was set.
To reset an animated parameter:
t
Right-click an Animation button and select Remove Animation.
To access the Animation menu:
t
Right-click an Animation button—see Animation Menu.
Animation Menu
The Animation pop-up menu lets you open the animation editor, locate and
remove keyframes, and set keyframes automatically for the selected
parameter.
37
Desktop Reference
To access the Animation pop-up menu:
t
Right-click the Animation button in any property editor.
Option
Description
Animation Editor
Displays the animation editor—see “Understanding
the Animation Editor” in the Help.
Remove Key
Removes keyframes for the parameter at the current
position indicator location
Remove Animation
Removes all keyframes for the parameter in the
function curve
First Key
Moves the position indicator to the first keyframe set
for the parameter in the function curve
Last Key
Moves the position indicator to the last keyframe set
for the parameter in the function curve
Previous Key
Moves the position indicator to the previous keyframe
set for the parameter
Next Key
Moves the position indicator to the next keyframe set
for the parameter
Autokey
Turns Autokey mode on or off. Automatically creates
keyframes as you adjust the settings.
n
38
Tip: You can activate this mode by clicking the
Autokey button at the bottom-right of the
desktop.
Constant
Changes the function curve to a constant curve. This
option has no effect on a motion path.
Linear
Changes the function curve to a linear curve
Bézier
Changes the function curve to a Bézier curve
Property Editors
Effect Controls
The effect controls let you preview effects, limit processing to a selected
region in the viewer, bypass effects, crop function curves in the animation
editor, and select effects.
Preview Select Effect
Effect controls
Option
Description
Preview
Plays the output of the current effect in the viewer
Activate
Switches the context to the interactive tool of the effect
associated with the property editor. For example, when
switching between effects, such as a DVE and a
Tracker, you must activate the tool before you can use
the interactive tools in the viewer.
Subregion
Limits processing to a specified region in the viewer.
Drag a rectangular area to specify the region.
Bypass
Turns off the effect. When you use multiple input
effects, such as a Composite effect, the first input is
passed through directly as the output.
Crop Curves
Crops the selected effect’s function curve in the
animation editor when the effect is resized on the
timeline
39
Desktop Reference
Option
Description
Select Effect
Selects the current effect on the timeline, in an Effects
tree or in the Layers view, and displays its property
editor.
This is most useful if you are using many effects and
want to quickly identify property editors with their
corresponding clips. Open a property editor, lock it, and
click the Select Effect button to highlight the clip in the
timeline, Effects Tree, or Layers view.
n
Previous Effect/Next
Effect
Not available in the Graphics and 3D DVE
layouts.
Selects the previous/next effect on the timeline, Effects
Tree, or Layers view, and displays its property editor.
The display of effects depends on the effect type. If you
are using multiple, different types of effects, such as
four Color Correction and two Channel Switcher
(image effect) effects, then the current effect type is
sequentially displayed each time you click the Previous
Effect or Next Effect button.
To display other effect types used on the timeline, press
Ctrl to display them.
For more information, see The Effects Library.
n
Not available in the Graphics and 3D DVE
layouts.
Effects Tree Controls
The Effects Tree controls let you view or bypass an effect, expand an
Effects Tree, or display another effect’s property editor.
40
Property Editors
Effects Tree controls
Effects list
n
Depending on which effect you apply, these controls may be arranged
differently on the property page.
Option
Description
View
Displays the output of the current effect in the viewer.
Expand
n
When you want to change an effect and you’ve
added more effects after it, you can view the
effect if you want to focus only on the current
effect.
n
You can only view one node at a time. If several
nodes are selected, the V key and the toolbar
button are not available.
n
Tip: On the Shape and Paint trackers, it’s useful
to select both the View and Bypass options to
improve tracking speed.
Expands the current Effects Tree. For example, if you
apply a Selective Color Correction effect in an Effects
Tree and click Expand, the tree expands to display the
effects that comprise this effect.
n
This option is only applicable when you use
Effects Tree effects, such as the Selective Color
Correction effect or if you fold nodes.
41
Desktop Reference
Option
Description
Effects List
Lets you choose the effect to display in the current
property editor. This is useful when you have many
effects in an Effects Tree and want to quickly switch to
display the properties of another effect.
n
Only effects on which the Expose command is
selected are displayed in this list.
Process Controls
The process controls let you choose what to process and how it will be
processed.
Process controls
42
Option
Description
Frame
Processes effects in the current frame and creates a
cache file. Makes the effect viewable on the selected
frame.
Auto-process
Turns the Frame option on or off. When selected, each
time you change a parameter, the frame is automatically
reprocessed.
All
Processes all frames with the applied effect and creates
a cache file. Makes the effect playable in real time.
Preview
For real-time playable effects, plays back the current
effect. For unprocessed non-real-time playable effects,
plays back a lower quality preview version of the effect,
with dropped frames, in Loop mode.
Property Editors
DVE-Tracker Controls
Available only in the 2D DVE property editor, the tracker controls let you
set specific options for tracking images using the 2D DVE.
Tracker controls
Option
Description
Global
Applies a transformation (scale, rotation, or translation)
to participating layers in the composite. The DVE
property editor for each layer must also have its Global
DVE option activated.
SRT
Turns on/off any DVE transformation (scaling, rotation,
or translation) that has been applied to the current layer
Track
Turns on/off any motion tracking that has been applied
to the current layer. Clicking the Tracker button opens
the Motion Tracker property editor.
Activate
When you are using more than one interactive tool at
the same time (in the Compositing layout), such as a
Luma keyer and DVE, clicking the Activate button
gives priority to the property editor on which this
button was pressed. For example, if you scaled an
image using the DVE, and then click the Activate
button in the Luma keyer property editor, the image
appears in full size to let you concentrate on areas in the
image that you want to key out.
43
Desktop Reference
Preset Controls
The preset controls let you save and load presets. A thumbnail of the
current effect is displayed with the preset controls.
Preset controls
Option
Save Preset
Load Preset
Description
Saves presets by opening the Save Preset dialog box,
where you can save the current parameter settings as a
preset. You can choose the folder to save it in or create
a new folder in which to store your customized presets.
Loads and displays presets by opening the Load Preset
dialog box, where you can select a preset file to load
into the property editor.
Displays the thumbnail of the selected effect
Thumbnail
Transition Controls
The transition controls let you specify the type and duration of a transition.
Transition controls
44
Property Editors
Option
Description
Dur (duration)
Specifies the duration, in frames, of a transition
Select Transition
Lets you choose between the Dissolve, DVE, and Wipe
transitions
Transition location
Specifies whether the selected edit point is the start,
center, or end of the transition
Recycling, Locking, and Focusing Property Editors
The title bar buttons let you recycle, lock, and focus property editors. By
default, most property editors are set to Recycle mode when you first
display them. When you select an object that does not have any properties
or select a new type of object, the property editor is hidden from view, but
not closed.
The recycle, lock, and focus modes let you work more efficiently with
property editors. They let you display the same property editor, compare
the parameter values of two different objects by locking and displaying
their property editors, and view several different property editors for the
same object simultaneously. This is especially useful when you are
working with graphics because many graphics objects have similar
properties.
Using the Recycle Mode
In the Recycle mode, the same property editor window is reused whenever
you select an object. For example, if you open a generated clip’s property
editor, and then select an audio effect, the properties of the generated clip
are replaced by the properties of the audio effect.
To use the Recycle mode:
1. In the Graphics layout, select an object and open its property editor.
2. In the title bar of the property editor, click the Recycle button.
By default, most property editors are set to the Recycle mode.
45
Desktop Reference
Property editor
in Recycle
mode
Property editor
displays
properties of
selected clip
3. Select a different object.
The same property editor window updates to display the properties of
the newly selected object.
46
Property Editors
Property editor
in Recycle
mode
Same property editor
window is reused and
updated to display
properties of the newly
selected object
Using the Lock Mode
In the Lock mode, the property editor continues to display the properties of
the object on which it is locked. You can, for example, lock the property
editor of one graphics object and open another property editor for a
different graphics object. This lets you compare the parameter values
between the two graphics objects.
n
Property editors accessed from the Layers view are automatically set to
Focus mode instead of the default Recycle mode.
To use the Lock mode:
1. Select an object and open its property editor.
2. In the title bar of the property editor, click the Lock button.
The property editor is locked to the selected object.
47
Desktop Reference
Property editor
in Lock mode
Selected
object
3. If desired, select another object and open its property editor.
A second property editor (in Recycle mode) opens on top of the first
property editor.
48
Property Editors
Property
editor in
Recycle mode
Second selected
object and its
property editor in
Recycle mode
4. Drag the second property editor to another location to view both
property editors, so that you can compare the values of both graphics
objects.
Property editor of second selected
object in recycle mode.
Property editor of first selected
object in lock mode.
Viewing the two property editors side-by-side lets you
compare and adjust values.
49
Desktop Reference
Using the Focus Mode
In the Focus mode, a property editor displays the properties of a specific
type of property. The Focus and Lock modes differ in that the Lock mode
links a property editor with a specific object, such as a stroke or text body,
whereas the Focus mode links a property editor with a type of property,
such as brush or fill. Property editors in Focus mode will continue to
update as the selection changes—as long as the type of object doesn’t
change. Property editors in Lock mode ignore selection changes.
This mode is most useful in the Graphics layout, where there are many
different types of properties, such as the brush or fill properties of a stroke,
or the face, edge, or shadow properties of a title. Setting a property editor
to Focus mode ensures that a property editor of a particular type, such as
brush properties, is always available in a layout.
To use the Focus mode:
1. Select an object and open its property editor.
The graphics property tree displays the properties of the selected
object.
2. From the graphics property tree, click a property button.
The property editor is in the default Recycle mode.
3. In the title bar of the property editor, click the Focus button.
The property editor is focused on the specific type of property you
selected.
50
Property Editors
Property editor
in Focus mode
Selected object and
its property editor in
Focus mode
4. From the graphics property tree, click a different property button.
t
If the property you selected was the same type as the first, then the
same property editor window is used to display its properties.
t
If the property is of a different type than the first, then a second
property editor (in Recycle mode) is opened to display its
properties. The first property editor continues to display the
properties of the object on which it is focused.
5. Drag the second property editor to another location to view both
property editors at the same time.
51
Desktop Reference
Brush stroke properties of selected object
Brush Fx properties of selected object
Property editors of both selected property buttons
Entering Values
There are several ways to enter numerical values and timecode information
in Avid DS Nitris . You can choose the method that is the most convenient
for you. There are also keyboard shortcuts available that let you quickly
enter values and timecodes.
Using Text Boxes
Text boxes are located beside or below a property name in a dialog box or
property editor. To increase or decrease values in a text box, you can enter
new values directly in the box, drag the sliders to the right or left, or use a
number of different keyboard and mouse operations.
Text box
Slider
Drag clockwise or counterclockwise to
increase or decrease values
52
Property Editors
To enter and adjust values in a text box:
1. Click in a text box.
The contents of the text box is selected and an insertion point (flashing
vertical bar) appears.
2. Do one of the following:
t
Type in the numerical values and press Enter.
t
Use any of the following shortcuts.
To enter value
Do this
Increase value by 1/10
of a unit
•
Press Shift+]
•
Hold down the Shift key and drag clockwise around
the text box
•
Hold down the Shift key and roll the mouse wheel
forward
Decrease value by 1/10 •
of a unit
•
•
Press Shift+[
Hold down the Shift key and drag counterclockwise
around the text box
Hold down the Shift key and roll the mouse wheel
backward
Increase value by 1 unit Press ] or roll the mouse wheel forward
Decrease value by 1 unit Press [ or roll the mouse wheel backward
Increase value by 10
units
•
Press Ctrl+]
•
Hold down the Ctrl key and drag clockwise around
the text box
•
Hold down the Ctrl key and roll the mouse wheel
forward
53
Desktop Reference
To enter value
Do this
Decrease value by 10
units
•
Press Ctrl+[
•
Hold down the Ctrl key and drag counterclockwise
around the text box
•
Hold down the Ctrl key and roll the mouse wheel
backward
Cancel command and
close dialog box
Press Esc
Set value to minimum
Press Ctrl+Home
Set value to maximum
Press Ctrl+End
To replace the contents of a text box:
1. Click in a text box.
The contents of the text box is highlighted in blue.
2. Type in new values and press Enter.
To adjust values using the slider:
t
Drag the slider to the right to increase values or to the left to decrease
them
t
Press Shift and drag the slider to adjust values slowly.
t
Press Ctrl and drag the slider to adjust values quickly.
Drag right or left to increase
or decrease values
To enter values using the calculator:
1. Click the Calculator button next to the slider.
The calculator is displayed.
54
Property Editors
2. Do one of the following:
t
Use the keyboard to enter numbers.
t
Use your pointer to select numbers on the calculator.
3. If you performed mathematical operations, click the Equal button.
4. Click OK.
The calculator closes and the value is added to the text box.
Using the Pop-up Menus in Numerical Text Boxes
By right-clicking in a text box, you can open a pop-up menu, containing
commands for cutting, copying, pasting, deleting, undoing, and selecting
all values.
Using Timecode Boxes
There are SMPTE timecode boxes in several places in the Avid DS Nitris
interface, such as in the status bar, on the transport controls, and in
property editors.
55
Desktop Reference
Entering values in timecode boxes is similar to entering values in text
boxes except that you can also use absolute or relative input methods. The
absolute input method replaces the current value with the value you enter.
The relative input method offsets the current timecode by the value you
specify.
The following table summarizes the various means of entering values in
timecode boxes assuming that the current timecode is 01:12:34:00.
You enter
NTSC result
PAL result
Description
Absolute Input Method
5223
00:00:52:23
00:00:52:23
Replaces the current
timecode
/5223
01:12:52:23
01:12:52:23
Replaces the rightmost
portion of current
timecode
.40
00:00:01:10
00:00:01:15
Replaces the current
timecode with this many
frames (direct frame
entry)
10:00.40
00:10:01:10
00:10:01:15
Combines timecode
value with direct frame
entry
3:::1
03:00:00:01
03:00:00:01
Skip fields by entering
colons (:)
Relative Input Method
56
110+
110-
01:12:35:10
01:12:32:20
01:12:35:10
01:12:32:15
Increases or decreases
the current timecode by
the value entered
.110+
.110-
01:12:37:20
01:12:30:10
01:12:38:10
01:12:29:15
Increases or decreases
the current timecode by
the number of frames
entered
Help
You enter
NTSC result
PAL result
Description
1.10+
1.10-
1:12:35:10
1:12:32:20
1:12:35:10
1:12:32:15
Use the period (.) to
separate seconds and
frames.
] or [
01:12:34:01
01:12:33:29
01:12:34:01
01:12:33:24
Nudges the current
timecode up or down by
1 frame
Shift+] or Shift+[ 01:12:34:01
01:12:33:20
01:12:34:10
01:12:33:15
Nudges the current
timecode up or down by
10 frames
Help
The Help menu lets you access the Avid DS Nitris help system to quickly
retrieve reference information. You can also access the Avid web site,
where you can find product-related information and tutorials as well as the
Avid DS Nitris support center.
To access the Help menu:
t
Select Help.
Option
Description
Contents and Index
Opens the contents window of the online help, which
displays help topics by category
Keyboard Shortcuts
Opens a PDF file which displays all the keyboards
shortcuts
Documentation Library
If installed on your system, opens the Documentation
Library for online viewing of the Avid DS Nitris
documentation.
New Features Tour
If installed, starts the New Features Tour multimedia
application
57
Desktop Reference
58
Option
Description
Download
Lets you download various utilities and tools
Web Tutorials
Lets you access the latest Avid DS Nitris tutorials
Knowledge Base
Lets you access and search the Avid DS Nitris
Knowledge Base for useful information
Customer Service
Loads the Avid DS Nitris Customer Service home
page
Avid DS Nitris Home
Page
Loads the Avid DS Nitris home page
About Avid DS Nitris
Displays the program’s build number and version
along with the product serial number
Layout Menu
Layout Menu
The Layout menu lets you customize the views in the current layout, or
create your own layouts.
To access the Layout menu:
t
Select Layout.
Option
Description
Editing
Displays the Editing layout
Graphics
Displays the Graphics layout
Compositing
Displays the Compositing layout
3D DVE
Displays the 3D DVE layout
Media Input/Output
Displays the Media Input/Output layout
Classic Layouts
Displays the default layouts
Xtra Layouts
Displays alternate layouts
New Layout
Lets you create a custom layout. When a layout is
created, a new layout button is added to the taskbar.
Blank
Lets you name and create a custom layout from
scratch. Creates an empty layout to which you add the
various layout components that you want to work
with. To build your layout, use the components under
New Layout > Copy Layout.
Copy Current Layout
Creates a custom layout based on the current layout
Copy Layout
Lets you create a custom layout based on a copy of an
existing layout
59
Desktop Reference
Option
Description
Edit Layout
Turns edit mode on or off. In this mode, all the
windows and views in the current layout are
highlighted so that you can move or resize them.
When you turn off the edit mode, your changes are
automatically saved for the current session.
Save Layouts
Saves all edits made to your custom layout
Restore Default Layout
Restores the default configuration of the current layout
New Combo View
Creates a new combo view and puts you in Edit
Combo View mode
Edit Combo View
Lets you customize a combo view
Delete Combo View
Deletes the currently active combo view
New Toolbar
Displays the toolbar dialog box in which you enter a
name to create a custom toolbar.
Customize Toolbars
Displays the Customize Toolbars window, where you
select from a category of tools to display their
associated commands. These commands can be
dragged to your custom toolbar for easy access while
working.
Import/Export
Preferences
Displays the Preference Management dialog box
User Preferences Dialog Box
The User Preferences dialog box lets you adjust the settings that affect the
way you work with Avid DS Nitris . For example, you can set preferences,
such as automatic saves, number of undo levels, animation preferences,
and the number of type of tracks to display when you open a new
sequence. You can also set editing preferences, such as pre-roll and postroll frames.
60
User Preferences Dialog Box
After setting the preferences, they become part of your user profile under
your user name. The next time you start Avid DS Nitris , these preferences
are used.
n
Do not customize the fonts, windows scheme, or taskbar properties on the
Windows 2000 desktop or Avid DS Nitris may not function properly.
Click on the links above for information on each of the property pages.
To open the User Preferences dialog box:
t
Select File > User Preferences.
General Property Page
The General property page lets you set preferences, such as automating the
loading of the current sequence, setting the number of undo levels, and
autosaving preferences.
For example, if you know that you will be working on the same sequence
for several sessions, you can set Avid DS Nitris to automatically open that
sequence each time you start the application. You can also set Avid DS
Nitris to automatically save your work at regular intervals.
61
Desktop Reference
Option
Description
Window Management
Sets preferences for window management
Highlight the Window
with Focus
Shows you which view has focus by displaying
small red brackets at the view’s corners
Give Windows Focus
When the Mouse Enters
Them
Gives focus to an area by rolling the mouse over it
Update Default Window
Size/Position
Lets you choose the default window size and
position based on the last resized window, the last
closed window, or the last moved window.
On Resizing
Sets the default window size and position based
on the last resized window
On Closing
Sets the default window size and position based
on the last closed window
On Moving
Sets the default window size and position based
on the last moved window
Autosave
Sets autosave preferences
Save Automatically Every Saves the current sequence at regular intervals.
X Minutes
This option can protect you from losing work in
the event of a power failure or system failure.
Miscellaneous
Load Last Sequence at
Startup
Sets user preferences, such as number of undo
levels and loading last sequence at startup
Loads the last saved sequence each time you start.
Tip: If you need to override this setting, hold
down the Shift key when you double-click the
Avid DS Nitris icon when starting the
application. This is useful when you want to start
a new sequence.
Single Click on Container Opens a container clip with a single click.
Icon Opens Container
Usually, you have to double-click on the container
clip to open it.
62
User Preferences Dialog Box
Option
Number of Undo Levels
Description
Sets the number of commands or actions that you
can undo and redo. The default number is 50;
maximum is 1000.
The higher the number of levels you set, the more
memory is required (which can slow down
performance), but the further you can backtrack.
n
Scrubbing
Play Audio When
Scrubbing
Tip: You can access the Undo and Redo
commands from the Edit menu. The
keyboard shortcuts are Ctrl+Z and Ctrl+Y,
respectively.
Sets scrubbing preferences
When selected, lets you hear the audio tracks
when scrubbing on the timeline
Animation Property Page
The Animation property page lets you set preferences, such as the default
interpolation and slope mode for inserted keys.
If you frequently animate objects or parameters, you can set Avid DS
Nitris to automatically set keyframes as you adjust an object’s properties
or a parameter’s values. Instead of clicking the Animation Key button each
time you want to add a keyframe, the Autokey mode automatically records
any adjustments that you make.
Option
Description
Default Interpolation for
Inserted Keys
Sets the default interpolation type for inserted
keys
Automatic (From
Neighboring Keys)
Repeats the value of a key point. The movement is
characterized by sudden changes at keyframes
and static positions between keyframes.
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Option
Description
Constant
Repeats the value of a key point until the next one.
The movement is characterized by sudden
changes at keyframes and static positions between
keyframes.
Linear
Connects key points by straight line segments.
The movement is characterized by sudden
changes at each keyframe.
Spline
Results in a smooth transition. When selected,
spline interpolation accelerates and decelerates to
ease into and out of each keyframe. The degree of
acceleration and deceleration before and after the
keyframe is determined by the key point’s tangent
handles.
Default Slope Constraint for
Inserted Keys
Sets the default slope type for inserted keys
None (DS - Use
Neighboring Slopes)
Sets the slope of an inserted key automatically
using the slopes of neighboring keys. This mode
does not affect the slope of these neighboring
keys.
Automatic (3D - Use &
Affect Neighboring
Slopes)
Sets the slope of an inserted key automatically to
the slopes of neighboring keys. This mode affects
the slope of neighboring keys.
Plateau (Horizontal for
Local Min & Max)
Sets the slope of an inserted key automatically to
zero if the next key has the same value, or if that
key is a local minima or maxima.
A local minima/maxima is a key point where both
previous and next keys have either smaller
(minima) or larger (maxima) values. This is
useful for holding key point values to prevent the
automatic interpolation from going above or
below your keyframed values.
Zero (All Horizontal)
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Constrains the slope of key points to zero. The
tangent handles remain horizontal, so that only
the slope tension can be modified.
User Preferences Dialog Box
Option
Description
Autokey
Toggles the Autokey button on or off
Set Keys When Changing Automatically sets keyframes as you adjust an
Values (Autokey)
object’s properties or a parameter’s values.
Instead of clicking the Animation Key each time
you want to add a keyframe, the Autokey button
automatically records any adjustment that you
make.
Editing Property Page
The Editing property page lets you change various default settings, such as
the preferred track type, transition duration, still image duration, and the
number of pre-roll and post-roll frames.
Option
Description
Extra Material
Lets you change the number of pre-roll and
post-roll frames
Pre-roll (frames)
Specifies the default number of pre-roll
frames before a transition (or timeline
selection). When you play back the processed
frames, the pre-roll frames are added to the
in-point.
Post-roll (frames)
Specifies the default number of post-roll
frames after a transition (or timeline
selection). When you play back the processed
frames, the post-roll frames are added to the
out-point.
Selectable Objects (J-K-L keys)
Lets you select the type of object that moves
on the timeline when you use the J-K-L keys
Edit Points and Clip Handles
Lets you to move these objects with the J-KL keys
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Desktop Reference
Option
66
Description
Clips
Lets you move clips with the J-K-L keys
Effect bars
Lets you move effect bars with the J-K-L
keys
Activeness
Lets you move activeness bars with the J-K-L
keys
Markers and Locators
Lets you move locators, in-points, and outpoints with the
J-K-L keys
Preferred video track type
Lets you select the type of track when you
create new tracks inside of a sequence
Transitions
Lets you specify default values for transition
duration and position
Default Duration (frames)
Specifies the default length, in frames, of
transitions
Default Position
Specifies the default position of a transition
with respect to the selected edit point.
Start: The transition begins at the edit point
Center: The transition is centered over the
edit point
End: The transition ends at the edit point
Default Still Image Duration
(frames)
Specifies the number of frames you want to
be created when you capture a still image
Show Overlays in Viewer
Displays locators (global, local/clip), in/outpoints, start/end of clip, and start/end of
available material
Always update clips in source
viewer
Automatically updates the clip in the bin
when the in-point or out-point of a clip in the
source viewer is changed
User Preferences Dialog Box
Titling Property Page
The Titling property page lets you set preferences that allow you to see or
hide text outside the output area, as well as control the way text is selected.
Option
Description
Disable Text
Overlay
Allows you to see text existing outside the output area
Selection
Criteria
(Ctrl+mouse)
Controls the way text is selected when you hold down the Ctrl
key and drag
Titling Font
Only
Lets you select text characters with like fonts when you hold
down the Ctrl key and drag
Titling Style Lets you select text characters with like style attributes, such as
Only
bold, italic, etc., when you hold down the Ctrl key and drag
Both
Lets you select all text characters when you hold down the Ctrl
key and drag
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Effects Tree Property Page
The Effects Tree property page lets you set preferences that affect how
nodes in the Effects Tree are connected and disconnected, how tooltips are
displayed, the speed in which the Effects Tree pans, how names are
displayed on nodes and ports, and how new nodes are place in Effects
Trees.
Option
Description
Interaction
Sets preferences for connecting and disconnecting
nodes in the Effects Tree
Enable Enhanced Interaction Enables enhanced features such as “kissing”,
“ripping”, “twanging” and sticky connections.
Connecting Nodes
(1=slow, 10=fast)
Lets you increase or decrease the response time
when connecting nodes. For example, a value of 1
means that when you drag a node to touch another
node (“kissing”), you have to hold it there for a
longer period of time before a connection is made.
Disconnecting Nodes
(1=slow, 10=fast)
Lets you increase or decrease the response when
disconnecting nodes. For example, a value of 1
means that you can easily “rip” a node away from
another node to disconnect it.
Minimum Node Drag for Lets you set the distance in which you must drag a
Interaction (in pixels)
node (in pixels) before interaction will take place.
For example, the default setting of 20 means that
you must drag a node at least 20 pixels before it
will be connected (twangs) to another node. Values
range from 0 to 500. If this option is set to 0, then
automatic connection twanging will take place if
you click or double-click a node.
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User Preferences Dialog Box
Option
Allow Connection
Replacement
Description
Lets you turn connection replacement on or off.
When selected, you can replace a connection using
enhanced interactivity such as “kissing” or
“twanging”.
When this option is deselected, a node will only
twang to a connection if there is currently nothing
attached to its input port.
Pan Speed (0=None,
10=Fast)
Lets you set the speed at which the Effects Tree
pans when you drag nodes around. Values range
from 0 (no panning) to 10 (fastest).
Node Attract/Repel Spacing
(1=Small, 10=Large)
Let you set the spacing in which nodes are
pushed/pulled towards or away from each other.
Values range from 1 to 10. A larger value
attracts/repels nodes a larger distance.
Auto-expand Collapsed
Nodes
Lets you automatically expand a collapsed node
when you position the pointer over it. When you
move the pointer away from the node, it
automatically collapses again.
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Tooltip Settings
Tip: If you want a node to remain expanded
while this option is selected, deselect
Collapse from the menu when you right click
on a node.
Sets preferences for tooltips. This is helpful, for
example, when you zoom out an Effects Tree and
it’s difficult to see a node’s name. You can display
tooltips on nodes, node inputs, and connectors,
and specify the speed at which the tooltips are
displayed.
Enable Tooltips on Nodes Displays tooltips on nodes
Enable Tooltips on Node Displays tooltips on node inputs
Inputs
Enable Tooltips on
Connectors
Displays tooltips on connectors between nodes
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Desktop Reference
Option
Tooltip Delay (in
milliseconds)
Description
Lets you specify how quickly (in milliseconds)
tooltips are displayed when you position the cursor
over a node, node input, or connector.
New Nodes
Lets you set how new nodes are displayed in an
Effects Tree.
Collapse
Automatically collapses all new nodes that you
add to an Effects Tree. This feature is useful to
conserve space in your Effects Tree.
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Use Input Names
Tip: You can also select the Auto-expand
Collapsed Nodes option so that nodes will
automatically expand when you position the
cursor over them.
Lets you append the input port’s name with the
input’s name instead of just Input 1, Input 2, etc.
Node names are only displayed on nodes when
this option is selected or if you choose “Use Input
Names” from the menu when you right-click a
node.
For example, if a Blue Green keyer is connected to
Input 1 of a Composite node, then the Composite
node’s input port name will be displayed as “Input
1- Blue Green Keyer” when you select this option
from the Composite node. All input port names
will update to reflect the input’s name.
Lets you set the distance at which the Effects Tree
zooms in or out when you use the commands
x Steps (1=Small, 10=Large)
Alt+Z (zoom in) and Alt+X (zoom out). A larger
value increases the amount of the zoom.
Mouse Zoom
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User Preferences Dialog Box
Capture Property Page
The Capture property page lets you set options for controlling a deck
during the capture process.
Option
Description
Batch Capture
Rewind the tape after After all clips from a single tape are recaptured, sends a
capture
signal to the deck to rewind the tape.
Eject the tape after
capture
After all clips from a single tape are recaptured, sends a
signal to the deck to eject the tape.
No interaction when Prevents Avid DS Nitris from displaying dialog boxes
inserting new tape
that would interrupt a batch capture. If you select this
option and “Eject the tape after capture,” and you know
the order of tapes, you can batch capture without
interacting with the Avid DS Nitris application—see
Batch Capturing Without Interaction.
Display recapture
list
Stop the deck after
capture
Displays a list of clips to be recaptured, which you can
sort and select clips to be recaptured—see Capture List
Dialog Box.
After capturing from tape, puts the deck into stop
mode, rather than stand-by mode.
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Desktop Reference
Data Management Property Page
The Data Management property page lets you delete the unreferenced
media of the current project when you quit Avid DS Nitris . You can also
specify the number of frames that separate each clip that is archived to tape
as well as the padding for generated subclip names. You can also specify
your SMTP server so that you can receive email when your processing jobs
are complete.
Option
Description
Archive
Lets you set a gap between clips on your archive
tape.
Gap between Clips in
Archive (Frames)
Specifies the number of frames that separate each
clip that is archived to tape. The number must be an
integer value between 1 and 50.
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Padding for Generated
Subclip Names
Lets you specify whether you want padding or
zeroes added to subclip names.
No padding to subclip
suffix
Specifies that no padding or no zeroes will be added
to subclip names.
Padded suffix
Specifies that you want padding or zeroes added to
subclip names.
Maximum number of
zeroes to use
Specifies the number of zeroes to add to subclip
names.
Email Notification
SMTP Server
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The gap between your archived clips must be
at least one frame to make sure that the whole
archive is performed correctly and
accurately.
Lets you specify your SMTP server so that email
messages can be sent.
Lets you enter the name of your SMTP (Simple
Mail Internet Protocol) email server, which lets
Avid DS Nitris send an email message when a
processing job is complete.
User Preferences Dialog Box
Level Meters Property Page
The Level Meters property page lets you adjust the settings for the Mixer,
the Audio Input Monitor, and the Audio Output Monitor meters.
Option
Description
Peak
Specifies the level that you expect to be the maximum.
Range: 0 to -24 dB
Minimum
Specifies the minimum level displayed on the Level meter.
Range: -144.5 to -24 dB
HeadRoom
Specifies the expected dynamic range. Range: 0 to 24 dB
Alignment
Specifies the level of the visual alignment indicator.
Range: 0 to 24 dB less than the headroom level
Graduations
Specifies the space, in decibels, between the markings on the
level meter. Range: 1 to 24 dB. A value of 0 turns off the level
meter markings.
Peak Hold
Indicates whether the decibel level went above that of the
specified peak level at any time during playback
Max Hold
Indicates the maximum decibel level achieved during playback
Scale Waveform Scales the waveform display on the timeline so that the edge of
Display to Peak the display represents the peak level specified above. Any audio
above the peak level is clipped.
Level (Mixer
only)
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Scripting/Logging Property Page
The Scripting/Logging property page lets you determine the scripting
language for your scripts, the command log size, and whether a log file is
created.
Option
Description
Scripting Language
Determines the scripting language used to create and run
scripts
Command Log Size
Determines the number of command lines retained in the
History pane of the Script Editor
Lines
Specifies the maximum number of command lines
retained in the History pane of the Script Editor
Unlimited
Specifies that there is no limit to the number of command
lines retained in the History pane of the Script Editor
Log File
Lets you create a command log file for each Avid DS
Nitris session
Log Commands to Creates a command log file for each Avid DS Nitris
File
session
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File Name
Specifies the location where the log file is saved and its
name
...
Displays the Log File Path dialog box
User Preferences Dialog Box
Avid Explorer Property Page
The Avid Explorer property page lets you set options for how paths are
displayed in a bin and whether to keep the Views menu open.
Option
Description
Group files as frame
Sets the Avid DS Nitris group folder to interpret
sequential file names as frames. Deselect this option to
interpret sequential file names as fields—see “Grouping
Files as Frames or Fields” in the Help.
Expand Views folder
Keeps the Views folder open whenever you view it in
an Avid Explorer pane.The Views folder includes the
Avid Event Log, Deck Configuration, Tape Library, and
other views.
Display the full path in
the address bar
Shows the complete system path in the address bar of
any folder displayed through Avid Explorer. If this
option is not selected, only the folder name is
displayed.
Display the full path in
the title bar
Shows the complete system path in the address bar of
any folder displayed through Avid Explorer. If this
option is not selected, only the folder name is
displayed.
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Desktop Reference
Time Display Property Page
The Time Display property page lets you specify how time is displayed on
the timeline.
Option
Description
Time Display Format
Specifies which format is used to display time on
the timecode scale. The available choices vary,
depending on whether you are working on a PAL
or NTSC sequence.
Use Default Format
Uses SMPTE NTSC drop frame for NTSC
sequences, and EBU PAL (25 fps) for PAL
sequences
Use (other)
Specifies whether to use the audio sample rate
(NTSC and PAL) or SMPTE NTSC non-drop
frame (NTSC only)
Display as Frames
Displays time in terms of frames only, as opposed
to hours:minutes:seconds:frames
Time Base
Specifies which timecode scale is displayed on the
timeline
Show Time in Top Time (Container clips only) Displays the timecode scale
of the top timeline.
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Show Time in Parent
Time
(Container clips only) Displays the timecode scale
of the parent timeline.
Show Time in Sequence
Time
Displays the timecode scale of the current
sequence
Toolbars
Favorites Property Page
The Favorites property page lets you set the paths or locations where
presets for various groups are saved. You can also determine the folder in
which preset families are classified.
Option
Description
User Path
The location where your own personal presets are saved
Workgroup Path
The location where presets for the group of people with
whom you work are saved
Factory Path
Displays the default location of the original presets shipped
with Avid DS Nitris
Project Path
Displays the default location of the current project’s presets
Preset Family
Locations
Displays the folder in which preset families are located
Path
Displays the folder in which you can find the selected
preset family
Family
Displays the family name of the presets
Toolbars
The toolbars contain commonly used tools, as well as presets which are
specially customized effects, transitions, or tools. Toolbar buttons let you
activate tools or commands and apply presets. For example, you can save a
color correction preset and then apply it to other clips in a sequence. Or
you can save a titling style as a preset and use it to quickly create new
titles.
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Desktop Reference
Closing Toolbars Automatically
Automatic closing of a toolbar lets you execute commands from any
floating toolbar and then automatically closes the toolbar. This streamlines
your desktop.
n
You can only auto-close floating toolbars. The default toolbars that are
fixed on the desktop cannot be auto-closed.
To automatically close a toolbar:
1. Right-click a floating toolbar and select Auto-Close Toolbar.
The toolbar automatically closes after you execute a command.
2. Click a button on the toolbar.
The command is executed and the toolbar is automatically closed.
3. To reopen the floating toolbar, select it from View > Default Toolbar
or User Toolbars, or use its keyboard shortcut.
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Tip: For quick access to a floating toolbar, assign a keyboard shortcut to it
in the Command Mapping dialog box.
Changing the Size and Look of Toolbar Buttons
You can easily customize the size and look of toolbar buttons. To save
space on the desktop, you can display them as long, thin buttons or display
them larger for better visibility. You can also display the buttons in icon or
text form, as well as choose from eight different “themes”.
To change the size of toolbar buttons:
t
Right-click a toolbar button and select Button Size > size.
To change the look of toolbar buttons:
1. Right-click a toolbar button and select Button Mode > mode.
2. Right-click a toolbar button again and select Button Theme > theme.
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Toolbars
Toolbar Menu
The Toolbar pop-up menu lets you create new toolbars, delete and copy
toolbars, display toolbar buttons as text or icons, show or hide the toolbars’
title bars, customize existing toolbars, and more.
To access the Toolbar menu:
t
Right-click a button on a toolbar.
Option
Description
Customize Menu
Button
For menus, lets you rename the button on the toolbar and
reorder the commands and presets in the list.
For preset list buttons, lets you rename the button on the
toolbar, set the path to the preset folder, and turn on/off
the display of submenus.
Toolbar Group
Separator
Changes the name of the group
Remove Item from
Toolbar
Deletes a selected item from the toolbar
Customize Toolbars
Displays the Customize Toolbars window, which lets you
add buttons for the following to a selected toolbar:
commands, menus, property editors, floating toolbars,
transports controls (viewer area only), timecode boxes,
and more.
Show Hidden Items
Displays the space separators (in red) which are usually
invisible in the toolbar, such as the vertical and
horizontal spacing between buttons, line breaks, and
empty lines. This is very useful when customizing
toolbars.
New Toolbar
Creates a new toolbar
Copy Toolbar
Copies the current toolbar and displays it on the desktop
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Desktop Reference
Option
Description
Delete Toolbar
Deletes the selected floating toolbar.
Note: You cannot delete the fixed, default toolbars.
Display Titlebar
Displays the title bar of a selected toolbar. Does not
apply to the floating toolbars.
Auto-Close Toolbar
Automatically closes a floating toolbar after executing a
command
Button Theme
Lets you select a different style for the look of the
buttons on the toolbar. There are eight themes: 3rdFloor,
Alpha, Alumina, Carboneum, Evo (default), Evo1,
Lamellae, and Pane.
Button Mode
Lets you display buttons as icons or text
Button Size
Lets you display buttons in various sizes: thin, default, or
large
Taskbar Menu
The Taskbar pop-up menu lets you add, remove, copy, and rename layouts.
To access the Taskbar menu:
t
80
Right-click a layout button in the taskbar.
Option
Description
New Layout
Creates an empty layout. You will be prompted to
name the new layout.
Copy Layout
Copies the selected layout. You will be prompted to
name the new layout.
Rename Layout
Displays the Rename Layout dialog box, where you
can specify a new name for the selected layout
Command Mapping Dialog Box
n
Option
Description
Remove Layout
Removes the selected layout from the taskbar
Default layouts cannot be renamed or removed. These commands are not
available when you right-click on a default layout’s button, in the taskbar.
Command Mapping Dialog Box
The Command Mapping dialog box lets you associate commands with
keys or key combinations that, when pressed, provide quick access to the
commands, tools, views, or property editors you most frequently use. You
can choose one of several default command maps, or create your own.
When you select a
group, a list of
commands is displayed
in the Command list.
Templates let you save a set of
command maps. Default templates
include the Avid DS Nitris default
keys. You can also create your own
template.
If a command is
mapped to a modifier
key, the Ctrl, Shift, or Alt
options will be selected
when you select a
command from the list.
The keymap shows the keys that are
mapped to the current group, the currently
selected command, and global keys,
which exist in all contexts and views.
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Desktop Reference
To access the Command Mapping dialog box:
t
Select File > Command Mapping.
Option
Description
Template
Lists the available templates
New
Adds a new template
Remove
Removes currently selected template
View in Explorer
Lets you view the command maps in the current
template in Internet Explorer
Group
Lists the available groups which contain tools and
views
Command
Lists the commands under the currently selected group
and the key to which they are mapped
Description
Shows a description of the currently selected
command, and the key to which it is bound.
Clear
Removes the binding between the selected key and its
command
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Context
Defines a collection of tools, key mappings, and views
dedicated to a type of work
View
Lists the views with which you may be working. When
selected, this option will show if conflicts exist
between command maps within the current context.
Modifier Keys
Changes the command normally associated with a key,
if held down when the command key is pressed.
Modifier keys include Ctrl, Shift, and Alt.
Ctrl
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You cannot clear bindings in a default template.
Shows the command maps controlled by the Ctrl
modifier
Command Mapping Dialog Box
Option
Description
Shift
Shows the command maps controlled by the Shift
modifier
Alt
Shows the command maps controlled by the Alt
modifier
Using Templates for Command Maps
Templates allow you to save a set of command maps. Default templates
include the Avid DS Nitris default keys, as well as templates based on
other popular, standard keyboard templates. You can use a default template
or customize one. Default templates cannot be edited.
To use an existing template:
t
From the Template list, select a template.
A list of default and custom keyboard templates is displayed.
To create a new template:
t
Click the New button and Enter a name for the new template.
To remove a template:
t
n
Click the Remove button.
You cannot delete a default template or any of its commands.
Customizing the Command Map
To map and define your own keys, you must create a new template, since
the default shortcuts are read-only. Before assigning a key to a command,
you can check to see where that key is used in other contexts.
A context is a collection of tools, key mappings, and views dedicated to a
type of work. To know if a given key is currently unassigned, you need to
specify the context and the view you will be working in.
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Desktop Reference
For example, if you are working in the Graphics layout, which is also
considered the graphics context, and you open the animation editor. The
animation editor now takes priority. Therefore, if you press A, the Add
Keys command from the animation editor would take priority instead of
the Select tool, which also has its shortcut mapped to A in the Graphics
layout.
You can map commands using specific keys of your preference. It may be
useful for you to choose an existing template to work with and customize
the key commands you use most.
To create a new template:
1. In the Command Mapping dialog box, click the New button.
2. Enter a name for the new template.
A copy of the existing template is created and saved under another
name. You can customize it to optimize your work.
To assign a key to a command:
1. In the Command Mapping dialog box, select a template from the
Template list.
2. Select a group from the Group list.
3. Drag a command from the Command list to a key on the keyboard
displayed in the Command Mapping dialog box.
The key mapped to this command is shown in red on the on-screen keyboard,
and its associated key binding appears in the Current Binding box.
For combination keys, such as Alt+key, Ctrl+key, Shift+key, Alt+Shift+key,
drag a command to a key on the keyboard while pressing the modifier keys.
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84
If you map a command to key that is already assigned, it will take priority.
The command that was previously mapped to that key will no longer be
mapped to any key; it will be unassigned.
Command Mapping Dialog Box
Viewing the Mapped Commands
You can use command maps as a reference for keyboard shortcuts during
your work sessions, or to check whether a key has already been mapped to
another command. Viewing command maps in a browser window gives
you a printable list that you can use as an offline reference.
To view the mapped commands:
1. Select a template from the Template list.
A list of groups associated with this template is displayed.
2. From the Group list, select a group.
A list of commands in this group is displayed in the Command list, and
the keys that are mapped to the current group are shown in a tan color
on the keyboard. Commands that are global and exist in all contexts
are shown in beige.
3. From the Command list, select a command.
The key mapped to this command is displayed in red on the keyboard.
If a command is mapped to a modifier key, then the Ctrl, Shift, and/or
Alt options are selected when you choose the command in the list.
To view the mapped commands in a browser:
1. Select a template from the Template list.
2. Click the View in Explorer button.
Checking to See if a Key is Free
To know if a given key is currently unassigned, you must specify the
context and the view you will be working in. A context is a collection of
tools, key mappings, and views dedicated to a type of work.
Specifying the context and view will reveal any conflicts with commands
mapped to the same key, but in different contexts. These conflicts are
shown in dark brown.
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Desktop Reference
For example, suppose you’re working in the Graphics layout, which is also
considered the graphics context, and you open the animation editor. If you
press A, the Add Keys command from the animation editor would take
priority and you would not be able to activate the command that you would
usually get in the Graphics layout, which is the Select tool
To see if the key is used in another context:
1. Select a template from the Template list.
2. From the Context list, select the context that most closely reflects the
work you will be doing.
3. From the View list, select the view in which you will be working.
By selecting and deselecting the View option, you can see if a conflict exists
between two commands when you are working in the chosen context and view.
These conflicts are indicated by displaying a dark brown key. This information
will help you to create your own custom command map or template.
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Key color
Description
White
Keys that are free and not mapped to any command in
the current context or view
Beige
Keys that are global and exist in all contexts and views
Tan
Keys that are mapped to commands grouped under the
currently selected group
Red
Key that is currently selected in the command list
Dark Brown
Keys that are also being used currently by another view
or context that are of higher priority. The keys will
continue to work as expected within the group until you
enter a view or context with a higher priority.
Load Preset Dialog Box
Load Preset Dialog Box
The Load Preset dialog box lets you load a preset into a property page.
Option
Description
Avid Explorer Tools
Lets you navigate through and manage the contents of
your bins.
Bin Tools
Changes the way the contents of the bin are displayed.
These tools appear for all bin contents.
File Name
Lets you enter a name for your preset.
File Types
Lets you select a file type for your preset.
Save Preset Dialog Box
The Save Preset dialog box lets you save the settings of your property
editor as a preset in a desired location.
Option
Description
Avid Explorer Tools
Lets you navigate through and manage the contents of
your bins.
Bin Tools
Changes the way the contents of the bin are displayed.
These tools appear for all bin contents.
File Name
Lets you enter a name for your preset.
File Types
Lets you select a file type for your preset.
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Desktop Reference
Viewer Properties
The Viewer property editor lets you control all aspects of the viewer. You
can save presets of your viewer settings to a toolbar and use them to
quickly and easily switch between display resolutions, zoom levels, alpha
levels, and the display of guidelines. You can also perform onion-skinning
in the viewer, which allows you to blend the current frame with preceding
and/or successive frames at a certain percentage.
To open the Viewer Properties:
t
Right-click on a viewer and select Viewer Properties.
Display Property Page
The Display property page lets you change the viewer display mode.
Option
Description
Channels
Displays specified combination of image’s red, green,
and blue channels
Resolution
Specifies display resolution (full, half, or quarter) of
viewer image
Fields
Specifies which field (first, second, or both) is shown in
viewer
Alpha
Controls display of image’s alpha channel
Display
Turns display of image’s alpha channel on or off
Full, 25%, 75%
Specifies level of intensity at which image’s alpha
channel is displayed
Zoom & Pan
Controls size and position of image in viewer. You can
scale image from 1% to 10,000%.
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Only the view of the image is affected, not its
actual size.
Viewer Properties
Option
Description
Zoom Level
Specifies size of image in viewer
X and Y Pan
Specifies location of image in viewer
Reset
Resets X/Y Pan and Zoom Level to the default values
Quick/Mouse Zoom
Specifies zoom level of image
Steps
Specifies number of times to press Alt+Z to reach
Quick Zoom Level
Quick Zoom Level
Specifies size of image in viewer.
n
Tip: Press Alt+Q to switch between zooming the
viewer to the Quick Zoom Level and the previous
zoom level.
Press Alt+Z to zoom to the Quick Zoom Level.
Use Current Zoom
Auto
Sets Quick Zoom Level to value set in Zoom Level
Automatically pans and/or zooms the viewer when
using these interactive tools: graphics/paint tools,
Shape tool in the Matte and Keyer effects, DVE tool,
and Tracker tool.
Pan
Automatically pans the viewer
Zoom
Automatically zooms the viewer
Zone
Defines the area around the pointer. A small zone
means that the pointer must be close to the edge of the
viewer before an auto-pan occurs. A large zone causes
an auto-pan when the pointer is farther away from the
edge of the viewer. Default zone is 1. Values: 0 to 30.
Speed
Determines the speed at which an auto-zoom or autopan occurs. A speed of 0 turns off auto-pan and autozoom. Default speed is 4. Values: 0 to 10.
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Desktop Reference
Option
Description
Indicate if Viewer is
Scaled
Displays an exclamation mark (!) when the viewer
scales the image in a way that may introduce unwanted
artifacts in the image. This warns you when the
correspondence between source and display pixels is
not 1:1.
Square pixels
Turns display of square pixels on or off. Since the
ITU-R 601 standard specifies a higher horizontal than
vertical resolution (or a 0.9 ratio), the image appears
stretched horizontally when displayed on a computer
monitor (which has square pixels).
When selected, this command displays the image in
square pixels as it would appear on a computer monitor.
When deselected, this command displays the image in
non-square pixels as it would appear on a video
monitor.
Guides Property Page
The Guides property page lets you control the display and use of
guidelines and grids in the viewer.
90
Option
Description
Grid
Controls display of grid
Display
Turns display of grid on or off
Horizontal spacing
Specifies horizontal distance, in pixels, between points
on grid
Vertical spacing
Specifies vertical distance, in pixels, between points on
grid
X offset
Adjusts positioning of grid along X axis
Y offset
Adjusts positioning of grid along Y axis
Viewer Properties
Option
Description
Display outside
output area
Displays grid outside viewable area
Snap
Aligns graphics objects to grid
Guidelines
Controls display of guidelines
Display
Turns display of guidelines on or off
Lock
Locks guidelines in place, so you don’t accidentally
move while aligning graphics objects
Snap
Aligns graphics/paint objects to guidelines
Safe Action/Title
Displays safe action and safe title guides in viewer
Display
Turns display of safe action/title guides on or off
Aspect Ratio
Displays guide for 4x3 or 16x9 aspect ratios
Action
Displays safe action guide
Title
Displays safe titles guide
Crosshair
Turns display of crosshair on or off
Outside
Displays guides outside viewable area
Display Pixel Info
Displays location (X,Y) coordinates and RGB color
information on the pixel in the viewer that the cursor is
hovering over
Guide Color
Specifies color used to display guidelines and grid
Color swatch
Displays selected or default color. Click the color
swatch to display the Mini Color Editor.
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Desktop Reference
Image Grabber Property Page
The Image Grabber property page lets you control the comparison buffer.
Option
Description
Use Compare Buffer
Turns comparison buffer on or off
Opacity Level
Controls transparency of color. Values: 0 (completely
transparent) to 100 (completely opaque).
Grab Compare Image
Takes snapshot of image currently displayed in viewer
Reset Compare Crop
Resets crop marks to display entire image
Reset Compare Position Resets comparison image to its original position
Onion Skinning Property Page
The Onion Skinning property page lets you blend the current frame with
preceding and/or successive frames at a certain percentage. This is useful
for rotoscopy work.
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Option
Description
Use Onion Skinning
Enables onion skinning in viewer
Frames Before
Sets the frames visible before the current frame
Number of Frames
Sets opacity of first onion skin frame before current
frame
Step
Specifies frame interval between current and previous
frames
Starting Opacity
Sets opacity of first onion skin frame before current
frame
Viewer Properties
Option
Description
Opacity Fade
Sets opacity percentage in which blending decreases
between each frame
Position
Defines position of onion skin in viewer
Above
Places onion skin on top of current frame
Below
Places onion skin under current frame
Current Frame
Controls parameters for current frame
Opacity
Frames After
Defines opacity of current frame
Sets the frames visible after the current frame
Number of Frames
Sets opacity of first onion skin frame after current
frame
Step
Specifies frame interval between current frame and the
frames after
Starting Opacity
Sets opacity of first onion skin frame after current
frame
Opacity Fade
Sets opacity percentage in which blending decreases
between each frame
Position
Defines position of onion skin in viewer
Above
Places onion skin on top of current frame
Below
Places onion skin underneath current frame
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Desktop Reference
Edit Layout Dialog Box
The Edit Layout dialog box lets you specify whether changes that you
make to layouts are saved for future sessions, or used for the current
session only. If you do not save your edits, they will be lost when you close
Avid DS Nitris .
Option
Description
Layouts
Lists the Avid DS Nitris layouts.Layouts that you
edited are automatically selected. Deselect layouts if
you do not want to save the edits that you made.
Save
Saves changes to selected layouts for future sessions
Don’t Save
Applies changes to edited layouts for the current
session without saving them for future sessions
Preference Management Dialog Box
The Preference Management dialog box lets you import and export
preference sets. A preference set is a collection of Avid DS Nitris layouts,
toolbars, combo views, and/or key maps. Importing and exporting
preference sets lets you share customized controls with other users.
When you import or export a preference set, its internal hierarchy is
preserved. For example, if you export an entire layout, any toolbars
contained in the layout are automatically exported with it.
n
Preference sets with the same name are appended with a number to
differentiate them.
To access the Preference Management dialog box:
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94
Select Layout > Import/Export Preferences.
Preference Management Dialog Box
Export Preferences Property Page
The Export Preferences property page lists all of the components of the
current preference set (layouts, toolbars, combo view, and keymaps), and
lets you export some or all of them as a new preference set.
Option
Description
Preference Set to Export Lets you select specific components of the current
preference set to export as a new preference set
n
Type
Specifies whether you are exporting entire layouts,
toolbars, combo views, or keymaps
Select All
Selects all available components
Select None
Deselects all available components
Export
Displays the Export Preferences dialog box
When you export existing layout to a new preference set, its components
are automatically exported as well.
When you export a preference set, you can only include the layouts and
keymaps you customized. You can export any toolbar.
To export a preference set:
1. In the Preference Management dialog box, select the Export
Preferences tab.
2. Select the controls that you want to export. Use the Type list to switch
between the layouts, toolbars, and keymaps in the preference sets.
3. Click the Select All button to select all controls.
4. Click Export to export the selected controls.
5. Do one of the following:
t
In the File Name text box, enter the path to the folder in which you
want to save the preference sets.
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Desktop Reference
t
Click Paths to select a default or project path.
t
Use the Avid Explorer to navigate to the folder in which you want
to save the preference sets.
6. Enter a name for the preference set in the File Name text box and click
OK.
Import Preferences Property Page
The Import Preferences property page lets you select a preference set from
which import components (layouts, toolbars, combo views, and keymaps).
For example, you can import a custom layout that another user has
designed and exported.
Option
Description
Filename
Specifies the name of the preference set from which
you are importing components
Browse...
Displays the Import Preferences dialog box, where you
can select a preference set to import
Preference Set to Import Lets you select specific components from the
preference set
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96
Type
Specifies whether you are importing entire layouts,
toolbars, combo views, or keymaps
Select All
Selects all of the components in the preference set
Select None
Deselects all of the components in the preference set
Import
Imports all of the selected components from the
preference set
When you import an entire layout from an existing preference set, its
components are automatically imported as well. Some types of layouts are
unsupported and can not be imported.
Preference Management Dialog Box
When you import a preference set, you can import all of the controls in the
set, or you can select only the controls that you need.
To import a preference set:
1. In the Preference Management dialog box, select the Import
Preferences tab.
2. Do one of the following:
t
In the File Name text box, enter the name and location of the
preference sets that you want to import.
t
Click Browse.
The Import Preferences dialog box is displayed.
3. Locate the preference sets that you want to import and click OK.
4. Select the controls that you want to import. Use the Type list to switch
between the layouts, toolbars, combo views, and keymaps preference
sets.
5. Click the Select All button to select all controls.
6. Click the Import button to import the selected controls.
You will be prompted to restart Avid DS Nitris when the import is
complete.
If you imported a layout, additional layout buttons appear in the
taskbar.
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Desktop Reference
Splitter Menu
The Splitter pop-up menu lets you remove horizontal and vertical splitter
bars from a layout in Edit Layout mode. Removing splitter bars allows you
to reduce the number of available views.
To access the Splitter menu:
1. Select Layout > Edit Layout.
2. Position the pointer over a splitter bar, until you see the directional
arrow, and right-click the splitter bar.
Option
Description
Remove Splitter Bar
Removes the selected splitter bar from the layout
View Menu
The View menu lets you customize your toolbars and select views. If you
select a view that is not accessible from a view switcher in the current
layout, the view is displayed in a new window, which you can resize and
position.
To access the View menu:
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98
Select View.
Option
Description
Single-Instance Views
Displays the views that you can only once in a layout
or view
Multi-Instance Views
Displays the views that you can use more than once
in a layout or view
Default Combo Views
Displays the default combo views
View Switcher Menu
Option
Description
User Combo Views
Displays the combo views that you have created
Default Toolbars
Displays the default toolbars
User Toolbars
Displays the toolbars you created
Taskbar
Shows or hides the taskbar at the far left of the
desktop
View Switcher Menu
The View Switcher menu lets you add, remove and manipulate views from
the view switcher, manipulate and hide the view switcher, and display the
buttons as text, small, or large buttons.
To access the View Switcher menu:
1. Select Layout > Edit Layout.
2. Right-click the view switcher.
3. When you’re done, select Layout > Edit Layout again.
Option
Description
Add View
Adds a placeholder for a view
Remove View
Removes the selected view
Icon
Lets you select an icon for the view
Position: Top
Moves the view switcher to the top of the view
Position: Right
Moves the view switcher to the right of the view and
displays it vertically
Position: Bottom
Moves the view switcher to the bottom of the view
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Desktop Reference
100
Option
Description
Position: Left
Moves the view switcher to the left of the view and
displays it vertically
Alignment: Left
Left aligns the buttons in the view switcher
Alignment: Center
Centers all the buttons in the view switcher
Alignment: Right
Right aligns the buttons in the view switcher
Text Buttons
Displays text on the buttons
Small Buttons
Displays small buttons
Big Buttons
Displays large buttons
Hide
Hides the view switcher
Chapter 2
Capture and Output
Reference
This chapter contains reference information about the capture and output
processes.
AAF/AFE View
The AAF/AFE view lets you transfer information from an offline system,
such as an Avid Media Composer, to an Avid DS Nitris system for
conforming and finishing. AAF (Advanced Authoring Format) files
contain a single sequence and its associated clips. AFE (Avid File
Exchange) files contain Avid editing system bins and the objects in those
bins.
The top section of the view displays AAF/AFE settings and the bottom
section displays a list of the bins, sequences, and clips that are included in
the AAF or AFE file.
To access the AAF/AFE view:
t
In the Avid Explorer, select an AAF or AFE file.
The contents of the file are listed in a bin and AAF/AFE settings are
displayed.
Chapter 2 Capture and Output Reference
AAF/AFE
settings
Browse button
AAF/AFE list
AAF/AFE Settings
AAF/AFE settings let you create Avid DS Nitris master clips from the
AAF or AFE file. You can hide or display these settings by clicking the
Settings button, which appears at the top of the Avid Explorer window.
To show or hide the AAF/AFE settings:
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102
In the Avid Explorer tools, click the Settings button.
Use this
To
Create Associated
Clips
Create master clips from a sequence or clips that
you drag onto the timeline or onto a folder in the
Avid Explorer. Deselect this option to avoid
creating another set of master clips.
Force Creation of
External Tape
Sources
Append the AAF or AFE project name to the
master clip source names when creating master
clips. Select this option to distinguish between clips
that are created from tapes associated with the
conform and clips that are not.
AAF/AFE View
Use this
To
Timeline Drop Settings
Displays the path for the folder that will hold the
Create
associated clips master clips when you drop a clip or sequence on
in the following the timeline.
folder
Browse button
Browse within your project folder to specify a
folder to hold the new master clips.
Lock Path
Keep the same folder for any new master clips you
create. Deselect this option to create master clips in
folders that match the names of the bins.
Deselecting this option keeps the original project
structure when conforming with AFE files.
AAF/AFE List
The bottom section of the view displays the bins, sequences, and clips that
are included in the AAF or AFE file. For AFE files, the columns initially
displayed in a bin match the columns that were displayed when the AFE
file was created. You can show additional columns or hide selected
columns.
To show or hide columns:
1. In the Avid Explorer tools, click the Settings button.
2. Select the columns you want to display or hide.
n
Columns and information from AAF and AFE files are not associated with
the new Avid DS Nitris master clips.
Media icons in the AAF/AFE list are different from those used for
Avid DS Nitris media. These icons represent media from other Avid
editing systems.
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Chapter 2 Capture and Output Reference
Icon
Avid editing system object
Bin
Master clip (video and graphics)
Master clip (audio)
Subclip
Avid editing system sequence
Effect or title
Motion effect
Group clip
To change the objects displayed in the view:
1. Do one of the following:
t
Click the Fast Menu button in the bin tools.
t
Right-click the background of a bin.
The Set Bin Display dialog box opens.
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ALE (Avid Log Exchange) Import View
2. Select or deselect the objects you want to display and click OK.
n
Tip: The clips and sequences in the AAF/AFE list are references for
creating Avid DS Nitris clips and sequences. Use the Avid DS Nitris clips
that are created to edit and finish the sequence.
ALE (Avid Log Exchange) Import View
The ALE Import view lets you create master clips from a log generated in
Avid Media Composer or any other system that outputs ALE log files. The
ALE file contains source information only. No sequences or effects are
imported.
To access the ALE Import view:
t
Select View > Single-Instance Views > ALE Import.
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Chapter 2 Capture and Output Reference
ALE import tools
ALE list
ALE Import Tools
The ALE import tools let you import ALE files, log clips, and get
information on the global properties of a file.
Get information on global properties
Load ALE File
Create Logs
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ALE (Avid Log Exchange) Import View
Use this
To
Load ALE File
Import an ALE file.
Create Logs
Create a master clip in a bin for each clip described
in the ALE Import view. If no events are selected,
master clips for all events are created. If one or
more events are selected, master clips are created
only for those events.
n
Info
The following columns must be present before
you can create logs from the ALE file: Tape,
Name, Start, End, and Tracks. If any one of
these columns is not present, the Create Logs
button is not available.
Display information about the global properties,
such as the video/audio format or fps of the current
ALE file.
ALE List
The ALE list contains the detailed information that is in your ALE file.
The ALE list must contain associated values for the following columns in
order for the Create Logs button to be active.
Column
Description
Tape
Name of the tape that contains the source material
Name
Name of the clip
Start
Starting timecode of the clip
End
Ending timecode of the clip
Tracks
The video and audio tracks used by each clip
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Chapter 2 Capture and Output Reference
n
The list can include any other columns that were displayed in the original
bin.
ALE Create Logs Dialog Box
The ALE Create Logs dialog box lets you set the heads and tails for each
clip and assign the physical inputs to the audio channels on a per tape
basis.
To access the ALE Create Logs dialog box:
t
Click the Create Logs button in the ALE Import view.
Option
Description
Create Master
Clips in the
Following Folder
Indicates the path of the folder in which you want to
create logged master clips
Browse (...)
Lets you navigate the file system and select a folder
for logged master clips. Avid DS Nitris limits your
selection to a folder within the project folder.
Tapes
Sets the heads and tails for each clip
Heads
Specifies the number of extra frames to add before
the clip’s in-point
Tails
Specifies the number of extra frames to add after
the clip’s out-point
Audio Input
Configuration
108
Displays a list of tape and/or file names referenced
in the ALE and the corresponding number of inputs
Tape Name
Displays a list of tape and/or file names referenced
in the ALE
Clip Name
Displays the list of clips associated with the
selected tape
Audio Input Monitor
Option
Audio
Channels
Description
Lets you assign the physical audio inputs to specific
audio channels for the recapture process.
n
Set
Create Logs
Clips imported from an ALE file only support
audio channels in mono format.
Saves the audio input assignments for each source
tape name
Creates master clips in the browser using the
information in the ALE file
Audio Input Monitor
The Audio Input Monitor lets you monitor the incoming audio signal and
adjust the volume before you capture audio material.
n
You cannot boost the signal with the Audio Input Monitor, but you can
lower it. Use your external device to boost the incoming signal.
The ability to adjust volume depends on your Avid DS Nitris system
hardware.
To access the Audio Input Monitor:
t
n
Select View > Multi-Instance Views > Audio Input Monitor.
You can also access the Audio Input Monitor by clicking the Audio Input
button in the Capture Tool—see Capture Tool.
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Chapter 2 Capture and Output Reference
Audio Input Monitor
with mono tracks
Input strips
Fader
Peak
indicator
Level meter
Strip
name
Use this
To
Input strips
Monitor the incoming signal from the source
device. Each input strip corresponds to an audio
channel.
Fader
Adjust the incoming volume before you capture the
audio signal. Faders appear only if your hardware
supports audio volume adjustment.
Peak indicator
Monitor the level of the incoming audio signal. If a
red light appears on the indicator, you should lower
the volume on the strip.
Level meter
Monitor and adjust the level of the incoming signals
before they are captured.
Strip name
View the name of the monitor strip. Each strip
corresponds to a channel on the source device.
Audio Output Monitor
The Audio Output Monitor is a level meter display that gives you a visual
indication of the audio levels during playback and output.
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Capture Error Log Dialog Box
The number of level meters in the Audio Output Monitor reflects the
number of output channels specified by your mixer configuration. A
system configured for 7.1, for example, displays eight level meters while a
system configured for stereo displays only two.
To access the Audio Output Monitor:
t
Select View > Single-Instance Views > Audio Output Monitor.
You can adjust the parameters for display through the User Preferences
dialog box—see “Level Meters Property Page” on page 73.
Capture Error Log Dialog Box
The Capture Error Log dialog box is displayed at the end of the capture
process and lists any errors encountered during capture or recapture. You
can save this log as an .html file and view it in your browser or print it out.
Option
Description
Clip
Name of the clip that couldn’t be captured
Tape
Name of tape that contains the clip that couldn’t be
captured
In
In-point on the tape of the clip that couldn’t be
captured
Out
Out-point on the tape of the clip that couldn’t be
captured
Error
Possible cause of error
OK
Closes the dialog box
Save As
Opens a dialog box that lets you name the log and
choose the location where you want to save it
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Chapter 2 Capture and Output Reference
Capture List Dialog Box
The Capture List dialog box displays the list of clips that you’ve chosen to
recapture. You can sort the list by source or clip name, as well as activate
or deactivate each clip by double-clicking them. This determines whether
they will be recaptured or not.
You can also move clips up or down on the capture list. Clips at the top of
the list are captured first.
To display the Capture List dialog box:
1. Select File > User Preferences.
2. Click the Capture tab and select Display capture list.
3. In a bin or the timeline, select the clips that you want to recapture.
4. Right-click and select Capture.
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112
The Capture List dialog box is displayed only when the selected clips were
originally captured from tape.
Option
Description
Source Name
Displays the source name of the original source
media
Clips
Displays the clip name and the type of media
contained in the clip (V or A). Each clip is
separated by the | key.
Move Up
Moves the clip up one in the list
Move Down
Moves the clip down one in the list
Capture Settings View
Capture Settings View
The Capture Settings view lets you set parameters for capturing from file
or tape.
To access the Capture Settings view, do one of the following:
t
Select View > Multi-Instance Views > Capture Settings.
t
Click the Capture Settings button in the Avid Explorer toolbar.
Pin button
Bars
Help button
Video panel
Audio panel
Media Capture panel
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Chapter 2 Capture and Output Reference
To expand or collapse a panel:
t
Click the Video, Audio, or Media Capture bar.
Video Capture Settings
The Video panel lets you set capture parameters for the video material you
are capturing. These settings also appear in the Capture Tool.
Option
Description
Format
Displays the video format that was specified for the
sequence when it was first created
Input
Displays the type of video signal selected in the Capture
Tool.
Resolution
Specifies the resolution at which you want to capture the
video material: Full, Half, or Quarter, depending on your
hardware
Bit Depth
Specifies the bit depth at which the video media files are
captured and stored: 8-bit or 10-bit, depending on your
hardware.
Compression
Specifies the compression at which you want to create
media. You can also select Uncompressed.
Capture To
Specifies a destination storage device for the video media.
The storage devices are specified when Avid DS Nitris is
installed. The status of the storage device is displayed when
you select it. The status can be either:
Time Available
114
•
Green: Accessible in real time.
•
Red: Not accessible in real time.
Displays the available recording time on the storage device
for video media captured at the currently selected resolution
and compression
Capture Settings View
Audio Capture Settings
The Audio panel lets you set capture parameters for the audio material you
are capturing. These settings also appear in the Capture Tool.
Option
Description
Format
Displays the audio format specified as input in the Deck
Configuration View.
Priority
Displays the priority set for the audio format specified in the
Deck Configuration view.
Sample Rate
Sets the sample rate at which you want to capture the audio
material.
Bit Depth
Displays the bit depth for one audio sample. The more bits
you have, the more accurately you can represent the
amplitude at that point in time.
Capture To
Specifies a destination storage device for the audio media.
The status of the storage device is displayed when you select
it. The status can be either:
Time Available
•
Green: accessible in real time
•
Red: not accessible in real time.
Displays the time remaining on the storage device for audio
media captured at the specified sample rate
Media Capture Settings
The Media Capture panel lets you set parameters for the media you are
capturing. These parameters, except for the Capture Target, are applicable
only to media that you capture from files.
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Chapter 2 Capture and Output Reference
Option
Description
Capture Target
Lets you set the location for storing the master clips.
The location remains set in the project until you change
it. The list can include up to four user-defined folders.
Project Root
Sets the capture target as the project folder
Main Explorer
Location
Sets the capture target as a bin you selected in the Avid
Explorer
Auto Source
Sets the capture target as a folder named after the
source of the capture. For file-based capture, the folder
uses the name File Source.
Browse button (...)
Lets you navigate and select a folder as the capture
target. You cannot create master clips outside the
current project, so Avid DS Nitris checks the path to
make sure the folder is within the project folder.
Media Conversion
116
Determines how the media is converted when
importing from one format to another
Center, Keep
Original Size
Centers the media in the viewer along both the X and Y
axes. Any portion of the image falling outside the
viewer is cropped. This option does not modify the
original size of the media.
Scale to Fit
Scales the media in both the X and Y axes to fit the
sequence settings
Scale, Keep Aspect
Ratio
Scales the media in both the X and Y axes to fit the
image settings, but retains the ratio between width and
height. It takes the larger axis of the image and scales it
to fit in the viewer. Then it centers the image on the
other axis, creating black bands on both sides. An
example of this conversion mode would be the
Letterbox format, which converts film to video.
Keep Original Size
and Position
Displays the media in the viewer without modifying its
original size or position
Capture Settings View
Option
Description
Keep Alpha
Keeps the alpha channel of the captured material.
When this option is not selected, the alpha channel is
ignored.
Premultiplied Alpha
Indicates that the source file is already premultiplied,
which means that the RGB values were multiplied with
the alpha channel. When compositing this image with
another, Avid DS Nitris will not apply the
premultiplication algorithm.
Premultiplication is a mathematical process whereby
the RGB channels of an image are multiplied by their
corresponding alpha channels.
When compositing two or more images, Avid DS Nitris
automatically premultiplies your images unless they
were already set as premultiplied when you captured
them. If the premultiplication setting is incorrect,
undesirable results, such as a halo or black outline, may
appear in your image.
If you know how an image was created using an
external graphics application, you should set the
premultiplication accordingly. In general, rendered 3D
images are already premultiplied. However, other
computer-generated images may not be. For example,
in Adobe Photoshop the alpha channel is created as a
separate layer and is not premultiplied with the RGB
channels. Therefore, when you capture from a
Photoshop image into Avid DS Nitris, do not select the
Premultiplied Alpha option. Refer to “Compositing
with Premultiplied Images” in the Help.
Convert Video Frame
Rate
Converts the frame rate of the material being captured
to the sequence’s frame rate. When not selected, the
original playback speed is retained.
n
The sequence frame rate is specified when the
sequence is created, and is displayed in the Video
property page of the Sequence Preferences
dialog box (accessed from the File menu).
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Chapter 2 Capture and Output Reference
Option
Description
Auto-Dither
Adjusts the colors of the imported file to remove
banding. This banding might appear in images that
contain smooth luminance or chrominance transitions
(such as gradients) as a result of the conversion of RGB
images to the YUV color space.
Because the dithering process adds a small noise factor
to the pixels, the noise might become visible on images
containing large regions of constant color. In these
cases, deselect the Auto-Dither option.
Pixel Ratio
Standard
Lets you choose from a list of standard pixel ratios. The
options available are: NTSC (0.9), PAL (1.07), NTSC
16×9 (1.2), PAL 16×9 (1.42), Computer Graphics
(Square).
Custom
Lets you specify a non-standard file pixel ratio. Pixel
ratios below 1.0 will have pixels that are taller than they
are wide. Pixel ratios above 1.0 will have pixels that are
wider than they are tall.
Field Dominance
118
Specifies the pixel ratio of the file you want to import.
Specifies the field dominance of the file to be captured
Auto
Uses the field dominance of the source file. If the
source file’s field dominance can’t be determined, the
sequence's setting will be used.
Odd
Flags the media as interlaced or field-based, and that
the media begins with the odd field
Even
Flags the media as interlaced or field based, and that
the media begins with the even field
None
Flags the media as progressive or frame-based, which
means that the odd and even fields are the same
Capture Settings View
Option
Description
Input Levels
Specifies how Avid DS Nitris interprets the pixel
values within a frame. This interpretation depends on
whether you are working in a custom sequence or a
non-custom sequence.
In non-custom sequences, the captured material is
stored on disk in the YCbCr color space (YUV or
Video Levels). Video black is mapped to 16 and video
white is mapped to 235. This mapping allows
headroom and footroom for capturing SuperWhite or
SuperBlack (subblack) values.
In custom sequences, the captured material is stored on
disk in the RGBA color space (Graphics Levels). Video
black is mapped to 0 and video white is mapped to 255.
This mapping does not allow capturing of SuperWhite
or SuperBlack values.
Graphics
(Default) Use this option for importing most graphics
created in a graphics application. This option maps
RGB 0, 0, 0 to video black (NTSC 7.5 IRE, PAL 0 mV)
and RGB 255, 255, 255 to video white (NTSC 100
IRE, PAL 700 mV) and limits the clip to legal YCbCr
values.
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Chapter 2 Capture and Output Reference
Option
Video
Description
Use this option for importing video or graphics that
were created using ITU-R 601or ITU-R 709 video
levels, such as a lumakey graphic where SuperBlack
(subblack) levels are used for the key black. This
option maps RGB 16, 16, 16 to video black and RGB
235, 235, 235 to video white and allows the clip to use
the full YCbCr range.
n
Auto
SuperBlack and SuperWhite information (full
YCbCr range) is not preserved:
- When using Pixel/Channel Masking (Masking
PPG) on effects when 8-bit precision is used.
Effects are set to 8-bit precision when (a) setting
the precision to Auto (Options PPG) with the
Precision sequence preference set to 8-bit, and
(b) setting the Precision to 8-bit (Options PPG)
- When using some DS effects with 8-bit
precision (such as Impressionist or Painterly
effects).
- When using some third-party effects that do not
support 16-bit or 32-bit precision
Use this option to import or export at the levels used for
the sequence. Custom sequences (RGBA) use Graphics
levels. Non-custom sequences (YCbCr) use Video
levels.
Conform Error Log
The Conform Error Log dialog box displays any errors encountered or
elements that did not conform properly during the OMF to timeline
process. Items that appear in this log include:
120
•
Effects that are not reproduced in Avid DS Nitris, such as 3D DVEs
•
Effects that cannot be totally reproduced, such as matte effects
•
Errors encountered during AVX processing
Capture Tool
You can save this log as an .html file and view it in your browser or print it
out.
Option
Description
Track
Displays the track number on which the error
occurred
Clip
Displays the name of the clip on which the error
occurred
In
Displays the timecode where the effect was
supposed to start
Out
Displays the timecode where the effect was
supposed to end
Effect
Displays the name of the effect that caused the error
Detail
Describes why the error occurred
OK
Closes the dialog box
Save
Saves the error log as an .html file
Capture Tool
Use the Capture Tool to capture footage from an external device. The
Capture Tool lets you configure and control your audio and video inputs
and other settings.
n
To capture media from a file, right-click the file and select Capture. To set
capture parameters, see “Capture Settings View” on page 113.
To access the Capture Tool:
t
Select View > Single-Instance Views > Capture Tool.
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Chapter 2 Capture and Output Reference
Use this
To
Live button
Specify settings for capturing material by simply starting and
stopping the capture—see “Performing a Live Capture” in
the Help.
n
Tape button
Specify settings for capturing material between in and outpoints or for logging empty master clips—see “Logging and
Capturing Clips from Tape” in the Help.
On-the-Fly button
Specify settings for capturing material between in and outpoints that you set as the tape plays—see “Capturing Clips
On-the-Fly” in the Help.
n
122
Material captured using this option is considered live
material. Timecode may not be completely accurate
and the material cannot be recaptured.
Unlike the Live capture option, On-the-fly records
accurate timecode of the source material, letting you
recapture the material at any time.
Capture Tool
Use this
To
Timeline/Deck
Control button
Switch transport controls from the external device to the
record viewer
Log/Capture Mode Switch from capture mode to logging mode
button
Start Capture
button
Start the capture process.
Device list
Display the external device that you selected as a Deck
preset. You can select a different device from the device
list—see “Configuring the External Device” in the Help.
Eject button
Eject the tape from the external device
Heads
Specify the number of extra frames (sometimes called a
handle) to add before the clip’s in-point (Tape only)
Tails
Specify the number of extra frames to add before a clip’s outpoint (tape only)
Video button
Specify that you want to capture the video channel of the
material
Audio button
Specify that you want to capture the audio channel of the
material
Clip Name
Specify a name for the master clip you are creating.
n
If you don’t change the name each time you capture a
new clip, Avid DS Nitris uses the previous name and
appends a number to it, such as shot.001, shot.002,
and so on.
New Tape button
Add a source tape to the list of sources belonging to the
current project—see “Add New Tape Dialog Box” on
page 179. This source name is added to the Tape Library
view (see “Tape Library View” on page 177).
Tape list
Select a tape from the list of sources belonging to the current
project
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Chapter 2 Capture and Output Reference
Use this
To
Target button
Navigate and select a folder as the capture target. You cannot
create master clips outside the current project, so
Avid DS Nitris checks the path to make sure the folder is
within the project folder.
Target list
Set the location for storing the master clips. The location
remains set in the project until you change it. The list can
include up to four user-defined folders
Main Explorer
Location
Sets the capture target as a bin you selected in the Avid
Explorer
Project Root
Sets the capture target as the project folder
Auto Source
Set the capture target as a folder named after the source of
the capture. For tape-based capture, the folder uses the tape
name.
Transport controls
Control the external device or the sequence in the record
viewer—see “Transport Controls (Capture and Output
Tools)” on page 126.
Video/Audio
Capture Settings
button
Open the video and audio capture settings. These settings are
also available in the Capture Settings view—see “Video
Capture Settings” on page 114 and “Audio Capture Settings”
on page 115.
Audio Input
Monitor
Open the Audio Input Monitor and other audio settings—see
“Insert Tape Dialog Box” on page 149.
Audio Format
Determine the way audio master clips are created.
Mono: Creates mono audio master clips, which creates a
separate stream for each audio input
Stereo: Creates stereo audio master clips, which contain a
combination of both the Left and Right audio inputs
Quad: Creates quad audio master clips, which contain a
combination of the following types of inputs—Left, Right,
Left Rear, and Right Rear
124
Capture Tool
Use this
To
LCRS: Creates LCRS audio master clips, which contain a
combination of the following types of inputs—Left, Center,
Right, and Surround
4 Stream: Creates a series of generic 4 stream audio master
clips
5.1: Creates 5.1 audio master clips, which contain a
combination of the following types of inputs—Left, Right,
Center, LFE, Left Surround, and Right Surround
6.1: Creates 6.1 audio master clips, which contain a
combination of the following types of inputs—Left, Right,
Center, LFE, Surround Center, Left Surround, and Right
Surround
7.1: Creates 7.1 audio master clips, which contain a
combination of the following types of inputs—Left, Right,
Center, LFE, Left Surround, Right Surround, Left Center,
and Right Center
8 Stream: Creates generic 8 Stream audio master clips
Channel
Assign the incoming audio tracks to the desired audio
Routing Matrix channels of the clip. Click in the appropriate boxes to make
the assignments. The number of available channels depends
on the installed audio hardware and the selected audio
format.
Deck Configuration Open the audio parameters settings for the deck. These
Audio Parameters settings are also available in the Deck Configuration
button
view—see “Deck Configuration View” on page 131.
Video Input
Parameters button
Display controls to adjust video input parameters—see
“Video Input Parameters” on page 127.
Expand/Collapse
button
Expand or collapse the window
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Chapter 2 Capture and Output Reference
Transport Controls (Capture and Output Tools)
Transport controls let you remotely control an external device, such as a
tape deck. You can also click a button to use these transports to control a
sequence in the Record view. The following views include transport
controls:
•
Capture Tool
•
Output Tool
You can modify these transport controls—see “Using the Toolbars” in the
Help.
Frame backward Frame forward
Fast forward Rewind
Shuttle slider
Play/Stop
Mark In
Mark Out
Timecode boxes
External device status area
In
126
Out
Duration
Position indicator
Use this
To
Shuttle Slider
Jog or shuttle forward or backward on the tape
Fast Forward
Fast forward through the tape
Rewind
Rewind the tape quickly
Frame Forward
Move ahead one frame
Frame Backward
Move back one frame
Mark In
Mark an in-point.
Play/Stop
Play or stop the tape
Mark Out
Mark an out-point
Capture Tool
Use this
To
Timecode boxes
Display timecode for in-point, out-point, duration, and
position indicator. You can enter a timecode and
display the specified frame in a viewer. For more
information, see “Timecode Boxes (Timeline Status
Bar)” on page 319.
External Device Status
Area
Give you feedback on the external device connected to
your system
Servo Lock
Specifies if the deck has reached servo lock state.
When Servo Lock is enabled, it turns green, otherwise
it is grayed out. If this option does not turn green
during capture or output pre-roll, you must increase the
pre-roll time.
Remote
Specifies if the external device is in Remote mode.
When Remote is enabled, it turns green, otherwise it is
grayed out.
Media Inserted
Specifies if a tape is inserted in the external device.
When a tape is inserted, it turns green, otherwise it is
grayed out.
Rec Lock
Specifies if the Record Inhibit tab is enabled on the
tape. When Record Inhibit is enabled, it turns red,
otherwise it is grayed out.
VTR Reference
Specifies if the external device receives proper video
reference or external sync. When the external device is
receiving proper video reference or sync, it turns green,
otherwise it is red.
Video Input Parameters
The Video Input Parameters panel lets you adjust the video signal for
capture from an external device.
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Chapter 2 Capture and Output Reference
Option
Description
Input Selection
Lets you select the input source you want to use for
capturing video media. For systems with an Avid Nitris
DNA, you can select and adjust video parameters for
the following input signals:
•
Component
•
Composite
•
S-Video
n
128
HD sequences require Serial Digital input. You
cannot adjust video input for Serial Digital.
Input Type
Sets the Avid Nitris DNA to capture material at the
best quality, depending on the type of input device:
consumer or professional.
Save Parameters
Saves the current settings. You can save one set of
parameters for each video signal.
Factory Settings
Resets the sliders to the default settings for your
hardware
Capture File Formats
Option
Description
Black level
A measurement of luminance in the video signal that is
referenced to the blackest point in the visible picture
Gain (Composite and
S-Video)
A measurement of luma (Y) in the video signal that is
the whitest point in the visible picture. For this release,
the slider adjusts both the white and black levels
simultaneously (contrast). Use this slider along with
the Black level slider to set the correct white and black
levels.
Y Gain (Component)
R-Y Gain (Component) The red (R) minus luminance (Y) color-difference
signal of an analog component system in the SMPTE
NTSC video standard
B-Y Gain (Component) The blue (B) minus luminance (Y) color-difference
signal of an analog component system in the SMPTE
NTSC video standard
Hue (Composite and
S-Video)
An attribution of color perception based on varying
proportions of red, green, and blue in the video signal.
Also known as color phase.
Saturation (Composite
and S-Video)
A measurement of chrominance or the intensity of
color in the video signal
Capture File Formats
Avid DS Nitris supports a wide range of video and audio file formats. You
can capture from any of the following formats:
File format
File extension
Supports
alpha
Supports
compression
AIFF (uncompressed)
.aif, .aiff, .aifc
-
-
Alias
.als
No
No
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Chapter 2 Capture and Output Reference
130
File format
File extension
Supports
alpha
Supports
compression
AVI
.avi
Yes
Yes
Avid DS Nitris (Video
Hal)
.gen,.omf
No
No
Bitmap (Windows)
.bmp
No
Yes
Chyron
.chr
Yes
No
DPX
.dpx
Yes
No
CINEON
.fido
No
Yes
JFIF (JPEG)
.jpeg, .jfif, .jpg
No
No
MAP
.map
No
No
Meridien™
.gen,.omf
No
No
Microsoft Windows
Paintbrush
.pcx
No
No
PGM
.pgm
No
Yes
Photoshop
.psd
Yes
Yes
PICT
.pict, .pct
Yes
Yes
PNG
.png
Yes
Yes
PPM
.ppm
No
Yes
QuickTime
.mov, .qt
Yes
Yes
SGI
.sgi, .rgb
Yes
Yes
SOFTIMAGE® (3D &
XSI®)
.pic
Yes
Yes
TIFF
.tif,.tiff
Yes
Yes
Targa
.tga
Yes
Yes
Deck Configuration View
File format
File extension
Supports
alpha
Supports
compression
WAV
.wav
-
-
Wavefront
.rla
Yes
No
YUV
.yuv
No
Yes
YUV 16
.yuv16
No
Yes
Deck Configuration View
The Deck Configuration view lets you configure the external device. You
can select the manufacturer and model number of your device, where it is
connected to your system, and other settings that affect both capture and
output. You can save any configuration as a preset, so that you can easily
switch from one device to another.
To access the Deck Configuration view:
t
In an Avid Explorer panel, open the Views folder and click Deck
Configuration.
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Chapter 2 Capture and Output Reference
Deck presets
Bin tools
Deck settings
Option
Description
Deck presets
Each preset represents an external device
configuration. You can select a preset from the list.
Bin Tools
Lets you change the view—see “Bin Tools” in the
Help.
Click the Fast Menu button to add, import, or export
deck presets.
132
Manufacturer
Lets you select the manufacturer of the external
device that you want to configure
Model
Lets you select the model number of the external
device that you want to configure
Deck Configuration View
Option
Description
COM Port
Lets you select either COM 1 or COM 2, depending
on which COM port connects the deck to your
system
TC Mode
Determines the mode at which your device reads
timecode.
Auto: Allows the deck or external device to
decide which timecode to read.
LTC: Sets the external device to read only LTC
(Longitudinal Timecode). Your device may
experience some difficulty reading LTC when
the tape is not moving or moving very slowly.
VITC: Sets the external device to read only
VITC (Vertical Interval Timecode). Unlike LTC,
your device can read VITC when the tape is
moving very slowly or not moving at all.
Audio devices do not read VITC timecode. If
you are capturing from a DAT machine, select
the LTC option.
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Chapter 2 Capture and Output Reference
Option
Description
Edit Mode
Determines how the external device records the
material to tape.
Assemble: Erases and then records over all tape
tracks, including the video, audio, timecode, and
control tracks. The tape can be blank, but must
have at least a few seconds of stripe at the
beginning.
Assemble edit results in several garbage frames
appearing at the end of your edit. To work
around this inherent limitation, you can set an
in-point at the beginning of your sequence, an
out-point ten frames after the end of your
sequence, and then output from in to out. This
records a series of black frames between the end
of your sequence and the garbage frames.
Auto: Add material on a certain track to the
existing material on the tape. Auto mode
requires that the control track be present on the
tape. If there is no control track, you will not be
able to record. This option is commonly referred
to as insert editing. This option also deactivates
all channels during capture to prevent any
interruption of signal between the deck and your
system.
Edit Field
Determines the field on which the edit begins.
Deck Setting: Uses the Edit Field setting that is
set on the external device.
F1: Begins the edit on field 1.
F2: Begins the edit on field 2.
F1/F2: Begins the edit by recording the same
information on fields 1 and 2.
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Deck Configuration View
Option
Description
Preroll
Specifies the amount of time the external device
plays before it starts to capture or output. You
should have enough pre-roll to ensure that the
external device is playing at a fast enough speed to
reach servo lock state.
Play Bias
Specifies the number of frames needed to
compensate for any signal delay from the external
device to your system when capturing material.
Play bias can be either positive or negative.
The Play Bias option offsets the timeline whereas
the Record Bias option offsets the VCR timecode
entry point.
Record Bias
Specifies the number of frames needed to
compensate for any signal delay from your system
to the external device when outputting material.
Record bias can be either positive or negative.
External Device
Status Area
Displays certain features that give you feedback on
the external device connected to your system
Remote
Specifies if the external device is in Remote mode.
When Remote is enabled, it turns green, otherwise
it is grayed out.
Media Inserted Specifies if a tape is inserted in the external device.
When a tape is inserted, it turns green, otherwise it
is grayed out.
Record Inhibit
Specifies if the Record Inhibit tab is enabled on the
tape. When Record Inhibit is enabled, it turns red,
otherwise it is grayed out.
VTR Reference Specifies if the external device receives proper
video reference or external sync. When the external
device is receiving proper video reference or sync,
it turns green, otherwise it is red.
Save
Saves the settings as a deck preset.
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Chapter 2 Capture and Output Reference
Option
Description
Input
Lets you select an audio input format that is
supported by the installed audio hardware. The
selected format may change the number of channels
available in the track patching matrix in the Deck
Configuration view, the number of channels in the
Output Tool, as well as the number of output
channels on the mixer in the top timeline.
Priority
Sets the audio input format priority for audio
hardware supporting several formats.
This controls which input plug is checked first for
the presence of an audio device.
Audio Physical
Patching
Reflects how the physical audio inputs coming from
the external device are connected to your
workstation. The assignment can be changed by
clicking in the appropriate square in the matrix.
Deck Menu
To access the Deck menu:
t
136
In the top section of the Deck Configuration view, right-click a preset.
Option
Description
Activate
Sets the selected deck as the device for capture. A green
check mark indicates the active deck.
Save
Saves the options as a deck preset
Rename
Lets you rename the deck preset
Delete
Deletes the deck preset
EDL View
The Fast menu in the Deck Configuration view includes the following
options:
Option
Description
Add New Deck Preset
Adds a deck preset icon to the top section of the view
Import Deck Presets
Opens a dialog box that lets you select a folder of
presets to import
Export Deck Presets
Opens a dialog box that lets you select a folder of
presets to export
EDL View
The EDL view is where you import and conform an EDL (Edit Decision
List) that was created on another system, or where you create an EDL from
a Avid DS Nitris sequence.
To access the EDL view:
•
Select View > Single-Instance Views > EDL.
EDL name
EDL tools
Record in-point
Edit
list
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Chapter 2 Capture and Output Reference
Use this
To
EDL name
Select an EDL that has been imported into the EDL
view.
EDL Tools
Load or save the EDL.
Record in-point (First
Edit at)
Set the record in timecode for the first edit.
Edit List
View the list of events in an EDL.
EDL Tools
The EDL tools let you import or export an EDL, load an EDL onto the
timeline, log EDL events as clips in a bin, print an EDL, and manipulate
the view of the EDL list.
Move Up
Conform EDL
Hide Comments
Load EDL
Print EDL
Save EDL
Timeline to EDL
138
Clear EDL
Use this
To
Load EDL
Import an EDL file into the EDL view.
Save EDL
Save the EDL to file.
Move Up
Move up a level in the EDL list. A master EDL and
submaster EDLs are created when you have
container clips in your sequence. You can quickly
move between the sub and master EDLs using the
Move Up button.
Timeline to EDL
Create an EDL from clips on the timeline.
EDL View
Use this
To
Conform EDL
Create a master clip in a bin and/or create clips and
transitions on the timeline for each selected EDL
event. When you click the Conform button, the
EDL conform dialog box is displayed.
Hide comments
Show or hide any comments in the EDL list.
EDL to
Background
Create clips on the background tracks for each EDL
event.
Clear EDL
Clear the current EDL.
Print EDL
Prints the current EDL. The Print EDL dialog box is
displayed, which lets you determine the number of
copies to print and the page orientation.
Edit List
The EDL list contains information about each edit in your sequence. Each
entry in the list is referred to as an event.
Event icons
Events
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Chapter 2 Capture and Output Reference
Use this
To
Events
Correspond to clips in the sequence.
Event icons
Identify the type of edit being performed.
Blue squares are comments in the original EDL.
These can be hidden from view using the Hide
comments tool.
Green circles are edits.
Red diamonds are specific Avid DS Nitris
comments.
Ev # (event
number)
Identify the number of this event.
Source
Tape name for this event.
Mode
Identify the channels.
V refers to video and A to audio. There can be up to
eight audio channels.
Tran
Specify the transition type that has been applied.
C is a cut, D a dissolve, W a wipe, KI a key in, KO a
key out, and KB a key background.
140
Dur
Indicate the length of the transition in frames. This
only applies to dissolves and keys. For other
transitions, it remains blank.
Source In
View the timecode at the in-point of the source
media.
Source Out
View the timecode at the out-point of the source
media.
Record In
View the timecode at the in-point of the recording.
Record Out
View the timecode at the out-point of the recording.
EDL View
Ripple Sources Dialog Box
The Ripple Sources dialog box lets you specify an amount by which the
source timecodes of your EDL are shifted positively or negatively.
To access the Ripple Source dialog box:
t
Right-click the main area of the EDL view and select Ripple Sources.
Use this
To
Enter the amount to ripple
source timecodes by
Enter a timecode, either positive or negative, by
which the EDL’s source timecodes will be shifted.
Ripple Effect
Apply the ripple effect to a particular source.
Apply to All Edits from Select a source from the list for which to apply the
This Source
ripple.
EDL Conform Dialog Box
The EDL Conform dialog box lets you determine which procedures are
performed during a conform. You can also set the heads and tails of each
clip and view the names of the source tapes used by the clips in the EDL.
To access the EDL Conform dialog box:
t
In the EDL view, click the Conform EDL button.
Option
Description
Create Master
Clips in the
Following Folder
Indicates the folder in which you want to create
logged master clips
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Chapter 2 Capture and Output Reference
Option
Description
Browse (...)
Lets you navigate the file system and select a folder
for logged master clips. Avid DS Nitris limits your
selection to a folder within the project folder.
Settings
Lets you specify whether logs are created, clips are
loaded onto the timeline, or both
Create Logs
Creates logs of the clips from information contained
in the EDL
Create Timeline Creates clips, and transitions on the timeline from
Clips
information contained in the EDL
Create Both
Creates logs of the clips in the Avid Explorer and
loads them with transitions on the timeline
Overwrite
Overwrites the clips on the timeline at the same
Overlay Tracks timecodes. If this option is not selected, the clips
will be edited to a new video track.
Tapes
Sets the heads and tails for each clip
Heads
Specifies the number of extra frames to add before
the clip’s in-point
Tails
Specifies the number of extra frames to add after
the clip’s out-point
Audio Input
Configuration
Tape Name
Displays a list of tape and/or file names referenced
in the EDL and the corresponding number of inputs
Displays a list of tape and/or file names referenced
in the EDL
Event Number Displays the event numbers that contain media from
the selected tape
Audio
Channels
Lets you assign the physical audio inputs to specific
audio channels for the recapture process.
Clips imported from an EDL only support audio
channels in mono format.
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EDL View
Option
Set
Conform
Description
Saves the audio input assignments for each source
tape name
Loads the EDL onto the timeline and/or creates
corresponding master clips in the Avid Explorer
EDL Properties Dialog Box
The EDL Properties dialog box lets you specify options for the currently
displayed EDL.
To access the EDL Properties dialog box:
t
Right-click the main area of the EDL view and select Properties.
Use this
To
EDL Title
Display the name of the current EDL.
Heal Unnecessary
Edits
Create a single master clip for any source events
that contain connected timecodes. When you
deselect this option, separate clips are created.
Show Record
Timecodes As
Drop Frame
Display the EDL in drop-frame timecode.
n
The option is inactive when a PAL list is
displayed.
Print EDL Dialog Box
The Print EDL dialog box displays the current default printer and lets you
specify the number of copies to print as well as the orientation of the page.
To access the Print EDL dialog box:
t
In the EDL view, click the Print button.
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Chapter 2 Capture and Output Reference
Option
Description
Current default
printer
Displays the name of your default printer
Number of copies
Specifies how many copies of the EDL will be
printed
Page Orientation
Specifies the page orientation of the printed EDL
Portrait
Prints the EDL in portrait format
Landscape
Prints the EDL in landscape format
Print
Prints the EDL on the default printer
EDL Menu
The EDL menu lets you choose a mode by which to sort the edit list. It also
opens dialog boxes that let you change the source name, ripple sources,
and modify properties of the edit list.
To access the EDL menu:
•
144
Right-click the main area of the EDL view.
Command
Description
Sort
Displays a list of modes by which you can sort your
edit list
A-mode
Sorts the contents of the edit list by record in
timecode
B-mode
Sorts the contents of the edit list by source in
timecode
C-mode
Sorts the contents of the edit list by source name
and then by source in timecode
Explorer Recapture Options Dialog Box
Command
Description
Event Number Sorts the contents of the edit list by event number
Source Name
Sorts the contents of the edit list by source name
Mode
Sorts the contents of the edit list by mode
Transition
Sorts the contents of the edit list by transition type
Duration
Sorts the contents of the edit list by duration
Source In
Sorts the contents of the edit list by source in
timecode
Source Out
Sorts the contents of the edit list by source out
timecode
Record In
Sorts the contents of the edit list by record in
timecode
Record Out
Sorts the contents of the edit list by record out
timecode
Do Not Sort
Sorts the contents based on the original order of
events in the edit list. This is the default setting.
Change Source
Name
Opens the Change Source name dialog box
Ripple Sources
Opens the Ripple Sources dialog box
Properties
Opens the EDL property editor
Explorer Recapture Options Dialog Box
The Explorer Recapture Options dialog box lets you set options before you
recapture media from Avid Explorer.
To access the Explorer Recapture Options dialog box:
t
In a bin, right-click a clip and select Recapture with Options.
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Chapter 2 Capture and Output Reference
Use this
To
Video
Recapture video footage
Audio
Recapture audio footage
Track strip
Click each audio track that you want to capture
Time Delay
Recapture master clips from the Avid Explorer at a
specific date and time. This is useful when you’re using
3D rendered image files in your sequence. You can
render the 3D image files at night, set the Time Delay
option to begin capture after the render is complete and
have everything captured by the next morning.
The Time Delay option is only valid for media that was
originally imported from file.
The date/time properties on your computer determine
when to start and end your recapture. Make sure your
clock is accurate, so that the recapture occurs at the
desired time.
Export Preferences Dialog Box
The Export Preferences dialog box lets you save a customized preference
set in a desired location.
146
Use this
To
Avid Explorer
Tools
Navigate through and manage the contents of your
bins.
Bin Tools
Change the way the contents of the bin are
displayed. These tools appear for all bin contents.
File Name
Enter a name for your preset.
File Types
Choose a file type for your preset.
Export to File Dialog Box
Export to File Dialog Box
The Export to File dialog box lets you export an image of the frame on
which the position indicator is currently located.
Use this
To
Avid Explorer
Tools
Navigate through and manage the contents of your
bins.
Bin Tools
Change the way the contents of the bin are
displayed. These tools appear for all bin contents.
File Name
Enter a name for your preset.
File Types
Choose a file type for your preset.
External Controller Setup View
The External Controller Setup view lets you assign the controls on the
external controller to any of the hundreds of commands available in
Avid DS Nitris.
To access the External Controller Setup view
t
Select View > Single-Instance Views > External Controller Setup.
Use this
To
External
Controllers
Select the controller that’s connected to
your system. Several controllers can be connected
at the same time.
Controls
View all the controls on the selected controller.
When a control is mapped to a command in
Avid DS Nitris, the command name is displayed
next to the control in the Controls list.
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Chapter 2 Capture and Output Reference
148
Use this
To
Command
Categories
View categories of commands in Avid DS Nitris.
Commands belonging to the selected category
appear in the Commands list. You can view all
commands at the same time.
Commands
View all the Avid DS Nitris commands in the
selected category. When a command is mapped to
an external control, the control name is displayed
next to the command in the Commands list.
Display
Specify whether to show the assigned items,
unassigned items, or both.
Assigned
Filter the Controls or Commands list to display
items that are currently assigned.
Unassigned
Filter the Controls or Commands list to display
items that are currently unassigned.
Load
To load a command mapping preset.
Save
To save a command mapping preset.
Apply
Apply the current mapping. This button is available
only when you change the command mapping.
Import Preferences Dialog Box
Import Preferences Dialog Box
The Import Preferences dialog box lets you import a preference set from a
desired location.
Use this
To
Avid Explorer
Tools
Navigate through and manage the contents of your
bins.
Bin Tools
Change the way the contents of the bin are
displayed. These tools appear for all bin contents.
File Name
Enter a name for your preset.
File Types
Choose a file type for your preset.
Insert Tape Dialog Box
The Insert Tape dialog box displays the names of the tapes required for
batch capture, the master clip to be recaptured, and the settings of the
external device. You can also control the external device from within this
dialog box. It is displayed during the batch capture process—see “Batch
Capturing” in the Help.
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Chapter 2 Capture and Output Reference
150
Insert Tape Dialog Box
Option
Description
Please insert tape
Displays the name of the tape to be inserted into the
deck so the clip can be recaptured
Next tape
Displays the name of the next tape to be inserted
into the deck
Current tape
Displays the name of the tape currently inserted in
the deck.
Master clip name
Displays the name of the clip to be recaptured
Current Device
Displays the current device preset selected
Device
Displays the current External Device configuration
preset. Select a different device from the Device
list—see “Configuring the External Device” in the
Help.
Manufacturer
Displays the manufacturer name of the external
device that you want to input from or output to
Model
Displays the model number of the external device
that you want to input from or output to
Pre-roll
Specifies the number of frames the external device
plays before it starts to capture or output. You
should have enough pre-roll to ensure that the
external device is playing at a fast enough speed to
reach servo lock state.
Input
Displays the audio input format that is supported by
the installed audio hardware. The selected format
may change the number of channels available in the
track patching matrix in the Audio Input panel of
the Capture Tool, the number of channels in the
Output Tool, as well as the number of output
channels on the mixer in the top timeline.
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Chapter 2 Capture and Output Reference
Option
Priority
Description
Displays the audio format priority for audio
hardware supporting several formats. This controls
which input plug is checked first for the presence of
an audio device.
Check Machine Re-establishes the remote connection and verifies
button
that the external device is communicating properly
with your workstation. Every time you change the
external device configuration, you should use the
Check Machine command.
Repeated
timecodes
Notifies the system that the tape from which you are
capturing material may contain timecode that
appears more than once. This option disables the
streaming capture functionality, and allows you to
manually cue the tape to the appropriate timecode.
Audio Physical Reflects how the physical audio inputs coming from
Patching
the external device are connected to your
workstation
Transport control
Lets you remote-control external devices so you can
cue it up before recapturing
Shuttle Slider
Lets you jog or shuttle forward or backward on the
tape
Frame Forward Lets you move ahead one frame
152
Frame
Backward
Lets you move back one frame
Rewind
Lets you rewind the tape quickly
Play/Stop
Lets you play or stop the tape
Fast Forward
Lets you fast forward through the tape
In
Displays the point at which the recapture begins
Out
Displays the point at which the recapture stops
MediaManager Setup View
Option
Description
Servo Lock
Specifies if the deck has reached servo lock state.
When Servo Lock is enabled, it turns green,
otherwise it is greyed out. If this option does not
turn green during capture or output pre-roll, you
must increase the pre-roll time.
Remote
Specifies if the external device is in Remote mode.
When Remote is enabled, it turns green, otherwise
it is dimmed.
Media Inserted
Specifies if a tape is inserted in the external device.
When a tape is inserted, it turns green, otherwise it
is dimmed.
Record Inhibit
Specifies if the Record Inhibit tab is enabled on the
tape. When Record Inhibit is enabled, it turns red,
otherwise it is dimmed.
VTR Reference
Specifies if the external device receives proper
video reference or external sync. When the external
device is receiving proper video reference or sync,
it turns green, otherwise it is red.
Eject Tape button
Ejects the tape from the external device
Skip Tape button
Ignores the clips on the current tape and moves on
to the next tape in the capture list
MediaManager Setup View
The MediaManager Setup view lets you select a MediaManager host or
add a new host.
To access the MediaManager Setup view:
t
In an Avid Explorer panel, open the Views folder and click
MediaManager.
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Chapter 2 Capture and Output Reference
To access a MediaManager host:
t
Double-click the icon for your MediaManager host.
To add a MediaManager host:
t
Double-click the Add MediaManager icon and supply the host name.
MediaManager View
The MediaManager view displays the main window of the MediaManager
application, from which you can conform a sequence checked in to
MediaManager. For more information on using MediaManager, see the
MediaManager Help.
MediaManager Settings
MediaManager settings let you create Avid DS Nitris master clips from a
sequence stored on a MediaManager server.
To show or hide the MediaManager settings:
•
In the Avid Explorer tools, click the Settings button.
Option
Description
Create Associated
Clips
Creates Avid DS Nitris master clips from a
sequence or clips that you drag onto the timeline or
onto a folder in the Avid Explorer. Deselect this
option to avoid creating another set of master clips.
Force Creation of
External Tape
Sources
Appends the MediaManager project name to the
master clip source names when creating master
clips. Select this option to distinguish between clips
that are created from tapes associated with the
conform and clips that are not.
Timeline Drop Settings
154
OMF (Open Media Framework) View
Option
Description
Displays the folder that will hold the Avid DS Nitris
Create
associated clips master clips when you drop a clip or sequence on
in the following the timeline
folder
Browse button
Browses your project folder to specify a folder to
hold the new master clips
Lock Path
Keeps the same folder for any new master clips you
create. Deselect this option to create master clips in
folders that match the names of the bins.
Deselecting this option keeps the original project
structure when conforming with AFE files.
OMF (Open Media Framework) View
The OMF view lets you import OMF compositions created on other
systems or export parts of your sequence in the OMF file format.
To access the OMF view:
•
Select View >Single-Instance Views > OMF.
OMF tools
Record in-point
OMF tree
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Chapter 2 Capture and Output Reference
Use this
To
OMF tools
Load, save, and create OMF files.
Record in-point
(First edit at)
Set the timecode where the first edit will be
recorded.
OMF tree
View the contents of the OMF file.
OMF Tools
The OMF tools let you import or export an OMF file, load an OMF file on
the timeline, create an OMF file from clips on the timeline, log OMF clips
in a bin, and get information about the OMF file.
n
When you export an OMF file, only the audio portion of your timeline gets
exported. Any video information is ignored. The OMF file that you export,
will always include both the compositional information as well as the
audio media.
Conform OMF
Load OMF
Get Information
Timeline to OMF
156
Use this
To
Load OMF
Import an OMF file into the OMF view.
Conform OMF
Create clips, transitions, and supported effects on
the timeline and/or create logs in a bin from
information contained in the OMF file.
OMF (Open Media Framework) View
Use this
To
Timeline to OMF
Create and save an OMF file from the audio clips
on the timeline. The OMF file will contain both the
compositional information as well as the audio
media. The contents of the OMF file are also
displayed in the OMF view.
n
Info
The Timeline to OMF command only exports
the audio tracks. All video tracks are ignored.
Display extra information about the selected object
in the OMF list.
OMF Conform Dialog Box
The OMF Conform dialog box lets you determine which procedures are
performed during a conform, as well as the type of audio media that will be
imported with the OMF file.
To access the OMF Conform dialog box:
t
Click the Conform OMF button in the OMF view.
Option
Description
Create Master
Clips in the
Following Folder
Indicates the path of the folder in which you want to
create logged master clips
Browse (...)
Lets you navigate the file system and select a folder
for logged master clips. Avid DS Nitris limits your
selection to a folder within the project folder.
Settings
Lets you specify whether logs are created, the clips
are loaded onto the timeline, or both
Create Logs
Creates logs of the clips in the Avid Explorer from
information contained in the OMF file
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Chapter 2 Capture and Output Reference
Option
Description
Create Timeline Creates clips, transitions, and supported effects on
Clips
the timeline from information contained in the
OMF file
Create Both
Creates logs of the clips in the Avid Explorer and
loads them with transitions and supported effects on
the timeline
Force Creation of
External Tape
Sources
Appends the OMF project name to the master clip
source names when creating master clips. Select
this option to distinguish between clips that are
created from tapes associated with the conform and
clips that are not.
Tapes
Sets the heads and tails to each of the imported clips
Heads
Specifies the number of extra frames to add before
the clip’s in-point
Tails
Specifies the number of extra frames to add after
the clip’s out-point
Import Audio Data Activates the import of audio into the current
project
Audio
158
Determines which type of media is imported with
the OMF file and where it will be stored
Import All
Media
Imports all the media contained in the OMF file into
the current project
Only Import
Used Media
Imports only the media used in the actual sequence
into the current project
Sample Rate
Sets the sample rate at which you want to import the
audio material. The higher the sampling rate, the
more accurate the conversion will be.
Bit Depth
Sets the bit depth of the audio media to be imported.
The bit depth determines the number of bits used to
represent an audio sample. The higher the bit depth,
the more precise the conversion will be.
OMF (Open Media Framework) View
Option
Capture To
Audio Input
Configuration
Description
Specifies a destination storage device for the audio
media
Displays a list of tape and/or file names referenced
in the OMF file and the corresponding number of
inputs
Tape Name
Displays a list of tape and/or file names referenced
in the OMF file
Clip Name
Displays the list of clips associated with the
selected tape
Audio
Channels
Lets you re-assign the physical audio inputs to
specific audio channels for the recapture process.
Audio channels loaded from an OMF are only
available in mono format.
Set
Saves the audio input assignments for each source
tape name
Export Composition Dialog Box
The Export Composition dialog box lets you specify whether or not audio
media will be embedded in the OMF file. You can also specify the amount
of the clip to export using clip handles.
n
You can only consolidate and add heads and tails to audio media that
originates from tape. If you conform master clips that originate from file,
you have two options: you can either disregard the media or export the
clip’s entire media to the OMF file.
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Chapter 2 Capture and Output Reference
Use this
To
Audio Tracks
Specify whether to include audio media in the OMF
file you are exporting
Embed Media
Include the audio media in the OMF file you are
exporting
Consolidate
Specify how much of the audio clip to include in the
OMF file you are exporting. If not selected, the
entire span of the master clip is included in the
OMF file. If selected, only the material used on the
timeline plus any additional frames specified in the
heads and tails section will be included in the OMF
file.
Bit Depth
Specify the bit depth for the audio:16 or 24.
Handles Length
Specify the number of frames before and after the
clip you want to include in the OMF file
Heads
Specify the number of frames before the material
used on the timeline to be included in the OMF file
Tails
Specify the number of frames after the material
used on the timeline to be included in the OMF file
Output Tool
The Output Tool lets you specify settings for outputting your media. You
need to specify the material to be output and its destination, as well as
options such as the output resolution and compression factor.
To access the Output Tool:
t
160
Select View > Single-Instance Views > Output.
Output Tool
Use this
To
Source
Specify which portion of the timeline to output
Entire Sequence
Output the entire sequence
Sequence In/Out
Output the portion of the sequence defined by the in
and out-points on the timeline
In
Display the in-point of the portion of the sequence
you want to output. Corresponds to the in-point on
the timeline
Out
Displays the out-point of the portion of the
sequence you want to output. Corresponds to the
out-point on the timeline
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Chapter 2 Capture and Output Reference
Use this
To
Output button
When outputting to file, opens the Export to File
dialog box, where you can specify the file format,
name, and location for the output file.
When outputting to tape, starts controlling the
external device and outputs the sequence.
162
To Tape button
Display options for outputting the sequence to
tape—see “Output Tool (Output to Tape)” on
page 163.
To File button
Display options for outputting the sequence to one
or more graphics files, or a single movie file—see
“Output Tool (Output to File)” on page 165.
To Reference button
Display options for outputting the sequence to an
AVI or QuickTime reference movie—see “Output
Tool (Output to Reference)” on page 166.
To ProEncode button
Display options for outputting the sequence to a
ProEncode system for further encoding—see
“Output Tool (Output to ProEncode)” on page 167.
Output Tool
Output Tool (Output to Tape)
Use these options to output a sequence to tape.
To access the Output to Tape controls:
1. Select View > Single-Instance Views > Output.
2. Click the Output to Tape button.
Use this
To
Device
Display the current External Device configuration
preset. Select a different device from the device
list—see “Configuring the External Device” in the
Help.
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Chapter 2 Capture and Output Reference
Use this
To
Eject button
Eject the tape from the external device
Check button
Re-establish the remote connection and verify that the
external device is communicating properly with your
workstation. Before outputting, you should click the
Check command.
V
Output the video channel to the external device or file.
A1 to A8
Output the selected audio channel(s) to the external
device. Click the buttons corresponding to the channels
you want to output. The number of available audio
channels depends on the installed audio hardware and
the configuration to which it is set.
Audio Propagation
Delay
Correct any frame delays in audio when you output
your sequence to tape. Enter the number of frames that
will compensate for this delay.
n
164
This problem usually occurs when there are a
number of audio devices connected between your
Avid DS Nitris workstation and the output deck.
Timeline/Deck Control
button
Switch transport controls from the external device to
the record viewer
Transport controls
Control the external device or the sequence in the
record viewer—see “Transport Controls (Capture and
Output Tools)” on page 126.
Video Output button
Select the output signal. For systems with an Avid
Nitris DNA, you can adjust the video parameters—see
“Video Output Parameters” on page 168.
Downconvert button
Select options for downconverting HD sequences to SD
or converting HD sequences to another HD
format—see “Converted Output Formats” on page 170.
Sync Source button
For systems with an Avid Nitris DNA, select the type of
sync signal for output: Tri-Level for HD and NTSC
Black Burst or PAL Black Burst for SD—see
“Converted Output Formats” on page 170..
Output Tool
Output Tool (Output to File)
Use these options to output a sequence to one or more graphics files or a
single movie file.
To access the Output to File controls:
1. Select View > Single-Instance Views > Output.
2. Click the Output to File button.
Use this
To
File Type
Specify the format of the file to be output
Generic
Select a standard resolution for the output
Custom
Specify a custom output resolution
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Chapter 2 Capture and Output Reference
Use this
To
Codec
Specify the codec to be used in the compression of the
output file. You can choose any codec that is already
installed on your machine. This option is available only
when generating files in formats that support
compression.
Output Levels
Specify how Avid DS Nitris interprets the pixel values
within a frame.
Graphics: Use this option when exporting media to be
used in print or on the web.
Video: Use this option when exporting video that must
not be clipped, such as a portion of a video clip that is
being sent to a video paint system for cleanup or repair.
Auto: Use this option to export at the levels used for the
sequence.
For more information, see “Media Capture Settings” on
page 115.
Preserve Alpha
Preserve the alpha channel in the generated file. This
option can be used only when generating files in
formats that support the alpha channel.
Output Tool (Output to Reference)
Use these options to output a sequence as an AVI or QuickTime reference
movie.
To access the Output to Reference controls:
1. Select View > Single-Instance Views > Output.
2. Click the Output to Reference button.
166
Use this
To
Reference Movie Type
Select an AVI or QuickTime reference movie
Output Tool
Use this
To
Include Scaling Matrix
(QuickTime only) Add QuickTime scaling to the
exported file. This scaling sets a display size for the
movie that can result in problems. By default, this
option is not selected.
QuickTime uses 720x540 pixels for a 4:3 sequence and
720x405 pixels for a 16:9 sequence. Although these
sizes display the correct aspect ratio on the computer
monitor, they result in a vertical scaling that can create
artifacts and interlace problems. To discard the scaling
matrix and avoid these problems, do not select this
option.
Output Tool (Output to ProEncode)
Use these options to output a reference movie and open the Avid
ProEncode client.
To access the Output to ProEncode controls:
1. Select View > Single-Instance Views > Output.
2. Click the Output to ProEncode button.
Use this
To
To ProEncode
Output a reference movie and open the ProEncode
client. ProEncode automatically refers to the source
reference movie.
ProEncode, along with encoding software, can be used
to quickly create different versions of your output for
distribution via the web, DVD, or CD-ROM.
n
The ProEncode client must be installed on your
workstation for this option to be available.
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Chapter 2 Capture and Output Reference
Video Output Parameters
The Video Output Parameters panel lets you calibrate the video signal for
output to an external device (Avid Nitris DNA only).
To access the Video Output Parameters panel:
1. Select View > Single-Instance Views > Output.
2. Click the Video Output button.
Option
Description
Video list
Lets you select the video signal you want to calibrate:
Component, Composite, HD Analog, or S-Video.
n
Color Space
168
You cannot adjust output parameters for Serial Digital.
Lets you select the color space for the output signal: YUV
(video) or RGB (graphics)
Output Tool
Option
Description
Save Parameters
Saves the settings. as the default. You can save one set of
parameters for each type of signal.
Factory Settings
Resets the sliders to all the default settings for your hardware
Subpixel H Phase
The horizontal blanking interval used to synchronize the
timing of two or more video signals below the pixel level
H Phase
The horizontal blanking interval used to synchronize the
timing of two or more video signals
Black level
A measurement of luminance in the video signal that is
referenced to the blackest point in the visible picture
Gain (Composite and S-Video)
A measurement of luma (Y) in the video signal that is the
whitest point in the visible picture
Y Gain (Component)
Y PbPr Overall Gain
(HD Analog YUV)
GBR Overall Gain
(HD Analog RGB)
R-Y Gain (Component)
Pr Gain (HD Analog YUV)
R Gain (HD Analog RGB)
The red (R) minus luminance (Y) color-difference signal of an
analog component system in the SMPTE NTSC video
standard
B-Y Gain (Component)
Pb Gain (HD Analog YUV)
B Gain (HD Analog RGB)
The blue (B) minus luminance (Y) color-difference signal of
an analog component system in the SMPTE NTSC video
standard
Hue (Composite and S-Video)
An attribution of color perception based on varying
proportions of red, green, and blue in the video signal. Also
known as color phase.
Saturation (Composite and S-Video)
A measurement of chrominance or the intensity of color in the
video signal
SC Phase
A control for timing two or more signals based on the color
burst portion of a composite or S-Video signal
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Chapter 2 Capture and Output Reference
Converted Output Formats
The Output Tool lets you convert or downconvert a high-definition (HD)
sequence in one of several HD or standard-definition (SD) formats,
depending on the original format of your sequence (Avid Nitris DNA
only).
Sequence Format
Converted HD
Output
Converted SD
Output
Compatible Sync
Source
1080PsF 23.97
1080i 59.94
NTSC Letterbox
NTSC Center Crop
NTSC Anamorphic
Tri-Level
1080PsF 24
1080i 60
—
Tri-Level
1080PsF 25
—
PAL Letterbox
PAL Center Crop
PAL Anamorphic
Tri-Level
PAL Black Burst
1080PsF 29.97
—
NTSC Letterbox
NTSC Center Crop
NTSC Anamorphic
Tri-Level
NTSC Black Burst
1080PsF 30
—
—
Tri-Level
PAL Letterbox
PAL Center Crop
PAL Anamorphic
Tri-Level
PAL Black Burst
1080i 50
170
1080i 59.94
720p 59.94
NTSC Letterbox
NTSC Center Crop
NTSC Anamorphic
Tri-Level
NTSC Black Burst
1080i 60
720p 60
—
Tri-Level
720p 59.94
1080i 59.94
NTSC Letterbox
NTSC Center Crop
NTSC Anamorphic
Tri-Level
NTSC Black Burst
720p 60
1080i 60
—
Tri-Level
Output Tool
Output File Formats
Avid DS Nitris supports a wide range of video and audio file formats.
When you export your media as a sequence or as single frames, choose
from any of the following formats:
File format
File extension
Supports
alpha
Supports
compression
AIFF (uncompressed)
.aif, .aiff, .aifc
-
-
Alias
.als
No
No
AVI
.avi
Yes
Yes
Avid DS Nitris (Video
Hal)
.gen,.omf
No
No
Bitmap (Windows)
.bmp
No
Yes
Chyron
.chr
Yes
No
Cineon
.fido
No
Yes
DPX
.dpx
Yes
No
JFIF (JPEG)
.jpg, .jpeg, .jfif
No
No
MAP
.map
No
No
Microsoft Windows
Paintbrush
.pcx
No
No
PGM
.pgm
No
Yes
Photoshop
.psd
Yes
Yes
PICT
.pct, .pict
Yes
Yes
PNG
.png
Yes
Yes
PPM
.ppm
No
Yes
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Chapter 2 Capture and Output Reference
172
File format
File extension
Supports
alpha
Supports
compression
QuickTime
.mov, .qt
Yes
Yes
SGI
.sgi, .rgb
Yes
Yes
Softimage PIC
.pic
Yes
Yes
Targa
.tga
Yes
Yes
TIFF
.tif,.tiff
Yes
Yes
WAV
.wav
-
-
Wavefront
.rla
Yes
No
Windows Media
.wmv, .wma, .asf
No
Yes
YUV
.yuv
No
No
YUV16
.yuv16
No
No
Output Tool
DPX Export Dialog Box
If you select Cineon or DPX as a file format for output, a dialog box lets
you select the look-up table (LUT) and adjust color values.
Use this
To
Pixel format
View the pixel format of the sequence which you are
outputting.
Compression
View the compression of the sequence which you are
outputting.
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Chapter 2 Capture and Output Reference
Use this
To
LUT Type
Select the look-up table (LUT) for the export:
•
Linear: maintains the log values and lets you adjust
the white point and black point
•
Linear>Log: converts the values from linear to log
and lets you adjust all RGB controls
•
From File: Lets you select a file, which determines
which controls you can adjust. A dialog box gives
you the option of inverting the LUT.
RGB Controls
Adjust the color values of the output. You can type new
values or use the sliders. By default, RGB values are
equivalent. If you want to adjust an individual R, G, or
B value, clear the box in the Lock column for the
parameter.
Reset
Return to the default RGB values.
Script Editor View
The Script Editor view is a text editor within Avid DS Nitris that lets you
create, modify, run, and manage scripts for both batch capturing and
processing. You can easily write a script to automate a commonly
performed series of tasks that can save you a great deal of time.
n
The scripting capability in Avid DS Nitris is limited to capturing media
from file.
To access the Script Editor:
•
174
Select View > Single-Instance Views > Script Editor.
Script Editor View
Script
editing
menu
History pane
Splitter bar
Editing pane
Use this
To
Script editing
menus
Load, save, edit, cut, copy, or paste scripts.
History pane
View the most recently used commands in the
current Avid DS Nitris session. You cannot edit the
text in the History pane, but you can use it as a
source for pasting into the Editing pane. By default,
the History pane keeps the last 200 commands, but
you can change this number.
Editing pane
Create scripts by typing directly into the pane or
cut, copy, or paste information from other sources.
This pane retains its contents even after you quit
Avid DS Nitris. To clear it click the New button.
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Chapter 2 Capture and Output Reference
Script Editor Menus
The Script Editor menus let you create, edit, save, cut, copy, and paste
commands or entire scripts.
Use this
To
File
Display commands that let you open and save
scripts.
New
Open a new script file.
Open
Open an existing script file.
Save
Save a script to file.
Save As
Save a script file with a different name.
Edit
Display commands that let you modify the text in
the script editor.
Undo
Undo your last action.
Cut
Remove a portion of text.
Copy
Copy a portion of text.
Paste
Paste a portion of text that was copied from
elsewhere.
Clear Selection Remove text that has been selected in the Editing
pane of the Script Editor.
176
Select All
Select all text.
Clear History
Log
Remove all text from the History pane of the Script
Editor.
Clear Script
Editor
Remove all text from the Editing pane of the Script
Editor.
Run
Start the script.
Tape Library View
Use this
To
New
Clear the Script Editor.
Save
Save the contents of the Editing pane to a file.
Cut
Remove a portion of text with the intent of moving
it elsewhere.
Copy
Copy a portion of text with the intent of placing it
elsewhere.
Paste
Paste a portion of text that was copied from
elsewhere.
Run
Start the script.
Tape Library View
The Tape Library view lets you name, view, and manage the tapes you
have used in your current project, or all projects on your system. From the
Tape Library view, you can perform basic operations, such as deleting,
purging, and recapturing clips based on their source.
To access the Tape Library view:
t
In an Avid Explorer panel, open the Views folder and click Tape
Library.
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Chapter 2 Capture and Output Reference
Tapes list
Bin tools
Master clips list
Bin tools
The Tape Library view consists of two sections. The top part lists the tapes
in your project, and the bottom part lists the master clips that are associated
with the selected tape.
Tapes Menu
The Tapes menu lets you perform operations on the selected tape.
To access the Tapes menu:
t
178
Right-click a tape icon.
Tape Library View
Option
Description
Delete
Deletes the selected tape and all associated master clips
Rename
Lets you renames the selected tape. A tape name must
be less than 32 characters and cannot contain the
following characters: / \ : ; * ? “ < > | . ^ #
Change Comment
Lets you change the comment for the selected tape
Purge
Purges media for all master clips associated with the
tape
Recapture
Recaptures all master clips associated with the tape
Manual Reel
A check mark indicates that the tape has been marked
for user interaction. You can set the Manual Reel option
when you create a new tape, or select the option in the
context menu. This option disables the streaming
capture functionality, and allows you to manually cue
the tape to the appropriate timecode. Use this option for
tapes that contain repeated timecode, timecode breaks,
or other problems.
Add New Tape Dialog Box
The Add New Tape dialog box lets you add a new tape to the project.
To access the Add New Tape dialog box, do one of the following:
t
In the Bin Tools section of the Tapes list, click the Fast Menu
button or right-click in the background and select Add New Tape.
t
In the Capture Tool, click the New Tape button.
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Chapter 2 Capture and Output Reference
Option
Description
Name
The name associated with the tape. A tape name must
be less than 32 characters and cannot contain the
following characters: / \ : ; * ? “ < > | . ^ #.
Comment
A comment about the tape. This comment is displayed
in a bin when you select the Details or Script view.
Manual Reel
Marks the tape for user interaction. This option disables
the streaming capture functionality, and allows you to
manually cue the tape to the appropriate timecode. Use
this option for tapes that contain repeated timecode,
timecode breaks, or other problems. You can also select
or deselect this option by right-clicking a tape icon.
you flag a tape with the Manual Reel option
c Ifduring
capture, don’t deactivate it during
recapture because it may cause recapture
errors.
Timeline Recapture Dialog Box
The Timeline Recapture dialog box lets you set options before you
recapture clips from the timeline.
To access the Timeline Recapture dialog box:
t
180
In the editing toolbar, right-click the MediaIO button and select one of
the following:
-
Recapture Entire Timeline with Options
-
Recapture Selection with Options
Timeline Recapture Dialog Box
Option
Description
Heads
Specifies the number of frames before the clips to be
recaptured
Tails
Specifies the number of frames after the clips to be
recaptured
Recapture Only Active
Material
Recapture material marked as active
Time Delay
Recapture master clips from the timeline at a specific
date and time . This is useful when you’re using 3D
rendered image files in your sequence. You can render
the 3D image files at night, set the Time Delay option
to begin capture after the render is complete and have
everything captured by the next morning.
The Time Delay option is only valid for media that was
originally imported from file.
The date/time properties on your computer determine
when to start and end your recapture. Make sure your
clock is accurate, so that the recapture occurs at the
desired time.
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Chapter 2 Capture and Output Reference
182
Chapter 3
Editing Reference
This chapter includes reference information on features you use during
editing.
Chapter 3 Editing Reference
Animation Controls (Global in Status Bar)
The global animation controls in the status bar let you turn automatic
keyframing on or off, set a keyframe manually, and move between
keyframes.
Previous Key
Next Key
Last Key
First Key
Animation Key
184
Autokey
Use this
To
|< (First Key)
Move the position indicator to the first keyframe
< (Previous Key)
Move the position indicator to the previous keyframe
Animation Key
Set a keyframe at the current frame with the current property
settings. Right-click this button to display the Animation
Key menu—see “Animation Key Menu” on page 185.
Autokey
Automatically create a keyframe when you make any
adjustments to properties. That is, you do not have to click
the Animation Key button each time you change a property.
> (Next Key)
Move the position indicator to the next keyframe
>| (Last Key)
Move the position indicator to the last keyframe
Animation Key Menu
Animation Key Menu
The Animation Key menu lets you create and edit animation, as well as
change the curve interpolation type.
To access the Animation Key menu, do one of the following:
t
Right-click the Animation Key button in any property editor.
t
Right-click the global animation key in the status bar.
Use this
To
Animation Editor
Display the animation editor—see “Understanding the
Animation Editor” on page 346 in the Avid DS Nitris
Editing Guide.
Remove Key
Remove every available keyframe at the current
position indicator location
Remove Animation
Remove all function curves in this animation
First Key
Move the position indicator to the first keyframe in the
function curve
Last Key
Move to the position indicator to the last keyframe in
the function curve
Cut Key
Cut every available keyframe at the current position
indicator location
Copy Key
Copy every available keyframe at the current position
indicator location
Paste Key
Paste every available keyframe, at the current position
indicator location, to their respective curve
n
You can only paste to effects of the same type as
the effects copied to the Clipboard.
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Chapter 3 Editing Reference
Use this
To
Autokey
Turn Autokey mode on or off. Automatically creates
keyframes as you adjust the settings.
n
186
Tip: You can activate this mode by clicking the
Autokey button at the bottom-right of the
desktop.
Constant
Change the function curve to a constant curve. This
option has no effect on a motion path.
Linear
Change the function curve to a linear curve
Bézier
Change the function curve to a Bézier curve
Animation Tools
Animation Tools
The animation tools are represented as buttons in the animation editor.
These tools let you move within the animation graph, and adjust the values
or time of the keyframes of a function curve.
To access the animation editor, do one of the following:
Keyframe timecode
t
Select View > Single-Instance Views > Animation Editor.
t
In a property editor with animation controls, right-click the Animation
Key button and select Animation Editor.
Keyframe value
Prev Key/Next Key
Zoom Pan
Select Select Region Edit Key
Add Key Remove Key
Frame Ripple
Preferences
Interpolations Snap
Swap
Use this
To
Select (mode)
Select a function curve or keyframe.
Select Region
Select a region of the function curve. You can use this
tool when cutting, copying, or pasting function
curves.
Edit Key (mode)
Enter Edit Key mode. When you are in this mode:
left-click to select/translate keys, middle-click to add
keys, and right-click to delete keys.
Zoom (mode)
Zoom in or out on the animation graph.
Pan (mode)
Pan the animation graph.
Frame
Frame the currently selected curves.
Add Key (mode)
Add a keyframe when you click the animation graph.
Remove Key (mode)
Delete any keyframes that you select.
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Chapter 3 Editing Reference
188
Use this
To
Ripple
When selected before pasting, moves key points to
accommodate the inserted region.
Linear Interpolation
Repeat the value of a key point. The movement is
characterized by sudden changes at keyframes and
static positions between keyframes.
Spline Interpolation
Spline interpolation accelerates and decelerates to
ease into and out of each keyframe, resulting in a
smooth transition. The degree of acceleration and
deceleration before and after the keyframe is
determined by the tangent handles of the key point.
Snap
Snap the ghost curve to the currently selected function
curve.
Swap
Swap the currently selected function curve with the
ghost function curve.
Preferences
Display the Animation Editor Preferences property
editor to adjust the graph properties.
Prev Key/Next Key
Navigate between keyframes in an animation
Keyframe timecode
Display the timecode of the selected keyframe. You
can type a new timecode to edit the selected keyframe.
If more than one keyframe is selected, no timecode is
displayed.
Keyframe value
Display the value of the selected keyframe. You can
type a new value to edit the selected keyframe(s). If
more than one keyframe is selected, no value is
displayed.
Animation Editor Menus
Animation Editor Menus
The animation editor menus let you create, edit, and view a selected
property’s function curve. For information about the animation editor, see
“Understanding the Animation Editor” on page 346 of the Avid DS Nitris
Editing Guide.
File Menu (Animation Editor)
The File menu lets you open, save, and import your files, and access the
Curve Editor to set your user preferences.
Use this
To
Open
Open a saved function curve
Save
Save a function curve as a raw function curve file
Import (.fraw)
Import raw function curves
Export (.fraw)
Export raw function curves
Preferences
Display the Animation Editor Preferences property page
Edit Menu (Animation Editor)
The Edit menu lets you cut, paste, and select keys, regions, or curves, and
access advanced snapping and swapping features.
Use this
To
Cut
Cut a selected region, function curve, or key
Copy
Copy a selected region, function curve, or key
Paste
Paste a selected region, function curve, or key
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Chapter 3 Editing Reference
Use this
To
Select Tool
Select a function curve or keyframe
Select Region Tool
Select a 2D region of the animation graph. The
curve region edit controls let you move, stretch, or
compress all the key points within the selected
region as a group.
Select All Keys
Select all keys on all selected function curves
Select All Curves
Select all function curves currently displayed in the
animation graph
Deselect All
Deselect all keys and function curves
Snapshot
Snap the ghost curve to the currently selected
function curve
Swap w. Snapshot
Swap the selected function curve with the ghost
function curve
Snap to Grid
Snap the key point to the nearest X (time) and Y
(value) coordinates
Snap to Frame
Snap the key point to the nearest frame on the
animation graph’s X axis
Move Keys to Nearest
Frame
Move existing floating keys to the nearest frame
Discrete Time
Keep keys on keyframes when stretching or scaling
function curves
Interactive Update
Simultaneously update the image in the viewer as
you modify the function curve of the animation,
when selected.
n
190
When deselected, each modification must be
completed before the image is updated.
Animation Editor Menus
View Menu (Animation Editor)
The View menu lets you view function curves, show/hide features such as
key coordinates and labels, and display snapshot curves. You can also pan
and zoom, frame, and display rulers and grid lines.
Use this
To
All Parameters
View the function curves for all the animatable
parameters in the animation graph
Animated Parameters
Display only the animated parameters in the
animation graph
Marked Parameters
Display only the marked parameters in the
animation graph
Clear All Curves
Hide all function curves in the animation graph
until you select one of the other available view
commands
Keys on Unselected Curves
Show or hides key points on all unselected
function curves in the animation graph
Slopes on Unselected Keys
Show or hides the slopes of all unselected keys
on a selected function curve
Curve and Axis Labels
Show or hides the labels on selected function
curves and the X and Y axes in the animation
graph
Keys Coordinates
Show or hides the time and value of a selected
key
Snapshot Curve
Display a temporary copy of the original
function curve. When moving a key point or part
of a curve, it creates a “snapshot” of the curve’s
original location.
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Chapter 3 Editing Reference
192
Use this
To
Normalized in Y (Value)
View and compare multiple curves that have a
broad range of values. Normalizing the Y axis
lets you view the full range of each function
curve.
Pan Tool
Pan the animation graph
Zoom Tool
Zoom in or out on the animation graph
Automatic Pan
Pan the animation graph during playback
Automatic Framing
Automatically set the animation graph view
around the selected object (timeline or
elsewhere). If this option is not selected, then the
animation graph retains the last zoom setting.
Frame Selection
Frame the selected curves and keys by resetting
the pan and zoom, so they fit in the animation
graph within a specified range
Frame Region
Frame the selected region by resetting the pan
and zoom, so they fit in the animation graph
within a specified range
Frame Selected Curves
Frame the selected curves by resetting the pan
and zoom, so they fit in the animation graph
within a specified range
Frame All Curves
Frame all the function curves by resetting the
pan and zoom, so they fit in the animation graph
within a specified range
Frame to Timeline
Frame all the function curves by resetting the
graph view to the time span specified in the
timeline controls
Grid
Turn the grid lines on or off
Rulers
Turn the X and Y axis rulers on or off
Locators
Display any locators, in the selected time span,
on the timeline ruler
Animation Editor Menus
Use this
To
Meta Curve Region
Mark the timecode of keyframes, or groups of
keyframes, with a red locator below the
animation graph
Display for selected
curves only
Display the Meta Curve region for selected
curves only
Display for all curves
Display the Meta Curve region for all curves
Hide Meta Curve region
Hide the Meta Curve region
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Chapter 3 Editing Reference
Keys Menu (Animation Editor)
The Keys menu lets you control the selected keyframe’s key and tangent
handles. You can lock key values, break and unify tangent handles, as well
as control the slope of inserted keys.
194
Use this
To
Lock in X (Time)
Lock the key’s location in time on the X axis,
allowing movement only in the Y direction
Lock in Y (Value)
Lock the key’s value on the Y axis, allowing
movement only in the X direction
Lock Slope Orientation
Lock the angle of the tangent handles of the
selected key points
Lock Slope Length
Keep the length of the tangent handles constant
Unlock All Keys
Unlock all keys that were previously locked in X
and Y values
Unlock All Slopes
Unlock all tangent handles that were previously
locked in slope length and angle
Unify Slope
Lock the slope together at 180 degrees to each other
Break Slope
Freely move slopes as you drag each tangent handle
individually
Automatic Slope
Automatically set the slope of an inserted key to the
slopes of neighboring keys
Zero Slope
Constrain key points to a slope of zero. The tangent
handles remain horizontal, so that only the slope
tension can be modified
Animation Editor Menus
Use this
To
Plateau Slope
Set the slope of an inserted key automatically to
zero if the next key has the same value, or if that
key is a local minima or maxima. This is useful to
hold key point values to prevent the automatic
interpolation from going above or below your
keyframed values.
Remove Animation
Remove all keyframes from selected curves
Remove Key
Remove selected keyframes
Insert Key at Current Time Insert key points for all selected curves at a given
frame
Delete Key at Current
Time
Delete key points for all selected curves at a given
frame
Edit Key Tool
Turn Edit Key mode on or off. In this mode, leftclick to select/translate keys, middle-click to add
keys, and right-click to delete keys.
Add Key Tool
Turn Add Key mode on or off
Remove Key Tool
Turn Remove Key mode on or off
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Chapter 3 Editing Reference
Curves Menu (Animation Editor)
The Curves menu lets you control the appearance of function curves. You
can choose the interpolation and extrapolation modes, introduce cycles, as
well as adjust the function curve using resampling, smoothing, and fitting
tools.
196
Use this
To
Constant
Interpolation
Repeat the value of a keyframe until the next one. The
movement is characterized by sudden changes and then
static positions.
Linear
Interpolation
Connect key points by straight line segments. The
movements are characterized by sudden changes at each key
point.
Spline
Interpolation
Result in a smooth transition. Uses a curved spline
interpolation. The interpolation accelerates and decelerates
to ease into and out of each keyframe.
Constant
Extrapolation
Extrapolate the value of the Y axis from the first frame to
the first keyframe and the value of the Y axis from the last
keyframe to the last frame. This results in a hold of motion
before and after the movement.
Gradient
Extrapolation
Extrapolate the increment calculated between the first and
second key points and applies it from the first frame to the
first keyframe
Cycle
Repeat the function curve shape/pattern defined by key
points. This results in the cycling of that pattern from the
first keyframe to the last.
Relative Cycle
Repeat the selected function curve such that the next cycle
begins at the same value as the end of the previous cycle
Freeze Cycle
Freeze the selected function curve to a selected time span
Flip X (Time)
Flip the values of the X (Time) coordinates about the
average value of the time of all selected keyframes
Animation Editor Preferences
Use this
To
Flip Y (Value)
Flip the values of the Y (Value) coordinates about the
average value of the Value of all selected keyframes
Resample
Generate a key every ‘x’ time step units. The time step units
can be set in the Curve Editor property editor (Curve
Processing property page).
Smooth
Remove sharp spikes and jags from a function curve by
averaging between keyframes.
You can adjust the filter size in the Curve Editor property
editor (Curve Processing property page). A high filter size
will give you a much straighter curve.
Fit
Remove redundant keyframing while preserving the
original shape of a function curve
Make Rotations
Continuous
Recalculate the rotation values to avoid flipping. Creates a
continuous rotation function curve.
Animation Editor Preferences
The Animation Editor Preferences property editor lets you set your
viewing and displaying preferences, as well as curve processing and
pasting options.
To access the Animation Editor Preferences property editor:
t
From the Animation Editor, select File > Preferences.
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Chapter 3 Editing Reference
Editor Property Page (Animation Editor Preferences)
The Editor property page lets you control various settings of the animation
editor, including how the grid is displayed and how the viewer is updated.
Option
Description
Grids
Controls the properties of the grid displayed in the
animation editor. You can set the properties for the
horizontal and vertical directions separately.
Display Grid
Turns grid display on or off
Snap Grid
Turns grid snapping on or off
Rulers
Controls properties of the ruler displayed along axes of
animation editor. You can set the properties for the
horizontal and vertical directions separately.
X or Y value
Sets spacing between ruler increments
Show
Turns ruler display on or off
View
Lets you control display of keys, key coordinates,
slopes, snapshot curves, and playback cursor.
Keys Coordinates
Shows or hides time and value of a selected key
Slopes on
Unselected Keys
Shows or hides key points on all unselected keys on a
selected curve
Keys on Unselected Turns between showing and hiding key points on all
Curves
unselected curves in the animation graph
Snapshot Curve
Displays temporary copy of original function curve.
When moving a key point or part of a curve, a
“snapshot” of the curve’s original location is taken.
Pan & Zoom tool by Activates the Pan & Zoom tool whenever you select the
default
Pan tools from the animation editor
198
Animation Editor Preferences
Option
Description
Interactive Update
Simultaneously updates the image in the viewer as you
drag the function curve of the animation. When
deselected, you must drag and release before the image
updates.
Active
Turns Interactive Update on or off
Speed
Sets the Interactive Update speed. The higher the speed,
the faster the update will occur as you drag the function
curve.
Keys Property Page (Animation Editor Preferences)
The Key property page contains information about selected keyframes in
the animation editor and contains controls for setting the interpolation
between keyframes.
Option
Description
Frame
Specifies frame number of selected key. To move a
keyframe, type a frame number and press Enter.
Value
Specifies value of selected key. To change it, type a new
value and press Enter.
Previous Key
Lets you go to previous keyframe
Next Key
Lets you go to next keyframe
Interpolation
Controls how values are calculated for frames between
keyframes on the selected function curves
Constant
Repeats value of a keyframe until the next one. The
movement is characterized by sudden changes and then
static positions.
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Chapter 3 Editing Reference
Option
Description
Linear
Uses linear interpolation by connecting keyframes with
straight line segments. The movement is characterized by
sudden changes at each key point.
Spline
Results in a smooth transition. Uses a curved spline
interpolation. The interpolation accelerates and decelerates
to ease into and out of each keyframe.
Slope
Controls how slope moves
Unified
Keeps slopes together as they move, keeping a constant
angle between them
Broken
Lets slopes move freely as you drag each handle
individually
Curve Processing (Animation Editor Preferences)
The Curve Processing property page lets you define the smoothing, fitting,
and resampling of function curves.
200
Option
Description
Smoothing
Removes sharp spikes and jags from a function curve
by averaging between keyframes
Average Filter
Smooths function curve by applying a moving
average. The weights of the average are uniformly
distributed.
Filter Size
Defines number of keys that comprise the filter. The
higher the filter size, the straighter the curve.
Gaussian Filter
Smooths function curve by applying a moving
average. The weights of the average are distributed as
a bell curve. This usually gives better results than the
average filter.
Animation Editor Preferences
Option
Variance
Description
Controls degree of smoothing. The higher the
variance, the smoother the function curve.
n
Fitting
Tolerance
Resampling
This option applies to the Gaussian filter only.
Removes redundant keyframes while preserving
original shape of a function curve
Adjusts closeness of fit. Smaller values will maintain
the original shape of the curve better by using more
keys, while larger values will use less keys and will
result in a fit that deviates from the original curve.
Generates a key every “x” time step units on the
function curve
Time Step
Specifies inverval at which keys are inserted when
using resampling option
Keep Existing Keys
Keeps keys that existed before adding keys through
resampling option
Smooth
Removes sharp spikes and jags from a function curve
by averaging between keyframes
Fit
Removes redundant keyframing while preserving
original shape of a function curve
Resample
Generates key every “x” time step units. The time
step units can be set in the Curve Editor property
editor (Curve Processing property page).
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Chapter 3 Editing Reference
Paste Options (Animation Editor Preferences)
The Paste Options property page lets you control how key points, function
curves, and curve segments are pasted, as well as set continuity options for
pasted regions.
Option
Description
Paste Options
Controls how key points, function curves, and curve
segments are pasted from the system memory
Insert
Inserts key points on system memory before current
selection when pasting from system memory. The
current selection is moved to the right.
Replace
Replaces current selection with key points on
Clipboard when pasting from the system memory
Absolute
Inserts key at the value it was cut
Relative
Inserts key on the curve, creating a “Y” offset
Continuity Options
Controls how key point values are integrated into the
pasted area
Left Key
Specifies the value to be used in calculating the key
point to be inserted at the left of the paste region
Use Average
Inserts a key to the left of the paste region by taking
an average of the values of the pasted and original
curves at that point
Use Left Value
Inserts a key to the left of the paste region by using
the value of the original curve at that point
Use Right Value
Inserts a key to the left of the paste region by using
the value of the pasted curve at that point
Right Key
202
Specifies value used in calculating the key point to be
inserted at the right of the paste region
Animation Graph Menu
Option
Description
Use Average
Inserts a key at the right of the paste region by taking
an average of the values of the pasted and original
curves at that point
Use Left Value
Inserts a key to the right of the paste region by using
the value of the pasted curve at that point
Use Right Value
Inserts a key to the right of the paste region by using
the value of the original curve at that point
Animation Graph Menu
The animation graph menu lets you create, edit, and view a selected
property’s function curve.
To access the animation graph menu:
t
Right-click an empty area of the animation graph.
Use this
To
File
Open, save, and import your files, and access the
Curve Editor to set user preferences
Open
Open a saved function curve
Save
Save a function curve as a raw function curve file
Edit
Cut, paste, and select keys, regions, or curves, and
access snapping and swapping features
Cut
Cut a selected region, function curve, or key
Copy
Copy a selected region, function curve, or key
Paste
Paste a selected region, function curve, or key
Select All Keys
Select all keys on all the currently selected curves
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Use this
To
Select All Curves
Select all function curves currently displayed in the
animation graph
Deselect All
Deselect all keys and function curves
Snapshot
Snap the ghost curve to the selected function curve
Swap w. Snapshot
Swap the selected function curve with the ghost
function curve
Snap to Grid
Snap the key point to the nearest X (time) and Y
(value) coordinates
Snap to Frame
Snap the key point to the nearest frame on the
animation graph’s X axis
Move Keys to
Nearest Frame
Move existing floating keys to the nearest frame
Discrete Time
Keep keys on keyframes when stretching or scaling
function curves
Interactive Update
Simultaneously updates the image in the viewer as
you modify the function curve of the animation, when
selected.
n
View
Keys on Unselected
Curves
When deselected, each modification must be
completed before the image is updated.
Let you view function curves, show/hide features,
such as key coordinates and labels, and display
snapshot curves. It also contains commands for
framing and displaying rulers and grid lines.
Show or hides key points on all unselected function
curves in the animation graph
Slopes on Unselected Show or hides the slopes of all unselected keys on a
Keys
selected function curve
Curve and Axis
Labels
204
Show or hides the labels on selected function curves
and the X and Y axes in the animation graph
Animation Graph Menu
Use this
To
Select All Curves
Select all function curves currently displayed in the
animation graph
Deselect All
Deselect all keys and function curves
Snapshot
Snap the ghost curve to the selected function curve
Swap w. Snapshot
Swap the selected function curve with the ghost
function curve
Snap to Grid
Snap the key point to the nearest X (time) and Y
(value) coordinates
Snap to Frame
Snap the key point to the nearest frame on the
animation graph’s X axis
Move Keys to
Nearest Frame
Move existing floating keys to the nearest frame
Discrete Time
Keep keys on keyframes when stretching or scaling
function curves
Interactive Update
Simultaneously updates the image in the viewer as
you modify the function curve of the animation, when
selected.
n
View
Keys on Unselected
Curves
When deselected, each modification must be
completed before the image is updated.
Let you view function curves, show/hide features,
such as key coordinates and labels, and display
snapshot curves. It also contains commands for
framing and displaying rulers and grid lines.
Show or hides key points on all unselected function
curves in the animation graph
Slopes on Unselected Show or hides the slopes of all unselected keys on a
Keys
selected function curve
Curve and Axis
Labels
Show or hides the labels on selected function curves
and the X and Y axes in the animation graph
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Chapter 3 Editing Reference
Use this
To
Keys Coordinates
Show or hides the time and value of a selected key
Snapshot Curve
Display a temporary copy of the original function
curve. Moving a key point or part of a curve creates a
“snapshot” of the curve’s original location.
Normalized in Y
(Value)
View and compare multiple curves that have a broad
range of values. Normalizing the Y axis lets you view
the full range of each function curve.
Frame Selection
Frame the currently selected curves and keys by
resetting the pan and zoom, so they fit in the
animation graph within a specified range
Frame Region
Frame the selected region by resetting the pan and
zoom, so they fit in the animation graph within a
specified range
Frame Selected Keys Frame the selected keys by resetting the pan and
zoom, so they fit in the animation graph within a
specified range
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Frame Selected
Curves
Frame the selected curves by resetting the pan and
zoom, so they fit in the animation graph within a
specified range
Frame All Curves
Frame all the function curves by resetting the pan and
zoom, so they fit in the animation graph within a
specified range
Grid
Turn the grid lines on or off
Rulers
Turn the X and Y axis rulers on or off
Locators
Display any locators, in the selected time span, on the
timeline ruler
Meta Curve Region
Mark the timecode of keyframes, or groups of
keyframes, with a red locator below the animation
graph
Animation Graph Menu
Use this
To
Keys
Control key and tangent handle options. You can lock
key values, break and unify tangent handles, as well as
control the slope of inserted keys.
Lock in X (Time)
Lock the key’s location in time on the X axis, allowing
movement only in the Y direction
Lock in Y (Value)
Lock the key’s value on the Y axis, allowing
movement only in the X direction
Lock Slope
Orientation
Lock the angle of the tangent handles of the selected
key points
Lock Slope Length
Keep the length of the tangent handles constant
Unlock All Keys
Unlock all keys that were previously locked in X and
Y values
Unlock All Slopes
Unlock all slopes whose tangent handles were
previously locked
Unify Slope
Lock the slope together at 180 degrees to each other
Break Slope
Freely move the slopes as you drag each tangent
handle individually
Automatic Slope
Automatically set the slope of an inserted key to the
slopes of neighboring keys
Zero Slope
Constrain key points to a slope of zero. The tangent
handles remain horizontal, so that only the slope
tension can be modified
Plateau Slope
Set the slope of an inserted key automatically to zero
if the next key has the same value, or if that key is a
local minima or maxima. This is useful for holding
key point values to prevent the automatic interpolation
from going above or below your keyframed values.
Remove Animation
Remove all keyframes from selected curves
Remove Key
Remove selected keyframes
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Use this
Edit Key Tool
Curves
208
To
Turn Edit Key mode on or off. In this mode, left-click
to select/translate keys, middle-click to add keys, and
right-click to delete keys.
Control the appearance of function curves. You can
choose the interpolation and extrapolation modes,
introduce cycles, as well as adjust the function curve
using resampling, smoothing, and fitting tools.
Constant
Interpolation
Repeat the value of a keyframe until the next one. The
movement is characterized by sudden changes and
then static positions.
Linear Interpolation
Connect key points by straight line segments. The
movements are characterized by sudden changes at
each key point.
Spline Interpolation
Result in a smooth transition. Uses a curved spline
interpolation. The interpolation accelerates and
decelerates to ease into and out of each keyframe.
Constant
Extrapolation
Extrapolate the value of the Y axis from the first frame
to the first keyframe and the value of the Y axis from
the last keyframe to the last frame. This results in a
hold of motion before and after the movement.
Gradient
Extrapolation
Extrapolate the increment calculated between the first
and second key points and applies it from the first
frame to the first keyframe
Cycle
Repeat the function curve shape/pattern defined by
key points. This results in the cycling of that pattern
from the first keyframe to the last.
Relative Cycle
Repeat the selected function curve such that the next
cycle begins at the same value as the end of the
previous cycle
Freeze Cycle
Freeze the selected function curve to a selected time
span
Animation Tree Menu
Use this
To
Flip X (Time)
Flip the values of the X (Time) coordinates about the
average value of the time of all selected keyframes
Flip Y (Value)
Flip the values of the Y (Value) coordinates about the
average value of the Value of all selected keyframes
Resample
Generate a key every ‘x’ time step units. The time step
units can be set in the Curve Editor property editor
(Curve Processing property page).
Smooth
Remove sharp spikes and jags from a function curve
by averaging between keyframes.
You can adjust the filter size in the Curve Editor
property editor (Curve Processing property page). A
high filter size will give you a much straighter curve.
Fit
Remove redundant keyframing while preserving the
original shape of a function curve
Animation Tree Menu
The Animation Tree pop-up menu lets you import and export a selected
property’s function curve. For information about the animation tree, see
“Using the Animation Tree” on page 347 of the Avid DS Nitris Editing
Guide.
To access the Animation Tree menu:
t
Right-click a property in the animation tree.
Use this
To
Import
Choose a function curve to import
Export
Save the selected property’s function curve
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Chapter 3 Editing Reference
Edit Animation Menu
The Edit Animation pop-up menu lets you open the animation editor,
locate and remove keyframes, and set keyframes automatically.
To access the Edit Animation menu:
1. From the taskbar, click the Compositing button.
2. In the Layers view, right-click the Animation Key button.
Command
Description
Animation Editor
Displays the animation editor
Remove Keyframe
Removes the selected keyframe from the function curve
Remove Animation
Removes all function curves from this animation
First Key
Moves to the first keyframe in the function curve
Last Key
Moves to the last keyframe in the function curve
Autokey
Turns Autokey mode on or off. Automatically creates
keyframes as you adjust the settings.
n
210
Tip: You can activate this mode by clicking the
Autokey button at the bottom-right of the desktop.
Audio Effects
Audio Effects
The audio effects let you adjust the output signal of an audio clip. You can
apply audio effects to clips, tracks, or mixer input strips.
Since all audio effects are real-time effects, except for the Timewarp effect,
you can hear the results upon playback without having to process the
effect.
n
If you are adjusting parameters in an audio property editor during
playback, you may notice a slight time lapse before you hear the results of
the change. This will not affect the quality of the final output to tape or file.
Effect name
Description
Crossfade
Applies an audio transition between two clips so that the
sound of the outgoing clip fades out as the sound of the
incoming clip fades in—see “Crossfade Property Editor”
on page 251.
Dynamics
Controls the dynamic range of the audio signal—see
“Dynamics Property Editor” on page 217.
Equalizers (EQ)
Boosts or cuts a specific band of frequencies in the audio
signal—see
•
“Parametric EQ Property Editor” on page 223
•
“3 Band Tone Control Property Editor” on page 212,
•
“4 Band Parametric EQ Property Editor” on page 213
•
“10 Band Graphic EQ Property Editor” on page 215
Fade
Animates the volume of the audio signal over time—see
“Fade Property Editor (Audio Effect)” on page 222
Gain
Boosts or cuts the decibel level of the audio
output signal—see “Gain Property Editor” on page 223
Reverb
Simulates the many reflections of a sound that can be
heard within a room—see “Reverb Property Editor” on
page 224
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Chapter 3 Editing Reference
Effect name
Description
Timewarp
Alters the length and speed of an audio clip without
affecting the original pitch—see “Timewarp (audio)
Property Editor” on page 225 and “Timewarp (audio
timezone) Property Editor” on page 226
VST™ Host
Lets you apply VST plug-in effects to your clip—see
“VST Host Property Editor” on page 228
3 Band Tone Control Property Editor
The 3 Band Tone Control effect lets you boost or cut the bass, middle, and
treble frequency ranges in the audio clip’s spectrum of signals. You can
boost or cut the signal in a decibel range of –15 dB to +15 dB. You can also
boost the overall gain.
212
Option
Description
Input Gain (dB)
Specifies amount of gain (in decibels) to be added to or
cut from the whole signal spectrum
Bass (dB)
Boosts or cuts bass frequency range. Bass uses a
shelving EQ with a slope of 6 dB/octave and a corner
frequency of 100 Hz. Type a positive number to boost
the signal strength and a negative number to cut it.
Middle (dB)
Boosts or cuts middle frequency range. Middle uses a Q
factor of 0.8 and a center frequency of 2 kHz. Type a
positive number to boost the signal strength and a
negative number to cut it.
Treble (dB)
Boosts or cuts treble frequency range. Treble uses a
high-pass shelving EQ with a slope of 6dB/octave and a
corner frequency of 8 kHz. Type a positive number to
boost the signal strength and a negative number to cut it.
Audio Effects
4 Band Parametric EQ Property Editor
The 4 Band Parametric EQ effect lets you boost or cut a specific band of
frequencies in an audio clip. For example, you can increase the bass or
compensate for high frequency loss. You can also boost the overall output
gain. You can apply this effect to a maximum of four different frequency
bands.
Each of the property pages (1 to 4) lets you boost or cut a specific band of
frequencies in an audio clip.
Band 1 Property Page (4 Band Parametric EQ)
The Band 1 property page lets you boost or cut a specific band of
frequencies in an audio clip, as well as boost or cut the overall output gain.
Option
Description
Input Gain
Specifies amount of gain (in decibels) to add to or cut from
the overall signal
Gain (dB)
Specifies number of decibels to boost or cut the band of
selected frequencies. Range of boost and cut is ± 24 dB.
Frequency (Hz)
Specifies center frequency at which you want the effect to
be applied
Q
Enters a Q factor (resonance). The higher the Q factor, the
wider the bandwidth affected. This factor applies only to the
Peaking gain curve type.
Peaking
Uses Peaking gain curve type. The effect occurs at the
frequency specified for the Frequency (Hz) parameter and
falls off according to the specified Q factor.
LF Shelving
Uses Low Frequency Shelving gain curve type. The effect
starts at the low end of the frequency spectrum and
continues up to the frequency specified for the Frequency
(Hz) parameter. The Q factor is fixed.
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Chapter 3 Editing Reference
Option
Description
HF Shelving
Uses High Frequency Shelving gain curve type. The effect
starts at the high end of the frequency spectrum and
continues up to the frequency specified for the Frequency
(Hz) parameter. The Q factor is fixed.
Bands 2 - 4 Property Page (4 Band Parametric EQ)
Each of the Bands 2 - 4 property pages let you boost or cut a specific band
of frequencies in an audio clip.
214
Option
Description
Gain (dB)
Specifies number of decibels to boost or cut the band of
selected frequencies. Range of boost and cut is ± 24 dB.
Frequency (Hz)
Specifies center frequency at which you want the effect to
be applied
Q
Enters a Q factor (resonance). The higher the Q factor, the
wider the bandwidth affected. This factor applies only to
the Peaking gain curve type.
Peaking
Uses Peaking gain curve type. The effect occurs at the
frequency specified for the Frequency (Hz) parameter and
falls off according to the specified Q factor.
LF Shelving
Uses Low Frequency Shelving gain curve type. The effect
starts at the low end of the frequency spectrum and
continues up to the frequency specified for the Frequency
(Hz) parameter. The Q factor is fixed.
HF Shelving
Uses High Frequency Shelving gain curve type. The effect
starts at the high end of the frequency spectrum and
continues up to the frequency specified for the Frequency
(Hz) parameter. The Q factor is fixed.
Audio Effects
10 Band Graphic EQ Property Editor
The 10 Band Graphic EQ effect lets you boost or cut the output signal at
preset frequencies with preset bandwidths ranging from 31 Hz to 16 kHz.
The bands are separated by exactly one octave, and each band has a
bandwidth of one octave. You can boost or cut the signal in a decibel range
of –15 dB to +15 dB.
Bands 1 - 4 Property Page (10 Band Graphic EQ)
The Bands 1–4 property page let you boost or cut the output signal at the
following frequencies: 31 Hz, 67 Hz, 125 Hz, and 250 Hz.
Option
Description
Input Gain (dB)
Controls amount of gain (in decibels) to add to or cut
from overall signal
31 Hz
Controls amount of gain (in decibels) to add to or cut
from a one-octave bandwidth at 31 Hz. Values: -15 to
+15 dB.
67 Hz
Controls amount of gain (in decibels) to add to or cut
from a one-octave bandwidth at 67 Hz. Values: -15 to
+15 dB.
125Hz
Controls amount of gain (in decibels) to add to or cut
from a one-octave bandwidth at 125 Hz. Values: -15 to
+15 dB
250 Hz
Controls amount of gain (in decibels) to add to or cut
from a one-octave bandwidth at 250 Hz. Values: -15 to
+15 dB.
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Chapter 3 Editing Reference
Bands 5 - 10 Property Page (10 Band Graphic EQ)
The Bands 5-10 property page lets you boost or cut the output signal at the
following frequencies: 0.5 kHz, 1 kHz, 2 kHz, 4 kHz, 8 kHz, and 16 kHz.
Option
Description
0.5 kHz
Controls amount of gain (in decibels) to add to or cut from
a one-octave bandwidth at 0.5 kHz. Values: -15 to +15 dB.
1 kHz
Controls amount of gain (in decibels) to add to or cut from
a one-octave bandwidth at 1 kHz. Values: -15 to +15 dB.
2 kHz
Controls amount of gain (in decibels) to add to or cut from
a one-octave bandwidth at 2 kHz. Values: -15 to +15 dB.
4 kHz
Controls amount of gain (in decibels) to add to or cut from
a one-octave bandwidth at 4 kHz. Values: -15 to +15 dB.
8 kHz
Controls amount of gain (in decibels) to add to or cut from
a one-octave bandwidth at 8 kHz. Values: -15 to +15 dB.
16 kHz
Controls amount of gain (in decibels) to add to or cut from
a one-octave bandwidth at 16 kHz. Values: -15 to +15 dB.
Dynamics Effects
The following table lists the various Dynamics effects.
216
Effect name
Description
Dynamics
Controls the dynamic range of the
audio signal
2-1 Compression at -18 dB
Reduces the signal strength of the
portion of the audio signal above -18
dB by a ratio of 2-1
Audio Effects
Effect name
Description
3-1 Compression at -18 dB
Reduces the signal strength of the
portion of the audio signal above -18
dB by a ratio of 3-1
Hard Limiter at -6 dB
Keeps the audio signal strength from
exceeding a maximum of -6 dB
Hard Noise Gate at -35 dB
Cuts off the sound when the audio
signal strength drops below -35 dB
Soft Limiter at -6 dB
Reduces the signal strength of the
portion of the audio signal above -6 dB
by a ratio of 5-1 and keeps the
maximum to -4 dB
Soft Knee
Reduces the signal strength of the
portion of the audio signal above -20
dB and keeps the maximum to -8 dB
Dynamics Property Editor
The Dynamics effect lets you adjust the dynamic range of an audio clip.
General Property Page (Dynamics)
The General property page lets you set parameters for the five dynamics
processes available in the Dynamics property editor: Gate, Expander,
Compressor 1, Compressor 2, and Limiter. The operations of each of these
effects are interrelated. You apply these processes by specifying a
threshold above which (or in some cases below which) they take effect.
A general method of proceeding is to:
1. Set the parameters in the General property page.
2. Set the ratios (as needed) in the Threshold property page.
3. Adjust the process thresholds in the Threshold property page.
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Chapter 3 Editing Reference
n
Option
Description
Attack Time (msec)
Controls how quickly Dynamics effect responds
when a signal exceeds the threshold level for the
process. Values: 0.02 to 300 milliseconds.
Release Time (msec)
Controls how quickly the dynamic response
recovers to normal operation when the signal falls
below the threshold for a process. Values: 1
millisecond to 5 seconds.
The attack and release times affect the speed at which the dynamics
processors respond when signals go above or below any of the threshold
settings. By carefully setting these parameters, you can make the results of
the dynamics processing subtler and less obtrusive.
Threshold Property Page (Dynamics)
The Threshold property page lets you control the thresholds for the five
available dynamics processes. When you set the threshold, you are
specifying the signal strength at which the process begins functioning.
You can use one or more of these processes to adjust the sound level in
your audio clips. Avid DS Nitris implements these processes from the
bottom of the parameter list upwards: Gate, Expander, Compressor 1,
Compressor 2, and Limiter.
n
Compressors 1 and 2 perform the same process: By specifying different
ratios and thresholds, you can use each to accomplish a different objective.
The Ratio controls let you set input versus output level ratios for the
Expander, Compressor 1, and Compressor 2 dynamics processes. These
ratios control the degree of compression or expansion on the output signal.
That is, the degree to which the dynamic range of the signal is restricted or
increased.
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Audio Effects
Option
Description
Limiter Threshold
(dB)
Cuts signal strength of all sounds above specified signal
strength threshold down to the threshold itself. It does this
by using an almost infinite compression ratio (99:1).
Values: -90 to 0 dB.
Use this process when recording signals to a medium that
has a particular dynamic saturation point above which the
signal will be distorted.
n
Compressor 2
Threshold (dB)
The Limiter threshold cannot be set lower than the
Compressor 2 threshold.
Reduces signal strength of sounds above the specified
signal strength threshold, according to the ratio you set for
Compressor 1 in the Ratio property page. By pushing
higher levels down, the overall dynamic range is reduced
or “compressed”. Values: -90 to 0 dB.
Use this process to make an overall mix comply with the
more limited dynamic range of a particular broadcast or
recording medium.
n
Ratio
The Compressor 2 threshold cannot be set higher
than the Limiter threshold or lower than the
Compressor 1 threshold.
Sets input side of input/output level ratio for Compressor
2. Values: 1:1 to 20:1. For example, if you set the ratio to
4:1 (an input value of 4), sounds that are 4 dB over the
threshold are reduced to 1 dB over the threshold. Sounds
that are 2 dB over the threshold are reduced to 0.5 dB over
the threshold, and so on.
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Chapter 3 Editing Reference
Option
Description
Compressor 1
Threshold (dB)
Reduces signal strength of sounds above specified signal
strength threshold, according to the ratio you set for
Compressor 1 in the Ratio property page. By pushing
higher levels down, the overall dynamic range is reduced
or “compressed”. Values: -90 to 0 dB. Use this process to
make an overall mix comply with the more limited
dynamic range of a particular broadcast or recording
medium.
n
Ratio
The Compressor 1 threshold cannot be set higher
than the Compressor 2 threshold or lower than the
Expander threshold.
Sets input side of input/output level ratio for Compressor
1. Values: 1:1 to 20:1. For example, if you set the ratio to
2:1 (an input value of 2), sounds that are 10 dB over the
threshold are reduced to 5 dB over the threshold. Sounds
that are 4 dB over the threshold are reduced to 2 dB over
the threshold, and so on.
Expander Threshold Reduces signal strength of sounds that fall below specified
(dB)
signal strength threshold, according to the ratio you set for
the Expander in the Ratio property page. By pushing low
levels signals even lower, the overall dynamic range of the
output is expanded, relative to the input signal. Values: -90
to 0 dB. This option is typically used to reduce low level
noise. It gives a smoother result than the Gate Threshold.
n
Ratio
220
The Expander threshold cannot be set higher than
the Compressor 1 threshold or lower than the Gate
threshold.
Sets output side of input/output level ratio for the
Expander. Values: 1:1 to 1:20. For example, if you set the
ratio to 1:4 (an output value of 4), an input signal that is 1
dB below the threshold is reduced to 4 dB below the
threshold in the output. A sound that is 2 dB below the
threshold is reduced to 8 dB below the threshold, and so
on.
Audio Effects
Option
Description
Gate Threshold (dB) Turns off the output signal (completely blocks the sound)
of signals that fall below the specified threshold. A
threshold of –144.5 lets all sound through and a threshold
of 0 cuts out all sound. To deactivate Gate, set the
threshold to –144.5. Values: –144.5 to 0 dB.
n
The Gate threshold cannot be set higher than the
Expander threshold.
Gain Make-up (dB) Applies an overall gain to the audio clip after all processes
have been applied. Values: –40 to +40 dB.
Ratio Property Page (Dynamics)
The Ratio property page provides a graphical representation of your
dynamics settings and is for display only. The graph shown here is a larger
version of the one displayed on the Threshold property page. Use the
Threshold property page to adjust the dynamics settings shown here.
The red line represents the dynamics function. The horizontal (X) axis of
the graph shows the decibel level of the audio input signal, and the vertical
(Y) axis of the graph represents the resulting level of the audio output
signal.
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Chapter 3 Editing Reference
Fade Property Editor (Audio Effect)
The Fade effect lets you control the fade-in or fade-out volume of the clip.
By adjusting the function curve, you can increase or decrease the volume.
You can make the fade gradual, sharp, or vary it in any number of ways.
The Fade property editor has the following presets:
222
•
Dip—Animates the volume of the audio signal over time
•
Fade In Linear—Animates the fade-in volume of an audio clip
•
Fade In—Animates the fade-in volume of an audio clip
•
Fade Out Linear—Animates the fade-out volume of an audio clip
•
Fade Out—Animates the fade-out volume of an audio clip
Option
Description
Y direction
Sets volume
X direction
Sets keyframes. The length of the effect bar determines
the duration of the effect.
Curve
Uses curve to define the way volume varies in the fade.
Move points up to increase volume and down to
decrease it. Hold down the A key and click the curve to
add more keys. Use the handles to move and control the
shape of the curve.
Position indicator
Shows current location of position indicator
Amount
Shows volume of clip at a given time (value of the Y
axis). Move the position indicator to view the value at a
specific frame.
Audio Effects
Gain Property Editor
The Gain effect lets you boost or cut the output gain of an audio clip, by
increasing or decreasing the decibel level.
Option
Description
Level (dB)
Controls decibel level of audio clip
Invert Phase
Inverts output signal
Unity
Returns decibel level to default value (0)
Parametric EQ Property Editor
The Parametric EQ effect lets you boost or cut a specific band of
frequencies in an audio clip. For example, you can increase the bass or
compensate for high frequency loss. You can also boost the overall output
gain.
Option
Description
Filter Type: Peaking
Uses the Peaking gain curve type. The effect occurs at the frequency specified
for the Frequency (Hz) parameter and falls off according to the specified Q
factor.
Boost/Cut (dB)
Controls number of decibels by which band of frequencies is boosted or cut.
Type a positive number to boost the signal strength and a negative number to
cut it.
Frequency (Hz)
Controls frequency at which effect is applied
Q
Specifies Q factor (resonance). The higher the Q factor, the wider the
bandwidth affected.
Output Gain (dB)
Controls amount of gain (in decibels) added to or cut from the overall signal
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Chapter 3 Editing Reference
Reverb Property Editor
The Reverb effect lets you apply a reverberation effect to your clip. The
reverberation effect simulates the many reflections of sound that can occur
within a room and can be used to add depth to a sound.
To expand and collapse the list of parameters:
t
Click the Reverb title in the property editor.
To set a keyframe at the current frame with the current parameter
value:
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Click the box next to each parameter.
Option
Description
Room Size
Specifies relative size of room you want to simulate
Wet Level
Specifies amount of effect signal mixed into final output
Dry Level
Specifies amount of original signal mixed into final output
Damping
Specifies amount of sound energy absorbed by room
Pre-Delay
Specifies delay (maximum 50 milliseconds) between dry
and wet level signals
Audio Effects
Timewarp (audio) Property Editor
The audio Timewarp effect lets you alter the length and speed of an audio
clip without affecting the original pitch. You can also adjust the pitch of
any source audio with or without a change in its duration.
n
If your Avid system has a Merging Technologies audio card installed you
can use the audio Timewarp effect, Timezone from Merging
Technologies—see “Timewarp (audio timezone) Property Editor” on
page 226.
Option
Description
Speed (%)
Specifies resulting playback speed as a percentage of the
original speed (may have a positive or negative value)
Duration (SMPTE)
Specifies final duration of the clip in SMPTE timecode
(may have a positive or negative value)
CrossFade (ms)
Adjusts the crossfade length in milliseconds, optimizing
the performance of the timewarp according to the type
of audio material.
Minimum Pitch (Hz)
Sets the minimum or lowest pitch used during the
timewarp processing
Pitch Shift
The pitch shift options adjusts the amount of pitch shift
and pitch change.
Enable
Actives the pitch shift options when selected
Coarse (semitones) Adjusts amount of pitch shift. Coarse slider transposes
in semitones (half steps)
Fine (cents)
Adjusts the amount of pitch shift. Fine slider transposes
in cents (hundredths of a semitone)
Pitch Shift Ratio
Adjusts the amount of transposition (pitch change)
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Timewarp (audio timezone) Property Editor
The audio Timewarp effect lets you alter the length and speed of an audio
clip without affecting the original pitch. The audio timewarp has been
optimized for human speech.
n
To use the audio Timewarp effect, Timezone from Merging Technologies,
you must have a Merging Technologies audio card installed on your
system.
General Property Page (Timewarp audio timezone)
The General property page lets you modify the playback speed of an audio
clip without affecting the original pitch. There are two methods of
changing the speed—by specifying a percentage of the original speed or by
typing a new SMPTE duration.
Option
Description
Speed (%)
Specifies resulting playback speed as a percentage of the
original speed (may have a positive or negative value)
Duration (SMPTE)
Specifies final duration of the clip in SMPTE timecode
(may have a positive or negative value)
Quality
Specifies how you want the clip to be processed. The
higher the quality setting, the more processing power,
and therefore more time is required to complete the
process.
For example, set the quality to Fast while you
experiment with parameters. Once you’ve decided on
your settings, set the quality to High to process the final
result.
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Audio Effects
Advanced Property Page (Timewarp audio timezone)
The Advanced property page lets you control audio blocks. The audio
Timewarp effect is a time domain function; it takes the selected audio clip
and slices it into a series of joined blocks.
Option
Description
Blocklength
Specifies size of the audio blocks used to perform the
TimeZone processing. In general, percussive sounds, such
as drums, piano, and clicks, should use smaller
blocklengths, while instruments, such as strings, wind, and
flute, should use longer blocklengths. For clips that
combine both percussive and tonal sounds, such as music,
you will need to experiment with this parameter for the
optimal setting.
Crossfading
Specify length of crossfade applied between each audio
block during the TimeZone processing
Energy Detection
(dB)
Specify energy threshold for processing audio blocks.
When this option is selected, only audio blocks that do not
exceed the specified energy threshold are processed. This is
particularly useful for percussive content or for speech
applications.
Do not apply Energy Detection when an exact processed file
size must be guaranteed.
Apply
Specify whether or not to use Energy Detection
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VST Host Property Editor
The VST Host effect lets you use VST plug-in effects to create your audio
mix.
n
Avid DS Nitris implements version 1.0 of the VST Host and works with any
VST plug-in effects that support this version of the VST Host.
General Property Page (VST Host)
The General property page lets you select and apply a VST plug-in effect
to your audio mix using the Avid DS Nitris interface.
Option
Description
Effect
Specifies plug-in effect you want to use
Program
Lets you select VST format preset for current effect
Load button
Lets you select VST effect program (.fxp) or effect bank
(.fxb) file to load. These files contain VST format presets
for the current effect.
Editor Property Page (VST Host)
The Editor property page lets you adjust the VST plug-in effect in your
audio mix using the effect’s own custom interface. This property page is
only available if there is a custom interface for the effect.
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Avid Explorer Menu
Avid Explorer Menu
The Avid Explorer menu lets you delete, purge, and show media files, as
well as display the properties of the media associated with the selected
clip. It includes both Avid DS Nitris commands and Windows systems
commands.
To access the Avid Explorer menu, do one of the following:
t
In a bin, right-click an Avid DS Nitris media file or an Avid DS Nitris
folder that contains media.
t
In a bin, select an Avid DS Nitris media file or an Avid DS Nitris
folder that contains media and click the Fast Menu button.
t
In an Avid Explorer panel, right-click an Avid DS Nitris folder that
contains media.
The contents of the menu depend on the object selected.
Command
Description
Import to Current
Project
Imports the selected clip or sequence into the project in
which you are currently working.
You have the option of linking to existing media or
copying media. Links are kept to the media in the
original project to save space on your storage device.
n
Purge Media
To be able to create a link to media, it must reside
on a shared storage device.
Displays the Purge dialog box, which lets you remove
different types of media from your system.
Delete Clip & Unused Removes the master clip and its media from your
Media
system. This command verifies if the media is being
used by another sequence. If it is, only the master clip is
deleted. The media remains on your disk array until you
delete the last sequence that uses the media.
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Command
Description
Delete Clip & All
Media
Removes the sequence, master clip, and media files
from your system.
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This is a quick way to remove unwanted media,
but it can be risky as it does not check to see if the
media is being used by other sequences.
Capture Settings
Displays the Capture Settings dialog box, which lets you
set parameters for capturing from file.
Capture
Captures media from the selected file
Recapture
Recapture media for the selected clip.
Recapture with
Options
Displays a dialog box that lets you set options for
recapturing from tape—see “Explorer Recapture
Options Dialog Box” in the Help.
Link
Creates a linked clip from the selected file
Relink
Re-creates links for selected linked clips.
Log
Create a logged clip from the selected file
Show Media
Displays the Media Tool, with selected clips or
sequences in the left panel and associated files in the
right panel
Properties
Displays the Media Properties dialog box, which
contains information about the available media, as well
as the original media file
Delete
Deletes the selected media file.
Copy to Storage
Opens the Copy Media dialog box, which lets you copy
media files between folders on your storage device
Move to Storage
Opens the Move Media dialog box, which lets you move
media files between folders on your storage device
Avid Explorer Menu
Command
Description
Defragment
Defragments the video media file or files.
With the daily process of capturing, deleting, and
purging, video files on the video storage are not
guaranteed to be contiguous. This fragmentation may
result in the skipping of frames during playback. To fix
this problem, you can defragment the file or series of
files that are causing the problem.
Verify Media
Search the selected media files for corrupted files.
View Frame
Displays various ways to change the video frame that is
displayed for media files in the Thumbnails view
First Frame
Displays the first frame of the media file
Middle Frame
Displays the middle frame of the media file
Last Frame
Displays the last frame of the media file
Advanced
Opens the Display Frame Number dialog box, which
lets you choose the frame that is displayed in the
Thumbnails view
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Avid Explorer Tools
Avid Explorer tools let you manage the display of the Avid Explorer view
and the contents of your bins.
Show/Hide Panel 2
Show/Hide Panel 1
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Cascade
Tile
Capture Settings
Path
Cut Copy Paste
Back Forward Up
Locate
Settings
Delete
Sift
Use this
To
Show/Hide Panel 1
Show or hide the contents of panel 1
Show/Hide Panel 2
Show or hide the contents of panel 2
Tile
Arrange displayed bins in a tile pattern
Cascade
Arrange displayed bins one behind the other with
the title bars displayed
Path
Display a specific bin by selecting a path from the
Path menu. You can set the User and Workgroup
paths in the User Preferences dialog box (Favorites
Property page). The paths that appear in the Local
and Remote sections are the same as those that
appear in the Open Project dialog box, so adding
and removing roots in the Open Project dialog box
affects this menu.
Capture Settings
Display the Capture Settings dialog box, which lets
you set parameters to capture material—see
“Capture Settings View” in the Help.
Back
Show the previous bin
Forward
Show the next bin
Up
Move up one level in the tree
Bin Columns
Use this
To
Cut
Cut objects from a bin to the clipboard
Copy
Copy objects from a bin to the clipboard
Paste
Paste objects from the clipboard to a bin
Delete
Delete objects from a bin
Settings
Select the column headings that you want to display
Sift
Display objects the match the selected sift
criteria—see “Sifting Files” in the Help.
Locate
Set how the bin is highlighted in the tree. When you
select the icon and use the Back, Forward, or Up
buttons to change the bin display, the folder
displayed is highlighted in the tree. When you
deselect the icon, the folder you originally opened
remains highlighted in the tree, even when you
change the bin display.
Bin Columns
You can specify the types of information you want to display in a bin.
To view available bin columns:
1. Display a bin in Details or Script view.
2. Do one of the following:
t
In the Avid Explorer tool bar, click the Settings button.
t
Click the Fast Menu button and select Settings > Add/Remove
Columns.
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The following table lists the Avid DS parameters that you can display as
columns in a bin.
234
Option
Description
Avid DS Audio Bit Depth
Displays the audio bit depth of a media file
Avid DS Audio Captured at Video fps
Displays at the video frame rate at which an audio
media file. This information is useful when working
in a project that uses a different video frame rate.
Avid DS Audio Channels
Displays the number of audio channels in a media
file
Avid DS Audio Format
Displays the Avid DS audio format of a media file.
Avid DS audio is captured and stored in WAV
(PCM) audio format.
Avid DS Audio Sample Rate
Displays the audio sample rate of a media file
Avid DS Channels
Displays the audio or video channel with which the
clip is associated: V (video), MN (monaural audio),
ST (stereo audio)
Avid DS Class Name
Displays the class of the Avid DS Nitris preset
(Blur, DVE, and so on)
Avid DS Comments
Displays any comments describing the clip or
sequence
Avid DS Duration
Displays the length or duration of the media file,
clip, or sequence. Duration of audio file is shown in
seconds; others are shown in frames.
Avid DS In
Displays the in-point of the clip in timecode
Avid DS Out
Displays the out-point of the clip in timecode
Avid DS Physical In
If you are using a deck that can be addressed in a
format different from its recording speed, displays
the in-point of the clip in timecode as it appears on
the deck faceplate
Bin Columns
Option
Description
Avid DS Physical Out
Displays the out-point of the clip in timecode as it
appears on the deck faceplate
Avid DS Physical Start
Displays the starting timecode of the clip as it
appears on the deck faceplate
Avid DS Physical Stop
Displays the ending timecode of the clip as it
appears on the deck faceplate
Avid DS Source Name
Displays the original tape name or the word “File”
Avid DS Start
Displays the starting timecode of the media file,
clip, or sequence as captured by Avid DS Nitris
Avid DS Stop
Displays the ending timecode of the media file, clip,
or sequence as captured by Avid DS Nitris
Avid DS Storage
For media files, displays the name of the storage on
which the media is located.
Avid DS Video Bit Depth
Displays the video bit depth of a media file
Avid DS Video Color Space
Displays the color model used to describe the color
components of the media file
Avid DS Video Compression
Displays the video compression and the ratio or
data rate (as displayed in the
dialog box)
Avid DS Field Dominance
For interlaced media, displays which field (odd of
even) occurs first in time
Avid DS Video Format
Displays the video format of a media file, as
specified in the sequence preferences
Avid DS Video Fragments
Displays the number of file fragments for a video
media file (not available for remote storage, other
than Avid Unity)
Avid DS Video Frame Size
Displays the dimensions of the video image of a
media file as pixels (width x height)
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Option
Description
Avid DS Video Pixel Ratio
Displays the dimensions of the video image of a
media file as a ratio (width:height)
Avid DS Video Rendering Precision
Displays the bit depth at which a cache media file
was rendered
The following table lists some the major file system parameters:
Option
Description
Attributes
Displays the file attributes. Available attributes
include normal, read-only, hidden, system, volume,
directory, and archive.
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236
Tip: You can modify these attributes by rightclicking a file in Windows Explorer, choosing
Properties, and changing the status of the
attributes.
Created
Displays the date on which the clip or sequence was
created
Type
Identifies the type of file
Modified
Displays the date on which the clip or sequence was
last modified
Name
Displays the clip name or sequence name
Owner
Displays the owner of the file at the Windows level
Size
Displays the size of the file
Bin Tools
Bin Tools
The tools at the bottom of the bin let you change the way the contents of
the bin are displayed. These tools appear for all bin contents.
Large Icons
Fast menu
Bin view list
List
Details
Script
Save Current Column Setting
Thumbnail
Use this
To
Fast menu
Display a menu of commands. If no object is selected, the
Avid Explorer System menu is displayed. This menu is
similar to the Windows context menu. If an object is
selected, the Avid Explorer menu is displayed. The exact
contents depend on the type of object selected. The same
menus appear if you right-click in the background of a bin
or on an object in the bin.
For information on options in the Avid Explorer menu,
select the Help option.
Large Icons
Display the files in the bin with large icons.
List
Display the files in the bin with small icons in list format.
Details
Display the files in the bin as a list with details, using
columns. You can choose which columns to display, in what
order, choose a sorting methods, and save your display as a
customized view.
Thumbnail
Display the files in the bin as pictorial icons. This view is
especially useful for media files. You can rearrange the
thumbnails in any order within the bin by clicking and
dragging.
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Use this
To
Script
Display the files in the bin as pictorial icons with an area for
comments. Clip information is displayed above the text box.
This view is especially useful for media files.
Bin View list
Display a customized view of the bin.
Save Current
Column Setting
Name and save the selection of columns as a preset.
Blend Property Editor
The Blend effect lets you apply a blend transition between two clips. The
color and alpha channels are blended independently and channel masking
is enabled.
Timing Property Page (Blend)
The Timing property page lets you create a blend transition between two
overlapping clips. The function curve lets you control the timing (rate and
duration) of the blend. By modifying the shape of the function curve, you
control the timing and percentage of the mix. Adding keyframes to the
function curve creates more complex blends.
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Option
Description
X axis
Represents SMPTE timecode of the timeline ruler
Y axis
Represents relative transparency of incoming and
outgoing clips. The area below the curve represents the
transparency of the incoming clip and the area above the
curve represents the transparency of the outgoing clip. For
example, when the curve is at 50 (half of Y), the frames of
the incoming and outgoing clips are each 50% visible. At
0, the incoming clip is 100% visible; at 100, the outgoing
clip is 100% visible.
Cache List View
Option
Description
Curve
Defines how the mix varies in the dissolve. Move the key
points up to increase the proportion of the original clip,
and down to decrease it. You can add or remove key
points to vary the mix.
n
To change the curve type from Bézier to constant or
linear, right-click the Animation Key button and
select it from the menu.
Position indicator
Moves position indicator across the function curve graph
to view the result of the blend in different parts of the clip.
The position indicator in the graph matches the one on the
timeline.
Amount
Represents proportion of original clip in the mix at a
given time (value of the Y axis). Move the position
indicator to view the value at a specific frame.
Cache List View
The Cache List view lets you create a batch list of unprocessed cache files
to be sent to Avid DS RP. You can add and remove caches from the list.
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Clip Menu
The Clip pop-up menu lets you manipulate individual clips on the timeline.
To access the Clip menu:
t
240
On the timeline, right-click a clip.
Use this
To
Activate
Activate the entire clip, and removes activeness from
other clips within the clip's time span
Deactivate
Deactivate the entire clip
Fill Activeness
Within the clip's time span, activate parts of the clip
where other clips are not active
Cut Clip
Remove the selected clip and copies it to the
Clipboard
Copy Clip
Copy the selected clip to the Clipboard
Delete Clip
Remove the selected clip
Convert to Reference
Clip
(Video clips only) Convert the selected clip to a
reference clip
Save Clip as Sequence
Save the current clip as a separate sequence. The
saved clip will contain all effects applied to it. If the
clip is processed, the cache will also be saved.
Add Clip Effect
Open the Load Preset dialog box
Clip Cache
(Audio clips only) Process audio clip based effects.
Add Cache
(Video clips only) Add a cache bar to the selected clip
on the timeline
Clip Menu
Use this
To
Add Cache and Process
(Video clips only) Add a cache bar to the selected clip
on the timeline, adds the cache bar to the Cache List
view, and displays the Processing Options dialog
box—see “Processing Options Dialog Box” in the
Help.
Add Locator
Add locators to the selected clip
At Playback Position Add a locator at the position indicator
At Clip Start
Add a locator at the start of the selected clip
At Clip End
Add a locator at the end of the selected clip
At Edit Points
Add locators at the position of edit points
Delete All Locators on
Clip
Remove all locators from the selected clip
Frame This Clip
Reset timeline zoom and pan to frame the selected
clip. The clip will cover the entire visible time span.
Create Background
Container
(Video clips only) Create and opens a background
container clip holding the selected clip. The Editing
layout is displayed.
Create Composite
Container
(Video clips only) Create and opens a one-layer
composite container clip holding the selected clip.
The Compositing layout is displayed.
Create Audio Container
(Audio clips only) Create and opens an audio
container clip holding the selected clip. The Editing
layout is displayed.
Purge Container
(Audio clips only) Purge only the cache media
associated with the selected container.
Purge Below
(Audio clips only) Purge any unnecessary cache
media that lies below the clip, while keeping the
cache real time playable.
Purge
(Audio clips only) Purge the cache media associated
with the selected clip.
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Use this
To
Convert to Current
Sample Rate
(Audio clips only) Convert the sample rate of the
selected clip to the sequence's sample rate, as defined
in the sequence preferences.
Clip Properties
Open the Clip property editor when a time effect is
applied.
Properties...
Open the Clip property editor or the effect’s property
editor
Open Viewer
(Video clips only) Display the output of the selected
clip in a floating viewer
Clip Activeness Menu
Clip Activeness Menu
The Clip Activeness pop-up menu lets you delete the clip’s activeness.
To access the Clip Activeness menu:
t
On the timeline, right-click the clip’s activeness bar.
Use this
To
Delete Activeness
Remove the clip’s activeness
Clip Property Editor
The Clip property editor lets you view and modify the properties of a clip.
General Property Page (Clip)
The General property page lets you view and modify the properties of a
clip, such as changing its name, adding comments, and so on.
Option
Description
Name
Changes name of clip
n
When renamed, the parent clip in Avid Explorer
remains unchanged.
Comments
Adds comments about clip
Type
Displays clip type: video or audio
Conversion Mode
Determines how presets and media are converted from
one video format to another
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Option
Description
Center, Keep
Original Size
Centers media in viewer along both X and Y axes. This
option does not modify the original size of the media.
Scale to Fit
Scales media in both X and Y axes to fit sequence
settings
Scale, Keep
Aspect Ratio
Scales media in both X and Y axes to fit sequence
settings, but retains ratio between width and height. It
takes the larger axis of the image and scales it to fit in
the viewer. Then it centers the image on the other axis,
creating black bands on both sides. An example of this
conversion mode would be the Letterbox format which
converts film to video.
Keep Original Size Displays media in viewer without modifying original
and Position
size or position of the media. The lower-left corner of
the image is placed at the coordinates (0,0) in the viewer.
Fit X-axis, Keep
Aspect Ratio
Scales media in X axis to fit sequence settings, then
scales image along Y axis to keep the ratio between
width and height intact. If the resulting image is larger or
smaller than the sequence settings, it is centered along
the Y-axis.
Fit Y-axis, Keep
Aspect Ratio
Scales media in Y axis to fit sequence settings, then
scales the image along X axis to keep the ratio between
width and height intact. If resulting image is larger or
smaller than the sequence settings, it is centered along
the X axis.
Multiple
Conversions
Specifies that a clip has been converted more than once.
Since Avid DS can’t specify more than one conversion
mode, the Multiple Conversions mode is used to let you
know that the clip has been converted multiple times.
Level of Detail
Sets level of display detail for selected clip. To view clip
details, increase the track height by clicking the
triangular button in the upper-right corner of the track
control area.
You can view frames at three levels of detail: High,
Medium, and Low.
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Clip Property Editor
Option
High
Description
Video: Displays clip frames at regular intervals along
the ruler scale
Audio: Displays waveform at high resolution
Medium
(Video only) Displays start frames for each clip in
timeline
Low
Video: Displays blank clip, no frame is visible
Audio: Displays blank clip, no waveform is visible
Source Property Page (Clip)
The Source property page displays timecode information on a clip, in clip
time (the timecodes on the original material).
Option
Description
Available Material
(clip time)
Displays in and out-points of original media
Start
The timecode at the in-point of the master clip,
including unused material
End
The timecode at the out-point of the original media,
including unused material
Used in This Timeline
(clip time)
Displays in-point and out-point of the active material
actually used on the timeline
First In
Timecode at first active edit point of the clip
Last Out
Timecode at last active edit point of the clip
Source
Indicates source of the clip (from file or tape)
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Position Property Page (Clip)
The Position property page lets you view timecode information on a clip.
This information is shown using the timeline timecodes.
Option
Description
Position in Timeline
(timeline time)
Lets you view in-point and out-point of the original
media
Start
Timecode at in-point on the original media (this
includes unused material)
End
Timecode at out-point on the original media (this
includes unused material)
Active Span (timeline
time)
246
Lets you view first and last active edit point
First In
Timecode at first active edit point of the clip
Last Out
Timecode at last active edit point of the clip
Clip Transition Menu
Clip Transition Menu
The Clip Transition pop-up menu lets you delete a transition or access the
property editor of the applied transition.
To access the Clip Transition menu:
t
On the timeline, right-click the transition area between the two clips.
Use this
To
Delete
Remove the selected transition. The different
transition types are: Dissolve, Wipe, DVE, Fade,
and Morph.
Properties
Open the transition property editor
CmdLine
The CmdLine view lets you record commands as you execute them. The
CmdLine view stores a maximum of 25 commands at a time. You can start
the Script Editor from the CmdLine view by clicking the Script Editor
button. You can also copy and paste commands from the Command list to
the Script Editor.
n
Only the Media Input/Output commands are scriptable in Avid DS Nitris.
To access the CmdLine view:
1. Select Layout > Edit Layout.
2. Right-click the view switcher and select Add View.
3. Right-click anywhere in the new view and select Set View >
CmdLine.
The Cmdline button is added to the view switcher.
4. Select Layout > Edit Layout.
The Edit Layout dialog box is displayed.
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5. To save the changes to the layout, click Save.
6. Click the CmdLine button to display the CmdLine view.
Command list
Script Editor button
Container Clip Menu
The Container Clip menu lets you create a video, audio, or composite
container clip. Container clips represent a group of clips as a single clip on
the top timeline. You can create new container clips using one or more
clips of the same type.
To access the Container Clip menu:
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248
On the taskbar, click the Create Container button.
Use this
To
Create Background
Container
Create and open a background container clip holding the
selected clip(s). The Editing layout is displayed.
Create Audio
Container
(Audio clips only) Create and open an audio container
clip holding the selected clip(s). The Editing layout is
displayed.
Create Composite
Container
Create and open a composite container clip holding the
selected clip(s). The Compositing layout is displayed.
Image Transition Effects
Image Transition Effects
The image transition effects let you create transitions between two
overlapping clips on the timeline or between two nodes in an Effects Tree.
Dissolve Property Editor
The Dissolve effect lets you apply a dissolve transition between two clips,
or as a filter to a single edit point or a clip. This effect lets you dissolve in a
clip, making it gradually more visible, or dissolve out a clip, making it
gradually disappear.
The Dissolve effect ensures that the alpha channel is multiplied into color
channels before doing the dissolve. If you do not want the alpha channel to
affect the color channels, or if you require channel masking services when
dissolving, you can use the Blend effect.
You can set keyframes to specify the rate and duration of the dissolve. For
example, you can apply a dissolve-out effect to a clip by animating the
Dissolve Amount from 100 at a given frame to 0 at the last frame. The
frames between the first and last frames gradually fade to black. To define
a complicated dissolve profile, you must add keyframes to the function
curve to attain the desired results.
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Timing Property Page (Dissolve)
The Timing property page lets you control the timing (rate and duration) of
the dissolve. The horizontal (X axis) represents the SMPTE timecode. The
vertical (Y axis) indicates the amount of the mix. By modifying the slope
of the curve you control the timing and percentage of the mix. Adding
keyframes to the function curve creates more complex dissolves.
Option
Description
X axis
Represents SMPTE timecode of the timeline ruler
Y axis
Represents relative transparency of incoming and outgoing
clips. The area below the curve represents the transparency
of the incoming clip and the area above the curve represents
the transparency of the outgoing clip. For example, when
the curve is at 50 (half of Y), the frames of the incoming
and outgoing clips are each 50% visible. At 0, the incoming
clip is 100% visible; at 100, the outgoing clip is 100%
visible.
Curve
Defines how the mix varies in the dissolve. Move the key
points up to increase the proportion of the original clip, and
down to decrease it. You can add or remove key points to
vary the mix.
n
250
To change the curve type from Bézier to constant or
linear, right-click the Animation Key button and
select it from the menu.
Position indicator
Moves position indicator across the function curve graph to
view the result of the dissolve in different parts of the clip.
The position indicator in the graph matches the one on the
timeline.
Amount
Represents proportion of original clip in the mix at a given
time (value of the Y axis). Move the position indicator to
view the value at a specific frame.
Image Transition Effects
Crossfade Property Editor
The Crossfade effect lets you apply a crossfade to the volume of two
overlapping audio clips. The default crossfade evenly fades out the volume
of the first clip while fading in the second clip. You can adjust the two
curves to make the fade in or out more gradual, sharp, or to vary it in
different ways.
n
The Crossfade effect is not suitable for entire tracks since the length of a
track is virtually infinite.
Crossfade Function Curve
The crossfade function curve lets you control the rate of progression and
the duration of the crossfade. The horizontal (X axis) represents the
SMPTE timecode, and the vertical (Y axis) represents the crossfade value.
Option
Description
Y direction
Sets volume
X direction
Sets keyframes. The length of the effect bar determines
the duration of the effect.
Curves
Uses curves to define the way the volume of the two
clips varies in the crossfade. Move points in the curve up
to increase volume and down to decrease it. Hold down
the A key and click the curve to add more keys. Use the
handles to move and control the shape of the curve.
Position indicator
Shows current location of position indicator
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Wipe Property Editor
The Wipe effect lets you create a transition between two overlapping clips,
so that the incoming clip is revealed as the outgoing clip moves off the
screen according to a specified pattern. You can also apply a border
between the two clips by specifying the position, color, and edge softness.
You can also apply a wipe as a timeline, clip, or track effect, in which case
the selected clip disappears according to the specified pattern.
n
Preset Wipe effects from previous version of Avid DS are identified by a
V1 (red) located on the thumbnail.
Wipe Property Page (Wipe)
The Wipe property page lets you adjust the wipe style, direction, center
offset, and border width and softness.
Option
Description
Wipe Style
Lets you select wipe style—see “Wipes Styles” on
page 256
Direction
Specifies direction of wipe
Forward
Applies wipe in default (defined) direction
Backward
Reverses direction of wipe
Center Offset
X
Specifies center offset along X axis
Y
Specifies center offset along Y axis
Aspect Ratio
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Specifies how far the wipe’s center is displaced from
its original center. The Center Offset is not available
for all wipes.
Specifies height to width ratio for Circle wipe
Image Transition Effects
Option
Description
Number of Blocks
Specifies the number of blocks the image is segmented
into for the specific wipe effect. The Number of Blocks
is not available for all wipes.
X
Specifies the number of blocks along X axis.
Values range from 2 to 40.
Y
Specifies the number of blocks along Y axis.
Values range from 2 to 30.
Border
Specifies the width of border in pixels. Values range
from 0 (no border) to X axis (widest border). For
example, NTSC value range is 0 to 720. You can
specify the color of the border using the Color property
page.
n
Horizontal and vertical borders remain
proportional to each other on wipes such as Box
wipes.
Softness
Controls the softness of outer edges of the border in
pixels. Values range from 0 (no softness) to X axis
(maximum softness). For example, NTSC value range
is 0 to 720.
Amount
Displays wipe at a particular point. For example,
setting the position to 50 shows you how the wipe
looks at the half-way point.
In the default wipe animation, the amount starts at 0
and ends at 100.
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Timing Property Page (Wipe)
The Timing property page lets you create a wipe transition. The function
curve lets you control the timing (rate and duration) of the wipe. By
modifying the shape of the function curve, you control the timing and
percentage of the mix. Adding keyframes to the function curve creates
more complex wipes.
Option
Description
X axis
Represents SMPTE timecode
Y axis
Represents proportion of wipe that has been completed
Curve
Defines how mix varies in wipe. Move key points up to
increase proportion of original clip and down to decrease
it. You can add or remove key points to vary the mix.
n
254
To change the curve type from Bézier to constant
or linear, right-click the Animation Key button and
select it from the menu.
Position indicator
Moves position indicator across animation graph to view
the result of the dissolve in different parts of the clip. The
position of the position indicator in the graph matches
the one on the timeline.
Amount
Represents proportion of original clip in the mix at a
given time (value of the Y axis). Move the position
indicator to view the value at a specific frame.
Image Transition Effects
Color Property Page (Wipe)
The Color property page contains controls to pick colors or create new
colors for effect’s borders.
To create new colors, you can pick them from the image in the viewer or
you can specify their RGB, YUV, or HSL color model values. You can
select from several basic colors and save new colors to the custom color
palette.
Option
Description
Color picker
Picks a color from any part of the screen. Click Color
Picker button and move the pointer (now an eyedropper) to
a color on the screen. The color swatch updates and the
current color values are displayed. Click to select a color.
You can also replace a newly chosen color in the palette by
clicking an existing palette color before you pick the new
one.
Color swatch
Displays selected or default (black) color.
RGB
Specifies colors using the RGB (red, green, blue) additive
color model. The intensity of each color is represented by a
number from 0 to 100. 0 represents no light (black) in a
channel and 100 represents maximum light (white) intensity
in a channel. For example, 0,0,50 represents a dark blue,
while 0,0,100 represents a bright blue. To produce a shade
of gray set all three of the RGB colors to the same level.
Alpha
Specify the amount of alpha on a scale of 0 to 100. 0
represents no alpha and 100 represents full alpha.
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Wipes Styles
256
Wipe pattern
Description
Wipe 001
Vertical left to right
Wipe 002
Horizontal top to bottom
Wipe 003
From top left
Wipe 004
From top right
Wipe 005
From bottom right
Wipe 006
From bottom left
Wipe 007
In from four corners
Wipe 008
From four centers
Wipe 021
Barn doors
Wipe 022
Vertical barn doors
Wipe 023
From top center
Wipe 024
From right center
Image Transition Effects
Wipe pattern
Description
Wipe 025
From bottom center
Wipe 026
From left center
Wipe 041
Diagonal from top left
Wipe 042
Diagonal from top right
Wipe 045
Double diagonal bottom left to top right
Wipe 046
Double diagonal top left to bottom right
Wipe 061
Triangle from top center
Wipe 071
Ragged edge from left to right
Wipe 072
Ragged edge top to bottom
Wipe 073
Ragged barn doors
Wipe 074
Ragged vertical barn doors
Wipe 101
Center Box
Wipe 102
Diamond
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258
Wipe pattern
Description
Wipe 119
Circle
Wipe 120
Ellipse
Wipe 203
Radial
Wipe 234
Radial from left
Wipe 901
Horizontal Bands
Wipe 902
Horizontal Blinds
Wipe 903
Vertical Blinds
Wipe 999
Plasma
Locator Menu
Locator Menu
The Locator pop-up menu lets you remove and jump to locators, and
change locator properties.
To access the Locator menu:
t
On the timeline ribbon, right-click a locator.
Use this
To
Delete Locator
Remove the selected locator
Go to This Locator
Move the position indicator to the selected locator
Locator Properties
Display the Locator property editor
Locator Property Editor
The Locator property editor lets you view and edit locator properties.
General Property Page (Locator)
The General property page lets you view and change locator properties.
Option
Description
Name
Changes name of locator
Comments
Lets you add a notation or description to the current locator
Color
Lets you change the color of the current locator
Go to This
Locator
Moves position indicator to current locator. This is useful
when updating the description of several locators.
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Position Property Page (Locator)
The Position property page lets you view the position of locators on the
timeline.
Option
Description
Position in Timeline Time
Displays position of locator on timeline
Time
Lets you view current timeline position of locator
Position in Clip Time
Displays position of locator on the clip. This parameter is only
available when a clip-based locator is selected.
Clip Name
Lets you view the name of the clip at the position of the locator
Time
Lets you view the timecode of the locator in clip time
Go to This Locator
Moves position indicator to current locator
Locator View Menu
The Locator View pop-up menu lets you remove and jump to locators, and
change locator properties.
To access the Locator View menu:
t
260
In the Locator view, right-click a locator.
Use this
To
Color
Change the color of the current locator
Delete
Remove the selected locator
Go to Locator
Move the position indicator to the selected locator
Locator Properties
Display the Locator property editor
Media Storage Configuration Dialog Box
Media Storage Configuration Dialog Box
The Media Storage Configuration dialog box displays all video and audio
storages, Avid media indexing services, and OMFI media file storages that
are currently defined for the current project. It also lets you add new
storage types, and modify or delete existing storage types. Each storage
type is identified by its unique Windows share name.
For more information, see “Managing Your Storage Areas” in the Help.
Option
Description
Installed Media
Storages
Lists the storage areas or services defined for the current
project. You can define different storage areas for different
projects.
Name
Displays the unique Windows storage area name or service.
Any previously configured storages are automatically
detected by the media indexer.
Status
Displays the status of the storage area or service and the
local path or location of the storage area. The status should
be Normal. If there is a problem with a storage area or
service, a descriptive message is displayed in this column.
Description
Specifies the type of storage area or service, such as
Avid DS Nitris Video or Avid Media Indexing Service.
Version
Displays the version number of the storage area or service
indexer. Each type of storage and/or service uses a different
indexer.
Add
Defines a new storage area or service for the current project
Remove
Removes a selected storage area or service from the current
project
Change
Lets you change the path of the existing storage area or
service
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Option
Description
Move Up
Moves the storage area or service up a level in the hierarchy
n
Avid DS Nitris searches for media files starting from
the top of the storage list. It uses the first instance of a
media file it finds, so if you have more than one copy
of a media file, make sure that the one you want to use
is located on the topmost storage area in the list. The
order is only important within a given media type,
that is, audio or video.
For example, if you’re using media files that are on a shared
storage system, such as Media Network, and several people
are accessing the media files at the same time, the system
might not be able to guarantee real-time playback. In this
case, you can define a local storage and place it above the
shared storage in the hierarchy. You can copy the media
files from the shared storage to the local one, so that you
have sole access to the media. When Avid DS Nitris
searches for the media files, it will search the local storage
first since it is higher in the hierarchy, which virtually
guarantees real-time playback.
262
Move Down
Moves the storage area or service down a level in the
hierarchy
Refresh
Ensures that the list of configured storages or indexers is up
to date
Close
Closes the Media Storage Configuration dialog box
Media Storage Information Dialog Box
Media Storage Information Dialog Box
Use this
To
Enter the full network path Enter the machine name and folder where the media
to the Avid DS media folder is stored. e.g. \\W8000-UE\ds_media\video
to manage
Enable throttling for this
storage
Select this option if you want this storage area to be
managed by the Avid Throttle Manager. The
Throttle Manager allows for more efficient
bandwidth management between your workstation,
storage areas, and an Avid DS RP workstation.
n
The Throttle Manager needs to be installed
and running in your DS workgroup.
Select the type of media that can be stored in this
Avid DS will index all
supported media file types folder.
found in this folder, but will
If you select None, the Avid DS services will still
only write media of type:
index the media, but no one will be able to capture
or process to this folder. i.e. this storage location
will not appear in the list of storages in the
Processing Options dialog box.
Disk Controller Type
The type of card connected to your storage.
Avid DS Nitris automatically detects the cards that
are installed in your workstation and displays them
in the list.
n
Disk Storage Type
If you are connecting to a remote storage
area on your network, then you must choose
CIFS Network.
The type of storage device connected to your
workstation. Avid DS Nitris automatically detects
the storages that are connected to your workstation
and displays them in the list.
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Media Options (1/2) Dialog Box
The Media Options (1/2) dialog box lets you select specific clips and/or
sequences for which associated media will be restored.
264
Use this
To
Only restore media
referenced by the
following files
Activate the selective restore tool. To restore the
entire project, deselect this option, and click OK.
Selective Restore List
Display a list of master clips and/or sequences for
which associated media will be restored.
Delete
Remove the selected master clip or sequence from
the list.
Add Clip
Add a master clip to the list of items you want to
restore.
Add Sequence
Add a sequence to the list of items you want to
restore.
Media Options (2/2) Dialog Box
Media Options (2/2) Dialog Box
The Media Options (2/2) dialog box lets you choose the compression,
resolution, or sample rate at which the video and/or audio media is
restored.
Use this
To
Media restore options
Choose the type of media and media quality that is to be restored.
You can choose media with a specific compression, resolution, or
sample rate.
When you select a project, Avid DS Nitris automatically detects the
type of media used in the project and gives you the appropriate
media quality choices.
Restore video media
files from tape
Copies the video media from tape to the storage device.
All Compressions: Restore media at all compressions.
Uncompressed Only: Restore only the uncompressed media.
Compressed Only: Restore only the compressed media.
x :1: Restore only the media with the specified compression ratio.
Restore video cache
files from tape
Copies the project’s cached video media from tape to the storage
device.
All Resolutions: Restore media at all resolutions.
X×Y: Restore only the specified resolution.
Restore audio media
files from disk
Copies the audio media files from disk.
All Sample Rates: Restore media of all sample rates.
x KHz media only: Restore only media at the specified sample
rate.
Restore audio cache
files from disk
Copies the project’s cached audio files from disk.
All Sample Rates: Restore media of all sample rates.
x KHz media only: Restore only media at the specified sample
rate.
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Media Properties Dialog Box
The Media Properties dialog box lets you view information about available
audio and video media and individual files.
n
If you are trying to see the properties of media that have not been imported
into your project, the Media Properties dialog box will only list attributes
of the media such as; file size, file type, date created, last modified, and so
on. No property pages will be displayed in this dialog box.
For sequences, only the General Property Page is displayed.
To access the Media Properties dialog box:
t
Right-click a clip or sequence in a bin and select Properties.
Media Property Page (Media Properties)
The Media property page displays information about the various types of
media currently available to the master clip.
Option
Description
Type
Displays the type of media
Quality
Identifies the following quality characteristics of the media:
Sample rate
Identifies the audio sample rate
Bit rate
Identifies the audio bit rate
Compression Identifies uncompressed media or its video compression type
and rate
Resolution
Identifies the physical dimensions of the image in pixels. In
this case, pixels are considered to be square.
Aspect ratio Describes the width over height ratio of the image, generally
4:3 or 16:9. This value is expressed in a decimal format for
non-standard values.
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Media Properties Dialog Box
Option
Description
Color Space Identifies the color space or pixel format. The color space
determines how the color components of the video signal are
represented on screen.
Still
Identifies a still image.
Frame rate or Identifies the frame rate or field rate (number of frames or
field rate
fields per second). For standard NTSC and PAL formats, the
rate is replaced by a format descriptor: NTSC or PAL.
n
Because stills are composed of only one frame and have
no field dominance, they are always identified by a frame
rate instead of a field rate. For example, stills captured
in HD 1080i 59.94 fields/sec are identified as 29.97
frames/s, 60 fields/sec are identified as 30 frames/sec,
and so on.
Dominance
Identifies the field dominance of the captured media. Field
dominance determines the order in which odd and even fields
occur over time. The field dominance of the media can be odd,
even, or none.
Bit depth
Identifies the video storage bit depth. This information is not
available for source media.
Coverage
Identifies whether the available media spans the entire clip or
just a portion of the clip
Location
Displays the storage area where the clip was captured. If a clip
was imported from file, the path to the original file is
displayed.
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General Property Page (Media Properties)
The General property page displays information on the selected file and
lets you add comments.
Option
Description
Name
Displays the name of the selected file
Comments
Lets you type brief comments that describe the clip or sequence. This helps
you manage your media.
Project
Displays the name of the project that contains the selected object
Source
Displays the name of the tape from which this object was captured. You can
modify the source name by selecting a new tape name from the list.
If a clip was imported from file instead of Source, this parameter is named
File.
Created By
Displays the user name of the person who created this clip
Created
Displays the date the file was created
Modified By
Displays the user name of the person who modified this clip
Modified
Displays the date that the information in this file was last changed
Start
Clip: Displays the starting timecode of the selected clip
Sequence: Displays the starting timecode of the selected sequence
End
Clip: Displays the ending timecode of the selected clip
Sequence: Displays the ending timecode of the selected sequence
268
Duration
Displays the length of clip in timecode
Physical Start
Displays the starting timecode as it appears on the deck’s faceplate (for a
deck that can be addressed in a format different from its recording speed)
Physical End
Displays the ending timecode as it appears on the deck’s faceplate
Media Properties Dialog Box
File Info Property Page (Media Properties)
The File Info property page displays information on the selected file. It
provides you with the original location of the file, the file’s original video
resolution, frame rate, audio sample rate and bit depth, the video settings at
which you captured the file, as well as the current status of the original file.
Option
Description
Clip was logged from
the following file
Displays the location from where the file was captured
Resolution
Displays the resolution of the original video media file
Frame Rate
Displays the frame rate of the original video media file
Audio
Displays the sample rate and bit depth of the original
audio file
Settings
Displays the video settings at which the video media
file was captured:
Fit to Frame
Centered Image
Keep Alpha
Preserve Aspect Ratio
Convert Video Frame Rate
Premultiplied Alpha
Auto-Dither
Video Levels
Pixel Ratio
Format-Specific
For master clips imported from DPX or Cineon files,
opens the DPX Import dialog box, in which you can
modify the parameters of the lookup table (LUT)—see
Capturing from DPX Files in the Help.
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Option
Description
Status
Indicates whether the file is still located in the folder
from which it was captured
Relink file
Lets you re-establish the link for a linked file that has
been moved from its original location
Track Patching Property Page (Media Properties)
The Track Patching property page displays information on the audio
format and audio input assignment. It also lets you reassign the hardware
inputs to different audio channels that may be necessary when recapturing
audio media.
Option
Description
Audio Format
Displays the audio format of the clip
Physical
Assignments
Lets you reassign the physical audio inputs to specific
audio channels for the recapture process
Mixer
The mixer combines the audio signals coming from the audio tracks and
routes them to the output strips. You can assign the channels of an audio
track to a specific output strip.
The mixer has two views, the standard view and the routing view.
To access the mixer:
t
270
From the view switcher, click the Mixer button.
Mixer
Mixer: Standard View
The standard view is the default view of the mixer. In this view you can
add audio effects, adjust the volume levels, pan the signals, and mute or
solo the various tracks. You can also animate most of the controls on the
mixer.
To access the standard view:
t
Click the Standard View button.
Mixer: Standard view
Mixer input strips
Mixer output strips
Master Mute button
Solo indicator
Routing View button
Standard View button
Mixer Configuration
Animation controls
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Use this
To
Mixer Input strips
Monitor or control the volume of the sound coming
from the corresponding audio tracks. You can also
add effects to the strip before it is mixed with other
strips.
Mixer Output strips
Monitor and control the volume of the sound being
output.
Master Mute button
Turn off the audio output.
Solo Indicator
Indicate if any of the mixer strips is soloed.
Standard View button
Displays the standard mixer view with the mixer
effects box and the gain control on the mixer input
strips.
Routing View button
Displays the mixer routing view that shows the
matrix routing panel.
Mixer Configuration
Specify the Mixer output configuration you want to
use.
Animation controls
Automate the controls on the input strips. The
animation controls let you manually set or delete
keyframes. The appearance of the color green on this
button indicates the presence of animation in the
mixer.
From here, you can also remove all animation from
the mixer input strips.
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Mixer
Mixer: Routing View
The Routing view contains the Matrix Routing panel for the input strips,
which lets you assign the input strips to audio output channels.
Also, in this view, the number of level meters on the input strips matches
the number of audio channels on the track. For example, 5.1 tracks have six
level meters and 8 stream tracks have eight level meters.
n
If you’ve enabled the pan on a mono track, the number of level meters on
the input strip matches the number of output channels. This is because the
mono signal has been split to allow for the positioning of the sound with
the pan control.
To access the routing view:
t
Click the Routing View button.
Input strips
Output strips
Matrix routing
panels
Master Mute
button
Solo
indicator
Routing View
button
Standard
View button
Mixer
Configuration
Animation controls
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Mixer Configuration Formats
You can capture and output up to eight channels of audio in the following
formats:
To change the mixer configuration:
t
274
Click the Mixer Config list box and select a configuration.
Format
Description
Mono
Single channel of audio
Stereo
Two audio channels: Left and Right
Quadraphonic
Four audio channels: Left, Right, Left rear, Right rear
LCRS
Four audio channels: Left, Center, Right, Surround
4 Stream
Four audio channels: Outputs 1 to 4
5.1
Six audio channels: Left, Right, Center, Low Frequency Emitter,
Left surround, Right surround
6.1
Seven audio channels: Left, Right, Center, Low Frequency
Emitter, Surround Center, Side Left, Side Right
7.1
Eight audio channels: Left, Right, Center, Low Frequency
Emitter, Left surround, Right surround, Left center, Right center
8 Stream
Eight audio channels: Outputs 1 to 8
Mixer
Mixer Input Strips
An input strip corresponds to an audio track on the timeline. The strip
controls let you add effects and adjust the overall volume and balance of
each track. The signals from all strips are then mixed and routed to the
output strips.
Matrix
Routing
panel
Effects box
Surround
Panner
Mute
Animation button
Pan
Solo
Peak indicator
Fader
Level meters
Fader level
Post button
Strip name
Mono Input strip with
surround panner enabled
Stereo input strip in
the default mixer view
Alternate Track view
showing Matrix Routing
panel
Use this
To
Matrix Routing panel
Specify the output strip to which the audio channels
are routed.
Effects box
Apply audio effects to the entire track before it is
sent into the mixer. These effects are applied before
you make any adjustments using volume and pan
controls.
Mute
Turn the sound on or off.
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Use this
To
Solo
Isolate the sound so that you hear it on playback.
When a strip is soloed, you cannot hear the sounds
on the other strips.
Animation button
Activate the controls that you want to animate.
Pan
Adjust the balance to direct the output signal to the
proper speaker in a stereo configuration.
Surround Panner
Adjust the balance to direct the output signal to the
proper speaker in a surround configuration.
Peak indicator
Monitor the level of the signal coming from the
audio track. If a red light appears on the indicator,
you should lower the volume on the strip.
Fader
Adjust the volume on the strip before it is sent to the
mixer. The fader markings are displayed in decibels
and range from 20 dB to -inf dB.
Level meter
Monitor the level of the signal coming from the
audio tracks before they are mixed. The level
meters range from 0 dB to -inf dB.
Post button
Switch the level meters between a pre-fader and a
post-fader display of the audio signal levels. By
default the level meters show the pre-fader levels.
Strip name
View or change the name of the input strip. This
name is automatically changed on the
corresponding audio track on the timeline.
Mixer Animation Menu
The Mixer Animation menu lets you automate the movement of controls
on the mixer input strip. You can select the controls that you want to
animate from the Mixer Animation menu.
To access the Mixer Animation menu:
t
276
Right-click the animation button on the mixer input strip.
Mixer
Command
Description
Record Fader
Animation
Records the movements of the fader
Record Pan
Animation
Records the movements of the pan slider
Record Mute
Animation
Records the state of the Mute button
Bypass Fader
Animation
Ignores any adjustments made to the fader
Bypass Pan
Animation
Ignores any adjustments made to the pan slider
Bypass Mute
Animation
Ignores any adjustments made to the Mute button
Delete Fader
Animation
Deletes the animation of the fader
Delete Pan
Animation
Deletes the animation of the pan slider
Delete Mute
Animation
Deletes the animation of the Mute button
Delete All
Animation
Deletes the animation of all the mixer controls
Effects Box Menu (Mixer)
The Effects Box pop-up menu lets you add, remove, and edit effects on the
mixer input strip.
To access the Effects Box menu:
t
In the Mixer view, right-click the effects box.
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Command
Description
Add Effect
Adds a new effect to the mixer strip
Delete Effect
Deletes the selected effect
Delete All
Deletes all the effects in the effects box
Bring to Top
Moves the selected effect to the top of the stack
Raise
Moves the selected effect up one position in the stack
Lower
Moves the selected effect down one position in the stack
Push to Bottom
Moves the selected effect to the bottom of the stack
Effect Properties
Opens the selected effect’s property editor
Bypass
Bypasses the selected effect
Pan Menu (Mixer)
The Pan pop-up menu lets you turn panning on or off on the specified
track.
To access the Pan menu:
t
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In the Mixer, right-click the pan control on the mixer input strips.
Command
Description
Enable Pan
Turns panning on or off on this track
Mixer
Mixer Output Strips
The results of the refinements on all the input strips are mixed and passed
to the output strips. Output strips let you adjust the output volume of the
audio signals. The number of output strips on the mixer depends on the
mixer configuration selected. The signal from the output strips is then
directed to an external device.
n
If you are working within a container clip, the signal is routed to the parent
container clip.
Mute
Peak indicator
Fader
Level meter
Strip name
Use this
To
Mute
Turn the signal on or off. This prevents the signal
from being sent to the output device or parent
container clip.
Peak indicator
Monitor the level of the output signal. If a red light
appears on the indicator, you should adjust volume
on the strip.
Level meter
Monitor the level of the mixed signals before they
are sent to the output device.
Fader
Adjust the volume before it is output.
Strip name
View the name of the output strip.
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Navigation Menu
The Navigation menu lets you navigate between container clip timelines or
the top timeline. The top timeline displays all clips, effects, transitions, and
edits within your sequence, while the container clip timeline only shows
the clips of which it is comprised.
To access the Navigation menu:
t
280
Select Navigation.
Command
Description
Go to Parent Timeline
Opens the parent timeline
Go to Top Timeline
Opens the topmost level of the timeline. It lets you
view and edit all clips in the sequences.
NLE Tools Toolbar
NLE Tools Toolbar
The NLE Tools toolbar lets you perform general editing tasks, apply
transitions and effects, find and add locators, navigate the timeline, work
with container clips and reference clips, process timeline material, purge
material, and add cache nodes. This toolbar is in the Editing Layout.
Option
Description
Editing
Create Video Track
Adds a video track to the timeline.
n
Create Audio Track
This command is not available in audio or background
container clips.
Adds an audio track to the timeline.
n
This command is not available in background and composite
container clips.
Magnetism
Turns magnetism on or off on the timeline
Activate
Makes a clip active
Deactivate
Removes a clip’s activeness
Cut To
Switches activeness to the selected clip
Add Edit
Slices the selected clip in two, at the position indicator position
Sync Lock
Locks two or more clips together so that their relative positions remain
the same. This command sets the sync lock, but also removes it,
depending on the selection.
Resync
Resets the synchronization between a slave clip and the master clip
when they are offset
Select Sync Peers
Selects all clips in the sync group
Snap In
Trims the selected clip’s in-point and applied effects to the location of
the position indicator
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Option
282
Description
Snap Out
Trims the selected clip’s out-point and applied effects to the location of
the position indicator
Select Edit Points
Displays edit handles on in and out-points of selected clips
Link Edits
Links both sides of a broken edit point
Break Link
Breaks the link between two clips at an edit point
Set Ripple End
Sets the end of the ripple at the current position indicator
Match Frame
Locates the master clip or subclip that corresponds to the currently
selected clip on the timeline and drops it into the dual viewer
Match Bin
Performs a match frame and displays the location in the Explorer
Scratch Removal
Applies a Graphics (Scratch Removal) effect with a duration of two
frames on the selected clip. By default, the Graphics combo view is
displayed with these Scratch Removal properties: Freehand tool with
Clone as the brush effect, source frame (relative, -1), and time span
(this frame only).
Simple Titling
Applies a Graphics (Simple Titling) effect on selected clip, track, or
region. By default, the Graphics combo view is displayed with these
Text tool properties: white text, face only, Arial (regular, 36), RGB,
and time span (start to end).
Expand Ref Clip
Opens the selected reference clip
Collapse Ref Clip
Closes the open reference clip and returns to the top timeline
Clip Effect
Applies a clip effect to a selected clip
Track Effect
Applies a track effect to the selected region of a track or the whole
track
Timeline Effect
Applies a timeline effect to the selected region of the timeline track or
the whole track
NLE Tools Toolbar
Option
Description
Containers
Lets you create different types of container clips
Composite Container
Creates a composite container clip and opens the Compositing layout
Audio Container
Creates an audio container clip
Background Container
Creates a background container clip
Navigation
Next Edit
Goes to the next edit point
Previous Edit
Goes to the previous edit point
Go to Next Locator
Moves the position indicator to the next locator
Go to Previous Locator
Moves the position indicator to the previous locator
Go to Start of Selection
Moves the position indicator to the beginning of the selected clip,
track, or region
Go to End of Selection
Moves the position indicator to the end of the selected clip, track, or
region
Go to Top Timeline
Opens the topmost level of the timeline, which lets you view and edit
all clips in the sequences
Go to Parent Timeline
Opens the parent timeline
Purge
Purge Cache
Purges the cache for the current selection(s)
Purge All Caches
Deletes all cache files in the current sequence
Purge Memory Caches
Deletes all interactive memory caches
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Option
Description
Time Effects
3:2 Contract
Recreates the original film sequence at 24 frames per second
3:2 Expand
Produces the proper field sequence for converting a 24-fps clip to a
video-compatible 30-fps clip
Deinterlace
Separates the odd and even fields in a video clip
Interlace
Combines the odd and even fields in a video clip
Timewarp
Applies the Timewarp effect to a clip to change its playback rate
Freeze
Freezes the frame at the position indicator
Video Effects
Displays the list of video effects you can apply to the selected clip,
track, or region
Transition Effects
Dissolve/Crossfade
Applies the Dissolve transition between two overlapping video clips or
a crossfade between two overlapping audio clips. An edit point must
be selected to apply the Dissolve/Crossfade transition.
Wipe
Applies the Wipe transition between two overlapping clips. An edit
point must be selected to apply the Wipe transition.
DVE
Applies the DVE transition between two overlapping clips. An edit
point must be selected to apply the DVE transition.
Generate
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Source Generator Clip
Creates a clip with an effect applied as a background over the selected
track region
Snapshot to Clip
Creates a master clip from the current frame
Snapshot to File
Saves the current frame as an image file
Timeline to Clip
Converts the selected portion of the timeline to a master clip
NLE Tools Toolbar
Option
Import Photoshop...
Audio Effects
Description
Imports layered Photoshop files. This tool lets you import the
Photoshop files while preserving all the layer information. A sequence
file, with one composite container, is created in the Avid Explorer
along with a master clip for each layer. Each layer in the Photoshop
file is recreated in the composite container as a layer and
corresponding clip on a composite track.
Displays a list of audio effects you can apply to the selected clip, track,
or region
Processing
Process
Displays the Processing Options dialog box—see “Processing Options
Dialog Box” in the Help.
Add Cache Bar
Adds a cache bar to the selected clip, tack, or timeline
Process Reference Clip
Processes the reference clips
Process Timeline and
References
Processes the entire timeline, including reference clips
Delete RP Cache Bars
Deletes cache bars created automatically when you send effects to a
remote processing station—see “Remote Processing” in the Help. This
option does not delete the remote processing jobs associated with the
cache bars.
Deletes cache bars and their associated DMS jobs when the jobs are
Delete RP Cache Bars with
their Successfully Completed successfully completed—see “Monitoring Remote Processing Jobs
DMS Jobs
with the Avid DMS Broker” in the Help
Delete RP Cache Bars with
their DMS Jobs
Deletes cache bars and their associated DMS jobs
Delete Successfully
Completed DMS Jobs
Deletes jobs managed by DMS that have been successfully completed,
but leaves cache bars on the timeline
Delete All DMS Jobs
Deletes all jobs managed by DMS, but leaves cache bars on the
timeline
Media IO
Capture Tool
Opens the Capture Tool.
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Option
Description
Output Tool
Opens the Output Tool.
Capture Settings
Opens the Capture Settings View.
Deck Configuration
Opens the Deck Configuration View.
Capture Only Active Material When selected, recaptures only active clips on the timeline.
Recapture Entire Timeline
Begins the recapture process, using the settings specified in the
Recapture Entire Timeline with Options dialog box—see “Batch
Capturing” in the Help.
Recapture Entire Timeline
with Options
Opens a dialog box that lets you change the heads and tails of the clip
(handles) and set other options.
Recapture Timeline Selection Begins the recapture process for a selected portion of the timeline,
using the settings specified in the Recapture Timeline Selection with
Options dialog box.
Recapture Timeline Selection Opens a dialog box that lets you set options for recapturing a selected
with Options
portion of the timeline.
Project Manager
The Project Manager displays all the projects on your workstation, and lets
you archive, restore, or delete these project files and their media.
To access the Project Manager, do one of the following:
286
t
From the view switcher, click the Project Manager button.
t
Select View > Single-Instance Views > Project Manager.
t
Select Data Management > Project Manager.
Project Manager
Archive Property Page (Project Manager)
The Archive property page lets you archive any project to tape or disk. You
can also select the compression, resolution, or sample rate at which the
video or audio media is archived.
Use this
To
Choose a project to archive
View the list of projects on your workstation.
Select Project Directory
Search the specified directory for Avid DS Nitris projects and
create a list.
Media archive options
Select the type of media and media quality to be archived. You can
choose media with a specific compression, resolution, or sample
rate.
When you select a project, Avid DS Nitris automatically detects the
type of media used in the project and gives you the appropriate
media quality choices.
n
Archive video media
files to tape
Video files can only be archived to tape, and audio files only
archived to disk.
Copy the video media to tape.
•
All Compressions: Archive media at all compressions.
Uncompressed Only: Archive only the uncompressed media.
Compressed Only: Archive only the compressed media.
X:1 Only: Archive only the media with the specified
compression ratio.
•
All Resolutions: Archive media at all resolutions.
XxY Only: Archive only the media with the specified
resolution
•
All Bit Depths: Archive media at all bit depths.
x Bits Only: Archive only the media with the specified bit
depth
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Use this
To
Archive video cache files
to tape
Copy the project’s cached video media to tape. Select from the
same options as “Archive video media files to tape.”
Archive audio media files
to disk
Copy the audio media to disk.
All Sample Rates: Archive media of all sample rates.
x KHz media only: Archive only media at all specified sample
rate.
Archive audio cache files
to disk
Copy the project’s cached audio media to disk.
Select from the same options as “Archive audio media files to disk.”
Project archive destination
Specify where the project data and audio media, if any, are to be
stored. By default, the path is set to \DS Archives\name and date\.
Archive
Begin the archive process.
Restore Property Page (Project Manager)
The Restore property page lets you restore any archived projects back to
the local disk on your workstation. You can choose whether you want to
restore only the audio media, video media, or both.
Use this
To
Select an archive to
restore from
Choose an archive to restore.
Archive folder
Select a destination
to restore to
288
Type a path or use the Browse button to locate the
folder where the archived project is stored. By default,
archives are stored under \DS Archives\name and
date\.
Select a folder from which the archive will be
restored.
Project Manager
Use this
Project name
Options
Select media to
restore
Restore
To
Type a path or use the Browse button to specify the
folder and project name for the restored project data.
By default, projects are restored to the DS Projects
folder.
Select which types of media to restore.
Display a dialog box where you can choose the type
of media that you want restored. This option is only
active when you are restoring a project that contains
media.
Begin restoring the selected archive.
Delete Property Page (Project Manager)
The Delete property page lets you delete any projects on your local
workstation and display the size of the project files and their media, as well
as the date that it was last modified.
Option
Description
Choose a project to
delete
Lets you choose a project to delete
Project
Name of the project
Size
Size of the project files
Video Media
Size of the video media associated to the project
Audio Media
Size of the audio media associated to the project
Last Modified
The last date that any changes were made to the project
Location
The path where the project is located
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Option
Description
ID
The identification number given to the project by
Avid DS Nitris
Refresh
Updates the list of projects
Delete
Removes the selected project files and their media
Media Property Page (Project Manager)
The Media property page gives you detailed information on your storage
devices. You can find out the exact location and size of your storage, the
free disk space available, and the percentage that is full. It also provides
information on each of the projects that reside on the storage device.
290
Use this
To
Selected Storage
Select a storage device.
Description
View the name and location of the storage device, the total
disk size, the amount of free space on your disk, and the
percentage that is full.
Details of Storage
Use
View a list of the projects located on the selected storage
device. The list gives you the item or project name, project
size, percentage of space taken by each project, and project
location.
Delete
Begin deleting media from the selected storage device and
project folder.
Refresh
Update the Details of Storage Use list.
Info
View the location of the project selected in the Details of
Storage Use list.
Slip/Slide Mode
Slip/Slide Mode
The Slip/Slide mode lets you slip or slide clips. The Slip option lets you
change a clip’s contents without affecting its position and duration on the
timeline. The Slide option lets you change a clip’s location on the timeline
without affecting its content. Instead, the previous and next clips are
trimmed to accommodate the operation.
Head frame
Outgoing frame
Tail frame
Incoming frame
Source
timecodes
Trim Nudge buttons
Use this
To
Slide
Move a clip to a new timecode without changing its in-points, out-points,
or contents.
When working with other clips, the activeness of the selected clip remains
intact, while the previous and next clips is trimmed or extended to
accommodate the operation.
Slip
Keep the selected clip fixed on the timeline while moving the clip’s
contents.
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Use this
To
Outgoing frame (first viewer)
View the frame at the out-point of the previous clip.
Head frame (second viewer)
View the frame at the in-point of the selected clip.
Tail frame (third viewer)
View the frame at the out-point of the selected clip.
Incoming frame (last viewer)
View the frame at the in-point of the next clip.
Source timecodes
View the timecode (for the source media) at the selected edit point. The
timecode is displayed for all views.
Available Frames
View the number of frames available for slipping or sliding the selected
clip.
Offset
View or set the number of frames to be slipped or slid on the current clip.
It shows the number of frames currently slipped/slid for the specified
clip/edit point. This number can be changed by typing a new value.
Play Preview
Play the transition area with the pre-roll and post-roll frames in Loop
mode.
Trim Nudge buttons
Slip or slide the selected clip by one or ten frames.
< or >
Slip or slide the selected clip forwards or backwards by one frame.
<< or >>
Slip or slide the selected clip forwards or backward by ten frames.
Previous Clip/Next Clip
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Move to the previous or next clip in the sequence. This updates the views
and timecodes, and resets the offset frame count.
Surround Panner
Surround Panner
The Surround Panner lets you specify the positioning and movement of the
sound elements in your sequence.
To access the Surround Panner:
t
Select View > Single-Instance Views > Surround Panner.
Panning area
Track list
Mute, solo and
animation buttons
Divergence
Pan control
Gain and LFE faders
Use this
To
Panning area
Define the boundaries of the room.
Pan control
Specifies the location of the sound within the panning area
Track
Select the track that the Surround Panner will be applied.
Mute
Turn the sound on or off for a particular track.
Solo
Isolate the sound for a particular track.
Animation button
Record animation for the surround panner controls.
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Use this
To
Divergence
Specify the size of the sound source.
Gain fader
Adjust the volume on the track. The fader markings are
displayed in decibels.
LFE fader
Adjust the volume on the Low Frequency Emitter (LFE).
Test Pattern
The Test Pattern effect generates a clip using a number of different test
patterns.
Option
Description
Pattern
Displays list of different test patterns
Preview
Displays preview of selected pattern
Time Effects
The time effects let you process images by rearranging the fields and
frames in a clip.
3:2 Contract Property Editor
The 3:2 Contract property page lets you remove field artifacts in a clip that
was converted from a 24 fps file to a 30 fps video.
This property page does not contain any specific parameters for you to set.
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Time Effects
3:2 Expand Property Editor
The 3:2 Expand property page lets you produce the proper field sequence
for converting a 24 fps clip to a video-compatible 30 fps clip. To return the
clip to its original speed and frame rate, apply a 3:2 Expand after a 3:2
Contract.
This property page does not contain any specific parameters for you to set.
Deinterlace Property Editor
The Deinterlace property page lets you separate frames into odd and even
fields.
A deinterlaced clip is twice the length of a regular clip. Click Update
Duration, in the Deinterlace property editor to update the clip’s length on
the top timeline. This is done automatically when you create a deinterlace
container clip.
After you’ve finished your modifications on the deinterlaced clip, you can
use the Interlace effect to reinterlace your clip.
Option
Description
Interpolation
Specifies if and how to interpolate contents of added frames
None
Performs no interpolation. The added frames are exact
duplicates of the adjacent frames. This option is best for
clips containing static images.
Linear
Interpolates entire clip. This option is best for clips
containing moving images.
Adaptive
Interpolates moving areas of clip only. This option is best
for clips that have both a static and moving component.
Motion
Thresholds
Specifies how to treat static and moving areas of the clip
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Option
No Motion
Description
Affects static areas of image. 0% means deinterlace (this
reduces the quality of static images); 100% means no
deinterlacing is performed on static areas.
n
Fast Motion
Affects moving areas of the image. 0% means it will be
deinterlaced; 100% means no deinterlacing is performed on
moving areas. Higher values remove more interfield
artifacts. The effect must be processed in order to see the
changes.
n
Default
Invert Field
Dominance
The No Motion Value cannot be higher than the Fast
Motion value.
The Fast Motion Value cannot be lower than the No
Motion value.
Resets Motion Threshold parameters to the default values
Changes order in which odd and even fields are deinterlaced
Interlace Property Editor
The Interlace property page lets you recombine frames in a clip that were
separated into odd and even fields using the Deinterlace effect (or were
separate prior to capture).
An interlaced clip is half the length of a regular clip. Click Update
Duration in the Interlace property editor to update the clip’s length on the
top timeline. This is done automatically when you create an Interlace
container clip.
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Option
Description
Invert Field
Dominance
Changes order in which odd and even fields are interlaced
Time Effects
Timewarp (video) Property Editor
The video Timewarp property editor lets you speed up, slow down, or
freeze the action in a clip. You can also apply a strobe effect, and change
the apparent speed of a clip to a constant speed by modifying its speed or
duration. You can also make the clip gradually slow down, speed up or
reverse by adjusting the associated speed or duration function curves.
When you increase the duration, the timewarp effect adds duplicates of
frames; when you decrease the duration, it removes frames. This gives the
appearance of an increase or decrease in speed.
General Property Page (Video Timewarp)
The General property page lets you specify the timewarp mode, the speed
and duration of the timewarp, and the frames affected.
You can use the different timewarp modes to apply different changes to the
action in a clip. The video timewarp modes are:
•
Constant mode speeds up or slows down the action in a clip by giving
it a new constant speed.
•
Speed mode applies a variable speed, so that the action speeds up or
slows down progressively.
•
Input Speed mode applies a variable speed based on the source clip in
the timewarp container clip.
•
Position mode rearranges the action completely by changing the
position of frames.
•
Hold mode freezes frames.
The modes are mutually exclusive, meaning that you can select only one at
a time. Only the speed controls in the selected mode affect the speed of
action.
When you apply a timewarp effect to a clip, the effect modifies the number
of frames in the clip. You must click the Update Duration button to update
the clip to its new length. When using the Position or Speed mode, the
container clip has an infinite duration by default. When you use Update
Duration in either of these modes, it has no effect.
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Interpolate and Invert Fields
The Interpolate, Invert Fields, and Base Frame parameters described below
are common to all four modes. For example, if you select Interpolate in
Constant mode, it remains selected if you change to Speed mode.
Option
Description
Mode
Lets you select a type of timewarp
Interpolate
Interpolates fields to produce a smoother motion. When
deselected, added frames are exact duplicates of adjacent
frames.
Invert Fields
When Granularity is set to Fields in the Processing Options
dialog box, this option changes the order in which odd and
even fields are processed. The default field dominance
setting is determined when you first define your sequence
video format as being NTSC or PAL (odd fields first for
NTSC, even fields first for PAL). By selecting this option,
you invert field dominance.
Constant Mode (Video Timewarp)
The Constant mode maintains a constant speed throughout the timewarp.
There are two methods of changing the speed—as a percentage of the
original speed, or by typing a new speed in frames per second. There are
also two ways of changing the duration—by changing the end timecode or
the total number of frames.
When you change the speed, you are changing the apparent speed of
action. The corresponding duration is calculated, and frames are added or
removed as needed. Since these controls are interrelated, changing one of
them, updates the other three accordingly.
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Time Effects
Option
Description
Base Frame
The first frame to which the speed changes are
applied. The base frame always uses the source
timecode, not the master timecode.
Fix At
Specifies timecode of base frame
First
The first frame of the container clip
Last
The last frame of the container clip
Speed (%)
From
Applies a new constant speed that you specify as a
percentage of the original speed
Specifies original speed of action, always equal to
100%.
n
To
Speed (Frames Per
Second)
From
Specifies new speed of action
Applies a new constant speed that you specify in
frames per second
Specifies original speed in frames per second.
n
To
Duration (SMPTE)
From
This value is based on the source material
inside the timewarp container clip, and is not
editable.
This value is based on the source material
inside the timewarp container clip, and is not
editable.
Specifies new speed of action in frames per second
Change duration of the clip by typing the desired
duration in SMPTE timecode
Specifies original duration in SMPTE timecode.
n
This value is based on the source material
inside the timewarp container clip, and is not
editable.
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Option
To
Duration (Frames)
From
Description
Specifies new duration in SMPTE timecode
Change duration by typing the desired number of
frames
Specifies original duration in frames.
n
To
This value is based on the source material
inside the timewarp container clip, and is not
editable.
Specifies new duration in frames
Speed Mode (Video Timewarp)
The Speed mode lets you vary the rate of playback over time.
300
Option
Description
Base Frame
The first frame to which the speed changes are applied. The
base frame always uses the source timecode, not the master
timecode.
Fix At
Specifies timecode of base frame. This frame identifies
where the start frame for a reversal will begin.
First
The first frame of the container clip
Last
The last frame of the container clip
X axis
Timecode on the top timeline ruler
Y axis
Apparent speed of action as a percentage of the original
speed
Time Effects
Option
Description
Curve
Modifies the curve to adjust the apparent speed at different
parts of the clip. Ctrl-click the curve to add more points
with handles that you can move to further control the shape
of the curve.
n
Moving a portion of the curve below zero makes the
clip play backward.
Position indicator
Move the position indicator across the graph to view
different parts of the clip
Speed
Specifies speed of function curve at the current position
indicator position
Input Speed Mode (Video Timewarp)
The Input Speed mode lets you set the speed of the timewarp based on the
source clip.
Option
Description
Base Frame
The first frame to which the speed changes are applied.
The base frame always uses the source timecode, not
the master timecode.
Fix At
Specifies timecode of base frame
First
The first frame of the container clip
Last
The last frame of the container clip
X axis
Timecode inside the timewarp container
Y axis
Apparent speed of action as a percentage of the original
speed
Curve
Modifies curve to adjust the apparent speed at different
parts of the clip
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Option
Description
Position indicator
Move position indicator across the graph to view
different parts of the clip
Speed
Specifies speed of curve at the position indicator
Show Input Frames
Displays current frames of source clip
Position Mode (Video Timewarp)
The Position mode lets you vary the speed of the clip by changing the
position of frames on the container clip’s timeline.
The Position function curve lets you change the apparent speed graphically
by adjusting the position of frames at different key points. For example, to
start the clip at the fifth frame, play to the tenth frame, and then end on the
first frame, you move key points on the function curve. You can vary the
slope of the curve to adjust the apparent speed.
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Option
Description
Base Frame
The first frame to which the speed changes are applied.
The base frame always uses the source timecode, not the
master timecode.
Fix At
Specifies timecode of base frame
First
The first frame of the container clip
Last
The last frame of the container clip
X axis
Represents timecode on the top timeline ruler
Y axis
Represents original timecode of each frame inside the
timewarp container clip
Time Effects
Option
Description
Curve
Modifies the curve to adjust the position of frames at
different parts of the clip. Press Ctrl and click the curve to
add more points with handles that you can move to further
control the shape of the curve.
Position indicator
Moves position indicator across the graph to view different
parts of the clip
Position
Specifies apparent speed at the position indicator
Hold Mode (Video Timewarp)
The Hold mode gives part of the clip a speed of zero by freezing a specific
frame. You can replace the entire clip with this frame, hold the frame for
the rest of the clip, or hold the frame for a specific duration. You can also
apply a strobe effect to the clip.
Option
Description
Hold Frame
Indicates frame that you want to hold
Fix At
Specifies timecode of the frame to hold, using the
source timecode
First
Holds first frame in timewarp container clip
Last
Holds last frame in timewarp container clip
Mode
Specify length of time to hold frame
Replace Entire Clip
with this Frame
Replaces every frame in the container clip with the
Hold Frame
Hold this Frame
Indefinitely
Changes apparent speed to 0 from the Hold Frame
to the end of the clip
Ease In
Gradually reduces apparent speed for the specified
number of frames before the Hold Frame
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Chapter 3 Editing Reference
Option
Description
Hold This Frame for a Changes apparent speed to 0 for part of the clip by
Fixed Duration
freezing one frame
Duration
Specifies the number of frames during which the
specified frame is frozen
Ease In
Gradually reduces the apparent speed for the
specified number of frames before the Hold Frame.
The speed is reduced from the original speed to 0.
Ease Out
Gradually increases the apparent speed for the
specified number of frames after the Hold Frame.
The speed increases from 0 to the clip’s original
speed.
Strobe
Repeats a number of frame(s) and then skips
forward by the same number. Strobe is applied to
the entire container clip.
Frequency
Specifies number of frames to be repeated and then
skipped. If the frequency value is 1, the clip plays
normally. If the frequency value is 2, the first frame
plays twice, the second is skipped, the third plays
twice, the fourth is skipped, and so on.
Hold On
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Specifies whether to freeze a frame or field. The
field option is useful when you have fast moving
objects in a clip. By freezing a single field, you can
alleviate undesirable stuttering effects.
Frame
Freezes full frame. When selected, Avid DS Nitris
does not need to process the frame. This setting
overrides the processing setting in the sequence
preferences dialog box.
Field 1
Freezes first field
Field 2
Freezes second field
Time Effects
Options Property Page (Video Timewarp)
The Options property page lets you specify if your source material is frame
or field-based. Static graphics images, 30fps film, and 30fps CGI
(computer generated images) are some examples of frame-based material.
The Source Material options inform the effect if your source material is
frame or field-based. Be sure to select the correct option depending on the
type of source material you are using.
The Source Material options work in tandem with the Granularity options
in the Processing Options dialog box. The Granularity options let you
specify if the animation should be processed in field or frames. Processing
in fields provides smoother animation as the animation is interpolated over
each field.
For example, if your source material is a static logo on which you apply an
animated DVE effect, you should set the Source Material options to Frame,
and the Granularity option of the Processing Options dialog box to Fields.
This will ensure the best quality of image because the entire frame will be
used by the DVE to perform the interpolation, instead of a single field.
Since the granularity is set to Fields, the animation itself will be fieldbased, creating a smoother animation.
Option
Description
Frame
Specifies that the source material is frame-based.If the
image on which an effect is applied is a frame-based
image, then you should select this option.
If the effect contains parameters that are animated,
then set the Granularity option (Processing Options
dialog box) to Fields to produce a smooth animation.
Same As Processing
Specifies that the source material is the same
Granularity setting in the Processing Options dialog
box. This is the default option.
If the image on which an effect is applied is fieldbased, then select the Same As Processing option, and
make sure that the Granularity setting (Processing
Options dialog box) is set to Fields as well.
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Option
Description
Output Frame Size
Forces effect to process and output pixels which fall
within the frame. For example, if you have a PAL
sequence that is 720x576 and you process an image
larger that the PAL frame (2000x2000) then only the
pixels that fall within the PAL window will be
processed and output from this effect.
Adaptive Deinterlacing Interpolates the moving areas of the image only
Motion Thresholds
Specifies how to treat static and moving areas of the
image
No Motion
Affects static areas of the image. 0% means
deinterlace (this reduces the quality of static images).
100% means no deinterlacing is performed on static
areas.
Fast Motion
Affects moving areas of image.
0% means it will be deinterlaced. 100% means no
deinterlacing is performed on moving areas.
n
Default
Higher values remove more interfield artifacts.
The effect must be rendered in order to see the
changes.
Resets Motion Threshold parameters to the default
values
Timeline
Before you can begin building a rough cut of your sequence, you need to
understand the components of the timeline.
The timeline is where you place and edit clips to build a sequence. It
graphically displays the position of video and audio clips, container clips,
transitions, and effects over time.
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Timeline
Similar to a storyboard, the timeline lets you view clips and their position
in time. You can edit a clip's in and out-points, add transitions, and apply
effects.
The timeline can support any number of tracks or clips. New video tracks
are added to the top of the timeline, while audio tracks are added to the
bottom. New background tracks are added between the video tracks and
audio tracks. As you place clips on the tracks, the timeline stretches to
accommodate them. You can zoom in and out on the timeline, or scroll the
tracks up or down.
The timeline uses a bottom-up hierarchy when playing sequences. This
hierarchy lets you use the video tracks to layer effects. Depending on the
Track selector settings (such as track selection, solo, and mute), the effects
and video clips with full-screen alpha clips placed on top tracks are
composited over the clips on the lower tracks. However, only active clips
playback.
n
When active video clips on top tracks overlap active video clips on lower
tracks, the clips on the top tracks are viewed during playback. The
activeness of the clips on the lower tracks does not matter.
Overview area
Timeline controls
Ruler
Timeline ribbon
Timeline effect
track ripple
Timeline effect track
Video tracks
Track selector
Background track
Audio track
Timeline navigation bar
Position Indicator
Timecode boxes
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Use this
To
Timeline controls
Perform operations such as zooming, global rippling,
and setting locators on the timeline.
Track selector
Perform operations such as selecting, muting,
soloing, and rippling tracks.
Overview area
View all the clips and tracks in a sequence.
Ruler
Display the timecode scale for your sequence.
Timeline ribbon
Place edit or reference locators. This area also
displays areas of the sequence that need processing.
Timeline effect track
Place effects on top of all other effects on the video
and background tracks. The effects modify the output
of all images on the tracks below.
Timeline effect track
ripple
Activate or deactivate the Ripple mode for the
timeline effect track.
Video tracks
Place video clips that are to be composited over clips
on background tracks and lower video tracks.
Background track
Place video clips, graphics, and effects for your
sequence.
Audio tracks
Place audio clips and effects for your sequence.
Position indicator
Display a frame in the sequence or scrub the timeline.
Timeline navigation bar
Perform operations such as zooming and panning the
timeline, stepping into and out of containers, switch
between the source and record timelines, select the
Source/Record, Color Correction, Trim, or Slip/Slide
modes.
Timecode boxes
Displays timecodes for a selected object and lets you
type new values for the start, end, or duration of a
selected object.
Timeline
Overview Area of the Timeline
The overview area provides a view of all the clips and tracks on the
timeline that is currently displayed. As you add video and audio tracks to
the timeline, the overview area expands vertically to display these new
tracks. The clip bars in the overview area represent the clips on the audio,
video, or background tracks, and their relative positions in time.
n
When you are in a container clip, the overview area only displays the clips
within that container clip.
Show/hide overview
area
Visible time span
Process button
Clip bars
Position indicator
Use this
To
Show/hide overview
area
Show or hide the overview area.
Visible time span
Display a section of the sequence on the timeline—see
“Changing the Visible Time Span” in the Help.
Process button
Process all or a part of the sequence.
Position indicator
Go to a specific timecode or scrub the clips on the
timeline.
Clip bars
Represent clips on the current timeline.
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Position Indicator
The position indicator in the timeline marks your place in the sequence.
The Record viewer displays the frame of the sequence where the position
indicator is located. You can click anywhere in the timeline to relocate the
position indicator, or you can drag the position indicator through footage at
varying speeds. When you move the position indicator in the timeline, the
smaller position indicator within the Record viewer’s position bar also
moves.
The position indicator determines how some of your commands are
interpreted. For example, when you perform an edit, the system takes the
location of the position indicator as the in-point in the absence of
established marks.
When you expand the timeline the position indicator splits to indicate a
single frame, a solid blue line appears at the left of the frame and a dotted
blue line appears at the right of the frame.
Position indicator
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Timeline
Timeline Controls
The timeline controls let you perform global operations on the timeline.
You can use them to zoom, ripple, or process clips on the timeline.
Other controls let you quickly set locators, mark in-points and out-points,
or select a region on the timeline.
Zoom to Frame (single frame)
Zoom In
Zoom Out
Main Ripple
button
Process button
Select
Marked
Mark In/Out
These are the controls available in the timeline controls:
Use this
To
Zoom to Frame
(single frame)
Zoom in on the timeline to display clips at single
frames. Click this button again to zoom out to the
timeline’s previous display.
Zoom In
Increase magnification of the timeline.
Zoom Out
Decrease magnification of the timeline.
Ripple
Activate or deactivate the Ripple mode on the entire
timeline.
Select marked
region
Select a region previously marked with in and outpoints.
Mark In/Out
Mark in and out-points to a selected clip or region
on the timeline.
Process button
Open the Processing Options dialog box and select
the appropriate options—see “Processing Options
Dialog Box” in the Help.
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Ruler Menu
The Ruler pop-up menu lets you set the time scale for your sequence.
When working with video, you can change the time scale to display in
frames, timecode drop frames, timecode non-drop frames, or audio
samples. These options differ between PAL and NTSC formats.
To access the Ruler menu:
t
On the timeline, right-click the ruler.
Command
Description
Show Time in Top Time
If you are currently within a container clip, displays
the timescale of the top timeline
Show Time in Parent Time If you are currently within a container clip, displays
the timescale of the parent timeline
Show Time in Sequence
Time
If you are currently in the top timeline, displays the
timescale starting from 00:00:00:00
Show Time in Container
Time
If you are currently within a container clip, displays
a timescale for this timeline starting from
00:00:00:00
Display as Frames
Sets the timescale to display in frames
Use Default Format xxxx:
(drop frame)
Uses the frame rate of the video format xxxx
(NTSC/PAL/other) that you specified in the
sequence preferences
Use xxxx (non-drop frame) Uses the non-drop frame format of your current
video format xxxx (NTSC/other)
Use Audio Samples
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Displays the timescale in audio samples
Timeline
These are the different display modes available:
Ruler time scale
Timecode display format
SMPTE NTSC drop frame
23:59:59:29
SMPTE NTSC non-drop
frame
23:59:59;29
25 fps (PAL only)
23:59:59:23
Audio samples
23:59:59.47999
Frames
1234567
Timeline Ribbon
The timeline ribbon displays locators, in-points, out-points, loop markers,
and indicates the portions of your timeline that may require processing.
Locators let you set reference points on the timeline, so that you can easily
move to areas of interest. The locators can also be used to help synchronize
clips.
n
Tip: All locators on the timeline ribbon can also be accessed from the
Locators view in the Avid Explorer.
In-point
Out-point
Global locator
Loop markers
Timeline ribbon
Local locator
Clip locator
For more information about using locators, see “Using Locators” in the
Help.
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Track Selector
Timeline effect track Ripple button
Mute
Solo
Track button
Track selector
Source Track Monitor buttons
Source Track buttons
Track Ripple buttons
Record Track buttons
Record Track Monitor buttons
Use this
To
Timeline effect track
Ripple button
Activate or deactivate the Ripple mode for the
timeline effect track.
Track selector
Select or deselect tracks, mute, solo, or ripple clips on
a selected track. You can also scroll and adjust the
heights of tracks.
Track button
Select and deselect the track.
Mute
Turn off the sound of clips on an audio track while
playing the sequence. Turn off monitoring the
playback of clips on the video track while playing the
sequence. When mute is enabled the Mute button
changes to red indicating the track is not monitored.
Background tracks do not have Mute buttons.
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Timeline
Use this
To
Solo
Play only the selected track(s). On audio tracks, you
can solo more than one track at a time. When solo is
enabled the Solo button changes to green.
Track ripple
Activate or deactivate the ripple mode for a track.
If you require more working space on the timeline, you can hide the Track
selector.
Track Menu
The Track pop-up menu lets you paste clips, delete tracks, and display the
Track property editor.
To access the Track menu:
t
Right-click a track button.
Command
Description
Paste
Inserts any clips that have been copied to the Clipboard
Delete Track
Removes the selected track from the timeline
Convert to Current
Sample Rate
(Audio clips only) Converts the sample rate of the
selected track to the sequence's sample rate, as defined
in the sequence preferences.
Track Properties
Displays the Track property editor
Live Track
Specifies whether or not the selected track is live.
When deselected, the track is locked, and nothing can
be placed on it.
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Track Property Editor
The Track property editor lets you view and modify the properties of a
track.
General Property Page (Track)
The General property page lets you view and modify some of the
properties of a track.
Option
Description
Name
Changes name of selected track
Type
Lets you view type of track: video or audio
Level of Detail
Sets level of display detail for the selected track.
Video: Displays thumbnails. There are three levels of detail at which frames can
be displayed: High, Medium, and Low.
Audio: Displays the waveform.
High
Video: Shows thumbnails at regular intervals of the ruler scale. As you zoom in
closer to the timeline, you see more thumbnails per second.
Audio: Displays waveform at high resolution
Medium
Video: Shows beginning and end thumbnails of the clip
Audio: Option not available for audio clips
Low
Video: Shows no clip thumbnails
Audio: Shows no waveform
Effect Size
Controls the size of the effects bar on the selected track
Format
(Audio only) Lets you set the type of audio.
Autoname
(Composite containers only) When selected, tracks adopt the name of the first
clip placed on them.
When deselected, lets you change the name of the track manually.
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Timeline
Media Property Page (Track)
The Media property page lets you view information about the media on a
track.
Option
Description
Number of Clips
Number of clips on the track
Start
Timecode of in-point of the first clip on the track
End
Timecode of out-point of the last clip on the track
Timeline Navigation Bar
The timeline navigation bar, located at the bottom of the timeline and to the
left of the status bar, lets you pan the timeline, zoom in and out on the
timeline, step into and out of container clips, switch between the Source
and Record timelines, select the Source/Record, Color Correction, Trim, or
Slip/Slide modes.
Color Correction Mode
Source/Record Timeline
Trim Mode
Selection Mode
Timeline scroll bar
Scale bar
Source/Record view
Step In
Step Out
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Use this
To
Source/Record
Timeline
Switch between the Source and Record timeline.
Source/Record view
Switch from Trim or Slip/Slide mode to Source/Record mode
Trim Mode
Open the Trim or Slip/Slide mode, depending on what you selected on the
timeline—see “Entering and Exiting Trim Mode” and “Entering Slip/Slide
Mode” in the Help.
Trim Mode menu
Right-click to access the Auto command for automatically switching between
the Source and Record timelines.
Automatically switch to the Trim or Slip/Slide modes.
•
Switch for Edits: Displays the Trim mode when you select an edit point
and the Autoswitch command is selected.
•
Switch for Clips: Displays the Slip/Slide mode when you select a clip and
the Autoswitch command is selected.
•
Autoswitch: With the Switch for Edits command selected, switches to
Trim mode when you select an edit point. If the Switch for Clips command
is selected, switches to Slip/Slide mode when you select a clip.
Color Correction Mode
Open Color Correction mode—see “Color Correction in Avid DS Nitris” in
the Help.
Selection Mode
(Selected) You can select objects on the timeline using the mouse. The
position indicator does not move when you select objects on the timeline.
(Deselected) You can only select objects by using the buttons in the layout and
keyboard shortcuts, and by lassoing (clips/edit points). The position indicator
moves to where you click the timeline.
By default, Selection mode is off.
Step In
Open the selected container clip at the position indicator
Step Out
Close the current container clip and return to the timeline of the parent clip
Scale bar
Zoom in and out around the position indicator on the timeline
Timeline scroll bar
Pan back and forth along the timeline
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Timeline
Timecode Boxes (Timeline Status Bar)
The timecode boxes on the status bar display timecodes for a selected
object on the timeline. You can also use the timecode boxes to type new
values for the start, end, or duration of a selected object.
Start
End
Duration
Position
indicator
In
Out
Duration
Use this
To
Timeline
Display a selected object’s sequence timecodes. You can
view or modify an object’s start, end, or duration on the
timeline.
Clip
Display a selected clip’s source timecodes. You can view
the source timecode at the beginning or end of a clip. You
can also type the new source timecode for the in or outpoint of a clip.
Start
View or modify the start time of a clip, activeness bar,
effect bar, region, transition, or edit point.
End
View or modify the end point of a clip, activeness bar,
effect bar, region, transition, or edit point.
Duration
View or modify the duration of a clip, activeness bar, effect
bar, region, transition, or edit point.
Position indicator
View or modify the location of the position indicator.
In
View the timecode at the position of the in-point. You can
also move the in-point to this timecode.
Out
View the timecode at the position of the out-point. You can
also move the out-point to this timecode.
Duration
View or modify the duration between in and out-points.
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Track Effect Menu
The Add Track Effect pop-up menu lets you add an effect or a cache bar to
a track.
To access the Add Track Effect menu:
t
On the timeline, right-click the upper area of a track.
Command
Description
Add Track Effect
Displays the Load Preset dialog box
Add Cache
Adds a cache bar to the track
Add Cache and Process
Adds a cache bar to the track, adds the cache bar to the Cache List view, and
displays the Processing Options dialog box—see “Processing Options
Dialog Box” on page 368.
Effect Menu
The Effect pop-up menu lets you delete an effect, rearrange effects, and
display the property editor of an effect.
n
You can map the commands for rearrange effects to a toolbar, see “Using
the Toolbars” on page 36 of the Avid DS Getting Started Guide.
To access the Effect menu:
t
320
On the timeline, right-click an effect bar.
Command
Description
Delete Effect
Deletes the selected effect
Bring to Top
Moves the selected effect to the top of the stack
Raise
Moves the selected effect up one position in the stack
Timeline
Command
Description
Lower
Moves the selected effect down one position in the stack
Push to Bottom
Moves the selected effect to the bottom of the stack
Lock in Time
Locks the effect at the current timecode
Effect Properties
Opens the selected effect’s property editor
Bypass
Bypasses the selected effect
Open Viewer
Displays the output of the selected effect in a floating
viewer
Timeline Effect Menu
The Timeline Effect pop-up menu lets you add an effect or a cache bar to a
timeline.
To access the Timeline Effect menu:
t
On the timeline, right-click the timeline effect track.
Command
Description
Add Timeline Effect
Displays the Load Preset dialog box
Add Cache
Adds a cache bar to the timeline
Add Cache and Process
Adds a cache bar to the timeline, adds the cache bar
to the Cache List view, and displays the Processing
Options dialog box—see “Processing Options
Dialog Box” on page 368.
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Timeline Menu
The Timeline pop-up menu lets you insert tracks, add and delete locators,
trim the timeline and set display options. You can also display the
timeline’s property editor.
To access the Timeline menu:
t
Right-click the overview area of the timeline.
Command
Description
Create Video Track
Adds a video track to the timeline
Create Background
Track
Adds a background track to the timeline.
Create Audio Track
n
Adds an audio track to the timeline.
n
322
This command is not available in the video,
audio, or composite container clip.
This command is not available in non-audio
container clips (video, composite).
Mono
Add a track with a single channel of audio
Stereo
Add a track with two audio channels: Left and Right
4 Streams
Add a track with four audio channels: Outputs 1 to 4
LCRS
Add a track with four audio channels: Left, Center,
Right, Surround
Quadraphonic
Add a track with four audio channels: Left, Right, Left
rear, Right rear
5.1
Add a track with six audio channels: Left, Right,
Center, Low Frequency Emitter, Left surround, Right
surround
6.1
Add a track with seven audio channels: Left, Right,
Center, Low Frequency Emitter, Surround Center, Side
Left, Side Right
Timeline
Command
Description
7.1
Add a track with eight audio channels: Left, Right,
Center, Low Frequency Emitter, Left surround, Right
surround, Left center, Right center
8 Streams
Add a track with eight audio channels: Outputs 1 to 8
Add Locator at
Playback Position
Adds a colored locator at the playback position. Local
locators are visible only on the current timeline.
Add Global Locator at Adds a colored global locator at the playback position.
Playback Position
Global locators are visible on the current timeline and
within any container clips.
Delete All Locators
Deletes all locators on the timeline
Loop on Active Media Loops playback for all active media
Trim Timeline to Media Resets the zoom to frame media on timeline, changing
the start time to match the first clip
Display
Controls the display of the timeline controls, track
control areas, and unused material on the timeline
Display Control
Area
Toggles the display of the timeline controls and track
control areas
Display Unused
Material
Toggles the display of unused material on the timeline
Timeline Properties
Opens the Timeline property editor
Open Viewer
Displays the output of the timeline at the position
indicator in a floating viewer—see “Opening a
Floating Viewer” on page 248.
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Timeline Property Editor
The Timeline property page lists the types of tracks and the number of
tracks and clips that are currently on the timeline.
Type of track
Description
Background
Specifies number of background tracks and number of clips
on those tracks
Audio
Specifies number of audio tracks and number of clips on
those tracks
Video
Specifies number of video tracks and number of clips on
those tracks
Enable/Disable
Locator
Lets you turn on/off the display of locators by color
Timeline to Clip Dialog Box
The Timeline to Clip dialog box lets you save the selected portion of the
timeline as a new clip. You can save the clip with or without audio, video,
or background tracks. You can also use the new clip to replace material on
the selected portion of the timeline.
To access the Timeline to Clip dialog box:
1. Select a portion of the timeline.
2. From the Editing toolbar, select Generate > Timeline to Clip.
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Timeline to Clip Dialog Box
Option
Description
Track Types
Lets you specify the material to be included in the new
clip
Include
Backgrounds
Includes material from background tracks in the new
clip
Include Video
Includes material from video tracks in the new clip
Include Audio
Includes material from audio tracks in the new clip
Options
Lets you specify whether or not the new clip will be
included in the timeline, and if so, how it will be
included
Replace Selection
Replaces all of the material on the selected portion of
the timeline with a single new clip
Create one Clip
Saves material from multiple clips or tracks as a single
new clip
Options
Type
Lets you select the detail level of processing. Clips can
be processed by frames or fields, depending on the type
of effect you want to process. Use frame-based
processing for effects that are applied to individual
pixels. Use field-based processing for motion paths
(animated movements) because it produces smoother
motion.
Frame Processing All processing, including animation, is frame-based.
This option processes the entire frame (both fields
together) and should be used with frame-based
material.
This is faster than field-based processing, but gives
lower quality results.
n
You can attain good processing results for effects
applied to pixels, such as blur and color
correction.
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Option
Description
Field Processing All processing, including animation, is field-based.
This option processes odd and even fields separately.
This is slower than frame-based processing, but gives
higher-quality results. Use field-based processing for
animated effects, such as dissolves, fades, and motion
paths.
Precision
Choose the bit depth at which your effects will be
processed. Some effects are capable of up to 32-bit
precision. Those that are not capable of the precision
level that you set, will be processed at the bit depth at
which they were captured.
Dither when
creating video
caches of lower
precision
Adds dithering (at each cache level) before converting
processed images to a lower bit depth. e.g. when you
set the precision at 16-bit but the media was captured at
10-bit.
n
Storage Settings
When outputting images processed in real-time,
the dithering will be done only once at the very
last level (top level?)
Specifies the working video resolution and whether the
sequence uses uncompressed or compressed material.
You can change these settings at any time to switch
between available qualities.
settings affect only the working
c These
resolution and what is shown while you work.
They have no effect on the capture resolution.
Resolution
Sets the working resolution; Full, Half, or Quarter. This
controls the default resolution at which your media is
processed (for example, for effects, transitions, layers,
etc.) and also affects how media is displayed in the
viewer.
To speed up processing time, use a low resolution
setting.
n
326
The Nitris DNA workstation only supports Full
resolution.
Timeline to Clip Dialog Box
Option
Bit-Depth
Description
Sets the bit depth at which the video media files are
captured and stored; 8-bit or 10-bit, depending on your
hardware.
n
Location
Custom sequences can also be stored at 16-bit or
32-bit float.
Lets you specify the location and available disk space
of your media storage
Directory
Specifies the destination directory of the clip that you
are exporting from the timeline
... (browse)
Displays the Timeline to Clip Destination dialog box
Filename
Specifies the name of the clip that you are exporting
from the timeline
Video Storage
Specifies a destination storage device for the processed
video media (cache). You can choose from a list of
designated video storage devices. The storage devices
are specified when you set up your workgroup
environment.
Time Available
Displays the time remaining on the storage device for
processing and saving video cache files with the
specified resolution
Audio Storage
Specifies a destination storage device for the processed
audio media (cache). You can choose from a list of
designated audio storage devices. The storage devices
are specified when you set up your workgroup
environment.
Time Available
Displays the time remaining on the storage device for
processing and saving audio cache files
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Transport Controls
The transport controls let you mark in/out-points and locators on the
source clip, timeline, or source material. You can also:
•
Control the playback of a sequence on the timeline or a tape in the
VTR
•
Remote-control external devices, such as VTRs, so that you can play,
capture, and record material
Record controls
Source controls
Mark In-point
Create Subclip
Frame Backward
Frame Forward
Update Thumbnail
Insert Clip
Position bar
Go to End
Position
indicator
Mark Out-point
Mark In/Out
Add Edit
Lift
Go to
Start
Match Bin
Match Frame
10 Frames Backward
Go to In
10 Frames Forward
Play from In to Out
Go to Out
Timecode box
Clear In/Out
Replace Clip
Overwrite Clip
Fit to Fill
Play/Stop
Loop
Extract
Insert Locator
Insert Global Locator
Sync Point Editing
The controls under the Source viewer let you edit the in and out-points of a
source clip before placing it on the timeline. While working with the
Source viewer and timeline, you can perform tasks, such as overwriting,
inserting, and replacing clips on the timeline, and fit-to-fill.
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Transport Controls
The controls under the Record viewer provide similar capabilities for
marking in and out-points on the timeline or an external device.
Use this
To
Source controls
Manipulate in and out-points, insert locators, move the
position indicator to various frames, and perform a
Match Bin and Match Frame in the Source viewer.
Record controls
Manipulate in and out-points, insert locators, move the
position indicator to various frames, and perform an
Add Edit, Lift, and Extract in the Record viewer.
Position bar
Display the position indicator and locators, and
manipulate in and out-points in both viewers. The
Position bar can also display timecode and tick marks.
Position indicator
Show your position in a sequence.
Go to Start
Go to the first frame of the sequence.
Go to End
Go to the last frame of the sequence.
Frame Backward
Move one frame backward.
Frame Forward
Move one frame forward.
Mark In
Set an in-point on the timeline. When capturing or
outputting material, this sets the in-point on the
external device.
Play/Stop
Play/stop the sequence or tape.
During playback, this button turns amber when video
and/or audio frames are skipped during playback. The
tooltip indicates the number of skipped
frames/seconds.
Mark Out
Set an out-point on the timeline. When capturing or
outputting material, this sets the out-point on the
external device.
Mark In/Out
Set in and out-points on the selected clip.
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Use this
To
Clear In and Out
Remove the in and out-points.
Insert Locator
Add a locator at the position indicator. Right-click this
button to select a color.
Insert Global Locator
Add a global locator at the position indicator. Rightclick this button to select a color.
Update Thumbnail
The clip's thumbnail updates to show the frame on
which the position indicator is currently
placed—see“Changing the Frame in Thumbnail and
Script View” in the Help.
Create Subclip
Create a new source clip in a bin from the clip currently
in the Source viewer, using any new in or out-point
settings—see “Creating Subclips” in the Help.
Insert Clip
Insert the source clip on the selected track as specified
by the in, out, or duration timecodes. All clips after the
insertion point are rippled for tracks that have the
Ripple mode activated.
Overwrite Clip
Place the source clip on the selected track according to
the in, out, or duration timecodes.
Activeness is applied to the new clip on the timeline,
effectively deleting the existing clip(s). No clips are
rippled.
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Replace Clip
Replace the selected clip on the timeline with the
source clip. If the source clip does not have the same
duration as the selected clip, then subsequent clips on
the timeline are rippled for tracks that have the Ripple
mode activated.
Sync Point Editing
Creates a sync point between the frame at the Source
position indicator and the frame at the Record position
indicator—see “Placing Clips on the Timeline Using
Sync Point Editing” in the Help.
Add Edit
Place an artificial edit point between frames of a clip.
Transport Controls
Use this
To
Lift
Remove marked material from the timeline and leave a
gap in its place.
Extract
Remove marked material from the timeline and ripple
the timeline to close the gap.
Match Bin
Find the bin to which the selected clip on the timeline
or viewer belongs and display it in the Avid Explorer.
Load the selected clip in the Source viewer and Source
timeline.
Match Frame
Find the master clip or subclip that corresponds to the
selected clip on the timeline and load it in the Source
viewer and Source timeline.
10 Frames Backward
Move ten frames backward.
10 Frames Forward
Move ten frames forward.
Go to In
Go to the in-point.
Play From In to Out
Play the sequence from the in-point to the out-point.
Go to Out
Go to the out-point.
Fit to Fill
Fit the source clip to the region specified on the
timeline. If the clip duration is different, a timewarp is
applied to the clip to make it fit within the selected
region.
Loop
Turn the loop mode on or off.
The Loop mode is automatically enabled when
previewing from a property editor and when in the
Trim or Slip/Slide modes. You can also loop/play
around a selected object (clips, effects, edit points, and
regions) on the timeline by pressing the Play button.
Timecode box
Go to a particular timecode on the Source and Record
viewer or external device.
n
Press Tab to move to the next timecode box.
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Shuttle slider
When you open the Capture Tool or Output view, a shuttle slider is
displayed in placed of the position bar above the transport controls. The
shuttle slider lets you control a deck during the capture or output process.
Position Bar Menu
The Position Bar pop-up menu lets you display locators, timecode, and tick
marks in the position bar below the Source and Record viewers.
To access the position bar menu:
t
Right-click the position bar.
Command
Description
Show Locators
Displays locators in the position bar
Show Ticks
Displays tick marks in the position bar
Show Timecode
Displays timecode in the position bar
Zoom to Selection
(Record viewer only) Rescales the position bar to
the object selected on the timeline.
Timecode Boxes (Transport Controls)
The timecode boxes on the transport controls display timecodes in the
Source and Record viewers. By typing values for the in, out, and duration,
you can quickly move the position indicator to various points in the
sequence. The timecode boxes in the transport controls let you type a
timecode and display the specified frame in a viewer.
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Transport Controls
To go to a specific timecode:
t
Click in a timecode box, type a new timecode and press the button on
the left of the box or press Enter.
In the timeline and position bar, the position indicator moves to the
timecode you specified.
To change the display of a timecode box:
t
Right-click the button on the left side of a timecode box and select an
option.
To move to the next timecode box:
t
With the cursor in a timecode box, press Tab.
Timecode Menu
The Timecode pop-up menu lets you view and jump to timecode for clips
displayed in the Source and Record viewers, as well as access the
Customize Toolbars window.
To access the Timecode menu:
t
In the toolbar, right-click the button on the left side of a timecode box.
Option
Description
In
Displays the timecode of the in-point
Out
Displays the timecode of the out-point
In/Out Duration
Displays the duration between the in and out-point
Position Indicator
Displays the timecode of the position indicator
Locate
Lets you type a timecode and move the position indicator
to that timecode
Loop In
Displays the timecode of the Loop In marker
Loop Out
Displays the timecode of the Loop Out marker
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Option
Description
Loop Duration
Displays the duration between the Loop In and Out
markers
Start of Selection
Displays the start timecode of a clip, activeness bar,
effect bar, region selection, transition, or edit point
End of Selection
Displays the end timecode of a clip, activeness bar, effect
bar, region selection, transition, or edit point
Duration of Selection
Displays the duration between the start and end of the
selection
Start of Selection
(Clip Time)
Displays the start timecode of a source clip, activeness
bar, or effect bar
End of Selection
(Clip Time)
Displays the end timecode of a source clip, activeness
bar, or effect bar
Position Indicator
(Clip Time)
Displays the timecode of the position indicator in a
source clip
Sequence Duration
(Read-Only)
Displays the duration of the sequence
Remaining Duration
(Read-Only)
Displays the duration that remains between the position
indicator and end of sequence
Customize Toolbars
Displays the Customize Toolbars window from which
you can add and delete tools from the transport controls
Transport Controls
Customizing the Transport Controls
You can customize the transport controls by adding your favorite
commands to them, as well as removing the ones you use infrequently.
To add or replace a button on the transport controls:
1. Do one of the following in the transport controls:
t
Right-click an empty area and select Customize Toolbars to add a
button.
t
Right-click an existing button and select Customize Toolbars to
replace the button.
The Customize Toolbars window opens.
2. From the Command Categories list, select a category.
3. From the Available Commands list, select a tool and drag it to a
toolbar.
A button is added to the transport controls.
To remove a button from the transport controls:
t
Right-click a button and select Remove Item From Toolbar.
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Trim Mode Controls
The Trim mode lets you precisely trim the incoming and outgoing frames
at the selected edit point of clips on the timeline. You can adjust frames at
an edit point by typing new in and out times or by using the trim buttons to
move the frames incrementally.
Outgoing frame
Incoming frame
Transition buttons
Transport controls
Trim Nudge buttons
Frame Offset Counters
Transition Alignment
Transition Duration Timecode box
Use this
To
Outgoing Frame view
Select the out-point of a clip for trimming. This
view displays the frame at the out-point.
Incoming Frame view
Select the in-point of a clip for trimming. This view
displays the frame at the in-point.
Frame Offset counters
View or set the number of frames to be trimmed.
It shows the number of frames currently trimmed
for the specified clip/edit point. This number can be
changed by typing a new value.
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Video Effects
Use this
To
Trim Nudge buttons
Trim the selected clip or edit point by one or ten
frames.
< or >
Trim the selected clip or edit point one frame
forward or backward.
<< or >>
Trim the selected clip or edit point ten frames
forward or backward.
Previous Edit Next Edit
Move to the previous or next edit point in the
sequence. This updates the Outgoing and Incoming
views and timecodes, and resets the offset value.
Play Preview
Play the transition area with the pre-roll and postroll frames in Loop mode.
Dissolve/Crossfade Wipe
Add a transition effect to the selected edit point.
Transition Alignment
Align the selected transition, either left, center, right
of the edit point. See “Trimming Transition Effects”
in the Help.
Transition Duration
Timecode box
View and change the number of frames in the
selected dissolve/crossfade or wipe transition.
Transition Duration is not available if no transition
effect is selected.
Video Effects
The video effects let you create effects on video clips on the timeline.
Fade Property Editor (Video Effect)
The Fade effect lets you fade in a clip, making it gradually more visible, or
fade out a clip, making it gradually disappear. You can also specify the
color from which the image fades in and out.
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You can set keyframes to specify the rate and duration of the fade. For
example, you can apply a fade-out effect to a clip by animating the Fade
Amount from 100 at a given frame to 0 at the last frame. The frames
between the first and last frames gradually fade to black (or the selected
color). To define a complicated fade profile, you must add keyframes to the
function curve to attain the desired results.
Timing Property Page (Fade)
The Timing property page lets you control the timing (rate and duration) of
the fade. The horizontal (X axis) represents the SMPTE timecode. The
vertical (Y axis) indicates the amount of the mix. By modifying the slope
of the curve you control the timing and percentage of the mix.
Option
Description
X axis
Represents the SMPTE timecode
Y axis
Represents proportion (in percentage) of clip in mix. Values: 0 (no
original clip) to 100 (full original clip).
Curve
Use curve to define how the mix varies in your fade. Move the key
points up to increase the proportion of the original clip, and down to
decrease it. You can add or remove key points to vary the mix.
n
338
To change the curve type from Bézier to constant or linear,
right-click the Animation Key button and select it from the
menu.
Position indicator
Moves red position indicator across graph to view result of the fade in
different parts of the clip. The position indicator in the animation
graph matches that of the timeline.
Amount
Represents proportion of original clip in mix at a given time (value of
the Y axis). Move the position indicator to view the value at a specific
frame.
Video Effects
Warp Property Editor
The Warp effect lets you transform an image or part of an image from one
shape to another over time. You can warp still or moving images.
Shapes Property Page (Warp)
The Shapes property page lets you create, edit, and join shapes that define
the part(s) of the image that you want to deform.
Option
Description
Shape Creation
Tools that let you create different kinds of open or
closed shapes, which define the source and target
areas of the image that you want to warp.
Freehand
Creates open or closed free form shapes, and
simulates the feeling of drawing with a pencil on
paper
Polyline
Creates straight lines, Bézier curves, or a
combination of the two
Ellipse
Creates oval and circular shapes
Rectangle
Creates rectangular and square shapes
Apply
Turns Warp effect on or off
Show Shapes
Shows or hides shapes in viewer
Transformations
Tools for picking, moving, scaling, rotating, and
skewing shapes
Select
Lets you pick a shape. Once a shape is selected, you
can drag it to place it in the correct location.
Scale
Increases or decreases the size of the shape
Rotate
Modifies the rotational angle of the shape
Skew
Slants a shape
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Option
Description
Editing Tools
Tools for picking, editing, and connecting shapes
you created
Join
Connect shapes together creating a relationship
between them
Copy and Join
Copies an existing shape and connects the two
shapes together in one step
Edit Shape
Manipulates control points of selected shape
Correspondence
Modifies points on curves so you can match key
features on source shape with those on target shape
Density
Increases precision of shape during processing by
adding correspondence vectors between the two
shapes
Shape Interpolation
Amount
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Determines amount by which source shape has
transformed or warped into target shape
Video Effects
Render Property Page (Warp)
The Render property page lets you modify the quality of the warp images
and the time it takes to process the effect.
Option
Description
Edge Mode
Determines method by which Avid DS Nitris
interprets shapes you created. Depending on option
you choose, outer edges and area outside closed
shapes are handled differently.
Fixed
Fixes borders of the image in place. Can cause
some ripping or shearing of the image near the
borders.
Sliding
Lets borders of an image slide or move with the rest
of the warped image to avoid shearing of the image
near the borders
Cookie Cutter
Lets you keep everything that falls within your
closed shapes and removes everything else. Useful
for creating mattes.
n
Warp Precision
This option cannot be used with open-ended
shapes.
Governs mathematical precision of warp effect. The
option you choose directly affects quality of the
processed images and time required for processing.
Linear
Results in low-quality images. This option operates
the fastest, uses the least amount of memory, and is
very useful for quick tests.
Low
Results in reasonable-quality images with slightly
longer processing times than Linear option
Medium
Results in good-quality images with slightly longer
processing times than Low option
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Option
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Description
High
Results in professional-quality images with
reasonable processing times
Very High
Results in very smooth transitions between shapes,
but processing time is long. Use this option only if
the High setting does not produce satisfactory
results.
Super High
Results in extremely smooth transitions between
shapes, but processing time is extremely long. This
option is not recommended unless you require the
highest-quality image.
Interpolation
Determines how the actual pixels of the warped
object are calculated. This option impacts quality
and processing time.
None
Results in marginal image quality, but processing
time is very fast
Bilinear
Results in better image quality than the None
option, but processing time is slower
Scaling
Results in least amount of degradation when the
target shape is scaled down by more than 50% of
the source shape. This option takes the longest time
to process.
Antialiasing
Determines whether edges of the warped image are
smooth or jagged. When this option is selected,
edges are smoother, but processing time increases.
Soften Edges
Determines how edges of the warped image blend
into the rest of the image. When this option is
selected, the transition between the edge of the
warped image and rest of the image is smoother.
Viewers
Viewers
There are several tools available for the various viewers.
Source and Record Viewers
The Source and Record viewers have their own set of transport controls for
marking in and out-points, and editing source clips, timeline clips, or
material on an external device.
During a graphics session, the viewer serves as an area to create and
arrange graphics for your images.
You can also open separate, floating viewers to view each of your effects as
you work on them.
The Record viewer displays the output of your sequence at the location of
the position indicator on the timeline. When capturing clips from an
external device, the viewer displays the material you are viewing.
Source viewer
Record viewer
Viewer tools
Transport controls
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These are the main elements of the viewers:
Use this
To
Viewer tools
Access commands that change the display of the
viewer, create subclips, view the name of the source
sequence and list of most recently used source
sequences.
Source viewer
View the source clip or sequence.
Record viewer
View the clips in your sequence or the material on
your external device.
Transport controls
Locate, mark, and edit the in and out-points on the
source clip, timeline, or source material.
Play the source clip or the material on the timeline
or external device.
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Viewers
Viewer Tools
The tools above the Source and Record viewers let you view clips and
sequences on the timeline, create subclips, display the RGB or alpha
channels, switch between the viewers, change the resolution and fields, and
view a list of the most recently used clips and sequences.
Source
Single/Dual Viewer
Recently used items
Resolution
Sequence
RGB
Fields
Alpha
Use this
To
Source
View the name of the source clips and sequences
currently on the Source timeline.
Recently used items
View a list of the most recently used video and audio
clips and sequences.
Single/Dual Viewer
Switch the selected viewer between single and dual
viewer mode—see “Viewer Tools” on page 345.
Resolution
Display the image at full, half, or quarter resolution.
Standard frame sizes are set to 320×240 for half
resolution and 160×120 for quarter resolution. This
differs if you’re using a special frame size.
Fields
Display field 1 only, field 2 only, or both fields.
RGB
Displays or removes the image’s red, green, or blue
channel—see “Viewing Image Components” in the
Help.
Alpha
Display the alpha channel, on top of the image, at
varying percentages of opacity—see “Viewing Image
Components” in the Help.
Sequence
View the name of the current sequence on the Record
timeline.
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Viewer Menu
The Viewer pop-up menu lets you control all aspects of the viewers.
To access the Viewer menu:
t
Right-click a viewer.
Command
Description
Reset Pan & Zoom
Resets the image display in the viewer to the default
setting
Zoom
Controls the size of the image in the viewer. You can
rescale the image from 25% to 800%.
n
Square Pixels
You are affecting only the view of the image, not its
actual size
Turns the display of square pixels on or off. Since the
ITU-R 601 standard specifies a higher horizontal than
vertical resolution (or a 0.9 ratio), the image appears
stretched horizontally when displayed on a computer
monitor (which has square pixels).
When selected, this command displays the image in
square pixels as it would appear on a computer monitor.
When deselected, this command displays the image in
non-square pixels as it would appear on a video monitor.
By default, this command is set to square pixels.
n
Safe Action/Title
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An icon that resembles an exclamation mark (!) is
displayed in the bottom-right corner of the viewer
when the viewer scales the image in a way that
may introduce unwanted artifacts in the image.
This warns you when the correspondence between
the source and display pixels is not 1:1.
Displays the borders of the safe action/title area. All
graphics or text that falls within the safe action/title area
will be visible on any broadcasting system.
Viewers
Command
Description
Display Grid
Turns the display of the grid on or off
Snap to Grid
Snaps graphics objects in the viewer to the intersection
of the X and Y grid lines
Comparison Buffer
Controls the comparison buffer and image grabber tools
Use Compare
Buffer
Lets you take a snapshot of all or part of the current
frame and compare it with another frame in the
sequence. The image is temporarily stored in the
comparison buffer while you need to use it.
To exit this mode, deselect the Use Compare Buffer
option from the menu.
Grab
Saves the image currently displayed in the viewer to the
comparison buffer. The buffered image can be cropped
and positioned anywhere in the viewer.
To manipulate the image:
Reset Crop
•
Drag the white lines around the image to resize it.
•
Drag the image to reposition it in the viewer. When
you drag any portion of the image outside of the
viewer, the image is cropped to the limits of the
bounding box.
•
Press Shift and drag to move the image.
•
Press Ctrl and drag to slide the image inside the
bounding box.
•
Press Alt and double-click the viewer to reset the
image crop and position.
Displays the entire buffered image in the viewer.
To reset the image crop and position, press Alt and
double-click.
Reset Pan
Resets the position of the buffered image in the viewer.
To reset the image position, press Alt and click.
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Command
Description
Onion Skin
Blends the current frame with preceding and successive
frames at a specified ratio.
Auto-Pan
Automatically pans the viewer when using these
interactive tools: graphics/paint tools, Shape tool in the
Matte and Keyer effects, DVE tool, and Tracker tool.
Auto-Zoom
Automatically zooms the viewer when using these
interactive tools: graphics/paint tools, Shape tool in the
Matte and Keyer effects, DVE tool, and Tracker tool.
Red Component
Displays only the image’s red channel
Green Component
Displays only the image’s green channel
Blue Component
Displays only the image’s blue channel
Alpha Component
Turns the image’s alpha channel on or off
25%, 50%,
75%,100%
Displays the alpha channel in red, on top of the image, at
different levels of intensity
Matte
Displays only the image’s alpha component
Viewer Properties
Displays the Viewer property editor
Toolbars
Turns the display of the following on or off: viewer tools,
position bar, transport controls, and timecode boxes.
Viewers
Reconnect Viewer Menu
The Reconnect Viewer pop-up menu provides a list of preset connection
points for displaying images in the viewer. You can also select an object of
your choice to display in the viewer.
n
The Reconnect Viewer button must be selected to choose options from the
pop-up menu.
To access the Reconnect Viewer pop-up menu:
t
Right-click the Reconnect Viewer button.
By default the Reconnect Viewer button appears on the top toolbar of a
floating viewer.
Option
Description
Top Timeline
Displays the output of topmost level of the timeline
Parent Timeline
Displays the parent timeline output
Current Timeline
Displays the output of the current visible timeline
Current Selection
Lets you select an object in the timeline or from a node in
the Effects Tree to display in the viewer. The display
changes when you select another object.
Lock Selection
Continues to display the object selected at the time this
option is set
Configure Viewer Display Menu
By default, the viewer in the Effects layout displays images from three
adjacent clips on the timeline. The Current monitor displays the clip that
the position indicator is on in the timeline. The following illustration shows
the default viewer behavior.
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To configure the display in a viewer:
t
Click the monitor’s Source menu and choose from the drop-down
menu.
Option
Description
Current
Displays the current clip.
If you have more than one track, the current
clip is the selected one. If you have not
selected a clip, the viewer will display the
clip on the topmost layer.
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Next
Displays the clip immediately after the
current clip.
Previous
Displays the clip immediately before the
current clip.
Second Next
Displays the clip two clips after the current
clip.
Second Previous
Displays the clip two clips before the current
clip.
Reference
Locks the current frame, where the position
indicator is on, in the monitor. When the
other monitors update as you navigate, this
frame continues to display as a reference.
This is useful if you want to use a specific
place in your sequence as a reference against
which to compare all other shots, for
example, a shot that contains optimal skin
tones.
Empty
Displays no image (black).
Creating Media Archive Dialog Box
Creating Media Archive Dialog Box
The Creating Media Archive dialog box lets you choose a device to which
the media is archived and set an in-point on the tape at which the media
will begin. The dialog box also displays the archive tape name, as well as
archive statistics, such as archive tape length and archive log location.
Use this
To
Archive tape
options
Choose a device and in-point for the archive.
Device
Select the device to which the media is archived.
In point
Set an in-point at which the media begins archiving the
media to tape.
Archive Tape
Name
Display the name of the tape on which the media is
archived. The tape is automatically assigned the same name
as the archive.
Archive Statistics
View information about the archive.
Required tape
length
Display the minimum tape length in minutes and seconds
required to archive the media.
Number of
passes
Display the number of passes required to archive the media
to tape.
Archive log
location
Display the location on the network where the archive log is
saved.
Transport Control
Shuttle Slider
The transport controls let you remote-control external
devices, such as VTRs, so that you can cue up the tape
before archiving the media.
Lets you jog or shuttle forward or backward on the tape
Frame Forward Lets you move ahead one frame
Frame
Backward
Lets you move back one frame
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Use this
352
To
Rewind
Lets you rewind the tape quickly
Play/Stop
Lets you play or stop the tape
Fast Forward
Lets you fast forward through the tape
Servo Lock
Specifies if the deck has reached servo lock state. When
Servo Lock is enabled, it turns green, otherwise it is
dimmed. If this option does not turn green during capture or
output pre-roll, you must increase the pre-roll time.
Remote
Specifies if the external device is in Remote mode. When
Remote is enabled, it turns green, otherwise it is dimmed.
Media Inserted
Specifies if a tape is inserted in the external device. When a
tape is inserted, it turns green, otherwise it is dimmed.
Record Inhibit
Specifies if the Record Inhibit tab is enabled on the tape.
When Record Inhibit is enabled, it turns red, otherwise it is
dimmed.
VTR Reference
Specifies if the external device receives proper video
reference or external sync. When the external device is
receiving proper video reference or sync, it turns green,
otherwise it is red.
Continue
Accept the settings and archive the media to tape.
Cancel
Cancel the media archive.
Check Machine
Re-establishes the remote connection and verifies that the
external device is communicating properly with your
workstation.
New Project Dialog Box
New Project Dialog Box
The New Project dialog box lets you create new projects. You can specify
the project’s name and location, and define the video, audio, and working
video settings for the first sequence, and subsequent sequences that are part
of the project. For example, when you set a project preference of 44.1 kHz,
any subsequent sequences created inside that project inherits the 44.1 kHz
setting by default.
You can also specify the timecode at which the timeline will start, as well
as the number of tracks that are displayed when you create a new sequence.
When you create a new project, a sequence is automatically created.
To access the New Project dialog box:
t
Select File > New > Project.
Options
Description
Project Name
Lets you give a name to the new project
Location
Lets you specify a location for the new project
... (browse)
Lets you select a location for the new project
Video Settings
Defines the video preferences for the project
Format
Sets the video format for the new sequence.
format cannot be changed after you create
c The
the sequence.
n
You may have to specify the frame size, color
space, field dominance, frame rate or aspect ratio,
depending on your hardware support.
For HD sequences, you can use 720p, 1080p,
1080i video formats.
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Options
Frame Rate
Description
Displays the number of frames per second for the
specified video format.
n
Frame Size
Displays the frame size for the specified video format.
Frame size refers to the dimensions of a digital image in
Avid DS Nitris. It is measured in Avid DS Nitris units
(DSU).
n
Field Dominance
The frame size is only adjustable when the Format
is set to Custom.
Displays the field dominance setting for the specified
video format. Field dominance determines the order in
which odd and even fields occur in time.
n
The field dominance is only adjustable when the
Format is set to Custom.
Color Space
Displays the color model used to describe the color
components of your images. There are three different
color models: YCbCr 4:2:2, RGBA, and RGB.
Levels
Displays the levels for the specified format:video or
graphics. For more information, see the Input Levels
option in “Media Capture Settings” on page 115.
Aspect Ratio
Displays the aspect ratio of the specified video format.
Aspect ratio is the numerical ratio of picture width to
height. The standard aspect ratio for video and television
is 4:3.
n
Pixel Ratio
354
The frame rate is only adjustable when the Format
is set to Custom.
The aspect ratio is only adjustable when the
Format is set to Custom.
Displays the pixel ratio for the specified video format.
Pixel ratio refers to the numerical ratio of pixel width to
height. The standard pixel ratio for an NTSC 4/3 image is
0.9 and a PAL 4/3 image is 1.07.
New Project Dialog Box
Options
Description
Processing
Precision
Timecode
Choose the bit depth at which your effects will be
processed. Some effects are capable of up to 32-bit
precision. Those that are not capable of the precision
level that you set, will be processed at the bit depth at
which they were captured.
Lets you specify the starting timecode of the timeline and
set the timecode format.
Timeline Start
Specifies the starting timecode of the timeline.
Timecode Format
Certain video formats let you display timecode in drop
frame or non-drop frame format. Drop frame timecode
eliminates two frames every minute (except for the tenth
minute) of SMPTE timecode. This option does not affect
the actual frame rate of the sequence; it only modifies the
timecode display.
DF (drop frame)
Displays the timecode in drop frame format
NDF (non drop frame)
Displays the timecode in non-drop frame format
Tracks
Lets you specify the number of tracks and type of tracks
to be displayed in the timeline when you create a new
sequence.
Video
Specifies the default number of video tracks to display
when you create a new sequence.
Background
Specifies the default number of background tracks to
display when you create a new sequence.
Audio
Specifies the default number of audio tracks to display
when you create a new sequence and the default format
for audio tracks.
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Options
Force Premultiplied Output
Description
(Video tracks only) When this option is selected, the
bottommost layer of your composite is premultiplied.
Premultiplication multiplies the RGB channels with the
alpha channel.
This option should not be selected if you are using the
bottommost layer as your background.
n
Storage Settings
If you select this option, all effects will no longer
be real-time playable.
Specifies the working video resolution and whether the
sequence uses uncompressed or compressed material.
You can change these settings at any time to switch
between available qualities.
settings affect only the working
c These
resolution and what is shown while you work.
They have no effect on the capture resolution.
Resolution
Sets the working resolution; Full, Half, or Quarter. This
controls the default resolution at which your media is
processed (for example, for effects, transitions, layers,
etc.) and also affects how media is displayed in the
viewer.
To speed up processing time, use a low resolution setting.
n
Bit-Depth
Sets the bit depth at which the video media files are
captured and stored; 8-bit or 10-bit, depending on your
hardware.
n
Compression
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The Nitris DNA workstation only supports Full
resolution.
Custom sequences can also be stored at 16-bit or
32-bit float.
Sets the compression ratio used to display media
captured at various compression ratios. You can also
select Uncompressed.
New Project Dialog Box
Options
Description
If a clip has no media with the above settings:
Display a “Media not
available” message
Displays the message “Media not available” in the
viewer when the clips in the current sequence do not
match the current settings, or when the media is not
present. If the media is not present, you must recapture
the media using the Capture Settings view.
Use the closest media
format available
Uses any available media when the clips in the current
sequence do not match these settings.
n
Quarter resolution
working mode
You can mix different resolutions, but you cannot
mix compressed and uncompressed video.
(Avid DS Nitris Editor only) On workstations with lower
processing speeds, you can work with HD media at
quarter resolution so that you can play back real-time
effects without processing them first.
This option is not available on Avid Nitris DNA
workstations as you can work at Full resolution with HD
media.
Enable real-time effects
(Avid DS Nitris Editor only) Lets you play back realtime effects when working with quarter resolution HD
media.
n
Enable playback of mixed
resolution media/caches
You will not be able to play back any full and half
resolution media and caches unless you process
them at quarter resolution.
(Avid DS Nitris Editor only) When working in quarter
resolution mode, lets you play back full and half
resolution media and caches.
If this option is selected, however, you cannot play back
real-time effects.
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Options
Description
Audio Settings
Lets you define the audio preferences for the project.
Sample Rate
Lets you set the desired sample rate for the sequence. By
default, it is set to the highest sample rate supported by
your hardware. The more bits you have, the more
precisely you can represent the sample amplitude.
Audio material captured at this rate can be used directly
in the new sequence. Material with a different sample
rate must undergo a sample rate conversion.
358
Bit Depth
Sets the number of bits per audio sample. The more bits
you have, the more accurately you can represent the
amplitude at that point in time.
Mixer Configuration
Determines the number and type of outputs displayed on
the mixer
Mono
Displays one output strip
Stereo
Displays two output strips: left and right
Quadraphonic
Displays four output strips: left, right, left rear, and right
rear
LCRS
Displays four output strips: left, center, right, and
surround
4 Stream
Displays four output strips
5.1
Displays six surround sound output strips: left, right,
center, LFE, left surround, and right surround
6.1
Displays seven surround sound output strips: left, right,
center, LFE, surround center, side left, and side right
7.1
Displays eight surround sound output strips: left, right,
center, LFE, left surround, right surround, left center, and
right center
8 Stream
Displays eight output strips
New Project Dialog Box
Options
Description
SR Conversion Quality
Determines the quality at which the audio sample rate is
converted. When set closer to Fast, the conversion speeds
up, but quality is compromised. When set closer to High,
the quality increases, but conversion takes longer.
Default DVE Quality
Sets the default DVE quality mode.
Nearest
Applies no filter to the image (this is the fastest mode).
Pixels are skipped when scaling down and duplicated
when scaling up.
Bilinear
Applies bilinear interpolation when scaling up and some
filtering when scaling down.
It is useful when you scale an image up, which improves
the scaled image’s quality. This is the default setting.
Bicubic
Applies bicubic interpolation when scaling up and no
filtering when scaling down.
Produces a higher quality image than the Bilinear option
when you scale an image up.
Multi Tap
Applies a larger filter than the other options to provide
good interpolation and anti-aliasing quality.
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Open Sequence Dialog Box
The Open Sequence dialog box lets you open a previously saved sequence.
To access the Open Sequence dialog box:
t
Select File > Open > Sequence.
Use this
To
Avid Explorer Tools
Navigate through your bins to locate the desired
sequence to open.
Bin Tools
Change the way the contents of the bin are
displayed. These tools appear for all bin contents.
File Name
Type the name of the desired sequence
File Types
Select Sequence Files (*.segment)
New Sequence Preferences Dialog Box
The New Sequence dialog box lets you define the video, audio, and
working video settings for your new sequence. You can also specify the
timecode at which the timeline will start, as well as the number of tracks
that are displayed when you create a new sequence.
To access the New Sequence dialog box:
t
360
Select File > New > DS Sequence.
New Sequence Preferences Dialog Box
These settings are based on project settings.
Option
Description
Video Settings
Lets you set the video settings for the new sequence
Format
Sets the video format for the new sequence
format cannot be changed after you
c The
create the sequence.
n
You may have to specify the frame size, color
space, field dominance, frame rate, or aspect
ratio, depending on your hardware support.
For HD sequences, you can use 720p, 1080p,
1080i video formats.
Frame Rate
Displays the number of frames per second for the
specified video format.
n
Frame Size
Displays the frame size for the specified video
format. Frame size refers to the dimensions of a
digital image in Avid DS Nitris. It is measured in
Avid DS Nitris units (DSU).
n
Field Dominance
The frame size is only adjustable when the
Format is set to Custom.
Displays the field dominance setting for the specified
video format. Field dominance determines the order
in which odd and even fields occur in time.
n
Color Space
The frame rate is only adjustable when the
Format is set to Custom.
The field dominance is only adjustable when
the Format is set to Custom.
Displays the color model used to describe the color
components of your images. There are three different
color models: YCbCr 4:2:2, RGBA, and RGB.
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Option
Description
Levels
Displays the levels for the specified format:video or
graphics. For more information, see the Input Levels
option in “Media Capture Settings” on page 115.
Aspect Ratio
Displays the aspect ratio of the specified video
format. Aspect ratio is the numerical ratio of picture
width to height. The standard aspect ratio for video
and television is 4:3.
n
Pixel Ratio
The aspect ratio is only adjustable when the
Format is set to Custom.
Displays the pixel ratio for the specified video
format. Pixel ratio refers to the numerical ratio of
pixel width to height. The standard pixel ratio for an
NTSC 4/3 image is 0.9 and a PAL 4/3 image is 1.07.
Processing
Precision
Timecode
Choose the bit depth at which your effects will be
processed. Some effects are capable of up to 32-bit
precision. Those that are not capable of the precision
level that you set, will be processed at the bit depth at
which they were captured.
Lets you change the starting timecode of the timeline
and set the timecode format
Timeline Start
Specifies the starting timecode of the timeline
Timecode Format
Certain video formats let you display timecode in
drop frame or non-drop frame format. Drop frame
timecode eliminates two frames every minute (except
for the tenth minute) of SMPTE timecode. This
option does not affect the actual frame rate of the
sequence; it only modifies the timecode display.
DF (drop frame)
Displays the timecode in drop frame format
NDF (non drop frame) Displays the timecode in non-drop frame format
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New Sequence Preferences Dialog Box
Option
Description
Tracks
Lets you specify the number of tracks and type of
tracks to be displayed on the timeline when you
create a new sequence
Video
Specifies the default number of video tracks to
display when you create a new sequence
Background
Specifies the default number of background tracks to
display when you create a new sequence
Audio
Specifies the default number of audio tracks to
display when you create a new sequence and the
default format for audio tracks
Force Premultiplied
Output
(Video tracks only) When this option is selected, the
bottommost layer of your composite is premultiplied.
Premultiplication multiplies the RGB channels with
the alpha channel.
This option should not be selected if you are using
the bottommost layer as your background.
n
Storage Settings
If you select this option, all effects will no
longer be real-time playable.
Lets you specify the working video resolution and
whether the sequence uses uncompressed or
compressed material. You can change these settings
at any time to switch between available media
qualities.
settings affect only the working
c These
resolution and what is shown while you
work. They have no effect on the capture
resolution.
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Option
Resolution
Description
Sets the working resolution; Full, Half, Quarter. This
controls the default resolution at which your media is
processed (for example, for effects, transitions,
layers, etc.) and also affects how media is displayed
in the viewer.
To speed up processing time, use a low resolution
setting.
n
Bit-Depth
Sets the bit depth at which the video media files are
captured and stored; 8-bit or 10-bit, depending on
your hardware.
n
Compression
The Nitris DNA workstation only supports Full
resolution.
Custom sequences can also be stored at 16-bit
or 32-bit float.
Sets the compression ratio used to display media
captured at various compression ratios. You can also
select Uncompressed.
If a clip has no media with the above settings:
Display a “Media not
available” message
Displays the message “Media not available” in the
viewer when the clips in the current sequence do not
match the current settings, or when the media is not
present. If the media is not present, you must
recapture the media using the Capture Settings view.
Use the closest media
format available
Uses any available media when the clips in the
current sequence do not match these settings.
n
364
You can mix different resolutions, but you
cannot mix compressed and uncompressed
video.
New Sequence Preferences Dialog Box
Option
Description
Quarter resolution
working mode
(Avid DS Nitris Editor only) On workstations with
lower processing speeds, you can work with HD
media at quarter resolution so that you can play back
real-time effects without processing them first.
This option is not available on the Nitris DNA
workstations as you can work at Full resolution with
HD media.
Enable real-time
effects
(Avid DS Nitris Editor only) Lets you play back realtime effects when working with quarter resolution
HD media.
n
Enable playback of
mixed resolution
media/caches
You will not be able to play back any full and
half resolution media and caches unless you
process them at quarter resolution.
(Avid DS Nitris Editor only) When working in
quarter resolution mode, lets you play back full and
half resolution media and caches.
If this option is selected, however, you cannot play
back real-time effects.
Audio Settings
Sample Rate
Lets you define the audio settings for the new
sequence.
Lets you set the desired sample rate for the sequence.
By default, it is set to the highest sample rate
supported by your hardware. The more bits you have,
the more precisely you can represent the sample
amplitude.
Audio material captured at this rate can be used
directly in the new sequence. Material with a
different sample rate must undergo a sample rate
conversion.
Bit Depth
Sets the number of bits per audio sample. The more
bits you have, the more accurately you can represent
the amplitude at that point in time.
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Option
Mixer Configuration
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Description
Determines the number and type of outputs displayed
on the mixer.
Mono
Displays one output strip.
Stereo
Displays two output strips: left and right.
Quadraphonic
Displays four output strips: left, right, left rear, and
right rear.
LCRS
Displays four output strips: left, center, right, and
surround.
4 Stream
Displays four output strips.
5.1
Displays six surround sound output strips: left, right,
center, LFE, left surround, and right surround.
6.1
Displays seven surround sound output strips: left,
right, center, LFE, surround center, side left, and side
right.
7.1
Displays eight surround sound output strips: left,
right, center, LFE, left surround, right surround, left
center, and right center.
8 Stream
Displays eight output strips.
SR Conversion Quality
Determines the quality at which the audio sample
rate is converted. When set closer to Fast, the
conversion speeds up, but quality is compromised.
When set closer to High, the quality increases, but
conversion takes longer.
Default DVE Quality
Sets the default DVE quality mode.
Open Project Dialog Box
Open Project Dialog Box
The Open Project dialog box lets you open existing projects, create new
sequences or projects, delete projects, and manage your project list.
To access the Open Project dialog box:
t
Select File > Open > Project.
Option
Description
Select a Project
Displays the paths and names of existing projects
New Project
Opens the New Project dialog box where you can
create a new project
Project List
Tools that let you manage your list of projects
Add Project Root
Opens a dialog box that lets you add a folder in which
you can create projects. The folder is displayed as a
network path. When you add or restore the project
root, all projects in the path are added.
Remove Project
Root
Removes the selected project root from the list
Hide Project
Hides the selected project. Show the project again by
using the Add Project button to restore the project root.
Refresh
Refreshes the project list. This is useful if your list
displays projects in your workgroup, and someone in
your workgroup on another system has created or
deleted a project.
Change Workgroup
Opens a dialog box that lets you select a project from
another workgroup and add it to your workgroup. The
project is removed from the original workgroup,
because it cannot belong to more than one workgroup
at a time.
Delete Project
Deletes the selected project files and associated media
from your disk
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Option
Description
Select a Sequence
Displays the sequences of the selected project
New Sequence
Opens the New Sequence dialog box, where you can
create a new sequence
Open Sequence
Opens the selected project and sequence
Delete Sequence
Deletes the selected sequence from your disk
Local projects only
Displays only the local projects on your local system
All projects on
workgroup_name
Displays all projects in your workgroup
Processing Options Dialog Box
The Processing Options dialog box lets you specify how Avid DS Nitris
should process the current timeline or selected objects on the timeline. You
can set the mode, granularity, and resolution at which the effects are to be
processed.
To access the Processing Options dialog box, do one of the
following:
368
t
On the Editing toolbar in the Editing layout, select Processing >
Process.
t
In the timeline controls, click the Process button.
Option
Description
Process
Lets you specify the objects you want to process.
Processing computes any effect, transition, layer,
composite, or container clip in your sequence, so
that it can be viewed in real time during playback.
The results of the processing is stored in a new
media file (cache) so that your source media
remains unaltered.
Processing Options Dialog Box
Option
Description
Current Timeline
Processes all objects on the current timeline. This
ensures real-time playback.
Duration of Selection
Processes selected areas on the timeline, including
clips, effect bars, tracks, track effects, track regions,
timeline effects, and transitions.
Processing takes place from the current timeline
down to the deepest level necessary for playback.
This ensures real-time playback of the selected
regions of the timeline.
Selected Object
Processes only the selected objects, including clips,
effect bars, tracks (when the track button is
selected), layers, and transitions. Useful when
working on composites because you can limit
processing to a specific clip or container clip on the
timeline.
n
Since this option limits processing to the
selected object, real-time playback is not
always possible. To view the processed result
of a clip or container clip in real time, solo
the corresponding track.
Cache List
Processes only the selected cache node(s). Only the
objects below the cache node(s) will be processed.
Include Real-Time
Effects
Processes real-time effects that may be too complex
for your hardware to process and play back in real
time. Processing creates a cache on disk for the
effects.
If you are not using a Nitris DNA workstation, you
should always select this option before the final
output of your sequence to guarantee that no frames
will be skipped.
Sw
Process software-based real-time effects.
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Option
Hw
Description
Process hardware-based real-time effects.
n
Process Mode
Minimal
Lets you select the processing mode. In both
Minimal and Complete mode, effects are processed
down to the deepest level necessary for real-time
playback of the current timeline. Reprocessing
occurs only on the effect properties that have
changed since the last time you processed the clips.
Selectively processes any effect, transition,
container clip, or layer at the current level. Creates
only one cache at the current level, so that disk
space is conserved.
n
Complete
Hardware-based real-time effects are only
available on Nitris DNA workstations.
When this option is selected, any subsequent
processing at other levels may take longer.
The system must regenerate caches at this
level and for any changed effects, transitions,
or layers that this option precludes.
Processes any effect, transition, or layer at all
levels. This creates and preserves the caches at each
level.
Use this option after you’ve done a significant
amount of work. Any subsequent changes you make
require less processing time because only the
changed effects or layers are reprocessed. This
option initially takes more time and disk space, but
is more efficient when making changes.
n
Options
370
When compositing, a cache is created for
each layer in the composite. Use this option
to optimize subsequent processing time and
speed.
Processing Options Dialog Box
Option
Type
Frame Processing
Description
Lets you select the detail level of processing. Clips
can be processed by frames or fields, depending on
the type of effect you want to process. Use framebased processing for effects that are applied to
individual pixels. Use field-based processing for
motion paths (animated movements) because it
produces smoother motion.
All processing, including animation, is framebased. This option processes the entire frame (both
fields together) and should be used with framebased material.
This is faster than field-based processing, but gives
lower quality results.
n
Field Processing
You can attain good processing results for
effects applied to pixels, such as blur and
color correction.
All processing, including animation, is field-based.
This option processes odd and even fields
separately. This is slower than frame-based
processing, but gives higher-quality results. Use
field-based processing for animated effects, such as
dissolves, fades, and motion paths.
Precision
Choose the bit depth at which your effects will be
processed. Some effects are capable of up to 32-bit
float precision. Those that are not capable of the
precision level that you set, will be processed at the
bit depth at which they were captured.
Dither when creating
video caches of lower
precision
Adds dithering (at each cache level) before
converting processed images to a lower bit depth.
e.g. when you set the precision at 16-bit but the
media was captured at 10-bit.
n
When outputting images processed in realtime, the dithering will be done only once at
the very last level (top level?)
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Option
Description
Storage Settings
The quality at which your processed video caches
will be stored.
Resolution
Sets the resolution to be used during processing.
This controls the default resolution at which your
media is processed (for example, for effects,
transitions, layers, etc.) and also affects how media
is displayed in the viewer.
n
Bit-Depth
Specifies the bit depth at which the video media
files are captured and stored; 8-bit or 10-bit,
depending on your hardware.
n
Location
Process Remotely
Custom sequences can also be stored at 16bit or 32-bit float.
Lets you specify the location and available disk
space of your media storage
Lets you process your effects, transitions, and/or
composites on an RP workstation in your
workgroup environment.
n
372
Tip: To speed up processing time, use a low
resolution setting.
Avid DS Nitris automatically routes you
processing request to the first available RP
workstation in your workgroup.
Process Video To
Specifies a destination storage device for the
processed video media (cache). You can choose
from a list of designated video storage devices. The
storage devices are specified when you set up your
workgroup environment.
Time Available
Displays the time remaining on the storage device
for processing and saving video cache files with the
specified resolution and compression factor.
Purge Dialog Box
Option
Description
Process Audio To
Specifies a destination storage device for the
processed audio media (cache). You can choose
from a list of designated audio storage devices. The
storage devices are specified when you set up your
workgroup environment.
Time Available (per
stream)
Displays the time remaining on the storage device
for processing and saving audio cache files with the
specified resolution and compression factor
Notification
Options for receiving notification that processing is
complete.
Send email to
Tells the system to sends an email notification when
a remote processing job is complete. Specify the
email address to which the notification is sent.
Play sound
Lets you specify a sound when video processing is
complete. You can specify any 8-bit or 16-bit .wav
file on your system.
Update Viewer While
Processing
When selected, displays the frames in the viewer as
they are processed
n
This option has no effect on the processing
time.
Purge Dialog Box
The Purge dialog box lets you specify the types of media you can delete.
You can delete unused media, source and/or cache media, as well as
maximize storage space on disk.
To access the Purge dialog box, do one of the following:
t
Select Data Management > Purge Media.
t
Right-click a clip in a bin and select Purge Media.
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n
Tip: To remove the largest number of unused media files and gain storage
space, select the Unreferenced Media option and the Optimize For
Maximum Storage Space Recovery option. Note that this is a timeconsuming process.
Option
Description
Display Associated Media
For
Lets you choose the area from which media will be
purged
Current Sequence
Purges media files that are referenced by the current
sequence
Current Project
Purges media files that are referenced by the current
project
Unreferenced Media
Purges media files that are not referenced by any
clips. This occurs in cases where the clip has been
deleted, but its media file is still on disk.
Items Selected in the
Avid Explorer
Purges media files that are referenced by clips or
sequences selected in the Avid Explorer
Items Selected in the
Clip Tray
Purges media files that are referenced by clips or
sequences selected in the clip tray
Display Associated Media
Except For
Lets you choose an area from which media will be
kept
Current Sequence
Purges media files that are not referenced by the
current sequence
Items Selected in the
Avid Explorer
Purges media files that are not referenced by clips
or sequences selected in the Avid Explorer
Items Selected in the
Clip Tray
Purges media files that are not referenced by clips
or sequences selected in the clip tray
Consider Following Media Lets you choose which type of video files to purge
Types
Uncompressed Video
374
Purges video media files that were captured with no
compression
Purge Dialog Box
Option
Description
Compressed Video
Purges video media files that were captured using
compression
Video Caches
Purges video media files that were generated when
you processed effects, graphics, or composites
Audio (all sampling
rates)
Purges all captured audio media files regardless of
the sampling rate
Audio Caches
Purges processed audio media files
Keep Media Used In
Lets you specify whether you want to keep media
used elsewhere
Other Master Clips
Preserves media that is used in other master clips
Other Sequences
Preserves media that is used in other sequences
Other Projects
Preserves media that is used in other project
sequences
Optimize For
Lets you choose the level of detail for the purge
search
Quick Storage Recovery Performs a high-level surface pass that deletes only
the media that is not referenced by any of the
selected clips or sequences.
n
Maximum Storage
Recovery
This option is quick and does not split up
media files to get rid of unused portions of
clips.
Performs a deep, low-level pass that splits up media
files and keeps only the portions of media being
used.
It also maximizes the available storage space on the
disk, but increases the amount of time the system
uses to purge media. Use this option only when you
have little disk space left.
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Option
Also Keep X Frames
Heads and Tails with
Preserved Media
Description
Lets you create a buffer at the head and tail of each
clip. When you use the Except For option from the
Display Associated Media list, you are actually
preserving certain clips. This option lets you
specify the number of frames you want to keep
before and after each clip. By default, 15 frames are
kept.
Refresh Purge List
Displays the media files to be purged
Purge List
A list of the media files to be purged that contains
the following headings: Name, Type, Quality,
Creation Date, Duration to Purge, and Size.
Individual files can be selected from the list to be
purged. For an explanation of the quality
information, see “Media Property Page (Media
Properties)” on page 266 in the Help.
The Quality description for Purge includes the
precision at which a cache was processed (8 Bits,
16 Bits, 32 Bits Float). Exact Precision indicates
that the cache was processed in Exact Match mode
(with the “Display a 'media not available' message”
option selected in the Sequence Preferences) and
that all caches at the current level and below were
processed with this same exact precision.
Video Disk Space Available Displays the amount of space left on your video
storage device before and after the items are purged
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Audio Disk Space
Available
Displays the amount of space left on your audio
storage device before and after the items are purged
Purge
Begins purging the selected media
Sample Rate Conversion Options
Sample Rate Conversion Options
The Sample Rate Conversion Options dialog box lets you convert the audio
sample rate of the current timeline or selected objects on the timeline to the
sample rate of the current sequence.
Option
Description
Process
Lets you specify the objects you want to convert.
Processing converts any audio clips in your
sequence to the current sample rate. The result of
the processing is stored in a cache file, so that your
source media remains unaltered.
Current Timeline
Converts the entire timeline
Selected Object
Converts only the selected objects. Objects include
clips, container clips, and tracks (when the track
button is selected). This is useful when you want to
process a specific clip or container clip on the
timeline.
n
Process Mode
Minimal: Only What
Is Necessary to Play
Since this option limits processing to the
selected objects, a playable sequence is not
always produced. To hear the processed
result of a clip, container clip, or track, solo
the corresponding track.
There are two processing modes in Avid DS Nitris:
Minimal and Complete. In both modes, audio clips
are processed down to the deepest level necessary
for audio playback on the current timeline.
Selectively processes any audio clip, container clip,
or track at the current level. This option creates only
one cache at the current level, so that disk space is
conserved.
Complete: Everything Processes any audio clip, container clip, or track at
at All Levels
all levels. This option also creates and preserves the
caches at each level.
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Save Sequence Dialog Box
The Save Sequence dialog box lets you save your sequence in a desired
location.
Use this
To
Bin Tools (File System)
Navigate through and manage the contents of your
bins.
Bin Tools (Bottom Bar)
Change the way the contents of the bin are
displayed. These tools appear for all bin contents.
File Name
Type a name for your preset.
File Types
Select a file type for your preset.
Save Snapshot Dialog Box
The Save Snapshot dialog box lets you save what is currently displayed in
the viewer as a clip in a desired location.
To access the Save Snapshot dialog box:
t
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From the Editing toolbar, select Generate > Snapshot to Clip.
Use this
To
Bin Tools (File System)
Navigate through and manage the contents of your
bins.
Bin Tools (Bottom Bar)
Change the way the contents of the bin are
displayed. These tools appear for all bin contents.
File Name
Type a name for your preset.
File Types
Choose a file type for your preset.
Sequence Preferences Dialog Box
Sequence Preferences Dialog Box
The Sequence Preferences dialog box lets you determine how the files in a
project are recorded and output to tape for your program. The types of
properties you can set include the resolution, compression, frame, and
sample rate.
n
The properties you set in the Sequence Preferences dialog box may differ
from the property settings of the originally captured media.
To access the Sequence Preferences dialog box:
t
Select File > Sequence Preferences.
Video Property Page (Sequence Preferences)
The Video property page displays the video preferences for the sequence
when it was created, and lets you set the working video resolution, the
compression ratio, and the processing mode.
Option
Description
Structure
Displays the video format, frame rate, frame size,
pixel ratio, field dominance, and pixel format of your
sequence
Format
Displays the video format that was specified when the
sequence was first created
Frame Rate
Displays the number of frames per second for the
specified video format
Frame Size
Displays the frame size for the specified video format.
Frame size is the dimensions of a digital image in
Avid DS Nitris. It is measured in Avid DS Nitris units
(DSU).
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Option
Description
Pixel Ratio
Displays the pixel ratio for the specified video format.
Pixel ratio refers to the numerical ratio of pixel height
to width. The standard pixel ratio for an NTSC 4/3
image is 0.9 and PAL 4/3 is 1.07.
Field Dominance
Displays the field dominance setting for the specified
video format. Field dominance determines the order
in which odd and even fields occur in time.
Color Space
Displays the color model used to describe the color
components of your images. There are three different
color models: YCbCr 4:2:2, RGBA, and RGB.
Levels
Displays the levels for the specified format:video or
graphics. For more information, see the Input Levels
option in Media Capture Settings.
Processing
380
Type
Determines the way Avid DS Nitris processes
material. Lets you select either field or frame-based
processing. You can also choose how you want
Avid DS Nitris to handle unprocessed effects during
playback.
Field Processing
All processing, including animation, is field-based.
This option processes odd and even fields separately.
This is slower than frame-based processing, but gives
higher-quality results. Use field-based processing for
animated effects, such as dissolves, fades, and motion
paths.
Sequence Preferences Dialog Box
Option
Frame Processing
Description
All processing, including animation, is frame-based.
This option processes the entire frame (both fields
together) and should be used with frame-based
material.
This is faster than field-based processing, but gives
lower quality results.
n
Precision
You can attain good processing results for
effects applied to pixels, such as blur and color
correction.
Choose the bit depth at which your effects will be
processed. Some effects are capable of up to 32-bit
precision.
Those effects that are not capable of the precision
level that you set, will be processed at the bit depth at
which they were captured.
Dither when
converting to lower
precision
Adds dithering (at each cache level) before converting
processed images to a lower bit depth. e.g. when you
set the precision at 16-bit but the media was captured
at 10-bit.
n
Display source
material when
processing is needed
Displays source material when it encounters
unprocessed effects during playback. By default, this
option is not selected and Avid DS Nitris displays the
message “Needs processing” in the viewer.
n
Conversion Mode
When outputting images processed in real-time,
the dithering will be done only once at the very
last level (top level?)
This option is not available when working in an
HD sequence.
Determines how presets and media are converted
from one video format to another
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Option
Presets
Scale to Fit
Description
Determines how presets are converted from one video
format to another. These settings can be changed at
any time.
Scales the preset in both the X and Y axes to fit the
sequence settings, such as 16:9 and 4:3. This option
does not retain the aspect ratio of the original preset.
Scale, Keep Aspect Scales the preset in both the X and Y axes to fit the
Ratio
sequence settings, but retains the ratio between width
and height. It takes the larger axis of the preset and
scales it to fit in the viewer. Then it centers the preset
on the other axis.
Center, Keep
Original Size
Centers the preset in the viewer along both the X and
Y axes. This option does not modify the original size
of the preset.
Fit X-axis, Keep
Aspect Ratio
Scales the preset in the X-axis to fit the sequence
settings, then scales the preset along the Y-axis to
keep the ratio between width and height intact. If the
resulting preset is larger or smaller than the sequence
settings, it is centered along the Y-axis.
Fit Y-axis, Keep
Aspect Ratio
Scales the preset in the Y-axis to fit the sequence
settings, then scales the preset along the X-axis to
keep the ratio between width and height intact. If the
resulting preset is larger or smaller than the sequence
settings, it is centered along the X-axis.
Media
Scale To Fit
382
Determines how media is converted from one video
format to another. These settings can be changed at
any time. Once you choose a setting, it is applied to
all subsequent master clips that are added to the
timeline.
Scales the media in both the X and Y axes to fit the
sequence settings, such as 16:9 and 4:3. This option
does not maintain the aspect ratio of the original
media.
Sequence Preferences Dialog Box
Option
Description
Scale, Keep Aspect Scales the media in both the X and Y axes to fit the
Ratio
sequence settings, but retains the ratio between width
and height. It takes the larger axis of the image and
scales it to fit in the viewer. Then it centers the image
on the other axis, creating black bands on both sides.
An example of this conversion mode would be the
Letterbox format which converts film to video.
Center, Keep
Original Size
Centers the media in the viewer along both the X and
Y axes. This option does not modify the original size
of the media.
Keep Original Size Displays the media in the viewer without modifying
& Position
the original size or position of the media
Fit X-axis, Keep
Aspect Ratio
Scales the media in the X-axis to fit the sequence
settings, then scales the image along the Y-axis to
keep the ratio between width and height intact. If the
resulting image is larger or smaller than the sequence
settings, it is centered along the Y-axis.
Fit Y-axis, Keep
Aspect Ratio
Scales the media in the Y-axis to fit the sequence
settings, then scales the image along the X-axis to
keep the ratio between width and height intact. If the
resulting image is larger or smaller than the sequence
settings, it is centered along the X-axis.
Storage Settings
The quality at which your processed video caches will
be stored.
settings affect only the working
w These
resolution and what is shown while you
work. They have no effect on the capture
resolution.
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Option
Resolution
Description
Sets the resolution to be used during processing. This
controls the default resolution at which your media is
processed (for example, for effects, transitions, layers,
etc.) and also affects how media is displayed in the
viewer.
To speed up processing time, use a low resolution
setting.
n
Bit-Depth
Specifies the bit depth at which the video media files
are captured and stored; 8-bit or 10-bit, depending on
your hardware.
n
Quarter resolution
working mode
The Nitris DNA workstation only supports full
resolution.
Custom sequences can also be stored at 16-bit
or 32-bit float.
(Avid DS Nitris Editor only) On workstations with
lower processing speeds, you can work with HD
media at quarter resolution so that you can play back
real-time effects without processing them first.
This option is not available on the Nitris DNA
workstations as you can work at Full resolution with
HD media.
Enable real-time
effects
(Avid DS Nitris Editor only) Lets you play back realtime effects when working with quarter resolution HD
media.
n
Enable playback of
mixed resolution
media/caches
You will not be able to play back any full and
half resolution media and caches unless you
process them at quarter resolution.
(Avid DS Nitris Editor only) When working in
quarter resolution mode, lets you play back full and
half resolution media and caches.
If this option is selected, however, you cannot play
back real-time effects.
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Sequence Preferences Dialog Box
Option
Compression
Avid HD
Description
Sets the compression ratio used to display media
captured at various compression ratios. You can also
select Uncompressed.
(HD sequences)
If a clip has no media with the above settings:
Display a “Media not Displays the message “Media not available” in the
available” message
viewer when the clips in the current sequence do not
match these settings, or when the media is not
present. If the media is not present, you must
recapture the media using the Capture Settings view.
Use the closest media Uses whatever media is available when the clips in the
format available
current sequence do not match the current settings.
n
Force Premultiplied
Output
You can mix different resolutions, but you
cannot mix compressed and uncompressed
video.
(Video tracks only) When this option is selected, the
bottommost layer of your composite is premultiplied.
Premultiplication multiplies the RGB channels with
the alpha channel.
This option should not be selected if you are using the
bottommost layer as your background.
n
Default DVE Quality
If you select this option, all effects will no
longer be real-time playable.
Sets the default DVE quality mode.
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Audio Property Page (Sequence Preferences)
The Audio property page displays information on the installed audio
hardware and the audio preferences that were set when the sequence was
created.
Option
Description
Audio Hardware
Displays the type of audio hardware installed
Manufacturer
Manufacturer name of the hardware installed
Driver Version
Current version of the audio hardware driver
Audio Preferences
Displays the audio sample rate and bit depth, and lets
you set the audio conversion method
Sample Rate
Sample rate of the currently opened sequence. This
value is set when the sequence is first created.
Bit Depth
Sets the number of bits per audio sample. The more bits
you have, the more accurately you can represent the
amplitude at that point in time.
Sample Rate
Conversion
Lets you determine if and how audio clips with sample
rates different than the current sequence are converted
when dropped on the timeline
Conversion On
Drop
When an audio clip is placed on the timeline, automatic
sample rate conversion is performed if the clip's sample
rate differs from the sequence's sample rate.
Confirm Each
Time
If sample rate conversion is required, a dialog box is
displayed asking you to confirm the process.
Deselect this option if you don’t want a confirmation
dialog box to appear every time you import an audio file
with a different sample rate into the current sequence.
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Sequence View Menu
Option
Description
Conversion Quality Determines the quality at which your audio sample rate
is converted. If you set the Sample Rate Conversion
Quality closer to Fast, the conversion will speed up, but
you will be compromising on the quality. As you get
closer to High, the quality will increase, but the
conversion process will take longer.
Sequence View Menu
The Sequence View pop-up menu lets you cut, copy, delete, and save a
clip. You can also create container clips and view the properties of the
selected clip.
To access the Sequence View menu:
t
In the Sequence View, right-click an empty area.
Use this
To
Cut Clip
Remove the selected clip from the sequence and
copies it to the Clipboard
Copy Clip
Copy the selected clip to the Clipboard
Delete Clip
Remove the selected clip
Save Clip As Sequence
Save the current clip as a separate sequence. The
saved clip will contain all effects applied to it. If the
clip is processed, the cache will also be saved.
Create Background
Container
Create and open a background container clip
holding the selected clip. The Editing layout is
displayed.
Create Composite
Container
Create and open a one-layer composite container
clip holding the selected clip. The Compositing
layout is displayed.
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Use this
To
Create Audio Container
(Audio clips only) Create and open an audio
container clip holding the selected clip. The Editing
layout is displayed.
Properties
Open the Clip property editor.
Throttle Manager Service
The Avid Throttle Manager is always installed on a workstation that is not
already running Avid DS Nitris. Typically, it is installed on the same
workstation as Avid DS Nitris RP.
To start the Throttle Manager:
t
On the workstation where the Throttle Manager has been installed,
select Start > Programs > Avid Products > Services > Avid Throttle
Manager.
After the Avid Throttle Manager is started, you can use it to manage your
storage areas and media more efficiently.
To use the Throttle Manager:
1. Select Data Management > Configure Storages.
2. Select a Media Indexing service from the list and click the Change
button.
3. Click the Change button again.
4. When the list of storages in the selected Media Indexing service
displays, select the storage area that you want the Throttle Manager to
manage, and click the Change button.
5. In the storage dialog box, select the Enabling throttling for this
Storage option.
All media on this storage area will now be managed by the Throttle
Manager. Do the same for other storage areas that require this service.
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Cache Menu
When you play any clips on your timeline where the media is on a storage
area that is managed by the Throttle Manager, a light for the Throttle
Manager will appear on the status bar (position the pointer over the light to
view a tooltip with more information).
Red
Service is stopped.
Throttle Service
(undefined)
Green
Service is started and in use by the current clip.
Throttle Service
(connected)
Amber
Service is started but not in use by the current clip.
Throttle Service (not
required)
Cache Menu
The Cache pop-up menu lets you delete a cache bar, move it up or down,
process, purge, and save it. Cache bars change color, depending on their
status. They’re yellow if any part of the time span needs processing, they’re
blue when they are sent off for remote processing, and they’re green if they
have an associated cache and are real time playable.
To access the Cache menu:
t
On the timeline, right-click a cache bar.
Option
Description
Delete
Deletes the selected cache bar
Bring to Top
Moves the selected cache bar to the top of the stack
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Option
Description
Raise
Moves the selected cache bar up one position in the
stack
Lower
Moves the selected cache bar down one position in
the stack
Push to Bottom
Moves the selected cache bar to the bottom of the
stack
Lock in Time
Locks the cache bar at the current timecode
Process
Displays the Processing Options dialog box, which
lets you process everything up to the cache bar—see
“Processing Options Dialog Box” on page 368.
Cache to Clip
Displays the Timeline to Clip options dialog box,
which lets you create a clip from the cache. This
option creates a new clip in the Avid Explorer, but
does not automatically replace the cache effect with
the new clip.
Add to Cache List
Adds the cache bar to the Cache List view
Purge Selected
Purges only the cache media associated with the
selected cache node
Purge Below
Purges any unnecessary cache media that lies below
the cache bar, while keeping the cache bar real-time
playable. This option is useful if you processed your
effects using the Complete option and no longer need
the caches at each level any more.
Purge
Purges the cache media associated with the cache bar
as well as any cache media that lies below it
Cache Node Menu
Cache Node Menu
The Cache Node pop-up menu lets you delete the cache, process, purge,
and save it. Cache nodes change color, depending on their status. They’re
yellow if they need processing, they’re blue when they are sent off for
remote processing, and they’re green if they have an associated cache and
are real-time playable.
To access the Cache Node menu:
t
In the Effects Tree view, right-click a cache node.
Option
Description
Process
Displays the Processing Options dialog box, which lets
you process everything up to the cache effect—see
“Processing Options Dialog Box” on page 368.
Cache to Clip
Displays the Timeline to Clip options dialog box,
which lets you create a clip from the cache. This option
creates a new clip in the Avid Explorer.
Purge Selected
Purges only the cache media associated with the
selected cache node
Purge Below
Purges any unnecessary cache media that lies below
the cache node, while keeping the cache real-time
playable. This option is useful if you processed your
effects using the Complete option and no longer need
the caches at each level anymore.
Purge
Purges the cache media associated with the cache node
as well as any cache media that lies below it
Add to Cache List
Adds cache node to Cache List view
Cut
Cuts the selected node and places it on the Clipboard
Copy
Copies the selected node and places it on the
Clipboard. From the Clipboard, it can be pasted into
the same or another tree.
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Option
Description
Delete
Removes the selected node
Select Preceding Nodes Selects all nodes connected before currently selected
node. Useful for viewing all nodes that contribute up to
the selected node.
Select Subsequent
Nodes
Selects all nodes connected after currently selected
node. Useful for viewing path defined by nodes that are
modifying the output of the selected node.
Fold Minimal
Places selected nodes in a new Effects Tree. The new
Effects Tree node only displays the inputs that are
directly connected to the effect feeding the new Effects
Tree.
Fold All
Places selected nodes in a new Effects Tree. The new
Effects Tree node displays all inputs from each effect.
Attract
Pulls all nodes closer to the currently selected node(s).
The amount they are pulled depends on the size of the
selected node(s).
Repel
Pushes all nodes away from the currently selected
node(s). The amount they are pushed depends on the
size of the selected node(s).
Use Input Names
Appends the input port’s name with the input’s name
instead of just Input 1, Input 2, etc.
For example, if a Blue Green keyer is connected to
Input 1 of a Composite node, then the input port name
will be displayed as “Input 1- Blue Green Keyer” when
you select this option from the Composite node. All
input port names will update to reflect the input’s
name.
n
392
You can also select the Use Input Names in the
New Nodes box on the Effects Tree page of the
User Preferences dialog box if you want all new
effects you add to a tree to use the input node’s
name.
Data Management Menu
Option
Description
View
Lets you view the result of the effects up to the cache
node
Open Viewer
Displays the output of the selected node in a floating
viewer.
Data Management Menu
The Data Management menu lets you display the Project Manager, Purge
dialog box, or Configure Storages.
To access the Data Management menu:
t
Select Data Management.
Option
Description
Media Tool
Displays the Media Tool. The Media Tool provides
tools for viewing and managing the media files of your
current project.
Project Manager
Displays the Project Manager view. The Project
Manager displays all the projects on your workstation,
and lets you archive, restore, or delete these project files
and their media.
Purge Media
Displays the Purge dialog box. The Purge dialog box
lets you specify the types of media you can delete.
Configure Storages
Displays the Media Storage Configuration dialog box.
The Media Storage Configuration dialog box displays
all video and audio storages, and Avid Media Indexing
Services, that are currently defined for your
workstation.
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Edit View Menu
The Edit View pop-up menu lets you customize the views in a layout.
To access the Edit View menu:
t
In Edit Layout mode, right-click any existing or empty view in the
layout.
Option
Description
Split Horizontally
Splits the selected view, horizontally, into two separate parts
Split Vertically
Splits the selected view, vertically, into two separate parts
Split Both Ways
Splits the selected view into four separate parts
Add View Switcher
Adds a view switcher to the selected view
Set View
Adds a toolset to the selected view
Single-Instance Views
Adds a view to the selected view that you can only use once in a layout.
This command is not available when accessed from a combo view.
Multi-Instance Views
Adds a view to the selected view that you can use multiple times in a
layout
Default Combo Views
Adds a default combo view to the selected view.
This command is not available when accessed from a combo view.
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User Combo Views
Add a combo view that you created to the selected view. This command
is not available when accessed from a combo view.
Default Toolbars
Adds a default toolbar to the selected view
User Toolbars
Adds a User toolbar to the selected view
Property Editor
Adds a property editor to the selected view
Large Property Editor
Adds a large property editor to the selected view
Edit Menu
Edit Menu
The Edit menu lets you retrace your steps and perform common
project-based tasks.
To access the Edit menu:
t
Select Edit.
Option
Description
Undo
Cancels the last action that you performed. You can perform
multiple undos.
n
n
You can set the number of steps you can undo in the
User Preferences dialog box (General property page).
Redo
Reapplies the action you previously cancelled with the
Undo command
Repeat
Repeats the last action that was performed
Cut
Removes the current selection and places it on the
Clipboard
Copy
Duplicates the current selection and places it on the
clipboard
Paste
Replaces the current selection with the contents of the
clipboard
Clear
Deletes the current selection
Select All
Selects all elements on the active window
The Cut, Copy, and Paste commands are only available when an object is
selected in the timeline or viewer.
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File Menu
The File menu lets you create a new project, and open, close, or save an
existing project. You can also set properties associated with the project,
and exit the application.
To access the File menu:
t
Select File.
Option
Description
New Sequence
Opens a new sequence for this project based on the
working properties that you set for the project.
New
Lets you create a new DS sequence or project folder
DS Sequence
Creates a new sequence and lets you set new audio
and video settings.
Project
Creates a new project folder by displaying the New
Project dialog box in which you can set a name and
location for your project folder and set preferences
for your project. By default, the project is named
“Untitled”.
Open
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Lets you load an existing sequence or project
Sequence
Displays all existing sequences for you to select the
sequence you want to load. If you currently have
another sequence open, you will be prompted to
save it before opening another sequence.
Project
Lets you select the project that you want to load
from a list of all existing projects. If you currently
have another project open, you will be prompted to
save it before opening another project.
Swift Menu
Option
Description
Save
Saves your project to the current project folder,
using the current project file name. If you have not
previously saved your project, a browser will be
displayed where you can specify a project name and
location. A project is saved with an .sff extension.
Save As
Displays a browser where you can save your project
to a different name and location. A project is saved
with an .sff extension.
Sequence Preferences
Displays the Sequence Preferences dialog box
where you can change your working properties for
the current sequence.
User Preferences
Lets you set preferences for the current user profile,
such as autosave, autokeying, and undo levels.
Command Mapping
Displays the Command Mapping dialog box, in
which you can choose an existing command map
template, or create a new one. Command maps
show you which commands are mapped to the keys
on the keyboard.
Exit
Closes Avid DS Nitris. You are prompted to save
any changes in the open sequence.
Swift Menu
The swift menu is a circular pop-up menu that lets you activate the
transport control commands by pressing the H key and holding down the
left mouse button over the timeline.
Swift menus don't need to be displayed to work. Once you've learned the
commands and where they are located, you can execute commands without
waiting for the menu to appear.
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To select a command from the swift menu:
1. Hold down the H key and the left mouse button for a few seconds on
the timeline.
The swift menu opens.
2. Hold down the left mouse button and drag the mouse in the
appropriate direction.
3. Release the mouse button to choose the command.
n
There are additional commands under the Goto command. To access them,
drag the mouse in the direction of the submenu, then in the direction of the
command. Release the mouse button.
Option
Description
Play
Plays the sequence, beginning at the current timecode
Play Back
Plays the sequence in reverse
Stop
Stops playback
Preview
Loops playback around the current selection
Frame >
Moves the position indicator one frame forward
< Frame
Moves the position indicator one frame backward
Go to (left)
Moves the position indicator to the specified position
Head
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Moves to the beginning of the sequence
Swift Menu
Option
Description
< Locator
Moves to the previous locator
< Edit
Moves to the previous edit point
In
Moves to the in-point
Go to (right)
Moves the position indicator to the specified position
Tail
Moves to the end of the sequence
Locator >
Moves to the next locator
Edit >
Moves to the next edit point
Out
Moves to the out-point
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Avid DS RP Project List
The Avid DS RP Project List lets you view the project files that were in the
DS Projects folder. You can also generate a new project list, and then clean
it up by deleting unwanted projects.
To access the Avid DS RP Project List:
t
In the Administration box, click the Project Management button.
Option
Description
Project List
A list of projects created in the DS Projects folder
Delete Projects
Deletes project files, including all the associated
media from the storage device. Avid DS RP creates
a new project every time a new job is accepted.
These projects are named as follows:
ProjectName_Day_Month_Time_RPR.
Once the processing job is complete and the caches
have been sent back to the original workstation, you
can delete these project files.
Scan Disk
400
Refreshes project list
Web Viewer
Web Viewer
The Web viewer that lets you view URL locations, HTML files, and other
files associated with your default Web browser without leaving
Avid DS Nitris.
To open an Avid DS Nitris Web viewer from a bin:
t
Double-click a file associated with your default Web browser.
An Avid DS Nitris Web viewer opens inside the Avid Explorer view.
Web viewer tools appear at the top of the Avid Explorer window.
To open an Avid DS Nitris Web viewer independently from a bin:
t
Select View > Multi-Instance Views > Web.
An Avid DS Nitris Web viewer opens as a floating window. Tools
appear at the top of the Avid DS Nitris Web viewer.
Stop
Forward Refresh
Back
Home
Use this
To
Back
Show the previously displayed page.
Forward
Show the next displayed page.
Stop
Stop the process of opening a page.
Refresh
Show an updated version of the same page.
Home
Show the home page of the default browser.
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Avid Event Log
The Avid event-logging service stores events from various sources in a
single collection called an event log. Notifications of events include
informative messages, errors, and warnings.
The event logging service does not replace direct messages that are
displayed when an action is necessary. The event log simply lets you view
the results of any actions.
A reasonable amount of disk space is reserved for the event log. When the
log is full, older events are erased to make room for new ones.
To access the Avid Event Log view:
t
Select View > Multi-Instance Views > Avid Event Log.
The Avid Event Log is displayed.
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Avid Event Log
Avid Event Log Menu
The Avid Event Log pop-up menu lets you view the properties of an event,
delete events, and adjust the settings of the event log.
Option
Description
Properties
Displays information about an event
Clear All Events
Deletes all the events in the Avid Event Log. (This
option also appears in the Fast menu.)
Event Log Settings
Opens a dialog box in which you can set
preferences, such as automatically update the log
when there are new events, minimum intervals
between updates, and the maximum log size. (This
option also appears in the Fast menu.)
Event Types
There are four types of events that can be logged. All event classifications
have well-defined common data and can include event-specific data. The
application indicates the event type when it reports an event. The following
table describes the event types that are logged.
Event type
Icon
Description
Information
Indicates successful operations. For example,
when Avid DS Nitris starts, it will log an
information event stating that “Avid DS Nitris
has started.”
Warning
Indicates problems that are not immediately
significant, but may indicate conditions that
could cause future problems. For example, an
application can log a warning event if disk
space is low.
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Event type
Icon
Description
Error
Indicates significant problems that you should
know about. Error events usually indicate a
loss of functionality or data. For example, a
function that cannot be carried out due to an
invalid action or data entry would be an error
event.
Success
Success audit events are security events that
occur when an audited access attempt is
successful. For example, a successful logon
attempt is a success audit event.
Avid Event Log Settings Dialog Box
The Avid Event Log Settings dialog box lets you set preferences, such as
automatically updating the log when there are new events, minimum intervals
between updates, and the maximum log size.
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Option
Description
Automatic Update
Lets you turn on automatic updates in the log and set
the interval between updates
Enable automatic
update when new
events are logged
Automatically updates the log when new events are
logged
Minimum interval
between updates
The minimum number of seconds between updates
Log Size
Lets you set the size of logs
Maximum log size
Species the maximum size of the log in kilobytes
Avid DS RP
Avid DS RP
Avid DS RP (remote processor) is a dedicated processing application that
you can install on any workstation on your network. Avid DS RP runs
separately from Avid DS, but communication between the two applications
is established using a mail-type system.
The main benefit of Avid DS RP is that you can send processing jobs to the
remote processing station and continue to work on your sequence. Avid DS
RP notifies you when the job is complete. As the caches are created, they
are automatically linked into your current sequence.
To start Avid DS RP:
t
Double-click the Avid DS RP icon on your desktop.
Option
Description
Status
Displays state of Avid DS RP:
Idle: Waiting for processing requests.
Busy: Currently processing a request sent from
another workstation.
Error: An error occurred during processing.
Status window
Displays events that are being performed by Avid DS
RP
Administration
Lets you perform some basic administrative tasks, so
that Avid DS RP works at peak efficiency
Reset
Reinitializes Avid DS RP. If you’re experiencing
some problems with Avid DS RP, reinitialize it and
resend your request.
Project Management
Displays dialog box that lets you remove projects that
were created during remote processing
Pending Requests
Displays number of requests that remain to be
processed
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Avid DS RP Project List
The Avid DS RP Project List lets you view the project files that were in the
DS Projects folder. You can also generate a new project list, and then clean
it up by deleting unwanted projects.
To access the Avid DS RP Project List:
t
In the Administration box, click the Project Management button.
Option
Description
Project List
A list of projects created in DS Projects folder
Delete Projects
Deletes project files, including all the associated media
from the storage device. Avid DS RP creates a new
project every time a new job is accepted. These projects
are named as follows:
ProjectName_Day_Month_Time_RPR.
Once the processing job is complete and the caches have
been sent back to the original workstation, you can
delete these project files.
Scan Disk
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Refreshes project list
Chapter 4
Paint & Titling Reference
This chapter contains reference information about paint and titling.
•
Graphics Layout
•
Graphics Property Tree
•
Graphics Combo View
•
Graphics Object View (GOV)
•
Graphics Toolbars
•
Graphics Properties
•
Group
•
Magic Wand
•
Reshaper
•
Color Editor Dialog Box
•
Import Image Dialog Box
Paint & Titling Reference
Graphics Layout
The Graphics layout is where you perform painting and titling tasks. In this
layout, you can create graphics objects, such as text and vector-based
strokes, and apply colors, textures, and effects to them. Once created, you
can edit and animate objects and their properties. You can also touch-up
clips using the graphics tools.
The Graphics and Compositing layouts are closely integrated, as the
graphics tools can be used independently on each layer of a composite
image.
To access the Graphics layout:
1. Drag a clip from the Avid Explorer to the timeline.
2. Place the position indicator over the clip.
3. From the taskbar, click the Graphics button.
n
408
You can also access the floating Graphics Combo View by pressing Ctrl
and clicking the Graphics button in the taskbar.
Graphics Layout
The Graphics Combo View
The Graphics combo view is a floating view that you can access from
many locations in Avid DS Nitris to perform painting and titling tasks.
This view contains all the same tools as the Graphics layout.
Graphics property tree
Property editors let you set and modify
displays the properties of a
various graphics properties, such as brush
selected tool or graphics object. options, paint style, color, and titling style.
Toolbars
contains tools
for drawing and
manipulating
graphics
objects.
Graphics Object view (GOV) displays graphics objects and their
time spans in the current graphics session. You can also select, trim,
move, rename, and delete any of your graphics objects.
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Graphics Property Tree
The graphics property tree displays the properties of a selected tool or
graphics object (stroke or text body). Using this tree, you can set the
default properties of a drawing tool or edit the properties of selected
graphics objects.
When you select a drawing tool, “Current Tool” appears above the
graphics property tree. Any properties you set now will become your
default drawing tool properties.
When you select a graphics object from the viewer, “Selected Object”
appears above the graphics property tree. Any properties you set now will
apply only to the selected graphics object(s).
Navigating the Graphics Property Tree
When you select a drawing tool or graphics object, the graphics property
tree displays its properties. When you select a property button from the
tree, it displays the corresponding property editor. The property tree lets
you specify properties, such as the size, shape, and transparency of a brush.
When you create text, the property tree lets you specify the format and
style of a text body.
To expand or collapse the graphics property tree:
t
Click the plus (+) sign next to a property button to expand it.
The subproperties are listed below the expanded properties, and the
plus sign changes to a minus sign.
t
Click the minus (-) sign next to a property button to collapse it.
The contents of the collapsed property tree are no longer visible in the
tree, and the minus sign changes to a plus sign.
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Graphics Property Tree
Using the Pop-up Menu
Pop-up menus let you quickly load and use different presets by clicking a
property button in the graphics property tree.
To use the pop-up menu:
1. From the property tree, click a property button.
2. From the menu, select a preset.
The preset you selected is applied to a selected object or becomes the
new default property.
Paint Menu
The paint pop-up menus let you quickly load and use different presets and
effects by right-clicking a property button in the graphics property tree.
To access the paint menus:
1. From the graphics property tree, right-click a property button.
Brush pop-up menu
2. From the menu, select a preset or effect.
The preset you selected is applied to a selected object or becomes the
new default property.
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Graphics Combo View
The Graphics combo view is a floating view that you can access from
many locations in Avid DS Nitris to perform painting and titling tasks.
Like the Graphics layout, you can create graphics objects, such as text and
vector-based strokes, and apply colors, textures, and effects to them. Once
created, you can edit and animate objects and their properties. You can also
touch-up clips using the graphics tools.
To access the Graphics combo view:
Hold down the Ctrl key and do one of the following:
412
t
In the taskbar, click the Graphics button.
t
In the Layers view, click the Gfx button.
t
On the timeline, double-click the Graphics effect bar.
t
In an Effects Tree, double-click the Graphics node.
Graphics Object View (GOV)
Graphics property tree
Property
editor
Tools toolbar
Navigation
buttons
Graphics Object View
(GOV)
Graphics Object View (GOV)
The Graphics Object View (GOV) displays graphics objects and their time
spans in the current graphics session. This lets you clearly see the timing
relationships between all the objects in a graphics session and gives you
the ability to manipulate them in the GOV.
A graphics session is the time span over which graphics objects appear.
You can create a graphics session by applying the Graphics effect to a clip
or track, or by applying graphics on a layer inside a composite container
clip. Once created, you can select, delete, move, and trim (in time)
graphics objects.
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When you create a stroke in the viewer:
n
•
A yellow graphics bar, representing the stroke, appears at the bottom
of the view. The length of the bar indicates the duration or time span of
the object. As you create more objects, they are placed on top of each
other, starting from the bottom. That means the last object you created
is the top one in the GOV. In the viewer, the last created object is
placed in front of all other objects.
•
Each graphics object is given a default name that corresponds with the
drawing tool you used to create it. For example, if you used the
Rectangle tool to draw on the viewer, the corresponding graphics bar
in the GOV will be named “Rectangle0”. As you create more
rectangles, the number beside the name increments. You can also
rename any graphics objects you create.
By default, the GOV is part of the Graphics Combo view and Graphics
layout. If you close the GOV and want to reopen it, you can access it from
the View menu.
To access the Graphics Object View:
t
Select View > Views > Graphics Object View.
The Graphics Object View and the current graphics session are
displayed.
Dark gray area represents length of
current graphics session
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Graphics Object View (GOV)
To go to the next or previous edited frame:
t
Click the << Edited Frame or >> Edited Frame button.
To go to the start or end of the graphics session:
t
Click the Go to Start or Go to End button.
Changing the Time Scale
The ruler in the GOV displays the time scale for your graphics session or
the timeline on which it resides. This lets you know where your graphics
objects are located in relation to the current graphics session and the
timeline.
To change the time scale:
n
t
Right-click the ruler at the bottom of the GOV and select one of the
following:
t
Show as Local Time to display the graphics session time.
t
Show as Parent Time to display the time of the timeline that contains
the current graphics session.
Unlike the ruler on the timeline, this command doesn’t show the time of the
top timeline.
Viewing Graphics Objects
At times, there may be so many objects in your graphics session that you
can’t see them all in the GOV. When this happens, you can interactively
pan the GOV to focus on specific areas or objects in your graphics session.
By zooming the GOV interactively, you can control the amount of detail
that’s displayed.
Groups of objects are indicated by a plus (+) sign when the group is not
expanded and a minus (-) sign when it is. Also, the graphics bar is also
highlighted in a darker yellow than ungrouped objects.
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Expand/collapse group
n
Tip: To frame objects in the GOV, right-click the ruler at the bottom of the
GOV and select Show Objects on Current Frame. This lets you see the
objects on the current frame without having to pan the GOV.
To zoom the GOV:
t
Hold down the Z or F2 key, and drag left or right on the GOV.
To pan the GOV:
t
Hold down the X or F3 key, and drag left or right on the GOV.
To reset zoom or pan:
t
Press Z and click the GOV to reset zoom.
t
Press X and click the GOV to reset pan.
t
Press Z+X and click the GOV to reset zoom and pan.
The GOV is reset to display the current graphics session.
To expand or collapse groups of objects:
t
n
Click the plus (+) or minus (-) sign next to a graphics bar in the GOV.
When a group is expanded, you can select/hide/lock the objects inside the
group.
Manipulating Graphics Objects
In the Graphics Object View (GOV), you can select, trim, move, rename,
delete, lock, and hide any of your graphics objects.
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Graphics Object View (GOV)
Selecting Graphics Objects
If there are many objects in your graphics session, you may find it easier to
select objects from the GOV than from the viewer.
n
You can also select graphics objects by using the keyboard shortcuts.
To select a graphics object:
t
In the GOV, click a graphics bar.
In the viewer, a yellow bounding box surrounds the selected graphics
object and you are now in Select mode. The graphics property tree
displays the properties of the selected object.
To multi-select graphics objects, do one of the following:
t
Hold down the Shift key and click all the graphics bars in the GOV
representing the graphics objects you want to select.
t
Press Alt and click the graphics bars in the GOV.
t
Press Alt and drag to select multiple graphics objects.
t
Press Alt and drag to deselect all objects and select only the objects
that intersect the rectangle selection.
t
Press Alt+Shift and drag to add objects that intersect the rectangle
selection to the current selection.
t
Press Alt+Ctrl and drag to inverse the selection.
To hide the bounding box when selecting graphics objects:
t
Press Ctrl+H or select the Hide Bounding Box command from the
Graphics menu to enter a mode where the bounding box is hidden, but
the object is still selected.
Trimming Graphics Objects
Trimming a graphics object is a simple matter in the GOV—just drag the
beginning or end of a graphics bar.
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To trim a graphics object:
t
In the GOV, position your pointer at the beginning or end of a graphics
bar and drag it right or left.
The graphics object is trimmed in time.
Trim the graphics bar by dragging
n
Tip: To crop function curves when trimming an object that contains
animation, press C. To scale function curves when trimming an object,
press V. Otherwise, the object’s function curves are cropped or scaled
according to the setting in the Time Span property editor of the selected
object.
Moving Graphics Objects
You can experiment with the placement of graphics objects within a
graphics session by moving them in the GOV.
To move a graphics object:
t
In the GOV, drag a graphics bar (by the middle) to a new timecode.
To move a graphics bar between frames, hold down the 1 (one) key as
you drag the graphics bar.
Middle of graphics bar
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418
If you drag the beginning or end of a graphics bar, you will trim the
graphics object instead of moving it.
Graphics Object View (GOV)
Locking Graphics Objects
When you’re working with overlapping graphics objects, it’s useful to lock
some of the graphics objects on which you don’t want to work. Once an
object is locked, you can’t select or modify it in any way. Locked objects
remain locked when a sequence is closed and reopened. Also, locked
objects cannot be selected or edited in the GOV—you can only unlock it.
When a graphics object is locked, its bar in the GOV changes to a light
gray color.
n
Tip: To see a wireframe outline of locked objects, position the pointer over
the graphics bars in the GOV and the shape of the locked objects will be
displayed in wireframe in the viewer.
You can also lock/unlock a graphics object by right-clicking its
corresponding bar in the GOV and selecting an option from the menu.
To lock graphics objects:
Select the graphics objects that you want to lock and do one of the
following:
t
Select Objects > Lock.
t
Right-click the graphics object in the GOV and select Lock.
Locked objects are now represented by a light gray bar in the GOV and
are automatically deselected.
n
Tip: You can multi-select graphics objects by holding down the Shift key.
To unlock graphics objects, do one of the following:
t
To unlock all graphics objects on the current frame, select Objects >
Unlock All - Frame.
t
To unlock all graphics objects in the current graphics session, select
Objects > Unlock All - Session.
All locked graphics objects are unlocked.
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Hiding Graphics Objects
When you’re working with overlapping graphics objects that clutter the
viewer, you can hide some of the graphics objects on which you don’t want
to work. This makes objects temporarily invisible and may improve
performance when working on large or complex projects.
Once an object is hidden, you cannot select or modify it in any way, except
for trimming. Hidden objects remain hidden when sequences are closed
and reopened.
When a graphics object is hidden, its bar in the GOV changes to a light
blue color and the object remains visible if the wireframe mode is on.
n
Tip: To see a wireframe outline of hidden objects, position the pointer over
the graphics bars in the GOV and the shape of the hidden objects will be
displayed in wireframe in the viewer.
You can also hide/show graphics objects by right-clicking its
corresponding bar in the GOV and selecting an option from the menu.
To hide graphics objects:
Select the graphics objects that you want to hide and do one of the
following:
t
Select Objects > Hide.
t
Right-click the graphics object in the GOV and select Hide.
Hidden objects are represented by a light blue bar in the GOV and are
automatically deselected.
To show graphics objects, do one of the following:
t
To show all graphics objects on the current frame, select Objects >
Show All - Frame.
t
To show all graphics objects in the current graphics session, select
Objects > Show All - Session.
All hidden graphics objects are shown and selected. Any previously
selected objects are deselected.
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Graphics Object View (GOV)
Renaming Graphics Objects
By renaming the graphics objects you create, it will be much easier to
locate specific objects in the GOV.
To rename a graphics object:
1. In the GOV, click the name beside a graphics bar.
The name is highlighted in blue.
2. Type in a new name and press Enter.
Deleting Graphics Objects
When you delete a graphics object from the GOV, it is deleted over its
entire duration. For example, if an object is 10 frames long, it is deleted
over all 10 frames.
To delete a graphics object:
t
From the GOV, select a graphics object, and press Delete.
Graphics Bar Menu
The Graphics Bar menu lets you lock or hide graphics objects. Once you
lock or hide an object, you cannot select or modify it in any way. Locked
and/or hidden objects remain locked/hidden when a sequence is closed and
reopened.
To access the Graphics Bar menu:
t
In the Graphics Object View, right-click a graphics bar.
Command
Description
Lock
Locks the graphics objects on which you don’t want to
work. Once an object is locked, you can’t select or
modify it in any way. Locked objects are represented by
a light gray bar in the Graphics Object View (GOV).
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Command
Description
Hide
Hides the graphics objects on which you don’t want to
work. Once an object is hidden, you can’t select or
modify it in any way, except for trimming. Hidden
objects are represented by a light purple bar in the GOV.
Graphics Object View Menu
The Graphics Object View pop-up menu lets you display the time scale of
your graphics session or the timeline on which it resides.
To access the Graphics Object View menu:
t
In the Graphics Object View, right-click the ruler.
Command
Description
Show as Local Time
Displays the graphics session time
Show as Parent Time
Displays the time of the timeline that contains the
current graphics session
Show Objects on
Current Frame
Displays all graphics objects existing on the current
frame shown in the timecode box
Save Raster Paint Log Menu
The Save Raster Paint Log pop-up menu lets you assign a name to the
raster cache file. It provides you with information about the rastered
frames, so that you can locate them more easily in the cache. If you do not
assign a name, a default name is assigned to the raster cache files based on
the sequence name.
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Graphics Toolbars
To access the Save Raster Paint Log menu:
t
In the GOV, right-click the white boxes above the timeline.
Right-click on the
GOV timeline
n
Tip: To see the file name of a rastered frame, place the pointer over a
rastered frame’s white box and a tooltip appears indicating the file name.
Graphics Toolbars
There are three toolbars, General, General 2, and Tools, that appear in the
Graphics layout.
General (graphics) Toolbar
Tool
Description
Select
Selects and moves objects
Select All
Selects all objects in the viewer
Deselect All - Frame
Deselects all selected objects in the current frame
Deselect All - Session
Deselects all selected objects in the current graphics
session
Scale
Selects, moves, and scales objects
Rotate
Selects, moves, and rotates objects
Skew
Selects, moves, and skews objects
Cut
Cuts a selected object
Copy
Copies a selected object
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Tool
Description
Paste
Pastes an object
Duplicate
Duplicates an object and its time span
Delete
Deletes a selected object
Delete All - Frame
Deletes all objects intersecting with the current frame
Delete All - Session
Deletes all objects from the current graphics session
Group
Group
Groups the selected objects
Ungroup
Ungroups the selected groups
Regroup
Regroups the selected ungrouped objects
Ungroup - Keep
Properties
Ungroups the selected groups. Objects retain the
transformation set while part of the group.
Group All - Session Groups all objects in the current graphics session
Cut from Group
Cuts selected object from a group and places it on the
Clipboard
Paste to Group
Pastes object that is on the Clipboard to a selected
group
Order
Bring to Front
Brings a selected object to the front of all other objects
Raise
Raises a selected object by one level
Lower
Lowers a selected object by one level
Send to Back
Sends a selected object to the back of all other objects
Align
Absolute Align
Horizontal Center
424
Aligns the horizontal center of selected graphics
objects to the horizontal center of the safe action/title
area.
Graphics Toolbars
Tool
Absolute Align
Vertical Center
Description
Aligns the vertical center of selected graphics objects
to the vertical center of the safe action/title area.
Absolute Align Top Aligns the topmost edge of the bounding box of
selected graphics objects to the topmost edge of the
safe title/action area.
Absolute Align
Bottom
Aligns the bottommost edge of the bounding box of
selected graphics objects to the bottommost edge of the
safe action/title area.
Absolute Align Left Aligns the leftmost edge of the bounding box of
selected graphics objects to the leftmost edge of the
safe action/title area.
Absolute Align
Right
Aligns the rightmost edge of the bounding box of
selected graphics objects to the rightmost edge of the
safe action/title area.
Relative Align
Horizontal Center
Aligns all selected graphics objects relative to the
horizontal center of the collective bounding box of all
the selected objects
Relative Align
Vertical Center
Aligns all selected graphics objects relative to the
vertical center of the collective bounding boxes of all
the selected objects
Relative Align Top
Aligns all selected graphics objects relative to the
topmost edge of the bounding box of the topmostselected graphics object
Relative Align
Bottom
Aligns all selected graphics objects relative to the
bottommost edge of the bounding box of the
bottommost-selected graphics object
Relative Align Left
Aligns all selected graphics objects relative to the
leftmost edge of the bounding box of the leftmostselected graphics object
Relative Align Right Aligns all selected graphics objects relative to the
rightmost edge of the bounding box of the rightmost
selected graphics object
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Tool
Description
Edit Shape
Edits the shape of strokes
Reshaper
Reshapes existing strokes with a freehand approach
Copy/Paste Shape
Copy Shape
Copies the shape of the selected stroke at the current
time to the Clipboard
Paste in Place
Pastes the shape from the Clipboard onto the selected
stroke at the current time. The pasted shape is
translated over the stroke’s shape.
Paste at Origin
Pastes the shape from the Clipboard onto the selected
stroke at the current time. The pasted shape keeps its
fixed position.
Text
Creates titles
Edit Text
Edits the contents of text bodies
Tracker
Opens the Paint Tracker property page
Import
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Import Image
Imports an image of any size without having to capture
it
Import Clip
Imports a clip of any size without having to capture it
Import EPS
Imports an EPS file (shape and color information only)
Import HTML
Imports an HTML text file
Stroke Preset
Applies a stroke preset
Text Preset
Applies a text preset
Group Preset
Applies a group preset
Graphics Properties
Opens the Graphics property editor
Refresh
Processes objects in the viewer at the current frame
Graphics Toolbars
General 2 Toolbar
Tool
Description
Combine Strokes
Combines all selected strokes into one
compound stroke
Separate Strokes
Lets you separate a selected compound
stroke into individual strokes
Handwriting
Opens the Handwriting property editor
and allows you to create an animated,
scrolling handwritten effect
Type On
Opens the Type-On property editor and
allows you to create an animated,
scrolling typed effect
Text to Strokes
Converts each individual text character
into individual strokes
Make Brush
Lets you create a custom brush using a
closed stroke
Morph Start
Begins a morph session
Morph Add
Adds a stroke to be morphed into the
current morph session
Morph End
Ends the current morph session
Burn Frame
Places the frame in a cache and deletes
the original graphics object
n
Delete Burned
Once a frame is burned, you
cannot undo it.
Deletes the current burned frame
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Tools Toolbar
Button
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Tool
Description
Select
Selects and moves objects
Freehand
Draws in freehand
Polyline
Draws polylines
Ellipse
Draws ellipses
Rectangle
Draws rectangles
Edit Shape
Edits the shape of strokes
Reshaper
Reshapes existing strokes with a freehand
approach
Text
Creates titles
Edit Text
Edits the contents of text bodies
Rotate
Selects, moves, and rotates objects
Scale
Selects, moves, and scales objects
Skew
Selects, moves, and skews objects
Duplicate
Duplicates an object and its time span
Magic Wand
Selects an area based on color values and
creates a stroke
Tracker
Opens the Paint Tracker property page
Reset to Scratch
Removal
Resets the scratch removal (clone)
properties to their default values
Reset All
Resets all paint and titling properties to
their default values
Graphics Properties
Opens the Graphics property editor
Graphics Toolbars
Button
Tool
Description
Lock
Locks selected objects
Unlock All - Frame
Unlocks all locked objects on the current
frame
Hide
Hides selected objects
Show All - Frame
Shows all hidden objects on the current
frame
Hide Bounding Box
Hide the bounding box of the selected
object(s)
Refresh
Processes objects in the viewer at the
current frame
Wireframe
Views objects in wireframe mode
Wireframe Preview
Shows a wireframe preview of graphics
objects
Tool
Description
Select All
Selects all objects in the viewer
Tools
Freehand
Draws in freehand
Polyline
Draws polylines
Rectangle
Draws rectangles
Ellipse
Draws ellipses
Magic Wand
Selects an area based on color values
and creates a stroke
Edit Shape
Edits the shape of strokes
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Tool
Description
Reshaper
Reshapes existing strokes with a
freehand approach
Select
Selects and moves objects
Rotate
Selects, moves, and rotates objects
Scale
Selects, moves, and scales objects
Skew
Selects, moves, and skews objects
Tracker
Opens the Paint Tracker property page
Text
Creates titles
Edit Text
Edits the contents of text bodies
Wireframe
Views objects in wireframe mode
Wireframe Preview
Shows a wireframe preview of graphics
objects
Refresh
Processes objects in the viewer at the
current frame
Reset to Scratch Removal
Resets the scratch removal (clone)
properties to their default values
Reset All
Resets all paint and titling properties to
their default values
Objects
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Cut
Cuts a selected object
Copy
Copies a selected object
Paste
Pastes an object
Duplicate
Duplicates an object and its time span
Select All
Selects all objects in the viewer
Graphics Toolbars
Tool
Description
Deselect All - Frame
Deselects all selected objects in the
current frame
Deselect All - Session
Deselects all selected objects in the
current graphics session
Delete
Deletes a selected object
Delete All - Frame
Deletes all objects intersecting with the
current frame
Delete All - Session
Deletes all objects from the current
graphics session
Group
Groups the selected objects
Ungroup
Ungroups the selected groups
Regroup
Regroups the selected ungrouped
objects
Ungroup - Keep Properties
Ungroups the selected groups. Objects
retain the transformation set while part
of the group.
Group All - Session
Groups all objects in the current
graphics session
Cut from Group
Cuts selected object from a group and
places it on the Clipboard
Paste to Group
Pastes object that is on the Clipboard to
a selected group
Combine Strokes
Combines all selected strokes into one
compound stroke
Separate Strokes
Lets you separate a selected compound
stroke into individual strokes
Lock
Locks selected objects
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Paint & Titling Reference
Tool
Description
Unlock All - Frame
Unlocks all locked objects on the
current frame
Unlock All - Session
Unlocks all locked objects in the
current graphics session
Hide
Hides selected objects
Show All - Frame
Shows all hidden objects on the current
frame
Show All - Session
Shows all hidden objects in the current
graphics session
Handwriting
Opens the Handwriting property editor
and allows you to create an animated,
scrolling handwritten effect
Type On
Opens the Type-On property editor and
allows you to create an animated,
scrolling typed effect
Text to Strokes
Converts each individual text character
into individual strokes
Make Brush
Lets you create a custom brush using a
closed stroke
Group
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Group
Groups the selected objects
Ungroup
Ungroups the selected groups
Regroup
Regroups the selected ungrouped
objects
Ungroup - Keep Properties
Ungroups the selected groups. Objects
retain the transformation set while part
of the group.
Group All - Session
Groups all objects in the current
graphics session
Graphics Toolbars
Tool
Description
Cut from Group
Cuts selected object from a group and
places it on the Clipboard
Paste to Group
Pastes object that is on the Clipboard to
a selected group
Shapes
Edit Shape
Edits the shape of strokes
Copy Shape
Copies the shape of the selected stroke
at the current time to the Clipboard
Paste at Origin
Pastes the shape from the Clipboard
onto the selected stroke at the current
time. The pasted shape keeps its fixed
position.
Paste in Place
Pastes the shape from the Clipboard
onto the selected stroke at the current
time. The pasted shape is translated
over the stroke’s shape.
Build Vertex Cluster
Builds a cluster of selected vertices
Select Vertex Cluster
Select a cluster of vertices
Order
Bring to Front
Brings a selected object to the front of
all other objects
Raise
Raises a selected object by one level
Lower
Lowers a selected object by one level
Send to Back
Sends a selected object to the back of
all other objects
Align
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Paint & Titling Reference
Tool
434
Description
Absolute Align Horizontal Center
Aligns the horizontal center of selected
graphics objects to the horizontal center
of the safe action/title area.
Absolute Align Vertical Center
Aligns the vertical center of selected
graphics objects to the vertical center of
the safe action/title area.
Absolute Align Top
Aligns the topmost edge of the
bounding box of selected graphics
objects to the topmost edge of the safe
title/action area.
Absolute Align Bottom
Aligns the bottommost edge of the
bounding box of selected graphics
objects to the bottommost edge of the
safe action/title area.
Absolute Align Left
Aligns the leftmost edge of the
bounding box of selected graphics
objects to the leftmost edge of the safe
action/title area.
Absolute Align Right
Aligns the rightmost edge of the
bounding box of selected graphics
objects to the rightmost edge of the safe
action/title area.
Relative Align Horizontal Center
Aligns all selected graphics objects
relative to the horizontal center of the
collective bounding box of all the
selected objects
Relative Align Vertical Center
Aligns all selected graphics objects
relative to the vertical center of the
collective bounding boxes of all the
selected objects
Relative Align Top
Aligns all selected graphics objects
relative to the topmost edge of the
bounding box of the topmost-selected
graphics object
Graphics Toolbars
Tool
Description
Relative Align Bottom
Aligns all selected graphics objects
relative to the bottommost edge of the
bounding box of the bottommostselected graphics object
Relative Align Left
Aligns all selected graphics objects
relative to the leftmost edge of the
bounding box of the leftmost-selected
graphics object
Relative Align Right
Aligns all selected graphics objects
relative to the rightmost edge of the
bounding box of the rightmost selected
graphics object
Import
Import Image
Imports an image of any size without
having to capture it
Import Clip
Imports a clip of any size without
having to capture it
Import EPS
Imports an EPS file (shape and color
information only)
Import HTML
Imports an HTML text file
Stroke Preset
Applies a stroke preset
Text Preset
Applies a text preset
Group Preset
Applies a group preset
Clusters
Build Cluster
Build a cluster of selected objects
Select Cluster
Select a cluster of objects
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Paint & Titling Reference
Bas Relief Brush
The Bas Relief Brush property page lets you create puffy metallic-looking
3D text and brush strokes. The effect appears as if the image has been
carved in low relief and lit to show the surface modulations.
Option
Description
Smoothness
Increases or decreases smoothness of image
Detail
Adjusts level of detail in image
Light Direction
Lets you select position from which to illuminate
image. Different light positions enhance different areas
of the image.
Brush Color Method
Lets you determine color of brush strokes
Underlying Image
Uses the color from the image being painted
Selected Color
Uses the color selected from the color swatch
Color swatch
n
Displays selected or default color. Click color swatch to
display the Mini Color Editor.
This effect is designed for use on text. As an ordinary brush effect in paint,
the result may be a solid black color in flat areas of the brush.
You can create metallic-looking 3D text. After typing the text, deselect the
text, then select the individual characters with the Magic Wand tool, and
apply the Bas Relief effect.
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Brush
Brush
The Brush property page lets you customize the shape, size, angle, and
other qualities of a brush stroke.
Option
Description
Ellipse
Creates circular or elliptical brush
Rectangle
Creates square or rectangular brush
Custom
Creates brush with custom shape
Import EPS
Imports .eps file (shape information only)
Interactive Update
Allows you to immediately see any changes to selected
strokes in the viewer
Opacity
Controls transparency of brush stroke. Values: 0
(transparent) to 100 (opaque).
n
X and Y
If you’re using a stylus and tablet, you can select
the Opacity option from the Paint Style property
page. When you apply pressure to the stylus, it
will affect the stroke’s opacity.
Sets width (X) and height (Y) of brush. You can set the
width to any pixel size between 1 and 800.
n
If you’re using a stylus and tablet, you can select
the Size option from the Paint Style property
page. When you apply pressure to the stylus, it
will affect the stroke’s size.
Lock Aspect Ratio
Links width and height of brush, so that if you change
one dimension, the other varies proportionally
Sampling Ratio
Sets sampling ratio that determines distance between
each brush stamp. When you draw a stroke, it is made
up of a series of stamps in the shape of the brush.
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Option
Description
Angle
Controls angle of brush shape. Unless the brush is a
circle, changing the angle of the brush changes the
appearance of the brush stroke.
Chrome Brush
The Chrome Brush effect lets you create a highly-polished, smooth and
shiny brush stroke.
Option
Description
Smoothness
Increases or decreases smoothness of image
Shininess
Controls shininess of highlights. Higher values produce
sharper highlights and lower values produce smoother
highlights.
Brush Color Method
Lets you determine color of brush strokes
Underlying Image
Uses color from image being painted
Selected Color
Uses color selected from color swatch
Color swatch
n
Displays selected or default color. Click color swatch to
display Mini Color Editor.
This effect is designed for use on text. As an ordinary brush effect in paint,
the result may be a solid black in flat areas of the brush.
To vary the effect, increase the brightness and contrast after applying the
Chrome Brush effect.
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Clip Holder
Clip Holder
The Clip Holder property page lets you use a clip of any size or resolution
(including its alpha information) in your graphics session, as well as clips
that were created in other applications.
After importing a clip, you can treat it as a graphics object, which means
you can edit any of its properties, as well as animate and transform it.
The Clip Holder property page lets you select the shape and duration of the
imported clip, set the transformation quality, and provide clip information.
Option
Description
Import
Lets you import a clip and specify whether the imported
clip will take the frame size of the clip and/or the
duration
Import Clip
Imports clip/sequence of any size or resolution
Fit to Clip Size
When importing a clip, automatically changes the shape
of the stroke to fit the frame size of the clip
Fit to Clip Duration When importing a clip, automatically changes the
duration of the stroke to fit the duration of the clip
Fit to Clip Size
After a clip is imported, changes the shape of the stroke
to fit the frame size of the clip
Fit to Clip Duration
After a clip is imported, changes the duration of the
stroke to fit the duration of the clip
Transformation Quality Controls image quality of a transformed Clip Holder
stroke. When you scale, skew, or rotate a Clip Holder
stroke, its quality can deteriorate—small jagged lines
can appear on the oblique edges or sometimes within
the image.
Unfiltered
Applies no filter to clip. This is the fastest mode.
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Option
Bilinear
Description
Applies fast, medium quality filter. This is the default
setting.
n
Filtered
Applies strong filter to clip. Useful when transforming
hard edges and when the transformed clip (either scaled
or rotated) is smaller than the original clip. This is the
slowest mode.
n
Bicubic
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Tip: For better transformation quality, use this
setting when you scale down a Clip Holder
stroke.
Produces sharper image than Bilinear option when the
transformed clip is larger than the original clip.
n
Filtering Level
Tip: For better transformation quality, use this
setting when you animate the translation of a
Clip Holder stroke.
Tip: For better transformation quality, use this
setting when you scale up a Clip Holder stroke.
Determines strength of filter when in Filtered mode.
Higher settings result in a stronger filter and longer
processing time.
Clip Info
The clip’s name, duration in frames, and frame size in
pixels
Use Alpha as Mask
Lets you use original alpha channel of imported clip as
a mask
Clone
Clone
The Clone effect lets you remove scratches from images by cloning parts
of the same image or parts of other images.
Option
Description
Source Point
Lets you define the source point (or sample), that is, the
location from which the image is duplicated, as you
paint.
Type
Defines the type of source point
Relative
Defines a source point located at a specific distance
from the pointer. The sample will follow the position of
the pointer, but at a specified offset.
Absolute
Defines a source point located at an absolute position in
the frame. The sample will always be taken from the
same position.
In Place
Defines a source point located underneath the pointer
X
Specifies distance, on X axis, of source point used in
Relative Source Point. Specifies position, on X axis, of
source point used in Absolute Source Point. This
parameter can be animated.
Y
Specifies distance, on Y axis, of source point used in
Relative Source Point. Specifies position, on Y axis, of
source point used in Absolute Source Point. This
parameter can be animated.
Pick
Defines distance or position values using the viewer
Source Frame
Lets you define the source frame from which you will
clone
Type
Defines the type of the source frame
Relative
Defines a source frame located at a relative offset from
the current frame
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Option
Description
Absolute
Defines a source frame located at an absolute frame
number (in graphics local time)
In Place
Defines a source frame as being the current frame
Frame
Specifies frame offset used in relative source frame.
Specifies frame number used in absolute source frame.
Make Source
Lets you create an absolute source frame in another
frame
Go To
Takes you to the absolute source frame
Amount
Specifies amount of the source to be cloned. A high
value creates an opaque clone and a low value creates a
transparent clone.
Color Blend
The Color Blend effect lets you pick a color from the default palette or the
color wheel, use the color picker to select a color from an existing image in
the viewer, or use other color palettes that are available in the Palettes
folder.
If a color is not displayed on the color palette, you can create it by
adjusting the RGB values of another color to obtain the exact color you
want. You can also create your own color palettes and save them for use on
other projects.
Type Property Page
The Type property page lets you define the way color is applied to a
graphics object. You can select a stroke or title, and adjust the color type,
tint effect, or opacity.
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Color Blend
Option
Description
Type
Defines type and level of opacity of color or tint
Color Blend
Applies regular color blend to strokes, fills, or titles by
modifying the RGB component of the pixel
Tint
Applies tint effect to strokes, fills, or titles by
modifying the hue and/or luminance and/or saturation
of the pixels
Hue
Affects tint hue
Luminance
Affects tint luminance
Saturation
Affects tint saturation
Opacity
Controls transparency of brush stroke. Values: 0
(completely transparent) to 100 (completely opaque).
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Cutout
The Cutout effect lets you attach or detach an image to a cutout. It also
contains settings for applying filters to improve the quality of a
transformed image, and determine whether the image’s alpha channel is
used or not.
Option
Description
Transform Image
Attaches cutout to image from which it was created.
When you move the cutout, its image follows the
cutout.
Deselect this option to detach the cutout from its image.
When you move the cutout, the underlying image
remains in place.
Transformation Quality Controls image quality of a transformed cutout. When
you scale, skew, or rotate a cutout, its quality can
deteriorate—small jagged lines can appear on oblique
edges of objects or sometimes within the image.
Unfiltered
Applies no filter to image. This is the fastest mode.
Bilinear
Applies fast, medium quality filter. This is the default
setting.
Filtered
Applies strong filter to image. Useful when
transforming hard edges and when the transformed
image (either scaled or rotated) is smaller than the
original image. This is the slowest mode.
Level
Determines strength of filter using Filtered mode.
Higher settings result in a stronger filter and longer
processing time.
Use Alpha
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Lets you use alpha channel of image. By default, this
option is off.
Dodge and Burn
Dodge and Burn
The Dodge and Burn effect lets you lighten or darken areas of an image by
controlling the exposure on specific areas. Exposure is decreased to lighten
an area on the image (dodging) or the exposure is increased to darken areas
of an image (burning).
Main Property Page
The Main property page lets you select the type of effect to apply, as well
as the luminance range to target.
Option
Description
Effect
Lets you select type of effect to be applied
Dodge
Increases luminosity of areas of image
Burn
Decreases luminosity of image. This has the inverse
effect of the dodging effect.
Saturate
Increases weight of colors of image
Desaturate
Decreases weight of colors, yielding a black and white
image. This has the inverse effect of the Saturate effect.
Target
Shadows
Specifies colors from original image on which to apply
the effect
Lets you select shadow luminance range. When
selected, you can adjust the color balance of shadow
areas.
Midtones
Lets you select midtones luminance range. When
selected, you can adjust the color balance of midtone
areas.
Highlights
Lets you select highlight luminance range. When
selected, you can adjust the color balance of highlight
areas.
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Option
Description
Amount
Adjusts the intensity of the effect. Values: 0 to 100. An
amount of 0 signifies that the effect is simply not
applied.
Range Property Page
The Range property page displays function curves that represent the
luminance values of shadows, midtones, and highlights. The function
curves are represented by the following colors in the function curve graph:
gray=shadows, green=midtones, white=highlights. You can adjust the
curves to specify how strong the effect will be applied on a pixel depending
on its original luminance value. The X axis of the grid represents the
original luminance value of the pixel and the Y axis represents how much
the effect will be applied on that pixel if its luminosity corresponds to the
X value.
To see the function curve more clearly, you can turn each curve on or off
on the curve editor. Turning off a curve on the curve page will not affect
the result of the effect. However, pressing the reset button will restore
default values for all three curves. Note that the curves are disabled when
the current effect is a saturation or a desaturation effect.
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Option
Description
Shadows
Lets you select shadow luminance range. When
selected, you can adjust the color balance of shadow
areas. The function curve for shadows is gray.
Midtones
Lets you select midtones luminance range. When
selected, you can adjust the color balance of midtone
areas. The function curve for midtones is green.
Edit Shape
Option
Description
Highlights
Lets you select highlight luminance range. When
selected, you can adjust the color balance of highlight
areas. The function curve for highlights is white.
Reset
Resets the parameters of the selected option
Edit Shape
The Edit Shape property editor lets you control the shape of an object’s
geometry.
General Property Page
The General property page lets you control the shape of an object’s
geometry. It also allows you to manually set and remove keyframes on
strokes, and navigate from one keyframe to the next. The property page
indicates whether keyframes have been set.
To edit the control points of an object, click the Select button on the
General Toolbar. In the viewer, select an object and press Enter to activate
the Edit Shape mode.
Option
Description
Path
Determines whether stroke is open or closed, and the
number of control points along its length
Open
Opens path of a closed stroke. The last control point of
the stroke is disconnected from the first. You can open
any stroke drawn with the Freehand (when its Close
option is selected), Ellipse, Rectangle, or Polyline tools.
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Option
Closed
Curve Fitting
Closes path of an open stroke. By default, the Freehand
and Polyline tools create open strokes. You can reset the
Freehand default to a closed stroke by selecting the
Close option in the Freehand property page. To close a
polyline stroke, press the Ctrl key and click.
Lets you redraw curve using fewer control points and
specify the number of these control points
Fit Curve
Samples all control points of original curve and redraws
it with fewer control points. The redrawn curve’s
likeness to the original depends on the Tolerance level.
Tolerance
Controls number of control points the redrawn curve
maintains from the original curve. A high level removes
many points from the curve, which results in less
similarity to the original curve. A low level removes
few control points, which maintains a closer likeness to
the original curve.
Animation
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Description
Lets you set and delete keyframes, and navigate
between them
First
Moves position indicator to first keyframe
Prev
Moves position indicator to previous keyframe
Set Key
Sets keyframe at current position indicator. When a
keyframe is set for the current frame, a “K” is displayed
above this option. When animation has been set for the
stroke, but a keyframe does not exist on the current
frame, an “A” is displayed.
Next
Moves position indicator to next keyframe
Last
Moves position indicator to last keyframe
Del Current
Deletes keyframe at current frame
Del All
Deletes all keyframes for entire length of stroke. You
can modify the stroke length in the Time Span property
editor.
Edit Shape
Option
Description
Del From Start
Deletes all keys from beginning of stroke to current
frame, excluding the current frame
Del To End
Deletes all keys from the current frame to the end of the
stroke, excluding the current frame
Copy Shape
Copies shape of currently selected stroke to Clipboard
Paste In Place
Pastes shape currently saved to Clipboard on currently
selected stroke. The pasted shape will be translated over
the stroke’s shape.
Paste At Origin
Pastes shape currently saved to the Clipboard on
currently selected stroke. The pasted shape will keep its
fixed position.
Tracker Property Page
The Tracker property page lets you track a moving object in a sequence,
and apply the transformation to the control point of a stroke.
Paint tracking can be used to track graphics objects, such as replacing a
color in a moving object, or tracking an imperfection and applying a blur
or clone effect.
When using the paint tracker, you must define the region that will undergo
tracking using a drawing tool. The paint tracker will track for the duration
of the stroke.
Option
Description
Show
Displays the tracks of selected control points
Hide
Hides all trackers
Hide Selected
Hides selected trackers
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Paint & Titling Reference
Option
Description
Delete Selected
Deletes selected trackers
Delete All
Deletes all trackers
< (track backward)
Lets you track backwards from current frame. Useful
when accuracy degrades over a number of frames. You
can stop the tracker, reselect the tracking point, and
then track backwards to correct the inaccurate track
time span.
> (track forward)
Starts forward tracking
Fast Tracking
Increases tracking speed. This option may produce
lower quality results, but is much faster.
Update View
Turns Update View on or off. When selected, the viewer
updates during tracking. Deselect this option for faster
processing.
Magnification
Sets magnification factor to help you position the
trackers
Color Space
Lets you choose color space in which tracking will be
performed: luma, RGB, R, G, or B
Tracker ID
A number is assigned, in sequence, to all the trackers
that represent control points on the graphics object
being tracked
Confidence
The tracker always looks for the highest level of
similarity between the target area and the search area.
The default value of 70 may cause the tracker to stop
tracking, unless it finds at least 70% similarity between
its target area and the search region.
If the tracker cannot find a match based on your
confidence criteria, the tracking will stop.
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Edit Shape
Option
Minimum
Description
Specifies minimum percentage of similarity the tracker
will look for between the pixel pattern in its target area
and the search area before it creates a motion path
between frames.
You can turn off this option by specifying a value of 0.
n
Current
Target
A low or nonexistent confidence value may cause
the tracker to “lose” its way by tracking a region
whose pixel pattern resembles that of the actual
object.
Shows default or confidence level currently used by
tracker
Lets you change original target position
Set
If tracker is moved to new position during tracking, a
timecode is set to indicate the last position of the
tracker. By default the timecode is set to the start frame
on which the tracking started.
Always Update
Makes trackers compare the pixel pattern of the current
frame to that of the previous frame, rather than the first
frame at the tracking start point.
Use this option when the target area changes in
appearance as the clip is played. This can cause
cumulative tracking errors.
Show Gfx
When selected, shows the graphics object
Hide Gfx
When selected, hides the graphics object and shows it
in wireframe mode. Useful if graphics object is
obtrusive and making the positioning of the trackers
difficult.
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Edit Text
The Edit Text Tool and Insert Text Tool property pages let you load and
save Text Tool presets. By modifying the Text tool properties, you can
create customized text tools. Once saved, you can quickly retrieve each
customized text tool for future use by clicking the Load Preset button in the
property editor.
These property pages do not contain any specific parameters for you to set.
Ellipse
The Ellipse Tool property page lets you load and save Ellipse tool presets.
By modifying the Ellipse tool properties (Paint Style, Brush, Fx, Masks,
and Time Span), you can create customized drawing tools. Once saved,
you can quickly retrieve each customized Ellipse tool for future use by
clicking the Load button in the property editor.
This property page does not contain any specific parameters for you to set.
Erase
The Erase effect lets you erase graphics objects (brush strokes, fills, and
text bodies). You can use Erase as a brush, fill, or titling style effect.
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Option
Description
Amount
Controls amount of stroke or fill that is erased. A value
of 100 completely erases the stroke or fill. Lower values
erase part of it, so that the portion remaining is partially
transparent, allowing you to see the underlying image.
Font
Font
The Font property page lets you specify the font family, type style, and
point size of characters within a text body. All of the fonts that are present
on your operating system and in the system registry are available for use.
Option
Description
Font
Specifies font type from a list of those available on your
system
Style
Specifies font style, such as bold, italic, etc.
Size
Specifies font size in points.
n
Tip: You can also enter the font name in the text
box.
Kern Pairs
Moves a character closer to the previous character in
the same word to improve the appearance of text in
certain fonts
Font Hinting
The TrueType vector fonts used in Avid DS Nitris are
scalable to any point size. Because the screen redraws
the text in pixels, certain point sizes can display
artifacts, such as blurry edges. When this option is
selected, redraw information is provided to prevent
these artifacts from appearing in the viewer and output
monitor.
Kerning
Controls amount of horizontal space between
characters. The kerning value is expressed as a
percentage of the current font size. The kerned space
appears after each character.
Filtering
Applies a 1x2 box deinterlace filter to the text. This
helps reduce the flicker perceived when the text is
viewed on an interlaced screen. The option is provided
as the detail removed by the filter can make text with
small fonts unreadable.
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Option
Description
Subpixel Positioning
Gives soft edges to static and animated text (rolls). For
sharper edges on static text, turn this option off.
n
Character Transform
(XY)
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Text characters are always antialiased, even if
you have deselected the Filtering or Subpixel
Positioning options.
Lets you transform characters in X and Y. This
parameter can be animated.
Freehand
Freehand
The Freehand property page lets you define the general characteristics of a
freehand stroke.
Option
Description
Path
Determines whether stroke is open or closed, and
number of control points along its length
Close
Closes path of an open stroke. By default, Freehand is
an open stroke. A straight line joins the two end points
of the stroke.
Continuous
Interpolation
Creates continuous path. Freehand strokes consist of a
series of brush stamps. When this option is selected, the
area between brush stamps is interpolated and drawn by
Avid DS Nitris. To set the quality of the interpolation,
specify a value for the Sampling Ratio on the Brush
property page.
Fast Feedback
Provides a faster display of the stroke as you are
drawing it. The effect itself is not apparent as you are
painting, but appears after the stroke has been created.
Curve Fitting
Contains settings for controlling the use and number of
control points of the redrawn curve
Fit Curve
Turns Tolerance parameter on or off
Tolerance
Controls number of control points the redrawn curve
maintains from the original curve. High values remove
many points from the curve, which results in less
similarity to the original curve. Low values remove few
control points, which maintains a closer likeness to the
original curve.
Overlay Brush
Turns brush overlay on or off. Overlay refers to the
outline of your brush in the viewer. This display option
does not affect the result of the output of effects.
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Glass Brush
The Glass Brush effect distorts an image as if it is being viewed through a
refracting glass surface.
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Option
Description
Smoothness
Increases or decreases smoothness of image
Shininess
Controls shininess of highlights. Higher values produce
sharper highlights. Lower values produce smoother
highlights.
This effect is designed for use on text. As an ordinary brush effect in paint,
the result may be a solid black color in flat areas of the brush.
Graphics Properties
The Graphics Properties property editor provides a quick method for
fading graphics objects, creating rolls and crawls, and working in raster
mode. There are options for animating the position of objects, setting the
premultiplication options, as well as a list of the messages that may appear
while you’re working in a graphics session. You can also perform tedious
tasks, such as rotoscoping, quickly using the raster mode.
General Property Page
The General property page lets you adjust certain graphics properties. You
can create fades, rolls and crawls. You can also specify the start and end
positions, change your system to a non-real-time configuration, as well as
set premultiplication options.
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Graphics Properties
Option
Description
Roll/Crawl
Specifies parameters for rolls and crawls
Motion
Specifies type of motion to apply to selected object
None
Applies no motion to selected object
Roll
Applies vertical motion to selected object (from bottom
screen to top)
Crawl
Applies horizontal motion to selected object (from left
to right across the screen)
Start Position
Specifies start position for roll or crawl
Onscreen
Starts roll or crawl on screen
Offscreen
Starts roll or crawl off screen
End Position
Specifies end position of roll or crawl
Onscreen
Ends roll or crawl on screen
Offscreen
Ends roll or crawl off screen
Standard Speed
When selected, guarantees optimal quality when
building rolls/crawls
Build
Starts creating the roll/crawl
Fade
Controls duration of fade. When you apply a fade to
graphics objects, the time span is reset to match the
duration of the graphics session. The existing opacity
settings for a stroke (brush and fill) and text (edge, face,
shadow) are overwritten with the new fade values.
In
Specifies fade-in duration in frames
Out
Specifies fade-out duration in frames
Build
Starts creating the fade animation. To reset the opacity
to 100%, enter a duration of 0 in both the In and Out
text boxes, and click the Build Fade button.
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Option
Description
Apply to Selection
Lets you apply automatic fade, roll, and crawl
animation only on selected graphics objects
Non Real-Time
Lets you change your system to a non-real-time
configuration
Messages
These messages may appear in the Graphics property editor while you’re
working in a graphics session. If any of the following conditions are in
effect, a graphics session can’t be played in real time:
Option
Description
The non-real-time
option is selected.
You have switched Avid DS Nitris to a non-real-time
configuration for this graphics session. All real-time
graphics will require processing before output.
The graphics session has Objects in the graphics session contain effects that can’t
objects with complex
be played in real time. Only the Airbrush, Color Blend,
effects.
and Cutout effects can be played in real time.
The graphics session has Animation that moves at different speeds can’t be
objects with complex
played in real time. Make sure all objects move in the
transformations.
same direction (either X axis only or Y axis only) at the
same speed or not at all.
The graphics session has Objects in the session contain animation, such as an
objects with complex
animated brush size, that can’t be played in real time.
animations.
Only translations in the X or Y axis can be played in
real time.
The graphics session has Objects in the session with varying time spans can’t be
objects with complex
played in real time. Make sure all objects span the
time spans.
length of the graphics session, from start to end.
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Graphics Properties
Option
Description
The graphics session has
objects that require an
alpha channel or that are
not applied on the RGB
channels.
Objects that use the alpha channel or that are not
applied on the RGB channels can't be played in real
time.
In the Masks property editor, make sure the Use Alpha
Channel option is deselected and the Painted on
Channel (Red, Green, and Blue options) are selected.
The graphics session has Graphics sessions that contain strokes with inverted fill
objects with inverted fill. can’t be played in real time.
The graphics session has Single-frame graphics sessions can’t be played in real
a single frame duration. time.
The graphics session has Avid DS Nitris is using the real-time capabilities of
a real-time
your system in this session.
configuration.
Raster Mode Property Page
The Raster Mode property page lets you perform tedious tasks, such as
rotoscoping quickly and effectively. Since this mode is not vector-based,
processing is not required. The time required to load and save graphics
objects is also dramatically reduced.
As you paint each frame, the finished or burned, frames are placed in a
cache and the original graphics objects are deleted. The recording of
graphics objects is deactivated in the Graphics Object View (GOV), they
are flattened, and the resulting images are stored on individual frames
directly to a cache. You can have the frame you are currently working on
automatically “burned” or you can burn the frames later when you’re
satisfied with the results. You can work in Raster mode for graphics objects
that have a duration of one frame.
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When burning frames, keep in mind that the clip effects in a sequence will
no longer be editable. If you want to apply clip effects to your sequence, it
is best to use the Raster mode to burn your frames first
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.
Option
Description
Start
Lets you begin working in raster mode
Burn on Frame Change Automatically burns frames as you advance to next
frame
Copy Burned Strokes
When advancing frames, automatically creates same
strokes as in previous frame
Non Real-Time
Lets you work in non-real-time
Remove Warning When Deactivates warning message that appears when you
Burning
change frames
Base Cache File Name
Lets you easily retrieve work performed in Raster
mode. A default name based on the sequence name is
automatically added to the Base Cache File Name text
box when the sequence is saved.
Options Property Page
The Options property page lets you specify precise processing options for
the selected effect.
These settings override those in the Sequence Preferences dialog box.
Option
Description
Type
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Auto
If you select Auto, Avid DS Nitris will use the global
processing setting in the sequence preferences.
Frame Processing
Processing, including animation, is frame-based. Both
fields in each frame are processed together using the
same property values.
Graphics Properties
Option
Description
Source Material
Lets you specify if the source material is frame-based,
or is the same as the Type setting.
Frame
Lets you indicate that the image on which an effect is
applied is frame-based. If the image on which an effect
is applied is a frame-based image, then select this
option.
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Still images are always frame-based.
Same As Processing Lets you specify that the source material is the same as
the Type setting. This is the default option.
If the image on which an effect is applied is fieldbased, then select this option, and make sure that the
Type setting is set to Field Processing as well.
Precision
Choose the bit depth at which your effects will be
processed. Some effects are capable of 16 and 32-bit
float precision. The drop-down list shows the
supported bit depths for this effect.
If you select Auto, Avid DS Nitris will use the global
precision setting in the sequence preferences, unless a
different setting is propagated by a previous input
effect.
Use Same Precision for All effects that are input to this effect will use the
Inputs
above Precision setting if their Precision is set to Auto.
Output Frame Size
Forces the effect to output pixels an image of the
frame size. If the image is larger, it will be cropped. If
smaller, it will be padded with black transparent
pixels. For example, if you have a PAL sequence that
is 720×576 and you process an image larger than the
PAL frame (2000×2000), then only the pixels that fall
within the PAL frame will be output from this effect.
The rest will be cropped out.
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Option
Description
Alpha
Affects premultiplication parameter of images in a
graphics session. By default, the premultiplication
option is set to Auto. This does not affect the pixels
themselves, but simply changes the parameters that
indicate how the pixel should be interpreted by effects
subsequent to the Graphics effect.
Auto
Automatically changes the premultiplication
parameter of images to Not Premultiplied when
painting on at least one channel but not all of them.
Otherwise, the premultiplication parameter is left at its
original setting.
Premultiplied
Changes the premultiplication parameter of images to
Premultiplied
Not Premultiplied
Changes the premultiplication parameter of images to
Not Premultiplied
Group
The Group property editor displays the number of strokes, titling bodies,
and subgroups at the current level and at all levels.
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Option
Description
Statistics
Displays information at the current level and all levels
At this level
Displays the number of strokes, titling bodies, and
subgroups at the current level
At all levels
Displays the number of strokes, titling bodies, and
subgroups at all levels
Magic Wand
Magic Wand
The Magic Wand tool lets you choose the color models and tolerance, as
well as the fit and size of the tolerance. You can create a stroke that has the
same shape as a selected area of an image. The selection is based on
RGBA or HLSA values of an image. Once created, the stroke can be
edited.
Option
Description
Color Model
Specifies color range or tolerance based on two color
models: RGB (red, green, blue) or HLS (hue,
luminance, saturation)
Color Tolerance
Sets range of acceptable color values for each channel.
This range of values is compared to the color value of
the pixels adjacent to the pixel you select to determine
whether it falls within the specified range. If it does, the
pixel is included in the selection and the pixels
surrounding all the included pixels are analyzed, and so
on. When you select the Similar option, it checks all the
pixels in the image regardless of their location, so
several separate areas can be included in the selection.
RGBA/HLSA
Sets range of acceptable color values for the selection
for each channel. The greater the color tolerance value,
the more color values are included in the selection.
Use
Specifies channels you want to use to control the range
of pixel values to be included in the selection. For each
channel you want to include, select the Use option
beside it.
Fit Tolerance
Controls number of control points the redrawn curve
maintains from the original curve. High values remove
many points from the curve, which results in less
similarity to the original curve. Low values remove few
control points, which maintains a closer likeness to the
original curve.
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Option
Description
Feature Size Tolerance
Controls number of subregions that are selected from
the image. A high value selects fewer subregions,
resulting in a less intricate shape. A low value selects
more subregions, resulting in a more intricate shape.
Invert
Inverts selection, so that all values outside the specified
range are included, instead of all values within the
range
Similar
Selects all color values within specified range wherever
they are located in the image (rather than just those that
are adjacent to the selected pixel)
Reset All
Resets all RGBA values
Autocreate
Automatically applies effect to selection right after
you’ve clicked the image with the Magic Wand
Confirm
Displays selection before applying effect. You can
adjust selection parameters and/or click a different
place in the image. The selection updates to the new
values. Click this button or press Esc to accept the
selection.
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This option is only available when the Autocreate
option is deselected.
Masks
The Masks property editor lets you apply effects to one or more of the
RGBA channels instead of the entire image. It also lets you apply the effect
to an existing matte.
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Masks
General Property Page
The General property page lets you apply various types of masks to
strokes, fills, and titles. Masks identify which channel of the image to
apply the current effect. You can use the paper grain images to modify the
appearance of graphics objects. When applying strokes, paper grain masks
let you simulate the effect of painting on a textured canvas.
Option
Description
Paint on Channel
Selects channels on which you want to apply paint
Red, Green, and
Blue
Applies paint strokes, fill, and titling to red, green, or
blue component of image
Alpha
Applies paint strokes, fill, and titling to alpha
component of image. To create a matte with the Color
Blend effect, select the alpha channel.
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Mask
When creating a matte, set the alpha component
value in the appropriate Color Blend property
editor. For complete transparency, set it to 0; for
50% transparency, set it to 50, and so on.
Activates mask options
Use Alpha Channel
Uses alpha channel of image you’re painting on as a
mask. When you paint, masked areas do not accept the
stroke.
Invert
Inverts the alpha channel, so that you paint on the
masked areas, but not on the rest of the image
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Paper Grain Property Page
The Paper Grain property page lets you apply a paper grain texture to a
stroke, fill, or text. This simulates the effect of painting on a textured
canvas.
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Option
Description
Source Image
Lets you choose source for paper grain image
Preview window
Displays selected paper grain texture
Browse
Lets you view and select paper grain images
(...)
Lets you select paper grain images in any supported file
format
Use
Uses paper grain displayed in preview window. This
option is automatically selected when you load a paper
grain image.
Invert
Uses inverted version of selected paper grain displayed
in preview window
Absorption
Sets opacity of paper grain texture. A high value makes
the textured object fade or appear to be absorbed into
the background image. A low value makes the textured
objects more distinct.
Paint Style
Paint Style
The Paint Style property page lets you define the general characteristics of
the brush and fill of a stroke.
Option
Description
Brush
Lets you set brush options
Use
Turns Brush options on or off. When deselected, no
brush stroke appears. You can further define the
appearance of the brush stroke using the Brush and
Brush Fx property editors.
Antialiased
Turns the Antialiased option on or off. Smooths the
jagged lines that can occur when drawing diagonal or
curved strokes
Pressure
Makes stroke’s width and degree of opacity respond to
amount of pressure you apply to the stylus on the
graphic tablet
Size
Turns Size option on or off. When selected, the pressure
you apply to the stylus affects the size of the stroke.
Opacity
Turns Opacity option on or off. When selected, the
pressure you apply to the stylus affects only the opacity
of the stroke.
Fill
Lets you set fill options
Use
Turns Fill option on or off. When selected, closed
objects, such as ellipses and rectangles, are filled with
the specified fill effect. This option automatically closes
freehand and polyline strokes, and adds the defined fill.
Antialiased
Turns antialiasing option on or off. Smooths the jagged
lines that can occur when drawing diagonal or curved
strokes.
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Option
Below Brush
When this option is selected, the fill is placed behind
the edge of the brush stroke. When deselected, the fill is
superimposed over the inside edge of the brush stroke.
Invert
When creating a stroke, fills the area outside of a stroke.
The difference between the output area frame and the
stroke is filled. If the stroke is totally out of the output
area frame, the frame is completely filled (necessary for
animating the stroke). By default, this option is off.
Opacity
Controls transparency of brush stroke. Values: 0
(completely transparent) to 100 (completely opaque).
Feathering
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Description
Sets feathering options
Use
Turns Feathering option on or off. When selected, gives
the fill a soft boundary where the fill approaches the
stroke edge.
Crop
Confines the soft boundary to within the stroke
geometry
Soft
Creates feathering using a soft fill algorithm
Radius
Sets radius of the soft boundary
Profile
Sets rate at which the fill dissolves. A high value creates
a rapid fall off, where the fill boundary dissolves
quickly. A low value creates a linear fall-off effect,
where the fill boundary dissolves outward at a constant
rate.
Blur
Creates feathering using a blur fill algorithm. You can
blur in X and Y independently.
X Radius
Lets you change the radius of horizontal directions. The
greater the radius, the softer the blur.
Y Radius
Lets you change the radius of vertical directions. The
greater the radius, the softer the blur.
Polyline
Option
Lock
Description
Links width and height of blur radius. if you change one
dimension, the other will vary proportionally.
Polyline
The Polyline property page lets you load and save Polyline tool presets. By
modifying the Polyline tool properties (Paint Style, Brush, Fx, Masks, and
Time Span), you can create customized drawing tools. Once saved, you
can quickly retrieve each customized Polyline tool for future use by
clicking the Load Preset button in the property editor.
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Tip: When creating strokes using the Polyline tool, segments of the polyline
can be constrained to a 45 degree angle by holding down the Alt key. This
is useful when you want to create straight lines.
To close a polyline, press Ctrl and click in the viewer.
This property page does not contain any specific parameters for you to set.
Rectangle
The Rectangle property page lets you load and save Rectangle tool presets.
By modifying the Rectangle tool properties (Paint Style, Brush, Fx, Masks,
and Time Span), you can create customized drawing tools. Once saved,
you can quickly retrieve each customized Rectangle tool for future use by
clicking the Load Preset button in the property editor.
This property page does not contain any specific parameters for you to set.
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Reshaper
The Reshaper property page lets you reshape existing strokes using a
freehand approach. You can modify the geometry of a stroke without being
constrained to the shape’s control points. The Reshaper tool is useful for
rotoscoping and animating shapes.
Reshaper Tool Shortcuts
Tool name
Shortcut
Reshaper Tool
P
Trace
Drag shape edge
Trace Straight Line
Alt-drag
Trace Without Moving Shift-drag
Existing Control Points
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Chop Control Points
C-drag
Move Shape
A
Rotate Shape
D
Scale Shape
S
Scale Shape
Proportionally
Shift+S
Skew Shape
F
Move Origin
S, D, or F-drag
Center Origin
S, D, or F and right-click shape
Position Stretch Limits
G-drag stretch limits
Stretch Shape
G-drag edge of shape
Reshaper
Tool name
Shortcut
Change Shape Opacity
O-drag
Exit Reshaper Tool
Esc
Reshaper Property Page
Option
Description
Wireframe
Displays geometry of stroke in wireframe mode
Style
Lets you select wireframe style. Styles: None, Dotted,
White, Black, and Negative. Default is Dotted.
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Width
Trace
Smooth Curve
Tip: To turn wireframe mode off, select None
from the Wireframe Style list.
Selects wireframe width in pixels
Automatically smooths a traced curve
Sets amount of smoothing on a traced curve. Values: 0
to 100; default is 20.
For no curve smoothing, set value to 0. For the most
curve smoothing, set value to 100.
Trace Cursor
Lets you choose cursor style for trace tool
Keep Curve Aspect
When Stretching
Lets you specify if stretched curve segments maintain
their aspect ratio. That is, you can specify that tangents
maintain their length and angle ratios. When stretching
a shape, its control points (that are not visible) are
moved proportionally to their distance from the stretch
limits.
Scale Speed
Sets speed for scaling a shape interactively in viewer.
When scaling a shape interactively in the viewer, it's
sometimes useful to speed up or down interactivity.
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Option
Description
Skew Speed
Sets speed for skewing a shape interactively in viewer.
When skewing a shape interactively in the viewer, it's
sometimes useful to speed up or down interactivity.
How To
Provides keyboard shortcuts and tips related to the
Reshaper tool
Reshaping a Stroke
There may be times when you want to edit the shape of a stroke using a
“freehand” approach. This is especially useful for rotoscoping and
animating shapes.
With the Reshaper tool, you can modify the geometry of a stroke without
being constrained to the shape’s control points. By tracing the edge of a
shape, you can interactively reshape a stroke.
In addition, you can chop, scale, rotate, skew, stretch, and move a shape, as
well as adjust its opacity. When reshaping a stroke, keyframes are
automatically set.
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Tip: Since it’s difficult to reshape overlapping strokes, you can hide or lock
graphics objects that clutter the viewer.
Reshaper
Edge of shape
To trace a shape:
1. Do one of the following:
t
In the General toolbar, click Reshaper or press P.
t
From the Graphics menu, select Tool > Reshaper.
2. To trace, do any of the following:
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t
Drag along the edge of the stroke.
t
To trace a straight line, hold down the Alt key and trace along the
edge of the shape.
t
To trace without moving existing control points, hold down the
Shift key while you trace.
Tip: To trace more quickly, make sure the shape has a minimum of control
points. To reduce the number of control points, use the Fit Curve option in
the Edit Shape property editor.
3. Press Esc to exit the Reshaper tool.
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Chopping Control Points
If a shape contains a segment that you’d like to eliminate, you can chop the
unwanted control points.
Before
After: A finger is chopped off.
To chop control points:
t
Hold down the C key and drag along the edge of the shape that you
want to chop.
The area is chopped from the shape.
Moving a Shape
You can move the entire shape to a new location.
To move a shape:
t
Hold down the A key and drag the shape to a new location.
Scaling, Rotating, and Skewing a Shape
When scaling, rotating and skewing a shape, you must first position the
point of origin, which is represented by a small red circle in the viewer.
To position the origin:
1. Hold down one of the following keys:
t
S to scale
t
D to rotate
t
F to skew
2. Drag the origin to a new location.
3. To center the origin, right-click the shape.
The origin is positioned at the center of the stroke’s geometry.
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Reshaper
To scale a shape:
t
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Hold down the S key and drag the shape to scale it.
To scale proportionally, press Shift+S.
To rotate a shape:
t
Hold down the D key and drag the shape to rotate it.
To skew a shape:
t
Hold down the F key and drag the shape to skew it.
Stretching a Shape
Stretching lets you extend portions of a shape, while maintaining the rest
of it. When stretching a shape, you must first position the stretch limits on
the edge of a shape. The stretch limits are represented by two small gray
squares in the viewer.
Leg is
stretched
Stretch
limits
To stretch a shape:
1. Hold down the G key to access the stretch tool.
2. Place each stretch limit at the desired location along the edge of the
stroke.
3. Drag the edge of the shape between the stretch limits.
The segment between the two stretch limits is stretched. The other
parts of the shape remain unchanged.
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Changing the Opacity of a Stroke
When performing rotoscoping, it’s sometimes helpful to see what's in the
image underneath the stroke. This makes it easier to reshape the stroke
from one frame to the next.
To change the opacity of a stroke:
t
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Hold down the O key and drag the stroke in the viewer.
When changing the opacity, the stroke fill and brush opacity is changed, if
they were used. If the opacity is animated, a temporary value is set. If the
opacity is not animated, a value is set but a key is not created.
Reveal
The Reveal effect lets you “paint away” the alpha channel. That is, when
you paint on the alpha channel with this tool, white areas change to black
(transparent). This effect is useful for adjusting or creating mattes.
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Make sure the Alpha option is selected in the Masks property editor.
You do not need to display the alpha channel to work with the Reveal
effect. You can paint in RGB mode and see the underlying layer appear as
you paint.
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Option
Description
Amount
Controls amount of underlying image revealed. A low
value partially reveals the underlying layer (by
changing the white to gray). A high value changes the
white to black, revealing the underlying layer.
Smear
Smear
The Smear effect lets you apply a smear to an existing image. You can
apply it as a brush stroke, but not as a fill. It works by shifting pixel values
in the direction of the brush stroke, and blurring them together at the same
time.
You can make dramatically different smear effects by changing the brush
parameters. Your results will depend on the way you set up the brush, and
how you paint with it.
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This effect does not work on text. To see the effect, you must have an
underlying image.
Option
Description
Melting
Controls amount by which pixels are shifted in
direction of brush stroke
Wetness
Controls amount by which pixels are blurred together.
For better quality, Smear looks best with a lower brush sampling ratio
(below 20). You can set this ratio in the Brush property page.
Special Effect
The Special Filter effect lets you define a filter that creates a bubbly effect.
The filter calculates either the minimum or the maximum brightness value
in a specified area around a pixel and applies this value to the pixel. This
operation is applied to every pixel in the image.
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Stack Effect
The Stack effect lets you load multiple effects as a brush stroke or fill
effect.
Option
Description
Effect Stack
Displays list of currently-selected effects
Add
Lets you add an effect
Remove
Removes highlighted effect
Move Up
Raises highlighted effect up one level in list
Move Down
Lowers highlighted effect down one level in list
Stroke
The Stroke property page lets you create an animated, scrolling,
handwritten effect, which gives the appearance of writing on your clip. You
can specify the direction, beginning, and end frames of the animation.
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Option
Description
Handwriting
Lets you create an animated, scrolling handwritten
effect
Forward
Creates an animated, scrolling, handwritten effect,
beginning with the first point of the stroke path to the
last
Backward
Creates an animated scrolling handwritten effect,
beginning with the last point of the stroke path to the
first
Text
Option
Center
Custom settings
Description
Creates an animated scrolling handwritten effect,
beginning with the center point of the stroke path and
moving outwards
Lets you control where the handwritten effect begins
and ends its animation
Head
Specifies the head distance (in percentage) from the
beginning of the stroke path
Tail
Specifies the tail distance (in percentage) from the
beginning of the stroke path
Reset
Resets Head and Tail settings to the default values
Text
The Text property editor lets you define the attributes of text objects.
Option
Description
Font
Lets you select font family name (for example, Times,
Helvetica, Courier). Default font is Times New
Roman.
Size
Controls the font size, based on the current unit of
measure. Default size is 10.
Kerning
Controls the amount of horizontal space between
characters; expressed as a percentage of the current
font size. The space appears after each character.
Default is 0%.
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Option
Description
Scroll Position
Rolling, crawling, path text. Controls the position of
the rolling or crawling text within a container.
For path text, the position of the text along the path.
This property does not apply to static text objects.
Default is 0%.
Top Margin
Controls the amount of vertical space along the top of
the text body, which is also the space above the first
line in the text body. Default is 0%.
Bottom Margin
Controls the amount of vertical space along the bottom
of the text body. Default is 0%.
Textured Brush
The Textured Brush effect lets you apply a variety of textured effects to
brush strokes. This lets you achieve “embossed” brush or “poker chip”
texture effects.
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Option
Description
Light Position
Lets you select position from which to illuminate
image. Different light positions enhance different areas
of the image.
Gain
Increases or decreases “height” of texture
Invert Texture
Pushes texture into image instead of popping it out
Brush Color Method
Lets you determine color of brush strokes
Underlying Image
Uses color from image being painted
Grayscale Image
Colors the stroke based on the grayscale values of the
image being painted
Time Span (Graphics)
Option
Sepia Image
Colors the stroke based on a sepia colorization of the
image being painted
Mono
Colors the stroke based on the monochromatic values of
the image being painted
Tonal
Colors the stroke based on the tonality of the image
being painted
Selected Color
Uses the color selected from the color swatch
Center Pixel
Samples image being painted directly beneath the brush
to select the color for the entire brush
Color swatch
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Description
Displays selected or default color. Click color swatch to
display the Mini Color Editor.
This effect is designed for use on text. As an ordinary brush effect in paint,
the result may be a solid black color in flat areas of the brush.
Time Span (Graphics)
The Time Span property page lets you define the number of frames in
which a graphics object appears. You can specify a time span before
drawing a stroke (the time span is then applied to all subsequent strokes
until changed) or you can select a stroke and modify its time span. You can
apply time span properties to strokes and text bodies.
Option
Description
This Frame Only
Specifies that the in timecode corresponds to the
current frame and the out timecode correspond to the
frame that follows the current frame, for a duration of
one frame.
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Option
Description
This Frame to End
Specifies that the in timecode corresponds to the
current frame and the out timecode corresponds to the
frame that follows the last frame where the Graphics
effect was applied.
Start to End
Specifies that the in timecode corresponds to
00:00:00:00 (local, Graphics effect time) and the out
timecode corresponds to the frame that follows the last
frame of the graphics session.
n
Start to This Frame
Specifies that the in timecode corresponds to
00:00:00:00 and the out timecode corresponds to the
current frame
Custom
Specifies a custom time span
In
Specifies timecode of the first frame in which you want
the stroke or title to appear
Out
Specifies timecode of the frame that follows the last
frame in which you want the stroke or title to appear
Duration
Specifies total number of frames during which you
want the stroke or title to appear (used with the In or
Out text box)
Lock
Keeps the stroke’s duration, but slides it in time by
changing the in or out timecode.
n
Crop animation curves
when changing object
time span
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The last frame of a graphics session is identified
in one of two ways: 1) when painting on a clip, it
is the last frame on which the Graphics effect
was applied, or 2) when painting on a layer in a
composite, it is the last frame of the longest layer
that contains the latest clip in time.
This option is available only when modifying the
time span of a selected stroke.
Determines whether the stroke’s animation curves are
cropped or scaled when the stroke’s time span is
changed
Titling Body
Titling Body
The Titling Body property page lets you create an animated typewritten
effect, which gives the appearance of a typewriter typing each character.
You can specify the direction, beginning, and end of the animation, as well
as adjust the spacing of the text body.
Option
Description
Type-On
Lets you specify where the animation of the
typewritten effect begins and ends
Forward
Creates animated typewritten effect beginning with the
first character entered to the last
Backward
Creates animated typewritten effect beginning with the
last character entered to the first.
Center
Creates animated typewritten effect beginning with the
centermost character entered and then moving
outwards
Head
Specifies first frame for which the typewritten
animation begins
Tail
Specifies frame on which the typewritten animation
ends
Reset
Resets Head and Tail settings
Spacing
Controls amount and type of spacing between
characters
Kerning
Moves a character closer to the previous character in
the same word to improve the appearance of the text
Leading
Determines amount of vertical space between lines of
text. This parameter can be animated.
Leading Mode
Lets you control spacing between baselines
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Option
Minimum Leading
Calculates line spacing by adding largest ascender and
descender of all characters on a line to the leading.
This is the default mode, and is selected when old
presets or projects are loaded.
Full Line Leading
Calculates line spacing by adding largest ascender and
descender of all fonts for each line to the leading
Fixed Leading
Takes only leading into consideration when calculating
line spacing. It can be used to allow two bodies to have
exactly the same line spacing.
Fit Text on One Line
484
Description
Makes all the text, regardless of length, fit in one
horizontal text body
Titling Style
Titling Style
The Titling Style property editor lets you control the entire text body. You
can specify whether you want the text to have a face (the front of a
character), edges (an outline of the character), or a shadow (an offset of the
character to give it a three-dimensional look). Each character can have any
combination of these properties along with a unique color, opacity, or
softness setting.
Option
Description
Face
Lets you control opacity and softness of the front of a
character
Use
Turns face of characters on or off
Opacity
Controls transparency of characters’ faces. Values: 0
(completely transparent) to 100 (completely opaque).
This property can be animated.
Softness
Controls softness of face edge. This property can be
animated.
Edge
Lets you control opacity, softness, and width of the
outline of a character
Use
Turns edge of characters on or off
Face Cut
When selected, performs a cookie cut on the edge
using the shape of the face. This option allows a
partially transparent face to show through the image
from the background.
Opacity
Controls transparency of edges. Values: 0 (completely
transparent) to 100 (completely opaque). This property
can be animated.
Softness
Controls softness of edges. This property can be
animated.
Width
Sets width, in pixels, of edge. This property can be
animated.
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Option
Description
Shadow
Lets you control opacity, softness, as well as giving
you the option of removing the outline of the shadow
from the face.
Use
Turns shadow of characters on or off
Face Cut
When selected, performs a cookie cut on the shadow
using the shape of the face. This option allows for a
partially transparent face to show through the image
from the background.
Opacity
Controls transparency of edges. Values: 0 (completely
transparent) to 100 (completely opaque). This property
can be animated.
Softness
Controls softness of shadow edge. This property can be
animated.
Offset
Sets distance (in pixels) between text and shadow. This
property can be animated.
Angle
Sets angle, in degrees, of shadow relative to text. A
value of 0, places the shadow directly to the right of the
character by the number of pixels defined in the Offset
option. A value of 315 (or -45) places the shadow to
the right and slightly below the character. This
property can be animated.
Transformations
Transformations
The Transformations property page lets you apply transformations on
graphics objects. You can transform graphics objects along the horizontal
(X) and vertical (Y) axes.
n
You cannot transform graphics objects along the Z axis and you cannot
rotate along the Y axis.
The Transformations property editor is only available after you’ve created
a graphics object.
Option
Description
Center
Lets you specify location of object’s center along X
and Y axes
Center X
Specifies center of the object along X axis in Avid DS
Nitris units (DSUs)
Center Y
Specifies center of the object along Y axis in Avid DS
Nitris units (DSUs)
Reset
Resets center parameters to the default values
Translation
Lets you specify how far the object is displaced from
its initial position along the X and Y axes
Offset X
Specifies object’s offset position along X axis
Offset Y
Specifies object’s offset position along Y axis
Reset
Resets Translation parameters to the default values
Dimensions
Lets you resize an object by entering a percentage
value or specifying a new size in pixels along the X
and Y axes. When you enter a Scale value, the Size
value is dynamically updated to reflect the new scale
size.
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Option
Scale X
Scales object in X direction. A value of 100 is its
original scaling. Units are percentages, for example a
percentage of 200 doubles the scaling and 50 halves it.
To scale proportionally, assign identical values to X
and Y.
Scale Y
Scales object in Y direction
Size X
Specifies number of pixels along X axis
Size Y
Specifies number of pixels along Y axis
Reset
Resets Scale and Size parameters to the default values
Lock Aspect
Turns Lock Aspect option on or off. When selected, a
change to the X direction updates the corresponding
Scale and Size values for Y to maintain the aspect
ratio. When deselected, you can vary X and Y
dimensions independently.
Rotation
Lets you rotate an object from 0° to 360º
Angle
Controls object’s angle of rotation in degrees
Reset
Resets Rotation parameters to the default value
Skew
Lets you slant a stroke or text
Factor
Controls degree to which the stroke or text is skewed in
360º
Reset
Resets Skew parameters to the default value
Reset All
488
Description
Resets all parameters to the default values
Color Editor Dialog Box
Color Editor Dialog Box
The Color Editor dialog box lets you pick colors from a palette or create
new colors. To create new colors, you can pick them from the image in the
viewer or from anywhere on the screen, or you can specify the RGB, HSV,
or CMYK color model values.
The Color Editor dialog box appears in property editors, where you can
select and modify color.
To access the Color Editor dialog box:
1. From the property editor, click the color swatch.
Color swatch
2. From the Mini Color editor, click Edit.
Color area
Color views
Slider
Color picker
Color preview
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Paint & Titling Reference
Option
Description
Color area
Displays a color area based on the color view you
selected
Slider
Represents the color view you selected. For example, if
you selected the Saturation view, then the slider
represents the saturation component.
Color views
Displays different views of color and color
components
Color wheel
Displays a color wheel for you to select a color
Hue
Displays a view of the hue component of the HSV
color model
Saturation
Displays a view of the saturation component of the
HSV color model
Value
Displays a view of the value component of the HSV
color model
Color palette
Displays a color palette for you to select a color
Color picker
Lets you select a color from the image in the viewer
Color preview
Displays the previously selected color (left) and the
color you are currently selecting (right).
The bottom arrow resets the color preview to the
previously selected color. The top arrow makes the
color you selected (right) the current color.
RGB
The RGB (red, green, blue) additive color model. The
intensity of each color is represented by a number from
0 to 255. A value of 0 represents no light (black) in a
channel and 255 represents maximum light intensity
(white) in a channel.
For example, (0,0,50) represents a dark blue, while
(0,0,255) represents a bright blue. To produce a shade
of gray, set all three RGB colors to the same level.
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Color Editor Dialog Box
Option
Description
HSV
The HSV (hue, saturation, value) color model.
Hue refers to the position of a color measured in
degrees on the color wheel (red, yellow, green, cyan,
blue, or magenta) and the various shades between
them. For example, red is 0, cyan is 180, and magenta
is 300.
Saturation refers to the purity of color or the amount of
gray in the color. Values: 0 (most-saturated color) to
100 (least-saturated color).
Value refers to the total amount of light in a color. A
value of 0 gives the darkest result (black) and 100 gives
the lightest result (white).
CMYK
The CMYK (cyan, magenta, yellow) color model. This
model simulates the four-color (CMYK) process used
in printing.
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Mini Color Editor
The Mini Color editor lets you pick colors from a palette or create new colors. To
create new colors, you can pick them from the image in the viewer, from anywhere
on the screen, or you can specify the HLS, HSV, or RGB color model values.
To access the Mini Color editor:
t
From the property editor, click the color swatch.
Color
swatch
The Mini Color Editor opens.
Slider
Color area
Options menu
Color preview
Palette
Color picker
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Option
Description
Color area
Displays a color area based on what you selected from
the Options menu
Slider
Represents what you’ve selected from the Options
menu. For example, if you selected HSV Saturation,
then the slider represents the saturation.
Mini Color Editor
Option
Description
Color preview
Displays the previously selected color (left) and the
color you are currently selecting (right)
Palette
Lets you select a solid color from a pop-up menu
> (Options menu)
Displays different views of the HSV color model
Color Wheel
Displays a color wheel for you to select a color
Vectorscope
Displays an outline color wheel that resembles a
vectorscope. This is useful for assessing colors in
images without interference from other colored
onscreen elements.
HSV Hue
Displays a view of the hue component of the HSV color
model
HSV Saturation
Displays a view of the saturation component of the
HSV color model
HSV Value
Displays a view of the value component of the HSV
color model
HLS
Specifies colors using the HLS (hue, luminance, and
saturation) model.
Hue refers to the position of a color measured in
degrees on the color wheel (red, yellow, green, cyan,
blue, or magenta) and the various shades between them.
For example, red is 0, cyan is 180, and magenta is 300.
Luminance refers to the relative lightness or darkness of
a color. A value of 0 gives the darkest result (black) and
100 gives the lightest result (white).
Saturation refers to the purity of color or the amount of
gray in the color. The values range from 0 (most
saturated color) to 100 (least saturated color).
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Option
HSV
Description
Specifies colors using the HSV (hue, saturation, value)
color model.
Hue refers to the position of a color measured in
degrees on the color wheel (red, yellow, green, cyan,
blue, or magenta) and the various shades between them.
For example, red is 0, cyan is 180, and magenta is 300.
Saturation refers to the purity of color or the amount of
gray in the color. The values range from 0 (most
saturated color) to 100 (least saturated color).
Value refers to the total amount of light in a color. A
value of 0 gives the darkest result (black), and 100 gives
the lightest result (white).
RGB
Specifies colors using the RGB (red, green, blue)
additive color model. The intensity of each color is
represented by a number from 0 to 255. A value of 0
represents no light (black) in a channel, and a value of
255 represents maximum light intensity (white) in a
channel.
For example, (0,0,50) represents a dark blue, while
(0,0,255) represents a bright blue. To produce a shade
of gray, set all three RGB colors to the same level.
Normalized
494
Normalizes the values so that they range from 0 to 1
Color picker
Lets you select a color from the viewer
Edit
Opens the Color Editor dialog box
Import Image Dialog Box
Import Image Dialog Box
The Import Image dialog box lets you locate the image files that you want
to import into your graphics session.
Option
Description
Avid Explorer
Tools
Lets you navigate through and manage the contents
of your bins.
Bin Tools
Changes the way the contents of the bin are
displayed. These tools appear for all bin contents.
File Name
Lets you enter a name for your preset.
File Types
Lets you select a file type for your preset.
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Chapter 5
3D DVE and 3D Titling
Reference
This chapter contains reference information about 3D DVE and 3D Titling.
•
3D DVE Layout
•
3D DVE Combo View
•
3D DVE Object View (3D OV)
•
Effects
3D DVE and 3D Titling Reference
3D DVE Layout
The 3D DVE layout is where you create 3D DVEs and titles. By default,
the 3D DVE layout consists of the transport controls, viewer, timeline,
Avid Explorer, 3D DVE Layers view, and a series of toolbars and property
editors you’ll need for working with 3D DVEs and titles.
The buttons in the view switcher let you access the Effects Tree view,
animation editor, and 3D DVE Object View.
To access the 3D DVE layout:
t
n
3D DVE Object View
3D DVE
Layers view
498
From the taskbar, click the 3D DVE button.
Tip: You can also access the floating 3D DVE Combo View by pressing
Ctrl and clicking the 3D DVE button.
View switcher
Property editor
Toolbars
Viewer
Transport controls
3D DVE Layout
3D DVE Toolbar
The 3D DVE toolbar lets you select and create objects, as well as light and
rotate them in three-dimensional space. You can also import text, combine
and separate shapes, convert paths to shapes and vice versa, align the edges
or centers of multiple objects relative to each other, position objects,
determine how objects are displayed in the viewer, and manipulate the
camera. This toolbar is in the 3D DVE layout and 3D DVE combo view.
Toolbar
Button
Tool
Description
Edit
Selects, translates, and scales
objects
Rotate
Rotates objects in threedimensional space
Light
Creates and adjusts the light
sources
Text
Creates and edits text objects
and text along a path
Add DVE Node
Creates a DVE object within
the current layer and covers
the entire scene
Rectangle
Creates and edits square and
rectangular shapes
Ellipse
Creates and edits circular and
elliptical shapes
Shape
Creates and edits and deforms
freeform shapes and path
Page
Creates a new page
Tools
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3D DVE and 3D Titling Reference
Toolbar
Button
Tool
Description
Pan Camera
Pans camera
Dolly
Dollies camera
Tumble
Lets you see scene from
different angles
Roll
Rolls camera
Zoom Camera
Zooms camera
Reset Current
Camera
Resets current camera
Camera Tools
Viewer Tools
Safe Action/Safe Shows or hides safe action and
Title
safe title guides
View Top
Displays scene from above
Grid
Shows or hides grid
View Left
Displays scene from the left
View Front
Displays scene from the front.
A light-colored orientation
grid and axis labels appear in
the viewer.
View Right
Displays scene from the right
Snap Main
Switches the display from
Camera to
main camera to alternate
Alternate Camera camera
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3D DVE Layout
Toolbar
Button
Tool
Description
Toggle Camera
Switches between main and
alternate camera
Snap Alternate
Camera to Main
Camera
Switches the display from
alternate camera to main
camera
Wireframe
Shows objects in wireframe
view
Construction
Lines
Shows or hides borders of
objects
Clip to Frame
Shows or hides objects or
portions of objects that appear
outside the scene
Direct View
Switches the display between
the 3D DVE and container
Suspend Output
Suspends output to external
monitor and floating viewer
Import EPS
Imports an EPS file (shape and
color information only)
Import Text
Import an ASCII text file
Path to Shape
Converts a path to a shape
Shape to Path
Converts a shape to a path
Import and Shape Tools
Combine Shapes Creates a compound shape
from the selected shapes
Separate Shapes
Separates a compound shape
into its individual shapes
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3D DVE and 3D Titling Reference
Toolbar
Align Tools
Button
Tool
Description
Align Left
Aligns the left edges of the
selected objects along the left
edges of their columns. The
aligned objects appear below
the reference object.
Align Horizontal Aligns the centers of the
selected objects along the
centers of their columns. The
aligned objects appear below
the reference object.
502
Align Right
Aligns the right edges of the
selected objects along the
right edges of their columns.
The aligned objects appear
below the reference object.
Align Bottom
Aligns the bottom edges of the
selected objects along the
bottom edges of their
columns. The aligned objects
appear beside the reference
object.
Align Vertical
Aligns the centers of the
selected objects along the
centers of their columns. The
aligned objects appear beside
the reference object.
Align Top
Aligns the top edges of the
selected objects along the top
edges of their columns. The
aligned objects appear beside
the reference object.
3D DVE Layout
Toolbar
Button
Tool
Description
Position Tools
Position Top Left Moves the selected objects to
the top-left of the scene,
taking into account the safe
title guide
Position Top
Center
Moves the selected objects to
the top-center of the scene,
taking into account the safe
title guide
Position Top
Right
Moves the selected objects to
the top-right of the scene,
taking into account the safe
title guide
Position Middle
Left
Moves the selected objects to
the middle-left of the scene,
taking into account the safe
title guide
Position Middle
Center
Moves the selected objects to
the middle-center of the scene,
taking into account the safe
title guide
Position Middle
Right
Moves the selected objects to
the middle-right of the scene,
taking into account the safe
title guide
Position Bottom
Left
Moves the selected objects to
the bottom-left of the scene,
taking into account the safe
title guide
Position Bottom
Center
Moves the selected objects to
the bottom-center of the scene,
taking into account the safe
title guide
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3D DVE and 3D Titling Reference
Toolbar
Button
Tool
Description
Position Bottom
Right
Moves the selected objects to
the bottom-right of the scene,
taking into account the safe
title guide
3D DVE Layers Toolbar
The 3D DVE Layers toolbar lets you manipulate objects. This toolbar is in
the 3D DVE layout and 3D DVE combo view.
Button
504
Tool
Description
Select All
Selects all objects in the scene
Deselect All
Deselects all objects in the scene
Group
Combines all selected objects into
a single object
Ungroup
Ungroups all selected grouped objects
Bring to Front
Moves the selected objects above all
unselected objects
Send to Back
Moves the selected objects behind all
unselected objects
Raise
Moves the selected objects forward by
one position
Lower
Moves the selected objects backward
by one position
Lock
Prevents the selected objects from
being manually edited
3D DVE Layout
Button
Tool
Description
Unlock
Allows the selected locked objects
to be manually edited
Unhide All
Shows all hidden objects
3D DVE Property Editors Toolbar
The 3D DVE Property Editors toolbar contains property editors that let you
adjust the properties of all objects in the 3D DVE layout. This toolbar is in
the 3D DVE layout and 3D DVE combo view.
Button
Tool
Description
Surfaces
Lets you define the appearance of an
object’s surfaces and its background
DVE
Lets you define the behavior and
appearance of 3D DVE objects
Text
Lets you define the attributes of text
objects
Paragraph Editor
Lets you adjust column width, text
alignment, paragraph leading, as well as
add and remove columns
Light
Lets you define the type, color, intensity,
and location of a light source
Camera
Lets you set the position of the camera
and its interest, roll angle, projection
type, and clipping plane distances
Transform
Lets you define the object
transformations, such as the position,
scaling, and rotation adjustments
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3D DVE and 3D Titling Reference
Button
506
Tool
Description
Time Span
Lets you define number of frames in
which an object exists
Shadow
Lets you define the appearance and
location of an object’s shadow
Effect
Lets you define visual effects that you
can apply to objects
Path
Lets you define the behavior and
appearance of text on a path
Render
Lets you define if and how to draw the
object in the scene
Info
Provides general information about an
object
Options
Lets you set the direct view and output
properties
3D DVE Combo View
3D DVE Combo View
The 3D DVE combo view is a floating view that lets you create 3D DVEs
and titles. You can access this view from several locations in Avid DS
Nitris. Like the 3D DVE layout, you can work with surfaces, materials,
lights, and shadows, as well as import/export projects.
To access the 3D DVE combo view, hold down the Ctrl key and do one
of the following:
t
In the taskbar, click the 3D DVE button.
t
On the timeline, double-click a 3D DVE effect bar.
t
In an Effects Tree, double-click a 3D DVE node.
3D DVE Layers
toolbar
3D DVE Layers
view
3D DVE Property
Editors toolbar
3D DVE
toolbar
Property
editor
3D DVE Object
View
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3D DVE and 3D Titling Reference
3D DVE Object View (3D OV)
The 3D DVE Object View (3D OV) displays DVE objects and their time
spans in the current session. This lets you clearly see the timing
relationships between all the objects and manipulate them in the 3D OV.
You can adjust the start time, end time, and duration of objects, as well as
select, hide or show objects.
When you create a 3D DVE object in the viewer:
n
•
A bar, representing the object, appears at the bottom of the view. The
length of the bar indicates the duration or time span of the object. As
you create more objects, they’re placed on top of each other, starting
from the bottom. That means, the last object you created is the top one
in the 3D OV. In the viewer, the last created object is placed in front of
all other objects.
•
Each object is given a default name that corresponds to the tool you
used to create it. For example, if you used the Light tool, the
corresponding bar in the 3D OV will be named "Light1". As you create
more objects, the number beside the name increments. You can also
rename any 3D DVE objects you create.
Tip: If you close the 3D OV and want to reopen it, you can access it from
the View > Multi-Instance Views > 3D Object View menu.
Mute and
solo buttons
Deck
508
Page
Layer
3D DVE Object View (3D OV)
Selecting and Deselecting Objects
If there are many objects in your 3D DVE session, you may find it easier to
select objects from the 3D OV than from the viewer.
To select a 3D DVE object:
t
In the 3D OV, click the object’s bar.
To multi-select 3D DVE objects:
t
Hold down the Shift key and click all the bars in the 3D OV
representing the objects you want to select.
To deselect all selected objects:
t
Click away from an object’s bar.
Hiding and Showing Objects
To focus on specific objects in the viewer, you can use the 3D OV to hide
or show objects. To reduce the number of objects that you see at any one
time in the 3D OV, you can temporarily hide the objects.
To hide an object in the viewer:
t
Click the Mute button next to the object’s corresponding bar. Click the
button again to show the object.
To view a specific object in the viewer:
t
Click the Solo button next to the corresponding bar.
To hide a specific object bar in the 3D OV:
1. Select the bar you want to hide from the 3D OV.
2. Right-click the 3D OV and select Hide Selected.
n
Hidden objects are remain visible in the viewer.
To show all hidden object bars in the 3D OV:
t
Right-click the 3D OV and select Show Hidden.
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3D DVE and 3D Titling Reference
Changing an Object’s Duration
You can change the duration of an object by changing the start or end
points of its corresponding bar in the 3D OV.
1. Select an object in the viewer or 3D OV.
The selected object appears highlighted in the 3D OV.
2. In the 3D OV, do one of the following:
t
To adjust the start point, drag the left end of the object.
t
To adjust the end point, drag the right end of the object.
The object’s duration changes accordingly.
n
If you drag the middle of the object in the 3D OV, the object’s starting and
ending points change equally, but the object’s duration stays the same.
Collapsing and Expanding Views
Certain types of objects act as a “container” for other objects. For example,
a text object contains characters or a page object contains other types of
objects, such as decks. You can access an object’s subobjects from the 3D
OV.
Collapse
Collapsed view
Expand button
Expanded view
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3D DVE Object View (3D OV)
To access subobjects in the 3D OV:
t
Click the Expand button in the upper right corner of the object’s
corresponding bar.
The container’s objects appear above it.
To hide subobjects in the 3D OV, do one of the following:
n
t
Click the Collapse button.
t
Right-click the 3D OV and select Collapse.
When you edit an object’s subobjects, all other parent object bars are
temporarily hidden. This lets you concentrate on the object’s subobjects,
which may be numerous, especially for text objects.
Zooming and Panning in the 3D DVE Object View
At times, there may be so many objects in your 3D DVE session that you
can’t see them all in the 3D OV. When this happens, you can pan the 3D
OV to focus on specific areas or objects in your session. Similarly, by
zooming the 3D OV, you can control the amount of detail that’s displayed.
To zoom the 3D OV:
t
Hold down the Z or F2 key, and drag left or right on the GOV.
To pan the 3D OV:
t
Hold down the X or F3 key, and drag left or right on the GOV.
To reset zoom or pan in the 3D OV:
t
Right-click anywhere in the 3D OV and select Zoom to Fit.
3D DVE Layers Menu
The 3D DVE Layers pop-up menu lets you create, rename, rearrange,
duplicate, and remove layers.
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To access the 3D DVE Layers menu:
t
In the 3D DVE layout, right-click an empty area of the 3D DVE Layers
view.
Option
Description
New
Lets you create a new two-dimensional or threedimensional layer
2D Layer
Creates a new two-dimensional layer
3D Layer
Creates a new three-dimensional layer
Cut
Removes the current selection and places it on the
Clipboard
Copy
Copies the current selection and places it on the
Clipboard
Paste
Replaces the current selection with the contents of the
Clipboard
Delete
Removes the current selection
Rename
Renames the selected object
Move
Lets you move the object within its current layer
To Top
Moves the selected object to the top of its layer
Up
Moves the selected object up one position in its layer
Down
Moves the selected object down one position in its layer
To Bottom
Moves the selected object to the bottom of its layer
Layer Type
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Lets you set the selected layer’s type
2D
Changes the selected layer to a two-dimensional layer
3D
Changes the selected layer to a three-dimensional layer
3D DVE Object View (3D OV)
3D DVE Object View Menu
The 3D DVE Object View pop-up menu lets you show and hide objects
and their corresponding bars in the 3D OV and in the viewer.
To access the 3D DVE Object View menu:
t
In the 3D DVE layout, right-click an empty area of a 3D DVE Object
View.
Option
Description
Hide Selected
Temporarily hides all selected objects from view. The
objects are still visible in the viewer.
Show Hidden
Shows all hidden objects
Collapse
Shows the tracks in the current container's container
View Lights
Displays all the lights for the object
Zoom to Fit
Reset the pan and zoom
3D DVE Page Menu
The 3D DVE Page pop-up menu lets you manipulate pages within a deck,
as well as add and remove pages.
To access the 3D DVE Page menu:
t
In the 3D OV, right-click a page bar.
Option
Description
Add Page After
Adds a new page immediately after the current page
Add Page Before
Adds a new page immediately before the current page
Extract Page
Removes current page, closing the gap left by it
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Option
Description
Lift Page
Removes current page without closing the gap left by it
Close Gap
Removes current gap
Balance Durations
Changes all pages in the current deck to the same
duration
Renumber Pages
Renumbers all the pages in sequence
Clip to Page
Shows or hides the portions of the page’s contents
appearing outside the dimensions of the page
3D DVE Layers
The 3D DVE Layers view lets you create 2D and 3D layers and control
how objects interact. The main part of the view contains a hierarchical list
of the layers defined in the current project. The objects in the upper layers
appear above objects in the lower layers. Each layer is processed
independently.
3D DVE Layers view
You can use layers, which contain objects in a scene, to separate simple
title effects from complex three-dimensional animation effects. The
following types of layers are available:
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•
2D layer: This type of layer allows objects to move around in threedimensional space, but does not allow objects to intersect each other.
The order of the objects in the 3D DVE Layers view determines which
objects are drawn above other objects.
You can extrude, rotate, and group objects in a 2D layer. However, an
extruded or grouped object will not “cut into” objects above or below
it.
2D layers are useful for text and graphics that do not need to intersect
each other.
•
3D layer: This type of layer allows objects to move around in threedimensional space and intersect each other. The position of objects
along the Z axis determines which objects are drawn above other
objects. However, the stacking order of objects in the 3D DVE layers
view has an effect on overlap (Boolean) effects and shadows.
New objects that you create in a 2D or 3D layer appear at a Z axis
position of 0. You must move the object along the Z axis.
If you want several objects to retain their relative positions (one object
being above another object) as you rotate the objects in tandem, place
the objects in a 3D layer. Otherwise, the objects will maintain their
priority regardless of orientation and not appear realistic.
The scene, the topmost object, contains lights and any number of layers,
each of which contains other types of objects (text boxes, shapes, decks).
You cannot create a layer inside another layer. Also, layers are the same
size as the scene and exist for the duration of the project.
Creating and Deleting 3D DVE Layers
Adding a layer to a project lets you isolate the interaction of certain objects
or create a specific effect that you cannot achieve in an existing layer.
You can remove layers that you no longer need. Layers, like text boxes and
pages, are objects that can be empty. If you remove all objects in a layer,
the layer is not automatically removed.
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To create a layer:
t
Right-click the layer above which the new layer will be added, and
select New > 2D Layer or 3D Layer.
The new layer becomes the active layer.
To delete a layer:
t
Right-click a layer and select Delete.
The objects in the selected layer are removed.
Reordering 3D DVE Layers
By arranging the order of layers, you can control how layers of objects are
composited. Each layer of objects is processed from bottom to top in the
3D DVE Layers view.
To reorder a layer:
Right-click a layer and select Move and one of the following:
n
t
To Top to move the layer to the top of all the layers
t
Up to move the layer up one level
t
Down to move the layer down one level
t
To Bottom to move the layer to the bottom of all the layers
You cannot move a layer within another layer.
Showing and Hiding 3D DVE Layers
Like other objects, you can show and hide layers to concentrate on or
process specific parts of the scene.
To show or hide a single layer:
t
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Click the Mute button for the layer.
3D DVE Object View (3D OV)
n
Objects in hidden layers are not processed.
To show a single layer at a time:
t
n
Click the Solo button for the layer. You can select multiple layers to
solo.
If you mute and solo a layer, the layer is soloed.
To show all layers:
t
Click the Unhide All button in the 3D DVE Layers toolbar.
Changing a 3D DVE Layer’s Type
A layer can be two-dimensional or three-dimensional. You can change the
layer’s type at any time.
n
When you change a layer’s type, objects may be positioned differently.
To change a layer’s type:
t
Right-click a layer and select Layer Type > 2D or 3D.
2D layer
3D layer
Renaming 3D DVE Layers
By default, each layer has a generic name. You can rename each layer to
help identify the objects within it. For example, you can use the name
“Logo Animation” for a 3D layer that has an animated corporate logo.
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To rename a layer:
1. Right-click the name of a layer and select Rename.
2. Enter a new name and press Enter.
Manipulating Objects in 3D DVE Layers
You can manipulate objects in layers in much the same way as you
manipulate other types of objects.
Selecting 3D DVE Layers
Although you can create multiple layers in a scene, only one layer is active
(current) at a time. Objects that you create or paste appear in the current
layer. You must be aware of the current layer when you work in a project,
so that you do not create objects in the wrong layer.
To select a layer, do one of the following:
t
Click a layer name in the 3D DVE Layers view.
t
Click an object in the layer or the viewer.
Selecting Objects in a 3D DVE Layer
You must select objects before you can perform operations on them.
Objects that you select in the viewer are also selected in the 3D DVE
Layers view. When you deselect all objects in a layer, the objects’ layer
remains the current layer.
n
You cannot select objects in different layers at the same time.
To select a single object:
t
Click an object.
To select a range of objects:
t
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Click the first object in the range, press Shift and click the last object
in the range.
3D DVE Object View (3D OV)
To switch the selection of an object:
t
Press Ctrl and click the object.
Copying and Moving Objects between 3D DVE Layers
Each object exists within its own layers. Moving an object to the front or
back of other objects, using the Bring to Front or Send to Back commands,
does not move an object outside of its layer.
To copy an object to another layer:
1. Select an object.
2. Do one of the following:
t
From the Edit menu, select Copy or Cut.
t
Right-click an object and select Copy or Cut.
3. Select the layer to which you want to copy the selected object.
4. Do one of the following:
t
From the Edit menu, select Paste.
t
Right-click an object and select Paste.
The pasted object becomes the topmost object.
Reordering 3D DVE Objects
If you want an object to appear in front of or behind another object, such as
moving a gradient oval behind some text or want to draw an object before/
after another object, you can reorder them.
n
Although objects in a 3D layer are positioned based on their positions
along the Z axis, the stacking order of an object still affects perspective
and Boolean effects.
Also, you cannot reorder characters in a text object.
To reorder objects:
1. Select an object from the 3D DVE Layers view.
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2. Right-click an empty area of the 3D DVE Layers view and select
Move and one of the following:
t
To Top to move the selected object in the front of all other objects.
t
Up to move the selected object up by one level.
t
Down to move the selected object down by one level.
t
To Bottom to move the selected object to the back of all other
objects.
Viewing a 3D DVE Layer from Different Sides
When placing objects on a layer, the relative location of objects along the Z
axis is hard to determine in the viewer. By viewing the layer from different
sides, you can easily move objects in depth.
To view a layer from different sides:
1. Select an object or layer.
The current layer’s name appears bold.
2. Select a layer side view from the 3D DVE toolbar.
Button
Layer side view
Front
Right
Left
Top
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3D DVE Page (Viewer) Menu
The 3D DVE Page (Viewer) pop-up menu lets you add and remove pages
within a deck, as well as extract pages, and balance the duration of pages.
To access the 3D DVE Page menu:
t
In the 3D DVE layout, right-click an empty area of a 3D DVE page in
the viewer.
Option
Description
Add Page After
Adds a new page immediately after the current page
Add Page Before
Adds a new page immediately before the current page
Extract Page
Removes the current page, closing the gap left by it
Balance Durations
Changes all pages in the current deck to the same
duration
Clip to Page
Shows or hides the portions of the page’s contents
appearing outside the dimensions of the page
Light Menu
The Light pop-up menu lets you add or delete lights, turn lights on or off,
and set a light source type.
To access the Light menu
t
In the 3D DVE layout, right-click the viewer, while using the Light
tool, to display the pop-up menu.
Option
Description
Add Light
Adds a new light source to the scene at the current
pointer location
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Option
Description
Delete Lights
Deletes the selected light sources from the scene
Enable Lights
Turns on the selected light sources
Disable Lights
Turns off the selected light sources
Light Type
Lets you set a light source type
Infinite
Makes the selected light source an infinite light. An
infinite light source appears very far away, so that the
light rays are essentially parallel to each other. The sun
is an example of an infinite light source.
Local
Makes the selected light source a local light. A local
light extends from a single point evenly in all
directions.
Spot
Makes the selected light source a spot light. A spot light
extends from a single point in a cone shape, casting
light on a specific oval or circular area of a scene.
Rotate Menu
The Rotate pop-up menu lets you reset the rotation and anchor point of
objects.
To access the Rotate menu:
1. In the 3D DVE layout, click the Rotate button in 3D DVE toolbar.
2. Right-click the selected object.
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Option
Description
Reset Rotation
Resets the rotation angles to the defaults
Reset Anchor Point
Resets the selected objects’ anchor points to their
default locations
3D DVE Object View (3D OV)
Shape Menu
The Shape pop-up menu lets you manipulate control points and combine
shapes.
To access the Shape menu:
t
In the 3D DVE layout, right-click above a control point or segment of a
shape.
Option
Description
Insert Point
Adds a control point to the shape under the pointer
Delete Points
Removes the active control points
Break Point
Opens a closed shape or splits an open shape in two at
the control point under the pointer
Make Cusp Points
Makes a corner in the shape’s contour at the control
point under the pointer
Make Smooth Points
Makes a shape’s contour smooth at the control point
under the pointer
Select All Points
Selects all control points on the shape under the pointer
Deselect All Points
Deselects all control points on the shape under the
pointer
Delete Segment
Removes the segment of the shape under the pointer
Copy As Shape
Copies the curve (that is part of a compound shape)
under the pointer as a separate shape
Reverse Direction
Changes the direction of the curve
Fill Curve
Controls whether the curve under the pointer is filled or
not
Combine Mode
Lets you combine the shape under the pointer with the
rest of the compound shape
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Option
Description
Subtract
Inverts the shape’s area from the compound shape,
creating cutouts and holes in the compound shape
Add
Merges the areas of the shape and its compound shape,
increasing the total area
Text Menu
The Text pop-up menu lets you set the motion and alignment of text.
To access the Text menu:
t
In the 3D DVE layout, right-click a text body.
Option
Description
Motion
Lets you select a type of motion for text objects
Static
Makes the current text body a static (no scrolling)
object
Roll
Makes the current text body a roll (vertically scrolling)
text object
Crawl
Makes the current text body a crawl (horizontally
scrolling) text object
Align
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Lets you set the alignment for the text objects
Left
Aligns the text along the left edge of the current column
Center
Aligns the text horizontally within current column
Right
Aligns the text along the right edge of the current
column
Justify
Aligns the text along both edges of the current column,
adding equal space between words
3D DVE Object View (3D OV)
Option
Equally Space
Description
Aligns the text along the both edges of the current
column, adding equal space between characters
Clip to Text Box
Shows or hides the portions of characters that appear
outside the dimensions of the text body. This command
is not available for text on a path.
Property Mode
Lets you set the text alignment for text objects
Time
Makes each character on the path use its own property
values
Position
Makes each character on the path use the path’s
property values at the character’s position along the
path
Direction
Lets you set a text direction for text objects
Left-to-Right
New characters are added to the right of the previous
character
Right-to-Left
New characters are added to the left of the previous
character. Use this option for languages, such as
Hebrew, that are written in a right-to-left direction.
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Effects
Effect
The Effect property editor lets you define visual effects that you can apply
to objects.
Option
Description
Profile
Lets you select effect that modifies the appearance of
the object’s edge surface. Profiles come in three sizes:
large, medium, or small.
Extrude Depth
Controls thickness of extruded object. Default is 0
percent.
Render as Wireframe
Determines whether to draw the object as an outline
instead of a solid. The appearance of the wireframe
outline is the same as the object’s main material. The
default is off.
This option can improve the rendering time of your
scene.
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Effects
Info
The Info property editor provides general information about an object.
Option
Description
Name
Lets you view name of object (except for
pages). By default, a generic name is assigned to the
object. Use this name to identify similar types of
objects in the viewer. Default is the object type.
Comment
Lets you add comment to an object to remind yourself
of the purpose or any other type of information about
the object
Container
Controls object container’s width, height, and depth,
based on the current unit of measure. This operation
applies to text objects only.
Light
The Light property editor lets you define the type, color, intensity, and
location of a light source.
Option
Description
Enable Light
Turns light source on or off.
When selected, the default light sources are drawn
using solid lines. When deselected, sources are drawn
using dashed lines.
Light Color
Sets color of light emitted from light source. Default
color is white.
Color swatch
Displays current color. Click color swatch to display the
Mini Color Editor.
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Option
Description
Type
Lets you set type of light source: Infinite, Local, or
Spot. Default is Local.
Infinite
Makes selected light source an infinite light. An infinite
light source appears very far away, so that the light rays
are essentially parallel to each other. The sun is an
example of an infinite light source.
Local
Makes selected light source a local light. A local light
extends from a single point evenly in all directions.
Spot
Makes selected light source a spot light. A spot light
extends from a single point in a cone shape, casting
light on a specific oval or circular area of a scene.
Intensity
Controls brightness of light source, from 0 (no
intensity) to 100 (normal intensity) and higher.
Intensity can also be less than 0 to produce a “black
light” effect on surfaces whose emissive color is not
black. Default is 100.
Spot Target
This option applies to spot lights only. Sets location in
the scene that the spot light points to. Default is 0 for X,
Y, and Z.
Spot Size
This option applies to spot lights only. Controls area
defined by cone of light.
Spot size is expressed as an angle, where 0º is a zerowidth cone or no light and 90º is a very wide cone.
Default is 20º.
Spot Falloff
This option applies to spot lights only. Controls how
sharply light intensity drops off from spot target.
Controls softness of the light at its perimeter, which can
affect the apparent intensity of the light.
Values: 0 (least soft, high-apparent intensity) to
100 (softest, lowest apparent intensity). Default is 50.
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Effects
Paragraph
The Paragraph property editor lets you adjust a column’s width, the
alignment of text within a column, the leading of a paragraph, and the
space after a paragraph. You can also add and remove columns.
Option
Description
Left
Refers to width of left edge of a column
Right
Refers to width of right edge of a column
Alignment
Refers to alignment of text within a column
Update All Selected
Paragraphs
Applies changes to selected paragraphs only
Add
Inserts a column
Remove
Deletes a column
Balance
Sets same width for all columns on a line
Leading
Changes vertical space between lines of a wordwrapped paragraph. Adjusting the leading affects the
space after each selected line, except the last selected
line in a paragraph.
Space After
Changes vertical space between last line of one
paragraph and the first line of the next paragraph. When
you adjust paragraph spacing, you are adjusting the
space after each selected paragraph.
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Render
The Render property editor lets you determine if and how objects are
drawn in the scene.
Option
Description
Show Object
Controls whether object is visible. Default is on.
Generate Matte
Controls whether object participates in the creation of
the matte for the current frame. Default is on.
Cull Back Faces
Controls whether to draw the back side (surface) of an
object. If the back side is not drawn, the object is
transparent when the back faces are visible. The default
is off.
This option can improve the rendering time of your
scene.
Shadow
The Shadow property editor lets you define the appearance and location of
an object’s shadow.
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Option
Description
Show Shadow
Turns object’s shadow on or off. By default, this option
is off.
Shadow Color
Displays shadow’s color or tint (if using a texture).
Default color is black.
Color swatch
Displays current color. Click color swatch to display the
Mini Color Editor.
Type
Lets you select type of shadow to use
Effects
Option
Drop
Description
The shadow is located on the shadow plane, which is
parallel to and always behind the object. Drop shadows
are not affected by light sources in the scene.
This is the default shadow type.
Local
The shadow is located on the shadow plane, which is
either hinged to a side of the object’s bounding box or
parallel to the object.
Projected
The shadow is cast from one of the light sources in the
scene onto the shadow plane. By default, the shadow
plane is hinged to the bottom of the scene.
Projected From
For projected shadows, the light source that produces
the projected shadow. Default is 1.
X Offset
(For drop shadows only) Controls the horizontal
position of the shadow, relative to the object. Default is
1.
Y Offset
(For drop shadows only) Controls the vertical position
of the shadow, relative to the object. Default is –1.
Opacity
Controls the amount of blending the shadow has with
objects behind it. Default is 50%.
Softness
Controls softness of shadow’s edges. Default is 0%.
Hinge
Location and orientation of shadow plane. Default side
is Bottom, Angle is 45, Offset is 0, and Skew is 0.
n
These parameters cannot be used for the drop
shadow.
Side
Specifies side to which a shadow plane is attached
Angle
Specifies angle of the shadow plane hinge
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Option
Description
Offset
Specifies offset for the shadow plane hinge. For local
shadows, the offset controls the distance of the shadow
plane away from the hinge point. For projected
shadows, the offset controls the movement of the
shadow plane along global axes.
Skew
Texture
Specifies skew along local X axis. This parameter
applies to local shadows only.
Lets you select an image or animation file from the
texture gallery or a DS input instead of a solid color
Surfaces
The Surfaces property editor lets you define the appearance of an object’s
surfaces and its background.
Option
Description
Master Opacity
Lets you controls the visibility of an object; used to
fade an object in or out. Default is 100%.
Surface
Lets you select area of object to modify
Main
The front and back sides of the object. This is the
default surface.
Profile
The outline of character or shapes
Extrude
The area created by the extruded sides of an object
Background
The area behind all objects in text body objects and the
reverse side of 3D DVE objects
Enable Surface
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Controls whether the surface uses material properties
different from the other surfaces of the object
Effects
Option
Description
Base
Lets you select base color of surface’s material. Default
is white.
Color swatch
Displays current color. Click color swatch to display the
Mini Color Editor.
Opacity
Controls transparency of surface’s material. Default is
100%.
Type
Lets you select type of material on the surface
Solid Color
Selects a solid color as the material on the surface. This
is the default type of material.
Texture
Selects a bitmap image or animation as the material on
the surface
Overlap
Lets you select the effect to apply to the area of the
surface that overlaps other object surfaces. The default
is Normal.
Normal
The surface is not affected by other surfaces under it.
This is the default setting.
Invert
The color of each pixel under the surface is reversed or
inverted. Specifically, the hue of each color is rotated
by 180°, and the saturation and brightness switch
values; white becomes black, black becomes white, and
red becomes cyan.
Changes to the surface’s opacity and type do not affect
the result. You can achieve the best results by using this
effect on a solid surface.
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Option
And
Description
The color of each pixel under the surface appears tinted.
Specifically, a bitwise (bit for bit) And operation is
performed between the binary representations of each
pixel in the surface and the other surfaces under it. In an
And operation, both bits must be 1 for the result to be 1.
Otherwise, the result is 0.
Changes to the surface’s type affect the result. A solid
white surface does not produce any change to the
underlying surfaces.
You can achieve good results using opaque solid colors,
but not as good combining gradients or textures with
other gradients or textures or using semitransparent
solid colors.
Exclusive Or
The color of each pixel under the surface is reversed or
inverted in a way similar to the Invert overlap effect,
except that the surface’s appearance affects the result.
Specifically, a bitwise (bit for bit) Exclusive Or or Xor
operation is performed between the binary
representations of each pixel in the surface and the
other surfaces under it. In an Xor operation, the
resulting bit is 1 if only one of the bits is 1. Otherwise,
the result is 0.
Changes to the surface’s type affect the result. You can
achieve good results using opaque solid colors. Results
are not as good when you combining gradients or
textures with other gradients or textures.
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Effects
Option
Not Or
Description
The color of each pixel under the surface is reversed or
inverted in some combinations and tinted in others.
Specifically, a bitwise (bit for bit) Or operation is
performed between the binary representations of each
pixel in the surface and the other surfaces under it. Then
the resulting bit is inverted (Not operation). In a Not Or
operation, the resulting bit is 1 if both bits are the same.
Otherwise, the result is 0.
Changes to the surface’s type affect the result. A solid
white surface produces black. A solid black surface
produces an effect similar to the Invert overlap effect.
You can achieve good results using opaque solid colors.
Results are not as good when you combine gradients or
textures with other gradients or textures.
Enable Lighting
Controls whether the surface’s material is affected by
light sources. By default, this option is off.
Specular
(Lit materials only) Controls the color and intensity of
the specular highlight. Default is gray.
Emissive
(Lit materials only) Controls lightness of areas not lit
by lights. The color of the surface’s material at the
points farthest from a light source. Default is black.
Shininess
(Lit materials only) Controls size of light and how shiny
or dull the surface’s material appears. Default is 10.
Environment
(Lit materials only) A texture that is reflected on the
surface, depending on the object’s orientation and
position.
R
Resets Environment to none
C
Displays Crop parameters
Texture
Displays file name of texture image mapped onto the
surface
Tile
Controls whether a scaled-down texture is tiled or
repeated on the surface. By default, this option is off.
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Option
Description
Tint
Controls whether the material’s texture is tinted by the
Base color. By default, Tint is on.
Offset
Controls offset of texture relative to its original position
on a surface. Default is 0.
Rotation
Controls angle of rotation of the texture on its surface.
Default is 0°.
Scale
Controls scale factor of the texture on the surface.
Default is 100%.
Mapping
Lets you select the method of applying the texture to
the surface.
Local
Applies the texture to each object as if it were a decal. If
you use local mapping on a container object, each
object within the container is applied separately. This is
the default mapping.
Object Container
Applies the texture based on the dimensions of the
object’s container. For example, you can apply a texture
to a shape but make the texture relative to the scene’s
dimensions. This option also allows you to apply a
texture to the contents of an object, such as the
characters in a text body.
Reflection
Uses the surface of the object as if it were a mirror
reflecting the texture (reflection map). Reflection maps
are mainly used as “ambient” textures.
Effects
Time Span (3D DVE)
The Time Span property editor lets you define the number of frames in
which an object or camera exists. To change the time span, you must first
select the object through the viewer or the 3D Object view.
Option
Description
This Frame Only
Specifies that the in timecode corresponds to the
current frame and the out timecode corresponds to the
frame that follows the current frame, for a duration of
one frame.
This Frame to End
Specifies that the in timecode corresponds to the
current frame and the out timecode corresponds to the
frame that follows the last frame where the object was
applied.
Start to End
Specifies that the in timecode corresponds to
00:00:00:00 (local time) and the out timecode
corresponds to the frame that follows the last frame of
the 3D DVE session.
Start to This Frame
Specifies that the in timecode corresponds to
00:00:00:00 and the out timecode corresponds to the
current frame.
In
Specifies timecode of first frame in which you want the
object to appear
Out
Specifies timecode of frame that follows the last frame
in which you want the object to appear
Duration
Specifies total number of frames in which you want the
object to appear
Lock
Retains object’s duration, but slides it in time by
changing the in or out timecode
Crop animation curves
when changing object
time span
Determines whether object’s animation curves are
cropped or scaled when the time span is modified
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3D DVE
The 3D DVE property editor lets you define the behavior and appearance
of 3D DVE objects.
Option
Description
Effect
Lets you select type of effect for DVE object
Border
Places colored frame around edge. The border can have
a soft outer edge.
Unlike the Border profile effect, which cannot be used
on DVE objects, the border in a Border DVE overlaps
the edges of an image.
Default
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•
Size: The thickness of the border; default is 0.
•
Softness: The softness of the outer edge of the
border. A value of 0 (default) produces a hard edge.
•
Color: The color of the border; default s black.
Creates rectangular surface. This is the default DVE.
Effects
Option
Page Curl
Ripple
Sphere
Description
Creates animated curl effect over duration of 3D DVE
time span. Curls surface as if it were a page of a book
being turned, showing the back surface on the opposite
side. You can control the tightness and angle of the curl.
•
Radius: The size of the curl. Smaller values produce
tighter curls, whereas larger values produce looser
curls. The surface cannot curl around itself. The
closest the surface can be is parallel to itself.
Default is 0.10.
•
Angle: The direction that the surface will turn or
flip across the surface. Default is 0.
•
Curl time: The position of the curl as it moves
across the surface. Animate this property to curl the
surface completely off. Default is 0.
Produces parallel waves across surface. You can control
the height, number, and direction of the waves.
•
Amplitude: The height of the waves in the ripple.
Default is 0.10.
•
Angle: The direction that the ripples move across
the surface. Default is 0.
•
Ripple time: The time required for the ripple to
move across the surface. Animate this property to
produce a rolling motion. Default is 0.
•
Frequency: The number of ripples on the surface.
Default is 1.
Produces cylindrical, spherical, and other distorted
surfaces. You can control the horizontal and vertical
curvature to produce different results.
•
Angle: The horizontal curvature of the surface.
Default is 360.
•
Distortion: The vertical curvature of the surface.
Default is 1.
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Option
Description
Displacement
Controls use of a displacement map to simulate a nonsmooth surface
Texture
Lets you select image whose alpha channel or grayscale
version defines the contour on the surface
Scale
Scales magnitude of the displacement.
Higher scale values produce larger, exaggerated bumps
and valleys, whereas lower scale values produce
smaller, subtle bumps and valleys.
Offset
Offsets magnitude of the displacement.
Higher scale values produce larger, exaggerated bumps
and valleys, whereas lower scale values produce
smaller, subtle bumps and valleys.
Softness
Sets smoothness of surface. You can soften a
displacement map to hide irregularities in grayscale
levels in the texture.
Higher softness values produce a smoother surface,
whereas lower softness values produce a coarser
surface.
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Detail
Controls level of detail for DVE. Default is 1 for X and
Y.
Options
Displays properties for selected DVE
Effects
3D DVE/Options
The 3D DVE/Options property editor lets you display and render
backgrounds, and control the quality of objects drawn in the viewer.
Preferences Property Page
The Preferences property page lets you set the projection of your 3D DVE
session, as well as display and render backgrounds.
Option
Description
Background
Displays .tif images and Avid DS Nitris inputs that you
can use as the background in your scene
Allow Tiling for DS
Inputs
Allows DS inputs, used as textures, to be tiled. Default
is off.
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Turning off this option will noticeably increase
interactivity. If you’re using textured surfaces, it
will improve rendering speed.
Output Property Page
The Output property page lets you determine how objects in your 3D DVE
session are rendered and displayed on the external monitor. You should
raise the values when you’re ready to do a final render.
Option
Description
Use Video-safe Colors
Ensures that the colors in the scene are not too saturated
for the NTSC or PAL broadcast standard. Otherwise,
artifacts appear on the video display.
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Option
Description
Enable Motion Blur
Simulates a blurry motion.
n
Motion blur is a very time-intensive effect,
especially when you use a long exposure time.
Use Premultiplied Alpha Multiplies red, green, and blue values of each pixel in
the image by the pixel’s alpha value. For example, if the
red value of a pixel is 200 out of 255 and the alpha
value for the pixel is 50 out of 100%, the red value
would be stored as 100 (50% of 200). With the alpha
channel information integrated in the color information,
you can quickly composite the image with other
images.
This option is on by default.
Exposure
Represents exposure time, measured in seconds, that
shutter is open.
The blurriness of a moving object depends on how long
the camera’s shutter is open. The longer the shutter is
open, the blurrier the object appears, and vice versa.
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Suppress Vertical Jitter
Applies a one-pixel blur to text to dampen effect of
jittery text. You should not use this option if the text is
not moving vertically or if no jitter exists.
Custom Quality
Lets you control and customize rendering quality
Antialiasing
Controls smoothness of edges of objects
None
Applies no antialiasing; produces jagged or aliased
edges
Fast2d
Draws flat objects (not objects that are extruded, have a
profile, or are DVEs) with antialiased line around edges
for smoother edges, especially in high-resolution (film,
DTV) projects
Effects
Option
Low
Description
Produces quick, low-quality rendering of objects.
Outlines of objects appear aliased (jagged).
Useful when you need the quickest response time
(feedback) and aren’t concerned with the visual
accuracy of the objects. The quality setting does not
affect the rendering quality.
Medium
Produces an average rendering of objects. The edges of
objects are antialiased (smooth). This setting is the
default and is sufficient for most projects.
High
Produces a higher-quality rendering of objects, but may
take longer to render on screen, especially if the Enable
Motion Blur is selected. The edges of objects are
antialiased.
Useful when you need the highest level of visual
accuracy or realism.
Texturing
Controls quality of textured surfaces, in proportion to
the time required to render the texture onto the surface.
The lower the texturing quality, the faster it is to render
the texture, and vice versa.
On some workstations, texturing can be a slow
operation depending on the configuration. At the Low
texturing setting, large textures mapped onto small
surfaces may appear pixelated.
Lighting
Controls quality of textured, lit surfaces. This
parameter has no effect on textured surfaces whose
specular color is black.
Low
Renders objects in one pass. Appropriate for objects
with no highlights.
High
Renders objects using a second pass to display
highlights properly.
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Option
Description
Tessellation
Controls smoothness or approximation of curved edges
on characters and shapes. Values: 0.10 to 10.00; default
is 3.00. As the value increases, the curve is less faceted
and smoother. This setting can have a significant effect
on performance.
Shadowing
Controls quality of soft shadows. Values: 0.10 to 2.00.
Default is 1.00, 0.50 is half as good, and 2.00 is twice
as good. This setting can have a significant effect on
performance.
Low quality uses a setting of 0.50. Medium quality uses
a setting of 1.00. High quality uses a setting of 2.00.
Motion Blur
Controls degree of blurring of fast-moving objects in a
motion-blurred scene. Values: 0.25 to 2.00. Default is
1.00, 0.50 is half the blur, and 2.00 is twice as the blur.
This setting can have a significant effect on
performance.
This setting affects rendered frames only.
Direct View Property Page
The Direct View property page lets you control the quality of objects
drawn in the viewer. When in the Direct View mode, you can set the
antialiasing level, texture, lighting, tessellation, shadows, and motion blur.
Option
Description
Antialiasing
Controls smoothness of the edges of objects
Fast2d
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Draws flat objects (not objects that are extruded, have a
profile, or are DVEs) with antialiased line around edges
for smoother edges, especially in high-resolution (film,
DTV) projects
Effects
Option
None
Texturing
Description
Applies no antialiasing; produces jagged or aliased
edges
Controls quality of textured surfaces, in proportion to
the time required to render the texture onto the surface.
The lower the texturing quality, the faster it is to render
the texture, and vice versa.
On some workstations, texturing can be a slow
operation, depending on the configuration. At the Low
texturing setting, large textures mapped onto small
surfaces may appear pixelated.
Lighting
Controls quality of textured, lit surfaces. Use the Low
setting for matte objects and the High setting for
objects with highlights. The High setting produces a
better result. This parameter has no effect on textured
surfaces whose specular color is black.
Low quality uses Low lighting. Medium and High
quality use High lighting.
Tessellation
Controls smoothness or approximation of curved edges
on characters and shapes. Values: 0.10 to 10.00; default
is 3.00. As the value increases, the curve is less faceted
and smoother. This setting can have a significant effect
on performance.
Shadowing
Controls quality of soft shadows. Values: 0.10 to 2.00.
Default is 1.00, 0.50 is half as good, and 2.00 is twice
as good. This setting can have a significant effect on
performance.
Low quality uses a setting of 0.50. Medium quality uses
a setting of 1.00. High quality uses a setting of 2.00.
View as Wireframe
Displays all objects in wireframe
View Background
Turns the background on or off
Show Ground Plane
Turns the ground plane on or off
Enable External Monitor Turns external monitor on or off
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Camera
The Camera property editor lets you set the parameters which define how
the camera will “see” your scene. You can set the position of the camera
and its interest, the roll angle, the type of projection, and the clipping plane
distances.
Option
Description
Position
Defines global coordinates of the camera in X, Y, and Z
directions
Interest
Defines position of camera’s interest. The interest, what
the camera is always looking at, is at the center of the
interest plane. The interest plane is defined as the area
visible through the camera.
Roll
Controls angle of camera roll. Negative values make
the camera roll left and positive values make the
camera roll right in the Z axis.
Projection
Defines type of projection to use
Orthographic
Uses an orthographic projection, in which all camera
rays are parallel and objects do not change size as they
change distance from the camera
Perspective
Uses a perspective projection, which simulates
perspective foreshortening. This projection simulates a
real camera.
Field of View
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Lets you choose angle and type of field of view
Angle
Specifies angle of the field of view. Small angles are
equivalent to a telephoto lens and larger angles are
equivalent to a wide angle lens.
Vertical
Specifies vertical field of view
Horizontal
Specifies horizontal field of view
Effects
Option
Description
Clipping Planes
Sets minimum and maximum viewable distances from
camera. Objects closer than the near clipping plane or
farther than the far clipping plane are not visible. By
default, the near plane is very close to the camera and
the far plane is very far away, so most objects are
usually visible. You can set clipping planes to display
or hide specific objects.
Near
Sets minimum viewable distance from camera. Objects
in front of this plane will not be visible.
Far
Sets maximum viewable distance camera. Objects
behind this plane will not be visible.
Reset
Resets all parameters of the Camera property page to
the default values
Path
The Path property editor lets you define the behavior and appearance of
text on a path.
Option
Description
Baseline Offset
Controls offset of the characters of text, measured from
their baseline, from the path. Default is 0% of the scene
height.
Orientation
Lets you set direction of the characters of text on the
path. Default orientation is Follow.
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Transform
The Transform property page lets you define object transformations, such
as position, scaling, and rotation adjustments.
Option
Description
Position
Controls the position of the object in three-dimensional
space relative to the origin.
Objects in a scene that are too close or too far away are
not drawn. To simulate very large or very small objects,
use the Scale controls. Default is 0%.
Scale
Controls the scale percentage, relative to the object’s
original size.
Scaling occurs relative to the object’s anchor point,
unlike scaling an object manually. Default is 100%.
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Rotation
Controls angle of rotation in three-dimensional space,
relative to object’s original orientation. Default is 0, 0,
0.
Anchor Point
Controls offset from the center of the object’s bounding
box, from which to scale or rotate the object. Default is
0, 0, 0.
Reset
Resets all parameters to the default values
Chapter 6
Image Effects Reference
This chapter contains reference information for image effects.
Image Effects Reference
3D Warp
The 3D Warp effect lets you apply 3D animated scenes, such as a page turn
or melting screen to your images. You can apply a 3D warp to clips or
tracks, as a transition or source generator, or in an Effects Tree. When you
apply a 3D Warp in an Effects Tree, it is applied as a transition with two
inputs.
General Property Page
The General property page lets you select a type of 3D Warp effect, choose
a rendering switch, and select a preview mode.
While many 3D Warp effects are shipped with Avid DS Nitris, you can
also load 3D scenes that were created in Softimage|XSI. Using the
Rendering Switches, you can apply or bypass scene attributes that you
used when you created your 3D scene.
You can preview the 3D Warp effect in wireframe or shaded mode.
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Option
Description
Select effect
Lets you select a 3D scene to be used as the warp effect
New
Lets you select a 3D scene created with Softimage|XSI
to be used as an effect, transition or source generator
3D Warp
Option
Description
Rendering Switches
Turns the global parameter used in your 3D scene on or
off.
When you create a scene in Softimage|XSI, you need to
set parameters to define the appearance and material
definition of objects. The appearance of an object is
defined in terms of color, texture, transparency, etc.,
while the object’s material is defined by processing the
object’s surface in relation to a light source.
While there are numerous settings for each parameter,
Global Switches in Softimage|XSI provide a method of
applying or bypassing all settings for each parameter,
including: Refraction, Antialiasing, Back Culling, 3D
Textures, Reflection, and Shadows.
In Avid DS Nitris, you can also choose which
Rendering Switches (Global Switches) to apply or
bypass when you process the 3D Warp effect.
Refraction
Turns refraction on or off. Refraction is the bending of
light as it passes through a transparent or translucent
object.
If refraction was used when the 3D scene was created
and you select this option, the parameters used in the
3D scene are applied.
Antialiasing
Turns antialiasing on or off. Antialiasing is a method of
smoothing out and sharpening rough or jagged edges of
images to produce a more polished look.
If antialiasing was used when the 3D scene was created
and you select this option, the parameters used in the
3D scene are applied.
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Option
Back Culling
Description
Turns back culling on or off. Back culling lets you
define which faces of an object are rendered. When this
option is selected, only the faces whose normals are
facing the camera are rendered, while the back faces are
“culled” (ignored).
If back culling was used when the 3D scene was
created and you select this option, the parameters used
in the 3D scene are applied.
3D Textures
Turns 3D textures on or off. 3D Textures let you define
an object’s surface appearance. Patterns are applied to
an object in three-dimensional space, simulating a solid
mass. The three categories of patterns include marble,
wood, and clouds.
If 3D textures were used when the 3D scene was
created and you select this option, the parameters used
in the 3D scene are applied.
Reflection
Turns reflection on or off. Reflections are created when
the surface of an object behaves like a mirror to reflect
the image of another object. Reflectivity can be part of
an object’s material definition.
If reflection was used when the 3D scene was created,
and you select this option, the parameters used in the
3D scene are applied.
Shadows
Turns shadows on or off. Shadows are areas that are
totally or partially obscured from light by an object.
If shadows were used when the 3D scene was created,
and you select this option, the parameters used in the
3D scene are applied.
Preview Mode
Active While
Scrubbing
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Lets you select method to preview results of the effect
in the viewer while you scrub the position indicator on
the timeline
Turns Preview mode on or off when you scrub the
timeline
3D Warp
Option
Description
Wireframe
Lets you view the results of the effect in wireframe
mode in the viewer
Shaded
Lets you view the results of the effect in shaded mode
in the viewer
Timing Property Page
The Timing property page contains a function curve that displays the
following:
•
The percentage of the animation that the effect has progressed at a
specific time, and
•
The amount and duration of the original image that is dissolved into
the 3D scene before the first keyframe and after the last keyframe.
You can interactively manipulate the function curve to adjust these
amounts or change the direction of the 3D scene’s animation. You can also
change the curve to linear, Bézier, or constant.
Sometimes, the rendered 3D scene may not have the same quality as the
original image in Avid DS Nitris. This can be due to different lighting,
antialiasing, etc., applied to the 3D scene in Softimage|XSI. To
compensate for the quality change, you can dissolve the first and last
frames of the 3D scene into the original image in Avid DS Nitris over a
duration of frames at the start and end of the effect using the In and Out
controls. This creates a smoother transition between the original image and
the 3D scene.
Adjusting the In and Out values modifies the value in the Amount box, as
well as the function curve.
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Option
Description
X axis
Represents SMPTE timecode. You can drag the
position indicator in the function curve graph to a new
timecode to see how far the effect has progressed
through the animation.
Y axis
Represents percentage through the animation the effect
has progressed.
Values: 0 to 100%. A value of 0 means the 3D
animation has not started and a value of 100 means the
3D animation is complete. Adjusting the Y axis also
adjusts the value displayed in the Amount box. You can
also adjust the direction of the animation by adding
more control points to the function curve.
Amount
Represents percentage through the animation the effect
has progressed at the time specified on the X axis.
When you move a control point on the function curve
graph, the Amount value changes to display the value at
the specified timecode. Adjusting the Amount value
also adjusts the Y axis on the function curve.
In
Lets you adjust the duration, in frames, that the effect is
dissolved in at the beginning of the effect
Out
Lets you adjust the duration, in frames, that the effect is
dissolved out at the end of the effect
Generic Property Page
The Generic property page contains the specific scene properties that you
used when you created your 3D scene.
When you click the Scene Properties button, a dynamic list of all the
properties saved with the scene is displayed. You can interactively set
these properties from within Avid DS Nitris.
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3D Warp
Option
Description
3D Warp
Displays 3D Warp properties that were set on the
General and Timing property pages
Scene Properties
Displays additional scene properties that were used
when the 3D scene was created
Indicates that you can animate a parameter. To add
animation, change a parameter’s value, then click this
button beside the parameter. When a keyframe is set,
this button turns red with a line through it.
Indicates that a parameter is animated, but you are not
currently on the keyframe
Source Property Page
The Source property page lets you adjust the 3D Warp effect’s opacity and
change the transition’s source direction.
Option
Description
Opacity
Controls the transparency of effect. Values: 0
(completely transparent) to 100 ( completely opaque).
Source (To)
Applies the 3D Warp effect to the clip in which the
transition is coming from
Source (From)
Applies the 3D Warp effect to the clip in which the
transition is going to
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Accented Edges
The Accented Edges effect lets you add accents to the edges in an image.
When applied to a high-resolution image, the final accented edges are
small and the effect is very similar in appearance to egg tempera. For a
more painterly result, try applying this effect before some of the other
effects, such as the Dry Brush, Watercolor, or Texturizer effect.
Accented Edges Property Page
The Accented Edges property page lets you adjust the edges of the image,
as well as the effect’s smoothness and opacity.
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Option
Description
Edge Width
Increases or decreases the width of the edges
Edge Brightness
Brightens (like white chalk) or darkens (like black ink)
edges
Smoothness
Makes the overall image retain more detail or makes it
smoother. This control is useful for making a
photograph appear more painterly.
Opacity
Controls the transparency of the effect. Values range
from 0 (completely transparent) to 100 (completely
opaque).
Angled Strokes
Angled Strokes
The Angled Strokes effect lets you paint an image with diagonal strokes.
The lighter areas of the image are painted with strokes in one direction and
the darker areas are painted with strokes in the opposite direction.
Angled Strokes Property Page
The Angled Strokes property page lets you adjust the edges of the image,
as well as the effect’s smoothness and opacity.
Option
Description
Direction Balance
Controls how much of the image is painted with left or
right diagonal strokes
Stroke Length
Controls stroke length
Sharpness
Controls sharpness of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
To exaggerate this effect:
1. Scale the image to 50% or 25% of its original size.
2. Apply the Angled Strokes effect.
3. Restore the image to its original size.
4. If desired, sharpen the image to make the strokes more apparent.
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Bas Relief
The Bas Relief effect lets you make an image appear as if it has been
carved in low relief and lit to show the surface modulations.
Use this effect to liven up plain black-and-white images. To accentuate the
appearance of the image being sculpted in stone, first apply the Bas Relief
effect and then apply the Texturizer effect using Sandstone or another
texture of your choice. It helps to set the light position in both effects to the
same direction.
You can create metallic looking 3D text using this effect. After typing the
text, deselect the text body, then select the individual characters with the
Magic Wand tool and apply the Bas Relief effect. To change the color of
the text, set the foreground color to the color you want.
Bas Relief Property Page
The Bas Relief property page lets you adjust the level of detail in the
image, the direction from which the image is illuminated, the smoothness
level, as well as the opacity level. By default, the foreground is set to black
and the background is set to white. This produces a monochrome
(grayscale) image. You can specify different colors for the foreground and
background to vary the effect.
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Option
Description
Detail
Adjusts level of detail in image
Light Position
Selects direction from which to illuminate image.
Changing the light position highlights different carved
areas.
Smoothness
Increases or decreases smoothness of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Blur
Option
Description
Foreground
Lets you choose color of foreground
Background
Lets you choose color of background
Color swatch
Displays selected or default background color. Click
the color swatch to display the Mini Color Editor.
Blur
The Blur effect reduces noise by smoothing the image. You can apply the
Blur effect as an image or paint effect. As a a paint effect, only the
parameters of the General property page are available.
General Property Page
The General property page lets you define a blur effect and control how it
is applied to an image. The Blur effect removes noise from areas of an
image where color transitions occur. It works by averaging the values of
pixels.
When used as an image effect, you can apply a blur to the entire clip or
track or just a portion. You can also specify an area of the image where the
blur will be applied.
When used as a paint effect, the blur becomes a property of the graphics
object (either a paint stroke or text).
Option
Description
Size
Defines size of area around each pixel that contributes
to new, averaged value. The greater the radius, the
softer the blur.
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Option
Description
X/Y Radius
Lets you change radius of horizontal and vertical
direction. Values: 0.1 to 1000.
Lock XY to Pixel Ratio Locks X/Y Radius sliders together so they can easily be
set to the same ratio
Amount
Sets degree to which the effect is applied. This option is
only available when using Decay or Gaussian blur.
Mix
Overlaps original image with the blurred image. Use
this setting to create a hazy effect with some details
showing through.
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The Mix parameter is only available on the Blur
effect in the \Paint\Effects folder when a blur is
applied to a paint stroke.
Blur Method
Lets you choose method in which blur is applied to an
image
Uniform
Blurs image so the value of a pixel is the average of all
pixels within a rectangular region defined by the X and
Y radius. The curve of this blur is represented as a
straight line.
Decay
Blurs image in a similar manner as a Uniform blur, but
maintains a sharper image. The blurring applies more
weight on the center pixels.
Gaussian
Blurs image using a radially symmetrical blur. It is
similar to Uniform and Decay blurs; sharper than a
Uniform blur, but less than a Decay blur. It is also
slower to process than a Uniform blur.
Bubble
Bubble
The Bubble effect simulates the Pointillist style of painting.
General Property Page
To simulate the Pointillist style of painting, randomly placed spots of color
are rendered onto the selected background color.
Option
Description
Hue Jitter
Randomly modifies hue of the color of the bubbles for
a more Pointillist look
Size
Changes size of bubbles
Antialias
Smoothes edges of bubbles
Red
Defines current red background color
Green
Defines current green background color
Blue
Defines current blue background color
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Chalk and Charcoal
The Chalk and Charcoal effect lets you draw the image onto a solid midgray background, translating the dark areas of the image into coarse
charcoal strokes and the light areas into coarse chalk strokes.
By default, the foreground is set to black and the background is set to
white. This produces a monochrome (grayscale) image. You can specify
different colors for the foreground and background to vary the effect.
Chalk and Charcoal Property Page
The Chalk and Charcoal property page lets you adjust the amount of light
and dark areas drawn with the charcoal, the stroke pressure, and the
opacity level.
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Option
Description
Charcoal Area
Increases or decreases amount of dark areas drawn with
charcoal
Chalk Area
Increases or decreases amount of light areas drawn with
chalk
Stroke Pressure
Controls amount of pressure on charcoal stroke
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Lets you choose color of foreground
Background
Lets you choose color of background
Color swatch
Displays selected or default background color. Click
the color swatch to display the Mini Color Editor.
Channel Switcher
Channel Switcher
The Channel Switcher effect lets you map selected channels (components)
of an image to other channels. You can apply it to clips, tracks, or layers.
This effect is useful, for example, if there is a logo or text created in
another application and you want to use it in Avid DS Nitris. In most cases,
the alpha channel and RGB channels are exported separately as RGB
images from the application. To combine both images, you need to apply a
Channel Switcher effect to the RGB image that you want to use as a matte,
and then combine both images using a Key Combiner effect.
General Property Page
The General property page lets you map selected channels (components)
of an image to other channels.
When you apply a particular channel to another, the pixel values of the
source channel are applied to the destination channel. You can create a
variety of effects resulting from changes in the color values, including the
creation of mattes. You can quickly create a matte by mapping the G
channel of an imported white-over-black title to the alpha channel.
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If the RGB destination channels all have the same source channel, the
result is a grayscale image.
Command
Description
Source
Lets you specify which channel to map to the
corresponding RGBA destination channels
Red
Selects alternate source channel for red component
Green
Selects alternate source channel for green component
Blue
Selects alternate source channel for blue component
Alpha
Selects alternate source channel for alpha component
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Command
Description
Invert Red
Inverts red color values. Each pixel’s brightness value
is converted to the inverse value based on a 256-color
scale. A value of 0 is changed to 255.
Invert Green
Inverts green color values. Each pixel’s brightness
value is converted to the inverse value based on a 256color scale. A value of 0 is changed to 255.
Invert Blue
Inverts blue color values. Each pixel’s brightness value
is converted to the inverse value based on a 256-color
scale. A value of 0 is changed to 255.
Invert Alpha
Inverts alpha values. Each pixel’s brightness value is
converted to the inverse value based on a 256-color
scale. A value of 0 is changed to 255.
Hue
Selects hue as alternate source channel for the R, G, B,
or alpha channels
Lightness
Selects lightness as alternate source channel for the R,
G, B, or alpha channels
Saturation
Selects saturation as alternate source channel for the R,
G, B, or alpha channels
Destination
Provides view of channel being changed
Clear Channel
Lets you map selected channel to 0% value. For
example, if you map the alpha channel to clear, then the
value of 0% creates a black alpha channel.
Fill Channel
Lets you map selected channel to 100% value. For
example, if you map the alpha channel to fill, then the
value of 100% creates a white alpha channel.
To change the alpha channel source, you must first select the Process
option in the Masking property page.
Charcoal
Charcoal
The Charcoal effect lets you draw the image onto a surface that resembles
rough, textured paper. Strong edges are drawn boldly, while midtones are
sketched with a diagonal stroke.
Charcoal Property Page
The Charcoal property page lets you control the charcoal thickness, detail,
light/dark balance, the opacity level, and choose the foreground and
background colors. By default, the foreground is set to black and the
background is set to white. This produces a monochrome (grayscale)
image. You can specify different colors for the foreground and background
to vary the effect.
Option
Description
Charcoal Thickness
Controls thickness of charcoal lines
Detail
Controls amount of detail in final image
Light/Dark Balance
Adjusts proportion of background to foreground color
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Displays selected or default foreground color
Background
Displays selected or default background color
Color swatch
Displays selected or default background color. Click
the color swatch to display the Mini Color Editor.
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Chrome
The Chrome effect lets you create a highly polished, smooth chrome
surface. Features of the original image become bumps and depressions in
the reflecting surface. This effect produces a monochrome (grayscale)
image.
Chrome Property Page
The Chrome property page lets you adjust the level of detail in the chrome
surface, the surface roughness, and the opacity level. To vary the effect,
increase the brightness and contrast after applying the Chrome effect.
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Option
Description
Detail
Controls level of detail in chrome surface
Smoothness
Increases or decreases smoothness of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Clouds
Clouds
The Clouds effect creates soft, undulating cirrus cloud images. You can
animate individual parameters, and change the sky and cloud color.
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Option
Description
Translate X
Controls horizontal (X axis) location of the center of
the texture
Translate Y
Controls vertical (Y axis) location of the center of the
texture
Scale X
Horizontally scales the texture (X axis) about the
texture origin (which you can move using the Translate
controls)
Scale Y
Vertically scales the texture (Y axis) about the texture
origin (which you can move using the Translate
controls)
Sky color
Displays current sky color (Background Color Value)
Cloud color
Displays current cloud color (Foreground Color Value)
Color swatch
Displays selected or default background color. Click
the color swatch to display the Mini Color Editor.
Density
Adjusts density of clouds in the clip. Values: 0 (no
clouds) to 500 (maximum amout of clouds).
Composite several layers of the Clouds effect at various scales and
densities, while animating the translations for a delicate breeze effect. To
simulate moving forward through clouds, use the Granite effect.
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Image Effects Reference
Color Gradient
The Color Gradient effect lets you apply a gradual transition between two,
three, or four colors in an image. Each color you specify begins at the
corner of the image and gradually fades toward the center. You can specify
the same color, a different color, or vary your color selection for each
corner.
You can apply the Color Gradient effect as a fill or brush effect in a
graphics session, as an image effect in an editing session, or as a
background source generator.
Color Gradient Property Page
The Color Gradient property page lets you adjust the gradual transition
between two, three, or four colors in an image.
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Option
Description
Color to Adjust
Specifies one of the four corners of the image. You can
modify each corner’s color using the RGBA sliders.
Color swatch
Displays selected or default background color. Click
the color swatch to display the Mini Color Editor.
Color sliders
Sets intensity of each color channel of selected corner.
The RGBA color model is used. Values: 0 to 100.
Composite
Lets you change color information of resulting image
by using one of nine different composite filters
Normal
Blends source image and gradient colors equally
Darken
Compares color information in each channel of the
source and gradient, and selects the darker-colored
pixels. Pixels lighter than the gradient color are
replaced and pixels darker than the gradient color
remain unchanged.
Color Gradient
Option
Description
Lighten
Compares color information in each channel of the
source and gradient, and selects the lighter-colored
pixels. Pixels darker than the gradient color are
replaced and pixels lighter than the gradient color
remain unchanged.
Difference
Compares color information in each channel of the
source and gradient. Subtracts the source color value
from the gradient color value (or the reverse),
depending on which color has the greater brightness
value.
Multiply
Compares color information in each channel and
multiplies the source color with the gradient color. This
results in a darker-colored image. When a color is
multiplied with black, the result is black. When a color
is multiplied with white, the color is unchanged.
Hue
Produces a resulting image that contains the hue of the
gradient color and the luminance and saturation of the
source image
Saturation
Produces a resulting image that contains the saturation
of the gradient color and the hue and luminance of the
source image
Color
Produces a resulting image that contains the hue and
saturation of the gradient color and the luminance of
the source image. This maintains the gray levels in the
image and is useful for tinting color images.
Luminosity
Produces a resulting image that contains the luminance
of the gradient color and the hue and saturation of the
source image
Opacity
Controls transparency of color gradient. A value of 0
creates a completely transparent effect; a value of 100
makes it completely opaque, obscuring the underlying
image.
Dither
Adds noise to the color gradient. The higher the value,
the more noise is added.
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Color Space Adjustment
The Color Space Adjustment effect lets you adjust the difference in color
levels that can occur due to YUV to RGB conversion. When you import
clips into Avid DS Nitris, they are imported in YUV color space.
However, when you apply some effects or transitions, all or part of the clip
may be converted to RGB color space.
General Property Page
The General property page lets you select how the YUV colors will be
modified within the RGB color space. You can also display areas of an
image that contain invalid RGB colors or illegal YUV colors.
Option
Description
Clip
Clips YUV colors to lie within RGB color space
Adjust
Adjusts YUV colors to lie within RGB color space.
Values: 0 to 100%.
Lower values affect more chrominance and less
luminance. Higher values affect more luminance and
less chrominance.
A value of 0 does not affect luminance, and a value of
100 does not affect chrominance.
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Highlight
Lets you switch the viewer to display colors in an
image that do not lie within RGB color space
Red
Displays pixels that are over the RGB limit
Green
Displays pixels that are under the RGB limit
Blue
Displays pixels that have an illegal YUV range
Colored Pencil
Colored Pencil
The Colored Pencil effect lets you draw the image with colored pencils on
a solid background. Strong edges are retained and give a rough
crosshatched appearance, while the solid background shows through in the
smoother areas of the image.
Colored Pencil Property Page
The Colored Pencil property page lets you adjust the pencil width, stroke
pressure, brightness of the paper, and level of opacity.
Option
Description
Pencil Width
Controls width of pencil stroke
Stroke Pressure
Adjusts degree of pressure on stroke
Paper Brightness
Adjusts brightness of paper
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Background
Lets you select background color
Color swatch
Displays selected or default background color. Click
the color swatch to display the Mini Color Editor.
To heighten the pencil sketch look:
1. Convert the image to grayscale (if it is not already).
2. Apply the Colored Pencil effect with the Paper Brightness control at its
maximum value.
3. Increase the contrast of the resulting image using the program’s
brightness and contrast controls.
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To create a striking pencil sketch effect:
1. Apply the Photocopy effect once or twice to the image.
2. Apply the Colored Pencil effect to the result.
3. Increase the brightness and contrast of the resulting image for the
desired look.
Conte Crayon
The Conte Crayon (pronounced “con-tay”) effect lets you create the
appearance that an image was drawn with conte crayon on a texture of
your choice. This style is characterized by dense dark colors, highly
textured midtones, and pure whites.
By default, this effect produces a monochrome (grayscale) image, but it
can use the current foreground and background colors to color the final
result.
Conte Crayon Property Page
The Conte Crayon property page lets you select the texture, the position
from which to illuminate, as well as the level of detail of the image.
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Option
Description
Texture Type
Selects underlying texture (Brick, Burlap, Canvas,
Sandstone) and controls how it is applied using the
other parameters
Light Position
Selects position from which to illuminate the image.
Different light positions enhance different areas of the
image.
Scaling %
Reduces or enlarges size of applied texture
Relief
Controls level of detail of the resulting image surface
Conte Crayon
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Option
Description
Foreground Level
Controls amount of white (foreground color)
Background Level
Controls amount of black (background color)
Foreground
Displays selected or default foreground color
Background
Displays selected or default background color
Color swatch
Displays selected or default background color. Click
the color swatch to display the Mini Color Editor.
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Invert Texture
Inverts color values of texture. Each pixel’s brightness
value is converted to the inverse value based on a 256color scale. A value of 0 is changed to 255.
Tip: Choose a foreground color to emulate one of the various colors of
conte crayon that are common, such as black, sepia, or sanguine.
Choose a background color that is white with a small amount of the
foreground color added to it to create a soft, blended look in the final
drawing. You can create this color by increasing the brightness to 100% in
the foreground color and then decreasing the saturation until the resulting
color is light enough for the background but still retains some of the
original foreground color.
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Craquelure
The Craquelure effect lets you paint the image onto a high-relief plaster
surface, producing a fine network of cracks that follow the contours of the
image.
Craquelure Property Page
The Craquelure property page lets you adjust the spacing, depth, and
brightness of the crack, as well as the opacity level.
Option
Description
Crack Spacing
Controls distance between cracks
Crack Depth
Increases or decreases depth of cracks created in image
Crack Brightness
Increases or decreases brightness of cracks
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Crop
The Crop effect lets you crop an image from the top, bottom, left, or right
edges. You can apply color to the cropped regions and apply the crop to the
R, G, B, or alpha channels.
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There are three presets of the Crop effect, called Letterbox, in the \Image
Effects\Crops folder.
Crosshatch
Crosshatch
The Crosshatch effect lets you draw an image with the appearance of fine
crosshatching throughout. This effect adds texture and roughens the edges
of colored areas while preserving the details and features of the original
image.
Crosshatch Property Page
The Crosshatch property page lets you adjust the length, strength, and
sharpness of the strokes, as well as the level of opacity.
Option
Description
Stroke Length
Increases or decreases length of strokes
Sharpness
Increases or decreases amount of sharpness
Strength
Increases or decreases number of times you want the
effect applied successively to the image. Increasing the
number of iterations gives a stronger effect.
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Custom Filter
The Custom Filter effect lets you create your own custom effects and apply
them to an image. A mathematical process called the “convolution
operator” is used to modify the brightness values of pixels. You can also
specify an area of the image where the custom effect will be applied.
There are also presets in the \Custom Effects folder, including blur,
emboss, and sharpen effects.
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General Property Page
The General property page lets you create custom effects and save them
for future use.
Option
Description
Radius
The value that a pixel is changed to is determined by
values that you specify for the pixels in a ring
surrounding it. The radius of this ring can range from 0
to 3 pixels in either the X or Y direction. The resulting
ring is known as a “kernel”, or a matrix, that defines a
square grid surrounding the pixel of interest. Each pixel
in this grid can affect the pixel of interest. For example,
an X radius of 3 and a Y radius of 2 specifies a 7x5
kernel.
X
Sets number of pixels in the X direction out from the
center pixel that the ring of pixels will have
Y
Sets number of pixels in the Y direction out from the
center pixel that the ring of pixels will have
Kernel
You assign a numeric value representing a particular
brightness to any pixel in the grid. This number
specifies the effect that pixel will have on the pixel of
interest (the one in the center). For each pixel, the
kernel value is multiplied by the individual RGB
values. These multiplied values are then added together
and the sum is divided by any Scale factor you enter.
Lastly, any Offset value you specify is added.
This calculation is done for each pixel of the image.
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Weight Value Boxes
Determines brightness values for pixels surrounding
center pixel. You can also change the center pixel
value.
Scale
Scales degree of effect. For example, entering 2
reduces the brightness by half. (The sum of all the
brightness values are divided by this value.)
Cutout
Option
Description
Offset
Shifts pedestal of final color value of the pixel. This
value is added to the result of the scaling calculation.
Cutout
The Cutout effect lets you make an image appear as though it was made
from roughly cut pieces of colored paper. High-contrast images appear as
if in silhouette, while colored images are built up from several layers of
colored paper. The Cutout effect is also reminiscent of lino block prints,
especially when it’s applied to high-contrast original images.
Cutout Property Page
The Cutout property page lets you attach or detach an image to a cutout. It
also contains settings for applying filters to improve the quality of a
transformed image, and determine whether the image’s alpha channel is
used or not.
Option
Description
Transform Image
Attaches cutout to image from which it was created.
When you move the cutout, its image follows the
cutout.
Deselect this option to detach the cutout from its image.
When you move the cutout, the underlying image
remains in place.
Transformation Quality Controls image quality of a transformed cutout. When
you scale, skew, or rotate a cutout, its quality can
deteriorate—small jagged lines can appear on oblique
edges of objects or sometimes within the image.
Unfiltered
Applies no filter to image. This is the fastest mode.
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Option
Description
Bilinear
Applies fast, medium quality filter. This is the default
setting.
Filtered
Applies strong filter to image. Useful when
transforming hard edges and when the transformed
image (either scaled or rotated) is smaller than the
original image. This is the slowest mode.
Level
Determines strength of filter using Filtered mode.
Higher settings result in a stronger filter and longer
processing time.
Use Alpha
Lets you use alpha channel of image. By default, this
option is off.
Dark Strokes
The Dark Strokes effect lets you paint the image with diagonal black-andwhite brush strokes. Light areas become white and are painted with long
strokes that extend into non-white areas. Dark areas become black and are
painted with short, tight strokes.
Dark Strokes Property Page
The Dark Strokes property page lets you adjust the balance and intensity of
the black and white paint strokes, as well as the opacity level.
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Option
Description
Balance
Changes proportions of areas affected by each of the
two painting strokes
Black Intensity
Controls intensity of black painted on the image
White Intensity
Controls intensity of white painted on the image
Defield
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Option
Description
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Tip: You can create a graphic pen appearance by sharpening the image
after applying the Dark Strokes effect.
Defield
The Defield effect lets you remove the field motion of the input in order to
create a frame-based output.
On the Masking property page, you can also apply pixel masking, but not
channel masking.
General Property Page
The General property page lets you choose how to remove field motion; by
merging fields or by duplicating them.
Option
Description
Mode
Lets you choose how to remove field motion
Merge Fields
Merges both fields to remove field motion
Duplicate Field 1
Duplicates field 1 to remove field motion
Duplicate Field 2
Duplicates field 2 to remove field motion
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Deflicker
The Deflicker effect lets you correct the luminance of a clip which, in
some cases, can vary between frames. You adjust the luminance in each
frame by selecting reference regions for the black and/or white levels.
Black Property Page
The Black property page lets you select a region of the image that has the
levels of black to which you want to normalize your clip, and set the
reference frame, degree, and brightness of the effect.
Option
Description
Select Region in Image Lets you choose a reference region for the black levels
(lowlights) in the reference frame. Draw a box in the
viewer to select the region. The color swatch updates to
display the luminance.
Color swatch
Displays selected or default color.
Set as Reference Frame Sets the current frame as the reference frame. The
reference frame contains the reference region with the
desired black and/or white levels.
Amount
Sets degree to which the Deflicker effect is applied.
Values: 0 to 200%. The default is 100%.
If you lower the amount to 50%, then the luminance
correction is cut by 50%.
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Brightness
Lets you adjust the brightness in the image. Values: 100 to +100.
Apply
Turns the Black property page on or off
Deflicker
White Property Page
The White property page lets you select a region of the image that has the
levels of white to which you want to normalize your clip, and set the
reference frame, degree, and brightness of the effect.
Option
Description
Select Region in Image Lets you choose a reference region for the white levels
(highlights) in the reference frame. Draw a box in the
viewer to select the region. The color swatch updates to
display the luminance.
Color swatch
Displays selected reference highlight luminance.
Set as Reference Frame Sets the current frame as the reference frame. The
reference frame contains the reference region with the
desired black and/or white levels.
Amount
Sets degree to which the Deflicker effect is applied.
Values: 0 to 200%. The default is 100%.
If you lower the amount to 50%, then the luminance
correction is cut by 50%.
Brightness
Lets you adjust image’s brightness. Values: -100 to
+100.
Apply
Turns the White property page on or off
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Depth of Field
The Depth of Field effect lets you simulate the performance of a camera
lens, using the Z-depth information contained in files rendered in
Softimage|XSI or mental ray.
In an actual camera, the focal length of the lens defines a distance at which
objects appear perfectly focused. Points that are closer or farther away
from this distance plane will be out of focus.
This effect lets you create a scene where objects appear in focus in the
foreground and blurred in the background.
Depth of Field Property Page
The Depth of Field property page lets you set the focus plane, length, and
f-stop to get the desired depth of field effect.
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Option
Description
Focus Plane
Represents the distance of the “in focus” plane from the
simulated camera. Objects at this distance will appear
in focus. Clicking the Pick button lets you click in the
viewer and select the distance of the object you clicked
on. Click the Pick button again to turn it off.
Pick
Lets you interactively pick a region in the viewer as the
Focus Plane
Focal Length
Represents the focal length of the simulated lens. A
lens with a short focal length will give more depth of
field than one with a longer length.
Aperture (F-stop)
Represents the relative aperture size of the simulated
camera. High values give a greater depth of field, and
objects in both the foreground and background appear
in focus. Low aperture values produce a shallow depth
of field where a plane appears sharply in focus, and all
other planes appear blurred.
Depth of Field
Option
Description
Strength
Represents the scaling factor of the pixel size of the
Circle of Confusion
AntiAliasing
Defines the level of smoothing of jagged edges along
lines and curves
Circle of Confusion
Defines the maximum value that any pixel will be
blurred into the surrounding pixels for out of focus
planes
External Data Property Page
The External Data property page lets you specify the file name, frame
range, and resolution of the rendered .Zpic file.
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The .pic and .Zpic files must have the same names. If they don’t, an error
message is displayed.
Option
Description
File Path
Specifies file name for rendererd .Zpic files
Browse
Lets you navigate to folder in which .Zpic file is located
Frame Range
Specifies range of frames for .Zpic file
Start
Specifies first frame for .Zpic file
End
Specifies last frame for .Zpic file
Resolution
Represents the resolution that matches that of the
current project
X
Represents X resolution of current project
Y
Represents Y resolution of current project
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Deterministic Noise
The Deterministic Noise effect lets you create a stable, regular noise
pattern. You can add consistent noise to the input image. If desired, the
noise can vary on a frame-by-frame basis.
You can apply the Deterministic Noise effect as an image effect or use it as
a source generator. When used as a source generator, only the
Deterministic Noise property page is available.
Deterministic Noise Property Page
The Deterministic Noise property page lets you change the color
information of the resulting image and set the noise pattern.
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Option
Description
Composite
Lets you change the color information of the resulting
image by using one of nine different composite filters
Normal
Blends source image and gradient colors equally
Darken
Compares the color information in each channel of the
source and gradient, and selects the darker-colored
pixels. Pixels lighter than the gradient color are
replaced and pixels darker than the gradient color
remain unchanged.
Lighten
Compares the color information in each channel of the
source and gradient, and selects the lighter-colored
pixels. Pixels darker than the gradient color are
replaced and pixels lighter than the gradient color
remain unchanged.
Difference
Compares the color information in each channel of the
source and gradient. Subtracts the source color value
from the gradient color value (or the reverse),
depending on which color has the greater brightness
value.
Deterministic Noise
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Option
Description
Multiply
Compares the color information in each channel and
multiplies the source color with the gradient color. This
results in a darker-colored image. When a color is
multiplied with black, the result is black. When a color
is multiplied with white, the color is unchanged.
Hue
Produces an image that contains the hue of the gradient
color, and the luminance and saturation of the source
image
Saturation
Produces an image that contains the saturation of the
gradient color, and the hue and luminance of the source
image
Color
Produces an image that contains the hue and saturation
of the gradient color, and the luminance of the source
image. This maintains the gray levels in the image and
is useful for tinting color images.
Luminosity
Produces an image that contains the luminance of the
gradient color, and the hue and saturation of the source
image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Same for Every Frame
Repeats generated noise pattern for each frame. When
deselected, you can vary the noise pattern for individual
frames.
Mono
Generates monochromatic noise. When deselected, it
generates colored noise.
Translate X
Moves noise pattern horizontally
Translate Y
Moves noise pattern vertically
Tip: To add subtle noise patterns, try experimenting with the various
composite methods at low opacity values.
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Image Effects Reference
Diffuse Glow
The Diffuse Glow effect lets you process an image as if it is being viewed
through a soft diffusion filter. Bright areas glow with a diffuse brightness,
while other areas are muted with a soft granularity.
By default, this effect uses white for the glow color. However, if a
background color is set, this effect uses the background color for the glow.
Diffuse Glow Property Page
The Diffuse Glow property page lets you adjust the graininess and amount
of grain, the background color, and the opacity level.
Option
Description
Graininess
Controls amount of grain in the image
Glow Amount
Controls area affected by the glow effect
Clear Amount
Controls area of image that is left clear, or unaffected,
by the glow
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Background
Displays selected or default background color. Click
color swatch to display Mini Color Editor.
To create a hand-tinted look:
1. Apply the Diffuse Glow effect to a color image.
2. Copy the resulting image into a new file by converting it to an .avi file.
3. Remove the color from the duplicate image by converting it to a
grayscale image.
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Dip to Color
4. Convert the resulting image from grayscale back to color.
5. Copy and paste one image onto the other and apply a 50% blend
between them.
Dip to Color
The Dip to Color effect is both an image effect and transition effect.
When applied as an image effect, the effect dissolves from the first clip to a
user-selected background color for the first half of the effect. The second
half of the effect dissolves from the background color to black transparent.
When applied as a transition, the effect dissolves from the first clip to a
user-selected background color for the first half of the transition.The
second half of the transition dissolves from the background color to the
second clip.
Timing Property Page
The Timing property page lets you control the timing (rate and duration) of
the dip to color. The horizontal (X axis) represents the SMPTE timecode.
The vertical (Y axis) indicates the amount of the mix. By modifying the
slope of the curve, you can control the timing and percentage of the mix.
Option
Description
X axis
Represents the SMPTE timecode
Y axis
Represents proportion (in percentage) of clip in mix.
Values: 0 (no original clip) to 100 (full original clip).
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Option
Description
Curve
Uses curve to define how the mix varies in your dip to
color. Move the key points up to increase the
proportion of the original clip, and down to decrease it.
You can add or remove key points to vary the mix.
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To change the curve type from Bézier to constant
or linear, right-click the Animation Key button
and select it from the menu.
Position indicator
Moves red position indicator across graph to view
result of the dip to color in different parts of the clip.
The position indicator in the animation graph matches
that of the timeline.
Amount
Represents proportion of original clip in mix at a given
time (value of the Y axis). Move the position indicator
to view the value at a specific frame.
Drop Shadow
Drop Shadow
The Drop Shadow effect lets you apply a drop shadow effect to your
image.
General Property Page
The General property page lets you define the appearance of shadows by
specifying the shadow’s opacity and level of softness. To produce the
shadow, use the matte from an existing clip or container clip. You can
apply these settings to both the shadow and foreground, or only the
shadow.
Option
Description
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Softness
Lets you define the type of blur to apply to a shadow
Fast
Turns Fast option on or off. When selected, a fast but
lower-quality blur is applied to the shadow.
Output
Controls which elements are included in the output
Shadow +
Foreground
Shadow Only
Outputs original foreground image with its
corresponding shadow
Outputs only the shadow, without the original
foreground image
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Dry Brush
The Dry Brush effect lets you paint the edges of the image using a dry
brush technique. It also simplifies the image into areas of common color.
Dry Brush Property Page
The Dry Brush property page lets you adjust the brush size and detail,
choose the texture, and set the opacity level.
Option
Description
Brush Size
Controls brush size and complexity of paint style.
Higher values give you a larger brush that simplifies
the painting style. Lower values give you a smaller
brush to paint, making the painting style more complex.
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Brush Detail
Controls amount of detail in individual paint strokes
and daubs
Texture
Lets you adjust texture from smooth to rough
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Tip: After applying the Dry Brush effect, use the Emboss effect or sharpen
the image with the Sharpen effect.
Edge
Edge
The Edge effect lets you emphasize the edges in an image in different
ways. You can enhance the appearance of edges by keeping the original
image, as well as detect the edges by highlighting them without keeping
the original image.
You can apply the Edge effect as an image or paint effect. When you apply
it as a paint effect, only the parameters of the General property page are
available.
You can also use Edge as a brush or fill effect in a graphics session, but it
is better suited to be used as a fill.
General Property Page
The Edge property page lets you emphasize or detect the edges in an
image.
Option
Description
Type
Lets you enhance edges and specify how non-edge
areas are treated by the effect
Detection
Enhances edges and decreases value of pixels in nonedge areas to 0 (black). To define the edge and
brightness level, adjust the Edge Sensitivity and
Brightness.
Enhancement
Enhances edges without changing other areas of image
Direction
Lets you specify direction in which effect searches for
edges
No Direction
Removes all the direction checks
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Option
Description
All Directions
Selects all direction check boxes. This means that edges
that run in any direction are detected. After selecting
this option, you can also choose individual directions
by deselecting the directions you don’t want to detect.
Edge Sensitivity
Controls how an edge is defined for edge detection. The
greater the sensitivity, the more edges are found (that
is, less difference in the color value of adjacent pixels is
needed to be considered an edge).
Brightness
Controls level of brightness applied to detected edges.
The greater the value, the brighter the edges.
Emboss Image
The Emboss Image effect gives the illusion that the image has been raised
from its surface and lit from a specific direction, making it appear threedimensional.
Emboss Image Property Page
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Option
Description
Relief
Adjusts amount of embossing
Light Position
Selects direction from which to illuminate the image.
Changing the light position will highlight different
embossed features in the image.
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
For striking results, try applying this effect after other effects.
Field Invert
Field Invert
The Field Invert effect lets you invert an input’s fields, so that even lines
become odd, and vice versa. You can also preserve the line order when you
invert the fields.
On the Masking property page, you can also apply pixel masking, but not
channel masking.
General Property Page
The General property page lets preserve the line order when you invert an
input’s fields.
When the Preserve Line Order option is off (by default), the lines are
simply swapped, inverting the fields as well as the lines. When the option
is on, the order of the lines is preserved, but the fields are still swapped by
applying a one line translation.
Film
The Film effect lets you simulate the appearance of film for footage
originally recorded on video.
General Property Page
The General property page lets you add noise, adjust the luminance flicker,
and simulate the optical glow of film.
Option
Description
Noise
Lets you apply a noise filter to randomly modify the
RGB values of individual pixels in the image. This
gives the image a speckled or grainy appearance.
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Option
Apply
Turns noise on or off
Per Channel
Turns option on or off. When selected, you can modify
the RGB values on a per channel basis. When
deselected, you can modify all channels simultaneously
with the same value.
R
Sets amount of noise applied to red channel
G
Sets amount of noise applied to green channel
B
Sets amount of noise applied to blue channel
Luminance Flicker
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Description
Sets degree to which the luminance varies randomly
from one frame to another
Apply
Turns luminance flicker on or off
Amplitude
Defines range of luminance variations. A low value
results in a less intense flicker, and a high value results
in a more intense flicker.
Optical Glow
Sets luminance threshold and diffusion level of the
optical glow
Level
Sets level of diffusion applied to the highlight and
lowlight ranges set below. Values: 0.1 to 1000.
Presence
Sets the degree to which the overall optical glow effect
is blended with the original image. Values: 0 to 100.
Highlight
Sets the luminance threshold above which the diffusion
effect is applied. Values: 0 to 100.
Lowlight
Sets the luminance threshold below which the diffusion
effect is not applied. Values: 0 to 100.
Film Grain
RGB Curves Property Page
The RGB Curves property page lets you simulate the film’s response to
light by applying RGB gamma-type curves.
Option
Description
Apply
Turns RGB gamma curves on or off
RGB
Modifies gamma values of red, green, and blue
channels
Red
Modifies gamma values of red channel
Green
Modifies gamma values of green channel
Blue
Modifies gamma values of blue channel
Reset
Resets all curves to their original position
Film Grain
The Film Grain effect lets you add the appearance of photographic grain to
the image. An even pattern is added to the darks and midtones of the
image. A smoother, more saturated pattern is added to the image’s lighter
areas.
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Film Grain Property Page
The Film Grain property page lets you adjust the gain, highlight area,
highlight intensity, and opacity of the effect.
Option
Description
Grain
Controls amount of graininess (or noise) in image
Highlight Area
Controls area containing highlights. As you increase
the area, neighboring pixels become highlight areas.
Highlight intensity
Controls intensity of areas containing highlights
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Fog
The Fog effect lets you add atmospheric fog to an animated scene. You can
specify a gradual onset of the fog, so that objects in the foreground appear
less obscured than those in the background. You can also specify the
distance at which the fog begins, as well as its intensity. The Fog effect
applies the simulated fog by using the Z-depth information contained in
.Zpic files rendered with the Softimage renderer or mental ray.
Fog Property Page
The Fog Effect property page lets you select the fog depth, color, opacity,
and start distance.
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Option
Description
Red, Green, Blue
Lets you select a color for the fog
Fog
Option
Description
Maximum Depth
Represents depth at which fog reaches maximum
intensity. The intensity of the fog increases linearly
from the Start Distance to the Maximum Depth.
Start Distance
Specifies distance from the simulated camera at which
the fog begins
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
External Data Property Page
The External Data property page lets you specify the file name, frame
range, and resolution of the rendered .Zpic file.
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The .pic and .Zpic files must have the same names. If they don’t, an error
message is displayed.
Option
Description
File Path
Specifies file name for rendererd .Zpic files
Browse
Lets you navigate to folder in which .Zpic file is located
Frame Range
Specifies range of frames for .Zpic file
Start
Specifies first frame for .Zpic file
End
Specifies last frame for .Zpic file
Resolution
Represents the resolution that matches that of the
current project
X
Represents X resolution of current project
Y
Represents Y resolution of current project
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Fractal Noise
The Fractal Noise effect lets you create a variety of different textures. By
adjusting the detail and color properties of a basic underlying pattern, you
can create textures ranging from soft clouds and fog, to stone, paper, sand,
liquid or cloth.
You can also animate textures to create the effect of moving through them,
or to have them moving across the screen.
Settings Property Page
The Settings property page lets you adjust the texture generated by the
Fractal Noise source generator. You can also adjust the way that the
texture will behave when animated, add turbulence, and select the basic
pattern or seed, of your texture.
Option
Description
Texture
Controls appearance and amount of detail in texture
Octaves
Adjusts level of detail in texture. As you increase the
number of octaves, you increase the levels of detail in
the texture.
Octave Mixing
Weight
Adjusts relative weight of octaves in texture. As the
value increases, the octaves blend together more,
creating a smoother texture. As the value decreases, the
octaves blend together less, creating a rougher texture.
Octave Scaling Ratio Adjusts intensity of a smaller octave relative to
previous octave. As the value increases, the finer
details in the texture stand out more.
Turbulence
Animation
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Inverts color gradient in parts of texture to give the
edges of the fractal noise pattern more definition
Lets you adjust the way the texture will behave when
animated.
Fractal Noise
Option
Description
Base Animation
Velocity
Adjusts the degree to which the texture changes over
time. High velocity creates faster, more distinct
changes when the texture is animated. Low velocity
creates slower, more subtle changes in the texture.
Octave Velocity
Ratio
Specifies the speed of the octaves in an animation.
When set to 1, each octave moves at the same speed. At
higher values, each octave moves faster than the
previous one, according to the specified ratio.
Random Seed
Lets you view or change current seed for the fractal
noise pattern
New Seed
Changes current seed to a randomly selected new seed
Reset
Resets all parameters to the default values
Transform Property Page
The Transform property page lets you apply DVE-type transformations to
a fractal noise pattern. You can scale the pattern, rotate it in two or three
dimensions, or move it along the X or Y axes.
Option
Description
Scale (%)
Lets you control the size properties of the image along
X and Y axes. A value of 100 represents the image’s
original scaling. Units are percentages. For example,
200 doubles the scaling and 50 halves it.
X
Scales image in X direction. To scale proportionally,
assign identical values to X and Y.
Y
Scales image in Y direction
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Option
Lock XY
Rotate
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Description
Links X and Y values, so that if you change one value,
the other value is the same. This option has no effect
when you interactively manipulate an image in the
viewer.
Lets you control image’s angle of rotation along X, Y,
and Z axes. The Rotate options are set relative to the
image plane.
X
Rotates image along X axis
Y
Rotates image along Y axis
Z
Rotates image along Z axis. Enter a negative number
(in degrees) to rotate clockwise and a positive number
to rotate counterclockwise.
Translate
Lets you control location of image along X, Y, and Z
axes
X
Moves image in X direction. Enter a positive value to
move the image to the right and a negative value to
move it to the left.
Y
Moves image in Y direction. Enter a positive value to
move the image up and a negative value to move it
down.
Octave Ratio
Specifies speed of octaves in an animation. When set to
1, each octave will move at the same speed. At higher
values, each octave will move faster than the previous
one, according to the specified ratio.
Fractal Noise
Colors Property Page
The Colors property page lets you set the color blend in your fractal noise
texture. You can create and edit intermediate colors to create a blend
between several colors. You can also specify how the gradient is applied.
The color at the left end of the gradient “preview” bar is the color at the
center of the gradient, and the color at the right end is farthest from the
center. As you increase the distance between the two, this last stripe of
color moves farther away from the center. Up to 20 colors can be placed in
the gradient. You can move their relative positions left or right (toward or
away from the gradient center) by clicking the Move Left (<<) or Move
Right (>>) buttons.
Option
Description
Add
Adds intermediate colors to the gradient. A new color
marker is placed at the mid-point, between the current
color indicator and the next marker.
Delete
Removes selected color from color gradient
Edit Last
Moves current color indicator to previous color marker
Edit Next
Moves current color indicator to next color marker
Move Left (<<)
Moves position of current color marker to the left
Color swatch
Displays selected or default color. Click color swatch to
display Mini Color Editor.
Move Right (>>)
Moves position of current color marker to the right
Red
Lets you adjust red channel
Green
Lets you adjust green channel
Blue
Lets you adjust blue channel
Alpha
Lets you adjust alpha channel
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Option
Description
Gradient Density
Lets you adjust the number of times that the color
gradient will be used in the texture. The overall effect is
to create contours around the basic pattern. The higher
the Gradient Density, the higher the number of
contours.
Gradient Offset
Changes starting color of the gradient to a different
color within the gradient
Smooth
Blurs edges of the color gradient to create a smoother
transition from one color to another
Reset
Resets all parameters to the default values
Frame Average
The Frame Average effect lets you create trails, motion blurs, and perform
noise removal on video clips. You can set the number of previous and next
frames that are combined to create a new frame.
For example, if you select one previous frame and one next frame, then the
current frame will become an average of the current frame plus the
previous and next frames. This effect is applied to all frames in the clip.
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Frame Average
General Property Page
The General property page lets you choose how many frames to average
into the current frame, and how to treat the first and last frames. You can
also choose a compositing method to specify how the frames are blended.
Option
Description
Number of Frames to
Sample
Lets you select number of previous and next frames
that will be combined with current frame
Previous
Lets you select number of previous frames to combine
with current frame
Next
Lets you select number of next frames to combine with
current frame
Missing Frames
Lets you choose how to treat first and last frames of
clip
Repeat the first/last
frame
Repeats first or last frame when the position indicator is
over the first or last frames
Use a solid color
Ignores alpha channel. The effect is not applied to the
alpha channel, nor is the alpha channel used for any
masking purposes.
Color swatch
Displays current or default color. Click the color
swatch to display Mini Color Editor.
Compositing Mode
Lets you choose a method in which frames will be
combined
Average
Blends mean average of current, previous, and next
frames
Min Rank
Takes minimum RGB values of current, previous, and
next frames, and combines them into the current frame
Max Rank
Takes maximum RGB values of current, previous, and
next frames, and combines them into the current frame
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Option
Median Rank
Average Mode
Description
Blends median average of current, previous, and next
frames
Lets you choose a method in which frames will be
averaged
Uniform
Blurs the image so that the value of a pixel is the
average of all pixels over the previous or next frames
defined by the Number of Frames to Sample parameter
Gaussian
Similar to Uniform blur, but maintains more sharpness
in the image
Fresco
The Fresco effect processes the image in a coarse painting style with short,
rounded, hastily applied daubs.
Fresco Property Page
The Fresco property page lets you adjust the brush size and detail, as well
as the texture and opacity level.
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Option
Description
Brush Size
Adjusts brush size
Brush Detail
Adjusts detail within each paint daub
Texture
Lets you create a smooth texture or a rougher texture
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Glass
Glass
The Glass effect lets you distort an image as if it is being viewed through a
refracting glass surface.
Glass Property Page
The Glass property page lets you choose from a variety of glass surfaces,
or create your own.
Option
Description
Texture Type
Lets you select a texture for the distortion.
Bricks
Applies a brick texture to the image
Burlap
Applies a burlap texture to the image
Canvas
Applies a canvas texture to the image
Tiny Lens
Applies a texture similar to bubble wrap to the image
Scaling
Adjusts the scale of the texture’s surface. Values range
from 50 to 200%. The larger the value, the larger the
scale of the texture with respect to the size of your
image.
Distortion
Adjusts the amount of distortion (the “thickness” of the
glass) applied to the image. Values range from 0 to 20.
Higher values increase the amount of distortion.
Smoothness
Adjusts the smoothness of the texture. Values range
from 1 to 15. Higher values make the image smoother,
and lower values make it sharper.
Opacity
Adjusts the opacity of the texture applied to the image.
Values range from 0 to 100. Higher values increase the
opacity.
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Option
Description
Invert Texture
Inverts the texture so that bright areas of the texture
become dark and vice versa. Unless you specify that the
texture be inverted, the areas of the image where the
texture is dark will appear to be lower than the areas
where the texture is light.
Glowing Edges
The Glowing Edges effect lets you enhance the edges of an image with
bright glowing colors.
Glowing Edges Property Page
The Glowing Edges property page lets you adjust the width and brightness
of the edge, smoothness, and the level of opacity.
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Option
Description
Edge Width
Controls width of edges
Edge Brightness
Controls brightness of edges
Smoothness
Controls smoothness of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Tip: To enhance the colors in the final image, increase the contrast of the
image (using the brightness and contrast controls) before applying the
Glowing Edges effect. Note that increasing the contrast can also create
new edges.
Grain
Grain
The Grain effect lets you add a wide variety of grain types to an image.
Use this effect to match the grain in images from different sources.
Grain Property Page
The Grain property page lets you adjust the graininess and type of grain,
the contrast, and the level of opacity.
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Option
Description
Graininess
Controls graininess of effect
Grain Type
Lets you select a type of grain. If you select Stippled,
this effect uses the foreground and background colors.
Contrast
Increases or decreases contrast of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Tip: The grain types available for this effect are useful for adding “tooth”
to an image before applying other effects. This is especially useful with
synthetic images that have been created by paint programs, 3D graphics
programs, or typographical programs. Synthetic images tend to lack the
detail of scanned photographs or images from a video source. Adding a
small amount of grain gives good results when combined with most other
effects.
You can simulate the appearance of old photographs by using the various
grain types. The effect is enhanced if the image’s colors are changed to a
sepia tone (yellow/brown tint) using the hue/saturation controls. For a
more realistic look, try adding small speckles of paint with a paint tool to
simulate bits of dirt. You may also want to randomly blur areas of the
image using the Blur tool.
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Granite
The Granite effect lets you create a range of natural effects: granite, fire,
clouds, terrain, and soft noise patterns. You can generate textures by
varying the scale and color.
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Option
Description
Translate X
Controls horizontal (X axis) location of the center of
the texture
Translate Y
Controls vertical (Y axis) location of the center of the
texture
Scale X
Horizontally scales texture (X axis) about the texture
origin (which you can move using the Translate
controls)
Scale Y
Vertically scales texture (Y axis) about the texture
origin (which you can move using the Translate
controls)
Colors
Displays current colors
Color swatches
Displays current color. Click color swatch to display
Mini Color Editor.
Same for Every Frame
When selected, the generated pattern remains the same
for each frame. When deselected, the pattern varies
from one frame to the next.
Simply changing the colors to shades of blue creates a versatile cloud
effect that can be scaled up or scrolled. Use blue and green to create
terrain-like textures. To create fire, scale the texture using the Scale Y
controls to create an elongated pattern. Then change the colors to red,
orange, and black. You can also animate the Translate Y parameter to
make the flames go up.
Graphic Pen
Graphic Pen
The Graphic Pen effect lets you use fine linear ink strokes to capture
details in the original image. The result appears to have been drawn on
paper laid against a fine-grained wood surface. The pen strokes are denser
in darker areas, but are not visible in lighter areas.
By default, this effect produces a monochrome (grayscale) image, but it
can use the foreground and background colors, if they are available.
Graphic Pen Property Page
The Graphic Pen property page lets you adjust the length and direction of
the stroke, light/dark balance, opacity level, and the color of the
background and foreground.
Option
Description
Stroke Length
Lets you adjust length of strokes
Stroke Direction
Specifies direction in which ink strokes are drawn:
Right Diagonal, Horizontal, Left Diagonal, or Vertical
Light/Dark Balance
Specifies proportion of white to black background
color. Higher values give the image a higher proportion
of black (foreground color) and lower values give a
higher proportion of white (background color)
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Lets you choose color of foreground
Background
Lets you choose color of background
Color swatch
Displays selected or default background color. Click
the color swatch to display Mini Color Editor.
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Tip: Try posterizing or increasing the contrast of the image before
applying the Graphic Pen effect. You can also blur the image after
applying the effect to smooth the pen lines.
Halftone Screen
The Halftone Screen effect lets you process an image as if it has been
printed using a halftone screen. You can select from a variety of standard
screens.
Unlike digital halftone representations, this effect varies the element size
smoothly to represent the continuous tones of an image. The elements
blend together like those created by an analog halftone screen.
By default, this effect produces a monochrome (grayscale) image, but it
can use the current foreground and background colors to color the final
result.
Halftone Screen Property Page
The Halftone property page lets you adjust the size and type of screen, the
contrast, opacity level, and background and foreground color.
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Option
Description
Size
Increases or decreases size of elements
Screen Type
Lets you select type of screen: circle, dot, or line
Contrast
Increases or decreases contrast of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Lets you choose color of foreground
Background
Lets you choose color of background
Impressionist Effects
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Option
Description
Color swatch
Displays selected or default background color. Click
color swatch to display Mini Color Editor.
Tip: You can create interesting variations by blurring the original image
before applying the Halftone Screen effect. This is particularly useful for
softening the edges around high-contrast objects, such as text.
Applying the Halftone Screen effect to images that have been posterized or
processed with the Cutout effect creates halftone dots of uniform size in
large, flat areas of common color.
Impressionist Effects
The Impressionist effects lets you apply an Impressionist look to an image.
Brush Property Page
The Brush property page lets you access all of the Impressionist brushes.
You can modify the orientation of a stroke and apply a number of brush
effects to the selected brush.
Option
Description
Brush
Displays name of current brush
Load New Brush
Lets you select a new brush from the Brush dialog box
Smudge
Controls degree to which edges of brush strokes are
smudged or softened
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Option
Description
Pressure
Controls amount of pressure applied to brush strokes.
Default value is 100. As you decrease the pressure, the
brush strokes become more transparent, making the
background visible.
Orientation
Lets you select a method to orient the brush stroke,
including the angle and range
Orient the Strokes
Lets you select an orientation method
Optimally
Selects the best stroke orientation based on the image
content at each stroke location. This method usually
produces the best results since the strokes tend to align
themselves with the image features. Note that the
orientation angle of the strokes will always fall in the
range specified by the Start Angle and Range of Angles
settings.
Fixed Angle
Orients the strokes at a fixed angle that is specified in
the Start Angle setting
Randomly
Orients the strokes randomly throughout the image.
The orientation angle of the strokes will always fall in
the range specified by the Start Angle and Range of
Angles settings.
By Hue
Orients the strokes according to the hue values of the
input image at each stroke location. For example, in
areas of red hue, the strokes are oriented one way and in
areas of blue hue, the strokes are oriented another way.
The result also depends on the values set for the
Number of Angles, Start Angle, and Range of Angles.
By Saturation
Orients the strokes according to the saturation values of
the input image at each stroke location. For example,
the strokes are oriented one way in highly saturated
areas of the image and in another way in darker areas of
the image.
Impressionist Effects
Option
Description
By Brightness
Orients the strokes according to the brightness values
of the input image at each stroke location. For example,
the strokes are oriented one way in bright areas of the
image and in another way in darker areas of the image.
Radially
Orients the strokes radially from the center of the image
Number of Angles
Specifies how many distinct orientations (or angles) of
the current brush to use to process the output image.
You can set a maximum of 128 different angles. To
maintain a high degree of likeness with the original
image, you must use a high number of angles. This also
takes longer to process.
Start Angle
Specifies starting angle of strokes in degrees
Range of Angles
Specifies the range of angles or arc over which the
brush strokes are plotted.
A common setting is 360º (full range) with a starting
angle of 0º. The value you specify for the number of
angles refers to the number of distinct brush
orientations between 0 and 360º that is used when
plotting brush strokes. The number of angles is also
synonymous with angular resolution, which means that
the higher the number of angles, the more accurately
the plotted brush strokes will represent the original
image.
Effect
Lets you apply a special effect to modify the currently
selected brush. You can apply an effect to make the
brush strokes appear three-dimensional (Emboss, Bas
Relief, 3D Metallic), transparent (Glass), like a felt
marker (Marker), or detail enhanced (Modify Color).
None
Turns off Brush Effect option
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Option
Description
Emboss
Applies a three-dimensional appearance to the brush
effect by side-lighting the effect using one of eight
directions. Use the Light Position list to choose the
direction from which to light the brush effect. Select the
Invert Brush Texture to invert the polarity of the brush
(change peaks to valleys and vice-versa).
Bas Relief
Applies a three-dimensional quality to the brush effect,
which makes it appear as if it were carved from stone in
low relief and lit to accent the surface modulations. Use
the Light Position list to choose the direction from
which to light the brush effect.
Detail
Sets amount of detail in original brush
Smooth
Controls smoothness of brush effect
Light Position
Lets you select a position from which to illuminate the
image. Different light positions enhance different areas
of the image.
3D Metallic
Applies a metallic or shiny three-dimensional
appearance to the brush effect
Shininess
Controls shininess of brush
Smoothness
Controls smoothness of brush effect
Glass
Makes the brush effect appear as if it were composed of
rough, transparent refractive glass. Since the brush
effect is transparent and refractive, you can see a
distorted version of the background through them.
To ensure the effect is apparent, make sure the
Background Color parameter (Color property page) is
not set to a constant color and contains some detail. For
example, try using the Image option to make sure that
details from the original image are maintained.
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Distortion
Sets the degree to which the brush effect distorts the
background content
Smoothness
Controls smoothness of brush effect
Impressionist Effects
Option
Description
Marker
Makes the brush effect appear as if it was drawn with a
felt marker. A characteristic of marker strokes is that
they become darker in areas where they overlap. Use
the Build Up control to define this characteristic.
Build Up
Controls the rate at which overlapping strokes become
darker. Move the slider to the left to build up more
slowly (requires more overlapping strokes before the
overlap area becomes black) and to the right to build up
quickly (requires fewer overlapping strokes before the
overlap area becomes black).
Modify Color
Lets you alter the attributes of the color of each brush
effect according to the texture or brightness profile of
the current brush. Most of the brushes supplied with the
Impressionist effects are highly textured. That is, they
have peaks and valleys in brightness across the extent
of the brush which show details of a particular effect
type.
This effect allows you to modify the brightness,
saturation, and hue components of the color of each
brush effect, according to the texture or brightness of
the current brush. You can use this effect to emphasize
the texture and detail contained within each brush
effect. This makes each effect stand out more and
allows you to achieve fanciful coloring effects.
Hue
Modifies the hue component of the effect’s color
according to the brightness of the currently selected
brush. In brighter areas of the brush, the stroke hue
value will be increased and in darker areas of the brush
the stroke hue value will be decreased.
Saturation
Modifies the saturation component of the effect’s color
according to the brightness of the currently selected
brush. In brighter areas of the brush, the stroke
saturation value will increase, and in darker areas of the
brush, the stroke saturation value will decrease.
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Option
Description
Bright
Modifies the brightness component of the effect’s color
according to the brightness of the currently selected
brush. In brighter areas of the brush, the stroke
brightness value will increase, and in darker areas of
the brush, the stroke brightness value will decrease.
Plot Property Page
The Plot property page lets you control how the brush strokes are placed
throughout the image.
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Option
Description
Place Strokes
Lets you select a method by which the brush strokes are
placed on the images
Randomly
Places the strokes randomly throughout the image
according to the Coverage setting
Coverage
Controls the percentage of the background that is
covered by brush strokes
On Grid
Places the strokes on an evenly spaced square grid
pattern throughout the image. You can control the grid
spacing by setting the grid size. You can deviate from
the regular grid spacing by setting the Jitter percentage.
Grid Size
Sets the spacing of the grid points
Jitter
Sets the degree to which the location of the brush
stroke randomly deviates (jitters) from the actual grid
points. The higher the Jitter values, the greater the
degree of perturbation or jittering from the grid point.
Placing strokes on a grid can result in an unwanted
regular stroke pattern. Use this parameter to restore a
more natural appearance, one that is less rigid and more
regular looking.
Impressionist Effects
Option
Description
Repeatable Results
Reuses the same “random” parameters when an
Impressionist effect is applied. This is useful when
processing a sequence of images in an animation.
When this option is selected, the Impressionist
attributes appear fixed over the length of the sequence.
When this option is deselected, the Impressionist
attributes appear at random or on a frame-by-frame
basis.
Placement Quality
Sets how accurately (from Best to Poor) the brush
strokes are placed, sized, and oriented on the image.
The higher the quality setting, the better the strokes
will align with details in the input image and the slower
the processing speed.
Use External Mask
Applies the brush strokes to a particular portion of the
input image. When selected, you can specify a file that
contains the mask image. White or nearly white areas
of the mask image will be plotted. Non-white (or black)
areas of the mask image will not be plotted.
External Mask
Lets you specify a file to use as the mask. The accepted
file formats are .tif, .bmp, or .tga. When you select an
image to use as a mask, it is automatically converted to
a grayscale image. The selected file must match the
dimensions of the original input image.
Mask
Specifies current mask
Size Property Page
The Size property page lets you specify the size(s) of the brush strokes the
Impressionist effect uses to process the output image. You can enlarge or
reduce the size of the currently selected brush.
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Option
Description
Scale the Strokes
Lets you select a method in which to resize strokes.
Note that each of the methods are also influenced by
the Number of Sizes, Scale Strokes Proportionally,
Min/Max/Width/Height, and Size Distribution settings.
Optimally
Applies a special technique to choose the best stroke
size based on the image content at each stroke location.
This method usually produces the best results since
small strokes are chosen in detailed areas of the input
image and large strokes are chosen in areas of less
detail. Note that the size of the strokes will always fall
in the range specified by the Min/Max/Width/Height
control settings.
Fixed Size
Applies fixed size for all strokes in output image
Randomly
Applies random stroke sizes to process the output
image. Note that the size of the strokes will always fall
in the range specified by the Min/Max/Width/Height
control settings.
By Hue
Sizes strokes according to the hue component of the
color of the input image at each stroke location. For
example, in areas of red hue the strokes will be sized
one way and in areas of blue hue the strokes will be
sized another way (depending on the Number of Sizes
and Min/Max/Width/Height settings).
By Saturation
Sizes strokes according to the saturation component of
the color of the input image at each stroke location. For
example, in areas of the image that are highly saturated
the strokes will be sized one way and in areas of the
image that are not saturated the strokes will be sized
another way, depending on the Number of Sizes and
Min/Max/Width/Height settings.
Impressionist Effects
Option
By Brightness
Description
Sizes strokes according to the brightness component of
the color of the input image at each stroke location. For
example, in bright areas of the image the strokes will be
sized one way and in darker areas of the image the
strokes will be sized another way, depending on the
Number of Sizes and Min/Max/Width/Height settings.
Number of Sizes
Sets number of different sizes for the currently selected
brush used to process the output image. You can set a
maximum of 16 different sizes. Note that the more sizes
you use, the more faithful the resulting image will be to
the original, but the longer processing will take.
Actual Brush Size
Displays size of current brush
Width/Height
/Minimum/
Maximum
Set size(s) of brush strokes used to process the output
image. The Minimum Width parameter sets the
minimum or smallest width of the brush to be used,
while the Maximum Width parameter sets the
maximum or largest width of the brush to be used. The
Minimum Height parameter sets the minimum or
smallest height of the brush to be used, while the
Maximum Height parameter sets the maximum or
largest height of the brush to be used.
When the Number of Sizes control is set to 1, the
maximum and minimum sizes will be the same. When
the Number of Sizes parameter is set to 2, the first
brush size will be the minimum size and the second
brush size will be the maximum brush size. When the
Number of Sizes parameter is set to 3 or above, the first
brush size will always be the minimum brush size, the
last brush will always be the maximum size, and the
ones in between are equally spaced over the minimum
to maximum range.
Lock Aspect Ratio
Links width and height of brush, so that if you change
one dimension, the other varies proportionally
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Option
Description
Size Distribution
When the Scale the Strokes parameter is set to
Optimally, this control determines the size distribution
of the strokes used to create the output image. This is
useful when setting the balance between the different
sizes of strokes used to create the final image.
Color Property Page
The Color property page lets you set the color of the brush strokes and the
background to which they are applied.
Option
Description
Stroke Color
Lets you select the stroke color
Image
Applies brush effect on original image
Grayscale Image
Applies brush effect on a grayscale version of original
image
Sepia Image
Applies brush effect on a sepia tinted version of
original image
Tinted Image
Applies brush effect on a tinted version of original
image. Set the tint color by clicking color swatch to
display the Mini Color Editor.
Tonal Image
Applies brush effect on a tonal version of original
image. In a tonal image, the original image colors have
been blended with a constant, user-specified color. You
can set this tonal color by clicking the color swatch to
display the Mini Color Editor.
Custom Color
Applies brush effect on a constant background color
that you specify by clicking the color swatch to display
the Mini Color Editor.
Jitter H
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Randomly modifies hue of the color
Impressionist Effects
Option
Description
Jitter S
Randomly modifies saturation of the color
Jitter B
Randomly modifies brightness of the color
Background Color
Lets you select background on which the brush effect is
drawn
Image
Applies brush effect on original image
Grayscale Image
Applies brush effect on a grayscale version of
original image
Sepia Image
Applies brush effect on a sepia tinted version of
original image
Tinted Image
Applies brush effect on a tinted version of original
image. Set the tint color by clicking the color swatch to
display the Mini Color Editor.
Tonal Image
Applies brush effect on a tonal version of original
image. In a tonal image, the original image colors have
been blended with a constant, user specified color. You
can set this tonal color by clicking the color swatch to
display the Mini Color Editor.
Custom Color
Applies brush effect on a constant background color
that you specify by clicking the color swatch. Click the
color swatch to display the Mini Color Editor.
Brightness
Controls brightness of image
Contrast
Controls contrast of image
Palette
Specifies a palette or range of colors to use in the final
image. You can select from a number of preset palettes
or create your own by selecting the Custom option.
Color swatch
Displays selected or default color. Click color swatch to
display Mini Color Editor.
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Paper Property Page
The Paper settings let you define whether the stroke placement occurs
randomly or within a grid.
Option
Description
Paper
Displays name and path of current paper grain
Load New Image
Lets you choose an underlying paper texture (or paper
grain) to which you apply the strokes
Invert Texture
Inverts polarity of paper texture. Depressions in the
texture become bumps and vice versa.
Scaling
Sets percentage by which the selected paper texture is
spatially scaled in both the horizontal and vertical
directions relative to its original size.
Higher values scale the texture up (make the pattern
bigger) and lower values scale the texture down (make
the pattern smaller).
A setting of 100 leaves the paper texture at its original
size. Scaling settings greater than 100 expand the
texture and its pattern relative to the original. Scaling
settings less than 100 shrinks the texture relative to the
original.
Grain
Controls amount of brush stroke that rubs off onto the
paper texture surface-revealing the grain of texture.
Higher values increase the amount of paper grain,
thereby reducing the amount that rubs off on the
texture. Lower values reduce the amount of paper grain
and increase the amount of the stroke that rubs off on
the surface.
A setting of 0 has no effect. Note that the interaction
between the stroke and paper background is also
influenced by the Brush Pressure settings.
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Ink Outlines
Option
Description
Relief
When the Relief is set to a non-zero value, you can
select a light position to define from which side the
paper texture is lit. From the list, choose one of eight
light positions. Depending on the light direction, more
or less detail in the paper texture is revealed.
Ink Outlines
The Ink Outlines effect lets you draw an image with fine lines around the
original details. The resulting image resembles a “corroded” pen-and-ink
drawing.
Ink Outlines Property Page
The Ink Outlines property page lets you adjust the stroke length, the light
and dark intensity, and the level of opacity.
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Option
Description
Stroke Length
Adjusts length of strokes
Dark Intensity
Adjusts intensity of dark areas in image
Light Intensity
Adjusts intensity of light areas in image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Tip: To change the textures created by the Ink Outlines effect, first apply
the Paint Daubs or Grain effect. Add a small amount of blur and then
adjust the brightness and contrast of the image if the output of the Ink
Outlines effect is too harsh.
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Linear Gradient
The Linear Gradient effect lets you blend strips of color that can have
arbitrarily set widths. You can set the starting point of the strip (outside the
frame, if necessary) along with the angle of the gradient. You can also
animate many of the parameters and specify up to 20 different colors.
You can use this effect as a source generator, image effect, or as a brush or
fill effect in a graphics session. As a brush or fill effect, the gradient is
either constrained to the bounding box of the stroke or the boundaries of
the viewer.
Properties Property Page
The Properties property page lets you adjust the size, orientation, and
position of the linear gradient. You can also set the method by which the
effect is combined (composited) with the original image.
Option
Description
Composite
Changes color information of the resulting image by
using one of nine different composite filters. You can
also change the opacity and noise level of the gradient.
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This parameter is not available when the Linear
Gradient is used as a source generator.
Normal
Blends source image and gradient colors equally
Darken
Compares color information in each channel of the
source and gradient, and selects the darker colored
pixels. Pixels lighter than the gradient color are
replaced and pixels darker than the gradient color
remain unchanged.
Linear Gradient
Option
Description
Lighten
Compares color information in each channel of the
source and gradient, and selects the lighter colored
pixels. Pixels darker than the gradient color are
replaced and pixels lighter than the gradient color
remain unchanged.
Difference
Compares color information in each channel of the
source and gradient. Subtracts the source color value
from the gradient color value (or the reverse)
depending on which color has the greater brightness
value.
Multiply
Compares color information in each channel and
multiplies the source color with the gradient color for a
darker colored image. When a color is multiplied with
black, the result is black; when multiplied with white,
the color is unchanged.
Hue
Produces image that contains the hue of the gradient
color, and the luminance and saturation of the source
image
Saturation
Produces image that contains the saturation of the
gradient color and the hue and luminance of the source
image
Color
Produces image that contains the hue and saturation of
the gradient color and the luminance of the source
image. This maintains the gray levels in the image and
is useful for tinting color images.
Luminosity
Produces image that contains the luminance of the
gradient color and the hue and saturation of the source
image.
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
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This parameter is not available when the Linear
Gradient is used as a source generator.
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Option
Description
Dither
Adds noise to the color gradient. The greater the dither
value, the more noise is added.
Angle
Rotates gradient around the center by the specified
angle in the counterclockwise direction
Stretch
Stretches gradient over a portion of the frame. By
default, the gradient is spread over the height of the
frame. Decreasing the Stretch value concentrates the
gradient in a smaller portion of the frame; increasing
the value expands the gradient.
Center X
Controls horizontal (X axis) location of the center of
the gradient
Center Y
Controls vertical (Y axis) location of the center of the
gradient
The composite and Opacity parameters are not available when the Linear
Gradient is used as a source generator.
Marble
Marble
The Marble effect layers different colors to create a marbled look. You can
modify the color to create psychedelic shapes and backgrounds or other
shades of marble. You can animate some parameters to create the effect of
the texture being explored.
Option
Description
Translate X
Controls horizontal (X axis) location of the center of
the texture
Translate Y
Controls vertical (Y axis) location of the center of the
texture
Scale X
Horizontally scales texture (X axis) about the texture
origin (which you can move using the Translate
controls)
Scale Y
Vertically scales texture (Y axis) about the texture
origin (which you can move using the Translate
controls)
Colors
Displays current colors
Color swatches
Displays selected or default color. Click color swatch to
display Mini Color Editor.
Same For Every Frame
When selected, the generated pattern remains the same
for each frame. When deselected, the pattern varies
from one frame to the next.
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Morph
The Morph effect lets you transform one image or a sequence of images
into another over one or more frames. You can morph between still or
moving images.
Shapes Property Page
The Shapes property page lets you create, edit, and join shapes that define
the part(s) of the image that you want to deform.
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Option
Description
Shape Creation
Lets you create different kinds of open or closed
shapes. These shapes define the source and destination
areas of the image that you want to warp.
Freehand
Creates open or closed freeform shapes, and simulates
the feeling of drawing with a pencil on paper
Polyline
Creates straight lines, Bézier curves, or combination of
the two
Ellipse
Creates oval and circular shapes
Rectangle
Creates rectangular and square shapes
Apply
Turns Morph effect on or off
Show Shapes
Determines whether shapes appear in viewer or not
Transformations
A collection of tools that let you pick, move, scale,
rotate, and skew your shapes
Select
Lets you pick a shape. Once a shape is selected, you
can drag it to place it in the correct location.
Scale
Increases or decreases size of shape
Rotate
Modifies rotational angle of shape
Morph
Option
Skew
Editing Tools
Description
Slants a shape
A collection of tools that let you pick, edit, and connect
the shapes you created
Join
Connects shapes together creating a relationship
between them
Copy and Join
Copies an existing shape and connects the two shapes
together in one step
Edit Shape
Manipulates control points of selected shape
Correspondence
Modifies points on the curves, so that you can match up
key features on the source shape with those on the
target shape
Density
Increases precision of shape during processing by
adding correspondence vectors between the two shapes
Output
Lets you choose images to display in viewer
Source
Displays source or outgoing image in viewer. When
selected, you can draw source and target shapes on the
source image.
Destination
Displays destination or incoming image in viewer.
When selected, you can draw source and target shapes
on the destination image.
Mix
Displays a mix of source and destination images in the
viewer. The transparency value will determine the
extent to which you see one or the other. When
selected, you can draw source and target shapes on the
morphed image to create a warp for both images.
Shape Interpolation
Amount
Determines amount by which the source shape has
transformed or warped into the target shape
Transparency
Determines portion of the destination clip in the mix at
any given time. Move the position indicator to view the
value at a specific time.
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Render Property Page
The Render property page lets you modify the quality of the morphed
images and the time it takes to process the effect.
Option
Description
Edge Mode
Determines method by which Avid DS Nitris interprets
the shapes you created. Depending on which option you
choose, the outer edges and area outside the closed
shapes are handled differently.
Fixed
Fixes borders of image in place. This option can cause
some ripping or shearing of the image near the borders.
Sliding
Lets borders of an image slide or move with the rest of
the morphed image to avoid shearing the image near
the borders.
Cookie Cutter
Lets you keep everything that falls within your closed
shapes and removes everything else. Useful for creating
mattes.
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Warp Precision
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This option cannot be used with open-ended
shapes.
Governs mathematical precision of Morph effect. The
option you choose affects the quality of the processed
images and the time required for processing.
Linear
Results in low quality images. This option is the fastest,
uses the least amount of memory, and is very useful for
quick tests.
Low
Results in reasonable quality images, with slightly
longer processing times than the Linear option
Medium
Results in good quality images, with slightly longer
processing times than the Low option
High
Results in professional quality images with reasonable
processing times
Morph
Option
Description
Very High
Results in very smooth transitions between shapes, but
processing time is long. This option should only be
used if the High setting does not produce good enough
results.
Super High
Results in extremely smooth transitions between
shapes, but processing time is extremely long. This
option is not recommended unless you require the
highest of quality.
Interpolation
Determines how the actual pixels of the morphed object
are calculated. This option affects the quality and
processing time.
None
Results in marginal image quality, but the processing
time is very fast
Bilinear
Results in better image quality than None option, but
processing time is slower
Scaling
Results in least amount of degradation when target
shape is scaled down by more than 50% of the source
shape. This option takes the longest time to process.
Antialiasing
Determines whether the edges of the morphed image
are smooth or jagged. When this option is selected, the
edges are smoother, but processing time increases.
Soften Edges
Determines how the edges of the morphed image blend
into the rest of the image. When this option is selected,
the transition between the edge of the morphed image
and the rest of the image is smoother.
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Mosaic
The Mosaic effect lets you process an image as if it was composed of small
squares or tiles laid on a flat surface. The tiles appear to be lit from the
side, enhancing their texture.
Mosaic Property Page
The Mosaic property page lets you adjust the tile size, the width and color
of the grout, as well as the level of the opacity.
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Option
Description
Tile Size
Controls size of tiles. Size is measured in pixels.
Grout Width
Controls size of grout. Grout width is measured in
pixels.
Lighten Grout
Darkens or lightens color of grout between tiles
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Motion Blur
Motion Blur
The Motion Blur effect lets you simulate the effect of motion in an image.
Applying a straight, unidirectional blur to the image creates the simulation.
The result of this effect is similar to a moving object that was
photographed with a slow shutter speed. This effect works by
simultaneously shifting pixel values in a straight direction and blurring
them together.
Motion Blur Property Page
The Motion Blur property page lets you set and animate the length and
angle of the blur.
Option
Description
Composite
Changes the look of the effect by adding one of nine
different filters
Normal
Blends source image and gradient colors equally
Darken
Compares color information in each channel of the
source and gradient, and selects the darker-colored
pixels. Pixels lighter than the gradient color are
replaced and pixels darker than the gradient color
remain unchanged.
Lighten
Compares color information in each channel of the
source and gradient, and selects the lighter-colored
pixels. Pixels darker than the gradient color are
replaced and pixels lighter than the gradient color
remain unchanged.
Difference
Compares color information in each channel of the
source and gradient. Subtracts the source color value
from the gradient color value (or the reverse),
depending on which color has the greater brightness
value.
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Option
Description
Multiply
Compares color information in each channel and
multiplies the source color with the gradient color. This
results in a darker-colored image. When a color is
multiplied with black, the result is black. When a color
is multiplied with white, the color is unchanged.
Hue
Produces an image that contains the hue of the gradient
color and the luminance and saturation of the source
image
Saturation
Produces an image that contains the saturation of the
gradient color and the hue and luminance of the source
image
Color
Produces an image that contains the hue and saturation
of the gradient color and the luminance of the source
image. This maintains the gray levels in the image and
is useful for tinting color images.
Luminosity
Produces an image that contains the luminance of the
gradient color and the hue and saturation of the source
image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Length
Controls the distance that the color values of pixels are
shifted to create the motion blur. Increasing the length
makes objects appear to be moving faster.
Angle
Controls the direction in which pixel values are shifted.
An angle of 0 or 359 creates a horizontal blur occurring
from right to left, while an angle of 180 degrees makes
a horizontal blur from left to right.
Negative
Negative
The Negative effect lets you apply a negative effect to an image. You can
apply the Negative effect as an image or paint effect. When you apply it as
a paint effect, none of the property pages are available.
Neon Glow
The Neon Glow effect lets you add various types of glow to the objects in
an image. This effect is useful for creating neon lighting effects, or giving
objects the appearance that it is radiating light or heat. It’s particularly
useful for images consisting of text or simple, high-contrast graphics.
By default, this effect uses monochrome (grayscale) for the objects in an
image while using the Glow Color setting for the glow. However, it uses
the current foreground and background colors instead of grayscale to color
the objects in an image.
The Neon Glow effect can produce both outline and inline glow variations.
An outline glow is where the glow appears to be around the outside of the
objects in the image, such as around the outside of a letter. An inline glow
is where the glow is on the inside of the objects. When the inside areas are
small, the Glow Size and Glow Brightness settings should be reduced
correspondingly.
Neon Glow Property Page
The Neon Glow property page lets you adjust the size, brightness, opacity,
and color of the glow.
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Option
Description
Glow Size
Sets range of positive and negative values for glow
effect. Positive settings create glows on the outside of
dark objects and on the inside of light objects. Negative
settings create glows on the inside of dark objects and
the outside of light objects. The greater the setting
(positive or negative), the larger the glow.
Glow Brightness
Increases or decreases brightness of glow
Glow Color
Displays current or default color. Click the color
swatch to display the Mini Color Editor.
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Lets you choose color of foreground
Background
Lets you choose color of background
Color swatch
Displays current or default color. Click color swatch to
display Mini Color Editor.
Noise/Grain Remover
Noise/Grain Remover
The Noise/Grain Remover effect lets you adjust the level of noise in an
image. You can also use this effect in the Graphics layout as either a brush
or fill effect, but it is better suited to be used as the fill.
You can apply the Noise/Grain Remover effect as an image or paint effect.
When you apply it as a paint effect, only the parameters of the General
property page are available.
General Property Page
The Noise property page provides filters that modify the RGB values of
randomly distributed pixels to create various effects.
You can use the Add Noise option to increase the difference between the
pixel values to create a “speckled” effect, such as when simulating the look
of high-speed film.
With the Despeckle option, homogenize the appearance of the image (or a
portion of the image) by decreasing the difference between pixel values.
This is useful for touching up your image, such as removing scratches,
dust, or other imperfections.
Option
Description
Type
Lets you select type of noise
Add Noise
Gives image a speckled or grainy appearance
Despeckle
Removes unwanted specks or scratches from image
Median Rank
Reduces noise in an image, similar to Despeckle. It
works by analyzing the brightness of pixels in a
specified radius around a pixel. It then computes the
median brightness of these pixels and replaces the
brightness value of the pixel with that value.
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Option
Description
Selective Rank
Reduces noise in an image. Performs the same
operation as the Median Rank option, except it replaces
the brightness value of the pixel only if the difference
between this value and the median is larger than the
Threshold value set.
Distribution
Lets you select type of distribution
Uniform
Creates a harsher speckling effect. You can use this
only with the Add Noise option.
Gaussian
Creates a smoother speckling effect. You can use this
only with the Add Noise option.
Monochromatic
Changes only the pixels’ tonal values (not their hue).
You can use this only with the Add Noise option. As
you increase the amount of noise, the specks tend
towards gray and black only. Without this option,
specks appear multicolored because their hue is being
adjusted.
Radius
Specifies size of area around the pixel of interest where
pixel values will be examined. You can use this only
with the Despeckle, Median, and Selective Rank
options.
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If the radius is too high, the image will be
blurred.
Amount
Specifies amount of noise to add. You can use this only
with the Add Noise option.
Threshold
Specifies how different the color values of pixels must
be for the noise reduction process to be applied to them.
You can use this only with the Despeckle and Selective
Rank options. The lower the threshold, the more pixels
are included in the process. Raise the threshold to
reduce blurring.
Note Paper
Note Paper
The Note Paper effect lets you process an image as if it was cut from a
sheet of note paper. The dark areas of the image become holes in a top
layer of paper through which you can see a background paper layer. The
surface is rough and appears lit from above.
Note Paper Property Page
The Note Paper property page lets you adjust the image balance, graininess
of the image, height of the emboss, level of opacity, as well as choose the
foreground and background colors. By default, this effect produces a
monochrome (grayscale) image, but it can also use the current foreground
and background colors if available.
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Option
Description
Image Balance
Controls area of image that appears as background or
foreground
Graininess
Adjusts graininess of effect
Relief
Adjusts amount of embossing
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Lets you choose color of foreground
Background
Lets you choose color of background
Color swatch
Displays selected or default background color. Click
color swatch to display Mini Color Editor.
To incorporate a texture other than simple grain into the image, apply the
Note Paper effect with Graininess set to 0. Then apply the Texturizer effect
with your choice of texture to the resulting image.
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Optical Glow
The Optical Glow effect lets you define different lighting effects for
images. You can adjust the overall diffusion parameters, and then fine-tune
areas that contain white or black, giving the object the appearance that it’s
radiating light or heat.
General Property Page
The General property page lets you create and adjust a diffusion effect that
is applied to the entire image. This effect can make an object look like it’s
radiating light or heat.
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Option
Description
Overall Diffusion
Lets you create diffusion and define percentage that is
applied to the entire image. Bright areas of the image
glow with a diffused brightness, while other areas are
softly muted.
Apply
Turns overall diffusion on or off
Level
Controls amount of diffusion. Values: 0 to 1000. Lower
values apply less diffusion.
Mix
Controls percentage of diffusion (specified in the Level
option) added to the entire image. Values: 0 to 100. A
value of 100 outputs only diffusion.
Color Correction
Lets you color correct diffused image
Apply
Turns Color Correction options on or off
Gain
Adjusts gain of image. Values: 0 to 200%.
Brightness
Adjust brightness of image. Values: –100 to +100.
Add Original
Lets you select percentage of original image to add to
diffused image.
Optical Glow
Option
Description
Apply
Turns Add Original option on or off
Amount
Increase or decreases percentage of original image
added to diffused image. Values: 0 to 100.
Black Diffusion Property Page
The Black Diffusion property page lets you define the diffusion effect that
is applied to the black areas of an image. Once you define the image’s
overall diffusion using the controls on the General property page, you can
adjust the diffusion further by modifying how it is applied to black areas in
an image.
Option
Description
Threshold
Lets you specify luminance range of affected area.
Pixels with a luminance between the Clip Low and Clip
High values are affected gradually.
Clip Low
Lets you specify lower luminance limit of affected area.
Any pixels with a luminance below this limit are not
affected.
Clip High
Lets you specify higher luminance limit of affected
area. Any pixels with a luminance above this limit are
affected.
Size
Lets you increase or decrease area specified by
Threshold options
Apply
Turns Size option on or off
Shrink (-)
Decreases geometry of affected area
Grow (+)
Increases geometry of affected area
Diffusion
Lets you adjust diffusion and define percentage of
diffusion applied to black areas of original image.
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Image Effects Reference
Option
Description
Apply
Turns Level option on or off
Level
Controls amount of diffusion applied to black areas in
image. Values: 0 to 1000. Lower values apply less
diffusion.
Mix
Controls percentage of diffusion (specified in the Level
option) added to black areas of image. Values: 0 to 100.
A value of 100 outputs only diffusion.
Apply
Turns Black Diffusion options on or off
Output Matte
Switches Optical Glow effect output to display either
the RGB channels or the internal matte used for
diffusion. When selected, the internal matte is output as
an RGB image.
White Diffusion Property Page
The White Diffusion property page lets you define the diffusion effect that
is applied to white areas of an image. Once you define the image’s overall
diffusion using the controls on the General property page, you can adjust
the diffusion further by modifying how it is applied to white areas in an
image.
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Option
Description
Threshold
Lets you specify luminance range of affected area.
Pixels with a luminance between Clip Low and Clip
High values are affected gradually.
Clip Low
Lets you specify lower luminance limit of affected area.
Any pixels with a luminance below this limit are not
affected.
Optical Glow
Option
Description
Clip High
Lets you specify higher luminance limit of affected
area. Any pixels with a luminance above this limit are
affected.
Size
Lets you increase or decrease area specified by
Threshold options
Apply
Turns Size option on or off
Shrink (-)
Decreases geometry of affected area
Grow (+)
Increases geometry of affected area
Diffusion
Lets you adjust diffusion and define percentage of
diffusion applied to white areas of original image
Apply
Turns Level option on or off
Level
Controls amount of diffusion applied to white areas in
image. Values: 0 to 1000. Lower values apply less
diffusion.
Mix
Increases or decreases percentage of diffusion
(specified in the Level option) added to white areas of
image. Values: 0 to 100. A value of 100 outputs only
diffusion.
Apply
Turns White Diffusion options on or off
Output Matte
Switches Optical Glow effect output to display either
the RGB channels or the internal matte used for
diffusion. When selected, the internal matte is output as
an RGB image.
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Outsource
The Outsource effect lets you export a portion of your timeline to a desired
file format for work in another application. The effect keeps a link to the
output file, so that when the file is ready to be brought back into Avid DS
Nitris, you only have to update the link to the file.
General Property Page
The General property page lets output a portion of the timeline to a desired
file format. You can also update the portion of the timeline that points to
that file or create a link to a series of files that were created outside
Avid DS Nitris. You can also quickly display the output file in the
Windows explorer.
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Option
Description
3rd Party Application
Contains list of presets you created. Each preset is
associated with an application name and file type.
Add
Adds preset to 3rd Party Application list
Remove
Removes preset from 3rd Party Application list
File Type
Lists the file types supported for output
File Name
Specifies name of file to be output
File Path
Specifies location of file to be output. By default, the
file is saved in the F:\DS
Projects\ProjectName\3rdParty\ folder
...
Lets you change the File Path by browsing to a new
folder on the network
Open in Explorer
Opens Windows Explorer to location where file was
saved
Export
Outputs the portion of the timeline to file in the
specified format and to the specified location
Paint Daubs
Option
Description
Relink
Creates link to a file or series of files created by another
application. The files must be placed in a folder that has
the same name as the files. For example, if you have
several files called sky1.psd, sky2.psd, and sky3.psd,
then the folder that holds these files must be called
sky.psd.
Update
Updates link to the file that displays the latest changes
to the file
Paint Daubs
The Paint Daubs effect lets you process an image in a wide variety of brush
styles. You can specify a range of brush sizes to smooth and simplify
images, or to capture and accentuate fine details.
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Paint Daubs Property Page
The Paint Daubs property page lets you specify the type and size of brush,
the sharpness, as well as the level of opacity.
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Option
Description
Brush Size
Specifies brush size
Brush Type
Specifies type of brush
Sharpness
Adjusts sharpness of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Use the Paint Daubs effect before applying other effects to accentuate the
“painterly” look. When using large brush sizes, move the Sharpness slider
all the way to the right. This brings out small color details in the resulting
image. You can further accentuate the colors by applying the Paint Daubs
effect again with different settings.
Most of the effects created by Paint Daubs benefit from a final application
of the Texturizer effect to give them the impression of having been painted
on a textured background.
Palette Knife
The Palette Knife effect lets you process an image with rough smears of
color that appear to have been made with a palette knife. Although the
patches of color are irregular in size and shape, the result is strongly
representational.
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Palette Knife
Palette Knife Property Page
The Palette Knife property page lets you adjust the size and detail of the
strokes, softness, and opacity.
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Option
Description
Stroke Size
Controls size of knife strokes
Stroke Detail
Adjusts level of detail in knife strokes
Softness
Adjusts level of softness in knife strokes. Higher values
give a softer image with few jagged edges. Lower
values give a sharper and more jagged result.
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Tip: For a variety of special effects, apply the Accented Edges effect before
applying the Palette Knife effect. Alternatively, posterize the image before
applying the Palette Knife effect.
After applying the Palette Knife effect, use the Texturizer effect to add a
texture (such as Canvas) for an especially realistic depiction of paint
applied manually to a textured surface.
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Patchwork
The Patchwork effect lets you create the appearance of quilted fabric. The
small squares of color that result are shadowed to appear at differing
heights.
Patchwork Property Page
The Patchwork property page lets you adjust the size and height of the
quilt squares, as well as the level of opacity.
n
Option
Description
Square Size
Adjusts size of quilt squares
Relief
Adjusts height or thickness of quilt patches
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Tip: After applying the Patchwork effect, you can accentuate the
appearance of the patches by using the Texturizer effect with a fabric
texture (such as Canvas or another scanned cloth texture).
You can try increasing the image’s contrast with the brightness and
contrast controls before applying the Patchwork effect. When the image
contrast is increased, large areas of the final image will be flat and not
show any of the three-dimensional surface patches characteristic of the
Patchwork effect.
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Pattern
Pattern
The Pattern effect lets you create one of six infinite patterns. The algorithm
randomly accumulates the specified shape to create soft noise, canvas,
burlap, leopard skin, snake skin, and rocky textures. You can scroll and
animate the position of the pattern.
Option
Description
Translate X
Controls horizontal (X axis) location of the center of
the pattern
Translate Y
Controls vertical (Y axis) location of the center of the
pattern
Shape
Lets you select the basic shape of your pattern
Rhombus
Creates slanted noise pattern
Square
Creates soft canvas-like pattern
Target
Creates leopard skin pattern
Cone
Creates soft granite-like texture
Grid
Creates rough burlap pattern
Arc
Creates rocky surface pattern
Process Alpha Channel When selected, processes the effect’s alpha channel.
When deselected, the clip’s alpha channel is full.
Same for Every Frame
When selected, the generated pattern remains the same
for each frame. When deselected, the pattern varies
from one frame to the next.
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Photocopy
The Photocopy effect lets you make an image appear as if it has been
photocopied. Large areas of darkness tend to copy around their edges but
fade somewhat to their centers, and midtones fall away to either solid black
or white as they would in an actual photocopy.
Photocopy Property Page
The Photocopy property page lets you adjust the level of detail, contrast,
opacity, and the foreground and background colors. By default, this effect
produces a monochrome (grayscale) image, but you can also use the
current foreground and background colors.
Option
Description
Detail
Controls level of detail in image
Contrast
Increases or decreases contrast of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Lets you choose color of foreground
Background
Lets you choose color of background
Color swatch
Displays default or current color. Click the color
swatch to display the Mini Color Editor.
You can simulate the effect of photocopying an image several times, where
the quality of the image degrades with each pass. To do this, apply the
Photocopy effect twice. The first time, use the default settings. The second
time, decrease the Detail to the point where parts of the black areas
(created in the first pass) begin to dissolve.
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Picture-in-Picture
A common animation technique is to photocopy isolated movie film
frames and then photograph the photocopies again on an animation stand.
Frames are usually chosen from one half to one second apart to cut down
on the amount of work.
To create a high contrast, cartoon, or psychedelic-color photocopy
effect:
1. Separate the original RGB color image into red, green, and blue
channels using the Channel Switcher effect.
2. Apply the Photocopy effect separately to each channel.
3. Recombine the three channels using the Channel Switcher effect.
To create the same look using the Photocopy effect:
1. Digitize frames from a video sequence. Choose frames that are
equidistant (such as 30 frames apart), or vary the distance slightly
between frames for a jerkier effect.
2. Apply the Photocopy effect to each digitized frame.
Picture-in-Picture
The Picture-in-Picture effect lets you transform the size and position of an
image in three-dimensional space. You can apply a Picture-in-Picture
effect to clips on the timeline, as a transition, or in an Effects Tree.
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Image Effects Reference
Plaster
The Plaster effect lets you create an image that appears to be molded from
three-dimensional plaster. You can select different light positions, so that
dark areas of the image appear raised, while light areas appear lower. This
effect is particularly useful for images consisting of text or simple, highcontrast graphics.
Plaster Property Page
The Plaster property page lets you adjust the image balance, light
positioning, smoothness of the resulting image, and the opacity level. By
default, this effect produces a monochrome (grayscale) image, but it can
also use the current foreground and background colors (if available) to
color the final result.
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Option
Description
Image Balance
Controls area of image that appears lower or raised
Light Position
Lets you select position from which to sidelight image.
Different light positions enhance different areas of the
image.
Smoothness
Controls smoothness of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Lets you choose color of foreground
Background
Lets you choose color of background
Color swatch
Displays selected or default background color. Click
the color swatch to display Mini Color Editor.
Plastic Wrap
The Plaster effect works best when applied to high-contrast images. Try
inverting the image using the Negative effect before applying the Plaster
effect.
Plastic Wrap
The Plastic Wrap effect lets you alter an image, so that it appears to be
shrink-wrapped or coated in shiny plastic, with the surface detail
accentuated. The parameters of the effect can also be set to create images
that appear to have been made from Polaroid photos that have been
scratched and textured by hand.
Plastic Wrap Property Page
The Plastic Wrap property page lets you adjust the highlight strength,
detail, smoothness, and opacity level.
Option
Description
Highlight Strength
Controls strength of highlights in resulting image
Detail
Controls level of detail in image
Smoothness
Increases or decreases smoothness of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Creating Altered Polaroid Photos
You can use the Plastic Wrap effect to emulate experimental approaches to
photographic image manipulation. When Polaroid photos are artistically
altered by hand, they are often scratched on the back with a sharp
instrument. This leaves a white mark, often along the edges of the image,
and sometimes drags the color pigment along with it.
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Image Effects Reference
To simulate this effect, apply the Plastic Wrap effect to an image with a
high Highlight Strength setting and a fairly low Smoothness setting. This
gives just the right amount of detailed white lines in the image and avoids
large areas of flat white reflections.
When you have the desired number of white lines, apply the Ripple effect
with low Ripple Magnitude and Ripple Size settings to slightly shift and
jiggle the white scratch marks and the associated image areas.
Polaroid photos tend to be highly saturated in color, so increase the
brightness and contrast of the image. Blurring the image slightly, either
before applying Plastic Wrap or as a final step, may also help simulate the
altered Polaroid photo look.
Polar Coordinates
The Polar Coordinates effect lets you distort the image by converting
rectangular coordinates to polar coordinates. This effect makes the image
appear as if it has been turned inside out, and is useful on logos, shapes,
and text.
Poster Edges
The Poster Edges effect lets you reduce the number of color shades in the
image and add dark lines along the edges. Large, broad areas of the image
are given simple shading, while fine dark detail is distributed throughout
the image.
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Posterize
Poster Edges Property Page
The Poster Edges property page lets you adjust the thickness and intensity
of the edge, and the opacity level..
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Option
Description
Edge Thickness
Controls thickness of edges
Edge Intensity
Controls intensity of edges
Posterization
Controls number of colors or grays in image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
You can smooth the pen lines by blurring the image after applying the
Poster Edges effect. You can also sharpen the image and adjust the
brightness and contrast before applying the Poster Edges effect.
Posterize
The Posterize effect lets you reduce the number of color samples in an
image and select the channels on which the effect is applied.
You can apply the Posterize effect as an image or paint effect. When you
apply it as a paint effect, only the parameters of the General property page
are available.
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General Property Page
The General property page lets you reduce the number of color samples
used in an image. The default value of 8 reduces the color samples from
256 to 8 for each RGBA channel.
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Option
Description
Red
Lets you adjust red channel
Green
Lets you adjust green channel
Blue
Lets you adjust blue channel
Alpha
Lets you adjust alpha channel
Lock
Lets you adjust R, G, B and/or alpha channels at the
same time
Unlock
Lets you adjust R, G, B, or alpha channels
independently
RGB
Lets you adjust RGB channels at the same time
RGBA
Lets you adjust RGB and alpha channels at the same
time
Dither
Adds noise to an image, scattering neighboring pixels.
The result is visually interpreted by the human eye as a
new intermediate color.
Premultiplication
Premultiplication
The Premultiplication effect lets you change a clip’s premultiplication at
any time. It also lets you change an outgoing image’s RGB pixels by
premultiplying or unpremultiplying the image as necessary.
General Property Page
The General property page lets you change a clip’s premultiplication
setting. By default, all clips are set to Auto, which will maintain the clip’s
premultiplication setting when the material was captured.
Option
Description
Auto
Maintains the premultiplication setting when the clip
was captured
Modify Image
Changes outgoing image’s RGB pixels by
premultiplying or unpremultiplying the image
according to the premultiplication setting.
n
Premultiplied
If you choose Auto in the Premultiplication State
box, then this option is not available.
If the Modify Image option is selected, it performs the
premultiplication operation of the input’s RGB
channels with the alpha channel.
If the Modify Image option is not selected, it simply
marks this image as being premultiplied.
Not Premultiplied
If the Modify Image option is selected, it unpremultiplies the input’s RGB channels with the alpha
channel.
If the Modify Image option is not selected, it simply
marks this image as being not premultiplied.
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Image Effects Reference
Radial Blur
The Radial Blur effect lets you apply a circular blur effect to an image.
You can achieve various effects by applying a filter, and varying the extent
and direction (angle) of the blur, as well as its opacity and its location.
Radial Blur Property Page
The Radial Blur property page lets you apply filters, and vary the extent
and direction (angle) of the blur, as well as its opacity and location.
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Option
Description
Composite
Changes look of effect by adding one of nine different
filters
Normal
Blends source image and gradient colors equally
Darken
Compares color information in each channel of the
source and gradient, and selects the darker-colored
pixels. Pixels lighter than the gradient color are
replaced and pixels darker than the gradient color are
unchanged.
Lighten
Compares color information in each channel of the
source and gradient, and selects the lighter-colored
pixels. Pixels darker than the gradient color are
replaced and pixels lighter than the gradient color are
unchanged.
Difference
Compares color information in each channel of the
source and gradient. Subtracts the source color value
from the gradient color value (or the reverse),
depending on which color has the greater brightness
value.
Radial Blur
Option
Description
Multiply
Compares color information in each channel and
multiplies the source color with the gradient color. This
results in a darker colored image. When a color is
multiplied with black, the result is black. When a color
is multiplied with white, the color is unchanged.
Hue
Produces image that contains the hue of the gradient
color, and the luminance and saturation of the source
image
Saturation
Produces image that contains the saturation of the
gradient color, and the hue and luminance of the source
image
Color
Produces image that contains the hue and saturation of
the gradient color and the luminance of the source
image. This maintains the gray levels in the image and
is useful for tinting color images.
Luminosity
Produces image that contains the luminance of the
gradient color and the hue and saturation of the source
image.
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Length
Controls distance that the color values of pixels are
shifted to create the radial blur. As you increase the
length, the blur becomes more pronounced.
Angle
Controls direction in which pixel values are shifted. An
angle of 0 makes the blur occur in a regular circular
direction around the center. An angle of 45º makes the
blur veer outward, creating a pinwheel-like effect. An
angle of 90º makes the blur occur straight outward from
the center.
Translate X
Controls horizontal (X axis) location of the center of
the blur
Translate Y
Controls vertical (Y axis) location of the center of the
blur
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Image Effects Reference
Radial Gradient
The Radial Gradient effect lets you process rings of colors that are blended
together. You can use this effect to create a graded background or to
highlight areas of video. You can set keyframes for the radial gradient
parameters to create animated gradients.
You can set the position of the gradient anywhere inside or outside the
frame. You can also animate its position. Once the center is set, you can set
the scale factor for the rings and animate the scale, if required. The relative
distances between the rings of color are fixed, but you can set the overall
height of the gradient and animate it with the Stretch option. The
positioning controls are on the Properties property page.
When combined using the appropriate compositing methods, you can use
this effect to accent or highlight important areas of the underlying image.
The Radial Gradient can be applied as an image effect or used as a source
generator.
Properties Property Page
The Properties property page lets you adjust the size, orientation, and
position of the linear gradient. You can also set the method by which the
effect is combined (composited) with the original image.
Option
Description
Composite
Changes color information of the resulting image by
using one of nine different composite filters. You can
also change the opacity and noise level of the gradient.
n
Normal
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This parameter is not available when the Radial
Gradient is used as a source generator.
Blends source image and gradient colors equally
Radial Gradient
Option
Description
Darken
Compares color information in each channel of the
source and gradient, and selects the darker colored
pixels. Pixels lighter than the gradient color are
replaced and pixels darker than the gradient color
remain unchanged.
Lighten
Compares color information in each channel of the
source and gradient, and selects the lighter colored
pixels. Pixels darker than the gradient color are
replaced and pixels lighter than the gradient color
remain unchanged.
Difference
Compares color information in each channel of the
source and gradient. Subtracts the source color value
from the gradient color value (or the reverse)
depending on which color has the greater brightness
value.
Multiply
Compares color information in each channel and
multiplies the source color with the gradient color for a
darker colored image. When a color is multiplied with
black, the result is black; when multiplied with white,
the color is unchanged.
Hue
Produces image that contains the hue of the gradient
color, and the luminance and saturation of the source
image
Saturation
Produces image that contains the saturation of the
gradient color and the hue and luminance of the source
image
Color
Produces image that contains the hue and saturation of
the gradient color and the luminance of the source
image. This maintains the gray levels in the image and
is useful for tinting color images.
Luminosity
Produces image that contains the luminance of the
gradient color and the hue and saturation of the source
image.
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Option
Description
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
n
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This parameter is not available when the Radial
Gradient is used as a source generator.
Scale X
Controls size of gradient along the X axis
Scale Y
Controls size of gradient along the Y axis
Stretch
Stretches gradient over a portion of the frame. By
default, the gradient is spread over the height of the
frame. Decreasing the Stretch value concentrates the
gradient in a smaller portion of the frame; increasing
the value expands the gradient.
Dither
Adds noise to the color gradient. The greater the dither
value, the more noise is added.
Center X
Controls horizontal (X axis) location of the center of
the gradient
Center Y
Controls vertical (Y axis) location of the center of the
gradient
Reticulation
Reticulation
The Reticulation effect lets you simulate the shrinking and distortion of
photographic film emulsion. This effect processes the darker areas of the
image with dense clumps of dark emulsion, and the lighter areas with a
light stippling of grain.
Reticulation Property Page
The Reticulation property page produces a monochrome (grayscale)
image, but it can use the current foreground and background colors to color
the final result.
Option
Description
Density
Controls density of light grain
Black Level
Controls amount of black (foreground color) in image
White Level
Controls amount of white (background color) in image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Lets you choose color of foreground
Background
Lets you choose color of background
Color swatch
Displays selected or default background color. Click
color swatch to display Mini Color Editor.
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Image Effects Reference
Ripple
The Ripple effect lets you add randomly spaced ripples to the image’s
surface, making the image appear as if it is under water and being rippled
by the wind.
Ripple Property Page
The Ripple property page lets you control the size, magnitude, and opacity
of ripples.
n
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Option
Description
Ripple Size
Controls size of ripples
Ripple Magnitude
Controls ripple distortion
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
For images composed of small elements, use lower settings for the ripple
size and magnitude. For images composed of large elements, use higher
settings.
RGB-YUV Dither
RGB-YUV Dither
The RGB-YUV Dithering effect lets you apply a filter in order to avoid
banding due to RGB-YUV conversions. This effect is useful if you’re
working with RGB material that you created from within Avid DS Nitris,
or if you are using linked clips and banding appears after processing. Once
you apply the effect, the results are automatic.
n
Tip: Banding usually appears on smooth grayscale or color gradients. Use
this effect only if banding occurs after processing. Apply it as the last
possible effect (topmost if you stack multiple effects). Stacking multiple
RGB-YUV Dither effects will create undesirable artifacts.
Rough Pastels
The Rough Pastels effect lets you process an image using strokes of
colored pastel chalk on a textured surface. In areas of bright color, the
chalk is thick and little of the underlying texture is apparent. In other areas,
the chalk appears to have been scraped off, revealing more of the
underlying texture. You can choose from a variety of textured surfaces, or
you can create your own.
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Image Effects Reference
Rough Pastels Property Page
The Rough Pastels property page lets you select the texture, length, detail,
and height of the strokes, and the opacity level.
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Option
Description
Texture Type
Lets you choose an underlying texture (Brick, Burlap,
Canvas, Sandstone) and control how it is applied using
the other parameters
Light Position
Lets you choose position from which to illuminate the
image. Different light positions enhance different areas
of the image.
Scaling (%)
Controls size of applied texture
Relief
Adjusts height of texture
Stroke Length
Controls length of strokes
Stroke Detail
Controls detail of strokes
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Invert Texture
Inverts color values of texture. Each pixel’s brightness
value is converted to the inverse value based on a 256color scale. A value of 0 is changed to 255.
To create a smoother pastel effect, set Relief to a low value.
Scatter Noise
Scatter Noise
The Scatter Noise effect lets you displace individual pixels that dither the
original image.
Scatter Noise Property Page
The Scatter Noise property page lets you select different composite filters,
set the opacity level, and choose the noise pattern.
Option
Description
Composite
Lets you change color information of resulting image
by using one of nine different composite filters. You
can also change the opacity and noise level of the
gradient.
Normal
Blends source image and gradient colors equally
Darken
Compares color information in each channel of the
source and gradient, and selects the darker-colored
pixels. Pixels lighter than the gradient color are
replaced and pixels darker than the gradient color
remain unchanged.
Lighten
Compares color information in each channel of the
source and gradient, and selects the lighter-colored
pixels. Pixels darker than the gradient color are
replaced and pixels lighter than the gradient color
remain unchanged.
Difference
Compares color information in each channel of the
source and gradient. Subtracts the source color value
from the gradient color value (or the reverse),
depending on which color has the greater brightness
value.
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Option
Description
Multiply
Compares color information in each channel and
multiplies the source color with the gradient color. This
results in a darker-colored image. When a color is
multiplied with black, the result is black. When a color
is multiplied with white, the color is unchanged.
Hue
Produces image that contains the hue of the gradient
color, and the luminance and saturation of the source
image
Saturation
Produces image that contains the saturation of the
gradient color, and the hue and luminance of the source
image
Color
Produces image that contains the hue and saturation of
the gradient color and the luminance of the source
image. This maintains the gray levels in the image and
is useful for tinting color images.
Luminosity
Produces image that contains the luminance of the
gradient color and the hue and saturation of the source
image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Same for Every Frame
When selected, the generated noise pattern remains the
same for each frame. When deselected, you can vary
the noise pattern for individual frames.
Spread X
Varies horizontal distance over which to randomly
scatter the pixels
Spread Y
Varies vertical distance over which to randomly scatter
the pixels
Tip: To simulate a video signal breaking up, animate the Spread X value.
Sharpen
Sharpen
The Sharpen effect lets you sharpen an image. You can sharpen the entire
image or just the edges. This effect works by finding adjacent pixels with
differing color values and adjusting these values to increase the difference
between them.
You can use Sharpen as an image effect in an editing session, or as a brush
or fill effect in a graphics session, but it is more suited to be used as the fill.
General Property Page
The Sharpen property page lets you specify the areas of an image to
sharpen and by how much.
Option
Description
Sharpen
Lets you sharpen all or only the edges of an image
All
Sharpens entire image
Edge
Sharpens only the edges
Radius
Controls size of area around current pixel where
Avid DS Nitris will check adjacent pixels’ color values.
The larger the radius, the more pronounced the effect.
Amount
Controls degree to which effect is applied
Edge Sensitivity
Controls how an edge is detected. Greater values
require less of a color difference between adjacent
pixels to consider the transition an edge, and vice versa.
The greater the value, the more edges are sharpened.
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Smudge Stick
The Smudge Stick effect lets you use short, diagonal strokes to smudge or
smear the darker areas of the image. Lighter areas of the image are pushed
to a brighter range.
Smudge Stick Property Page
The Smudge Stick property page lets you define the stroke length,
highlight area and intensity, as well as the opacity level.
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Option
Description
Stroke Length
Controls length of brush strokes
Highlight Area
Sets how much of the original image becomes white;
that is, how much of the image is moved into the
highlight range.
Highlight Intensity
Adjusts how much of the brightened image is blended
into the original image. Lower values increase the
transparency of the brightened image and allow more
of the original image show through. Higher values
increase the opacity of the brightened image and allow
less of the original image show through.
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Solarize
Solarize
The Solarize effect lets you invert RGB or HLS values. When you apply
this effect as a paint effect, only the options on the General property page
are available.
General Property Page
The General property page lets you invert RGB or HLS values. You can
mix between the original and inverted image using the Mix slider.
Option
Description
Mode
Lets you apply effect in RGB or HLS color space
RGB
Applies effect in RGB color space
HLS
Applies effect in HLS color space
Channels
Lets you choose channels on which effect is applied. If
you select RGB as the mode, you can apply the effect to
the image’s R, G, B, and/or alpha channels. If you
select the HLS mode, you can apply the effect to the
image’s hue, luminance, saturation, and/or alpha.
Mix
The percentage of mix applied to the RGB, HLS or
alpha values. Values: 0 to 100.
For example, in the RGB mode if you have an image
that is black and you set the mix value to 100 the result
is white; if you set the mix value to 50, the result is
gray.
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Solid Color
The Solid Color effect generates a background with a single color. This
effect is a good starting point for transitions and keys.
Option
Description
Color Picker
Picks a color from the screen. Click Color Picker and
move pointer (now an eyedropper icon) around the
screen. The color swatch updates and the current color
values are displayed. Click to select a color.
Color swatch
Displays selected or default color. Click color swatch to
display Mini Color Editor.
RGBA
Sets intensity of each color channel and alpha channel.
The RGB color model is used. Values: 0 to 100.
Spatter
The Spatter effect lets you paint the image in a Pointillist painting style
using a spatter airbrush technique.
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Special Filter
Spatter Property Page
The Spatter property page lets you adjust the spray radius of the spattering,
the smoothness, as well as the opacity level.
Option
Description
Spray Radius
Controls radius of spray
Smoothness
Increases or decreases smoothness of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Special Filter
The Special Filter effect lets you apply a filter that creates a bubbly effect
in your image. The filter calculates either the minimum or the maximum
brightness value in a specified area around a pixel and applies this value to
the pixel. This operation is applied to every pixel in the image.
General Property Page
The General property page lets you specify whether you want the filter to
calculate the minimum or maximum brightness value in the area around a
pixel. You can also specify the size of the area.
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Spherize
The Spherize effect lets you geometrically distort an image in a circular
shape. The source image is bulged in or out.
Spherize Property Page
The Spherize property page lets you adjust the size of the sphere, the
intensity of the bulge, as well as the X and Y translation of the bulge
center.
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Option
Description
Radius
Controls size of area around bulge center to affect. The
larger the radius, the more pronounced the effect.
Bulge
Controls intensity of bulge. Higher values increase the
intensity of an outward bulge. Lower values increase
the intensity of an inward bulge.
Translate X
Horizontally moves center of bulge
Translate Y
Vertically moves center of bulge
Tip: Animate the center position of the bulge so that, as it moves around
the image, it creates creates a magnifying glass effect.
Spill Correction
Spill Correction
The Spill Correction effect lets you remove the blue or green spill color in
an image.
Spill Property Page
The Spill property page lets you adjust the amount and hue of the spill
color in an image’s RGB channels. This effect is useful when you have a
clip that has an existing matte and you need to remove or adjust the blue or
green spill color.
Option
Description
Pick Replace Hue
Lets you select a color whose hue will replace the
current spill hue by picking a color in the viewer
Pick Spill Color
Lets you specify the image’s spill color by picking a
color in the viewer
Color swatch
Displays current color. Click the color swatch to
display the Mini Color Editor.
Hue
Lets you modify hue of replacement spill hue
Saturation
Lets you modify replacement spill color’s saturation
Luminance Offset
Lets you add or subtract luminance to or from the
original luminance. A value of 0 represents the original
luminance.
Threshold
Adjusts spill correction area. Increasing the Threshold
value expands the pixel range to which spill correction
is applied, while decreasing the threshold value
contracts the pixel range.
Softness
Adjusts amount of blur applied between replacement
color and adjacent colors in the RGB image
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Option
Description
Apply
Turns Spill Correction effect on or off. When you select
this option, the effect is applied to the image. When you
deselect this option, you can bypass the effect to
display the original image.
Reset
Resets all parameters to the default values
Sponge
The Sponge effect lets you create an image that appears to have been
painted with a sponge. The resulting image has highly textured areas of
contrasting color.
Sponge Property Page
The Sponge property page lets you specify the brush size, the amount of
definition of the textured areas, the smoothness of the image, and the
opacity level.
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Option
Description
Brush Size
Controls size of sponge
Definition
Controls definition of textured areas
Smoothness
Increases or decreases smoothness of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Sprayed Strokes
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After applying the Sponge effect, apply the Texturizer effect to enhance the
impression that the image has been painted onto a rough surface. Textures
such as Sandstone or Brick work well, as would textures of rough surfaces
that you create yourself.
Use the Emboss effect on the output of the Sponge effect to create an
impression of depth. The combination of the Sponge effect followed by the
Ink Outlines effect can create a strong impression of age and wear.
Sprayed Strokes
The Sprayed Strokes effect lets you process an image with disjointed,
sprayed strokes of adjustable length and orientation.
Sprayed Strokes Property Page
The Sprayed Strokes property page contains controls that let you specify
the stroke length, direction, and radius, as well as the opacity level.
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Option
Description
Stroke Length
Controls length of strokes
Stroke Direction
Lets you choose direction in which to paint strokes:
Right Diagonal, Horizontal, Left Diagonal, or Vertical
Spray Radius
Controls radius of spray. Move the slider to the right to
spray within a wider radius and create more disjointed
strokes. Move the slider to the left to spray within a
smaller radius and produce more coherent strokes.
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Tip: For an even more painterly result, apply this effect before some of the
other effects, such as Dry Brush or Watercolor.
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To create the appearance of an object being reflected on a wet and
shiny surface:
1. Duplicate the image.
2. Apply the Sprayed Strokes effect to the copy of the image.
3. Reflect the top half of the resulting image vertically onto the bottom
half.
4. Darken or tint the color in the resulting image to make it look more
like a reflection.
5. Combine the reflected image with objects from the original image by
selecting the objects and placing them onto the reflection image
background.
6. Set the Stroke Direction to horizontal.
7. Increase the Stroke Length.
8. Increase the Spray Radius.
Stained Glass
The Stained Glass effect creates an image that appears to be a piece of
stained glass that is lit from behind. The strength of the light shining
through the glass can be varied from a soft, even glow to a focused
brilliance.
Stained Glass Property Page
The Stained Glass property page lets you specify the size of the stained
glass pieces, the thickness of the lead borders, as well as the light intensity
and opacity level.
By default, black is used for the color of the lead between the pieces of
glass; however, this effect uses the current foreground color for the lead
borders.
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Stained Glass
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Option
Description
Cell Size
Controls size of stained glass pieces
Border Thickness
Controls thickness of lead borders
Light Intensity
Controls intensity of light source
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Lets you choose color of foreground
Color swatch
Displays selected or default background color. Click
color swatch to display Mini Color Editor.
To create large areas of common color that can enhance the appearance
of the Stained Glass effect, first apply the Cutout effect or posterize the
original image.
You can also blend the enhanced image with the original image to bring
some color and detail into the flat areas of color in the stained glass
image. This technique is most effective if the added detail does not appear
on top of the lead borders in the stained glass image.
To give the stained glass image an antique feel, apply the Ripple effect to
the result using low Ripple Magnitude and Ripple Size settings. Adding a
slight amount of grain with the Grain effect prior to applying Ripple will
enhance this antique effect.
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Stamp
The Stamp effect lets you make an image appear as if it is created with a
wood block stamp. By default, this effect produces a monochrome
(grayscale) image, but it can use the current foreground and background
colors, if they are available.
Stamp Property Page
The Stamp property page lets you adjust the lightness and darkness,
smoothness, and opacity of the image.
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Option
Description
Light/Dark Balance
Controls area of image that appears as background or as
foreground. Move the slider to the right to have more
areas of the image take the foreground color (black by
default), or move it to the left to have more areas take
on the background color (white by default).
Smoothness
Increases or decreases smoothness of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Lets you choose color of foreground
Background
Lets you choose color of background
Color swatch
Displays selected or default background color. Click
color swatch to display Mini Color Editor.
Apply the Texturizer effect after the Stamp effect to bring some texture
(wood, gauze, or any other) into the solid areas of color. Increase the
brightness and contrast of the final image to remove any texture that is
visible in the lighter areas.
Sumi-e
Sumi-e
The Sumi-e (pronounced sue-me-ay) effect lets you process an image in
the Japanese sumi-e ink painting style. This effect is characterized by rich
blacks with soft, blurry edges, suggesting the use of a wet brush imbued
with ink on absorbent rice paper.
Sumi-e Property Page
The Sumi-e property page lets you adjust the width and pressure of the
strokes, the contrast in the resulting image, as well as the opacity level.
Option
Description
Stroke Width
Specifies width of stroke
Stroke Pressure
Specifies amount of pressure in brush stroke
Contrast
Controls contrast of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Texturizer
The Texturizer effect lets you integrate a surface texture with an image.
You can choose from a variety of textures.
Texturizer Property Page
The Texturizer property page lets you choose the type of texture, the
position from which the image is illuminated, the scale, the level of detail
in the relief, the opacity level, and the option to invert the color values of
the texture.
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Option
Description
Texture Type
Lets you choose underlying texture (Brick, Burlap,
Canvas, Sandstone) and control how it is applied using
the other parameters
Light Position
Lets you select position from which to illuminate the
image. Different light positions enhance different areas
of the image.
Scaling (%)
Reduces or enlarges size of applied texture
Relief
Controls amount of surface detail in image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Invert Texture
Inverts color values of texture. Each pixel’s brightness
value is converted to the inverse value based on a 256color scale. A value of 0 is changed to 255.
To make images appear to be painted on a textured surface, apply the
Texturizer effect to images already modified by other effects. You can use
the Texturizer effect to create a random textured pattern. Select the
Sandstone texture type and set Texture Relief to 50. This random noise
pattern can be applied to a white or black background for a fancy
appearance. You can also get good results by using it on text.
Threshold
Threshold
The Threshold effect lets you create a variety of posterized effects. It
works by pushing pixel values up or down according to whether they fall
above or below a specified threshold. Pixels with values below the
minimum specified are pushed down to a lower tonal level, and those
above the maximum are pushed up to a higher tonal level. A posterized
effect results because the total number of tonal levels is decreased.
You can apply a Threshold effect to all or a portion of a clip or track. You
can also specify a subregion of the image where the Threshold effect will
be applied. You can also apply it as a paint effect.
General Property Page
The Threshold property page lets you adjust the minimum and maximum
threshold levels.
Option
Description
Minimum
Controls minimum threshold; that is, the pixel level (in
percentage) below which all pixel values will be
pushed down to a lower tonal level. As you raise the
threshold, more pixel values are affected.
Maximum
Controls maximum threshold; that is, the pixel level (in
percentage) above which all pixel values will be pushed
up to a higher tonal level. As you lower the maximum,
more pixel values are affected.
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Timecode
The Timecode effect lets you display the timecode overlaid on an image.
You can use the Timecode effect as an image effect or as a source
generator.
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The Masking and Options property pages are not available when the
Timecode is used as a source generator.
Timecode Property Page
The Timecode property page lets you specify how the timecode is
displayed.
Option
Description
Format
Lets you specify a fixed time or sequence time
Fixed time
Specifies that the burn-in timecode starts at the time set
in the Start box
Sequence time
Specifies that the burn-in timecode is the sequence time
as shown in the timeline ruler
Start
Specifies the start time for the first frame when Fixed
time is selected.
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Drop frame
Lets you switch between drop frame and non-drop
frame in the timecode display format.
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Direction
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This parameter is only available if Fixed Time is
selected.
This parameter is only available if Fixed Time is
selected.
Specifies whether the timecode is incremented or
decremented for each consecutive frame/field
Timecode
Option
Description
Count up
Starting from the start time, the timecode is
automatically incremented for each consecutive
frame/field.
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Count down
This parameter is only available if Fixed Time is
selected.
Starting from the start time, the timecode is
automatically decremented for each consecutive
frame/field.
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This parameter is only available if Fixed Time is
selected.
Position
Specifies position of timecode on image
Top
Positions timecode at top of image
Center
Positions timecode at center of image
Bottom
Positions timecode at bottom of image
Display field
Toggles display of odd and even fields of frame in the
timecode display format.
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When this parameter is selected, the Timecode
effect should be processed in fields rather than
frames.
Label
Lets you add descriptive text that is appended to the
front of the burn-in timecode
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
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This parameter is not available if Fixed Time is
used as a source generator.
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Torn Edges
The Torn Edges effect lets you make the edges of objects in an image
appear like torn paper. This effect is particularly useful for images
consisting of text or simple, high-contrast graphics.
Torn Edges Property Page
The Torn Edges property page lets you adjust the area that appears in the
foreground and background colors, the smoothness in the resulting image,
the contrast, and the opacity level. By default, this effect produces a
monochrome (grayscale) image, but it can use the current foreground and
background colors (if available) to color the final result.
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Option
Description
Image Balance
Controls area of image that appears in foreground color
and background color
Smoothness
Controls smoothness of image
Contrast
Controls amount of contrast in image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
Foreground
Lets you choose color of foreground
Background
Lets you choose color of background
Color swatch
Displays selected or default background color. Click
color swatch to display Mini Color Editor.
Use this effect as a final touch after applying the Stamp effect or the
Photocopy effect. This effect is useful for “roughening up” text.
Tracker/Stabilizer
Tracker/Stabilizer
The Tracker/Stabilizer lets you track or stabilize your clips through the
Effects Tree without switching to the Compositing layout.
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If you want to stabilize your clip while working in the Effects Tree, you can
use the Stabilize effect, which is a preset of the Tracker.
Option
Description
<>
Starts tracking forward or backward.
When In 1-layer is selected, tracking is started on layer
clip. When In 2-ref is selected, tracking is started on
reference clip.
During tracking a motion path is generated on the
selected clip.
1-point
One-point tracking ties a single tracker in the layer
image to a single tracker in the reference image. The
layer image simply translates along the path of the
tracker.
2-point
Two-point tracking ties two trackers in the layer image
to two trackers in the reference image. The layer image
is translated, scaled, and rotated, so that the trackers in
the layer image can follow the trackers in the reference
image.
4-point
Four-point tracking ties four trackers in the layer clip to
four trackers in the reference clip. The layer image is
translated and distorted, so that its four trackers can
follow the four trackers in the reference clip.
Output
Displays result of tracking or stabilization applied to
the input of the reference and layer clips.
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Option
Description
In 1-layer
In track mode, the layer clip is always the clip from
which the tracker is applied. In stabilize mode, the layer
clip is the same as the reference clip.
This lets you display the layer clip, and if necessary
adjust its trackers and track an area of the image.
In 2-ref
In track mode, the reference clip is the clip that you
track, so that the layer trackers are aligned with the
reference trackers. In stabilize mode, the reference clip
is the same as the layer clip.
This lets you display the reference clip, and if necessary
adjust its trackers and track an area of the image.
Show
Turns motion path view on or off. When selected, it
displays the motion path created by the tracker.
Update
Turns update view on or off. When selected, the viewer
updates during tracking. Deselect this option for faster
processing.
Input1/Input2/Output Property Pages
When you select an option in the Edit box, the associated property page
opens. For example, if you select the In 2-ref option in the Edit box, the
Input 2 property page opens.
The Input 1 and Input 2 property pages let you set the type of
transformation and the start and end frames (time span) over which the
transformation will occur. Additional settings let you set the tracking mode
(1, 2, or 4-point tracking), display the motion path, update the viewer, and
start tracking.
When tracking is started, individual trackers (R1-R4, L1-L4) sample a
target area of the reference clip at each frame of the specified time span. In
each subsequent frame, the motion tracker searches for the target image
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Tracker/Stabilizer
within the tracker’s search region. When the target is found, a keyframe is
set. The resulting motion path controls the tracker DVE, and the layer
image is moved accordingly.
When you select the Output option, the Output property page opens and
you can see the composited results of input 1 and 2.
Option
Description
Start Frame
Specifies first frame of reference/layer clip to be
tracked or stabilized. To set the first frame, drag the inpoint to the desired starting point on the applicable
track in the timeline.
End Frame
Specifies last frame of reference/layer clip to be tracked
or stabilized. To set the last frame, drag the out-point to
the desired end point on the applicable track in the
timeline.
Transformation
Specifies type of transformation
Track
Uses motion path(s) to control the tracker DVE and
move the layer clip, so that it follows the motion in the
reference clip
Stabilize
Uses the motion path of a reference object to create a
compensating motion that “pins” the object
Advanced Property Page
The Advanced property page lets you deactivate translation when you:
•
Apply 1-point tracking or
•
Deactivate scaling, translation, and rotation when you apply 2-point
tracking.
When you apply 4-point tracking, the Crop options become available,
which let you crop the layer image to the reference tracker’s polygon, and
apply a blur to the cropped image.
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Option
Description
Disable
Turns off tracker results for scaling, translation, and
rotation. For example, if you’re tracking a reference
image that also requires stabilization, you may not want
the tracker to scale, translate, or rotate the layer image
while the tracking is performed.
When 1-point tracking is selected, you can only disable
the translation. When 2-point tracking is selected, you
can disable all the options. When 4-point tracking is
selected, these options are not available.
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Scaling in X
Turns Scaling in X on or off
Scaling in Y
Turns Scaling in Y on or off
Translation in X
Turns Translation in X on or off
Translation in Y
Turns Translation in Y on or off
Rotation
Turns Rotation on or off
Crop To Tracker
Polygon
Lets you crop a layer image to its tracker polygon and
apply a blur to the polygon’s edge. These options are
only available when 4-point tracking is selected.
Blur Edges
Defines size of blur at edges of tracker polygon.
Values: 0.1 to 1000.
Apply Blur
Turns Blur effect on or off. This lets you compare the
composite’s appearance with and without the blur
effect.
Apply Crop
Crops layer’s alpha channel to reference’s tracker
polygon
Crop RGB
Lets you apply the crop to the layer’s RGB channels
Tool
Lets you set the tracker magnification
Magnification
Sets magnification value for tracker
Tracker/Stabilizer
Option
Description
Track in Fields
Tracks each field separately and sets a key on each
field. The target used is the contents of the target region
in field 1 of the target frame. If you track in fields, you
do not need to first deinterlace, track, and reinterlace
the clip. Once you track in fields, be sure to process in
fields.
DVE Property Page
The DVE property page lets you apply transformations on an image. You
transform images along the horizontal (X), vertical (Y), and depth (Z)
axes. Avid DS Nitris computes and redraws the image as it would appear
in three-dimensional space. You can enter numerical values in the
corresponding text boxes or manipulate the image interactively in the
viewer.
When you apply a DVE as a transition, an additional property page,
Source, is available on which you can adjust the source image’s opacity
level and the direction in which the DVE transition will be applied.
Option
Description
Scale (%)
Lets you control size properties of image along X and
Y axes. A value of 100 represents the image’s original
scaling. Units are percentages. For example, 200
doubles the scaling and 50 halves it.
X
Scales image in X direction. To scale proportionally,
assign identical values to X and Y.
Y
Scales image in Y direction
Lock XY
Links X and Y values, so that if you change one value,
the other value is the same. This option has no effect
when you interactively manipulate an image in the
viewer.
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Option
Description
Rotate
Lets you control image’s angle of rotation along X, Y,
and Z axes. The Rotate options are set relative to the
image plane.
X
Rotates image along X axis
Y
Rotates image along Y axis
Z
Rotates image along Z axis. Enter a negative number
(in degrees) to rotate clockwise and a positive number
to rotate counterclockwise.
Translate
Lets you control location of image along X, Y, and Z
axes
X
Moves image in X direction. Enter a positive value to
move the image to the right and a negative value to
move it to the left.
Y
Moves image in Y direction. Enter a positive value to
move the image up and a negative value to move it
down.
Z
Moves image in Z direction. Entering a positive
number moves the image closer, while a negative
number moves it farther away.
Image Offset
Lets you specify how far the object’s center is
displaced from its original center. The center is the
point around which the image revolves. The X, Y, and
Z default values are 0, 0, 0.
X
Specifies center offset along X axis
Y
Specifies center offset along Y axis
Z
Specifies center offset along Z axis
Perspective
Changes amount of perspective applied to DVE when it
has been rotated along the X or Y axis. Default angle is
45°.
Tracker/Stabilizer
Option
Description
Use Motion Path
Lets you switch between creating animation using
motion paths or the translation controls.
n
If you turn this option off after creating a motion
path, the X and Y transformations are stored if
you need to go back to the motion path at a later
time.
Apply
Turns on/off any DVE transformation (scaling,
rotation, or translation) that was applied to the current
layer
Scale
Turns scale tool on or off
Rotate
Turns rotate tool on or off
Reset
Resets all parameters to the default values
Quality Property Page
The Quality property page lets you apply filters that can improve the
quality of a scaled or rotated image. When an image is scaled down or
rotated, small jagged lines can appear on the oblique edges of objects or
sometimes within the image. You can also specify the channels on which
the DVE will be applied, and the type of source material you are using.
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Option
Description
Quality
Settings that control the speed of processing and affect
the result of the processed image. When you scale or
rotate an image, a resampling algorithm is applied to
enhance the image’s quality. The options are also
arranged according to speed, with Unfiltered being the
fastest and Pixel Summing Bicubic being the slowest.
If you scale down an image, the following resampling
algorithms produce a higher-quality image: Filtered,
Pixel Summing Bilinear, or Pixel Summing Bicubic.
If you scale up an image, the following resampling
algorithms produce a higher-quality image: Bilinear
(also equivalent to Filtered and Pixel Summing
Bilinear) or Bicubic (also equivalent to Pixel Summing
Bicubic).
Unfiltered
Applies no filter to the image (this is the fastest mode)
Bilinear
Useful when scaling a DVE up, which will improve the
scaled image’s quality. This is the default setting.
Bicubic
Produces a sharper image than the Bilinear option
when you scale a DVE up
Pixel Summing Bilinear Produces a less blurry image than the Filtered option
when you scale an image down using pixel averaging.
If you scale an image up, then a bilinear interpolation is
used, producing a sharper image.
Pixel Summing Bicubic Produces a less blurry image than the Filtered or Pixel
Summing Bilinear options when you scale an image
down using pixel averaging. If you scale an image up, a
bicubic interpolation is used, producing a sharper
image.
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Filtered
Useful when you scale a DVE down, which will
improve the scaled image’s quality
Filter Level
Determines the strength of the filter when in Pixel
Summing Blinear, Pixel Summing Bicubic, or Filtered
mode. Higher settings result in a stronger filter and
longer processing time.
Tracker/Stabilizer
Option
Description
Channels
Lets you specify the channels on which the DVE will
be applied
Red
Applies DVE to red channel
Green
Applies DVE to green channel
Blue
Applies DVE to blue channel
Alpha
Applies DVE to alpha channel
Motion Blur
Lets you apply a motion blur to an animated DVE
Apply
Turns Motion Blur effect on or off
Duration
Sets duration of motion blur between current frame and
next frame. Values: 0 to 100%; default is 50%.
Number Samples
Lets you set number of samples per frame, which can
improve the smoothness of the motion blur. Values: 1
to 100. A value of 1 applies no motion blur. A value
higher than 1 increases the number of samples.
For example, if you set the number of samples to 2,
then two images are superimposed on top of each other
at the current frame. If you set the number of samples
to 4, then four images are superimposed, and so on.
The default value of 8 usually provides a smooth
motion blur. If the animation has a large movement
between frames, then you should increase the number
of samples to create a smoother motion blur.
n
The larger the number of samples, the longer the
process time.
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Twirl
The Twirl effect lets you swirl the image as though a whirlwind is sucking
the image toward its center. You can animate the center, radius, and
strength of the swirl.
Twirl Property Page
The Twirl property page lets you adjust the radius and angle of the swirl, as
well as the X and Y translation of the swirl center.
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Option
Description
Radius
Controls size of area around current pixel where
adjacent pixels’ color values will be checked.The larger
the radius, the more pronounced the effect.
Angle
Controls direction of swirl and amount of displacement
of original image. A larger angle loops the swirl around
several times.
Translate X
Controls horizontal (X axis) location of the center of
the swirl
Translate Y
Controls vertical (Y axis) location of the center of the
swirl
Underpainting
Underpainting
The Underpainting effect lets you paint an image onto a textured surface.
The underlying texture is visible where the paint is thin, but is obscured
where the paint has been applied thickly. You can choose from a variety of
textured surfaces.
Underpainting Property Page
The Underpainting property page lets you choose the type of texture, the
position from which the image is illuminated, the scale, the level of detail
in the relief, brush size, texture coverage, opacity level, and the option to
invert the color values of the texture.
Option
Description
Texture Type
Lets you choose underlying texture (Brick, Burlap,
Canvas, Sandstone) and control how it is applied using
the other parameters
Light Position
Lets you select position from which to illuminate the
image. Different light positions enhance different areas
of the image.
Scaling (%)
Reduces or enlarges size of applied texture
Relief
Adjusts amount of detail in image
Brush Size
Controls size of brush
Texture Coverage
Controls size of area in which underlying texture
appears
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
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Option
Description
Invert Texture
Inverts color values of texture.
n
n
Each pixel’s brightness value is converted to the
inverse value based on a 256-color scale. A value
of 0 is changed to 255.
Tip: Experiment with a variety of textures. Each texture creates the
impression that the image has been painted on a different surface.
Watercolor
The Watercolor effect lets you paint the image on smooth paper using a
medium brush loaded with water and color. The color appears to have
dried leaving dark concentrations of pigment around the edges of the
daubs.
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Waterpaper
Watercolor Property Page
The Watercolor property page lets you adjust the brush detail and intensity,
choose the texture, and set the opacity level.
n
Option
Description
Brush Detail
Controls amount of detail in brush
Shadow Intensity
Controls intensity of shadows in image
Texture
Selects desired texture level: 1 is the smoothest texture
and 3 is the roughest
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
After applying the Watercolor effect, try applying the Emboss effect.
If the daubs created by the Watercolor effect are too small (especially
when working with large images), first apply the Palette Knife effect with a
large Stroke Size setting. Then apply the Watercolor effect for the final
watercolor style.
Waterpaper
The Waterpaper effect lets you process an image with blotchy daubs that
appear to have been painted onto damp paper. The painted colors blur and
run along the fibers of the paper, softening and extending the original
outlines of the image.
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Image Effects Reference
Waterpaper Property Page
The Waterpaper property page lets you adjust the fiber length, the
brightness and contrast, as well as the opacity level.
n
Option
Description
Fiber Length
Controls length of fibers
Brightness
Controls brightness of image
Contrast
Controls contrast of image
Opacity
Controls transparency of effect. Values: 0 (completely
transparent) to 100 (completely opaque).
The Waterpaper effect is an excellent choice to apply before applying
other Painterly effects. Experiment with different settings of the Brightness
and Contrast controls, which greatly affect the appearance of detail in the
final image
You can use the Texturizer effect to further enhance the impression that the
image created with the Waterpaper effect has been painted on damp paper.
Any texture, such as Sandstone, when used with a small Relief value, tends
to accentuate the impression that the streaks created with the Waterpaper
effect were created naturally during the painting process.
Using the Ripple effect with low settings for Ripple Size and Ripple
Magnitude also enhances the impression that the paint has spread
unevenly on the damp paper.
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Wood
Wood
The Wood effect applies a wood texture to an image. Different wood cuts
are created by scaling and stretching rings and changing colors. You can
also simulate certain fabrics and set parameters to create a draped effect.
Option
Description
Light Wood Color
Displays current Light Wood color. Default color is
dark red.
Dark Wood Color
Displays current Dark Wood color. Default color is
dark brown.
Color swatch
Displays selected or default color. Click the color
swatch to display the Mini Color Editor.
Ring Scale
Controls size of rings. Values: 0 to 30.
Waviness
Controls strength of ring’s wave
Cut Grain Opacity
Controls opacity of cut grain. Values: 0 (completely
transparent) to 100 (completely opaque).
Translate X
Controls horizontal (X axis) location of the center of
the ring
Translate Y
Controls vertical (Y axis) location of the center of the
ring
Scale X
Horizontally scales wave (X axis) about ring origin
(which you can move using the Translate controls)
Scale Y
Vertically scales wave (Y axis) about ring origin
(which you can move using the Translate controls)
Same for Every Frame
When selected, the generated pattern remains the same
for each frame. When deselected, the pattern varies
from one frame to the next.
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Chapter 7
Compositing Reference
This chapter includes reference information on features you use during
compositing.
•
The Compositing Layout
•
Layers View
•
Effects Tree
•
Compositing Effects
Chapter 7 Compositing Reference
Layers View
The Layers view lets you determine the order and appearance of
composited clips.
You can do the following for each layer:
•
Apply these effects: Key, DVE, Color Correction, and Graphics
•
Apply one or more external mattes to individual layers
•
Apply compositing and blend operations between the RGB and alpha
components of adjacent layers.
Layers
When working in the Compositing layout, the tracks on the timeline serve
as a working area for you to prepare clips and create mattes. You can
create a layer by dragging a track to the Layers view or by dragging clips
from a bin to the Layers view.
You can have any number of layers in a composite. Each layer has controls
that let you determine its order and appearance in the composite. You can
add keyer, DVE, color correction or graphics effects, or Effects Trees, as
well as apply external mattes on a layer.
Layer
RGB
Layer
Alpha
Original External
Alpha
Alpha
Layer
controls
Matte
Controls
Matte Expand
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Layers View
Use this
To
Layer controls
Manipulate the layers in a composite. You can adjust the
transparency, mute, solo, animate, and add layer effects.
Layer RGB
View the image results after all mattes have been applied to a
layer.
Layer alpha
View the combined results of all mattes applied to a layer.
Matte expand
Displays the original alpha and external alpha thumbnails.
Original alpha
View the original matte of the clip on a layer.
Matte controls
Apply matte compositing operations between the original and
external mattes on a layer.
External alpha
View external mattes applied to a layer.
Layer Controls
The layer controls let you manipulate the layers in a composite. These
controls let you mute, solo, or adjust the opacity of the layers.
On each layer, there are tools to add color correction, DVE, graphics, and
keyer effects. You can also apply compositing and blending operations
between layers.
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Solo
Effect tools
Matte Expand
Mute
Layer button
Animation Key
button
Interlayer
operations
Opacity level
Opacity slider
Use this
To
Mute
Turn off the view of the layer. In the viewer, the composite is
rebuilt without the muted layer. You can mute more than one layer
at a time.
Solo
Display the layer in the viewer and in the result layer. You can
only solo one layer at a time.
Effect tools
Apply effects to layers.
n
706
A check mark beside these tools indicates that the effect was
applied to the layer.
CC
Define a color correction effect and apply it to the corresponding
layer.
DVE
Define a DVE and apply it to the corresponding layer.
Gfx
Create a graphics effect and apply it to the corresponding layer.
Layers View
Use this
Key
To
Define a keyer and apply it to the corresponding layer.
n
You can also load other effects such as third party plug-ins
through the key tool. Once loaded, the tool’s name changes
from Key to FX.
Matte expand
Show or hide the external mattes that have been applied to this
layer.
Layer button
Select or move a track. When the button is green, it indicates that
an Effects Tree has been applied to the layer.
Animation key
Animate the transparency of the mattes that have been applied to
the layer and navigate between keyframes in an animation.
Interlayer
operations
Apply compositing and blending operations between adjacent
layers.
Opacity level
View or change the percentage of opacity that has been set by the
opacity slider. Enter a specific value in this box to change the
opacity level.
The check box lets you turn the opacity setting on or off.
Opacity slider
Adjust the opacity of the layer.
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Matte Controls
The matte controls let you apply matte compositing operations between the
original and external mattes on a layer. They also let you to change the
order of external mattes.
Matte
compositing
operations
Matte operations
708
Use this
To
Matte operations
Change the order and appearance of external mattes.
Matte compositing
operations
Apply logic operations between mattes on a layer.
Layers View
Result Area
Result RGB
Result Alpha
Result area
Use this
To
Result RGB
View the resulting RGB channel of all the composited
layers.
Result alpha
View/export the resulting alpha channel of all the
composited layers.
n
An “Alpha Not Exported” message is displayed
when the mattes from the layers have not been
exported to the result area. This means that you
won’t see the composited result when you close
the container clip.
To view the resulting matte, click the Result Alpha
thumbnail.
When you view the top timeline, the container clip will
have an alpha channel. If it’s on a background track, it
will be composited on top of any clips below it.
When you deselect this option, 100% white alpha is
exported to the top timeline.
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Chapter 7 Compositing Reference
Compositing Tools Toolbar
The Compositing Tools toolbar lets you apply effects such as keyers,
motion blurs, Impressionist, and Painterly. You can also add your own
preset effects and customize the toolbar. This toolbar is in the The
Compositing Layout.
To access the Compositing Tools toolbar
1. From the taskbar, click the Compositing button.
2. From the Compositing Tools toolbar, select a tool.
Tool
Description
Keyers
Effects that let you create a matte
Blue-Green
Keyer
Applies the Blue-Green Keyer effect to a clip from which you
can create a matte based on a blue or green color
Chroma Keyer
Applies the Chroma Keyer effect to a clip from which you can
create a matte based on a color other than blue or green
Linear Luma
Keyer
Applies the Linear Luma Keyer effect to a clip from which you
can create a matte based on the luminance of an image
Other Effects
Lets you select other effects to apply to clips
Crop
Applies the Crop effect to a clip
Motion Blur
Applies the Motion Blur effect to a clip
Linear Gradient Applies the Linear Gradient effect to a clip
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Matte
Applies the Matte effect to a clip from which you can adjust an
existing clip’s matte
Impressionist
Displays a list of Impressionist effects that you can apply to a
clip
Painterly
Displays a list of Painterly effects that you can apply to a clip
Layers View
Result Area Menu
The Result Area pop-up menu lets you insert a new layer and select
different display modes within a layer, as well as access the Global DVE
property editor. You can also open a new viewer in which you can display
the layer composite.
To access the Result Area Menu:
t
In the Result Area of the Layers view, right-click an empty area.
Option
Description
Insert Layer
Adds a new layer to the composite
Display Result Area
Shows or hides the Result Area, which is located at the
top of the Layers view and displays the result of the
composited layers. This command is on by default.
Open Viewer
Displays the output of the composited layers in a
floating viewer
Mute Background
If the bottommost layer has a matte, this command
determines whether to use it or treat it like it has a full
alpha for the RGB composite.
If the layer has a matte and this command is
deselected, then the bottommost layer will be
composited over black. If the bottommost layer doesn’t
have a matte, its alpha channel has 100% solid alpha,
which will be applied to the alpha channel for the
composite using a matte composite operation. This
command is on by default.
Force Premultiplied
Output
When this option is selected, the bottommost layer of
your composite is premultiplied. Premultiplication
multiplies the RGB channels with the alpha channel.
This option should not be selected if you are using the
bottommost layer as your background.
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Option
Description
Export Alpha
Places the resulting matte of the composite into the
alpha channel of the composite container clip.
When you view the top timeline, the container clip will
have an alpha channel. If it’s on a background track, it
will be composited on top of any clips below it.
When you deselect this option, 100% white alpha is
exported to the top timeline.
n
Tip: If you close a container clip and it isn’t
composited on the top timeline, ensure this
option is selected on the Layers view. This
option will not appear to have any effect while
inside a container clip.
Output Frame Size
Forces the effect to process and output pixels that fall
within the frame. For example, if you have a PAL
sequence that is 720×576 and you process an image
larger that the PAL frame (2000×2000), then only the
pixels that fall within the PAL window will be
processed and output from this effect. This command
is on by default.
Global DVE Controls
Displays the Global DVE property editor in which you
can apply a Global DVE to all layers in the composite
Layer Effect Menu
The Layer Effect pop-up menu lets you change the order of effects applied
on layers.
To access the Layer effect menu:
t
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In the layer, right-click an effect.
Layers View
Option
Description
Top
Moves the selected effect to the top of the layer
effects
Raise
Moves the selected effect up one level in the layer
effects
Lower
Moves the selected effect down one level in the layer
effects
Bottom
Moves the selected layer to the bottom of the layer
effects
Open Viewer
Displays the output of the selected effect in a floating
viewer.
Layer Menu
The Layer pop-up menu lets you change the order of layers, set the
premultiplication, apply an Effects Tree, and remove layers from your
composite.
To access the Layer menu:
t
Right-click a layer.
Option
Description
Bring to Front
Moves the selected layer to the topmost layer in the
composite
Raise
Moves the selected layer up one level in the
composite
Lower
Moves the selected layer down one level in the
composite
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Chapter 7 Compositing Reference
Option
Description
Send to Back
Moves the selected layer to the bottommost layer in
the composite
Premultiplied
Premultiplies the input’s RGB channels with the
alpha channel
Not Premultiplied
Does not premultiply the input’s RGB channels with
the alpha channel
Auto
Maintains the premultiplication setting indicated
when the clip was captured
Duplicate Layer
Duplicates the selected layer and places it on the
topmost layer of the composite
Remove Layer
Removes the selected layer from the composite
Layer Name
Changes the selected layer’s name
Effects Tree (layer)
Applies an Effects Tree to the selected layer
Matte Controls Menu
The Matte Controls pop-up menu lets you create a matte based on the
combined alpha values of a selected layer. The options are known as matte
operations.
The alpha channels of the foreground and background play a role in the
computation of the color channels (RGB or YUV). These operations
perform a premultiplication of the Alpha with the RGB channels, if
required. Matte operations do not clamp the colors that are within the color
gamut (values between 0.0 and 1.0). The input values on the other hand are
clamped to be within the valid 0.0-1.0 range.
n
714
The operations that do not clamp the input or output pixel values to the
legal color gamut can be applied to images that have blacker than blacker
or whiter than white values, and produce images that have blacker than
black or whiter than white values. Also note that values outside of the legal
color ranges can be present in16 bit and float images.
Layers View
To access the Matte Controls Menu:
t
In the Layers view, right-click the Matte controls between the Original
Alpha and External Alpha thumbnails.
Option
Description
Xor
Creates a matte from alpha values in mattes A and B, but
excludes common values in A and B
Or
Creates a matte by combining alpha values in mattes A and
B
Min
Creates a matte based on minimum pixel value of pixels in
mattes A and B
Max
Creates a matte based on the maximum pixel value of mattes
A and B
And
Creates a matte by intersecting alpha values in mattes A and
B
Add
Creates a matte by adding the alpha values in mattes A and
B
Add No Clipping
(Screen)
Creates a matte by adding the alpha values in mattes A and
B in a way that legal value pixels will not cause the image to
look overexposed
Difference
Creates a matte by subtracting the alpha values of matte B
from matte A
Multiply
Creates a matte by multiplying the alpha values of mattes A
and B.
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Interlayer Alpha Menu and Interlayer RGB Menu
The interlayer Alpha pop-up menu and interlayer RGB menu let you select
which compositing operations will be performed between layers. The
selected operation is performed between the current selected layer and the
result of the layers below.
n
By default, the interlayer operation is performed with current layer as the
foreground and the result of the layers below as the background. The Use
as Background option on the Alpha pop-up menu lets you use the Alpha
from the layer as the background and the result of the layers below as the
foreground.
To access the Interlayer Alpha menu:
t
In the Layers view, right-click a blending operation under the Layer
Alpha thumbnail.
The Interlayer RGB pop-up menu lets you perform blending operations on
the RGB components between adjacent layers.
To access the Interlayer RGB menu:
t
In the Layers view, right-click a blend operation under the Layer RGB
thumbnail.
The following table lists matte, blending, and other operations that are
used when compositing using the Layers view.
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Option
Description
Matte-based operations
The following matte-based operations are the only
operations in which the alpha channels of the
foreground and the background play a role in the
computation of the color channels (RGB or YUV).
These operations perform a premultiplication of the
Alpha with the RGB channels if required.
Layers View
Option
n
Description
The operations that do not clamp the input or output pixel values to the
legal color gamut can be applied to images that have blacker than blacker
or whiter than white values, and produce images that have blacker than
black or whiter than white values. Also note that values outside of the legal
color ranges can be present in16 bit and float images.
Over
Places the foreground over the background according
to the foreground’s alpha
In
Places the foreground image inside the alpha of the
background image
Out
Places the foreground image outside the alpha of the
background image
Atop
Places the foreground image inside the alpha of the
background image and the background image outside
the foreground alpha
Xor
Places the foreground image outside the alpha of the
background image and the background image outside
the alpha of the foreground image
Blending operations
n
The following blending operations are applied
independently to each channel. The color channels are
not affected by the alpha. Unless otherwise noted, the
input and output of the following operations are not
clamped to the valid color ranges.
In 16 bit and float, unlcamped operations can be used to create more
complex mathematical expressions.
Add
Adds the foreground to the background. This may
sometimes cause the image to appear overexposed.
Add No Clipping
(Screen)
Adds the foreground and the background in such a way
that legal pixel values will not cause the image to look
overexposed.
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Option
Description
Exclusion
Subtracts RGB values of the background image from
the foreground. For values between black and white,
the result has a more gentle, even contrast than you
would get with the difference operation.
Dark Add
Adds the foreground to the background and then
reduces all the pixel values. The result may look
underexposed.
Negative Sum
This mode is similar to Difference for dark and light
pixel values, but produces a lighter image for values in
between
Difference
Takes the absolute difference between the foreground
and background image
Subtract
Subtracts the background from the foreground
Multiply
Multiplies the foreground with the background. For
legal color values, the result is a darker image.
Divide
Divides the foreground by the background. For legal
color values, the result is a brighter image, which may
look overexposed.
Linear Interpolation
Interpolates between the foreground and the
background by taking the average of the two images
Smooth Interpolation Interpolates between the foreground and the
background using a smooth curve. The result slightly
favors the darkest and lightest pixels in the image. The
result is similar to Linear Interpolation but with more
contrast.
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Steep Interpolation
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The input and output images are clamped.
This mode is a linear interpolation that has been
stretched below black and above white values. Only
medium pixel values will stay within the valid color
range.
Layers View
Option
Description
Non-Linear Blending
Operations
The following are non-linear functions of the
foreground and the background. These operations have
the input and output values clamped.
Overlay
Based on the brightness of the background pixels, this
operation is a combination of Add No Clipping and a
Multiply. The result image is darker than Add No
Clipping, but brighter than a multiply. The contrast
(highlight/shadows) of the background is preserved
and the image takes the color and pattern of the
foreground. This is useful when adding film grain to a
shot.
Hard Light
The inverse of Overlay, this operation is based on the
brightness of the foreground pixel and combines Add
No Clipping and Multiply. The result looks like the
bright regions of Add No Clipping and the dark regions
of Multiply. The blend shows the lightness or darkness
of the original color, providing an effect that is similar
to shining a harsh light on the image.
Soft Light
A gentle blend lightening or darkening the background
according to the foreground. The effect as a whole
tends to brighten images, much like a soft light being
shone on an image.
Color Dodge
Brightens the background by dividing by the inverse of
the foreground. Dark pixels in the foreground will
leave the background almost unchanged. Bright pixels
in the foreground will significantly brighten
background.
Color Burn
Darkens the background by the darkness of the
background. Dark pixels in the foreground will darken
the background. Bright pixels in the foreground will
leave background almost unchanged.
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Option
Description
Dodge Inverted Burn This is a softer version of Color dodge. When
foreground and background pixels are bright, a
darkened version of Color Dodge is used. When
foreground and background are dark, a brightened
version of Color Burn is used.
Burn Inverted Dodge This mode is the reverse of Dodge Inverted Burn and
produces a result that is lighter than Color Burn. When
foreground and background pixels are bright, a
darkened inverse of Color Dodge is used. When
foreground and background pixels are dark, a lightened
inverse of Color Burn is used.
Dark Dodge
This operation is similar to Color Dodge, but produces
a darker, more evenly lit image. The background pixels
show through more clearly and are not brightened as
significantly by the foreground.
Bright Burn
This operation is similar to Color Burn, but produces a
brighter, more evenly lit image. The background pixels
show through more clearly and are not darkened as
significantly by the foreground.
Comparison operations
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The following operations use a comparison between
the foreground and background channels. The input
and output for these operations are not clamped to legal
values.
Lighter
Takes the higher pixel value between the foreground
and the background for each the RGBA channels
Darker
Takes the lower pixel value between the foreground
and the background for each of the RGBA channels
Non-additive Mix
Takes the pixel from the foreground or background
based on which has the higher luminance value
Inverted Nonadditive Mix
Takes the pixel from the foreground or background
based on which has the lower luminance value
Layers View
Option
Description
Color routing operations The following operations route certain color channels
form one of the two inputs. This is not a channel
switching type of operation. The input and output for
these operations are not clamped to legal values. These
operations cannot be used on the alpha channel. By
default, the alpha operation is set to Over.
Lightness
Combines the luminance values of the foreground
image to the saturation and hue of the background.
Color
Combines the saturation and hue values of the
foreground image to the luminance of the background.
Luma
Combines the luma channel (Y) of the foreground with
the chroma channels (CbCr) of the background
Chroma
Combines the chroma channels (CbCr) of the
foreground with the luma channel (Y) of the
background.
Use Alpha as Mask
Uses the alpha of the foreground image to mask the
result of the selected operations against the background
image.
Allows the blending operations to be applied only in
the alpha regions of the foreground image. To apply
the blending operation on the whole image, deselect
this option.
Use Luma as Mask
n
Uses the luma of the foreground image to mask the
result of the selected operations against the background
image.
Only Luma or Alpha can be used as a mask, not both. These two options
are only available on the RGB interlayer menu.
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Option
Description
Use as Background
Swaps the foreground and the background in the
operation. The current layer will be used as the
background and the result of the layers below will be
used as the foreground.
This option can be set separately on the RGB interlayer
menu and the Alpha interlayer menu. When Use as
Background is set, the operation’s name will be
prefixed with [B] in the layer.
n
When using Use as Background on the Alpha interlayer menu in
combination with Use Alpha as Mask, the alpha for the mask will be taken
from the result of the layers below, instead of the current layer. When Use
as Background on the RGB interlayer menu is used in combination with
Use Luma as Mask, the mask will be generated from the result of the layers
below, instead of the current layer.
Bypass
Bypasses the current layer by passing through the
result of the layers below
External Matte Menu
The External Matte pop-up menu lets you reorder external mattes on a
layer, invert the alpha, or switch the external matte’s alpha and RGB
channels.
To access the External Matte menu:
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Right-click the External Matte thumbnail of a layer.
Option
Description
First
Moves the matte to the leftmost position
Left
Moves the matte one position to the left
Right
Moves the matte one position to the right
Layers View
Option
Description
Last
Moves the matte to the rightmost position
Invert
Inverts the external matte so transparent areas become opaque
and vice versa
Delete
Removes the external matte
Alpha
Uses the alpha channel of a track as an external matte
RGB
Uses the RGB channels of a track as an external matte
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Effects Tree
Effects Trees lets you display the relationships between effects and
images, as well as letting you save tree presets which you can apply to
other clips or Effects Trees.
An Effects Tree is made up of nodes: the graphical representation of the
input images, effects, and the resulting output. Nodes are joined by
connectors, which connect input and output ports.
Effects Node Menu
The Effects Node pop-up menu lets you cut, copy, view, or bypass an
effect, collapse a node, or display its property editor. You can rename
effects and node input ports or display node input port’s name using the
name of the effect connected to the input. You can also fold/unfold and
attract/repel nodes.
To access the Effects Node menu:
t
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In an Effects Tree, right-click an effect node or node input port.
Option
Description
Cut
Cuts the selected node and places it on the Clipboard
Copy
Copies the selected node and places it on the Clipboard
Delete
Removes the selected node
Bypass
Bypasses the selected node(s). Only effect nodes can be
bypassed (not input, output, or source generator nodes).
This is useful if you want to view the output of the
Effects Tree with or without various effects.
Effects Tree
Option
Description
View
Lets you view the output of an input, effect, or output
node in the viewer. You can view a single node at any
time.
n
Tip: You can also use the Bypass command in
conjunction with View. For example, if you are
viewing an effect and you want to see the resulting
image with or without the effect, simply bypass the
selected node.
Open Viewer
Displays the output of the selected node in a floating
viewer.
Collapse
Collapses the selected node. This is useful when you
have a multi-input effect that you want to collapse to
create more space in the Effects Tree view.
Rename Effect
Renames the selected effect node.
n
Rename Input
Tip: You can also press the Alt key on your
keyboard and then click a node’s title bar to
change its name.
Renames the selected input port. If you’re using the Use
Input Names command as well, then only the first
portion of the name (Input 1,for example) is changed.
n
This command is only available when you
position the pointer over an input port, which
turns white to show that it’s selected.
n
Tip: You can also press the Alt key and click a
node’s input name to change it.
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Option
Description
Use Input Names
On node input ports, display names of nodes to which
they’re connected instead of just Input 1, Input 2, etc.
For example, if a Blue Green keyer is connected to Input
1 of a Composite node, then the input port name will be
displayed as “Input 1- Blue Green Keyer” when you
select this option from the Composite node. All input
port names will update to reflect the input’s name.
n
When an Input node is connected directly to an
effect, the Input node’s name is also added to the
Input port’s name. For example, if Input 1, named
“Background”, is connected to Input 2 of a
Composite node, then the name will be Input 2 Input 1 - Background.
n
You can also select the Use Input Names option
in the New Nodes box on the Effects Tree page of
the User Preferences dialog box if you want all
new effects you add to a tree to use the input
node’s name.
Select Preceding Nodes Selects all nodes connected before currently selected
node. Useful for viewing all nodes that contribute up to
the selected node.
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Select Subsequent
Nodes
Selects all nodes connected after currently selected
node. Useful for viewing path defined by nodes that are
modifying the output of the selected node.
Fold Minimal
Places selected nodes in a new Effects Tree with a red
border. The new Effects Tree node only displays the
inputs that are directly connected to the effect feeding
the new Effects Tree.
Fold All
Places selected nodes in a new Effects Tree with a red
border. The new Effects Tree node displays all inputs
from each effect.
Unfold
Places all nodes in an Effects Tree into the parent
Effects Tree
Effects Tree
Option
Description
Unfold and Repel
Places all nodes in an Effects Tree into the parent
Effects Tree. Any nodes that were close to the folded
node are pushed away from the nodes as they are
unfolded.
Attract
Pulls all nodes closer to the currently selected node(s).
The amount they are pulled depends on the amount set
in the Node Attract/Repel Spacing option on the Effects
Tree Property Page of the User Preferences dialog box.
Repel
Pushes all nodes away from the currently selected
node(s). The amount they are pushed depends on the
amount set in the Node Attract/Repel Spacing option on
the Effects Tree Property Page of the User Preferences
dialog box.
Expose
Adds the selected effect to the Effects list in the Effects
Tree property editor. This is useful when you create a
complex effect that you want to share with others. You
can select which effects are added to the Effects list, to
ensure certain effects aren’t altered.
n
Effect Properties
This command is not displayed on Effects Tree
nodes within Effects Trees.
Displays the effect’s property editor
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Input Node Menu
The Input Node pop-up menu lets you view or delete an input node.
To access the Input Node menu:
t
In an Effects Tree, right-click an input node.
Option
Description
Delete
Delete the selected input node.
n
728
If there is only one input node in a tree, you cannot
delete it.
View
Lets you view the selected input node in the viewer. This
is useful if you want to view an input without any effects
applied to it.
Open Viewer
Displays the output of the selected node in a floating
viewer
Select Subsequent
Nodes
Selects all nodes connected after the currently selected
node. This feature is useful, for example, to show you how
various nodes affect the currently selected node.
Attract
Pulls all nodes closer to the currently selected node(s).
The amount they are pulled depends on the size of the
selected node(s).
Repel
Pushes all nodes away from the currently selected node(s).
The amount they are pushed depends on the size of the
selected node(s).
Effects Tree
Output Node Menu
The Output Node pop-up menu lets you view an output node, select
preceding nodes, or attract or repel nodes. If your tree contains many
effects and the Output node is set to View, then you’ll see all the applied
effects in the viewer.
To access the Output Node menu:
t
In an Effects Tree, right-click an output node.
Option
Description
Use Input Names
On node input ports, display names of nodes to which
they’re connected instead of just Input 1, Input 2, etc.
n
When an Input node is connected directly to an
Output node, the Input node’s name is also added
to the Input port’s name. For example, if Input 1,
named “Background”, is connected to the Output
node, then the name will be Input - Input 1 Background.
View
Lets you view the selected Output node in the viewer
Open Viewer
Displays the output of the selected node in a floating
viewer
Select Preceding
Nodes
Selects all nodes connected before the currently selected
node. This feature is useful, for example, to show you
how various nodes in front of the currently selected node
affect it.
Attract
Pulls all nodes closer to the currently selected node(s).
The amount they are pulled depends on the size of the
selected node(s).
Repel
Pushes all nodes away from the currently selected
node(s). The amount they are pushed depends on the size
of the selected node(s).
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Effects Tree Menu
The Effects Tree pop-up menu lets you add or remove effects, move
around the Effects Tree view, and display the Effects Tree property editor.
To access the Effects Tree menu:
t
In the Effects Tree view, right-click an empty area.
Option
Description
Add Effect
Displays the Load Preset dialog box from which you
can select an effect to add to the Effects Tree
Add Cache
Adds a cache node to the Effects Tree
Add Cache and
Process
Adds a cache node to the Effects Tree, adds the cache
node to the Cache List view, and displays the
Processing Options dialog box.
n
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The cache node must be connected to the tree
before any effects can be processed.
Select All
Selects all nodes in the Effects Tree
Frame Selected
Zooms the Effects Tree view in or out to display the
selected nodes
Frame All
Zooms the Effects Tree view in or out to display all the
nodes in the Effects Tree
Delete
Removes the selected node
Copy
Copies the selected node and places it on the Clipboard
Cut
Removes the selected node and places it on the
Clipboard
Paste
Pastes a node from the Clipboard onto the Effects Tree
view
Compositing Effects
Option
Description
Reset All
On a layer, all nodes except the primary input and
output nodes are deleted. As a preset, all nodes except
the inputs and output are deleted.
Birds Eye View
Turns the Birds Eye View on or off. When you position
the pointer over the Birds Eye View, you can scroll the
Effects Tree view to see areas of the Effects Tree
currently not shown. Darker gray areas indicate the
direction in which you can scroll the tree.
Properties
Displays the Effects Tree property editor
Compositing Effects
Avid DS Nitris includes many different effects that you can use when
compositing. The term effect refers to a range of filters, DVEs, and keyers.
For more information, see Working with Effects.
The keyer effects, for example, let you combine a foreground image over a
background image using a matte. You can use a matte that is already
combined with the foreground image, or create your own using any of the
Avid DS Nitris keyers.
AVX Host
The AVX Host effect lets you apply AVX plug-in effects. You can select
an effect from the Generic property page. If you haven’t installed any
effects, then the Group/Category and Effect lists on the Generic property
page will be blank.
The types of effects from which you can select depend on how you apply
the AVX Host effect. For example, if you apply it as a clip or track effect,
only image effects are displayed. If you apply it as a transition, only
transition effects are displayed. However, if you apply it in an Effects Tree,
all the effects are displayed.
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Once you select an effect, the property editor changes to display the
parameters available for the effect.
Generic Property Page
The Generic property page lets you load AVX plug-in effects and adjust
the effect’s parameters. Depending on the type of AVX plug-in effect, you
can also animate various parameters. If you haven’t installed any effects,
then the Group/Category and Effect lists will be blank.
After you select an effect from the list, the parameters for the effect are
displayed in the property editor. The effect’s property page may also
contain the Open Effect UI button, which lets you open a new interface for
the effect.
n
To learn about individual parameters for an AVX plug-in effect, consult
the vendor’s documentation.
To load an AVX plug-in effect:
1. On the Generic property page, select a group/category from the
Group/Category list.
2. Select an effect from the Effects list.
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Option
Description
Group/Category
Displays the list of AVX plug-in effects, by vendor or group,
that are currently installed. For example, VendorA may
produce groups of products such as “MyEffects1 and
MyEffects2”. Once you select a vendor, the list in the Effects
box updates to display the list of AVX plug-ins available for
the group.
Compositing Effects
Option
Description
Effect
Lets you select an effect from a selected group. For example,
vendor A may have sparkle effects in the MyEffects1 group
or blur effects in the MyEffects 2 group.
The list of effects that are displayed depend on how you
applied the AVX Host effect. For example, if you apply it as
a clip or track effect, only image effects are displayed. If you
apply it as a transition, only transition effects are displayed.
However, if you apply it in an Effects Tree, all the effects are
displayed.
Once you select an effect, the property editor changes to
display the parameters available for the effect.
Blue-Green Keyer
The Blue-Green Keyer effect lets you create a matte that’s based on a blue
or green background color. This is a real -time effect.
Once the matte is created, you can composite the clip over another one.
Use the controls on the Key property page to create an initial key, and then
adjust the matte further using the controls on the Matte and Crop property
pages. You can also create a garbage matte in the Shapes property page to
hide unwanted objects in your image.
Once you’re satisfied with the matte, you can create a second matte for the
spill color using the Spill Matte 1, Spill Matte 2, and Spill Replace
property pages. You can adjust the spill matte independently from the
matte you created on the Key property page.
The Options property page contains controls that let you specify if your
material is frame or field-based.
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Spill Matte 1 Property Page
The Spill Matte 1 property page lets you create an initial matte for the spill
color.
This matte is separate from the matte created by the keyer on the Key
property page. Since the mattes are separate from each other, you can
manipulate and view them independently.
Using the Softness and Threshold controls, you can create a good initial
matte. However, the matte may be a little grainy at this point. If so, use the
Pre-blur controls to soften the spill matte.
Option
Description
Tune
Lets you create an initial spill matte
Softness
Threshold
Adjusts range between transparent and opaque areas
of the spill matte. Values: 0 to 100. A value of 0
produces no softness, and outputs a matte containing
only transparent and opaque areas. Areas that are
100% transparent contain 100% spill color. A value
greater than 0 produces a matte that contains
transparent, semitransparent, and opaque areas,
creating a softer matte.
Adjusts the spill correction area. Values: –20 to 20.
Increasing the Threshold value expands the area into
neighboring pixels, while decreasing the value
contracts the area.
You can view the spill matte while adjusting the
threshold to see areas that contain spill.
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Pre-blur
Applies a blur before applying the key, removing
noise from the matte
Apply
Turns the Pre-blur option on or off. This lets you
compare the composite’s appearance with or without
the pre-blur effect.
Compositing Effects
Option
Description
Amount
Lets you control amount of pre-blur applied to spill
matte. Values: 0.1 to 1000. Higher values decrease
the amount of noise in the matte.
Apply
Turns spill matte on or off. This lets you compare the
composite’s appearance with or without the spill
matte.
Output Spill Matte
Switches keyer output to display either the RGB
channels or spill matte. When selected, the spill matte
is output as an RGB image. This lets you view areas
of the matte containing spill. Black areas represent
total spill, gray areas represent partial spill, and white
areas represent no spill.
Reset
Resets all parameters on this property page to the
default values.
Chroma Keyer
The Chroma Keyer effect lets you create a matte based on a color. This is a
real-time effect.
Once the matte is created, you can composite the clip over another one. If
you want to create a matte based on a blue or green background color, you
can also use the Blue-Green keyer.
Use the controls on the Key property page to create an initial key, and then
adjust the matte further using controls on the Matte and Crop property
pages. You can also create a garbage matte on the Shapes property page to
hide unwanted objects in your image. Use the controls in the Spill Matte 1,
Spill Matte 2, and Spill Replace property pages to remove spill from your
image.
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Spill Matte 1 Property Page
The Spill Matte 1 property page lets you create an initial matte for the spill
color. This matte is separate from the matte created by the keyer on the
Key property page. Since the mattes are separate from each other, you can
manipulate and view them independently.
Using the Softness and Threshold controls, you can create a good initial
matte. However, the matte may be a little grainy at this point. If so, use the
Pre-blur controls to soften the spill matte.
Option
Description
Tune
Creates an initial spill matte
Chroma Tolerance
Lets you select the number of colors, similar to the
selected key color that will be keyed out. Values:
0 to 180. Higher values key out more color. For
example, if your key color is green and the
Chroma Tolerance is set to 0, then only the
selected key color is keyed out. The higher you set
the tolerance, the more colors of a similar hue as
the selected key color will be keyed out.
Gain
Adds more opacity to matte
Lift
Adds more transparency to matte
Pre-blur
Apply
Turns the Pre-blur option on or off. This lets you
compare the composite’s appearance with or
without the pre-blur effect.
Amount
Lets you control amount of pre-blur applied to
matte. Values: 0.1 to 1000. Higher values
decrease the amount of noise in the matte.
Apply
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Applies blur before applying the key, removing
noise from the matte.
Turns spill matte on or off. This lets you compare
the composite’s appearance with or without the
spill matte.
Compositing Effects
Option
Description
Output Spill Matte
Switches the keyer output to display either the
RGB channels or the spill matte. When selected,
the spill matte is output as an RGB image. This
lets you view areas of the matte containing spill.
Black areas represent total spill, gray areas
represent partial spill, and white areas represent
no spill.
Reset
Resets all parameters on this property page to the
default values
Color Correction Classic
The Color Correction effect lets you color correct an image. Using controls
on each property page, you can adjust the hue, saturation, gain, and
brightness.
There are several preset Color Correction effects that you can apply to
your images, including Blue Duotone, Old Photo, Saturated, and Tritone.
The Monochrome color correction effects, for example, are preset color
correction effects that let you change an image’s color to a monochromatic
hue.
You can apply the Color Correction effect as an image or paint effect.
However, when you apply it as a paint effect, only the Basic, Balance,
Adjust, and Curves property pages are available.
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Basic Property Page
The Basic property page lets you adjust the overall hue, saturation, gain,
and brightness values of an image.
Option
Description
Hue
Lets you adjust hue of image. Similar to a color wheel. Values:
0 to 360 degrees.
Saturation
Lets you adjust the saturation of the image. Values: 0 to 200.
Gain
Lets you adjust the gain of the image. Values: 0 to 200 percent.
Brightness
Lets you adjust the brightness of the image. Values: –100 to
+100.
Clamp To Video Lets you legalize your output if needed or preserve the full
Levels
pixel range.
To keep the video levels compliant with transmission
standards, you can enable this option. When on, the output of
the Color Correction is clamped to Video Levels (Legal
YCbCr). Note that keeping these levels within safe color limits
may produce a pleasing level for the rest of the image.
If you need to use the full YCbCr range, regardless of the
standard black and white levels, you can disable this option so
no clamping is performed. When off, it preserves the full pixel
range (“SuperBlack” and “SuperWhite”) throughout the
process.
Balance Property Page
The Balance property page lets you adjust the color balance of the selected
luminance range.
To adjust the color balance, select a range option, and then drag the color
selector to a new color. The closer you move the color selector towards the
edge of the color wheel, the higher the saturation of the color. The
luminance remains constant when you adjust each color balance.
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You can adjust the luminance of each range by adjusting the luminance
slider.
Option
Description
Shadows
Lets you select shadow luminance range. When selected, you
can adjust the color balance of shadow areas.
Midtones
Lets you select midtones luminance range. When selected, you
can adjust the color balance of midtone areas.
Highlights
Lets you select highlight luminance range. When selected, you
can adjust the color balance of highlight areas.
Master
Lets you select all luminance ranges. When selected, you can
adjust the color balance of the shadows, midtones, and highlight
ranges simultaneously.
Hue
Displays hue value of selected color in color wheel. Values: 0 to
360 degrees.
Gain
Displays gain value of selected color in color wheel. Values: 0
to 200 percent.
Luminance
Lets you adjust luminance of selected range. Values: -100 to
+100 percent.
Color Picker
Picks a color from the color wheel.
Click the Color Picker and click to select an button to change
the color display: Color Wheel, Vectorscope, Hue, Saturation,
and Value.
Color wheel
Displays entire spectrum of colors
It is shown by default.
Color selector
Lets you shift color balance towards selected color
Reset
Resets parameters of selected option
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Adjust Property Page
The Adjust property page lets you adjust the gamma, gain, and offset of
each channel. For example, you can use the slides to adjust the gamma of
the RGB globally, or individual R, G, B, L, or A channels.
Option
Description
Gamma
Lets you lighten or darken midtones relative to light and dark
areas. Values: 0.1 to 5.0.
Gain
Lets you adjust gain of image. Values: 0 to 200.
Offset
Lets you adjust brightness of image. Values: -100 to +100.
Curves Property Page
The Curves property page contains function curves that let you remap
RGB values globally, or individually remap the values of the red, green,
blue, luma, and alpha channels. The default curve is linear.
Option
Description
X axis
Represents original normalized value of selected color
channel. Values: 0 to 100.
Y axis
Represents resulting normalized value of color channel.
Values: 0 to 100.
Function curves Displays mapping of each color channel over full range of
color values
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RGB
Turns the RGB or R, G, or B function curve on or off. The
function curves are represented by the following colors in the
function curve graph: gray=RGB, red=R, blue=B, green=G.
Luma
Turns Luma function curve on or off. This function curve is
represented as a gray curve in the function curve graph.
Compositing Effects
Option
Description
Alpha
Turns Alpha function curve on or off. This function curve is
represented as a gray curve in the function curve graph.
Ranges
Turns Ranges function curves on or off. The function curves
are represented by the following colors in the function curve
graph: gray=shadows, light blue=midtones, white=highlights.
Apply
Turns function curves color correction mode on or off. This
option is available when you select RGB, Luma, or Alpha
from the list.
Reset
Resets all parameters on this property page to the default
values
Composite
The Composite effect lets you composite multiple images together on a
layer. You can apply multiple Composite effects in an Effects Tree.
General Property Page
The General property page lets you mute or solo each input and control its
opacity. You can also control if images are composited over a black
background and whether or not the alpha is exported. Also, keep in mind
that Input 1 is the bottom-most layer in your composite.
Option
Description
Mute
Mutes layers so that they are not displayed in the
viewer. Muting is useful when you have several
layers in your composite and you want to preview
one layer, but not the others. The muted layer will not
be included in the processed result.
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Option
Description
Solo
Solos the layer so that it is the only one displayed in
the viewer. Soloing is useful when you want to view
one layer without seeing effects from other layers.
You can solo one or more layers and this has no
effect on the processed result.
Opacity
Changes an input’s opacity
Apply
Applies the opacity setting to an input
Amount
Let you change an input’s opacity
Forced Premultiplied
Output
Turns the black background on or off. When selected,
the background is turned off. This feature is useful
when you have one or more layers that you want to
composite over a black background.
Export Alpha
Exports the Composite effect’s alpha channel. When
you use several Composite effects, or use a
Composite effect in conjunction with a layer or other
effects in the same tree, you may need to export the
effect’s alpha channel so that it is correctly
composited.
n
This option is independent of the Export Alpha
option on a layer.
Operations Property Page
The Operations property page lets you combine inputs using compositing
or blending operations. You can apply the operations on the R, G, B, and
alpha components of each input.
The operations differ between the R, G, B, and alpha channels. The RGB
operation that you select is automatically applied to the alpha channel. You
can, however, change the alpha operation separately. These operations are
the same as those found on each layer.
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Option
Description
RGB
Controls how an input’s RGB components are
composited. Changing the RGB operators also
changes the Alpha operators.
The following matte operations are applied based on
the alpha channel of the image(s): Over, In, Out,
Atop, and Xor.
The following blend operations can be applied to the
RGB channels of an image (the alpha channels have
no effect on the RGB result): Add, Add no clipping,
Difference, Multiply, Lighter, Darker, Luminance,
Color, Non-Additive, Invert Non-Additive, and
Bypass.
Alpha
Controls how an input’s alpha components are
composited.
For descriptions in the menu, see the descriptions for
RGB.
Over
Places the foreground over the background according
to the foreground’s alpha
In
Places the foreground image inside the alpha of the
background image
Out
Places the foreground image outside the alpha of the
background image
Atop
Places the foreground image inside the alpha of the
background image and the background image outside
the foreground alpha
Xor
Places the foreground image outside the alpha of the
background image and the background image outside
the alpha of the foreground image
Add
Adds the foreground to the background. This may
sometimes cause the image to appear overexposed.
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Option
Description
Add no clipping
Adds the foreground and the background in such a
way that legal pixel values will not cause the image
to look overexposed.
Exclusion
Subtracts RGB values of the background image from
the foreground. For values between black and white,
the result has a more gentle, even contrast than you
would get with the difference operation.
Dark Add
Adds the foreground to the background and then
reduces all the pixel values. The result may look
underexposed.
Negative Sum
This mode is similar to Difference for dark and light
pixel values, but produces a lighter image for values
in between
Difference
Takes the absolute difference between the foreground
and background image
Subtract
Subtracts the background from the foreground
Multiply
Multiplies the foreground with the background. For
legal color values, the result is a darker image.
Divide
Divides the foreground by the background. For legal
color values, the result is a brighter image, which
may look overexposed.
Linear Interpolation
Interpolates between the foreground and the
background by taking the average of the two images
Smooth Interpolation Interpolates between the foreground and the
background using a smooth curve. The result slightly
favors the darkest and lightest pixels in the image.
The result is similar to Linear Interpolation but with
more contrast.
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The input and output images are clamped.
Compositing Effects
Option
Description
Steep Interpolation
This mode is a linear interpolation that has been
stretched below black and above white values. Only
medium pixel values will stay within the valid color
range.
Overlay
Based on the brightness of the background pixels,
this operation is a combination of Add No Clipping
and a Multiply. The result image is darker than Add
No Clipping, but brighter than a multiply. The
contrast (highlight/shadows) of the background is
preserved and the image takes the color and pattern
of the foreground. This is useful when adding film
grain to a shot.
Hard Light
The inverse of Overlay, this operation is based on the
brightness of the foreground pixel and combines Add
No Clipping and Multiply. The result looks like the
bright regions of Add No Clipping and the dark
regions of Multiply. The blend shows the lightness or
darkness of the original color, providing an effect
that is similar to shining a harsh light on the image.
Soft Light
A gentle blend lightening or darkening the
background according to the foreground. The effect
as a whole tends to brighten images, much like a soft
light being shone on an image.
Color Dodge
Brightens the background by dividing by the inverse
of the foreground. Dark pixels in the foreground will
leave the background almost unchanged. Bright
pixels in the foreground will significantly brighten
background.
Color Burn
Darkens the background by the darkness of the
background. Dark pixels in the foreground will
darken the background. Bright pixels in the
foreground will leave background almost unchanged.
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Option
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Description
Dodge Inverted Burn
This is a softer version of Color dodge. When
foreground and background pixels are bright, a
darkened version of Color Dodge is used. When
foreground and background are dark, a brightened
version of Color Burn is used.
Burn Inverted Dodge
This mode is the reverse of Dodge Inverted Burn and
produces a result that is lighter than Color Burn.
When foreground and background pixels are bright, a
darkened inverse of Color Dodge is used. When
foreground and background pixels are dark, a
lightened inverse of Color Burn is used.
Dark Dodge
This operation is similar to Color Dodge, but
produces a darker, more evenly lit image. The
background pixels show through more clearly and are
not brightened as significantly by the foreground.
Bright Burn
This operation is similar to Color Burn, but produces
a brighter, more evenly lit image. The background
pixels show through more clearly and are not
darkened as significantly by the foreground.
Lighter
Takes the higher pixel value between the foreground
and the background for each the RGBA channels
Darker
Takes the lower pixel value between the foreground
and the background for each of the RGBA channels
Non-Additive Mix
Takes the pixel from the foreground or background
based on which has the higher luminance value
Invert Non-Additive
Mix
Takes the pixel from the foreground or background
based on which has the lower luminance value
Lightness
Combines the luminance values of the foreground
image to the saturation and hue of the background.
Color
Combines the saturation and hue values of the
foreground image to the luminance of the
background.
Compositing Effects
Option
Description
Luma
Combines the luma channel (Y) of the foreground
with the chroma channels (CbCr) of the background
Chroma
Combines the chroma channels (CbCr) of the
foreground with the luma channel (Y) of the
background.
Bypass
Does not apply any matte or blend operation between
inputs.
Use as Background
Swaps the foreground and the background in the
operation.
This option can be set separately on the RGB menu
and the Alpha menu. When Use as Background is set,
the operation’s name will be prefixed with [B] in the
layer.
Premultiply Property Page
The Premultiply property page lets you change a clip’s premultiplication
state. By default, all clips are set to Auto, which will maintain the clip’s
current premultiplication state.
Option
Description
Premultiplied
Changes an input’s premultiplication state to
Premultiplied
Not Premultiplied
Changes an input’s premultiplication state to Not
Premultiplied
Auto
Maintains the input’s current premultiplication
state
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Difference Keyer
The Difference Keyer effect lets you create a matte based on the difference
between the foreground and reference clips.
The foreground clip contains an image that you want to isolate, and the
reference clip contains a background similar to the foreground clip. When
you apply the Difference Keyer effect, only the isolated image in the clip is
retained.
You can apply the Difference Keyer effect to a layer or an Effects Tree.
When you apply the effect to an Effects Tree, the Reference property page
is not available as you have two inputs instead.
General Property Page
The General property page lets you apply a pre-blur to the matte. You can
also preserve an original matte, or switch the output to display either the
alpha or RGB channels.
Option
Description
Pre-blur
Applies blur before picking the key color, removing noise from
the color picked as the key color.
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This option does not blur the RGB output of your image
nor does it blur the alpha of the image after the key (the
blur on the Matte property page does just that). Instead,
it applies a blur to an internal copy of the RGB image
and then keys this image. This eliminates problems, such
as film grain before keying, resulting in a matte that
looks cleaner and softer.
Apply
Turns Pre-blur option on or off. This lets you compare the
composite's appearance with or without the pre-blur effect.
Amount
Lets you control amount of pre-blur applied to matte. Values:
0.1 to 1000. Higher values decrease the amount of noise in the
matte.
Compositing Effects
Option
Description
Keep Original
Alpha
Applies keyer only to non-transparent areas of original alpha
channel. When you have an existing matte, such as a garbage
matte, use this option to ensure that the original matte is applied
only to opaque areas of the keyed matte.
When you do not have an existing matte, this option has no
effect because the default alpha channel is 100% opaque.
Output Matte
Switches the keyer output to display either the RGB channels or
matte. When selected, the matte is output as an RGB image.
Reset
Resets all parameters on this property page to the default values
Spill Property Page
The Spill property page lets you adjust the amount and hue of the spill
color in an image's RGB channels.
When an image contains transparency, such as glass or smoke, the selected
key color is inherently displayed in the transparent image. In other cases,
the key color (blue or green) may reflect on foreground elements, thereby
“spilling” into the foreground. Spill correction can correct such flaws
either by reducing the amount of spill or by replacing the spill color with a
more desirable color. Spill correction in the Difference keyer is only
effective if you are keying out blue or green screen shots.
n
You can also apply spill correction as a clip or track effect. The Spill
Correction effect is useful when you have a clip that has an existing matte
and you need to remove or adjust the blue or green spill color. The Spill
Correction effect is in the Image Effects folder.
Option
Description
Pick Replace Hue
Lets you select a color whose hue will replace the
current spill hue. Click Pick Replace Hue and click a
color in the viewer.
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Option
Description
Pick Spill Color
Lets you specify the image’s spill color by picking a
color in the viewer. This button is available when you
apply the Spill Correction effect to a clip or track or
when using Spill Correction in the Difference keyer.
Color swatch
Displays selected or default color. Click color swatch
to display Mini Color Editor.
Hue
Lets you modify hue of replacement spill hue
Saturation
Lets you modify replacement spill color’s saturation
Luminance Offset
Lets you add or subtract luminance to or the original
luminance. A value of 0 represents the original
luminance.
Threshold
Adjusts spill correction area. Increasing the Threshold
value expands the area into neighboring pixels, and
decreasing the value contracts the area.
Softness
Adjusts amount of blur applied between replacement
color and adjacent colors in RGB image
Apply
Turns Spill Correction effect on or off. When you
select this option, the effect is applied to the image.
When you deselect this option, you can bypass the
effect to display the original image.
Reset
Resets all parameters on this property page to the
default values
Reference Property Page
The Reference property page is where you place your reference clip. When
you do this, the Difference keyer determines the difference between the
reference clip and the layer on which the key is applied, and creates a matte
for the selected layer.
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Compositing Effects
DVE
The DVE effect lets you transform the size, position, and shape of images
in three-dimensional space. You can apply DVEs to clips on the timeline,
layers on the Layers view, or in an Effects Tree. On the timeline, you can
use DVEs for transitions between two clips. Using DVEs, you can create
effects such as push-wipes, fly-bys, or picture-in-picture.
When you apply a DVE as a transition, an additional property page
(Source) is available on which you can adjust the source image’s opacity
level, and the direction in which the DVE transition will be applied.
DVE Tools
The DVE Tools toolbar lets you manipulate DVEs, display wireframes,
preview animation in wireframe, and lock a DVE wireframe in place so
you don’t modify it by accident. This toolbar is in the “The Compositing
Layout”.
To access the DVE Tools toolbar:
t
Select View > Default toolbars > DVE tools.
Button
Tool
Description
Rotate
Rotates the selected DVE
Scale
Scales the selected DVE
Crop
Crops the selected DVE
Tool
Properties
Displays the Tool Properties dialog box, from which
you can set how DVEs are displayed in the viewer.
You can select the following: Show Values, Show
Handles, and Show All Wireframes.
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Button
Tool
Description
Show All
Displays all DVE wireframes in the viewer. This is
Wireframes useful when you have several layers with DVEs and
you want to see all the wireframes at the same time.
Wireframe
Preview
Plays an animated DVE in the viewer, displaying it in
wireframe mode
Lock
Selection
Locks the selected DVE in place. This is useful when
you have several DVEs that you are manipulating in
the viewer, but don’t want to accidentally move one.
Tool Properties
The Tool Properties dialog box lets you select how DVEs are displayed in
the viewer.
Use this
To
Show Values
Displays the numerical values in the viewer while you
scale, rotate, translate, or offset a DVE
Show Handles
Displays handles on the sides and corners of the DVE
bounding box
Show All Wireframes
Displays all DVE wireframes in the viewer. When you
have multiple DVEs on multiple layers, each DVE
wireframe is displayed in the viewer.
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This option is only available when you use DVEs
in the Layers view.
Compositing Effects
Effects Tree Property Editor
The Effects Tree property editor lets you switch between effects applied in
the Effects Tree. When you select an effect from the Effects list, the
property pages associated with the effect are displayed in the property
editor.
Effects
List
When you apply an Effects Tree on the timeline, only the General property
page opens until you apply more effects.
To expand an Effects Tree, do one of the following:
t
In the Effects property editor, click the Expand button.
t
Hold down the Ctrl key and double-click the effect to expand the
Effects tree directly from the timeline.
Flicker
The Flicker effect lets you map variations in the luminance of one clip to
another clip. This effect is useful, for example, if you have a background
clip with strobe lights going on and off, and you want to composite another
clip on top that doesn’t have the strobe lights. You can map the luminance
from the clip with the strobe lights to the one that doesn’t have them.
You adjust the luminance in each frame by selecting reference regions for
the black and/or white levels.
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White Property Page
The White property page lets you select a region of the image which has
the levels of white to which you want to normalize your clip, and set the
reference frame, degree, and brightness of the effect.
Option
Description
Select Region in Lets you select a reference region for the white levels
Image
(highlights) in the reference frame. Draw a box in the viewer to
select the region. The color swatch updates to display the
luminance.
Color swatch
Displays selected reference highlight luminance
Set as Reference Sets the current frame as the reference frame. The reference
Frame
frame contains the reference region with the desired black
and/or white levels.
Amount
Sets degree to which Deflicker effect is applied. Values: 0 to
200%; default is 100%.
If you lower the amount to 50%, then the luminance correction
is cut by 50%.
Brightness
Lets you adjust the image’s brightness. Values: -100 to +100.
Apply
Lets you turn the White property page on or off
Output
Reference
Displays the reference image (input 2) from which you select
the luminance levels.
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Once you set the properties for this effect, be sure to turn
this option off or you won’t see the composited result.
Black Property Page
The Black property page lets you select a region of the image which has
the levels of black to which you want to normalize your clip, and set the
reference frame, degree, and brightness of the effect.
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Compositing Effects
Option
Description
Select Region in Image
Lets you select a reference region for the black levels
(lowlights) in the reference frame. Draw a box in the
viewer to select the region. The color swatch updates
to display the luminance.
Color swatch
Displays selected reference lowlight luminance
Set as Reference Frame
Sets the current frame as the reference frame. The
reference frame contains the reference region with the
desired black and/or white levels.
Amount
Sets the degree to which the Deflicker effect is
applied. Values: 0 to 200%; default is 100%.
If you lower the amount to 50%, then the luminance
correction is cut by 50%.
Brightness
Lets you adjust the brightness in the image. Values: 100 to +100.
Apply
Lets you turn the Black property page on or off.
Output Reference
Displays the reference image (input 2) from which you
select the luminance levels.
n
Once you set the properties for this effect, be
sure to turn this option off or you won’t see the
composited result.
HSL Keyer
The HSL Keyer effect lets you create a matte based on the hue, luminance,
and saturation (HSL) values of an image. Once the matte is created, you
can composite the clip over another one.
Use the controls on the Clip Values property page to create an initial key,
and then adjust the matte further using controls on the Matte and Map
property pages.
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You can apply the HSL Keyer effect as an image or paint effect. When you
apply it as a paint effect, only the Clip Values, Matte, and Map property
pages are available.
Clip Values Property Page
The Clip Values property page lets you create a matte based on the hue,
luminance, and saturation (HSL) values of an image. You can control the
range of hue, luminance, and saturation within the image that will create
the matte.
When you adjust the Low Clip or High Clip values, the corresponding
Softness slider will also be adjusted when the Low Clip or High Clip
values become equal to the Softness values. For example, if you adjust the
Low Soft value until it is equal to or higher than the Low Clip value, then
both sliders will move to the new value.
Option
Description
Hue
Refers to color and is expressed as a degree from 0 to 360
on a standard color wheel. For example, a value of 0
represents red, a value of 180 represents cyan, and a value
of 300 represents magenta.
Luminance
Refers to the relative lightness or darkness of a color.
Values: 0 (darkest/black result) to 1 (lightest/white result).
Saturation
Refers to the degree of mixture between a pure hue and
neutral gray. Values: 0 (least saturated color) to 1 (most
saturated color).
Low Soft
Creates a soft transition between transparent and opaque
areas keyed with Low Clip. Adjusting the Low Soft value
lets you force opaque areas of the matte to become
semitransparent. Increasing the value causes more pixels
to become semitransparent.
You can set this value by adjusting the slider, entering a
value, or by making a pixel or rectangular selection
(Ctrl+Shift-drag) in the viewer.
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Compositing Effects
Option
Description
Low Clip
Lets you force semitransparent areas of the alpha channel
to become transparent. Adjusting the Low Clip value
above 0 forces all semitransparent areas between the new
value and 0 to become transparent.
You can set this value by adjusting the slider, entering a
value, or by making a pixel or rectangular selection (Ctrldrag) in the viewer.
High Clip
Lets you force semitransparent areas of the alpha channel
to become opaque. Adjusting the High Clip value below 1
forces all semitransparent areas between the new value
and 1 to become opaque.
You can set this value by adjusting the slider, entering a
value, or by making a pixel or rectangular selection (Ctrldrag) in the viewer.
High Soft
Creates a soft transition between transparent and opaque
areas keyed with High Clip. Adjusting the High Soft value
lets you force transparent areas of the matte to become
semitransparent. Increasing the value causes more pixels
to become semitransparent.
You can set this value by adjusting the slider, entering a
value, or by making a pixel or rectangular selection
(Ctrl+Shift-drag) in the viewer.
Reset
Resets all parameters to the default settings
Keep Original Alpha Applies the keyer only to the non-transparent areas of the
original alpha channel. When you have an existing matte,
such as a garbage matte, use this option to ensure that the
original matte is applied only to opaque areas of the keyed
matte.
When you do not have an existing matte, this option has
no effect because the default alpha channel is 100%
opaque.
Invert Key
Inverts resulting alpha channel pixel values to create a
“negative” of the matte
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Option
Description
FG Suppress
Adjusts color values of foreground areas of image (the
areas that are not keyed out) by reducing the presence of
the color that you keyed out. This option takes the average
of the range of values keyed out and diminishes its
presence in the foreground areas.
Use this option to remove a bluish cast resulting from light
reflecting off a blue screen or to remove blue color
remaining at the edges of objects after keying.
Activate
Lets you activate a tool, such as a keyer or DVE. Since
several property editors can be open simultaneously, you
must use this button to select which one to activate while
you work interactively with the viewer.
Matte Property Page
The Matte property page lets you apply post-process mapping to the matte.
It also contains controls that let you blur, shrink, grow, or invert your
matte.
Option
Description
Blur
Lets you control softness the matte
Radius
Defines size of area around each pixel that contributes
to the new, averaged value. The greater the radius, the
softer the blur.
Amount
Sets degree to which blur effect is applied. The higher
the value, the softer the blur. Values: 0.1 to 1000.
Apply
Turns Blur option on or off, letting you compare the
composite’s appearance with and without the blur
effect
Size
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Defines size of area around each pixel that contributes
to new averaged value
Compositing Effects
Option
Description
Shrink/Grow
Increases or decreases size of matte
Apply
Turns Size option on or off, letting you compare the
composite’s appearance with and without the Size
effect
Reset
Resets all parameters on this property page to the
default values
Map Property Page
The Map property page lets you adjust areas of the mate generated by the
keyer that have slight shades of opaque or transparent alphas in areas that
you think should be fully opaque or transparent.
The function curve lets you apply post-process mapping to the matte
generated by the keyer. By modifying the function curve, you can adjust
areas of the matte according to their degree of transparency making
semitransparent areas completely opaque or fully transparent.
Option
Description
X axis
Represents original transparency values of currently
defined matte. Values: 0 (transparent) to 1 (opaque).
Y axis
Represents resulting transparency values of matte
(adjustable). Values: 0 (transparent) to 1 (opaque).
Function Curve
Lets you vary transparency range of alpha channel.
By moving the function curve up, pixels in that
transparency range become more opaque. By moving
the function curve down, pixels become more
transparent.
Apply
Turns Map option on or off, and lets you compare the
matte with or without adjustments to the function
curve
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Key Combiner
The Key Combiner effect lets you combine the RGB channels of an image
with an alpha channel created from the channels of another image.
Linear Luma Keyer
The Linear Luma Keyer effect lets you create a matte based on the
luminance values of an image. This is a real-time effect.
If your image contains a background color of black, white or gray, use the
Linear Luma Keyer to create a matte. Once the matte is created, you can
composite the clip over another one.
Use the controls on the Clip Values property page to create an initial key,
and then adjust the matte further using controls on the Matte and Map
property pages.
Luma Keyer
The Luma Keyer effect lets you create a matte based on the luminance
values of an image. If your image contains a background color of black,
white or gray, use the Luma keyer to create a matte. Once the matte is
created, you can composite the clip over another one.
Use the controls on the Key Values property page to create an initial key,
and then adjust the further using controls on the Matte, Map, and Masking
property pages.
Matte Property Page
The Matte property page lets you blur, shrink, grow, or inverse your matte.
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Option
Description
Blur
Lets you control the softness of the matte
Compositing Effects
Option
Description
Radius
Lets you define the size of the area around each pixel
that contributes to the new averaged value
Amount
Lets you set the degree to which blur filter is applied.
Values: 0 to 100. The greater the value, the softer the
blur.
Apply
Turns Blur option on or off. This lets you compare the
composite’s appearance with and without the blur
effect.
Size
Increases or decreases size of matte
Shrink/Grow
Increases or decreases size of matte
Apply
Turns Shrink/Grow parameter on or off. When this
option is selected, the effect is applied to the image.
When deselected, you can bypass the effect to display
the original image.
Reset
Resets all parameters on this property page to the
default values
Map Property Page
The Map property page contains a function curve that lets you apply postprocess mapping to the matte generated by the Luminance or HSL keyers.
By modifying the function curve, you can adjust areas of the matte
according to their degree of transparency.
If the foreground image should not contain any transparency, you can
improve the matte by adjusting the function curve to remove the
transparency.
By moving a portion of the function curve up, pixels in that transparency
range become more opaque. Conversely, by moving a portion of the
function curve down, pixels in that transparency range become more
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transparent. For example, if you move the key point currently at X=0, Y=0
up to X=0, Y=0.9, all the currently transparent areas of the matte become
90% opaque.
Option
Description
X axis on graph
Represents original transparency values of currently
defined matte. Values: 0 (transparent) to 1 (opaque).
Y axis on graph
Represents the resulting transparency values of the
matte (adjustable). Values: 0 (transparent) to 1
(opaque).
Function curve
Lets you vary transparency range of alpha channel.
By moving the function curve up, pixels in that
transparency range become more opaque. By moving
the function curve down, pixels become more
transparent.
Apply
Turns mapping on or off, letting you compare the
matte with or without adjustments to the function
curve
Matte Effect
The Matte effect lets you clean specific areas of an existing matte or create
a new matte for an image. This effect is useful if you import a clip that has
a matte in its alpha channel, but the matte requires touching up.
Using the shape tools, you can create a garbage matte and, if necessary,
track the shapes using the shape tracking tools.
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Tip: The Matte property editor contains three of the same property pages
as the Blue-Green Keyer property editor. Once you apply the effect, you
can use the same methods to clean your matte as you would using the BlueGreen Keyer property editor.
Compositing Effects
Matte Composite
The Matte Composite effect lets you composite multiple mattes together.
You can use the R, G, B, or alpha channels from an external source for the
matte and apply Boolean operations to combine the layers. You can use the
output of this effect as an input to any effect in the Effects Tree.
General Property Page
The General property page lets you composite mattes together. You can
specify whether to use an input’s RGB or alpha channels for the matte and
apply Boolean operations between each layer. You can also use an invert
of an image’s RGB or alpha channels for the matte.
Option
Description
Input
Displays layer on which you are affecting. To use the
controls, you must first connect a node to the input of the
Matte Composite effect.
Mute
Mutes layers so that they are not displayed in the viewer.
Muting is useful when you have several layers in your
composite and you want to preview one layer, but not the
others. The muted layer will not be included in the processed
result.
Solo
Solos the layer so that it is the only one displayed in the
viewer. Soloing is useful when you want to view one layer
without seeing effects from other layers. You can solo one
or more layers and this has no effect on the processed result.
Invert
Lets you invert RGB or alpha channels
Channel
Lets you select channel to use as a matte
RGB
Uses an input’s RGB channels as a matte
Alpha
Uses an input’s alpha channels as a matte
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Option
Description
Operation
Lets you select a Boolean operation to apply between each
layer in the composite, based on alpha or RGB channels.
Each operation is applied to the current layer and the first
layer above it that has an input.
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Xor
Creates matte by combining two inputs, but excludes
common values in the inputs
Or
Creates matte by combining two inputs
Min
Creates matte based on minimum pixel values of pixels in
two inputs. Use this operation instead of the And operation
when you are working with non-binary alpha values (when
there are more than two values in the image). This is the
default option.
Max
Creates matte based on the maximum pixel value of two
inputs. Use this operation instead of the Or operation when
you composite non-binary alpha values (when there are
more than two values in the image).
And
Creates matte by selecting common values of two inputs
Add
Adds the pixel values of the foreground matte to the
background
Add No
Clipping
Adds the pixel values of the foreground matte to the
background, but applies a special algorithm that prevents the
matte from appearing overexposed
Difference
Subtracts the pixel values of the background matte from the
foreground
Multiply
Multiplies pixel values of the foreground matte with the
background. The result is always darker.
Invert Output
Inverts output of composited mattes
Output Matte
Switches keyer output to display either RGB channels or
matte. When you select this option, the matte is output as an
RGB image.
Compositing Effects
Motion Tracker
The Motion Tracker lets you track a moving object, stabilize camera
shakes, and perform 4-point transformations. Avid DS Nitris uses the DVE
controls to displace the image in one layer and track the target in another
layer along the X, Y, and Z axes. When processed, the layer image is
usually composited over the reference layer.
The Reference and Layer property pages let you set the type of
transformation, the start and end frames (time span) over which the
transformation will occur and the tracking mode (1, 2, or 4-point tracking).
Option
Description
> (track
forward)
When Reference or Result is selected, starts forward tracking
on the reference clip. When Layer is selected, activates
tracking on the layer clip. A motion path is generated on the
selected clip.
< (track
backward)
Lets you track from a current frame backwards. Useful when
track accuracy degrades over a number of frames. You can stop
the tracker, reselect the tracking point, and then track
backwards correcting the inaccurate track timespan.
Stop
Stops the tracking. This button is displayed after you press the
> (track forward) or < (track backward) buttons.
Mode
Lets you use one, two, or four trackers to define the region for
tracking
1-point
One-point tracking ties a single tracker in the layer image to a
single tracker in the reference image. The layer image simply
translates along the path of the tracker.
2-point
Two-point tracking ties two trackers in the layer image to two
trackers in the reference image. The layer image is translated,
scaled, and rotated so that the trackers in layer image can
follow the trackers in the reference image.
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Option
4-point
Edit
Reference
Description
Four-point tracking ties a set of four trackers in the layer clip to
four trackers in the reference clip. The layer image is translated
and distorted so that its four trackers can follow the four
trackers in the reference clip.
Lets you select the clip to track: reference or layer
The reference clip is the clip to be tracked.
This option lets you select and display a reference clip, adjust
its trackers, and track an area of the image.
Layer
The layer clip is the clip that will follow the tracking motion.
This option lets you display the layer clip, and if necessary
adjust its trackers to have a specific area of the clip follow the
motion path created by the reference clip.
Result
Displays result of the composite of reference and layer clips
Update View
Turns update view on or off. When selected, viewer updates
during tracking. Deselect this option for faster processing.
Show Path
Turns motion path view on or off. When selected, displays the
motion path created by the tracker.
Reference/Layer/Result Property Pages
When you select an option in the Edit box, the associated property page
opens. For example, if you select the Reference option in the Edit box, the
Reference property page opens.
The Reference and Layer property pages let you set the type of
transformation, and the start and end frames (time span) over which the
transformation will occur. Additional settings let you set the tracking mode
(1, 2, or 4-point tracking), display the motion path, update the viewer, and
activate the tracking process.
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When tracking is started, individual trackers (R1-R4, L1-L4) sample a
target area of the reference clip at each frame of the specified time span. In
each subsequent frame, the motion tracker searches for the target image
within the tracker’s search region. When the target is found, a keyframe is
set. The resulting motion path controls the tracker DVE and the layer
image is moved accordingly.
When you select the Result option, the Result property page opens and you
can see the composited results of reference and layer images.
Option
Description
Start Frame
Sets first frame of the reference/layer clip to be tracked. You
can enter a new timecode in this box, or drag the in-point to the
desired starting point on the applicable track in the
Compositing timeline.
End Frame
Sets last frame of the reference/layer clip to be tracked. You
can enter a new timecode in this box, or drag the out-point to
desired ending point on the applicable track in the Compositing
timeline.
Transformation
Lets you select whether to perform tracking or stabilizing
Track
Uses motion path(s) to control the tracker DVE and move the
layer clip, so that it follows the motion in the reference clip
Stabilize
Uses motion path of a reference object to create a
compensating motion that “pins” the object
Advanced Property Page
The Advanced property page lets you:
•
Deactivate translation when you apply 1-point tracking, and
•
Deactivate scaling, translation, and/or rotation when you apply 2-point
tracking.
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When you apply 4-point tracking, the Crop options become available,
letting you crop the layer image to the reference tracker’s polygon, and
apply a blur to the cropped image.
Option
Description
Disable
Lets you turn off tracker results for scaling, translation, and
rotation. For example, if you are tracking a reference image
that also requires stabilization, you may not want the tracker
to scale, translate, or rotate the layer image while the
tracking is performed.
When 1-point tracking is selected, you can only disable the
translation. When 2-point tracking is selected, you can
disable all the options. When 4-point tracking is selected,
these options are not available.
Scaling in X
Turns Scaling in X on or off
Scaling in Y
Turns Scaling in Y on or off
Translation in X Turns Translation in X on or off
Translation in Y Turns Translation in Y on or off
Rotation
Crop Tracker
Polygon
Lets you crop a layer image to its tracker polygon and apply
a blur to the polygon’s edge. These options are only
available when 4-point tracking is selected.
Blur Edges
Defines the size of the area around each pixel that
contributes to the new averaged value of the blur. Values:
0.1 to 1000.
Apply Blur
Turns Blur effect on or off. This lets you compare the
composite’s appearance with and without the blur effect.
Apply Crop
Crops layer’s alpha channel to reference’s tracker polygon
Crop RGB
Applies the crop to the layer’s RGB channels
Tool
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Turns Rotation on or off
Sets the tracker magnification
Compositing Effects
Option
Magnification
Track in Fields
Description
Sets magnification value for tracker
Tracks each field separately and sets a key on each field.
The target used is the contents of the target region in field 1
of the target frame. If you track in fields, you do not need to
first deinterlace, track, and reinterlace the clip. Once you
track in fields be sure to process in fields.
Motion Path Menu
The Motion Path menu lets you adjust the speed of a motion path between
keyframes.
t
In the viewer, right-click a keyframe to access the Motion Path menu.
Option
Description
Stay Until Next
Key
Maintains the image’s current position until the next
keyframe
Constant Speed
Moves the image at a constant speed from the current
keyframe to the next
Smooth Speed
Adjusts the speed of the image before and after the keyframe
to create a smooth motion
Ease In/Ease Out
Slows down the image so it stops at the current keyframe,
and then speeds up again
Over Effect
The Over effect composites the foreground image over a background
image. It can be applied within an Effects Tree to composite two layers.
The Over effect is a real-time effect, which lets you composite layers and
still have real-time playback.
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Premultiplication
The Premultiplication effect lets you change a clip’s premultiplication at
any point. You can also change an outgoing image’s RGB pixels by
premultiplying or unpremultiplying the image as necessary.
General Property Page
The General property page lets you change a clip’s premultiplication
setting. By default, all clips are set to Auto, which will maintain the clip’s
premultiplication setting when the material was captured.
Option
Description
Auto
Maintains the premultiplication setting indicated when
the clip was captured.
Modify Image
Changes outgoing image’s RGB pixels by
premultiplying or unpremultiplying the image
according to the premultiplication setting.
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Premultiplied
If you select Auto in the Premultiplication State
box, then this option is not available.
If the Modify Image option is selected, the input’s
RGB channels is premultiplied with the alpha channel.
If the Modify Image option is not selected, the image
is marked as being premultiplied.
Not Premultiplied
If the Modify Image option is selected, the input’s
RGB channel are “un-premultiplied” with the alpha
channel.
If the Modify Image option is not selected, the image
is marked as being not premultiplied.
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Spill Correction
The Spill Correction effect lets you remove the blue or green spill color in
an image. You can adjust the amount and hue of spill color in the image’s
RGB channels.
Spill Property Page
The Spill property page lets you adjust the amount and hue of the spill
color in an image’s RGB channels. This effect is useful when you have a
clip that has an existing matte and you need to remove or adjust the blue or
green spill color.
Option
Description
Pick Replace Hue
Lets you select a color whose hue will replace the
current spill hue by picking a color in the viewer
Pick Spill Color
Lets you specify the image’s spill color by picking a
color in the viewer
Color swatch
Displays current color. Click color swatch to display
Mini Color Editor.
Hue
Lets you modify hue of replacement spill hue
Saturation
Lets you modify replacement spill color’s saturation
Luminance Offset
Lets you add or subtract luminance to or from the
original luminance A value of 0 represents the
original luminance.
Threshold
Adjusts spill correction area. Increasing the
Threshold value expands the pixel range to which
spill correction is applied, while decreasing the
threshold value contracts the pixel range.
Softness
Adjusts amount of blur applied between replacement
color and adjacent colors in the RGB image
Apply
Turns Spill Correction effect on or off
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Option
Description
Reset
Resets all parameters to the default values
Tracker/Stabilizer
The Tracker/Stabilizer lets you track or stabilize your clips through the
Effects Tree without switching to the Compositing layout.
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If you want to stabilize your clip while working in the Effects Tree, you can
use the Stabilize effect, which is a preset of the Tracker.
Option
Description
<>
Starts tracking forward or backward.
When In 1-layer is selected, tracking is started on the layer clip.
When In 2-ref is selected, tracking is started on the reference
clip.
During tracking, a motion path is generated on the selected clip.
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1-point
One-point tracking ties a single tracker in the layer image to a
single tracker in the reference image. The layer image simply
translates along the path of the tracker.
2-point
Two-point tracking ties two trackers in the layer image to two
trackers in the reference image. The layer image is translated,
scaled, and rotated, so that the trackers in the layer image can
follow the trackers in the reference image.
4-point
Four-point tracking ties four trackers in the layer clip to four
trackers in the reference clip. The layer image is translated and
distorted, so that its four trackers can follow the four trackers in
the reference clip.
Output
Displays result of tracking or stabilization applied to the input
of the reference and layer clips.
Compositing Effects
Option
Description
In 1-layer
In track mode, the layer clip is always the clip from which the
tracker is applied. In stabilize mode, the layer clip is the same
as the reference clip.
This lets you display the layer clip, and if necessary, adjust its
trackers and track an area of the image.
In 2-ref
In track mode, the reference clip is the clip that you track, so
that the layer trackers are aligned with the reference trackers. In
stabilize mode, the reference clip is the same as the layer clip.
This lets you display the reference clip, and if necessary, adjust
its trackers and track an area of the image.
Show
Turns motion path view on or off. When selected, it displays
the motion path created by the tracker.
Update
Turns update view on or off. When selected, the viewer updates
during tracking. Deselect this option for faster processing.
Input1/Input2/Output Property Pages
When you select an option in the Edit box, the associated property page
opens. For example, if you select the In 2-ref option in the Edit box, the
Input 2 property page opens.
The Input 1 and Input 2 property pages let you set the type of
transformation, and the start and end frames (time span) over which the
transformation will occur. Additional settings let you set the tracking mode
(1, 2, or 4-point tracking), display the motion path, update the viewer, and
start tracking.
When tracking is started, individual trackers (R1-R4, L1-L4) sample a
target area of the reference clip at each frame of the specified time span. In
each subsequent frame, the motion tracker searches for the target image
within the tracker’s search region. When the target is found, a keyframe is
set. The resulting motion path controls the tracker DVE, and the layer
image is moved accordingly.
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When you select the Output option, the Output property page opens and
you can see the composited results of input 1 and 2.
Option
Description
Start Frame
Specifies first frame of reference/layer clip to be tracked or
stabilized. To set the first frame, drag the in-point to the desired
starting point on the desired track in the timeline.
End Frame
Specifies last frame of reference/layer clip to be tracked or
stabilized. To set the last frame, drag the out-point to the
desired end point on the desired track in the timeline.
Transformation
Specifies type of transformation
Track
Uses motion path(s) to control the tracker DVE and move the
layer clip, so that it follows the motion in the reference clip
Stabilize
Uses the motion path of a reference object to create a
compensating motion that “pins” the object
Advanced Property Page
The Advanced property page lets you deactivate translation when you:
•
Apply 1-point tracking or
•
Deactivate scaling, translation, and rotation when you apply 2-point
tracking.
When you apply 4-point tracking, the Crop options become available,
which let you crop the layer image to the reference tracker’s polygon, and
apply a blur to the cropped image.
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Option
Description
Disable
Turns off tracker results for scaling, translation, and rotation.
For example, if you’re tracking a reference image that also
requires stabilization, you may not want the tracker to scale,
translate, or rotate the layer image while the tracking is
performed.
When 1-point tracking is selected, you can only disable the
translation. When 2-point tracking is selected, you can disable
all the options. When 4-point tracking is selected, these options
are not available.
Scaling in X
Turns Scaling in X on or off
Scaling in Y
Turns Scaling in Y on or off
Translation in Turns Translation in X on or off
X
Translation in Turns Translation in Y on or off
Y
Rotation
Turns Rotation on or off
Crop To Tracker Lets you crop a layer image to its tracker polygon and apply a
Polygon
blur to the polygon’s edge. These options are only available
when 4-point tracking is selected.
Blur Edges
Defines size of blur at edges of tracker polygon. Values: 0.1 to
1000.
Apply Blur
Turns Blur effect on or off. This lets you compare the
composite’s appearance with and without the blur effect.
Apply Crop
Crops layer’s alpha channel to reference’s tracker polygon
Crop RGB
Lets you apply the crop to the layer’s RGB channels
Tool
Lets you set the tracker magnification
Magnification Sets magnification value for tracker
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Option
Description
Track in Fields
Tracks each field separately and sets a key on each field. The
target used is the contents of the target region in field 1 of the
target frame. If you track in fields you do not need to first
deinterlace, track, and reinterlace the clip. Once you track in
fields be sure to process in fields.
Transform
Offsets
Applies the tracked transformation or scaling to the offset
keeping the offset point in the correct position relative to the
reference point.
It is on by default.
Quality Property Page
The Quality property page lets you apply filters that can improve the
quality of a scaled or rotated image. When an image is scaled down or
rotated, small jagged lines can appear on the oblique edges of objects or
sometimes within the image. You can also specify the channels on which
the DVE will be applied, and the type of source material you are using.
Option
Description
Quality
Settings that control the speed of processing and affect the
result of the processed image. When you scale or rotate an
image, a resampling algorithm is applied to enhance the
image’s quality. The options are also arranged according to
speed, with Unfiltered being the fastest and Pixel Summing
Bicubic being the slowest.
If you scale down an image, the following resampling
algorithms produce a higher-quality image: Filtered, Pixel
Summing Bilinear, or Pixel Summing Bicubic.
If you scale up an image, the following resampling
algorithms produce a higher-quality image: Bilinear (also
equivalent to Filtered and Pixel Summing Bilinear) or
Bicubic (also equivalent to Pixel Summing Bicubic).
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Option
Description
Unfiltered
Applies no filter to the image (this is the fastest mode)
Bilinear
Useful when scaling a DVE up, which will improve the
scaled image’s quality. This is the default setting.
Bicubic
Produces a sharper image than the Bilinear option when you
scale a DVE up
Pixel Summing
Bilinear
Produces a less blurry image than the Filtered option when
you scale an image down using pixel averaging. If you scale
an image up, a bilinear interpolation is used, producing a
sharper image.
Pixel Summing
Bicubic
Produces a less blurry image than the Filtered or Pixel
Summing Bilinear options when you scale an image down,
using pixel averaging. If you scale an image up, a bicubic
interpolation is used, producing a sharper image.
Filtered
Useful when you scale a DVE down, which will improve
the scaled image’s quality
Filter Level
Determines the strength of the filter when in Pixel
Summing Blinear, Pixel Summing Bicubic, or Filtered
mode. Higher settings result in a stronger filter and longer
processing time.
Channels
Lets you specify the channels on which the DVE will be
applied
Red
Applies DVE to red channel
Green
Applies DVE to green channel
Blue
Applies DVE to blue channel
Alpha
Applies DVE to alpha channel
Motion Blur
Lets you apply a motion blur to an animated DVE
Apply
Turns Motion Blur effect on or off
Duration
Sets duration of motion blur between current frame and
next frame. Values: 0 to 100%; default is 50%.
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Option
Number
Samples
Description
Lets you set number of samples per frame, which can
improve the smoothness of the motion blur. Values: 1 to
100. A value of 1 applies no motion blur. A value higher
than 1 increases the number of samples.
For example, if you set the number of samples to 2, then
two images are superimposed on top of each other at the
current frame. If you set the number of samples to 4, then
four images are superimposed, and so on.
The default value of 8 usually provides a smooth motion
blur. If the animation has a large movement between
frames, then you should increase the number of samples to
create a smoother motion blur.
n
The larger the number of samples, the longer the
process time.
Transform Node
The transform node lets you apply global transformations on more than
one image. It is used together with the DVE and Tracker Effect nodes.
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Option
Description
Translate
Lets you control location of image along X, Y, and Z
axes
X
Moves image in X direction. Enter a positive value to
move the image to the right and a negative value to
move it to the left.
Y
Moves image in Y direction. Enter a positive value to
move the image up and a negative value to move it
down.
Compositing Effects
Option
Z
Scale (%)
Description
Moves image in Z direction. Entering a positive
number moves the image closer, while a negative
number moves it farther away.
Lets you control the size properties of the image along
the X and Y axes. A value of 100 represents the
image’s original scaling. Units are percentages. For
example, 200 doubles the scaling and 50 halves it.
X
Scales image in X direction. To scale proportionally,
assign identical values to X and Y.
Y
Scales image in Y direction
Lock XY
Links X and Y values, so if you change one value, the
other value is the same. This option has no effect when
you interactively manipulate an image in the viewer.
Offset
Lets you specify how far the object’s center is
displaced from its original center. The center is the
point around which the image revolves. The X, Y, and
Z default values are 0, 0, 0.
X
Specifies center offset along X axis
Y
Specifies center offset along Y axis
Z
Specifies center offset along Z axis
Affect
Specifies the plane(s) the offset will affect.
Rotate
Lets you control the image’s angle of rotation along
the X, Y, and Z axes. These options are set relative to
the image plane.
X
Rotates image along X axis
Y
Rotates image along Y axis
Z
Rotates image along Z axis. Enter a negative number
(in degrees) to rotate clockwise and a positive number
to rotate counterclockwise.
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Option
Description
Rotation Interpolation
Specifies the algorithm to be used for interpolation of
animated rotations.
FCurve
Selecting this option allows you to do multiple
revolutions of rotation, such as, winding motion.
You can also edit the rotation curves in the animation
editor.
Linear Quaternions
Performs the calculation based on the shortest rotation
path between keyframes. Creates a more robotic
movement.
Cubic Quaternions
Similar to Linear calculation but produces smoother
movement.
Scale
Turns scale tool on or off
Rotate
Turns rotate tool on or off
Crop
Turns crop tool on or off
Reset
Resets parameters on this property page to default
values
Global DVE
A global DVE applies a transformation to all participating layers in the
composite. You can only apply a global DVE from the layers.
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Option
Description
Translate
Lets you control location of image along X, Y, and Z
axes
X
Moves image in X direction. Enter a positive value to
move the image to the right and a negative value to
move it to the left.
Compositing Effects
Option
Description
Y
Moves image in Y direction. Enter a positive value to
move the image up and a negative value to move it
down.
Z
Moves image in Z direction. Entering a positive
number moves the image closer, while a negative
number moves it farther away.
Scale (%)
Lets you control the size properties of the image along
the X and Y axes. A value of 100 represents the
image’s original scaling. Units are percentages. For
example, 200 doubles the scaling and 50 halves it.
X
Scales image in X direction. To scale proportionally,
assign identical values to X and Y.
Y
Scales image in Y direction
Lock XY
Links X and Y values, so if you change one value, the
other value is the same. This option has no effect when
you interactively manipulate an image in the viewer.
Offset
Lets you specify how far the object’s center is
displaced from its original center. The center is the
point around which the image revolves. The X, Y, and
Z default values are 0, 0, 0.
X
Specifies center offset along X axis
Y
Specifies center offset along Y axis
Z
Specifies center offset along Z axis
Affect
Specifies the plane(s) the offset will affect.
Rotate
Lets you control the image’s angle of rotation along
the X, Y, and Z axes. These options are set relative to
the image plane.
X
Rotates image along X axis
Y
Rotates image along Y axis
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Option
Z
Rotation Interpolation
FCurve
Description
Rotates image along Z axis. Enter a negative number
(in degrees) to rotate clockwise and a positive number
to rotate counterclockwise.
Specifies the algorithm to be used for interpolation of
animated rotations.
Selecting this option allows you to do multiple
revolutions of rotation, such as, winding motion.
You can also edit the rotation curves in the animation
editor.
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Linear Quaternions
Performs the calculation based on the shortest rotation
path between keyframes. Creates a more robotic
movement.
Cubic Quaternions
Similar to Linear calculation but produces smoother
movement.
Scale
Turns scale tool on or off
Rotate
Turns rotate tool on or off
Crop
Turns crop tool on or off
Reset
Resets parameters on this property page to default
values
Chapter 8
Color Correction Reference
This chapter includes reference information for color correction.
•
Color Correction Property Editor
Chapter 8 Color Correction Reference
Color Correction Property Editor
The Color Correction effect lets you color correct an image. It contains
several levels of tabs arranged hierarchically.
HSL Property Page
The HSL property page lets you correct a wide range of problems using the
three vertical tabs:
Controls Tab
Hue Offset Tab
Luma Ranges Tab
They allow you to adjust attributes such as setup, gain, and gamma, specify
offsets for the hue of an image, make adjustments in the highlights,
midtones, and shadows, or for the entire image, and define the scope of
three luminance ranges—highlights, midtones, and shadows
Once you are comfortable working with the HSL group and gain
experience using it, you can use it to make most of your common
corrections without needing to use any other group.
n
Before you begin to make color corrections on an image, make sure that
the clip and/or the region of the clip is selected on the timeline.
The four horizontal tabs represent the four ranges. Only the Controls and
the Hue Offset tabs include the Match Color Tool.
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Option
Description
Master
Adjustments apply to the whole image
Highlights
Adjustments apply to the brightest part of the image
Midtones
Adjustments apply to the midrange of brightness values
Color Correction Property Editor
n
Option
Description
Shadows
Adjustments apply to the darkest part of the image
Tip: To return to the default value at any time, Ctrl click the UDV button.
Controls Tab
The Controls tab lets you adjust the values of the different luminance
ranges—highlights, midtones, and shadows. For each range and the master
image, you can adjust the hue, saturation, gain, and gamma.
Having control over different luminance ranges is useful in many
situations. For example, video images often contain chroma noise in the
brightest and darkest areas. Using the HSL controls for the highlight and
shadow ranges, you can make adjustments to reduce the noise without
affecting the midtones in the image.
Option
Description
Hue
Adjusts the hues in the image. Similar to the color wheel.
Values: -180 to 180; 0 is the default value and makes no
change in the image.
Saturation
Adjusts the saturation or intensity of color in the image.
Values: 0 to 200; 100 is the default value. 0 represents
complete desaturation (monochrome image) and 200
represents maximum saturation.
Brightness
Adjusts the brightness or luminance of the image by shifting
the luminance value of every pixel. Values: -100 to 100; 100
is the default value. -100 subtracts 100 from the 8-bit
luminance value of every pixel, and 100 adds 100 to the 8bit luminance value of every pixel.
Contrast
Increases or decreases the amount of contrast in the image.
Values: -100 to 100; 0 is the default value. -100 represents
no contrast and 100 represents maximum contrast.
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Option
Description
Gain
Adjusts the gain or white point of the image. Values: 0 to
200; 100 is the default value and makes no change in the
image. The difference between Brightness and Gain is that
Brightness adjusts by adding to the 8-bit luminance value of
every pixel, while Gain makes an adjustment based on a
percentage of the original luminance.
Gamma
Adjusts the midtones relative to light and dark areas. Values:
0.1 to 10; 1 is the default value. Lowering the value darkens
the midtones and brings the image closer to black. Raising
the value lightens the midtones and brings the image closer
to white.
Setup
Adjusts the offset or black point for the image. Values: –255
to 255; 0 is the default value and makes no change in the
image.
The effect of the Offset control is very similar to that of the
Brightness control. However, it interacts with the Gain and
Gamma controls, while the Brightness interacts with the
Contrast control. If you have made an adjustment using the
Gain or Gamma controls, adjust luminance further using the
Offset control. If you have made a Contrast adjustment, you
should adjust luminance further using the Brightness
control.
Correction Mode
Selects the Correction Mode of the
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Normal
Only available in the Master tab
Displays the correction in the viewer as expected
Preserve Luma Displays the corrected image where the hue values of the
image are replaced with new output values without
distorting the luminance values.
Natural
Correction
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Displays the corrected image where the hue values of the
image are replaced with new output values without
distorting the luminance and saturation in the image.
Color Correction Property Editor
Option
Description
Luma Clipping
Enable
Turns on and off the Luma Clipping low and high controls.
Chroma Clip
Enable
n
Only available in the Master tab
Turns on and off the Chroma Clipping low and high
controls.
n
Only available in the Master tab
Low
Sets the Low clip for the image. All pixels with the Low clip
value or less are clipped to black. Value: 0 to 100; The
default value is 0 and makes no change in the image.
High
Sets the High clip for the image. All pixels with the High
clip value or more are clipped to white. The default value is
100 and makes no change in the image.
Match Color Tool
Lets you make a color correction by selecting input and
output colors from your images.
Match Color
Chip
The chip on the left and right represent the input and output
respectively. You can change the display of the units—see
Match Color Chip Menu in the Help.
Match Color
Determines the exact nature of the match the system makes.
The options in the pop-up menu reflect the way in which
color is handled in the property page in which you are
working. For example, if you select HSL, the match is based
on the hue, saturation, and luminance of the color selected in
the output color chip.
Match Color
button
Color corrects using the settings you made.
Invert
Inverts either the Chroma or Luma in the image.
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Chroma
Only available in the Master tab
Replaces the color value of every pixel in the image with the
opposite color value on the color wheel. This is the
equivalent of setting the Hue control to 180 or –180.
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Option
Luma
Description
Reverses the brightness level of every pixel in the image.
Dark areas become light and light areas become dark.
Hue Offset Tab
The Hue Offset tab lets you specify an offset for the hue and saturation of
an image using the color wheels. You can adjust the master, highlights,
midtones, and shadows of an image using the color wheels.
Hue offset values are useful for correcting a color cast or the tint of an
image. For example, when an object of an image that should be a neutral
gray appears tinged with color, you can use the offset to restore the correct
gray color.
Match color
tool
Color chip
Click one of the icons to
switch the color display:
Color Wheel, Vectorscope,
Hue, Saturation, Value.
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Hue Offset controls:
Adjusts the tint of an
image.
The Color Wheel: Displays the
entire spectrum of colors. Drag the
color selector to a new color.
Option
Description
Hue
Adjusts the hues in the image. Values: 0 to 360 degrees.
Amount
Represents the distance from the centre. Values: 0 to 100.
Color Correction Property Editor
Option
Description
Brightness
Adjusts the brightness or luminance of the image by shifting the
luminance value of every pixel. It is convenient if you want to
adjust the brightness or luminance of the image while
adjusting the hue and saturation of the same image. Values:
-100 to 100.
Picks a color from the color wheel.
Click the Color Picker and click anywhere on your screen to
select a color.
Match Color Tool
Lets you make a color correction by selecting input and
output colors from your images.
Match Color
Chip
The chip on the left and right represent the input and output
respectively. You can change the display of the units—see
Match Color Chip Menu in the Help.
Match Color
Type
Determines the exact nature of the match the system makes. The
options in the pop-up menu reflect the way in which color is
handled in the property page in which you are working—see
Hue Offset Tab Match Color Type in the Help.
Match Color
button
Color corrects using the settings you made.
Hue Offset Tab Match Color Type
Option
Description
Master
The system matches based on both the hue and the saturation
across the full tonal range.
Highlights
The system matches based on both the hue and the saturation
across the highlights portion of the tonal range as defined in the
Luma Ranges tab.
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Option
Description
Midtones
The system matches based on both the hue and the saturation
across the midtones portion of the tonal range as defined in the
Luma Ranges tab.
Shadows
The system matches based on both the hue and the saturation
across the shadows portion of the tonal range as defined in the
Luma Ranges tab.
Luma Ranges Tab
The Luma Ranges tab lets you customize the luminance ranges for the
highlights, midtones, and shadows (adjusted in the Controls and Hue
Offset tabs) using the Luma Ranges graph. It is an advanced tool for
making fine adjustments.
You can adjust the luminance ranges before making other HSL
adjustments. Alternatively, you might make HSL adjustments that affect
the different ranges and then use the Luma Ranges tab to fine-tune the
luminance ranges to which those adjustments apply. For example, you can
make an adjustment that you like in the Highlights wheel of the Hue
Offsets tab and then fine-tune the range of pixels to which that adjustment
applies using the Luma Ranges tab.
Luminance Ranges. The curves
in the Luma Ranges graph
correspond to your selection
Shadows
Midtones
Luma Ranges graph
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Highlights
Preview buttons
Color Correction Property Editor
When you adjust a curve, you are either reducing or expanding a
luminance range. For example, if you lower the highlights of an image and
increase the midtones. what happens?
The Midtones curve is selected
The keyframe selected
The keyframe
Option
Description
Range
Specifies the curve of the range that you want to display in the
Luma graph. You can enable all three curves at once.
Highlights
Displays the Highlights curve in the Luma graph.
Midtones
Displays the Midtones curve in the Luma graph.
Shadows
Displays the Shadows curve in the Luma graph.
Function Curve
Each curve represents the range. Be sure to select the correct
curve first before making adjustments.
Preview
Lets you preview your image.
Input
Displays the uncorrected image in normal color.
3Tone
Displays the uncorrected image using white, gray, and black to
represent the highlights, midtones, and shadows luminance
ranges respectively.
Output
Displays the image in normal color with all active corrections
applied.
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Channels Property Page
The Channels property page lets you redefine each output color channel
(red, green, blue) by blending different input color components in various
proportions. You can also identify a color channel that is deficient in some
way, such as one lacking in contrast and repairing it by “borrowing” from
another color channel. For some kinds of images, borrowing is the only
way to improve the appearance of the image significantly.
There are two panels on this property page: Preview and Channel
Blending.
Preview
Previews the individual color channels in monochrome. You can for
example, use the Preview panel to determine which input channels may
require color correcting. This is useful for checking the amount of contrast
or noise in each channel.
Option
Description
Input
Select the input type of the input image you want to preview.
Red
Displays the uncorrected red channel in monochrome
Green
Displays the uncorrected green channel in monochrome
Blue
Displays the uncorrected blue channel in monochrome
Master
Displays the complete uncorrected image in color
Output
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Select the output type of the output image you want to
preview
Red
Displays the red channel in monochrome with the Channel
Blending pane adjustments applied
Green
Displays the green channel in monochrome with the Channel
Blending pane adjustments applied
Color Correction Property Editor
Option
Description
Blue
Displays the blue channel in monochrome with the Channel
Blending pane adjustments applied
Master
Displays the complete image in color with the Channel
Blending pane adjustments applied
Channel Blending
Option
Description
%Blended Red
Blend being added to the Channel
%Blended Green
Blend being added to the Channel
%Blended Blue
Blend being added to the Channel
R
The input red channel
G
The input green channel
B
The input blue channel
Y
The input yellow channel
Cr
The red chroma channel in the component video signal
Cb
The blue chroma channel in the component video signal
Off
A constant value that adjusts all the other values in the formula
Invert
Select to subtract the component of the overall formula instead
of adding it.
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Levels Property Page
The Levels property page lets you control the relative brightness or
darkness of an image by defining the white, gray, and black points of video
material. It consists of an input histogram, a curve graph, an output
histogram, and subdividing tabs that let you view and adjust levels for each
color channel and the master channel. For example, to adjust levels for the
red color channel, click the Red tab.
The main use of the Levels property page is to rebalance the color or luma
range. It provides a great deal of control over the amount of contrast and
detail visible in the video image, especially since you can make
adjustments on the individual color channels. The Levels property page is,
therefore, a more refined and specialized version of the Gain, Gamma, and
Setup controls in the HSL property page.
You can also control only the white and black points for the luminance
range and for the composite signal to ensure your sequence is within legal
limits. If you make adjustments in the master channel and in one or more
of the other channels, the final output is the cumulative result of all the
adjustments. To define the white, gray, and black points, use the histogram
slider or the input and output text boxes.
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Option
Description
Subdividing tabs
Displays the histogram and function curve graph for the selected
tab
Composite
Adjusts high and low points for the composite signal to ensure
that your image remains within legal composite limits—see
Working with the Composite and Luma Tabs
Luma
Adjusts levels based on luminance values only—see Working
with the Composite and Luma Tabs
Red
Adjusts levels for the red color channel only
Green
Adjusts levels for the green channel only
Blue
Adjusts levels for the blue channel only
Color Correction Property Editor
Option
Description
Master
Adjusts levels for all three color channels only
Enable
Enables the level adjustments made for each channel
Gamma
Controls the Gamma value of the transformation curves on the
page and applies to either one of the color channels. Values: 0.1
to 10; 1 is the default value. Lowering the value darkens or
intensifies the selected color channel. Raising the value lightens
or subtracts the selected color channel.
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n
Not available in the Composite and Luma tabs
The controls in the Composite and Luma subdividing tabs work slightly
different from those in the other Levels tabs—see Working with the
Composite and Luma Tabs.
Curves Property Page
The Curves property page lets you control by adding as many keyframes as
you want and adjusting them. You can therefore control color with great
precision since you can make detailed adjustments to many different
subdivisions of the brightness range.
Similar to the Levels property page, you can control the master channel or
any individual color channel. The curve shows the relationship between
the input values to output values
This property page contains function curves that let you remap RGB
values globally, or individually remap the values of the red, green, blue,
luma, and alpha channels. The default curve is linear.
The Hue Offset controls, also found in the Hue Offset tab of the HSL
property page, are conveniently part of the Curves property page. It also
consists of the Curve graph which you can add an infinite number of
keyframes. Therefore, you can control color with great precision since you
can make detailed adjustments to many different subdivisions of the
brightness range.
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You can also type numerical input and output values in text boxes or use
the Color Match control to automatically add control points to the curves,
based on selected input and output colors.
Option
Description
Hue Offset
See “Hue Offset Tab” in the Help.
Channels
Select the channel(s) adjust the curves until you are
satisfied with the result.
Enable: Turns on and off the adjustment made to the specific
curve
Show: Shows the curve in the graph
Red
Turns the Red function curve on. This function curve is
represented as a red curve in the graph.
When you make corrections using the Red curve, you affect
the red color over the entire image.
Green
Turns the Green function curve on. This function curve is
represented as a green curve in the graph.
When you make corrections using the Green curve, you
affect the green color over the entire image.
Blue
Turns the Blue function curve on. This function curve is
represented as a blue curve in the graph.
When you make corrections using the Blue curve, you affect
the blue color over the entire image.
Master
Turns the Master function curve on. This function curve is
represented as a black curve in the graph.
When you make corrections using the Master curve, the
brightness of the image is affected as adjustments are being
made to all colors equally.
Luma
Turns the Luma function curve on. This function curve is
represented as a black curve in the graph.
When you make corrections using the Luma curve, you
affect the luminance range over the entire image.
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Color Correction Property Editor
Option
Alpha
Description
Turns the Alpha function curve on. This function curve is
represented as a black curve in the graph.
X Axis
Represents the input values or the values of the unchanged
image.
Y Axis
Represents the output values or the altered values.
Function Curve
Each curve represents the channel you have selected. Be sure
to select the correct curve first before making any
adjustments.
The default curve (before any adjustments have been made)
is an ascending 45° straight line, since input and output
values are the same across the entire range. If you make an
adjustment that moves the curve below the 45° angle, you
make the output values for the part of the image lower than
the input values and therefore the image darkens, and vice
versa.
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The steeper the curve, the greater the contrast.
Match Color Tool Lets you make a color correction by selecting input and
output colors from your images.
Match Color
Chip
The chip on the left and right represent the input and output
respectively. You can change the display of the units—see
Match Color Chip Menu in the Help.
Match Color
Type
Determines the exact nature of the match the system makes.
The options in the pop-up menu reflect the way in which
color is handled in the property page in which you are
working—see “Curves Property Page Match Color Type” in
the Help.
Match Color
button
Color corrects using the settings you made
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Curves Property Page Match Color Type
Option
Description
RGB
The system matches based on the values of all three color
channels of the color selected in the output color chip
RG
The system matches based on the values of the Red and
Green color channels of the color selected in the output color
chip
RB
The system matches based on the values of the Red and Blue
color channels of the color selected in the output color chip
GB
The system matches based on the values of the Green and
Blue color channels of the color selected in the output color
chip
R
The system matches based on only the value of the Red color
channel of the color selected in the output color chip
G
The system matches based on only the value of the Green
color channel of the color selected in the output color chip
B
The system matches based on only the value of the Blue
color channel of the color selected in the output color chip
Master
The system matches based on the luminance of the color
selected in the output color chip
Luma
The system matches based on the luminance of the color
selected in the output color chip
NaturalMatch
Turns NaturalMatch on or off.
When this command is selected, all the match types in the
Curves property page use NaturalMatch when making a
color correction.
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Color Correction Property Editor
Match Color Chip Menu
t
n
Right-click inside the Match Color chip and select the type of display
for the ratios.
The range of values from reference black to reference white is in brackets
except for HSL and HSV where this range is not applicable.
Option
Description
RGB
Red, Green, Blue color space display mode
HSL
Hue, Saturation, Lightness color space display mode
HSV
Hue Saturation Value color space display mode
YCC 601
YCbCr 601 color space display mode
YCC 709
YCbCr 709 color space display mode
Alpha
Alpha channel
3X3 pixel averaging
Picks an average area of 3X3 pixels
No Display
Disables the Match Color Chip.
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Chapter 9
Common Property Pages
Reference
This section contains information on the property pages that are shared by
many different effects.
Chapter 9 Common Property Pages Reference
Alpha Property Page
The Alpha property page lets you select the source (alpha, luma, red,
green, blue, fill, or clear) from which to map the output image’s (the image
coming from the Key Combiner) alpha channel.
As a clip or track effect, this effect is useful for inverting an image’s alpha
channel or filling the alpha channel so it’s opaque. Filling the alpha
channel reduces processing time and disk space.
Option
Description
From
Lets you select the source from which to map the
output image’s alpha channel
For example, you want to combine the RGB channels
of one input with a specific component(s) of a second
input—R, G, B, luma, or alpha. If the second input has
a mask in its alpha channel and you want to combine it
with the first input, then choose alpha. Otherwise,
select another source, such as luma, from which to
combine with the first input.
You can also fill or clear the alpha channel.
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Alpha
Maps output image’s alpha to the second input
image’s alpha channel
Luma
Maps output image’s alpha to the second input
image’s luma
Red
Maps output image’s alpha to the second input
image’s red channel
Green
Maps output image’s alpha to the second input
image’s green channel
Blue
Maps output image’s alpha to the second input
image’s blue channel
Alpha Property Page
Option
Description
Fill
Sets the output alpha channel to 100% value. For
example, if you map the alpha channel to fill, then the
value of 100% creates a white alpha channel (the
second input image is not used).
Clear
Sets the output image’s alpha channel to 0% value.
For example, if you map the alpha channel to clear,
then the value of 0% creates a black alpha channel (the
second input image is not used).
Invert
Inverts output alpha (the second input image is not
used)
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Border Property Page
The Border property page lets you apply a border to an image. You can
also produce a soft, semitransparent edge along the image or its border.
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Option
Description
Border Size
Controls size of border. Values: 0 (no border)
to 100 (whole image).
Border Softness
Controls amount of softness applied between
edge of image and interior edge of border
Border Fall off Size
Controls amount of softness applied to edge of
image
Border Opacity
Controls transparency of the border. Values: 0
completely transparent) to 100 (completely
opaque).
Border Color
Click on the color chip to pick a border color.
Double-click the color chip to open the color
editor—see Mini Color Editor.
Apply Effect
Turns border effect on or off
Color Property Page
Color Property Page
The Color property page lets you change the color of the cropped region.
By default, the cropped color is black.
You can pick colors from the image in the viewer or use the sliders to set
Red, Green, Blue, and alpha values.
Option
Description
Color Picker
Picks a color from image in viewer. Click the Color
Picker button , then move the pointer (now an
eyedropper icon) around the viewer. The color swatch
updates and the current color values are displayed.
Click to select a color.
Color swatch
Displays selected or default background color. Click
the color swatch to display the Mini Color Editor.
Red
Specifies red color. The intensity of red is represented
by a number from 0 to 100. 0 represents no light (black)
in the red channel, and 100 represents maximum light
intensity (white) in the red channel.
For example, 50 represents a dark red, while 100
represents a bright red. To produce a shade of gray, set
all three RGB colors to the same level.
Green
Specifies green color. The intensity of green is
represented by a number from 0 to 100. 0 represents no
light (black) in the green channel, and 100 represents
maximum light intensity (white) in the green channel.
For example, 50 represents a dark green, while 100
represents a bright green. To produce a shade of gray,
set all three RGB colors to the same level.
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Option
Description
Blue
Specifies blue color. The intensity of blue is
represented by a number from 0 to 100. 0 represents no
light (black) in the blue channel, and 100 represents
maximum light intensity (white) in the blue channel.
For example, 50 represents a dark blue, while 100
represents a bright blue. To produce a shade of gray, set
all three RGB colors to the same level.
Alpha
Specifies alpha color. The intensity of alpha is
represented by a number from 0 to 100. 0 represents no
light (black) in the alpha channel, and 100 represents
maximum light intensity (white) in the alpha channel.
For example, 50 represents a gray (semitransparent),
while 100 represents a white (opaque).
Color Property Page
The Color property page lets you pick colors from a palette or create new
colors for:
•
Graphics: painting, adding fills, coloring titles, and applying effects or
•
Drop shadows in the Drop Shadow effect.
•
Lets you pick colors from a palette or create new colors for a Picturein-Picture effect’s border.
To create new colors, you can pick them from the image in the viewer or
specify their RGB, YUV, or HSL color model values. The Spread option
lets you create a gradient of colors between two selected colors on the
palette. Alternate palettes are available in Avid DS Nitris, and you can also
save new palettes that contain your newly-created colors.
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Color Property Page
Color swatch
Color wheel
Color palette
Color views
Color models
Option
Description
Color swatch
Displays selected or default color.
Color palette
Displays current color palette.
Load
Lets you load a different palette. Click a palette
icon to load the palette.
Save
Lets you save current palette and create new folders
in which to store customized palettes.
Default
Restores default color palette
Slider
Represents what you’ve selected from the Color
Views menu. For example, if you selected HSV
Saturation, then the slider represents the saturation.
Color Views
Lets you choose the color view.
n
Tip: Press the Shift key to fine-tune color
selection.
Color wheel
Displays a color wheel for you to select a color
Vectorscope
Displays an outline color wheel that resembles a
vectorscope. This is useful for assessing colors in
images without interference from other colored
onscreen elements.
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Option
Description
Hue
The position of a color measured in degrees on the
color wheel (red, yellow, green, cyan, blue, or
magenta) and the various shades between them. For
example, red is 0.
Saturation
The purity of color or the amount of gray in the
color. Values: 0 (most saturated color) to 100 (least
saturated color).
Value
Displays a view of the value component of the HSV
color model
Color Model
You can set color according to the following color
models: RGB (red, green, blue), HSL (hue,
luminance, saturation), or CMYK (cyan, magenta,
yellow, black).
RGBA
Specifies colors using RGB (red, green, blue)
additive color model. The intensity of each color is
represented by a number from 0 to 100. A value of
0 represents no light (black) in a channel, and 100
represents maximum light intensity (white) in a
channel.
For example, (0,0,50) represents a dark blue, while
(0,0,100) represents a bright blue. To produce a
shade of gray, set all three RGB colors to the same
level.
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Color Property Page
Option
HSLA
Description
Specifies colors using HSL (hue, saturation,
luminance) color model.
Hue refers to the position of a color measured in
degrees on the color wheel (red, yellow, green,
cyan, blue, or magenta) and the various shades
between them. For example, red=0, cyan=180, and
magenta=300.HSLA
Luminance refers to the relative lightness or
darkness of a color. A value of 0 gives the darkest
result (black), and 100 gives the lightest result
(white).
Saturation refers to the purity of color or the
amount of gray in the color. Values range from 0
(most-saturated color) to 100 (least-saturated
color).
CMYA
Specifies colors using the CMY (cyan, magenta,
yellow) color model. This model simulates the fourcolor (CMYK) process used in printing.
Spread
Defines a range of color between two colors in the
palette. Click a color, Shift-click the second color,
and click Spread. All the colors between the two
selected colors change to the gradient of values
between them.
Pick
Picks a color from the image in the viewer.
Click the Pick button, then move the pointer (now
an eyedropper icon) around the viewer.
The color swatch updates and the current color
values are displayed.
Click to select a color. You can also replace a
newly-chosen color in the palette by clicking an
existing palette color before you pick the new one.
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Colors Property Page
The Colors property page lets you blend strips of colors that can have
arbitrary widths. You can create and edit intermediate colors to create a
blend between several colors.
The color at the left end of the gradient “preview” bar is the color at the
center of the gradient, and the color at the right end is farthest from the
center. As the Stretch value is increased, this last stripe of color moves
farther away from the center. Up to 20 colors can be placed in the gradient.
You can move their relative positions left or right (toward or away from
the gradient center) by clicking the Marker Left (<<) button or Marker
Right (>>) button.
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As a brush effect, you can apply a gradient effect to strokes or you can
reveal the effect over specific image areas.
Option
Description
Add
Adds intermediate colors to the gradient. A new color marker is placed at
the mid-point, between the current color indicator and the next marker.
Delete
Removes selected color from color gradient
Edit Last
Moves current color indicator to previous color marker
Edit Next
Moves current color indicator to next color marker
Marker Left (<<)
Moves position of current color marker to the left
Color swatch
Displays selected or default color. Click color swatch to display
the Mini Color Editor.
Marker Right (>>)
Moves position of current color marker to the right
Red
Lets you adjust the red channel
Green
Lets you adjust the green channel
Blue
Lets you adjust the blue channel
Alpha
Lets you adjust the alpha channel
Crop Property Page
Crop Property Page
The Crop property page lets you crop the matte in the alpha channel from
the top, bottom, left, or right edges. You can use the crop controls to crop
out areas for your matte in a similar fashion as when you create a garbage
matte.
Option
Description
Top
Crops top edge of image by number of pixels you specify
Left
Crops left edge of image by number of pixels you specify
Right
Crops right edge of image by number of pixels you specify
Bottom
Crops bottom edge of image by number of pixels you specify
Reset
Resets all parameters to the default values. This always
resets to the full image, even if you have previously entered
other crop values.
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DVE Property Page
The DVE property page lets you apply transformations to an image. You
can transform images along the horizontal (X), vertical (Y), and depth (Z)
axes. Avid DS Nitris computes and redraws the image as it would appear
in 3D space. You can enter numerical values in the corresponding text
boxes or manipulate the image interactively in the viewer.
When you apply a DVE as a transition, an additional property page
(Source) is available on which you can adjust the source image’s opacity
level, and the direction in which the DVE transition will be applied.
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Option
Description
Translate
Lets you control location of image along X, Y, and Z axes
X
Moves image in X direction. Enter a positive value to move
the image to the right and a negative value to move it to the
left.
Y
Moves image in Y direction. Enter a positive value to move
the image up and a negative value to move it down.
Z
Moves image in Z direction. Enter a positive number to move
the image closer, and a negative number to move it further
away.
Scale (%)
Lets you control the size properties of the image along the X
and Y axes.
X
Scales image in X direction. To scale proportionally, assign
identical values to X and Y.
Y
Scales image in Y direction
Lock XY
Links X and Y values, so that if you change one value, the
other value is the same. This option has no effect when you
interactively manipulate an image in the viewer.
DVE Property Page
Option
Description
Offset
Lets you specify how far the object’s center is displaced from
its original center. The center is the point around which the
image revolves. The X, Y, and Z default values are 0, 0, 0.
X
Specifies center offset along X axis
Y
Specifies center offset along Y axis
Z
Specifies center offset along Z axis
Affect
Specifies the plane(s) the offset will affect
Rotate
Lets you control the image’s angle of rotation along the X, Y,
and Z axes. These options are set relative to the image plane.
X
Rotates image along X axis
Y
Rotates image along Y axis
Z
Rotates image along Z axis. Enter a negative number to rotate
clockwise and a positive number to rotate counterclockwise.
Order
Specifies the XYZ order in which the rotations are applied (in
a counter-clockwise direction in a right-handed coordinate
system)
Interpolation
FCurve
Specifies the algorithm to be used for interpolation of
animated rotations
Lets you do multiple revolutions of rotation, such as winding
motion.
Also allows you to edit the rotation curves in the animation
editor.
Linear Quaternion
Performs the calculation based on the shortest rotation path
between keyframes. Creates a more robotic movement.
Cubic Quaternion
Similar to Linear calculation but produces smoother
movement
Opacity
Controls transparency of effect. Values: 0 completely
transparent) to 100 (completely opaque).
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Option
Description
Perspective
Adjusts the field of view as you would see it through a camera
lens. This applies to any rotation or to translation along the Z
axis.
Picture-in-Picture effect: Changes perspective foreshortening
applied to the Picture-in-Picture effect when it has been
translated along the Z axis. The default angle is 45º.
Use Motion Path
Lets you switch between creating animation using motion
paths or the translation controls.
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814
If f you turn this option off after creating a motion path,
the X, Y transforms are stored if you need to return to
the motion path at a later time.
Scale
Turns scale tool on or off
Rotate
Turns rotate tool on or off
Crop
Turns crop tool on or off
Reset
Resets parameters on this property page to default values
External Data Property Page
External Data Property Page
The External Data property page lets you specify the file name, frame
range, and resolution of the rendered .Zpic file.
n
The .pic and .Zpic files must have the same names. If they don’t, an error
message is displayed.
Option
Description
File Path
Specifies file name for rendered .Zpic files
Browse
Frame Range
Lets you navigate to folder in which .Zpic file is
located
Specifies range of frames for .Zpic file
Start
Specifies first frame for .Zpic file
End
Specifies last frame for .Zpic file
Resolution
The resolution that matches the current project
X
Represents X resolution of current project
Y
Represents Y resolution of current project
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General Property Page
The General property page lets you apply filters that improve the quality of
a scaled or rotated image. When an image is scaled down or rotated, small
jagged lines can appear on the oblique edges of objects or sometimes
within the image. You can also specify the channels on which the DVE
will be applied, and the type of source material you are using.
Command
Description
Quality
Settings that control the quality of the results, which can affect
the processing speed.
When you scale or rotate an image, a resampling algorithm is
applied to enhance the image’s quality. The options are also
arranged according to speed, with Nearest Neighbor being the
fastest and Bicubic being the slowest.
If you scale down an image, enabling the Filtering option and
adjusting the filtering level will give better results.
If you scale up an image, the Bicubic option gives the highest
quality, and Nearest Neighbor gives the lowest quality.
Nearest
Neighbor
Applies no filter to the image (this is the fastest mode). Pixels
are skipped when scaling down and duplicated when scaling
up.
Bilinear
Applies bilinear interpolation when scaling up and some
filtering when scaling down.
It is useful when you scale an image up, which improves the
scaled image’s quality. This is the default setting.
Bicubic
Applies bicubic interpolation when scaling up and no filtering
when scaling down.
Produces a higher quality image than the Bilinear option when
you scale an image up.
Multi Tap
816
Applies a larger filter than the other options to provide good
interpolation and anti-aliasing quality.
General Property Page
Command
Description
Use Default Uses the default quality setting, Bilinear
(Bilinear)
Apply filter
Adds an extra level of filtering when scaling down to the
selected mode
Filter Level
Determines the strength of the filter. Higher settings result in a
stronger filter and longer processing time.
Transform
Channels
Lets you specify the channels on which the DVE will be
applied
Red
Applies the DVE to the red channel
Green
Applies the DVE to the green channel
Blue
Applies the DVE to the blue channel
Alpha
Applies the DVE to the alpha channel
Motion Blur
Lets you apply a motion blur to an animated DVE
Apply
Turns the Motion Blur effect on or off. This is useful for
viewing the effect with or without the motion blur.
Duration
Sets the duration of the motion blur between the current frame
and next frame. Values 0 to 100 percent. The default value is
50%.
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Command
Samples
Description
Lets you set the number of samples per frame, which can
improve the smoothness of the motion blur. Values range from
1 to 100. A value of 1 applies no motion blur. A value higher
than 1 increases the number of samples.
For example, if you set the number of samples to 2, then two
images are superimposed on top of each other at the current
frame. If you set the number of samples to 4, then four images
are superimposed, and so on.
The default value of 8 usually provides a smooth motion blur.
If the animation has a large movement between frames, then
you should increase the number of samples to create a
smoother motion blur.
n
Background
By default, the background is automatically premultiplied
Color
Displays the selected or default color. Click color swatch to
display the Mini Color Editor.
Apply
Applies the color when there is no other input.
Opacity
Controls transparency of effect. Values: 0 completely
transparent) to 100 (completely opaque).
Force Premult
818
The larger the number of samples, the longer the
process time.
Lets you select to premultiply or unpremultiply the outgoing
image. This option is useful, for example, when you are
touching up a matte and want the outgoing image to be
premultiplied.
Key Property Page
Key Property Page
The Key property page lets you produce a basic matte. If your image
contains transparent areas, such as glass or smoke, you can get the best
results by using the Cleanup and Foreground Presence parameters.
Option
Description
Pick Key Color
Creates matte based on selected color.
Click the Pick Key Color button and move the
pointer (now an eyedropper icon) in the
viewer. Click a color to select it as the key
color.
Color swatch
Displays selected or default color. Click color
swatch to display the Mini Color Editor.
Keep Original Alpha
Applies keyer only to non-transparent areas of
original alpha channel. When you have an
existing matte, such as a garbage matte, use
this option to ensure that the original matte is
applied only to opaque areas of the keyed
matte.
When you don’t have an existing matte, this
option has no effect because the default alpha
channel is 100% opaque.
Tune
Cleanup
Lets you adjust threshold between what is
foreground and what is background, increase
or decrease semitransparent areas of a
foreground object, and increase the opacity of
red or blue areas in a foreground object.
Increases or decreases threshold between what
is foreground and what is background. Lower
values add more foreground and higher values
remove more foreground.
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Option
Description
Foreground Presence
Increases or decreases semitransparent areas
of foreground object. Lower values decrease
the semitransparent areas of the foreground
and higher values increase the semitransparent
areas.
Red/Blue Presence
Increases opacity of red or blue areas in a
foreground object.
If your key color is blue and a foreground
object contains red, use the slider to increase
the opacity of the red areas.
If your key color is green and a foreground
object contains blue, use the slider to increase
the opacity of the blue areas.
Pre-blur
Applies blur before picking the key color,
removing noise from the color picked as the
key color.
Apply
Turns Pre-blur option on or off, letting you
compare the composite's appearance with or
without the pre-blur effect
Amount
Lets you control amount of pre-blur is applied
to the matte.
Values: 0.1 to 1000. Higher values decrease
the amount of noise in the matte.
820
Apply Key
Turns keyer on or off. When you select this
option, the keyer is applied to the image.
When deselected, you can bypass the keyer to
display the original image.
Output Matte
Switches keyer output to display either the
RGB channels or matte. When you select this
option, the matte is output as an RGB image.
Reset
Resets parameters on this property page to
default values
Key Property Page
Key Property Page
The Key property page lets you produce a basic matte. You can adjust the
matte farther using controls on the Matte property page.
Option
Description
Gain
Lets you add or remove opacity from areas that are
semitransparent. Values: 0 to 200.
Brightness
Lets you add brightness to all areas of the matte. Areas
that are fully transparent become semitransparent and
areas that are semitransparent become more opaque.
Values: -100 to 100.
Pre-blur
Applies blur before picking the key color, removing
noise from the color picked as the key color
Apply
Turns Pre-blur option on or off, letting you compare
the composite's appearance with or without the preblur effect
Amount
Lets you control amount of pre-blur applied to matte.
Values: 0.1 to 1000. Higher values decrease the
amount of noise in the matte
Reverse FG/BG
Lets you invert matte as a pre-process before you pick
foreground and background areas of matte. Areas that
were foreground become background and vice versa.
For example, if you have a clip that contains text and
you want to display the background layer through the
text, select the Reverse FG/BG option to invert the
matte.
If you want to reverse a matte, use this option before
you adjust parameters on any other property pages.
Apply Key
Turns keyer on or off. When you select this option, the
keyer is applied to the image. When you deselect this
option, you can bypass the keyer to display the original
image.
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Option
Description
Keep Original Alpha
Applies keyer only to the non-transparent areas of the
original alpha channel. When you have an existing
matte, such as a garbage matte, use this option to
ensure that the original matte is applied only to opaque
areas of the keyed matte.
When you do not have an existing matte, this option
has no effect because the default alpha channel is
100% opaque.
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Output Matte
Switches the keyer output to display either the RGB
channels or the matte. When selected, the matte is
output as an RGB image.
Reset
Resets parameters on this property page to default
values
Key Values Property Page
Key Values Property Page
The Key Values property page lets you create a matte based on the
luminance values of an image. You can control the range of luminance
within the image that will create the matte.
When you adjust the Low Clip or High Clip values, the corresponding
Softness slider will also be adjusted when the Low Clip or High Clip
values become equal to the Softness values. For example, if you adjust the
Low Soft value until it is equal to or higher than the Low Clip value, both
sliders will move to the new value.
Option
Description
Low Soft
Creates a soft transition between transparent and
opaque areas keyed with Low Clip. Adjusting the Low
Soft value makes the opaque areas of the matte
semitransparent. Increasing the value causes more
pixels to become semitransparent.
You can set this value by adjusting the slider, entering
a value, or by making a pixel or rectangular selection
(Ctrl+Shift-drag).
Low Clip
Lets you make semitransparent areas of alpha channel
transparent. Adjusting the Low Clip value to a value
above 0 makes all the semitransparent areas between
the new value and 0 transparent.
You can set this value by adjusting the slider, entering
a value, or by making a pixel or rectangular selection
(Ctrl-drag) in the viewer to select a luminance range
from the image.
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Option
Description
High Clip
Lets you make semitransparent areas of alpha channel
opaque. Adjusting the High Clip value to a value
below 1 makes all the semitransparent areas between
the new value and 1 opaque.
You can set this value by adjusting the slider, entering
a value, or by making a pixel or rectangular selection
(Ctrl+drag) in the viewer to pick a luminance range
from the image.
High Soft
Creates soft transition between transparent and opaque
areas keyed with High Clip. Adjusting the High Soft
value lets you make the transparent areas of the matte
become semitransparent. Increasing the value causes
more pixels to become semitransparent.
You can set this value by adjusting the slider, entering
a value, or by making a pixel or rectangular selection
(Ctrl+Shift-drag).
Reset
Resets all the parameters to the default settings
Keep Original Alpha
Applies keyer only to non-transparent areas of original
alpha channel. When you have an existing matte, such
as a garbage matte, use this option to ensure that the
original matte is applied only to opaque areas of the
keyed matte.
When you do not have an existing matte, this option
has no effect because the default alpha channel is
100% opaque.
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Invert Key
Inverts alpha channel pixel values to create the
“negative” of the matte
Activate
Lets you select which tool, such as a keyer or DVE is
active. Since several property editors can be open
simultaneously, use this button to select which one
should be active while you work interactively in the
viewer.
Masking Property Page
Masking Property Page
The Masking property page lets you specify on which of the image’s
RGBA channels an effect will be applied, and whether or not to use a mask
for the effect. For example, if you select the red channel in the Process box,
and the alpha channel in the Mask box, then the effect will only be applied
to the red channel using the alpha channel of the input clip as a mask.
You can derive masks from the alpha of the input clip or an external matte
from another clip when using an Effects Tree.
n
Some options on the Masking property page are not available depending
on the type of effect, such as Dissolve effects.
Option
Description
Process
Lets you select the channel on which to apply the
effect.
n
In some cases these options may appear
dimmed, reflecting the requirements of the
effect. However, you can still see which
channels will be processed.
For example, when you use a keyer or Matte
Composite effect, these options appear dimmed
because all four channels must be processed.
Red
Applies effect to red component of image
Green
Applies effect to green component of image
Blue
Applies effect to blue component of image
Alpha
Applies effect to alpha component of image
Mask
None
Lets you use a mask for the effect
Applies effect to entire image. Neither the alpha
channel nor matte input are used for masking.
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Option
Alpha
Description
Applies effect using alpha channel of input clip as a
mask. For effects with more than one input, the alpha
channel of the first input is used.
If the alpha is set to 0 in a region, then the original
image from the first input is displayed instead of the
image resulting from the effect in that region. If the
alpha is full, only the result of the effect is displayed in
that region. For any other values of alpha, the original
image is blended with the result of the effect using the
alpha value as blend factor.
Mask Input
n
In some cases, these options may appear
dimmed, reflecting the requirements of the
effect.
Lets you apply effect using matte from another image
or effect in an Effects Tree only. Amount of effect
applied to a region in an image depends on value of
selected component (alpha, luma, red, green, or blue)
of the external matte in that region.
For example, if component has a value of 25% in a
region, then 25% of the effect is used and 75% of the
original image in that region.
To use this option, make a connection to the Mask
input of the effect node in the Effects Tree.
Alpha
Applies effect using alpha component of external
matte
Luma
Applies effect using luminance of external matte
Red
Applies effect using red component of external matte
Green
Applies effect using green component of external
matte
Blue
Applies effect using blue component of external matte
Invert
826
Inverts the matte before the effect is applied
Masking Property Page
Option
Description
Mix
Lets you blend the result of the effect with the original
input or a color
Amount
Increases or decreases the percentage of the intensity
of the effect. Values: 0 to 100.
The default is 100 where the effect is fully applied. At
0, the effect is disabled.
Mix to Input
Mixes the effect to the input. At the default 100, the
effect is fully applied and at 0 the effect is disabled.
Mix to Color
Mixes the effect to the color that you have selected. At
the default 100, the effect is visible and at 0 only the
selected color is visible.
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Matte Property Page
The Matte property page lets you apply post-process mapping to the matte
generated from the Key property page. It also contains controls that let you
blur, shrink, grow, or invert your matte.
Option
Description
Map
Lets you apply post-process mapping to the matte
generated in the Key property page. You can adjust
areas of the matte according to their degree of
transparency, making semitransparent areas fully
opaque/transparent.
Pick BG
Lets you force semitransparent areas of the matte
generated by the key to become transparent. For
example, if the background is moved from 0 to 20, any
background matte that falls within this range will be
remapped to 0. Any background matte that falls
between 20 and the Pick FG setting is remapped to fall
between 0 and 100.
Pick FG
Lets you force semitransparent areas of the matte
generated by the key to become opaque. For example,
if the foreground is moved from 100 to 80, any
foreground matte that falls within this range will be
remapped to 100. Any foreground matte that falls
between the Pick BG setting and 80 is remapped to fall
between 0 and 100.
Size
828
Lets you increase or decrease the size of the matte and
choose the shrink/grow method.
Apply
Turns Size option on or off. This lets you compare the
composite’s appearance with and without the Size
effect.
Fast
Applies a Faster shrink/grow method. However, the
quality may be affected. For example, when you
shrink/grow the matte using the Fast option, the edges
take on a more square appearance.
Matte Property Page
Option
Shrink/Grow
Blur
Description
Increases or decreases size of matte
Lets you control softness of the matte
Apply
Turns Blur option on or off, letting you compare the
composite’s appearance with and without the blur
effect
Amount
Defines size of area around each pixel that contributes
to the new, averaged value. The greater the amount,
the softer the blur. Values: 0.1 to 1000.
Invert Key Matte
Inverts resulting alpha channel pixel values to create a
“negative” of the matte
Output Matte
Switches keyer output to display either the RGB
channels or the matte. When this option is selected, the
matte is output as an RGB image.
n
This option is not available in the HSL and
Luminance Keyer property editors.
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Option
Description
Force Premultiplied
Lets you control how mattes are adjusted or created on
incoming premultiplied or unpremultiplied images.
This option is useful when you are touching up a matte
and want to preserve the premultiplication setting, or
when you are creating a matte and want to change the
premultiplication setting.
When keying an image, the following conditions
affect the outgoing image’s premultiplication setting:
Reset
830
•
If Force Premultiplied is on, the output is
premultiplied. If the input is premultiplied, then
the image color (RGB) is adjusted by the effect
wherever it changes the matte.
•
If Force Premultiplied is off and Keep Original
Alpha is on (Key property page), the output
premultiplication setting is set to match the input
image’s premultiplication setting. This setting is
useful when you’re touching up an image.
•
If Force Premultiplied is off and Keep Original
Alpha is off (Key property page), the output
premultiplication setting is set to notpremultiplied. This setting is useful when you are
creating a matte.
•
If the keyer is applied to a clip on an video track
and performs an over operation, the output is
always premultiplied (Force Premultiplied is
ignored).
•
If Output Matte is on, the output is always
premultiplied (Force Premultiplied is ignored).
Resets all parameters to the default values
Matte Property Page
Matte Property Page
The Matte property page lets you apply post-process mapping to the matte
generated from the Key property page. It also contains controls that let you
blur, shrink, grow, or invert your matte.
Option
Description
Map
Lets you apply post-process mapping to the matte
generated in the Key property page. You can adjust
areas of the matte according to their degree of
transparency, making semitransparent areas fully
opaque/transparent.
Pick BG
Lets you force semitransparent areas of the matte
generated by the key to become transparent. For
example, if the background is moved from 0 to 20, any
background matte that falls within this range will be
remapped to 0. Any background matte that falls
between 20 and the Pick FG setting is remapped to fall
between 0 and 100.
Pick FG
Lets you force semitransparent areas of the matte
generated by the key to become opaque. For example,
if the foreground is moved from 100 to 80, any
foreground matte that falls within this range will be
remapped to 100. Any foreground matte that falls
between Pick BG setting and 80 is remapped to fall
between 0 and 100.
Size
Lets you increase or decrease the size of the matte and
choose the shrink/grow method.
Apply
Turns Size option on or off. This lets you compare the
composite’s appearance with and without the Size
effect.
Fast
Applies a Faster shrink/grow method. However, the
quality may be affected. For example, when you
shrink/grow the matte using the Fast option, the edges
take on a more square appearance.
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Option
Shrink/Grow
Blur
Description
Increases or decreases size of matte
Lets you control softness of the matte
Apply
Turns Blur option on or off, letting you compare the
composite’s appearance with and without the blur
effect
Amount
Defines size of area around each pixel that contributes
to the new, averaged value. The greater the amount,
the softer the blur. Values: 0.1 to 1000.
Invert Key Matte
Inverts resulting alpha channel pixel values to create a
“negative” of the matte
Output Matte
Switches keyer output to display either the RGB
channels or the matte. When this option is selected, the
matte is output as an RGB image.
n
Reset
832
This option is not available in the HSL and
Luminance Keyer property editors.
Resets all parameters to the default values
Options Property Page
Options Property Page
The Options property page lets you specify precise processing options for
the selected effect.
These settings override those in the Sequence Preferences dialog box.
Option
Description
Type
Auto
If you select Auto, Avid DS Nitris will use the global
processing setting in the sequence preferences.
Frame Processing
Processing, including animation, is frame-based. Both
fields in each frame are processed together using the
same property values.
Field Processing
Processing, including animation, is field-based. Odd
and even fields are processed separately using
different property values based on the animation. This
option is better for animated effects, such as dissolves,
fades, and motion paths.
Source Material
Frame
Lets you specify if the source material is frame-based,
or is the same as the Type setting.
Lets you indicate that the image on which an effect is
applied is frame-based. If the image on which an effect
is applied is a frame-based image, then select this
option.
n
Still images are always frame-based.
Same As Processing Lets you specify that the source material is the same as
the Type setting. This is the default option.
If the image on which an effect is applied is fieldbased, then select this option, and make sure that the
Type setting is set to Field Processing as well.
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Option
Description
Precision
Choose the bit depth at which your effects will be
processed. Some effects are capable of 16 and 32-bit
float precision. The drop-down list shows the
supported bit depths for this effect.
If you select Auto, Avid DS Nitris will use the global
precision setting in the sequence preferences, unless a
different setting is propagated by a previous input
effect.
Use Same Precision All effects that are input to this effect will use the
for Inputs
above Precision setting if their Precision is set to Auto.
Output Frame Size
834
Forces the effect to output pixels an image of the
frame size. If the image is larger, it will be cropped. If
smaller, it will be padded with black transparent
pixels. For example, if you have a PAL sequence that
is 720×576 and you process an image larger than the
PAL frame (2000×2000), then only the pixels that fall
within the PAL frame will be output from this effect.
The rest will be cropped out.
Shapes Property Page
Shapes Property Page
The Shapes property page lets you create a garbage matte for an image.
Once you create a shape using any of the shape creation tools, it is added to
the matte generated by the keyer.
You can apply the matte to the interior or exterior of the shape you create.
n
If you invert the matte on another property page, the shapes you create are
not inverted. This is because the shapes are processed after all the other
tools inside the effect. If you want to invert the shape(s), change the fill
(inside or outside) value to 100 or 0 (depending on the original shape fill
value).
Option
Description
Shape Creation
Lets you draw a matte using the Freehand, Polyline,
Elliptical, or Rectangle tools
Shape Transformation
Lets you transform shape created with the Shape
Creation tools. You can select a shape, then scale,
rotate, or skew it.
Edit Shapes
Lets you modify the shape you created. When you
click this button, the last shape you created becomes
selected. You can then modify the shape by moving
control points, or by adjusting any of the tangent
handles.
To select multiple shapes, press the Shift key and
select each shape.
Apply
Applies the shapes to the matte generated by the keyer.
Select this option to activate all the shape tools.
Edit
Displays wireframe outline of each shape you create in
the viewer. When selected, you can draw or transform
shapes.
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Option
Description
Output Matte
Switches keyer output to display either the RGB
channels or matte. When selected, the matte is output
as an RGB image.
Shape Level
Lets you move shape(s) in front of or behind other
shapes.
n
836
Tip: To view the order of each shape, ensure
that the Output Alpha option is selected, or
choose the alpha channel in the viewer. You can
also temporarily change the fill option of each
shape to help distinguish between them.
Front
Moves selected shape in front of all other shapes
(press Shift+Page Up)
Raise
Moves selected shape up one level forward (press
Page Up)
Lower
Moves selected shape down one level backward (press
Page Down)
Back
Moves selected shape(s) behind all other shapes (press
Shift+Page Down)
Apply Blur
Blurs edges of selected shape(s). The greater the
amount, the softer the blur. Values: 0.1 to 1000.
Fill Inside
Fills interior of selected shape(s)
Fill Outside
Fills exterior of selected shape(s)
Composite Method
Lets you choose how shapes are composited
Replace
Replaces existing alpha with alpha of the overlapping
shape
Over
Combines original alpha with selected shape’s alpha.
For example, if the original alpha is 50% and the
shape’s alpha is 50%, the resulting alpha will be 75%.
Source Property Page
Source Property Page
The Source property page contains settings to adjust the source image’s
opacity level and the direction in which the DVE transition will be applied.
It is only displayed when you apply a DVE or Picture-in-Picture effect as a
transition or in an Effects Tree.
Option
Description
Opacity
Controls transparency of effect. Values: 0 completely
transparent) to 100 (completely opaque).
DVE Source
Lets you specify if DVE is applied to incoming or
outgoing clip
To
Applies DVE effect to incoming clip
From
Applies DVE effect to outgoing clip
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Spill Matte 2 Property Page
The Spill Matte 2 property page lets you apply post-process mapping to the
matte generated for the spill matte.
It also contains controls that are useful if the keyer generated a matte that
has slight shades of opaque or transparent alphas in areas that you think
should be fully opaque or transparent.
Option
Description
Map
Lets you apply post-process mapping to the spill matte
generated in the Spill Matte 1 property page. You can
adjust areas of the spill matte according to their degree
of transparency making semitransparent areas fully
opaque/transparent. For example, if the min range is
moved from 0 to 20, then any values that fall within
this range will be remapped to 0. Any values that fall
between 20 and 100 are remapped to fall between 0
and 100.
Apply
Turns Map effect on or off. When you select this
option, the effect is applied to the spill matte. When
deselected, you can bypass the effect to display the
spill matte without this effect. This lets you compare
the matte with and without the effect.
Min/Max
Lets you vary transparency range of alpha channel.
Values: 0 to 100.
Adjusting the Min value above 0 forces all
semitransparent areas between the new value and 0 to
become transparent. Adjusting the Max values below
100 forces all semitransparent areas between the new
value and 100 to become opaque
Size
838
Lets you increase or decrease the size of the matte and
choose the shrink/grow method.
Spill Matte 2 Property Page
Option
Description
Apply
Turns Size option on or off. This lets you compare the
composite’s appearance with and without the Size
effect.
Fast
Applies a Faster shrink/grow method. However, the
quality may be affected. For example, when you
shrink/grow the matte using the Fast option, the edges
take on a more square appearance.
Shrink/Grow
Increases or decreases size of matte
Blur
Lets you control softness of the matte
Apply
Turns Blur option on or off, letting you compare the
composite’s appearance with and without the blur
effect
Amount
Defines size of area around each pixel that contributes
to the new, averaged value. The greater the amount,
the softer the blur. Values: 0.1 to 1000.
Apply
Turns Spill Matte 2 on or off, letting you compare the
composite’s appearance with or without the spill
matte.
Output Spill Matte
Switches the keyer output to display either the RGB
channels or spill matte. When this option is selected,
the spill matte is output as an RGB image, letting you
view areas of the matte containing spill. Black areas
represent total spill, gray areas represent partial spill,
and white areas represent no spill.
Reset
Resets all parameters on this property page to the
default values
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Chapter 9 Common Property Pages Reference
Spill Replace Property P age
The Spill Replace property page lets you adjust the amount and hue of spill
color in an image’s RGB channels.
When an image contains transparency, such as glass or smoke, the selected
key color is inherently displayed in the transparent image. In other cases,
the key color (blue or green) may reflect on foreground elements, thereby
“spilling” into the foreground. Spill correction can correct such flaws
either by reducing the amount of spill or by replacing the spill color with a
more desirable color.
840
Option
Description
Pick Hue
Lets you select color whose hue will replace the
current spill hue by picking a color in the viewer
Output Spill Matte
Switches the keyer output to display either RGB
channels or the spill matte. When selected, the spill
matte is output as an RGB image, letting you view
areas of the matte containing spill. Black areas
represent total spill, gray areas represent partial spill,
and white areas represent no spill.
Apply
Turns Spill Replace effect on or off. This lets you
compare the composite’s appearance with or without
the corrected spill color.
Reset
Resets all parameters on this property page to the
default values
Hue
Lets you modify hue of replacement spill hue
Saturation
Lets you modify replacement spill color’s saturation
Luma Gain
Lets you multiply original luminance by value you
select. A value of 100 represents the original
luminance.
Luma Brightness
Lets you add to original luminance by value you
select. A value of 0 represents the original luminance.
R1–R4 and L1–L4 Property Page
R1–R4 and L1–L4 Property Page
The R1 to R4 (Reference) and L1 to L4 (Layer) property pages let you
specify the parameters of the trackers that you are using to track the
reference and/or layer images. One to four tabs, displayed at the top of the
Motion Tracker property editor, give you access to the tracker properties.
The tabs displayed depend on the tracking mode and image that you
specify. For example, if you select 2-point tracking of the reference image,
tabs R1 and R2 are displayed.
Option
Description
Target
The tracker uses the target area to search for a similar
region in subsequent frames. It always looks for the
highest level of similarity based on the color space
values you choose between the target area and the
search region.
Center X
Positions tracker on X axis. The default value of 0 puts
the tracker at the left edge of the image area.
Center Y
Positions tracker on Y axis. The default value of 0 puts
the tracker at the bottom edge of the image area.
Offset X
Lets you position tracker on X axis. Press Shift+rightclick and drag to position tracker on X axis over a new
reference target.
n
Notice that the original tracker maintains its
position.
Offset Y
Lets you position tracker on Y axis. Press Shift+rightclick and drag to position tracker on Y axis over a new
reference target.
Translation Only
Increases tracking speed using a different algorithm
Color Space
Lets you choose color space in which tracking will be
performed: Luma, RGB, R, G, or B
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Chapter 9 Common Property Pages Reference
Option
Description
Set Target
Sets current frame as new timecode target. If this
option is not selected, the timecode target is set to the
frame where tracking began. When you select this
option, the Update Always option becomes deselected
and vice versa.
Update Always
Makes the trackers compare the pixel pattern of the
current frame to that of the previous frame, rather than
the first frame at the tracking start point (or the set
target).
Use this option when the target area changes in
appearance as the clip is played. Note that this can
cause cumulative tracking errors. When you select this
option, the Set Target option becomes deselected and
vice versa.
Confidence
The tracker always looks for the highest level of
similarity between the target area and the search
region. The default value of 85 may cause the tracker
to stop unless it finds at least an 85% similarity
between its target area and the search region.
n
Current
Shows default or confidence level currently being
used by tracker
Threshold
Defines acceptable level of match between target and
comparable area found in next frame. The option that
you select for If Below Threshold determines how the
tracker will proceed when the confidence value falls
below the threshold value.
If Below Threshold
842
A low confidence value may cause the tracker to
“lose” its way by tracking a region whose pixel
pattern resembles that of the actual object.
If the confidence level falls below the set threshold
value, such as when the target becomes obscured, the
following options determine how the tracker will
analyze the motion path.
R1–R4 and L1–L4 Property Page
Option
Description
Update Target
The target is set to current area found, and continues to
update each time the target falls below the threshold.
This option is useful if you have a rotating object and
are tracking corner points. Since the corner points
change, updating the target will follow these
changes—see Starting the Tracking Process
Continue
Continues tracking even if the target falls below the
threshold. It’s based on the original target area and
generates a motion path regardless of the confidence
level. After the tracking is complete, you can use the
Remove Keys Below Threshold option to remove the
failed keyframes. This will draw a straight line
between the good keyframes and delete the bad
keyframes.
n
Stop
If the object being tracked comes back to full
view, the tracker may find it again if it is within
the search region of the tracker.
Stops tracking if target falls below threshold. This is
the default option.
Once the tracker stops, you can reposition the tracker
and then restart tracking forward or backwards until
the tracker is no longer below the threshold.
Predict
The motion vector created by the first two frames
(based on velocity, direction, and speed) is used to
predict the search area for subsequent frames. The
tracker predicts the motion path of the target until it
comes back into view.
This option also lets you reduce the size of the search
region, reducing processing time. It works best when
tracking objects that are travelling in a linear path.
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Chapter 9 Common Property Pages Reference
Option
Description
Remove Keys Below This is especially useful when working with the
Threshold
Predict option. Select this option after the tracking is
complete to remove keys that were added by
prediction. The tracker interpolates between where the
target disappeared from view to where it appeared
again to create a smoother, more accurate motion path.
Tracker Property Page
The Tracker property page lets you track a moving object in a sequence
and apply the transformation to a shape or control point of a shape.
When using the tracker, you must define the region that will undergo
tracking using a drawing tool. The tracker will track for the duration of the
effect.
844
Option
Description
Tracking Mode
Lets you choose mode in which a shape will be
tracked. These options are unavailable if you choose
control points instead of a shape.
1-point
Lets you track one point in a shape; useful for
performing translation only.
2-point
Lets you track two points in a shape; useful for
performing translation, rotation, and/or scaling.
Show
Displays the trackers on a selected shape or control
point. You must display the trackers before you can
start tracking.
Hide
Hides all trackers
Hide Selected
Hides selected trackers
Delete Selected
Deletes selected trackers
Tracker Property Page
Option
Description
Delete All
Deletes all trackers
<>
Begins tracking (backward or forward) or resumes
tracking after a tracker error has occurred
Fast Tracking
Increases tracking speed using a faster algorithm
Track in Fields
Sets the tracker to track in fields
Magnification
Sets magnification value for viewing tracker region
Color Space
Lets you choose color space in which tracking is
performed: Luma, RGB, R, G, or B
Tracker ID
Displays name of selected tracker
Confidence
The tracker always looks for the highest level of
similarity between the target area and the search area.
The default value of 70 causes the tracker to stop
tracking unless it finds at least a 70% similarity
between its target area and the search region. If the
tracker cannot find a match based on your confidence
criteria, the tracking will stop.
Minimum
Specifies minimum percentage of similarity the
tracker will look for between pixel pattern in its target
area and search area before it creates a motion path
between frames.
Turn off this option by specifying a value of 0.
n
Current
Target
A low or nonexistent confidence value may
cause the tracker to “lose” its way by tracking a
region whose pixel pattern resembles that of the
actual object.
Shows confidence level currently being used by the
tracker
Lets you change original target position
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Chapter 9 Common Property Pages Reference
Option
Description
Set
If tracker is moved to a new position while tracking, a
timecode is set to indicate the last position of the
tracker. By default, the timecode is set to the start
frame on which the tracking began.
Always Update
Makes trackers compare pixel pattern of current frame
to that of the previous frame, instead of the first frame
at the tracking start point (or the set target).
Use this option when the target area changes in
appearance as the clip is played. This option can cause
a cumulative tracking error.
Disable
Lets you turn off tracker results for scaling,
translation, and rotation. For example, if you’re
tracking an object that scales, moves, and rotates, you
may not want the tracker to rotate the object while
tracking is performed.
n
846
These options only apply to 2-point tracking.
Translation
Turns translation in X or Y on or off
Scaling
Turns scaling in X or Y on or off
Rotation
Turns rotation in X or Y on or off
Index
Symbols
< Frame command, swift menu 398
Numerics
10 Band Graphic EQ property editor
about 215
Bands 1-4 property page 215
Bands 5-10 property page 216
2-1 Compression effect 216
2D command, 3D DVE Layers menu 512
2D Layer command, 3D DVE Layers menu 512
2D layer, 3D DVE Layers view 515
3 Band Tone Control property editor
about 212
3-1 Compression effect 217
3-2 Contract command, NLE Tools toolbar 284
3-2 Contract property editor 294
3-2 Expand command, NLE Tools toolbar 284
3-2 Expand property editor 295
3D command, 3D DVE Layers menu 512
3D DVE combo view 507
3D DVE command, Layout menu 59
3D DVE Layers menu 511
2D command 512
2D Layer command 512
3D command 512
3D Layer command 512
Copy command 512
Cut command 512
Delete command 512
Down command 512
Layer Type command 512
Move command 512
New command 512
Paste command 512
Rename command 512
To Bottom command 512
To Top command 512
Up command 512
3D DVE Layers toolbar 504
Bring to Front button 504
Deselect All button 504
Group button 504
Lock button 504
Lower button 504
Raise button 504
Select All button 504
Send to Back button 504
Ungroup button 504
Unhide All button 505
Unlock button 505
3D DVE Layers view 514
adding layers 515
changing layer type 517
copying/moving objects between layers 519
creating layers 515
Index 1 A B C D
E
F G H
deleting layers 515
hiding layers 516
manipulating objects in layers 518
renaming layers 517
reordering layers 516
reordering objects 519
selecting layers 518
selecting objects in layers 518
showing layers 516
viewing layers, different sides 520
3D DVE layout 498
3D DVE Object View
Collapse icon 510
collapsing 510
Expand icon 510
expanding 510
hiding objects 509
panning 511
showing objects 509
zooming 511
3D DVE Object View menu 513
Collapse command 513
Hide Selected command 513
Show Hidden command 513
View Lights command 513
Zoom to Fit command 513
3D DVE Options property editor 541
Direct View property page 544
Output property page 541
Preferences property page 541
3D DVE Page menu (3D OV)
Add Page After command 513
Add Page Before command 513
Balance Durations command 514
Clip to Page command 514
Close Gap command 514
Extract command 513
Lift Page command 514
Renumber Pages command 514
3D DVE Page menu (Viewer) 521
848
I
J
K L M N O P Q R S
T U V W X Y Z
Add Page After command 521
Add Page Before command 521
Balance Duration command 521
Clip to Page command 521
Extract command 521
3D DVE property editor 538
3D DVE Property Editors toolbar
Camera button 505
DVE button 505
Effect button 506
Info button 506
Light button 505
Options button 506
Paragraph Editor button 505
Path button 506
Render button 506
Shadow button 506
Surfaces button 505
Text button 505
Time Span button 506
Transform button 505
3D DVE toolbar
Add DVE Node button 499
Align Bottom button 502
Align Horizontal button 502
Align Left button 502
Align Right button 502
Align Top button 502
Align Vertical button 502
Clip to Frame button 501
Combine Shapes button 501
Construction Lines button 501
Direct View button 501
Dolly button 500
Edit button 499
Ellipse button 499
Grids button 500
Import EPS button 501
Import Text button 501
Light button 499
1 A B C D E
F G H
I
J
K L M N O P Q R S
Page button 499
Pan Camera button 500
Path to Shape button 501
Position Bottom Center button 503
Position Bottom Left button 503
Position Bottom Right button 504
Position Middle Center button 503
Position Middle Left button 503
Position Middle Right button 503
Position Top Center button 503
Position Top Left button 503
Position Top Right button 503
Rectangle button 499
Reset Current Camera button 500
Roll button 500
Rotate button 499
Safe Action/Safe Title button 500
Separate Shapes button 501
Shape button 499
Shape to Path button 501
Snap Alternate Camera to Main Camera
button 501
Snap Main Camera to Alternate Camera
button 500
Suspend Output button 501
Text button 499
Toggle Camera button 501
Tumble button 500
View Front button 500
View Left button 500
View Right button 500
View Top button 500
Wireframe button 501
Zoom Camera button 500
3D Layer command, 3D DVE Layers menu 512
3D layer, 3D DVE Layers view 515
3D OV (Object View) 508
Collapse icon 510
collapsing 510
Expand icon 510
T U V W X Y Z Index
expanding 510
hiding objects 509
panning 511
showing objects 509
zooming 511
3D titles 508, 514
3D Warp property editor 550
General property page 550
Generic property page 554
Source property page 555
Timing property page 553
4 Band Parametric EQ property editor
about 213
Band 1 property page 213
Bands 2-4 property page 214
A
A mode command, EDL menu 144
AAF
AAF/AFE view 101
AAF/AFE view 101
AAF/AFE list 103
AAF/AFE settings 102
About Avid|DS command, Help menu 58
Absolute Align Bottom button
General (graphics) toolbar 425
Tools toolbar 434
Absolute Align Horizontal Center button
General (graphics) toolbar 424
Tools toolbar 434
Absolute Align Left button
General (graphics) toolbar 425
Tools toolbar 434
Absolute Align Right button
General (graphics) toolbar 425
Tools toolbar 434
Absolute Align Top button
General (graphics) toolbar 425
Tools toolbar 434
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Index 1 A B C D
E
F G H
I
J
K L M N O P Q R S
Absolute Align Vertical Center button
General (graphics) toolbar 425
Tools toolbar 434
Accented Edges property editor 556
Accented Edges property page 556
Activate command, Clip menu 240
Activate command, NLE Tools toolbar 281
Add Cache and Process command
Add Track Effect menu 320
Clip menu 241
Effects Tree menu 730
Timeline Effect menu 321
Add Cache Bar command, NLE Tools toolbar 285
Add Cache command
Add Track Effect menu 320
Clip menu 240
Effects Tree menu 730
Timeline Effect menu 321
Add Clip Effect command, Clip menu 240
Add command
Interlayer RGB menu and Interlayer Alpha
menu 717
Matte Controls menu 715
Shape menu 524
Add DVE Node button, 3D DVE toolbar 499
Add Edit command, NLE Tools toolbar 281
Add Effect command
Effects Box menu 278
Effects Tree menu 730
Add Global Locator at Playback Position
command, Timeline menu 323
Add Key Tool command, Keys menu 195
Add Light command, Light menu 521
Add Locator at Playback Position command,
Timeline menu 323
Add Locator command, Clip menu 241
Add New Tape dialog box 179
Add No Clipping (Screen) command
Matte Controls menu 715
Add No Clipping command
850
T U V W X Y Z
Interlayer RGB menu and Interlayer Alpha
menu 717
Add Page After command
3D DVE Page menu (3D OV) 513
3D DVE Page menu (Viewer) 521
Add Page Before command
3D DVE Page menu (3D OV) 513
3D DVE Page menu (Viewer) 521
Add Timeline Effect command, Timeline Effect
menu 321
Add to Cache List command
Cache menu 390
Cache Node menu 391
Add Track Effect command, Add Track Effect
menu 320
Add Track Effect menu
Add Cache and Process command 320
Add Cache command 320
Add Track Effect command 320
Add View command, View Switcher menu 99
Add View Switcher command, Edit View menu
(menu bar) 394
Advanced command, Avid Explorer menu 231
AFE
AAF/AFE view 101
ALE (Avid Log Exchange) Create Logs dialog
box 108
ALE (Avid Log Exchange) Import view
accessing 105
ALE Import tools 106
ALE list 107
Align Bottom button, 3D DVE toolbar 502
Align button 424
General (graphics) toolbar 424
Tools toolbar 433
Align command, Text menu 524
Align Horizontal button, 3D DVE toolbar 502
Align Left button, 3D DVE toolbar 502
Align Right button, 3D DVE toolbar 502
Align Top button, 3D DVE toolbar 502
1 A B C D E
F G H
I
J
K L M N O P Q R S
Align Vertical button, 3D DVE toolbar 502
Alignment Center command, View Switcher
menu 100
Alignment Left command, View Switcher menu
100
Alignment Right command, View Switcher menu
100
All Parameters command, View menu (animation
editor) 191
Alpha command, External Matte menu 723
Alpha Component command, Viewer menu 348
Alpha Not Exported message 709
And command, Matte Controls menu 715
Angled Strokes property editor 557
Angled Strokes property page 557
Animated Parameters command, View menu
(animation editor) 191
animation
Animation Editor Preferences property editor
197
tools 187
workflow 806
animation controls
global 184
property editor 35
animation editor
accessing 187
global animation controls 184
tools 187
Animation Editor command, Animation Key
menu 185
Animation Editor command, Animation menu 38
animation editor menus
about 189
Curves 196
Edit 189
File 189
Keys 194
View 191
Animation Editor Preferences property editor
T U V W X Y Z Index
about 197
Curve Processing property page 200
Editor property page 198
Key property page 199
Paste Options property page 202
Animation Graph menu
about 203
Automatic Slope command 207
Break Slope command 207
Constant Extrapolation command 208
Constant Interpolation command 208
Copy command 203
Curve and Axis Labels command 204, 205
Cut command 203
Cycle command 208
Deselect All command 204, 205
Discrete Time command 204, 205
Edit Key Tool command 208
Fit command 209
Flip X (Time) command 209
Flip Y (Value) command 209
Frame All Curves command 206
Frame Region command 206
Frame Selected Curves command 206
Frame Selected Keys command 206
Frame Selection command 206
Freeze Cycle command 208
Gradient Extrapolation command 208
Grid command 206
Interactive Update command 204, 205
Keys Coordinates command 206
Keys on Unselected Curves command 204,
205
Linear Interpolation command 208
Locators command 206
Lock in X (Time) command 207
Lock in Y (Value) command 207
Lock Slope Length command 207
Lock Slope Orientation command 207
Meta Curve Region command 206
851
Index 1 A B C D
E
F G H
I
J
Move Keys to Nearest Frame 204, 205
Normalized in Y (Value) 206
Open command 203
Paste command 203
Plateau Slope command 207
Relative Cycle command 208
Remove Animation command 207
Remove Key command 207
Resample command 209
Rulers command 206
Save command 203
Select All Curves command 204, 205
Select All Keys command 203
Slopes on Unselected Keys command 204,
205
Smooth command 209
Snap to Frame command 204, 205
Snap to Grid command 204, 205
Snapshot command 204, 205
Snapshot Curves command 206
Spline Interpolation command 208
Swap w. Snapshot command 204, 205
Unify Slope command 207
Unlock All Keys command 207
Unlock All Slopes command 207
Zero Slope command 207
Animation Key menu
Animation Editor command 185
Autokey command 186
Bezier command 186
Constant command 186
Copy Key command 185
Cut Key command 185
First Key command 185
Last Key command 185
Linear command 186
Paste Key command 185
Remove Animation command 185
Remove Key command 185
Animation menu
852
K L M N O P Q R S
T U V W X Y Z
Animation Editor command 38
Autokey command 38
Bezier command 38
Constant command 38
First Key command 38
Last Key command 38
Linear command 38
Next Key command 38
Previous Key command 38
Remove Animation command 38
Remove Key command 38
animation tools 187
Animation Tree menu
about 209
Export command 209
Import command 209
Apply Clip Effect command, NLE Tools toolbar
282
Apply Timeline Effect command, NLE Tools
toolbar 282
Apply Track Effect command, NLE Tools toolbar
282
Archive property page (Project Manager) 287
archive, Creating Media Archive dialog box 351
archiving
user preferences 72
arranging layers 516
At Clip End command, Clip menu 241
At Clip Start command, Clip menu 241
At Edit Points command, Clip menu 241
At Playback Position command, Clip menu 241
Atop command
Interlayer RGB menu 717
Attract command
Cache Node menu 392
Effects Node menu 727
Input Node menu 728
Output Node menu 729
audio
bit depth 115
1 A B C D E
F G H
I
J
K L M N O P Q R S
capture 115
capture to 115
format for capture 115
formats 124
formats supported 274
input strips 275
monitoring input levels 109
output strips 279
priority 115
sample rate 115
time available 115
Audio Container command, NLE Tools toolbar
283
audio effects
10 Band Graphic EQ 215
2-1 Compression 216
3 Band Tone Control 212
3-1 Compression 217
4 Band Parametric EQ 213
compression 216
Crossfade 251
Dynamics 217
Fade 222
Gain 223
Hard Limiter 217
Hard Noise Gate 217
Parametric EQ 223
Reverb 224
Soft Knee 217
Soft Limiter 217
Timewarp 225
Timezone 226
VST Host 228
Audio Effects, NLE Tools toolbar 285
audio formats
4 Stream 125
5.1 125
6.1 125
7.1 125
8 stream 125
T U V W X Y Z Index
Capture Source Live option 124
LCRS 125
Mono 124
Quad 124
Stereo 124
audio frame delays 164
Audio Input Monitor
described 109
audio propagation delay 164
Auto command 318
auto-closing toolbars 78
auto-dither
media capture 118
Autokey command
Animation Key menu 186
Animation menu 38
Edit Animation menu 210
Automatic Framing command, View menu
(animation editor) 192
Automatic Pan command, View menu (animation
editor) 192
Automatic Slope command
Animation Graph menu 207
Keys menu 194
Auto-Pan command, Viewer menu 348
autosaving sequences 62
Autoswitch command, Trim mode menu 318
Auto-Zoom command, Viewer menu 348
Avid Event Log 402
Avid Event Log menu 403
Avid Event Log Settings dialog box 404
Avid Explorer
settings 233
tools 232
Avid Explorer menu
about 229
Advanced command 231
Capture command 230
Capture Settings command 230
Copy command 230
853
Index 1 A B C D
E
F G H
I
J
K L M N O P Q R S
Defragment command 231
Delete Clip and All Media command 230
Delete Clip and Unused Media command 229
Delete command 230
First Frame command 231
Import to Current Project command 229
Last Frame command 231
Link command 230
Log command 230
Middle Frame command 231
Move command 230
Properties command 230
Purge Media command 229
Recapture command 230
Recapture with Options command 230
Relink command 230
Show Media command 230
View Frame command 231
Avid|DS Home Page command, Help menu 58
AVX Host property editor
Generic property page 732
B
B mode command, EDL menu 144
Background Container command, NLE Tools
toolbar 283
Balance Duration command
3D DVE Page menu (Viewer) 521
Balance Durations command
3D DVE Page menu (3D OV) 514
Bas Relief Brush property editor 436
Bas Relief property editor 558
Bas Relief property page 558
Bezier command, Animation Key menu 186
Bezier command, Animation menu 38
Big Buttons command, View Switcher menu 100
bin columns 234
Bin menu (Avid Explorer menu)
about 229
854
T U V W X Y Z
bins
columns 234
Details view 237
displaying parameters 233
Fast menu 237
identifying AAF/AFE file types 103
Large Icons view 237
List view 237
Script view 238
setting columns 233
setting display for AAF/AFE files 104
Thumbnail view 237
tools, bottom bar 237
Birds Eye View command, Effects Tree menu 731
bit depth
audio 115
video 114
Blank command, Layout menu 59
Blend property editor
about 238
Masking property page 238
Options property page 238
Timing property page 238
Blend transition effect 238
Blue Component command, Viewer menu 348
Blue-Green Keyer button, Compositing Tools
toolbar 710
Blue-Green Keyer property editor
Masking property page 825
Spill Matte 1 property page 734
Blur property editor 559
General property page 559
Bottom command
Layer Effect menu 713
Break Link command, NLE Tools toolbar 282
Break Point command, Shape menu 523
Break Slope command
Animation Graph menu 207
Keys menu 194
Bright Burn comma
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