DS - User`s Guide - Avid DS Support Center

DS - User`s Guide - Avid DS Support Center
USER’S GUIDE
?
© 1997–2001 Avid Technology, Inc. All rights reserved.
Avid, Marquee, Media Composer, OMF, Open Media Framework, Pro Tools,
SOFTIMAGE, and the Avid|DS logo are registered trademarks, and
DigiTranslator, MediaLog, Meridien, ProEncode, Symphony, and XSI are
trademarks of Avid Technology, Inc. mental ray and mental images are
registered trademarks of mental images GmbH & Co. KG in the U.S.A. and
some other countries.
?
All other trademarks contained herein are the property of their respective owners.
The Avid|DS application uses JScript and Visual Basic Scripting Edition from
Microsoft Corporation.
This document is protected under copyright law. The contents of this
document may not be copied or duplicated in any form, in whole or in part,
without the express written permission of Avid Technology, Inc. This
document is supplied as a guide for the Avid|DS product.
Reasonable care has been taken in preparing the information contained in this
guide. However, this document may contain omissions, technical
inaccuracies, or typographical errors. Avid Technology, Inc. does not accept
responsibility of any kind for customers' losses due to the use of this
document. Product specifications are subject to change without notice.
Cast and Crew: Patrick Bayne, James Duff, Luc Langevin, Frances McGill,
Marianne Rodrigues, Athena Soupliotis, and Liven Tam.
Document No. 0130-05126-01 1101
Printed in Canada.
Contents
Contents
Chapter 1
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
The Avid|DS Learning Roadmap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Using the Documentation Library . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Document Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Avid|DS Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Licensing Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Training Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Hotline Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Corporate Addresses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Avid|DS Mailing List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Web Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Comments? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Logging on to Your Workstation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Starting Avid|DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Exiting Avid|DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
?
Chapter 2
Working with Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Working with Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
What is Media? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Working with Media and Project Files . . . . . . . . . . . . . . . . . . . . . . .24
Managing Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Organizing your Project Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Opening Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Creating a New Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Opening an Existing Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
Archiving Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Restoring Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Moving Projects to Another Workstation . . . . . . . . . . . . . . . . . . . . .45
Deleting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Managing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Sorting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Finding Media Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Viewing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Searching for Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Defragmenting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
Verifying Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Moving Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Sharing Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Deleting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Purging Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
User’s Guide • 3
Contents
Chapter 3
Capturing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Workflow: Capturing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Configuring Media Storage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Adding Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Modifying Storages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Deleting Storages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Preparing to Capture Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Configuring the External Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Specifying the Capture Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Previewing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Logging and Capturing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Selecting a Folder for Captured Media . . . . . . . . . . . . . . . . . . . . . . . 83
Logging and Capturing Clips from Tape. . . . . . . . . . . . . . . . . . . . . . 84
Importing Material from File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Linking to a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Capturing Clips On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Performing a Live Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Batch Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Importing Render Passes from SOFTIMAGE|3D . . . . . . . . . . . . . . . 117
Importing Render Passes from SOFTIMAGE|XSI . . . . . . . . . . . . . . . 119
?
Chapter 4
Working with Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Workflow: Working with Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 125
Opening Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Creating a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Opening an Existing Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Setting Sequence Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Setting the Audio and Video Format . . . . . . . . . . . . . . . . . . . . . . . 132
Setting the Working Video Quality. . . . . . . . . . . . . . . . . . . . . . . . . 136
Changing the Sequence Preferences. . . . . . . . . . . . . . . . . . . . . . . . 142
Saving Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Creating a Copy of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Searching for Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Importing Sequences from Another Project. . . . . . . . . . . . . . . . . . . . 154
Deleting Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Chapter 5
Conforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Workflow: Conforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Working with Edit Decision Lists (EDL) . . . . . . . . . . . . . . . . . . . . . . . . 162
Opening an EDL File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Setting EDL Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Conforming an EDL File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Modifying an EDL File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Exporting an EDL File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Printing an EDL File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Proofing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
4 • User’s Guide
Contents
Working with Open Media Framework (OMF) Compositions . . . . . .172
Opening an OMF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173
Conforming an OMF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173
Exporting an OMF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178
OMF Level of Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180
Working with Avid Log Exchange (ALE) Files . . . . . . . . . . . . . . . . . . .184
Importing an ALE file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184
Getting Information on ALE Files . . . . . . . . . . . . . . . . . . . . . . . . . .185
Logging Clips from an ALE File . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
?
Chapter 6
Editing Audio and Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187
Workflow: Editing Audio and Video. . . . . . . . . . . . . . . . . . . . . . . . . .189
Building Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191
Preparing Source Clips for Editing. . . . . . . . . . . . . . . . . . . . . . . . . .191
Placing Clips on the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .194
Adjusting the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204
Playing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
Varying the Playback Speed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206
Moving to Points on the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . .207
Looping Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207
Viewing Unprocessed Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208
Manipulating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209
Selecting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209
Moving Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210
Naming and Adding Comments to Clips . . . . . . . . . . . . . . . . . . . . .213
Cutting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Copying Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Deleting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Revealing Unused Material on Clips . . . . . . . . . . . . . . . . . . . . . . . .215
Changing the Activeness of Clips. . . . . . . . . . . . . . . . . . . . . . . . . . .216
Using Match Frame and Match Bin . . . . . . . . . . . . . . . . . . . . . . . . . . .220
Matching a Frame in a Master Clip or Subclip . . . . . . . . . . . . . . . .220
Matching a Frame in a Subclip Using the Viewer . . . . . . . . . . . . . .221
Matching Bins for a Clip on the Timeline . . . . . . . . . . . . . . . . . . . .221
Extracting Parts of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222
Converting a Timeline Region or Object . . . . . . . . . . . . . . . . . . . . .223
Creating Multiple Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .224
Replacing Timeline Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .224
Grabbing Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .225
Creating a Master Clip from a Snapshot . . . . . . . . . . . . . . . . . . . . .225
Creating an Image File from a Snapshot . . . . . . . . . . . . . . . . . . . . .225
Rippling Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .226
Inserting Clips in Ripple Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . .228
Editing Clips in Ripple Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .229
User’s Guide • 5
Contents
Trimming Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Methods of Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Selecting Edit Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Trimming Clips on the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Trimming Clips Using the Trim View . . . . . . . . . . . . . . . . . . . . . . . . 243
Trimming Container Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Trimming Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Slipping and Rolling Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Slipping Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Rolling Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Applying Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Cutting to a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Creating One-Sided Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Creating Transitions Between Clips. . . . . . . . . . . . . . . . . . . . . . . . . 256
Editing Transition Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Removing a Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Using Container Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Creating Container Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Navigating within Container Clips . . . . . . . . . . . . . . . . . . . . . . . . . 263
Deleting Container Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Referencing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Creating Reference Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Converting a Container Clip to a Reference Clip . . . . . . . . . . . . . . 266
Processing Reference Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Synchronizing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Aligning Clips for Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . 268
Creating a Sync Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Manipulating Synchronized Clips . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Editing Synchronized Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Resyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Deleting Synchronized Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Processing Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
?
Chapter 7
Painting and Titling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Workflow: Painting and Titling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Playing Real-time Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Applying Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Setting the Working Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Applying Graphics on the Video or Overlay Tracks . . . . . . . . . . . . 284
Applying Graphics on the Timeline Effect Track . . . . . . . . . . . . . . 285
Applying Graphics on a Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Applying Graphics in an Effects Tree . . . . . . . . . . . . . . . . . . . . . . . 287
Using Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Loading and Saving Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Using Stroke or Text Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
6 • User’s Guide
Contents
?
Setting Drawing Tool Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . .292
Setting the Paint Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .292
Setting Brush Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294
Creating Custom Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .296
Setting the Titling Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .297
Setting the Font Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .298
Setting the Masks Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
Setting the Time Span Properties . . . . . . . . . . . . . . . . . . . . . . . . . .300
Defining Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .302
Working with Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304
Wireframe Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304
Wireframe Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304
Drawing Polylines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .305
Drawing Freehand Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .306
Drawing Rectangles and Ellipses . . . . . . . . . . . . . . . . . . . . . . . . . . .308
Using the Magic Wand Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309
Selecting Graphics Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311
Locking Graphics Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312
Hiding Graphics Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .313
Creating Clusters of Graphics Objects and Vertices . . . . . . . . . . . .314
Aligning Graphics Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315
Editing the Shape of a Stroke . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316
Reshaping a Stroke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .321
Working with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .324
Using Text From Other Applications . . . . . . . . . . . . . . . . . . . . . . . .324
Selecting and Editing Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325
Aligning Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327
Searching for Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .328
Creating Rolls and Crawls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .328
Creating Handwritten and Type-On Animation . . . . . . . . . . . . . . .330
Manipulating Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .332
Editing Graphics Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .332
Cutting, Copying, and Pasting Graphics . . . . . . . . . . . . . . . . . . . . .334
Duplicating Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .335
Deleting Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .336
Changing the Order of Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . .336
Transforming Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .337
Tracking Graphics Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .341
Transformation Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .341
Tracking Vertices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .341
Working in Raster Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .342
Creating Mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .345
Creating a Travelling Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .345
Importing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .347
Importing Encapsulated PostScript (EPS) Files . . . . . . . . . . . . . . . .348
Processing Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .349
User’s Guide • 7
Contents
Chapter 8
3D DVE and Titling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Workflow: Creating 3D DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Workflow: Titling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Working in the 3D World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Three-Dimensional Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Setting Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Using a Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Working in Direct View Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Displaying Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Working in Wireframe Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Setting the Viewer Quality Level. . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Working with the Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Viewing Through the Alternate Camera . . . . . . . . . . . . . . . . . . . . 365
Manipulating the Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Resetting the Camera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Setting the Camera Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Defining the Camera Interest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Setting the Clipping Planes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Selecting a Projection Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Setting the Field of View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
About Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
About Drawing Tool Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Manipulating Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Selecting and Deselecting Objects . . . . . . . . . . . . . . . . . . . . . . . . . 374
Cutting, Copying, and Pasting Objects . . . . . . . . . . . . . . . . . . . . . . 375
Moving Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Locking and Unlocking Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Reordering Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Positioning Objects at Specific Locations . . . . . . . . . . . . . . . . . . . . 377
Aligning Objects Relative to Each Other . . . . . . . . . . . . . . . . . . . . 378
Grouping and Ungrouping Objects. . . . . . . . . . . . . . . . . . . . . . . . . 379
Showing and Hiding Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Changing the Visibility of Objects . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Modifying Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Renaming Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Setting the Time Span . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Working with 3D DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Creating DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Simulating a Textured Surface Using a Displacement Map . . . . . . 387
Applying Profile Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Extruding an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Blurring Moving Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390
?
8 • User’s Guide
Contents
?
Working with Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .391
Creating Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .391
Editing Shapes and Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .394
Working with Compound Shapes . . . . . . . . . . . . . . . . . . . . . . . . . .398
Reversing the Direction of a Shape . . . . . . . . . . . . . . . . . . . . . . . . .399
Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .400
Creating a Text Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .401
Using Special or Unicode Characters . . . . . . . . . . . . . . . . . . . . . . . .402
Importing Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .403
Placing the Insertion Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .405
Resizing a Text Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .405
Selecting and Deselecting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . .406
Editing Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .407
Formatting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .407
Adjusting the Kerning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .414
Adjusting the Leading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .414
Adjusting the Paragraph Spacing . . . . . . . . . . . . . . . . . . . . . . . . . .415
Adjusting the Text Margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .415
Controlling Rolling, Crawling, and Path Text . . . . . . . . . . . . . . . . .416
Clipping Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .418
Placing and Moving Text on a Path. . . . . . . . . . . . . . . . . . . . . . . . .419
Working with Surfaces and Materials . . . . . . . . . . . . . . . . . . . . . . . . .424
Applying Materials to Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . .425
Skipping the Drawing of the Back Faces . . . . . . . . . . . . . . . . . . . . .425
Editing Materials. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .426
Allowing Material to be Affected by Light Sources . . . . . . . . . . . .427
Controlling the Appearance of Overlapping Surfaces . . . . . . . . . .428
Working with Lights and Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . .433
Adding, Moving, and Deleting Light Sources . . . . . . . . . . . . . . . . .434
Editing Light Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435
Turning Light Sources On or Off . . . . . . . . . . . . . . . . . . . . . . . . . . .435
Changing the Light Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435
Using Colored Lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .436
Changing the Intensity of a Light Source . . . . . . . . . . . . . . . . . . . .436
Positioning a Light Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .436
Adjusting Spot Light Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . .436
Identifying Light Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .437
Adding Shadows to Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .438
Importing and Exporting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . .443
Working with Decks and Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . .443
Setting the Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .446
Dampening Jittery Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .447
User’s Guide • 9
Contents
Chapter 9
Mixing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Workflow: Mixing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Building an Audio Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Creating Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Mixing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454
Fine-tuning the Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Adjusting the Mixer Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Adjusting the Mixer Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Animating the Audio Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Animating the Input Strip Controls. . . . . . . . . . . . . . . . . . . . . . . . . 460
Bypassing the Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Editing the Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Deleting Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Converting the Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Converting Sequence Sample Rates . . . . . . . . . . . . . . . . . . . . . . . . 464
Converting Clip Sample Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Processing the Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
?
C ha p t e r 10
Animating Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Workflow: Animating Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Creating Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Setting Keyframes Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Setting Keyframes Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Editing Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Editing Keyframes Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
Editing Animation on the Animation Graph . . . . . . . . . . . . . . . . . 477
Offsetting Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484
Copying Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
Repeating Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
Trimming Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492
Removing Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Processing Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
C ha p t e r 11
Outputting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Workflow: Outputting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Selecting an Area to Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Checking the Status of the External Device . . . . . . . . . . . . . . . . . . 499
Outputting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Outputting to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Exporting to File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
Exporting QuickTime Reference Movies . . . . . . . . . . . . . . . . . . . . . 505
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
10 • User’s Guide
?
Chapter 1
Getting Started
User’s Guide • 11
Getting Started
The Avid|DS Learning Roadmap
The Avid®|DS package includes a comprehensive set of learning materials. With this
Roadmap, you’ll know where to find the information you need to get up and running
quickly and effectively.
?
Start with the Workstation Setup Guide to prepare your site for Avid|DS and assemble your
workstation. Use the Installation & Administration Guide should you need to reinstall and
license any of the components, or for tips on the daily maintenance of your system.
Refer to the Release Notes for feature limitations and workarounds.
If you’re new to Avid|DS, work through the Tutorial to learn how to use the features in the
context of a basic production. This full-color tutorial gives you step-by-step instructions on
how to create a two-minute spot.
Or, if you prefer, get hands-on training by taking the DS-101 course. This course is the
classroom version of the standalone Avid|DS Tutorial book.
For details, visit http://softimage.com/avidds.
If you’re already familiar with Avid|DS, follow the New Features Tour online. It briefly
describes all the new features in version 5.0 with a set of QuickTime clips that provides visual
overviews of some of the features.
The tour is available from the Drivers CD or, if it was installed on your system, you can run it
from the Help menu in Avid|DS.
Avid|DS Discussion Group
You can join the worldwide network of Avid|DS users exchanging ideas and techniques
by e-mail. To subscribe, send an e-mail to [email protected] with the
following text in the body of your message: subscribe ds.
12 • User’s Guide
The Avid|DS Learning Roadmap
At Avid|DS Authorized Training Centers (ATCs) around the world, you can further
your Avid|DS education by attending the DS-201: Essentials and DS-301: Compositing &
Graphics courses. These multi-day courses teach you about the interface and workflow
while producing short projects. For details, visit http://avid.com/education.
?
The User’s Guide contains
comprehensive information on
how to perform basic and
advanced post-production tasks.
The Drivers CD contains
the New Features Tour and
all the Avid|DS
documentation in electronic
form (PDF format). See next
page for how to use the
Documentation Library.
®
The New Features Guide briefly
describes the many new features
you’ll encounter in version 5.
When you see this icon
, it means
there’s a corresponding multimedia
demo in the online version of the
New Features.
Comments?
We’d appreciate any comments or suggestions you may
have about this book or any other piece of our
documentation. Just send them to: [email protected]
The Compositing & Effects
Guide contains information and
visual examples on how to use
effects in Avid|DS, and shows
you how to perform
compositing and tracking.
The online help contains on-screen reference
information on interface elements,
commands, and parameters. There are two
ways to access it:
• Click the ? icon or Help button in any
property editor or dialog box.
• Choose Help > Contents and Index
from the main menu bar in Avid|DS.
Shortcuts are available under the Help menu
in Avid|DS. Print out the Shortcut card and
the Quick Reference Card and you’ll
always have these editing tips handy.
User’s Guide • 13
Getting Started
Using the
Documentation Library
The Documentation Library contains the New Features Tour, as well as all the
Avid|DS documentation in PDF format. If it was installed on your system, you
can access it from the Help menu in Avid|DS.
You will need Adobe Acrobat Reader installed to view the
documentation online. If you do not have it installed, you can
download it from http://apple.com/quicktime/download/.
To access the Documentation Library
?
• In Avid|DS, select Help > Documentation Library.
or
1. Insert the Drivers CD in your CD-ROM drive.
2. From the main menu, select Avid|DS Documentation.
Document
Conventions
This guide uses the following symbols and conventions:
Bold
Bold is used for menu commands, dialog box and property
editor options, and file/folder names.
Italics
Italics place emphasis on certain words.
>
The greater than (>) sign indicates menu commands (and
subcommands) in the order that you choose them. For example,
File > Import means to open the File menu and then choose the
Import command. This applies to menus from the main menu bar
and pop-up menus that appear when you right-click on the interface.
Notes are reminders or contain important information.
Tips are useful bits of information, workarounds, and shortcuts that
you may find helpful in a particular situation.
Warnings are used when you can lose or damage information or
equipment, such as deleting data or not being able to easily undo an
action. Warnings always appear before you attempt a task!
Mouse, Pen and Keyboard
In Avid|DS, 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.
14 • User’s Guide
The Avid|DS Learning Roadmap
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 press and release the
left mouse button. Always use
the left mouse button unless
otherwise stated.
Tap the tablet once with the tip
of the pen, or touch the pen to
the tablet with enough pressure
to click.
Double-click
Click the left mouse button
twice rapidly.
Quickly tap the tablet twice in
the same screen pixel or press
the F5 key to go from single to
double-click.
Right-click
Quickly press and release the
right mouse button.
Press the top portion of the
switch on the side of the pen or
press the F6 key to go from left
to right-click.
Drag
Hold down the left mouse
button or the wheel while you
move the mouse.
Press the pen to the tablet while
moving the pen.
Alt+key,
Ctrl+key,
Shift+key,
etc.
Hold down the first key while you press the second key. For
example, “Press Alt+F1” means to hold down the Alt key while you
press the F1 key.
?
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
WACOM ArtZII documentation provided with your Avid|DS system.
You can also customize the mouse. For example, you can select left-handed
configuration or change the double-click speed.
For information on customizing the mouse, refer to the Windows NT or
Windows 2000 online help.
User’s Guide • 15
Getting Started
Avid|DS Support
Technical support for Avid|DS is provided by your Avid reseller working
together with Avid|DS Customer Service. Immediate assistance for any technical
issue is available through our hotline, e-mail, and web support services.
Licensing Support
You must contact your reseller to request a license for your Avid|DS system.
You can do this through your reseller or through the license request form
under Licensing at http://softimage.com/avidds.
Training Support
If you’re interested in Avid|DS training, you’ll find a complete overview of
courses, education centers, and training programs under Education at
http://softimage.com/avidds.
Hotline Support
Avid resellers provide first line support for Avid|DS according to their specific
geographical area and time zone. Working as an extension of Avid|DS
Customer Service, these fully trained agents provide the most efficient and
effective support possible to all our customers.
?
Contact information for your Avid reseller is available through the Avid
Reseller Locator at http://avid.com/cgi/locator/index.asp.
You can reach Avid|DS Customer Service at the following:
Avid|DS Customer Service
North America
tel: 1 800 387-2559
fax: 1 514 845 8252
Worldwide
tel: 1 514 845-2199
fax: 1 514 845 8252
9:00 am to 9:00 pm (Eastern)
2:00 pm to 2:00 am (GMT)
Hotline assistance is also available 24 hours a day, 7 days a week for an
additional fee.
Europe
tel: 44 175 365 0670
fax: 44 175 365 8503
9:00 am to 6:00 pm (GMT)
4:00 am to 1:00 pm (Eastern)
E-mail & Web
e-mail: [email protected]
web: avid.com
16 • User’s Guide
Avid|DS Support
Corporate Addresses
You can reach Avid Technology, Inc. at the following addresses:
Corporate Headquarters
Avid Technology, Inc.
Avid Technology Park
One Park West
Tewksbury, MA 01876
tel: 800 949-AVID or 978 640-6789
fax: 978 640 1366
web: avid.com
?
European Headquarters
Avid Technology Europe Ltd.
Westside Complex
Pinewood Studios
Pinewood Road
Iver, Buckinghamshire SLO ONH
United Kingdom
tel: 44 175 365 5999
fax: 44 175 365 4999
Asian Headquarters
Avid Technology (S.E. Asia) Pte. Ltd.
315 Alexandra Road
#03-01 Performance Center
Singapore 159944
Republic of Singapore
tel: 65 476 7666
fax: 65 475 7666
Avid|DS Mailing List
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.
Web Support
The Avid|DS Support and Download sections at http://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 your Avid|DS system.
Online documentation, tutorials, and Knowledge Base articles ensure you get
the most out of your work with Avid|DS. It's like having a dedicated Avid|DS
Customer Service engineer sitting at your desk!
User’s Guide • 17
Getting Started
Comments?
?
18 • User’s Guide
We’d appreciate any comments or suggestions you may have about this book
or any other piece of our documentation. Just send them to:
[email protected]
Logging on to Your Workstation
Logging on to Your Workstation
Avid|DS is designed to make full use of the Windows operating system. This
includes setting user preferences on an individual basis.
Before you start Avid|DS, you must log on to your Windows workstation with
your user identification. Each user has a unique profile, so as not to conflict
with the settings of other users on the same workstation. After you log on, you
can start Avid|DS.
?
To log on to your Windows workstation, you will need a personal identification
(user ID). This provides security, as well as individual preference settings.
The user ID gives each user a unique profile, and lets you access an
environment associated with your Windows user ID. This includes your
customized layouts, key bindings, and preferences.
A user profile contains your user preferences, such as layouts, toolbar
contents, and keymaps. Each user has a separate profile that is associated with
their user name and automatically stored on a local drive. This profile is used
each time you start Avid|DS.
When you set any personal or project preferences while logged on, Avid|DS
saves them to your user ID. The next time you log on to that machine, it
recalls your previous settings.
To log on to a Windows workstation
• On your Windows workstation, enter your user name and password to
access your applications and files.
Starting Avid|DS
You can start Avid|DS by double-clicking its icon on the desktop or by
choosing Avid|DS from the Start menu.
To start Avid|DS from the Start menu
• On the Windows desktop, click Start and choose Programs >
Avid Products > Avid|DS v5.0 > Avid|DS v5.0.
If you selected the Load Last Sequence at Startup option in the User
Preferences dialog box, and would like to bypass this option, press
Shift and double-click on the Avid|DS shortcut on the desktop. This
starts the application and displays the Project Browser dialog box
from which you can choose a different project.
User’s Guide • 19
Getting Started
Exiting Avid|DS
After you’ve completed your work session, save your work, and exit Avid|DS.
If you made any changes to the desktop layout or user preferences, you can
save them to your user profile and recall them the next time you start Avid|DS.
To exit Avid|DS
Do one of the following:
• From the File menu, choose Exit.
?
• Click the Close button at the far right of the title bar.
• Click the Avid|DS icon at the far left of the title bar and choose Close.
• Press Alt+F4.
20 • User’s Guide
?
Chapter 2
Working with Projects
User’s Guide • 21
Chapter 2 • Working with Projects
In This Chapter...
This chapter describes how your project files and media are handled in
Avid|DS. Since project organization plays a key part in the editing process,
you will learn how to set up a project and use the browser to organize your
media into folders. You will also learn how to use your disk space efficiently by
purging and archiving media.
Working with Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
?
Managing Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Managing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
22 • User’s Guide
Working with Projects
Working with Projects
A project is the all encompassing structure for your work, linking and
tracking the master clips and sequences with their associated media to make
your file management tasks easier.
When working with several digitized video and audio files it is important to
understand how Avid|DS handles your data, so that you can work efficiently.
?
What is Media?
Media is the digitized form of source material after it’s been captured and
imported from tape or file into Avid|DS. Also, media is created when you
apply an effect, transition, or composite in the sequence to the originally
captured data (source media) and then process it.
Processed media is called a cache; it is stored separately from the source media.
When Avid|DS encounters processed effects during playback, it uses the cache
instead of the source media.
Source material
Clips refer to media
on disk array
Captured video and/or audio is stored in project
folder and represented as master clips in the
browser
Actual digitized material (media) is stored on
disk array
User’s Guide • 23
Chapter 2 • Working with Projects
Working with Media
and Project Files
When you capture source material, the media is stored on the disk array, and
the master files (known as clips) representing this media are stored on your
workstation’s local disk drive. You can see these clips in the Avid|DS browser.
Clips in the browser contain information about the location and source
timecodes of the corresponding media on the disk array.
As you build sequences on the timeline, the edits that you apply to the clips
are kept in a sequence file. Clips, sequences, and presets are all considered
project files, which should be stored in the project folder. That way, you can
archive, restore, and/or purge them when required.
?
When you archive your project, a compressed copy of all the project files is
saved in another location. With the archived files and source tapes, you can
reconstruct everything in your project.
The following illustration shows how project files and media are handled
in Avid|DS:
Captured or processed
media can be saved at
multiple qualities
5
Media on
disk array
Source media
1
Caches
3 Process effects and composites
in the sequence
Capture material
Clips
Sequences
Custom presets
4
Project files
on local disk
Archive
2
24 • User’s Guide
Archive to
tape or
external disk
Build sequence
Managing Projects
Managing Projects
Project management is a key part of the editing process. When working with
digitized video and audio, it’s easy to consume large amounts of valuable
space. For that reason, you must use your storage space efficiently.
?
Managing a project involves organizing, moving, and copying your project
files to subfolders. In addition, you must delete clips, or purge media and
cache files that you no longer need. You can also archive projects that have
been completed, and restore them only when you need to work with them.
User’s Guide • 25
Chapter 2 • Working with Projects
When working on long projects, such as a corporate videos or TV programs,
you can perform the numerous editing jobs either within individual
sequences or by creating reference clips. For example, if you have several
scenes in your project, you can create a separate sequence or reference clip for
each scene. By dividing the project into several manageable sequences, you
can work more efficiently. This can also reduce the memory load on your
system, which speeds up load and save time, and timeline interactivity. For
more information, see Referencing Sequences on page 266.
?
A project containing several sequences
Organizing your
Project Folder
The Avid|DS browser lets you organize your project files and manage your
media. You can organize your clips and sequences into smaller more
manageable groups by using folders. From the browser, you can also delete
project files or media that you no longer need.
Although the browser displays all the folders on your system, do not
use it to move folders that do not belong to Avid|DS.
Before you start capturing material and editing sequences, create subfolders in
your project folder to hold your master clips, sequences, and custom presets.
While all your clips and sequences can be stored in the project folder, you’ll
find that creating subfolders helps organize your project, so that you can
locate your files quickly and easily.
26 • User’s Guide
Managing Projects
Having all of your project files contained in one master project folder lets you
archive this project separately from your other jobs. It also keeps a job secure,
while you’re working on jobs for other clients.
Here’s an example of how you can organize a project.
?
Project folder
Subfolders
You can create a shortcut to the folder in which you store your
master clips or custom effects. For more information on setting
favorite folders, click the Help icon.
To create a folder
1. In the browser tree, select the folder in which you want to create a subfolder.
2. Click the New Folder icon.
The New Folder dialog box is displayed.
3. Enter a name for the folder in the Name text box and click OK.
If necessary, expand the tree to see the new folder.
To delete a folder
• In the Contents view of the browser, right-click on a folder and choose
Delete from the menu.
User’s Guide • 27
Chapter 2 • Working with Projects
Renaming Project Files
You can rename a master clip, sequence, or folder in your project. When you
change a clip name, it does not affect the name of its corresponding clip on
the timeline.
You cannot change the name of a sequence while it is open, nor can
you change the name of a clip that’s being previewed in the dual viewer.
?
To rename a clip, sequence, or folder
1. In the Contents view of the browser, click the name of a clip, sequence,
or folder.
2. Type in a new name and press Enter.
A file name can contain up to 255 characters and include spaces.
But, it cannot contain any of the following characters: \ / : * ? " < > |
Moving Files between Folders
You can rearrange the files in your project folders by dragging them to a
new folder.
Click on this
area of the
thumbnail to
select the clip
To move a file to another folder
• In the Contents view of the browser, drag a clip to a folder in the browser
tree. If your files are displayed in Thumbnails mode, drag the image
portion of the thumbnail.
To make a copy of this file in another folder, hold down the Ctrl key
when dragging the clip.
The No Entry icon changes to a Move icon when you place the pointer
over a folder in the browser tree.
You cannot move clips or sequences between projects, but you can
make copies. To copy a clip or sequence from one project to another,
right-click on the sequence or clip and choose Import to Current
Sequence from the menu. For more information, see Importing
Sequences from Another Project on page 154.
Creating a Standard Folder Structure
If you want Avid|DS to create a standard folder structure for new projects, you
can create an .ini file that will specify what folders will appear in the browser
when a new project is created. The .ini file must be called folder.ini and must
be stored in the \Preferences\username folder. You can have different .ini files
for each Avid|DS user.
28 • User’s Guide
Managing Projects
To create a standard folder structure for new projects
1. Open a text file using a text editor.
2. In the first line of the file, type the following in uppercase letters: [FOLDERS].
3. Type in the folders you want to appear in the browser. For example:
?
•
•
•
•
Audio
Sequences
Trash
Video
The order of the folders is not important, as they will be sorted in
alphabetical order or according to the sorting method used in the
browser.
4. Save the file as folder.ini and save it in the following location:
C:\Program Files\Avid\DS_v5.0\Preferences\(username)
Any new projects that are created will contain the folders specified in
the .ini file.
The DSPresets and Scripts folders are created by default.
User’s Guide • 29
Chapter 2 • Working with Projects
Opening Projects
Avid|DS lets you create and open projects from a dialog box so that you can
view and manage all projects anywhere on the network. Each project in the list
has its own list of sequences. When you open a sequence, you automatically
open its associated project, so that you access all the master clips and custom
presets stored in the project folder.
?
Project Browser dialog box
By default, all projects created with Avid|DS are stored in the DS Projects
folder. It’s important that you keep all the files related to a project inside the
project folder, so that they can be archived, restored, and/or purged.
If you’re running more than one version of Avid|DS on your
workstation, new projects will be classified by version, and will be
stored in a subfolder of the DS Projects folder. You can use the Scan
Disk option to change the project path folder, to display only the
projects in a particular version folder.
30 • User’s Guide
Managing Projects
Creating a New Project
?
When you first start Avid|DS, or when you want to start a new project, you are
prompted to name your project, designate a location for it, and set
the project’s preferences. Once you’ve done this, a project folder is created at
the specified location. By default, all sequences associated with this project are
saved in this folder.
Project preferences define the way your material is captured, processed, and
output by Avid|DS. Once you set the project preferences, they become the
default settings for the sequences that you create in this project.
By default, the sequence preferences come from the project, but you
can still customize the preferences for each sequence. For more
information, see Setting Sequence Preferences on page 131.
To open a new project
1. Do one of the following:
• From the Project Browser dialog box, click New Project.
• From the File menu, choose New > Project.
Browse
button
New Project dialog box
2. In the New Project dialog box, enter a unique name for your project in the
Project Name text box.
3. In the Location text box, enter the path where you would like the project
files to reside.
You can also use the browse (...) button to locate the folder in which you
want to save your project.
User’s Guide • 31
Chapter 2 • Working with Projects
4. On the General property page, set the video and audio settings for
your project.
Click Help for detailed information on the New Project properties.
?
5. Click OK to save the project preferences.
The Editing layout is displayed for you to start building your sequence,
and the browser displays your project as the favorite. For more
information on setting favorites in the browser, click Help.
32 • User’s Guide
Managing Projects
Opening an Existing
Project
Once you’ve created project folders in Avid|DS, they are presented as a list
from which you can choose a specific project or sequence.
To open an existing project on your workstation
1. From the File menu, choose Open > Project.
The Project Browser dialog box is displayed.
?
Project Browser dialog box
2. From the Select a Project list, select a project name.
3. From the Select a Sequence list, do one of the following:
• Click New DS Sequence and then click New Sequence.
• Double-click on an existing sequence name or click on the sequence name
and then click Open.
If you created a new sequence, the New Sequence dialog box is displayed.
You must set the sequence preferences and then click OK. For more
information, see Setting Sequence Preferences on page 131.
A new or existing sequence is opened.
To open an existing project on another workstation
1. From the File menu, choose Open > Project.
The Project Browser dialog box is displayed.
2. From the Project List box, click Scan Disk.
The Scan Subdirectories for Projects dialog box is displayed.
User’s Guide • 33
Chapter 2 • Working with Projects
3. Locate the DS Projects folder on the network that contains the project you
want to open and click Select.
Avid|DS searches through the selected folder and creates a project list. You
can now open any one of these projects and/or sequences.
Archiving Projects
?
Archiving is a way to create backups of your project, move a project to another
workstation, or free up space on your local disk. You can restore archived
projects later, if necessary.
You can archive both the project files and its related media. If you choose to
archive only the project files, you can recapture the media easily once the
project is restored.
Archive all
files related
to project
Project files
Sequences and
clips refer to
media on disk
Archived project files and media
Only media related to
clips and sequences in
project are archived
Source and cache media
To archive a project
1. From the Media Input/Output layout, click the Project Manager icon.
The Project Manager is displayed.
2. Select the Archive tab.
34 • User’s Guide
Managing Projects
Projects
?
3. Choose a project to archive by selecting it from the list of displayed projects.
You can archive projects from anywhere on the network. To access
other project folders, click Select Project Directory, navigate to the
desired location, and then click Select. The projects in the selected
folder appear in the project list.
4. If you want to archive the media associated with your project, select the
type of media you want to archive from the Media Archive Options box.
For video media and video cache media, you must specify a compression
rate and resolution for the media you want to archive. For audio media
and audio cache media, you must specify a sample rate.
Video is always archived to tape, and audio is always archived to the
specified media location on disk.
The status area displays the amount of time required on tape to archive
your video media. It also displays the amount of disk space that the
project files, including the audio media (if any) will consume. If the media
archive is longer than the length of your tape, you need to split the media
onto two tapes. For more information, see Creating Multiple Archives of
the Same Project on page 38.
Click Help for detailed information on the media archive options.
User’s Guide • 35
Chapter 2 • Working with Projects
5. By default, all projects are archived in the DS Archives folder. You can select a
different destination folder for the project files by doing one of the following:
• Enter the path in the Project Archive Destination text box.
• Click Browse to search for the appropriate folder.
Avid|DS does not let you archive a project at the root of a drive, such
as F:\. The archive must be within a folder. For example, F:\DS
Archives\ is a valid location for a project archive.
?
6. Click Archive to begin archiving your project.
If your project contains linked clips, a message is displayed, warning you
that linked clips cannot be archived as the media does not reside within
the current project. You should backup these files separately.
If you are archiving video media to tape, once the archive is opened (and
the audio is archived), the Creating Media Archive dialog box is displayed.
7. In the Archive Tape Options box, select a device to which you want to
archive the media files.
36 • User’s Guide
Managing Projects
Before starting the archive, create an external device preset, so that it
is available from the Device list when you archive your media to
tape. For more information on creating an external device preset, see
Configuring the External Device on page 74.
Set the Edit Mode to Assemble in your preset to avoid having to
stripe the entire tape before archiving your media to tape. Even with
Assemble mode, you must stripe the first few seconds of the tape.
?
8. In the Archive Tape Options box, enter a value in the In-point timecode
box to set the starting timecode of the archive on the tape. By default, the
in-point timecode is set to 00:00:00:00.
9. Click Continue.
Your media files are archived to tape.
If you’re currently previewing clips in the viewer, you cannot archive
your project. This may not be obvious if you’re using the dual
viewer. To close the dual viewer, click Done in the preview controls.
Click Help for detailed information on the media archive properties.
After you’ve archived your project, make sure that there is an archivetape.log
file in the archive folder. Without this log file, you cannot restore your media.
It is also a good idea to compare the timecodes in the archivetape.log file with
those on the archive tape. If they’re the same, you shouldn’t have any
problems restoring your project. If they’re different, however, archive the
project again.
The archive.log file contains the Avid|DS version number, so you
know which version you were using when the archive was created.
Once the archive is complete and the log file has been checked, you can delete
your project to make space on your disk. For more information, see Deleting
Projects on page 45.
If you want to archive a project that is larger than the PAL or NTSC
broadcast standard, you can create an archive of the project files only
(do not include the media), and then back up the folder that
contains the media for your project on another medium, such as
CD, Jaz, or DLT. When restoring this project, all you have to do is
make sure you copy the folder containing the media files back to its
orginal location. All the media will be linked back to the original
master clips inside the project.
User’s Guide • 37
Chapter 2 • Working with Projects
Creating Multiple Archives of the Same Project
If you archive a large project and its media, you may find that one tape is not
enough to hold all your media. You can create two separate archives of the
same project, each one containing different types of media, such as:
?
Archive
Contents
1
Project data, audio media, audio cache, and video media
2
Project data and video cache
It’s very important that the project data for both archives are identical for you
to be able to restore the project accurately at a later date.
Be sure to keep track of which projects were archived using the
multiple archive method as Avid|DS does not remind you when it
comes time to restore the project. It is also important to name your
tapes appropriately, so that you can easily distinguish the media on
the tapes.
To create multiple archives of the same project
1. From the Project Manager, select the Archive tab.
2. Choose a project to archive by selecting it from the list of
displayed projects.
3. Select the following media archive options:
- Archive video media files to tape
- Archive audio media files to disk
- Archive audio cache media to disk
4. For the video media, select a compression rate and resolution of the media
you want archived. For the audio media and audio cache media, select a
sample rate.
5. Enter a path in the Project Archive Destination text box where you want
the archive to reside.
6. Click Archive to begin archiving the first part of your project.
The project files and audio media are archived to disk and the Creating
Media Archive dialog box is displayed before it starts to archive any
video media.
7. In the Archive Tape Options box, select the device to which you want to
archive the media files.
8. Enter a value in the In point timecode box to set the starting timecode of the
archive on the tape. By default, the in-point timecode is set to 00:00:00:00.
38 • User’s Guide
Managing Projects
9. Click Continue.
Avid|DS archives your video media to tape.
10. Without making any changes to your project folder, choose the same
project to archive by selecting it from the list of displayed projects.
11. From the Media Archive Options box, select the Archive video cache files
to tape option.
?
12. Select the compression rate and resolution of the media you want to archive.
13. Click Archive to begin archiving the cache media.
The project data is archived to disk again and the Creating Media Archive
dialog box is displayed.
14. From the Archive Tape Options box, select the device to which you want
to archive the media files.
15. Enter a value in the In point timecode box to set the starting timecode of the
archive on the tape. By default, the in-point timecode is set to 00:00:00:00.
16. Click Continue.
Avid|DS archives your cache media to tape. You now have two archives of
the same project on two separate tapes.
After you’ve archived your project, make sure that there is an
archivetape.log file in the archive folder. Without this log file, you
cannot restore your media. It’s also a good idea to compare the
timecodes in the archivetape.log file with those on the archive tape.
User’s Guide • 39
Chapter 2 • Working with Projects
Restoring Projects
Projects are archived when a job is completed, to create backups of your
project files, or to move a project to another workstation. If you need to work
on the project again, you simply have to restore it. You can restore the project
files, as well as any video and/or audio media that was archived with it.
If you restore a project that contains third-party plug-in effects onto
a machine that does not have the plug-ins installed, the effects will
appear over the clips they were applied to, but they will be empty.
They will be editable after you install the plug-ins.
?
If you only want to work on a small portion of an archived project, you can
choose which parts of the project you want to restore.
Additional information about archived files can be found in text files
in the project’s archive folder. The archive.log file records the dates
of all archive and restore operations for a selected archive, and the
archivetape.log file keeps a list of all its archived media files. You can
use this file to determine the compression ratios and resolutions at
which the media was archived.
Restoring a Complete Project
From the Project Manager, you can restore the project files and corresponding
media. If you’re restoring a project whose media was archived on more than
one tape, see Restoring a Project Archived on Multiple Tapes on page 44.
To restore a complete project
1. From the view switcher, click the Project Manager icon.
2. From the Project Manager, select the Restore tab.
40 • User’s Guide
Managing Projects
3. In the Archive Folder text box, enter the location of the archived project
file that you want to restore, or click Browse to search for the file.
?
Searching for an archived file in the default DS Archives folder
4. In the Project Name text box, specify the folder in which you want to place
the restored files.
5. If you want to restore the project’s media, select the Select media to
restore option from the Options box.
The Media Options (1/2) dialog box lets you select specific clips or
sequences for which you want the media to be restored.
6. Since you want to restore the complete project, ignore this dialog box and
click OK. The Media Options (2/2) dialog box is displayed.
7. Select the type of media you want to restore with the corresponding
compression ratio and resolution, and click OK.
If you have video material archived on tape, you will be prompted to
insert the tape into the deck. If you have material on disk, it will
automatically be restored from your archive.
User’s Guide • 41
Chapter 2 • Working with Projects
8. Click Restore.
If you’re restoring material from videotape, Avid|DS controls the deck,
searches for the appropriate footage on the tape, and then digitizes it.
If you encounter problems restoring material from tape, you should
disable the viewer using the Viewer button in the status bar and try
capturing again. When restoring full resolution HD material at
29.97 and 30 frames per second, the viewer is automatically
disabled.
?
Avid|DS usually stops the deck, rewinds, and then pre-rolls before
capturing material. With an archive, however, the media should be stored
on tape one right after the other. As a result, the pre-roll is skipped and the
all media is captured in one pass. This feature, known as streaming
capture, greatly reduces the time to restore an archive.
If the restore is not entirely successful, that is, some clips were not
restored, click Restore to recapture the missing clips.
You can only restore NTSC media while an NTSC sequence is open.
If you restore a project that contains both PAL and NTSC media,
you must restore the NTSC media in an NTSC sequence, and then
restore the PAL media in a PAL sequence.
Once a project is restored, you can open the project from the Project
Manager and work with its sequences.
Restoring Parts of a Project Archive
At times, you may only want to restore part of a project, some of its clips, or
one particular sequence. Avid|DS lets you choose which project files and
associated media files to restore.
To restore parts of a project archive
1. From the Project Manager, select the Restore tab.
2. In the Archive Folder text box, enter the location of the archived project file
that you want to restore, or click Browse to search for the file.
3. In the Project Name text box, specify the folder in which you want to place
the restored files.
42 • User’s Guide
Managing Projects
4. To restore the media of a selected part of your project archive, click Select
Media to Restore from the Options box.
The Media Options (1/2) dialog box lets you select specific clips or
sequences for which you want the media to be restored.
?
5. Select the Only Restore media referenced by the following files option to
activate the selective restore function.
6. Click one of the following:
• Add Clip to select individual clips for which you want the media to
be restored.
• Add Sequence to select individual clips for which you want the media to
be restored.
A browser is displayed.
7. Select the clips or sequences for which you want media to be restored and
click OK.
The selected clips or sequences are displayed in the Media Options (1/2)
dialog box.
To remove items from the list, select the items and click Delete.
8. When you have all the clips and/or sequences you want, click OK.
The Media Options (2/2) dialog box is displayed.
User’s Guide • 43
Chapter 2 • Working with Projects
9. Select the type of media you want to restore with the corresponding
compression ratio and resolution, and click OK.
If you have video material archived on tape, you are prompted to insert
the tape into the deck. If you have material on disk, it is automatically
restored from your archive.
10. Click Restore.
If you’re restoring material from videotape, Avid|DS controls the deck,
searches for the appropriate footage on the tape, and then digitizes it.
?
Restoring a Project Archived on Multiple Tapes
You can restore a project whose media was archived on multiple tapes. As the
project files are archived with each tape, you must be careful not to overwrite
your project files.
To restore a project archived on multiple tapes
1. From the Project Manager, select the Restore tab.
2. In the Archive Folder text box, enter the location of the archived project file
that you want to restore, or click Browse to search for the file.
3. In the Project Name text box, specify the folder in which you want to place
the restored files.
4. From the Options box, select the Select media to restore option to restore
the audio media files.
The Media Options (1/2) dialog box is displayed.
5. Since you want to restore the complete project, leave this dialog box
inactive and click OK.
The Media Options (2/2) dialog box is displayed.
6. Select the audio media and audio cache file options, and then click OK.
7. Click Restore.
8. Once the project data and audio media files are restored, you can begin
restoring the video and cache files.
9. Repeat steps 1 to 7, but this time restore your video media files. When
Avid|DS asks you if you would like to skip the restoration of the project
information, click Yes.
By choosing Yes, you are only restoring the video media files and not
overwriting the project data.
10. Repeat steps 1 to 7 again, but this time restore the video cache files.
Your entire project with media and cache files are now restored. You can
open the project from the Project Manager and work with your sequences.
44 • User’s Guide
Managing Projects
Moving Projects to
Another Workstation
You can easily move your project files to another Avid|DS workstation. Simply
archive your files with or without the associated media, copy them to a folder
on the new workstation, configure the storages so that they match those of the
machine on which the project was archived, and then restore the project.
To move a project to another workstation
1. Archive your project to a location on the network—see Archiving Projects
on page 34.
?
Make a note of your current storage paths, so that you can easily
configure the storages of the new workstation.
2. On the new workstation, close Avid|DS and run the Avid|DS Storage
Utility by clicking the Start button and choosing Programs > Avid
Products > Avid|DS v5.0 > Storage Utility.
3. In the Storage Utility, make sure that you’ve set up the same storage
devices as the machine on which you archived your project—see
Configuring Media Storage on page 70.
4. Restore your project from the network location—see Restoring Projects on
page 40.
Deleting Projects
When you no longer need a project, archive it first and then delete it from
your system.
When you delete a project, the project folder, project files, and all media
associated with the project are deleted. You can also delete individual files
within a project, such as clips and sequences. You can delete project files and
their corresponding media from the browser or clip tray.
User’s Guide • 45
Chapter 2 • Working with Projects
To delete a project
1. Close the project that you want to delete.
2. From the Project Manager, select the Delete tab.
?
3. Choose a project to delete by selecting it from the list of displayed projects.
4. Click Delete.
You are prompted to confirm your decision.
5. Click Yes to delete the project and its media.
Click Help for detailed information on the Project Manager dialog box.
46 • User’s Guide
Managing Projects
Deleting a Clip
When you first capture media into Avid|DS, a clip is created in the browser to
represent the digitized media on your storage device. This is the master clip.
You can delete master clips and any clip on the timeline.
When deleting master clips, you have two options:
?
• You can check that no other clips are using its media before the clip is
deleted. If the media is being used by another clip, then Avid|DS deletes
only the clip and not the media.
• You can quickly get rid of clips and their media without verifying if the
media is being used by another clip. Although this is quicker, it can be
risky. You should only do this when you are absolutely sure that you don’t
need the media associated with this clip.
Since project files and their media are stored separately, you can delete the
media, but keep the clip so that you can later recapture the media. For
more information, see Purging Media on page 56.
You can also delete clips on the timeline. Since the clip on the timeline is
usually just a copy of the master clip in the browser, the clip is removed only
from the sequence. The master clip in the browser and the media on the disk
array remain intact.
If you created clips on the timeline from an EDL or OMF® file
without creating logs in the browser, the clips on the timeline are the
only instances of these clips. If you remove them from the sequence,
they will no longer exist anywhere in your project. If there was
media associated with these clip it will remain on your disk array,
but you will not have access to it because it is no longer associated
with any clip. The media will remain on your disk array until it is
deleted when you purge unreferenced media.
To delete a clip in the browser
1. In the Contents view of the browser, select the clip(s) that you want to delete.
Select multiple clips by holding down the Ctrl key while selecting clips.
2. Right-click on a selected clip, and choose one of the following from the menu:
• Delete to delete your clip and its associated media file after having verified
that neither are being used by another sequence.
• Total Delete to quickly delete your clip and its media file without
verifying if it is used elsewhere.
You are asked to confirm your decision.
User’s Guide • 47
Chapter 2 • Working with Projects
3. Click Yes.
A progress bar appears to show that the delete is in progress. You can click
the Cancel button to stop the delete process.
If you are having difficulty deleting a clip, it may have been
corrupted. Use the Media Manager to locate the clip so that you can
then and delete it. For more information, see Managing Media on
page 50.
?
Deleting a Sequence
A sequence is an arrangement of clips, effects, edit points, and transitions.
Like master clips, sequences do not contain any media. They simply refer to
the media that is stored on your disk array. So when you delete a sequence, the
master clips and their media remain intact.
When you delete a sequence, you also delete any processed media
(caches) for this sequence, unless they’re used by other sequences.
To delete a sequence
1. In the Contents view of the browser, select the sequence(s) that you want
to delete.
Select multiple sequences by holding down the Ctrl key while
selecting sequences.
2. Right-click on the selected sequence, and choose one of the following
from the menu:
• Delete to delete your clip and its associated media file after having verified
that neither are being used by another sequence.
• Total Delete to quickly delete your clip and its media file without verifying
if it is used elsewhere.
You are asked to confirm your decision.
3. Click Yes.
A progress bar appears to show that the delete is in progress. You can click
the Cancel button to stop the delete process.
48 • User’s Guide
Managing Projects
Example: Purge, Delete, and Total Delete
Purge master clip from sequence A.
Result: If the Keep Media Used in Other Sequences
option is not selected, then the media file is removed.
Master clip
When you play back either of your sequences, the “Media
Not Available” message is displayed in the viewer
whenever it encounters this clip.
?
Because the master clip was not removed, it’s easy to
recapture the media from the browser or timeline.
Sequence A
Sequence B
If the Keep Media Used in Other Sequences option is
selected, then neither the media nor the master clip
are removed.
Media
Delete master clip from sequence A.
Master clip
Result: Only the master clip is deleted because Avid|DS
checks to see if the media file is used elsewhere. Since it
is being used by sequence B, the file is not removed.
Although the master clip is deleted, the clips on the
timeline in sequence A and B still refer to the original
media file.
Sequence A
Sequence B
Media
Total Delete master clip from sequence A.
Master clip
Result: Master clip and associated media file are
removed. No verification is done, so both sequence A
and sequence B lose the master clip and media file.
When you play back either of your sequences, the
“Media Not Available” message is displayed in the viewer
whenever it encounters this clip.
Sequence A
Sequence B
Media
User’s Guide • 49
Chapter 2 • Working with Projects
Managing Media
When working on big projects, you can easily accumulate large amounts of
media captured from different sources in different formats, resolutions, and
compression ratios. It is essential that you learn to manage your source and
cache media so that you can efficiently sort, search through, find, purge,
move, and delete media. For more information, refer to Cache Management in
Avid|DS on page 152 of the Avid|DS Compositing & Effects Guide.
?
You can manage the media files within your current project effectively using
the tools in the Media Manager. You can group files by properties, such as
project, storage, format, quality, and source. The Media Manager also lets you
move, delete, or defragment media files, as well as determine the media files to
which clips and sequences are associated.
Media associated with linked clips does not appear in the Media
Manager because the media does not actually reside on your disk
array. For more information, see Linking to a Clip on page 97.
To access the Media Manager
• Do one of the following:
- From the View menu, choose Views > Media Manager.
- From the Data Management menu, choose Media Manager.
- From the view switcher, click the Media Manager icon.
When you open the Media Manager for the first time, either from
the View menu or view switcher, you must click Refresh to display
its contents.
Sorting Media
You can view media by project, storage, quality, or source using the media tree
in the Media Manager. You can also sort the media into sub-areas by setting
the sort order of properties in the media tree. For example, you can group
media by storage to determine how much media exists on each storage, and
then perform a secondary sort by quality to view the media according to the
different resolution or compression at which they were captured.
These are the properties that you can sort:
50 • User’s Guide
Field
Description
Quality
The resolution and/or compression of the media.
Project
The name of your project.
Source
The material from which this media originated—tape, CD,
imported from file, or a file processed within Avid|DS.
Storage
A partitioned area on the disk array for storing your media.
Managing Media
To sort your media
1. From the Media Manager, click Options.
In the Media Tree Properties dialog box, the Media Tree Sorting Order list
determines what is displayed in the media tree of the Media Manager.
?
2. Move the properties between the Available Properties list and the Media
Tree Sorting Order list by clicking an item in either list and using the
Add >> or << Remove buttons to set the properties you want to view.
You can also move an item from one list to another by doubleclicking it.
3. Create the media tree hierarchy by selecting a property in the Media Tree
Sorting Order list, and clicking Move Up or Move Down to set the sorting
order for the properties.
4. Click OK to save your changes.
The media tree displays the properties you selected for the sort and the
Contents view displays the associated media files.
User’s Guide • 51
Chapter 2 • Working with Projects
List of
media in
the
Contents
view
?
You can also quickly reorder columns in the Contents view by
clicking a column heading and dragging it right or left until it is
positioned correctly.
Click Help for detailed information on the Media Tree Properties dialog box.
Finding Media Using
Filters
You can find media easily using various filtering options, which let you
perform both broad and narrow searches for media. You can, for example,
look for all the media in the current project (broad search) or look for the
media file that corresponds to a clip selected in the clip tray or browser
(narrow search).
To find a media file using filters
1. From the Media Manager, click Options.
2. In the Media Tree Properties dialog box, select a filter from the Filter
Options list.
3. From the Project list, select a project.
Avid|DS limits its search to the project you chose. The current project is
selected by default.
4. Click OK.
The media files for the selected filter option are displayed in the Contents
view of the Media Manager.
Click Help for detailed information on the Media Tree Properties dialog box.
52 • User’s Guide
Managing Media
Viewing Media
You can view each media or cache file as a thumbnail, making it easier to
identify and locate particular media files. You can also step through the media
files by changing the frame that is displayed in the thumbnail. This gives you a
basic idea of what is included in each media file.
To view media files in Thumbnails mode
1. From the Media Manager, select a group of media in the media tree.
The media for that group is displayed in the Contents view.
?
2. Click the Thumbnails icon.
Each media or cache file is represented as a thumbnail.
Click Help for detailed information on the Media Manager.
To change the frame displayed in the thumbnail
1. Display the media for a group in Thumbnails mode.
2. Right-click on a media file and choose View Frame and one of the
following from the menu:
• First Frame to display the first frame of the media file.
• Middle Frame to display the middle frame of the media file.
• Last Frame to display the last frame of the media file.
• Advanced to find the clip information and the total number of frames
contained in this clip. It also lets you enter a particular frame number to
be displayed.
The thumbnail displays the frame number you chose.
Searching for Media
You can search for clips and sequences that reference a specific media file.
To search for a clip or sequence using a media file
• In the Contents view of the Media Manager, right-click on a media file
and choose Find Clips from the menu.
Avid|DS searches through your project and lists any clips or sequences in
which this media file is used. These clips and sequences are listed in the
clip tray.
User’s Guide • 53
Chapter 2 • Working with Projects
?
You can now drag these clips and sequences to the viewer or timeline for
previewing or editing.
Click Help for detailed information on the clip tray.
If you access the clip tray from the Editing layout, it is displayed in
combination with the Clip Search view. If you access it from any
other layout, it is displayed by itself as a floating window.
Defragmenting Media
The more you capture, delete, and purge media from your system, the higher
the probability that your media files are fragmented on your disk array.
Fragmented media may slow down your system or cause playback problems,
such as skipped frames. It makes sense to defragment your disk array
regularly. This, however, can be a lengthy process.
If you’re short on time and only want to defragment one or two clips that are
causing playback problems, you can defragment them in the Media Manager.
To defragment media files
1. From the Media Manager, select one or several media files that you think
might be fragmented.
2. Right-click on one of the selected files and choose Defragment from
the menu.
All fragmented media files are defragmented.
54 • User’s Guide
Managing Media
Verifying Media
If you encounter problems while playing back your sequences, there may be
corrupted media on your disk array. You can check to see if your media is
corrupt by using the Media Manager.
To verify your media
• From the Media Manager, click Verify Media.
If you have any corrupted files, the Media Manager prompts you to delete
them. Media that you delete will have to be recaptured or reprocessed.
?
Moving Media
If you add or remove a storage device from your system, you may have to
move some media files from one storage area to another. You can easily move
media files between storage areas using the Media Manager. You can move one
file at a time, a selection of files, or an entire folder of media files.
To move a media file
1. In the Contents view of the Media Manager, right-click on a media file
and choose Move from the menu.
To move more than one file, hold down the Ctrl key and click the
necessary files, and then right-click on one of the selected files to
display the menu.
2. From the Move Media dialog box, select the video and audio storage area
to which you want to move your media.
To move a media folder
1. From the media tree, select the parent folder of the folder that you want
to move.
2. In the Contents view of the Media Manager, right-click on the media folder
that you want to move, and choose Move from the menu.
3. From the Move Media dialog box, specify the video and/or audio storage
area to which you want to move your media.
User’s Guide • 55
Chapter 2 • Working with Projects
Sharing Media
You can share media across two or more different projects on the same
machine or between different Avid|DS systems on a network. The media
needs to be stored on any storage device that has been shared both within
Avid|DS and at the Windows NT level. Once the media is captured, other
users can link to the media from within their own respective projects. The
originator of the media, however, retains ownership of the media and is the
only person who can delete or purge it.
The limitation with sharing media between projects is that the storage device
may not have sufficient bandwidth to provide real-time access to the media
for more than one user at a time. However, if the storage device has sufficient
bandwidth, real-time playback is possible.
?
For more information on importing media from another project, see
Importing Sequences from Another Project on page 154.
Deleting Media
If you’re sure that you no longer need certain media files, you can manually
delete them from your storage area. When media is deleted, the clips that refer
to that media are maintained, but indicate that no media is attached to them.
To delete media files
1. In the Contents view of the Media Manager, right-click on a media file
and choose Delete from the menu.
You are prompted to confirm your decision.
2. Click Yes to delete the media.
If you are sharing media with another project, the originator or
owner of that media is the only person who can delete it. To delete
shared media, the owner must delete it from within the project
where it was captured or created.
Purging Media
Media files often contain large amounts of information that can quickly use
up your system storage space. It is good practice to delete unused media.
There are two types of media generated in Avid|DS:
• Source media is created when you capture or import files.
• Processed media (cache) is generated when you process effects, graphics,
or composites in your sequence.
You can purge your source media and cache files without losing vital
information about the edits you made. Since a clip is a representation of the
digitized media stored on your disk array, you can delete your media without
deleting the clip and sequence files. This is called purging your media. You can
later use the clip or sequence files to recapture the source material or reprocess
the effects.
56 • User’s Guide
Managing Media
If you’re sharing media with another project, the originator or
owner of that media is the only person who can purge it. To purge
shared media, the owner must purge it from within the project
where it was captured or created.
?
When a clip’s source media is deleted, the clip icon in the browser turns red.
When caches are purged, the icon does not change color, but areas of the
timeline that rely on this processed media are highlighted in red. Purging source
media requires you to recapture the original media, while purging caches
requires you to reprocess the sequence before it can be played back in real time.
It is possible to purge only the video or audio portion of a clip. In this case, the
icon in the browser does not turn red, as there is still media associated with
the clip.
To check what type of media is associated with a clip, right-click on
the clip and choose Properties from the menu. For more
information on clip properties, refer to Displaying File Properties in
the online help.
There are several ways to purge source media or cache files in Avid|DS.
Purge from
To do this
Browser
Delete media of selected clips and sequences.
Clip tray
Delete media and cache files of selected clips and
sequences.
Cache bar menu
Delete the caches associated with the cache bar, the cache
files below the cache bar, or both.
Processing toolbar
Delete all cache files from the current sequence, all
interactive memory caches, or a cache file associated with
a particular clip, effect, or area on the timeline.
Purge dialog box
Delete source and cache media of specific clips, sequences
or projects. This option gives you more control over what
types of media are deleted and from what source they will
be deleted.
You can only purge media from the current project. If you want to
purge media in another project, you must open that project and
then purge the media.
User’s Guide • 57
Chapter 2 • Working with Projects
Purging Source Media
Source media is the digitized form of source material after it has been
captured and imported from tape or file into Avid|DS. You can select the type
of media you want to delete.
You can purge media at the clip, sequence, or folder level:
• Purging a clip deletes media that was captured for that clip.
?
• Purging a sequence deletes media for all clips in the sequence.
• Purging a folder deletes media of the master clips contained in that folder.
To purge a file or folder from the browser
1. In the Contents view of the browser, right-click on a clip, sequence, or
folder, and choose Purge Media from the menu.
The Purge dialog box is displayed with the Items Selected in the Browser
option selected in the Display Associated Media For list.
58 • User’s Guide
Managing Media
To purge everything but the clips selected in the browser, select the
Except For option in the Display Associated Media list.
2. From the Consider Following Media Types box, select one or more of the
following options:
• Uncompressed Video to purge all associated uncompressed video
media files.
?
• Compressed Video to purge all associated compressed video media files.
• Video Caches to purge all associated video cache files.
• Audio (all sampling rates) to purge all associated audio media files.
• Audio Caches to purge all associated audio cache files.
3. To keep a certain number of frames at the beginning and end of the clips
you are preserving, select the Also Keep 15 Frames Heads and Tails with
Preserved Media option. You can change the number of frames by
increasing or decreasing the number in the text box.
4. Click Refresh Purge List.
A list of media that meets all the criteria that you selected is displayed in
the Purge list. By default, all the files in the list are selected, but you can
choose any number of media files from the list to purge.
5. Click Purge to begin deleting the media.
Click Help for detailed information on the Purge dialog box.
After you purge source media and it is deleted from your disk array, the clips
that reference this media have a red icon beside them in the browser. Clips on
the timeline that have no associated media, display the “Media Not Available”
message in the viewer when you play back the sequence.
To purge all media except that used in the current sequence
1. From the Data Management menu, choose Purge Media.
2. In the Purge dialog box, select the Current Sequence option from the
Display Associated Media box.
3. Since you want to purge everything outside the current sequence, choose
the Except for option in the Display Associated Media list.
4. From the Consider Following Media Types box, select one or more of the
following options:
• Uncompressed Video to purge all associated uncompressed video media files.
• Compressed Video to purge all associated compressed video media files.
• Video Caches to purge all associated video cache files.
User’s Guide • 59
Chapter 2 • Working with Projects
• Audio (all sampling rates) to purge all associated audio media files.
• Audio Caches to purge all associated audio cache files.
5. From the Keep Media Used In box, deselect the Other Master Clips and
Other Sequences options. By deselecting these options, you are deleting
media that is used elsewhere.
6. In the Optimize For box, select one of the following:
?
• Quick Space Recovery to do a high-level surface pass that deletes only the
media that is not referenced by any of the selected clips or sequences. This
option is fast, but does not maximize disk space by removing portions of
clips that are not used.
• Maximum Storage Space Recovery to do a deep, low-level pass that splits
up media files and keeps only the portions of media being used. This
option maximizes disk space, but may be time consuming.
7. To keep a certain number of frames at the beginning and end of the clips
you are preserving, select the Also Keep 15 Frames Heads and Tails with
Preserved Media option. You can change the number of frames by
increasing or decreasing the number in the text box.
8. Click Refresh Purge List.
A list of all media that is not currently referenced by clips in the timeline is
displayed in the Purge list.
9. Click Purge to begin deleting the media.
All video, audio, and cache media files, except those referenced by clips in
the timeline, will be deleted.
Click Help for detailed information on the Purge dialog box.
60 • User’s Guide
Managing Media
To purge media from a sequence
1. Select the sequence(s) in the browser, right-click and choose Purge Media
from the menu.
The Purge dialog box is displayed.
?
2. From the Consider Following Media Types box, select one or more of the
following options:
•
•
•
•
•
Uncompressed Video to purge all associated uncompressed video media files.
Compressed Video to purge all associated compressed video media files.
Video Caches to purge all associated video cache files.
Audio (all sampling rates) to purge all associated audio media files.
Audio Caches to purge all associated audio cache files.
3. In the Keep Media Used In box, select one of the following options:
• Other Master Clips to keep media that is used by other master clips in the
current project
• Other Sequences to keep media that is used by other sequences in the
current project.
User’s Guide • 61
Chapter 2 • Working with Projects
4. In the Optimize For box, select one of the following options:
• Quick Space Recovery to perform a high-level surface pass that deletes
only the media that is not used by the sequences you have selected. This
option is fast, but does not maximize disk space by removing portions of
clips that are not used.
• Maximum Storage Space Recovery to perform a deep, low-level pass that
splits up media files and keeps only the portions of media being used. This
option maximizes disk space, but may be time consuming.
?
5. To keep a certain number of frames at the beginning and end of the clips
you are preserving, select the Also Keep 15 Frames Heads and Tails with
Preserved Media option. You can change the number of frames by
increasing or decreasing the number in the text box.
6. Click Refresh Purge List.
A list of media that meets all the criteria that you selected is displayed in
the Purge list. By default, all the files in the list are selected, but you can
choose any number of media files from the list to purge.
7. Click Purge to begin deleting the media.
Click Help for detailed information on the Purge dialog box.
Purging Caches
When you process effects, graphics, and/or a composite in your sequence, a
cache file is generated on your disk array. This lets you play the sequence in
real time.
You can delete this cache media and reprocess it at a later time if you need
space on your storage device. When you delete a sequence’s caches, the
Process indicator on the timeline turns red, and the unprocessed region is
highlighted on the marker ribbon.
If you’re using cache bars to generate caches, you can purge the caches at the
different levels at which they were created. The cache bar’s color indicates if
playable media exists for the entire region covered by the cache bar. If any part
under the cache bar is unprocessed, the cache bar will be yellow. If the entire
region has been processed and playable media exists, the cache bar is green.
You should clean up your system on a regular basis using the Purge
dialog box to get rid of unwanted caches.
62 • User’s Guide
Managing Media
To purge all cache files for the current project
1. From the Data Management menu, choose Purge Media.
2. In the Purge dialog box, select the Current Project option from the Display
Associated Media For box.
3. From the Consider Following Media Types box, select Video Caches
and/or Audio Caches.
?
4. Click Refresh Purge List.
The cache files associated with the current project are displayed in the
purge list.
5. Click Purge to begin deleting the media.
The cache media is purged. To play the current sequence, you must
process it again.
To purge the caches of the current sequence
1. From the Processing toolbar, click Purge All Caches.
A confirmation dialog box is displayed.
2. Click OK.
The cache files are purged.
Alternatively, you can do the following:
1. From the Data Management menu, choose Purge Media.
2. In the Purge dialog box, select the Current Sequence option from the
Display Associated Media For box.
3. From the Consider Following Media Types box, select the Video Cache
and Audio Caches options.
4. Click Refresh Purge List.
All the video and audio cache files are displayed in the purge list.
5. Click Purge to begin deleting the cache files.
The media caches are purged. To play the sequence, you must reprocess
the effects, graphics, and composites in your sequence.
When you purge caches or media files from the current sequence,
they are not actually purged from your system until you close the
project or close Avid|DS.
User’s Guide • 63
Chapter 2 • Working with Projects
To purge the cache of selected objects on the timeline
1. On the timeline, select one or more clips, effect bars, container clips, or
tracks. You can also highlight a region by dragging on the timeline.
2. From the Processing toolbar, click Purge Cache.
You are prompted to confirm your decision to purge the media from
the timeline.
3. Click OK.
The cache files of the selected objects or area are deleted from your disk array.
?
To purge caches generated using cache bars
1. Right-click on a cache bar and choose one of the following:
• Purge Selected to purge only the cache media associated with the selected
cache bar
• Purge Below to purge any unnecessary cache media that lies below the
cache bar, while keeping the cache real time playable.
This option is useful when you processed using the complete option and
no longer need the caches at each level anymore.
• Purge to purge the cache media associated with the cache bar as well as
any cache media that lies below it
The selected cache files are purged from your project.
Purging Unreferenced Media
While working on a project, it is possible to accumulate media files that do
not refer to any clip or sequence. These files are known as unreferenced media
files. You can delete these files manually from your system through the Purge
dialog box.
You can also activate the Purge on Exit option from the Data
Management property page (User Preferences dialog box). This
option searches for and removes unreferenced media each time you
close Avid|DS. For more information, see Data Management User
Preferences in the online help.
64 • User’s Guide
Managing Media
To purge unreferenced media files
1. From the Data Management menu, choose Purge Media.
The Purge dialog box is displayed.
2. In the Purge dialog box, select the Unreferenced Media option from the
Display Associated Media box.
3. In the Optimize For box, select one of the following:
?
• Quick Space Recovery to perform a high level surface pass that deletes
only the media that is not referenced by any of the clips or sequences
selected. This option is fast, but does not maximize disk space by
removing portions of clips that are not used.
• Maximum Storage Space Recovery to perform a a deep, low-level pass
that splits up media files and keeps only the portions of media being used.
This option maximizes disk space, but may be time consuming.
4. Click Refresh Purge List.
A list of all media that is not currently referenced by clips in the current
project are displayed in the Purge List.
5. Click Purge to begin deleting the media.
All video, audio, and cache media files, found in the purge list are deleted.
Click Help for detailed information on the Purge dialog box.
User’s Guide • 65
Chapter 2 • Working with Projects
?
66 • User’s Guide
?
Chapter 3
Capturing Material
User’s Guide • 67
Chapter 3 • Capturing Material
In This Chapter...
This chapter describes how to configure your media storage, prepare to
capture material, specify the capture quality, and capture and log material so
that you can edit it in Avid|DS.
Workflow: Capturing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Configuring Media Storage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
?
Preparing to Capture Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Logging and Capturing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
68 • User’s Guide
Workflow: Capturing Material
Workflow: Capturing Material
You can capture material for your project from different sources, such as tape
or file. The following illustration shows you the process of capturing material:
1
Configure inputs
• Configure video and audio input settings
• Configure audio/video quality and storage
?
• Configure external devices, such as VTR or audio controller
2
Preview material
and
Adjust level of
incoming audio signal
Preview material on an
external device
3
Log and capture material
Log or capture from...
File
Then recapture from...
Timeline
Browser
Tape
EDL/OMF/ALE
User’s Guide • 69
Chapter 3 • Capturing Material
Configuring Media Storage
Storage devices hold the media upon which all your work is based, so it is
important to set up your storage devices properly. During installation,
Avid|DS configures the disk array on your workstation to be the main storage
area for your media. You can change this storage area by creating additional
storage devices or setting up different folder locations on these devices for
your audio or video media.
?
You can manage your storage devices using the Avid|DS Storage Utility. The
Avid|DS Storage Utility is a standalone application and is automatically
installed during setup. It displays all video and audio storages that are
currently defined for your workstation, and allows you to add new storages,
and modify or delete existing ones. Each storage is identified by its hardware
device and the name that you gave it during installation.
All video or audio storage areas must be configured through the Avid|DS
Storage Utility before they can be recognized by the Avid|DS application.
The Storage Utility also lets you specify whether the storage devices are to be
shared or not. If you work in a workgroup environment, you’ll want to share
some of your storage devices to take advantage of remote processing, and the
easy access of media across the network.
For more information on sharing storages and setting up your workgroup
environment, refer to the Avid|DS Remote Processing Guide.
To access the Storage Utility
1. Close Avid|DS if it’s open.
2. Click the Start button and choose Programs > Avid Products> Avid|DS
v5.0 > Storage Utility.
The Storage Utility window displays all video and audio storage areas that
are currently defined for your workstation, and lets you add new storage
areas, or modify/delete existing storages. Each storage area is identified by
its hardware device and the name that you gave it during installation.
70 • User’s Guide
Configuring Media Storage
When you uninstall Avid|DS or the Storage Utility, the storage
device names and locations remain in the system’s registry. When
you reinstall Avid|DS, this information is detected and the storage
areas are automatically recreated.
Click Help for detailed information on the Storage Utility.
Adding Storage
?
If you acquire additional storages or want to access a storage device that is
located elsewhere on the network, you’ll have to add the new storage device to
your workstation configuration. Before you add another storage, make sure
that you’ve installed the storage device according to the vendor’s
specifications. Then use the New Storage dialog box to configure the
appropriate parameters for storage.
Shared storage areas must be shared at both the Windows NT level
and within the Avid|DS Storage Utility.
To add a storage
1. In the Storage Utility window, click Add.
2. In the Name text box, enter a unique name for the storage device.
This name is displayed when you select a storage area when capturing,
processing, or outputting material.
3. In the Path text box, enter the drive and folder name where your media
will be stored, or use the Browse button to find it. If you do not enter a
folder name, the Storage Utility automatically creates a folder based on the
media type that you specify in the Type list.
User’s Guide • 71
Chapter 3 • Capturing Material
You can define a maximum of nine storage devices per media type.
That is, nine for video and another nine for audio. Each storage
must have a unique name and path. You cannot define a storage
inside another one.
4. In the Id list, assign a number to your storage area.
5. From the Type list, select either audio or video media.
6. Select the Shared option if you want to share the storage area between
several machines in your workgroup environment.
?
7. Type in a name for the shared storage area.
8. If you have real-time access to media on the storage area you’re adding,
then you should activate the Real time accessible option. This determines
whether Avid|DS treats the media coming from this storage area as real
time playable or as media that requires processing.
If you set the Real time accessible option incorrectly, you can go back
and change it at any time.
9. Click OK.
The new storage is displayed in the Storage Utility window.
You must add the shared storage area to the Available Storages list
for each workstation that will access the shared storage area. Make
sure that the storage ID and the share name for the storage area are
the same on all machines. If one is different, Avid|DS will not
recognize the storage area as shared storage.
Modifying Storages
You can change the name or physical location of your storage area at any time.
When you change a storage area, you will not be able to play clips or
sequences that refer to that storage area.
To modify a storage area
1. In the Storage Utility window, select a storage name.
2. Click Modify.
3. In the Modify Storage dialog box, change the settings of the storage area,
and click OK.
72 • User’s Guide
Configuring Media Storage
Deleting Storages
If you no longer need access to a storage area, you can easily remove it from
the system’s registry. Although the media is not deleted, you will not be able to
access it on this storage device.
To delete a storage area
1. In the Storage Utility window, select a storage area to delete.
2. Click Delete.
?
3. Click OK to remove the storage from the system registry.
The storage area is disconnected from Avid|DS, but the media remains on
the storage device.
Click Help for detailed information on the Storage Utility.
User’s Guide • 73
Chapter 3 • Capturing Material
Preparing to Capture Material
Before you capture media, you must configure your workstation settings. This
includes specifying the audio and video input signals coming from the
external device, as well as indicating the capture quality and storage location
for the captured media.
You can map all commands on the Input panel of the Media Input/
Output layout to a keyboard shortcut or place them in a toolbar. By
using shortcuts and toolbar buttons, you can set up the capture
setting and start capturing without switching to the Media Input/
Output layout. For more information, see Customizing the
Command Map in the online help.
?
Configuring the
External Device
You can specify the manufacturer and model of the external device connected
to your workstation. You can also select the audio input format that you want
to capture and/or output, as well as assign how the physical audio outputs from
the external device are connected to your audio inputs on your workstation.
You can do all this on the Configuration panel of the Media Input/Output
layout. Avid|DS lets you set certain parameters that are important to the
capture and output process, and it lets you save all these settings as a preset, so
that you don’t have to reconfigure your external devices every time you want to
capture or output. You can remove your presets from the list at any time.
To configure the external device
1. From the Media Input/Output layout, select the Configuration panel.
2. From the External Device box, make a selection from the Input and
Priority lists.
The input you select will depend on the audio hardware connected to
your system.
The Input, Priority, and Audio Physical Patching settings are all
saved with the device preset.
74 • User’s Guide
Preparing to Capture Material
3. Use the Audio Physical Patching matrix to assign the audio outputs from
from the external device to the audio inputs on your workstation.
If the material you want to capture has more audio tracks than the
number of physical inputs on your workstation, you can capture the
audio tracks in different passes. For each pass, you can re-assign the
audio physical patching to capture the tracks you need.
?
For example, assume you only have two
physical inputs (I1 and I2), but have four
tracks of audio to capture (A1, A2, A3, and
A4). On the first pass, you can capture
tracks A1 and A2.
On the second pass, you can change the
audio physical patching to A3 and A4, which
lets you capture audio tracks 3 and 4.
You can also use the patching to:
• Rearrange the track destination
• Import specific tracks from a device
• Remove unwanted tracks
Since the Audio Physical Patching is saved with the device preset,
each device can have its own specific audio patching.
4. Select the name of the external device from the Manufacturer list.
5. From the Model list, select the model number.
6. From the COM Port list, select the COM port that connects the external
device to your system.
The external device is connected to either COM1 or COM2.
7. From the TC Mode list, select one of the following:
• Auto to let the external device decide which timecode to read.
• LTC to set 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 to set 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.
If your external device cannot find a timecode when previewing
material, your TC Mode setting may be incorrect.
User’s Guide • 75
Chapter 3 • Capturing Material
8. When outputting to tape, you must specify the edit mode by selecting one
of the following from the Edit Mode list:
• Auto to 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.
?
• Assemble to erase all tracks, so that they are clean and then record over
them. The tape can be blank, but must have at least a few seconds of stripe
at the beginning.
Due to the nature of assemble mode editing, a small portion of the
tape is erased beyond the end of your sequence, creating a series of
garbage frames. To work around this inherent limitation, you can set
an in marker at the beginning of your sequence, an out marker 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.
9. From the Edit Field list, select one of the following:
-
Deck Settings to use the settings on the external device.
F1 to have the output start on field 1.
F2 to have the output start on field 2.
F1/F2 to have the output start with the same material on field 1 and 2.
10. In the Preroll text box, enter the amount of time that you want the external
device to play before Avid|DS starts to capture or output.
11. If you’re experiencing an offset between the external device and your
system, you can compensate by adding or subtracting frames in the Play
Bias and Record Bias text boxes. The Play Bias option offsets the timeline
whereas the Record Bias option offsets the VCR timecode entry point.
When you first connect the external device to your system, you
should perform several capture and output tests to verify that the
timecodes are accurate.
12. Select the Auto detect VTR change option if you want to receive a
notification during a recapture from browser or timeline, If the external
device preset you have selected is different than the external device
connected to your machine, you have the option to change it.
After changing any of the settings in the Configuration tab, you
must either click Check Machine or save your settings as a preset. If
you don’t, the changes will not be recognized.
Click Help for detailed information on the Configuration panel.
76 • User’s Guide
Preparing to Capture Material
Saving External Device Settings
You can save the settings for your external device as a preset, so that you don’t
have to reconfigure the device each time you use it for capture or output.
To save the external device settings as a preset
1. From the Configuration panel, configure the external device and click
Save Config.
?
2. In the Save Configuration dialog box, select one of the following options:
• Existing Preset if you want to save the changes you made to an existing
preset. Choose the name of the preset from the Existing Preset list.
• New Preset if you want to create a new preset. Enter a name in the New
Preset text box.
3. Click OK.
The preset name is added to the Device list.
Every time you make a change to the external device configuration,
you should resave the preset, so that you can keep your changes for
the next capture or output session. If you don’t, the changes will not
be recognized.
To remove a preset from the device list
1. From the Configuration panel, click Remove Config in the External
Device box.
User’s Guide • 77
Chapter 3 • Capturing Material
2. In the Remove Configuration dialog box, select the preset that you want
removed from the Preset list.
3. Click OK.
The preset is removed from the Device list.
To check the status of the external device
• From the Configuration panel, click Check Machine.
?
If the communication between the external device and your system is
operating properly, nothing happens. If there is a problem, a message box
appears stating the possible cause of the problem.
You can also verify that the external device is operating within
normal parameters by checking the five items in the External Device
Status area.
Specifying the Capture
Quality
The video and audio capture quality are set when you created your project or
sequence. You can keep these default settings or adjust them for the material
you are going to capture or recapture.
For your video material, you can change the compression, resolution and
storage device. For your audio material, you can change the sample rate, bit
depth, and storage device.
To see if a clip has more than one capture quality, right-click on the
clip in the Contents view of the browser and choose Properties from
the menu. In the Property dialog box, select the Media property page.
Specifying the Video Capture Quality
Video capture settings let you define the compression ratio and resolution at
which images are captured.
You can save space on your disk array by capturing video material in
compressed format. Typically, compressed material is used for a rough cut,
where you capture large amounts of material at a lower quality. After that,
you can recapture the edited material uncompressed before proceeding with
a more detailed edit.
78 • User’s Guide
Preparing to Capture Material
To define video capture settings
1. From the Media Input/Output layout, select the Input panel.
?
2. In the Video box, select a resolution from the Resolution list.
3. Select one of the following options:
• Uncompressed to work with media that is not compressed.
• Compressed to compress your media. From the corresponding list,
select a ratio.
You can capture uncompressed and compressed files into the same
project folder, but you cannot use them simultaneously in a sequence.
4. From the Capture To list, select the storage device on which your video
media will be stored.
The status of the storage device you select is displayed. If the storage
device is accessible in real time, the status marker is green. If the storage
device is not accessible in real time the status marker is red.
The Time Available box indicates how much video material you can
successfully capture based on your quality settings. If you have insufficient
storage space, consider deleting any unused media on your disk array. For
more information, see Purging Media on page 56Purging Media.
Click Help for detailed information on the Input panel.
Specifying the Audio Capture Quality
The capture settings let you define the quality at which your audio material
is captured. These settings depend on the audio hardware connected to
your workstation.
When you’re capturing material from a digital input, the audio input sample
rate and protocol settings are set according to the input signal detected by
your hardware.
User’s Guide • 79
Chapter 3 • Capturing Material
With digital input, such as AES/EBU or S/PDIF, the sample rate is determined
and set by the external device (CD player, DAT, etc.). If the digital input
cannot be detected (for example, the external device is turned off), the default
sampling rate is set to 48 kHz.
To define audio capture settings
1. From the Input panel, select a sample rate from the Sample Rate list. The
higher the sample rate, the more accurate the capture process will be.
?
2. From the Bit Depth list, select a bit depth. The higher the value, the more
precise the audio will be.
3. From the Capture To list, select the disk array on which your audio
material will be stored.
The status of the storage device you select is displayed. If the storage
device is accessible in real time, the status marker is green. If the storage
device is not accessible in real time the status marker is red.
The Time Available box indicates how much audio material you can
successfully capture based on your quality settings. If you have insufficient
storage space, consider deleting any unused media on your disk array. For
more information, see Purging Media on page 56Purging Media.
Click Help for detailed information on the Input panel.
Previewing Material
Before capturing video or audio material from a tape or live capture session,
you can preview it to decide how much pre-roll or post-roll to add, or to
monitor the audio levels. When you preview audio material, you can use the
input monitor to set incoming audio levels.
To preview video or audio material from tape or live
1. From the Input panel, select Tape or Live from the Capture Source list.
2. To preview the source material on tape, click the viewer, and then click the
Play button on the transport controls.
80 • User’s Guide
Preparing to Capture Material
If you capture material in YUV color space, you should use a
vectorscope to verify that the colors fall within the RGB color space.
Avid|DS always creates processed media or cache files in RGB color
space, regardless of the color space you set for the current sequence.
If the colors of the captured material fall outside valid RGB color
space, you may notice flickering or color changes when using nonreal-time effects.
?
Monitoring Audio Levels
Each input strip in the input monitor corresponds to channels that are
recorded from the source device. You can use the fader on the input strip to
lower the incoming signal. Once you set the audio levels on the input monitor,
they’re saved with the audio clip. For more information, refer to The Mixer
View and The Input Monitor in the online help.
When you later recapture this material from the browser, Avid|DS, by default,
uses the same levels that you set when you originally captured the material.
The available input and output channels in the Media Input/Output
layout reflect the number of channels supported by your installed
audio hardware and the particular configuration to which it is set.
To adjust the audio input levels
1. From the Input panel, select Tape, Live, or On-the-fly from the Capture
Source list.
2. From the Audio Format list, select one of the following:
• Mono to create separate streams for each audio input.
• Stereo to combine the left and right audio inputs to create stereo pairs.
• Quad to combine the left, right, left rear, and right rear audio inputs to
create quadraphonic master clips.
• LCRS to combine the left, center, right, and surround audio inputs to
create LCRS master clips.
• 4 Stream to combine four generic audio inputs to create four stream
master clips.
• 5.1 to combine the left, right, center, LFE, left surround, and right
surround audio inputs to create 5.1 master clips.
• 6.1 to combine the left, right, center, LFE, surround center, left surround,
and right surround audio inputs to create 6.1 master clips.
• 7.1 to combine the left, right, center, LFE, left surround, right surround,
left center, and right center audio inputs to create 7.1 master clips.
• 8 Stream to combine eight generic audio channels to create eight stream
master clips.
User’s Guide • 81
Chapter 3 • Capturing Material
3. Assign the incoming audio tracks to the desired audio channels of your
clip using the audio channel routing matrix.
?
Audio track 1 is assigned to the right (R) channel and audio
track 2 is assigned to the left (L) channel, and so on.
4. From the view switcher, click the Input Monitor icon.
Two mono tracks on the input monitor
5. On the transport controls, click Play.
6. If necessary, drag the fader controls to adjust the gain while the audio
is playing.
82 • User’s Guide
Logging and Capturing Material
Logging and Capturing Material
If you’re capturing material from a tape or file, you can log the clips needed for
your sequence before batch capturing them later. Logging lets you specify the in
and out-points for material on tape without actually capturing the material.
You can also create logs from the following sources:
• EDLs (Edit Decision Lists)
• OMFs (Open Media Framework®)
• ALEs (Avid Log Exchange)
?
For more information on conforming an EDL, OMF, or ALE to a
Avid|DS sequence, see Workflow: Conforming on page 161.
Depending on the source from which you are capturing material, you can:
•
•
•
•
Preview the material before capturing it.
Log the material and batch capture it later.
Log and capture the material at the same time.
Log a clip that is linked to material that exists anywhere on your network.
After logging and/or capturing your material, they appear as master clips in
the browser. These clips contain information about the original media on tape
or file, as well as the source in and source out timecodes.
The source timecodes are not available for material that was
recorded from file.
Selecting a Folder for
Captured Media
When you capture source material, Avid|DS creates master clips to represent
its media. These master clips appear in the browser, where you can access and
use them to build sequences.
Before you capture any material, select a subfolder (within the current project
folder) in which to save your clips. This organizes your project.
There are ways to set up your folders that make tasks, such as
recapturing, much easier. Each project will require a different setup,
but there are general rules that you should follow. Here is an
example of a simple but effective folder setup:
Contains all presets for the current project
Contains all clips logged from EDLs
Contains various master clip folders
Contains all master clips from tape #1
Contains all master clips from tape #2
Contains all clips logged from OMF files
Contains all sequence files
User’s Guide • 83
Chapter 3 • Capturing Material
To select a folder for the master clips
1. From the view switcher, click the Browser icon.
2. In the browser tree, select a folder.
When you click the plus (+) sign, the folder opens to display its contents.
If you want to create a new folder, click the New Folder icon at the
top of the browser, and specify the location and name.
?
Click the Help button for detailed information on the browser.
Logging and Capturing
Clips from Tape
When capturing material from tape, you can digitize the media between
selected in and out-points or log them as empty master clips in the browser.
The digitized clips are displayed in the browser. Audio and video clips without
media are marked in red, either with a red dot in the Details view or a red icon
in the Thumbnails view. Logged video clips also display the Avid|DS
clapboard in the Thumbnails view. You can still place these clips on the
timeline to create a sequence and then edit them like any other master clip.
In the Thumbnails view of the browser, video and
audio clips without media are displayed with red icons.
In the Details view of the browser, video and audio
clips without media are displayed with a red dot.
Logged clips without media in the browser
On the timeline, the clips are displayed with the message “Media Not
Available”, so you can easily recognize clips that do not have media at the
quality that you set for your sequence preferences. You can capture clips
without media at a later time either from the browser or the timeline.
If Avid|DS cannot find any media for a clip, the “Media Not Found”
message is displayed.
84 • User’s Guide
Logging and Capturing Material
To log and capture clips from a tape
1. From the Media Input/Output layout, select the Input panel.
2. From the Capture Source list, select Tape.
The Input panel changes to display the properties for capturing clips
from a tape.
?
3. From the Source Name list, select the tape’s name. If the tape is new, click
Source Name and enter a name for the tape.
It’s important to assign a unique name to every tape because
Avid|DS uses this same name to identify the captured media.
4. In the Base Clip Name text box, enter a name to prefix all captured clips.
5. To record additional material before the in-point and after the out-point,
enter the appropriate number of frames in the Heads and Tails text boxes.
6. Select the Video option to capture the video channel of the material.
7. Select the Audio option to capture the audio channel(s) of the material.
8. From the Audio Format list, select one of the following:
• Mono to create separate streams for each audio input.
• Stereo to combine the left and right audio inputs to create stereo pairs.
• Quad to combine the left, right, left rear, and right rear audio inputs to
create quadraphonic master clips.
• LCRS to combine the left, center, right, and surround audio inputs to
create LCRS master clips.
• 4 Stream to combine four generic audio inputs to create four stream master clips.
• 5.1 to combine the left, right, center, LFE, left surround, and right
surround audio inputs to create 5.1 master clips.
• 6.1 to combine the left, right, center, LFE, surround center, left surround,
and right surround audio inputs to create 6.1 master clips.
User’s Guide • 85
Chapter 3 • Capturing Material
• 7.1 to combine the left, right, center, LFE, left surround, right surround,
left center, and right center audio inputs to create 7.1 master clips.
• 8 Stream to combine eight generic audio channels to create eight stream
master clips.
9. Assign the incoming audio tracks to the desired audio channels of your clip
using the audio channel routing matrix. To do so, click in the square that
will assign the audio track to the appropriate audio channel. You should
know, in advance, to which tracks the audio has been recorded on the tape.
?
If you click on a square in the matrix and an unfilled circle appears,
that particular assignment is not available due to limitations of the
audio hardware.
For example, if you are working with S/PDIF audio hardware in Stereo
format, your audio channel routing matrix will look like this:
Old assignment
To switch the settings for track A1 and A2 so that track A1 is assigned to
Right (R) and track A2 is assigned to Left (L), click the R square in column
A1 and the L square in column A2. Notice that you can have only one
track assigned to one audio channel.
New assignment
The number of audio channels available depends on the audio
hardware and format you’re using.
10. Select the Timecodes May Repeat option to flag your tape as having
multiple occurrences of the same timecode. When recapturing, Avid|DS
detects the flag and deactivates the streaming capture capabilities, which
lets you manually cue the tape before capturing each clip.
If you have flagged a tape with the Timecodes May Repeat option
during capture, don’t deactivate it during recapture because it may
cause recapture errors.
11. On the transport controls, click Play to play the source material.
86 • User’s Guide
Logging and Capturing Material
12. While the clip is playing, click In at the point where you want to start
the capture.
The timecode of the in-point you selected is displayed in the In timecode box.
?
Mark In/Out-point
In/Out timecode boxes
13. Play or shuttle the tape to advance to the point where you want to end the
capture and click Out.
The out-point is displayed in the Out timecode box. The Duration
timecode box displays the length of material to be captured.
If you already know the in and out timecodes, you can enter them
directly in the In or Out timecode boxes. You can also directly enter
a value for the duration and Avid|DS will automatically calculate the
out-point.
14. From the Material box, select the Log or Log and capture option.
15. From the Field Dominance box, select one of the following:
• Auto to use the sequence’s setting.
• Odd to flag the incoming media as interlaced or field-based, and that the
media begins with the odd-numbered field.
• Even to flag the incoming media as interlaced or field-based, and that the
media begins with the even-numbered field.
• None to flag the incoming media as progressive or frame-based, which
means that the odd and even fields are the same.
If the field dominance of a clip does not match the field dominance
of the sequence, you will need to process it before playing it back on
the timeline.
16. Depending on whether you chose the Log or Log and capture option,
click one of the following:
• Capture to begin the recording.
• Log to log the clips in the browser.
As the material is logged and/or captured, clips appear in the browser
according to the in and out times that you specified.
User’s Guide • 87
Chapter 3 • Capturing Material
If Avid|DS is unable to capture the material on the first attempt, it
will attempt the capture a second time. If it fails again, Avid|DS will
attempt the capture a third time with an additional pre-roll of five
seconds. If the capture fails again, an error message is displayed with
a possible explanation for the problem.
If you encounter problems capturing material from tape, you should
disable the viewer using the Viewer button in the status bar and try
capturing again. When capturing full resolution HD material at
29.97 and 30 frames per second, the viewer is automatically disabled.
?
Logged video clips appear with an image of the Avid|DS clapboard, since
they do not have any media. Both video and audio clip icons are also red
to show that no media has been captured. You can later capture these clips
in one batch directly from the browser.
If any frames are skipped during the capture, the capture stops, and
an error message is displayed. Clips are created for the material that
was captured up to the point where frames were dropped.
If Avid|DS detects any problems during capture, the Capture Error Log is
displayed. The Capture Error Log dialog box displays the clip that could
not be captured, including tape source name, in, and out-point. It also
gives you a brief description of the type of error that occurred.
17. To save this log as an .html file, click Save As.
18. In the Save As dialog box, navigate to an appropriate folder, enter a name
for the log and click Save.
The log is saved as an .html file and can be viewed in any browser.
Click Help for detailed information on the Input panel.
Avid|DS stops a capture session if it detects any timecode breaks on
the source tape. It creates a master clip from the in-point to the
timecode break. The capture session may stop a frame or two after
the actual timecode break. If this happens, you may have to cut or
trim some of the unusable frames from your clip.
To resume capture, enter new in and out-points in the In/Out
timecode boxes, and click Capture.
If there is insufficient material for the deck to pre-roll before
capturing, you will not be able to capture the material. In this case,
use the Live capture option to capture the material.
88 • User’s Guide
Logging and Capturing Material
Importing Material
from File
?
When importing material from file, you can do any one of the following:
• Import media for selected files,
• Log the selection as clips without importing the media, or
• Create linked clips, which act as a pointer to source media located on a
local disk or anywhere on the network.
When you import material from a file, it’s important to select the correct
media conversion mode, pixel ratio, and premultiplication setting. The media
conversion modes let you determine how media of differing formats are
converted when imported into Avid|DS. Files coming from different formats,
such as NTSC, PAL, and computer graphics, all have different file pixel ratios.
If the pixel ratio of the source file is different than that of the current
sequence, then the file’s pixels are scaled to match those of the current
sequence. When you select the correct premulitplication setting, you can
avoid incorrect compositing results.
If you’re importing still images, you can specify their duration on the Editing
property page of the User Preferences dialog box. By default, the duration of
captured still images is set to 30 frames.
You can import a single file or a series of files at the same time.
To log and import clips from a file
1. From the Media Input/Output layout, select the Input panel.
2. From the Capture Source list, select File.
The Input panel changes to display the properties for importing clips
from a file.
3. From the Media Conversion list, select one of the following modes:
• Center, Keep Original Size to center 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.
User’s Guide • 89
Chapter 3 • Capturing Material
• Scale to Fit to scale the media in both the X and Y axes to fit the
sequence settings.
The Scale to Fit option may reduce image clarity.
• Scale, Keep Aspect Ratio to scale the media in both the X and Y axes to fit
the image settings, but retain the ratio between width and height. Avid|DS
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 to display the media in the viewer
without modifying its original size or position.
Keep Original Size and Position
Center, Keep Original Size
Scale, Keep Aspect Ratio
Scale to Fit
A 540×304 image imported using various media conversion modes
4. If the source image contains an alpha channel that you want to import
with the clip, select the Keep Alpha option. Only image formats that
support alpha channels are applicable. For example, .bmp images do not
support alpha channels.
90 • User’s Guide
Logging and Capturing Material
5. Do one of the following:
• Select the Premultiplied Alpha option if your source file was premultiplied.
• Deselect the Premultiplied Alpha option if your source file was
not premultiplied.
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 automatically
premultiplies your images unless they are already set as premultiplied when
you imported 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 state 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 import a Photoshop image into Avid|DS, do not
select the Premultiplied Alpha option. For more information, refer to
Working with Premultiplied Images on page 117 of the Avid|DS
Compositing & Effects Guide.
6. If you want to convert the frame rate of the file you are importing to the
same frame rate used by the sequence, select the Convert Video Frame
Rate option.
This option does not apply to still images or audio files.
When you import an audio file with a different sample rate than what is
currently set in the Audio quality box, a message box is displayed asking
you if you want to convert the audio file to the selected rate.
7. To set the File Pixel Ratio, select one of the following options:
• Standard to import a file that has a standard file pixel ratio. You can
choose from one of the following standard settings:
- Computer Graphics (Square) to import files created with square pixels.
Most computer graphic applications create images with square pixels.
- NTSC (0.9) to import files which originated in NTSC format.
- PAL (1.07) to import files which originated in PAL format.
- NTSC 16×9 (1.2) to import files which originated in NTSC 16:9 format.
- PAL 16×9 (1.42) to import files which originated in PAL 16:9 format.
• Custom to import a file that has a non-standard file pixel ratio
User’s Guide • 91
Chapter 3 • Capturing Material
8. From the Material box, select the Log or Log and import option.
You can import video, audio, and image files into Avid|DS. When you
import files, do one of the following:
• Create a quick log and then recapture them from the browser later, or
• Log and capture them at the same time.
The log and capture option takes substantially longer because the media
must be digitized.
?
You can import the following file formats:
File format
92 • User’s Guide
File extension
Supports
alpha
Supports
compression
AIFF (uncompressed)
.aif, .aiff, .aifc
-
-
Alias
.als
No
No
AVI
.avi
Yes
Yes
Avid|DS (Video Hal)
.gen,.omf
No
No
Bitmap (Windows)
.bmp
No
Yes
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
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
WAV
.wav
-
-
Wavefront
.rla
Yes
No
YUV
.yuv
No
Yes
Logging and Capturing Material
9. From the Field Dominance box, select one of the following:
• Auto to use the sequence’s setting.
• Odd to flag the incoming media as interlaced or field based, and that the
media begins with the odd field.
• Even to flag the incoming media as interlaced or field based, and that the
media begins with the even field.
?
• None to flag the incoming media as progressive or frame based, which
means that the odd and even fields are the same.
10. Click Log or Import.
The Import File(s) dialog box is displayed.
11. Locate the folder containing the file to be captured, and then select the
files for import.
To select more than one file, hold down Ctrl key and click each file name.
To select a series of files, enter the following in the File name text box:
prefix.[first..last;padding].extension
Property
Description
Prefix
The name of your file. The prefix can also include the name
of your folder.
First
The first frame of the sequence you want to import. First is
assumed to be a positive integer and smaller than Last.
Last
The last frame of the sequence you want to import. Last is
assumed to be a positive integer and larger than First.
Padding
The number of digits contained in the Last number. For
example, if your first number is 23 and your last number is
1000, your padding should be 4 because 1000 has a total of
four digits.
Extension
The file name extension.
For example, if you wanted to capture the sequence of files Alpha.001.pic
to Alpha.100.pic, you would enter the following in the File name text box:
Alpha.[1..100;3].pic
If you select an sequential list of files to capture, Avid|DS prompts
you to combine the files into one master clip. If you choose to keep
the files separate, they appear in the browser as a folder with the
name “clipname [X...Y].Clip”.
User’s Guide • 93
Chapter 3 • Capturing Material
12. Click Open.
As the material is logged and/or imported, clips appear in the browser.
Logged clips appear with the message “Media Not Available” when they
are placed in the viewer or timeline. You can later capture these clips in
one batch directly from the browser.
You can cancel the capture session at any time by clicking Cancel in
the progress bar. A message box is displayed asking you if you want to
keep the material that was captured so far. If you click Yes, clips are
created for the material that was captured until you clicked Cancel.
?
Click Help for detailed information on the Input panel.
Importing Layered Adobe Photoshop Files
There are two ways to import Adobe Photoshop files into Avid|DS:
• Set the Capture Source to File in the Media Input/Output layout and
choose .psd as the file type.
• Use the Import Photoshop command on the Image Tools toolbar.
The first option imports only the flattened photoshop image as a still. If you
want to preserve all the layer information, you should use the second option.
When you import a layered Photoshop image into Avid|DS using the Import
Photoshop command, a targa image file is created for each Photoshop layer. A
sequence file with one graphics container clip is created in a new folder in the
browser along with a master clip for each layer. These master clips are linked
to the targa files. Each layer in the Photoshop file is recreated in the graphics
container clip as a layer and corresponding clip on a composite track. Each
layer is composited in the same order as the original Photoshop file.
DVEs are applied to each clip to position them appropriately, and the opacity
of each layer is adjusted to match the opacity levels in the original Photoshop
file. An additional folder is created called Linked layers, which contains the
source targa files to which the master clips are linked. Having access to these
source files makes it easier for you to delete them, if needed.
The Photoshop images must be 8 bit RGBA, or grayscale files. Only normal
blending information is supported, and text and shape information are
rasterized when imported.
94 • User’s Guide
Logging and Capturing Material
Every time you import a layered Photoshop file, a new folder is
created in the browser. The folder is named after the Photoshop file
you imported. The sequence, master clips, and Linked layers folder
are all stored in this new folder. The master clips are named after the
layer they represent followed by the name of the Photoshop file in
parenthesis.
?
For example, if you import a Photoshop file called Poster.psd that
contains the following layers:
• Sky
• Sea
• Boat
A new folder called Poster is created in the browser. Within that
folder, a new sequence called Poster is created, a folder called Linked
layers is created, as well as the following master clips:
• Sky (Poster)
• Sea (Poster)
• Boat (Poster)
The Linked layers folder will contain the following files:
• Sky (Poster).tga
• Sea (Poster).tga
• Boat (Poster).tga
To import layered Photoshop files
1. Select a folder in the browser where you want the new folder to be created.
2. In the Editing layout, click Import Photoshop in the Image Tools toolbar.
The Import Adobe Photoshop dialog box is displayed.
3. Select the Photoshop file and click OK.
A message is displayed telling you that the clip was successfully saved.
4. Click OK.
A new folder is created in the browser and named after the Photoshop file.
Within that folder, a folder called Linked layers is created that contains the
source targa files. A sequence file with one graphics container clip is also
created, along with a master clip for each layer. In the graphics container
clip, each layer in the Photoshop file is recreated as a layer and
corresponding clip on a composite track. The lower-left corner of the final
composited image is placed in the lower-left corner of the viewer.
User’s Guide • 95
Chapter 3 • Capturing Material
Linked layers folder
contains targa files
A sequence file is created along
with a master clip for each layer
The lower-left corner of the final
composited image is place in the
lower-left corner of the viewer
?
New file created in browser
All layers are visible
DVE applied to each clip
Since the master clips are linked to the targa files, the images maintain
their original size. To view images that are larger than the sequence
resolution, right-click in the result area of the layer view to turn off the
Output Frame Size option.
For more information, refer to Working with Layered Photoshop Images on
page 114 of the Avid|DS Compositing & Effects guide.
Importing Encapsulated PostScript (EPS) Files
You can import EPS files into Avid|DS, but they are treated differently than
other file imports. EPS files are imported from within the Graphics layout and
no master clips are created for the EPS file. Instead, the EPS information is
imported directly into your current graphics session. The color information
in the EPS files is retained and each shape in the EPS file is a separate stroke
in Avid|DS.
You can import solid colors, but not gradients.
Avid|DS can import files created with Adobe Illustrator 8.0 or earlier
versions. To work with Illustrator 9.0 files, save it as a version 8.0 file.
Avid|DS only supports Microsoft Windows EPS files. If you have
Macintosh EPS files, open them with a Windows version of Adobe
Illustrator and resave them.
You can also import EPS files as brush strokes. For more information, see
Creating Custom Brushes on page 296.
96 • User’s Guide
Logging and Capturing Material
To import an EPS file
1. With the play cursor over a clip in the timeline, switch to the Graphics layout.
2. From the GFX Creation toolbar, click Import EPS.
The Open dialog box is displayed.
3. Select an EPS file and click Open.
The EPS file is imported into your graphics session.
?
Linking to a Clip
You can create links to media files that are not stored on your disk array,
which lets you work with media files without having to import them to your
disk. These files, called linked clips, can reside on a local disk or anywhere on
the network until you’re ready to output your sequence.
Some projects may require you to work with images at varying resolutions. If
you capture these files, you must convert the material to the working
resolution of the current sequence. By linking to the material instead, you can
keep the material at its original resolution regardless of the sequence’s frame
size. Once you’ve completed your edits, you can process the linked material,
which creates a cache file of the image area that is visible in the viewer.
Linking clips can also be useful when more than one person needs access to
the same file. You can import the file as a linked clip, and continue to use it as
a reference while another person continues to work on the source media file.
Changes made to the original file automatically appear in the linked clip, both
in the browser and on the timeline.
Once you’re ready to output the sequence, you can either capture the source
file or simply process the clip on the timeline. If you process the material, a
cache file is created. Once a cache is created, Avid|DS no longer refers to the
source media file, but uses this cache file during playback. Any further
changes to the source file do not appear in the linked clip on the timeline. Like
any other cache however, the cache for the linked clip can be purged which
relinks the clip to the source file. For more information on caches, refer to
Cache Management in Avid|DS on page 152 of the Avid|DS Compositing &
Effects Guide.
Linked clips appear in the browser as regular clips, but their file type icons are
underlined in red, indicating that no actual media has been imported. As a
result, you cannot play them back in real time until you have processed them.
If the “Media Not Found” message appears in the viewer when using linked
clips, it’s possible that Avid|DS has lost the connection to the linked file. All
you have to do is re-establish the link.
If another person tries to modify a file that’s linked to a clip in an
open project, they will not be able to save that file due to a sharing
violation. You must close the project that contains the linked clip for
them to be able to save the original file.
User’s Guide • 97
Chapter 3 • Capturing Material
To link to a clip
1. From the Media Input/Output layout, select the Input panel.
2. From the Capture Source list, select File.
The Input panel changes to display the properties for logging clips
from a file.
Since linked files are brought into Avid|DS at their original
resolutions, there is no need to convert them to the current
sequence’s resolution. As a result, the Media Conversion modes are
not available when the Link option is selected.
?
3. If the source image contains an alpha channel that you want to import
with the clip, select the Keep Alpha option. Only image formats that
support alpha channels are applicable. For example, .bmp images do not
support alpha channels.
4. When importing images from file, you must set the correct
premultiplication state to inform Avid|DS how it should treat the
material. Do one of the following:
• Select the Premultiplied Alpha option if your source file was premultiplied.
• Deselect the Premultiplied Alpha option if your source file was not
premultiplied.
5. If you want to convert the frame rate of the file you are importing to the
same frame rate used by the sequence, select the Convert Video Frame
Rate option.
6. To set the File Pixel Ratio, select one of the following options:
• Standard to import a file that has a standard file pixel ratio. You can
choose from one of the following standard settings:
- Computer Graphics (Square) to import files created with square pixels.
Most computer graphic applications create images with square pixels.
- NTSC (0.9) to import files which originated in NTSC format.
- PAL (1.07) to import files which originated in PAL format.
- NTSC 16×9 (1.2) to import files which originated in NTSC 16:9 format.
- PAL 16×9 (1.42) to import files which originated in PAL 16:9 format.
• Custom to import a file that has a non-standard file pixel ratio
7. From the Material box, select the Link option.
98 • User’s Guide
Logging and Capturing Material
8. From the Field Dominance box, select one of the following:
• Auto to use the sequence’s setting.
• Odd to flag the incoming media as interlaced or field-based, and that the
media begins with the odd field.
• Even to flag the incoming media as interlaced or field-based, and that the
media begins with the even field.
?
• None to flag the incoming media as progressive or frame-based, which
means that the odd and even fields are the same.
9. Click Link.
The Import File(s) dialog box is displayed.
10. Select the folder that contains the file to be linked, and then select the files.
To select more than one file, hold down the Ctrl key and click each
file name.
11. Click Open.
As the material is linked, clips appear in the browser. The clip icons are
underlined in red to indicate that no media has actually been captured.
Click Help for detailed information on the Input panel.
To re-establish the link to a clip
1. Right-click on a clip in the browser and choose Properties.
The Clip Properties dialog box is displayed.
2. Select the File Info tab.
In the Status text box, the following message is displayed: “File is missing
from expected location”.
3. Click Relink file.
4. In the Relink File dialog box, navigate to the location where the file has
been moved, select it, and click OK.
5. Close the Clip Properties dialog box by clicking OK.
The link is re-established.
If you go back into the Clip Properties dialog box, you will see that
the status of the linked file has changed to “File is Present”.
User’s Guide • 99
Chapter 3 • Capturing Material
Capturing Clips Onthe-Fly
You can capture material from tape as it plays. All you have to do is start the
tape, and then set in and out-points for the material you want to capture.
Once the tape finishes, clips are created in the browser based on the various in
and out-points you set during playback.
Unlike the Live capture option, the On-the-fly option records the accurate
timecode of the source material, letting you recapture the material at any
time. This option also lets you create several clips by setting multiple in and
out-points without having to start and stop playback.
?
To log and capture clips on-the-fly
1. From the Media Input/Output layout, select the Input panel.
2. Prepare to capture material by adjusting the settings in the Video and
Audio boxes.
3. From the Capture Source list, select On-the-fly.
4. From the Source Name list, select the tape’s name. If the tape is new, click
Source Name and enter a name for the tape.
5. In the Base Clip Name text box, enter a name to prefix all your captured clips.
6. Select the Video option to capture the video channel of the material.
7. Select the Audio option to capture the audio channel(s) of the material.
8. From the Audio Format list, select one of the following:
• Mono to create separate streams for each audio input.
• Stereo to combine the left and right audio inputs to create stereo pairs.
• Quad to combine the left, right, left rear, and right rear audio inputs to
create quadraphonic master clips.
• LCRS to combine the left, center, right, and surround audio inputs to
create LCRS master clips.
• 4 Stream to combine four generic audio inputs to create four stream
master clips.
100 • User’s Guide
Logging and Capturing Material
• 5.1 to combine the left, right, center, LFE, left surround, and right
surround audio inputs to create 5.1 master clips.
• 6.1 to combine the left, right, center, LFE, surround center, left surround,
and right surround audio inputs to create 6.1 master clips.
• 7.1 to combine the left, right, center, LFE, left surround, right surround,
left center, and right center audio inputs to create 7.1 master clips.
?
• 8 Stream to combine eight generic audio channels to create eight stream
master clips.
9. Assign the incoming audio tracks to the desired audio channels of your
clip—see Logging and Capturing Clips from Tape on page 84.
10. Select the Timecodes May Repeat option to flag your tape as having
multiple occurrences of the same timecode. When recapturing, Avid|DS
detects the flag and deactivates the streaming capture capabilities, which
lets you manually cue the tape before capturing.
11. From the Field Dominance box, select one of the following:
• Auto to use the sequence’s setting.
• Odd to flag the incoming media as interlaced or field-based, and that the
media begins with the odd field.
• Even to flag the incoming media as interlaced or field-based, and that the
media begins with the even field.
• None to flag the incoming media as progressive or frame-based, which
means that the odd and even fields are the same.
12. Click Capture.
The tape begins playback.
13. Click in the viewer to set an in-point, and then right-click in the viewer to
set an out-point.
A clip is created for each of the in and out-points that you set. Continue to
set in and out-points of the material you want to capture.
14. To finish the capture session, click Cancel in the progress bar.
Clips appear in the browser for each of the in and out-points that you set.
The clips are named as follows: Base Clip Name001, Base Clip Name002, and
so on. Each clip’s timecode matches that on the tape, making it possible for
you to recapture the material at a different compression rate or resolution.
If you encounter problems capturing material from tape, you should
disable the viewer using the Viewer button in the status bar and try
capturing again. When capturing full resolution HD material at
29.97 and 30 frames per second, the viewer is automatically disabled.
Click Help for detailed information on the Input panel.
User’s Guide • 101
Chapter 3 • Capturing Material
Performing a Live
Capture
?
You can perform a live capture of audio and video material as the tape is
playing from a variety of external devices. A live capture is essentially the same
as a capture from tape except that you control the capture as the tape is
playing (without any pre-roll). If there is a proper SMPTE or AES/EBU
timecode signal, the material is assigned the incoming timecode. If no
timecode signal is present, Avid|DS assigns an arbitrary timecode to the clip,
starting at 00:00:00:00. Even if the material is assigned its appropriate
timecode, the timecode may not be completely accurate.
Material captured using this option is considered live material and
cannot be recaptured at a later time.
To perform a live capture
1. From the Media Input/Output layout, select the Input panel.
2. Prepare to capture material by adjusting the settings in the Video and
Audio boxes.
3. From the Capture Source list, select Live.
4. From the Device list, select a device.
5. From the Source Name list, select the tape’s name.
If the tape is new, click Source Name and enter a name for the tape.
It is very important to assign a unique name to every tape because
Avid|DS uses it to identify the captured media.
6. In the Base Clip Name text box, enter a name to prefix all captured clips.
7. Select the Video option to capture the video channel of the material.
8. Select the Audio option to capture the audio channel(s) of the material.
102 • User’s Guide
Logging and Capturing Material
9. From the Audio Format list, select one of the following:
?
• Mono to create separate streams for each audio input.
• Stereo to combine the left and right audio inputs to create stereo pairs.
• Quad to combine the left, right, left rear, and right rear audio inputs to
create quadraphonic master clips.
• LCRS to combine the left, center, right, and surround audio inputs to
create LCRS master clips.
• 4 Stream to combine four generic audio inputs to create four stream master clips.
• 5.1 to combine the left, right, center, LFE, left surround, and right
surround audio inputs to create 5.1 master clips.
• 6.1 to combine the left, right, center, LFE, surround center, left surround,
and right surround audio inputs to create 6.1 master clips.
• 7.1 to combine the left, right, center, LFE, left surround, right surround,
left center, and right center audio inputs to create 7.1 master clips.
• 8 Stream to combine eight generic audio channels to create eight stream
master clips.
10. Assign the incoming audio tracks to the desired audio channels of your
clip using the channel routing matrix—see Logging and Capturing Clips
from Tape on page 84.
11. Select the Timecodes May Repeat option to flag your tape as having
multiple occurrences of the same timecode. When recapturing, Avid|DS
detects the flag and deactivates the streaming capture capabilities, which
lets you manually cue the tape before capturing.
12. From the Field Dominance box, select one of the following:
• Auto to use the sequence’s setting.
• Odd to flag the incoming media as interlaced or field-based, and that the
media begins with the odd field.
• Even to flag the incoming media as interlaced or field-based, and that the
media begins with the even field.
• None to flag the incoming media as progressive or frame-based, which
means that the odd and even fields are the same.
13. Click Capture.
The capture begins and the progress bar displays the number of seconds of
material captured. This value updates while the capture is in progress.
If you encounter problems capturing material from tape, you should
disable the viewer using the Viewer button in the status bar and try
capturing again.When capturing full resolution HD material at
29.97 and 30 frames per second, the viewer is automatically disabled.
14. When you want to stop capturing, click Stop on the progress bar.
User’s Guide • 103
Chapter 3 • Capturing Material
The captured material is represented by a clip in the folder you selected
from the browser. Click Capture again to resume capturing.
Click Help for detailed information on the Input panel.
Batch Capturing
?
In Avid|DS, you usually start your offline session using compressed media or
logged clips. When it comes time for your online session, you need to capture
the media from the logs or recapture the media uncompressed. If you had to
capture each clip one at a time, it would take too long. Fortunately, you can
capture a bunch of clips from the browser or timeline in one pass. This is
called batch capturing.
Capturing Clips from the Browser
When you create a log of clips, empty master clips (without media) are
created in the browser, where you can capture source material from tape or
file. The master clips hold information about the in and out-points of
material from tape, or about the location of an original file.
Recapturing clips with existing media lets you select a different capture
quality for these clips. You can initially capture clips at a lower quality to save
disk space and increase processing time. You can also recapture clips with
existing media that have been partially or completely purged.
Avid|DS stops the deck, rewinds and then pre-rolls before capturing
material. If, however, it detects two or more clips on the same tape
and they are separated by less than 5 seconds, it will skip the pre-roll
and capture both pieces of media in one pass. This feature, known as
streaming capture, can reduce the time to recapture media especially
if your media is lined up one right after the other on a single tape.
To recapture clips from the browser
1. From the Media Input/Output layout, select the Input panel.
2. From the Capture Source list, select Browser.
Setting up a capture from the browser
104 • User’s Guide
Logging and Capturing Material
3. From the Contents view of the browser, select the master clips that you
want to capture or recapture.
4. Click Video to recapture the video portion of your media.
5. Click Audio to recapture the audio portion of your media.
6. Assign the incoming audio tracks to the appropriate channels of your clip
using the channel routing matrix.
?
7. If you want the capture to begin immediately, leave the Time Delay option
deselected. If you want to capture certain files at a specific time in the
future, select the Time Delay option.
You can recapture master clips from the browser or timeline at a
specific date and time using the Time Delay option. 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.
8. Click Capture.
If you’re capturing from a tape that is currently in the VTR, then capture
starts automatically. As the clips are captured, the progress bar updates.
If Avid|DS is unable to capture the material on the first attempt, it
will attempt the capture a second time. If it fails again, Avid|DS will
attempt the capture a third time with an additional pre-roll of five
seconds. If the capture fails again, the error is displayed in the
Capture Error Log, with the possible cause of the problem.
If you encounter problems recapturing material from tape, you
should disable the viewer using the Viewer button in the status bar
and try capturing again. When recapturing full resolution HD
material at 29.97 and 30 frames per second, the viewer is
automatically disabled.
If the tape is not in the VTR, the Insert Tape dialog box is displayed.
User’s Guide • 105
Chapter 3 • Capturing Material
?
• Use the transport controls in the dialog box to cue up the VTR.
• If the current device preset is incorrect in any way, including the
assignment of audio inputs from the external device, you can modify it
by clicking Change Device. The Device Configuration dialog box is
displayed—see Configuring the External Device on page 74.
• Click Skip Tape to bypass capturing all the clips with this tape’s source name.
If you selected the Time Delay option, the Start Capture At dialog box is
displayed. Enter the date and time at which you want the capture to begin
and click OK. The progress bar appears with the current date and time, as
well as the capture start date and time you specified.
If any problems are detected during recapture, the Capture Error Log
is displayed.
106 • User’s Guide
Logging and Capturing Material
?
The Capture Error Log dialog box lists all the clips, including tape source
name, in, and out-points, that could not be recaptured. It also gives you a
brief description of the type of error that occurred.
9. To save this log as an .html file, click Save As.
10. In the Save As dialog box, navigate to an appropriate folder, enter a name
for the log, and click Save.
The log is saved as an .html file and can be viewed in any browser.
If the name or location of the original file has changed, press Ctrl
and click Capture to open the Import File(s) dialog box. You can
browse to the appropriate location, or modify the name in the dialog
box to match that of the new file you want to capture.
Click Help for detailed information on the Input panel.
Capturing Clips from the Timeline
When you create a log of clips from a tape, file, EDL, OMF, or ALE, master
clips with no media are created in the browser. You can still place these clips
on the timeline, and edit their in and out-points before capturing the media.
You can also capture media from clips on the timeline when you want to use a
different quality.
When you capture from the timeline, all the frames in a clip are
recaptured unless otherwise specified.
User’s Guide • 107
Chapter 3 • Capturing Material
To recapture clips from the timeline
1. From the Media Input/Output layout, select the Input panel.
2. From the Capture Source list, select Timeline.
?
Setting up a capture from the timeline
3. In the Tracks to Capture box, select the tracks from which you want
to capture.
4. To record additional material before the in-point and after the out-point,
enter the appropriate number of frames in the Heads and Tails text boxes.
You can only add heads and tails to the clip on the timeline up to the
length of the original master clip. You cannot extend the clip beyond
what was originally captured.
5. To capture only the active frames of clips on the timeline, select the
Capture Only Active Material option.
When you select this option, clips with time effects (Timewarp,
Interlace, Deinterlace, 3:2 Expand, or 3:2 Contract) are recaptured
in their entirety regardless of the active areas. For all other types
of container clips, only the active portions of the container clips
are recaptured.
6. If you want the capture to begin immediately, leave the Time Delay option
deselected. If you want the capture to begin at a specific time, select the
Time Delay option.
7. To capture the clips on the timeline, select one of the following options:
• Complete Timeline to capture the entire timeline.
By default, the full length of the current timeline’s in and out-points are
displayed in the In and Out timecode boxes.
• Time Span Only to capture a specific section of the timeline. You must
indicate the in and out timecodes in the In and Out timecode boxes.
8. Click Capture.
108 • User’s Guide
Logging and Capturing Material
If you’re capturing from a tape that is currently in the VTR, then capture
starts automatically. As the clips are captured, the progress bar updates.
If Avid|DS is unable to capture the material on the first attempt, it
will attempt the capture a second time. If it fails again, Avid|DS will
attempt the capture a third time with an additional pre-roll of five
seconds. If the capture fails again, the error is displayed in the
Capture Error Log, with the possible cause of the problem.
?
If you encounter problems recapturing material from tape, you
should disable the viewer using the Viewer button in the status bar
and try capturing again. When recapturing full resolution HD
material at 29.97 and 30 frames per second, the viewer is
automatically disabled.
If the tape is not in the VTR, the Insert Tape dialog box is displayed.
• Use the transport controls in the dialog box to cue up the VTR.
User’s Guide • 109
Chapter 3 • Capturing Material
• If the current device preset is incorrect in any way, including the assignment
of audio inputs from the external device, you can modify it by clicking
Change Device. The Device Configuration dialog box is displayed—see
Configuring the External Device on page 74.
• Click Skip Tape to bypass capturing all the clips with this tape’s source name.
If you selected the Time Delay option, the Start Capture At dialog box is
displayed. Enter the date and time at which you want the capture to begin
and click OK. The progress bar appears with the current date and time, as
well as the capture start date and time you specified.
?
If Avid|DS detects any problems during recapture, the Capture Error Log
is displayed.
The Capture Error Log dialog box lists all the clips, including tape source
name, in, and out-points, that could not be recaptured. It also gives you a
brief description of the type of error that occurred.
9. To save this log as an .html file, click Save As.
10. In the Save As dialog box, navigate to an appropriate folder, enter a name
for the log and click Save.
The log is saved as an .html file and can be viewed in any browser.
Creating a Batch Capture List
When you have several clips to recapture, it is sometimes useful to generate a
list to review what you’re recapturing. The capture list in Avid|DS not only lets
you review what you’re capturing, but also lets you prioritize items, as well as
remove items from the list.
To create a batch capture list
1. Select the items for recapture in the browser or timeline.
2. In the Media Input/Output layout, select the Input panel.
110 • User’s Guide
Logging and Capturing Material
3. From the Capture Source list, select either Timeline or Browser.
4. Set the capture settings as required—see Capturing Clips from the Browser
on page 104 or Capturing Clips from the Timeline on page 107.
5. Press Alt and click Capture.
The Capture List dialog box is displayed.
?
Clips with check
marks beside
them are part of
the list and will be
recaptured
6. Double-click an entry in the list to remove it from the list of clips to be
recaptured. Double-click it again to add it back to the list.
7. Using the Move Up and Move Down buttons, prioritize the capture list by
moving more important clips to the top of the list and less important ones
to the bottom.
8. Click Source Name or Clips in the title bar to sort the list according to the
source name or the clip name.
9. Click OK to begin capturing.
If you are capturing from a tape that is currently in the VTR, then capture
starts automatically. As the clips are captured, the progress bar updates.
If the tape is not in the VTR, the Insert Tape dialog box is displayed.
• Use the transport controls in the dialog box to cue up the VTR.
User’s Guide • 111
Chapter 3 • Capturing Material
• If the current device preset is incorrect in any way, including the
assignment of audio inputs from the external device, you can modify it by
clicking Change Device. The Device Configuration dialog box is
displayed—Configuring the External Device on page 74.
• Click Skip Tape to bypass capturing all the clips with this tape’s source name.
If you selected the Time Delay option, the Start Capture At dialog box is
displayed. Enter the date and time at which you want the capture to begin
and click OK. The progress bar appears with the current date and time, as
well as the capture start date and time you specified.
?
If Avid|DS detects any problems during recapture, the Capture Error Log
is displayed.
The Capture Error Log dialog box lists all the clips, including tape source
name, in, and out-points, that could not be recaptured. It also gives you a
brief description of the type of error that occurred.
10. To save this log as an .html file, click Save As.
11. In the Save As dialog box, navigate to an appropriate folder, enter a name
for the log and click Save.
The log is saved as an .html file and can be viewed in any browser.
Click Help for detailed information on the capture list options.
Using Scripts to Capture Media
Avid|DS lets you create scripts to automate the capture process. Instead of
defining the capture properties each time you capture media, you can do it
once, create a script based on what you did, and then run that script the next
time you capture. Creating a script can be as simple as copying the contents of
the History pane to the Editing pane of the Script Editor and then saving it.
A script is a set of commands that can be executed in sequence as if they were
a single command. Simple scripts are a set of native Avid|DS commands.
112 • User’s Guide
Logging and Capturing Material
More advanced scripts use a third-party scripting language as the glue that
holds the commands together. With a scripting language, your scripts can use
variables, constants, conditional statements, loops, and procedures. You can
change the default scripting language on the User Preferences dialog box
(Scripting/Logging property page). For more information, see Choosing a
Scripting Language in the online help.
When using a script to capture media, make sure that the Start
Capture command appears only once at the end of your script. If
your script contains more than one Start Capture command, it will
not work.
?
To create a script for capturing media
1. From the View menu, choose Views > Script Editor.
The Script Editor view is displayed.
Menu bar
History pane
Editing pane
2. From the Media Input/Output Layout, select the Input panel.
3. Configure the video and audio input.
Each command that you set is logged in the History pane of the
Script Editor.
4. Choose a capture source and select the appropriate settings for your
capture session.
5. Depending on which options you choose, click Capture, Log, Link, or Import.
If you chose File as your capture source, the File Import dialog box is
displayed. Choose the file(s) you want to import and click Open.
User’s Guide • 113
Chapter 3 • Capturing Material
6. Once the capture is complete, select the contents of the History pane in
the Script Editor.
7. From the menu bar, click Copy or press Ctrl+C .
8. Click in the Editing pane and then click Paste or press Ctrl+V.
The contents of the History pane are displayed in the Editing pane.
?
Copy contents from
History pane to Editing
pane to create a script.
9. Click Save.
The Save As dialog box is displayed.
10. Enter a name for your script in the File name text box and click Save.
By default, all scripts are saved in the DSScripts folder.
Click the Help icon for detailed information on the Script Editor.
To run an existing script
1. From the Script Editor, choose Open from the File menu.
The Open dialog box is displayed.
2. Browse through the folders to locate the script you want to run. Select the
file and click Open.
The contents of the script appear in the Editing pane of the Script Editor.
3. If you want to make changes to the script, you can modify the contents of
the script by cutting, copying, or typing directly into the Editing pane.
4. Click Run.
114 • User’s Guide
Logging and Capturing Material
The script runs through each line and performs the associated commands.
Once a script is running, the only way to terminate it is to exit Avid|DS.
Never test your script by running it on valuable unsaved data.
Click the Help icon for detailed information on the Script Editor.
To create a toolbar button for a script file
?
1. Create a media input script and save it in the DSScripts folder.
2. In the browser, open the DSScripts folder.
3. Select the script file you created and drag it to a toolbar.
The Add Script Command dialog box is displayed.
You can also create a toolbar button from one or more lines in the
History or Editing pane of the Script Editor. Select the contents of
the script and then drag them onto a toolbar. A toolbar button is
created with the name Scriptnumber.
4. In the Command Name text box, enter a name for the toolbar button.
By default, the Command Name is the name of the saved script file.
5. Specify a Command Name for Scripting. This is the name that is logged
to the command history when you click on the toolbar button. You can
also use this name to invoke this script from within another script. The
command name for scripting cannot use spaces or punctuation.
6. If necessary, select the scripting language from the Language list. The list
contains the supported languages that are installed on your computer.
If you dragged lines from the Script Editor onto the toolbar, then the default
language is the one specified in your preferences—refer to User Preferences
dialog box (Scripting/Logging property page) in the online help.
If you dragged a saved file, the default language is based on the file
name extension:
Scripting language
File extension
JScript
.js
PerlScript
.pls
Python Active X Scripting Engine
.pys
VB Script Language
.vbs
User’s Guide • 115
Chapter 3 • Capturing Material
7. Do one of the following:
• If your script does not contain any procedures, there is nothing more to
do. Click OK to close the Add Script Command dialog box and add the
button to your toolbar.
• If your script does contain procedures, continue with the following:
8. Click Parse Script.
?
The script is parsed and the procedures and arguments are “found”.
Parsing a script may execute global code, that is, any code that is not
within a defined procedure. In such cases, it will also run procedures
that are called from global code.
9. If your script contains procedures, you can specify which one to execute
when the button is clicked. Select a procedure from the Script Procedure
box. If you do not specify a procedure, only global code will be executed,
as well as any procedures that are called from global code.
Even when a procedure is specified, global code may be executed
before the procedure is called. This is a side-effect of parsing the script
with some scripting engines. To be certain that your script behaves
predictably in all situations, do not mix global code and procedures.
10. If the selected procedure contains arguments, they are listed under
Parameters. For each argument, specify the value to use when the script is
run by doing one of the following:
• Enter a value in the corresponding Value box. This value will be used
whenever you click the button to run the script.
• Click twice in the Value box, and select Prompt On Run from the list.
With this option, when you click the button to run the script, a dialog box
prompts you to enter a value.
11. Click OK. The Add Script Command dialog box closes and the new
button is added to the toolbar.
If you want to go back and edit the script, right-click on the toolbar
button and choose Edit Script from the menu. A dialog box is
displayed asking you if you want to save your script, click No. The
contents of your script are displayed in the Editing pane of the Script
Editor and are ready for editing.
116 • User’s Guide
Logging and Capturing Material
Importing Render
Passes from
SOFTIMAGE|3D
If you work with 3D elements produced in SOFTIMAGE|3D, you can quickly
and easily preview render passes in Avid|DS. Using the GENout shader for
SOFTIMAGE|3D, you can render a .gen file, create a master clip in Avid|DS
and then play it back in real time.
Installing the GENout Shader in SOFTIMAGE|3D
?
You need to install the GENout shader before you can use SOFTIMAGE|3D to
create your render pass. The GENout shader is in the \Plug-Ins\GENout
folder of the Avid|DS CD.
To install the GENout shader
1. In SOFTIMAGE|3D, place the shader executable (GENout.dll) in the lib20
folder of your mental ray® shader database.
Typically this is located at: <install location>\Softimage\SOFT3D_3.9SP1
\mental_ray\MR_Shaders\Shader_Lib\lib20
2. Place the shader description file (sib_GENout.out) in the
OUTPUT_SHADERS folder of your mental ray shader database.
Typically this is located at: <install location>\Softimage\SOFT3D_3.9SP1
\mental_ray\MR_Shaders\Shader_Lib\OUTPUT_SHADERS
Creating a Render Pass with the GENout Shader
Once the GENout shader is installed, you must add it to your scene before you
create the render pass.
To create a render pass with the GENout shader
1. In SOFTIMAGE|3D, go to Matter > Render Settings.
2. Set the render type to mental ray 2.1.
3. Set the appropriate rendering resolution.
4. Set the start and end frame range.
5. Open the Rendering Options dialog box (Matter > Render > Options)
6. Add a new output shader (Select button under Output Shaders).
The GENout shader should be added as the last shader in the stack,
so all effects will be processed.
7. In the file browser, go to the Shader_Lib database and select the
sib_GENout output shader.
User’s Guide • 117
Chapter 3 • Capturing Material
8. Edit the output shader (Edit under Output Shaders). A dialog box is
displayed with the shader parameters. Set them as follows:
• Start Frame: This is the first frame number of the sequence you will
render. Usually this will be 1.
• Render Color Channels: Select this if you want to render the RGB
information in a .gen file.
• Render Alpha Channel: Select this if you want to render the alpha
information in a .gen file.
?
• Color Space: Select the desired color space. 0 for RGB and 1 for YUV.
• File Name: File name for the rendered sequence.
Do not include the file name extensions; this will be handled by the
shader. For example, when given the file name
C:\Renders\Shot3\BeautyPass
The file will be written as:
C:\Renders\Shot3\BeautyPass_YUV_CMP.gen (for a YUV color
channel file)
Now you can just render your sequence as usual. As frames are finished,
they are inserted in the .gen file.
Creating a Master Clip from the Rendered .gen File
Once you’ve rendered the .gen file with the GENout shader, you can create a
master clip in Avid|DS.
Although the Gen to Clip command creates a master clip in the
browser and can be used in your project, the master clip does not
contain any source media information. As a result, if you purge the
media, you will not be able to recapture it. If you try to archive a
project with master clips that were created using Gen to Clip, the
clips will not be archived with your project, unless the media resides
inside the current project.
The Gen to Clip command should only be used for .gen files created
by SOFTIMAGE|3D. Do not use the Gen to Clip command to create
master clips from .gen files created by Avid|DS.
To access the Gen to Clip command, right-click on a toolbar and
choose Customize from the menu. In the Customize Toolbar
property editor, drag Gen to Clip from the Available Commands list
to the toolbar.
118 • User’s Guide
Logging and Capturing Material
To create a master clip from the rendered .gen file
1. In Avid|DS, click Gen to Clip.
The Open dialog box is displayed.
2. Select the .gen file that you rendered and click Open.
3. A new master clip appears in the browser.
The .gen files should be in a valid VideoStorage directory.
?
The name of the master clip created will be the same as the name of the
selected .gen files. You can now drag the clip to the timeline. For the clip to be
real-time playable, the project and .gen file types must match (either RGB or
YUV). If not, you must first process the clip to convert the type.
Once the master clip has been created, you can re-render your scene
and then play it back in Avid|DS without having to create another
master clip or recapture your media.
Importing Render
Passes from
SOFTIMAGE|XSI
You can also import render passes from SOFTIMAGE|XSI. Using the GENout
shader for SOFTIMAGE|XSI, you can render a .gen file, create a master clip in
Avid|DS and then play it back in real time.
The GENout shader for SOFTIMAGE|XSI and its installation
instructions are available from Avid|DS Customer Service.
Creating a Render Pass with the GENout Shader
1. In SOFTIMAGE|XSI, go to the Render toolbar.
2. Click Render > Options.
The Render Options property page is displayed.
3. Select the Format tab, and make sure that the Picture Standard is the same
as the video format you’re using in Avid|DS.
4. In the Selection panel, click Explore > Current Pass.
5. In the Explorer, double-click the current pass.
The Current Pass property page is displayed.
6. Select the Output Shader tab, and click Add.
7. From the Load a Preset dialog box, navigate to the Output folder, choose
sib_GENout, and click OK.
8. Select the sibGENout shader from the Output Shader Stack and
click Inspect.
User’s Guide • 119
Chapter 3 • Capturing Material
9. From the sibGENout property page, use an absolute path to specify a
name for the render passes, and the location where they will be saved.
The render passes should be saved directly into the video storage
area of the Avid|DS workstation.
10. Leave the other settings at their default values.
Do not include the file name extensions; this will be handled by the
shader. For example, when given the file name
C:\Renders\Shot3\BeautyPass
?
The file will be written as:
C:\Renders\Shot3\BeautyPass_YUV_CMP.gen (for a YUV color
channel file)
Now you can just render your sequence as usual. As frames are finished,
they are inserted in the .gen file.
Creating a Master Clip from the Rendered .gen File
Once you’ve rendered the .gen file with the GENout shader, you can create a
master clip in Avid|DS.
Although the Gen to Clip command creates a master clip in the
browser and can be used in your project, the master clip does not
contain any source media information. As a result, if you purge the
media, you will not be able to recapture it. If you try to archive a
project with master clips that were created using Gen to Clip, the clips
will behave like linked clips and will not be archived with your project.
The Gen to Clip command should only be used for .gen files created
by SOFTIMAGE|XSI. Do not use the Gen to Clip command to
create master clip from .gen files created by Avid|DS.
To access the Gen to Clip command, right-click on a toolbar and
choose Customize from the menu. In the Customize Toolbar
property editor, drag Gen to Clip from the Available Commands list
to the toolbar.
120 • User’s Guide
Logging and Capturing Material
To create a master clip from the rendered .gen file
1. In Avid|DS, click Gen to Clip.
The Open dialog box is displayed.
2. Select the .gen file that you rendered and click Open.
3. A new master clip appears in the browser.
?
The .gen files should be in a valid VideoStorage directory.
The name of the master clip created will be the same as the name of the
selected .gen files. You can now drag the clip to the timeline. For the clip to be
real-time playable, the project and .gen file types must match (either RGB or
YUV). If not, you must first process the clip to convert the type.
Once the master clip has been created, you can re-render your scene
and then play it back in Avid|DS without having to create another
master clip or recapture your media.
User’s Guide • 121
Chapter 3 • Capturing Material
?
122 • User’s Guide
?
Chapter 4
Working with Sequences
User’s Guide • 123
Chapter 4 • Working with Sequences
In This Chapter...
This chapter describes how to work with sequences, search for sequences, and
set your video and audio preferences.
Workflow: Working with Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 125
Opening Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Setting Sequence Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
?
Saving Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Searching for Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Importing Sequences from Another Project. . . . . . . . . . . . . . . . . . . . 154
Deleting Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
124 • User’s Guide
Workflow: Working with Sequences
Workflow: Working with Sequences
Before you open a sequence, you must first open the project to which it
belongs. The sequence is where you perform all your editing. The following
illustration shows a simple editing scenario in Avid|DS.
1
?
Open project and sequence
Select project
Select sequence
2
Set sequence preferences
Set your video and audio formats, and
video resolution or compression
Sequence preferences
can be changed during
the course of a project
to work on media at
different qualities
3
Construct and save
sequence
Process and output media at
the new quality settings
User’s Guide • 125
Chapter 4 • Working with Sequences
You can easily create, open, and manage the sequences in your project using the
Project Browser. When you open a sequence in Avid|DS, you can immediately
begin audio/video editing, compositing, painting, titling, or audio mixing.
Because the Avid|DS environment is nonlinear, these tasks can be performed in
any order, changed at any time, and moved to any location.
Avid|DS also gives you the flexibility to work with different media qualities
within your sequence. For example, working with media at a higher
resolution increases processing time, so initially, you may want to process
your clips at lower resolution to obtain quicker results. When you’re ready to
output the final production, you can recapture the media at a higher
resolution, and reprocess the effects.
?
Although you can work with media that has different resolutions
and compression ratios in the same sequence, you cannot work with
compressed and uncompressed media in the same sequence.
126 • User’s Guide
Opening Sequences
Opening Sequences
A sequence is an arrangement of clips on the timeline; it contains information
about edit decisions, applied graphics and effects, animation settings, and
working preferences.
Sequence
?
Sequences always belong to a particular project. Before you create or open a
sequence, you must open the project to which it belongs. To get a quick view
of all the projects on any workstation on the network, open the Project
Browser dialog box.
To access the Project Browser dialog box
• From the File menu, choose Open > Project.
The Project Browser dialog box is displayed.
User’s Guide • 127
Chapter 4 • Working with Sequences
Creating a New
Sequence
You must create sequences from within a project. You can either select a
project from the Project Browser dialog box and then create a new sequence,
or if your project is already open, you can create a new sequence directly from
the File menu.
To create a sequence
1. From the File menu, choose Open > Project.
The Project Browser dialog box is displayed.
?
2. From the Select a Project box, select the project to which your sequence
will belong.
The Select a Sequence box displays any other sequences that belong to
this project.
3. From the Select a Sequence box, select New DS Sequence from the list.
4. Click New Sequence.
The New Sequence dialog box is displayed. By default, the sequence
preferences are inherited from the settings established when the project
was created. These settings can be changed. For more information, see
Setting Sequence Preferences on page 131.
Avid|DS requires that you have at least 10% of your system memory
(RAM) free at all times. As a result, you may not be able to create
sequences with a custom formats which have resolutions that are
much greater than the standard video resolution, such as
2000×1500. To avoid this problem, either reduce the size of your
custom sequence or add more memory to your system.
5. Click OK to accept the settings.
A new sequence is opened and the Editing layout is displayed.
While you have a project open, you can create new sequences
directly from the File menu.
To create a new sequence within the current project
1. From the File menu, choose New Sequence.
If the sequence you’re currently working on has not been saved, you are
prompted to do so.
2. Click Yes to save the sequence.
A new sequence is opened in your current project with the same
preferences as those of the project.
128 • User’s Guide
Opening Sequences
To create a new sequence with different sequence preferences
1. From the File menu, choose New > DS Sequence.
If the sequence you are currently working on has not been saved, you are
prompted to do so.
2. Click Yes to save the sequence.
The New Sequence dialog box is displayed.
?
3. Set the preferences for the new sequence and click OK.
A new sequence is opened in the current project with the new
sequence preferences.
Click Help for detailed information on the New Sequence dialog box.
Opening an Existing
Sequence
You can open a sequence in one of three ways:
• From the Project Browser dialog box, if you want to open a sequence in
another project,
• From the File menu, if your project is already open, or
• By double-clicking on the sequence in the browser.
You can modify the contents and working quality options of a sequence at
any time.
Each time you start Avid|DS, you can automatically load the last
sequence on which you were working by selecting the Load Last
Sequence at Startup option in the User Preferences dialog box.
To open a sequence from the Project Browser dialog box
1. From the File menu, choose Open > Project.
If the sequence you are currently working on has not been saved, you are
prompted to do so.
2. Click Yes to save the current sequence.
User’s Guide • 129
Chapter 4 • Working with Sequences
The Project Browser dialog box is displayed.
?
3. In the Select a Project box, select the project to which your sequence
will belong.
The Select a Sequence box displays any other sequences that belong to
this project.
4. From the Select a Sequence box, select a sequence and click Open Sequence.
Click Help for detailed information on the Project Browser dialog box.
To open a sequence from the File menu
1. From the File menu, choose Open > Sequence.
If the sequence you are currently working on has not been saved, you are
prompted to do so.
2. Click Yes to save the current sequence.
The Load Sequence dialog box is displayed.
3. Browse through the folders and select a sequence. All sequences are
distinguished by the sequence icon.
4. Click OK or double-click on the sequence to open it.
To open a sequence from the browser
1. Locate the sequence in the browser.
2. Double-click on the sequence.
If the sequence you are currently working on has not been saved, you are
prompted to do so.
3. Click Yes to save the current sequence.
The sequence is opened.
130 • User’s Guide
Setting Sequence Preferences
Setting Sequence Preferences
Sequence preferences define the format and quality of the audio and video
clips in your sequence. By default, the sequence preferences are inherited from
the settings you created for the current project. You can, however, change
these preferences for individual sequences within a project.
?
Setting preferences for a new sequence
There are three main questions that you should consider before creating
your sequence:
1. What video and audio format am I going to work with?
2. What resolution should I use for my media?
3. Do I need to compress my media?
Depending on your hardware configuration, Avid|DS lets you work in a
variety of video formats, such as PAL D1, NTSC D1, 720P, 1080I, 1080PsF, as
well as custom formats. For some of the video formats, you must also select a
corresponding aspect ratio, color space, and frame rate. Depending on the
format you choose, some parameters, such as field dominance and pixel ratio
are set automatically. Other formats, such as the Custom option, let you set
most of the parameters yourself.
Once the video format has been selected, it cannot be changed. You can also
work with a variety of different audio sample rates and/or bit depths. Unlike
video formats, audio sample rate and bit depth can be changed at any time—
see Changing the Sequence Preferences on page 142.
User’s Guide • 131
Chapter 4 • Working with Sequences
Avid|DS requires that you have at least 10% of your system memory
(RAM) free at all times. As a result, you may not be able to create
sequences with custom formats which have resolutions that are
much greater than the standard video resolution, such as
2000×1500. To avoid this problem, either reduce the size of your
custom sequence or add more memory to your system.
The second and third questions determine how Avid|DS performs during the
editing process. The working video settings let you work with video media at
high or low resolution, with or without compression. You can change these
settings at any time to accommodate the task you are performing.
?
Working at a lower resolution is useful when producing a rough cut of your
sequence, because your clips are processed at a much faster rate. Working with
compressed media lets you save storage space on your disk array.
Some of the video formats, such as 720P, 1080I, and 1080P, are only
available with the high definition (HD) version of Avid|DS and the
accompanying hardware.
Setting the Audio and
Video Format
The audio and video formats set the standard for the audio and video clips
that will be used in your sequence. Avid|DS supports several standard video
formats, as well as a custom format that allows you to set the parameters the
way you want. When you create a new sequence, you must select an audio and
video format.
To set the video format
• In the New Sequence dialog box, select a format from the Format list in
the Video Settings box.
When you choose a video format, you must also define the aspect ratio,
color space, and frame rate. The frame size, field dominance, and pixel
ratio are based on the format you chose. These settings cannot be changed
after you click OK.
If you choose a drop-frame format, such as NTSC, you also have the
option to display timecode as either drop frame or non-drop frame.
This option only affects the timecode display and not the sequence
frame rate.
Click Help for detailed information on the New Sequence dialog box.
About Frame Size
Frame size is the dimensions of a digital image in Avid|DS. These measurements
are based on DSUs (Avid|DS units), so that there is a common unit of
measurement between video images and computer-generated graphics.
132 • User’s Guide
Setting Sequence Preferences
720
An NTSC D1 4:3 image by default
has a frame size of 720×486 pixels.
A PAL D1 4:3 image, however, has
a default frame size of 720×576
pixels.
486
A 16:9 HD image can have a
variety of frame sizes, such as
1920×1080 pixels or 1280×720
pixels.
?
Frame size or dimensions of an NTSC image within Avid|DS
About Field Dominance
NTSC and PAL video images are displayed half a frame at a time, where each
half, referred to as a field, is comprised of alternate lines of video information.
The two fields are combined (interlaced) to form one frame. For more
information, refer to Frames Versus Fields on page 24 of the Avid|DS
Compositing & Effects Guide.
HD video material can either be interlaced or progressive, such as
1080I or 1080P. As mentioned previously, interlaced video contains
two fields, which make up every frame. Progressive video, however,
creates full frames by scanning each line sequentially. As a result,
field dominance is not an issue. For more information, refer to
Interlacing Versus Progressive Scanning on page 24 of the Avid|DS
Compositing & Effects Guide.
Even fields
Odd fields
Two fields are
interlaced to form
one frame
Frames
Interlaced fields
The order in which odd and even fields occur over time is referred to as field
order or field dominance. With even field dominance, even fields come first. In
odd field dominance, odd fields come first.
User’s Guide • 133
Chapter 4 • Working with Sequences
In Avid|DS, you can deinterlace a clip to display the odd and even fields as
separate frames. This is useful when retouching clips or creating paint
animation and field-based rotoscopy. For more information, refer to
Deinterlace Effect on page 345 and Interlace Effect on page 347 of the Avid|DS
Compositing & Effects Guide.
About Color Space
Color space determines how the color components of the video signal are
represented on your screen. There are three pixel formats available: YUV 4:2:2
(601), YUV 4:2:2 (709), and RGB. Avid|DS converts all imported material to
the pixel format or color space of the sequence. All material imported in RGB
color space, uses 32 bits per pixel and contains an alpha channel, even if you
did not import the alpha channel. For material imported in the YUV 4:2:2
color space, you have the choice to include the alpha or not. YUV 4:2:2 uses 16
bits per pixel, whereas YUV 4:2:2 with alpha uses 32 bits per pixel.
?
By default, all NTSC, PAL, and HD sequences are in YUV color space.
As a result, all the material you capture will be in YUV color space.
Cache media, created from processed effects, transitions, or composites, is
treated differently than source media. Effects, transitions, and composites can
be divided into two categories: real-time effects and processed effects. All realtime effects are created in YUV color space, and all processed effects are
created in RGB color space regardless of the color space setting of your
sequence. As a result, some banding may occur when you’re working with a
YUV sequence that contains effects being processed in RGB. To solve this
problem, you can apply the RGB-YUV Dither effect. For more information,
refer to RGB-YUV Dither Effect on page 265 of the Avid|DS Compositing &
Effects Guide.
Instead of using your graphics accelerator card, which displays
images in YUV color space, you can select the S/W Display button
in the Viewer toolbar, which uses RGB color space to display images
in the viewer. However, you cannot play back your sequence in realtime in S/W Display mode.
About Aspect Ratio
Aspect ratio is the numerical ratio of picture width to height. The standard
aspect ratio for NTSC and PAL video and television is 4:3. For material shot
on film or HD, 16:9 is the standard aspect ratio. You can also create nonstandard aspect ratios.
134 • User’s Guide
Setting Sequence Preferences
About Pixel Ratio
Pixel ratio refers to the shape of one pixel. Different video standards have
different pixel ratios. NTSC and PAL pixels have ratios of 0.9 and 1.07
respectively. Computer-generated images, however, have square pixels with a
ratio of 1.0. Avid|DS has to map square pixels to rectangular pixels when
capturing images from file.
?
As a result, a D1 NTSC video frame displayed on a computer screen appears
slightly wider than reality because the pixels are taller than they are wide. A D1
PAL frame displayed on a computer screen, however, appears slightly taller than
reality because the pixels are wider than they are tall.
Avid|DS can compensate for different pixel ratios, so that a captured image
does not appear distorted. When you capture material from file, you must set
the file’s pixel ratio, which tells Avid|DS the original state of the material.
D1 NTSC pixels (0.9)
D1 PAL pixels (1.07)
Computer generated
pixels (1.0)
D1 NTSC pixels (0.9).
Pixels are taller than
they are wide.
D1 PAL pixels (1.07).
Pixels are wider than
they are tall.
Computer generated
pixels (1.0). Pixels are
square.
NTSC D1, PAL D1, and square pixel ratios
To set the audio format
• In the New Sequence dialog box, select a sampling rate from the Sample
Rate list in the Audio Settings box.
The default audio sample rate is set to the highest sample rate
supported by the installed hardware.
Click Help for detailed information on the New Sequence dialog box.
About Audio Quality
Audio quality defines the sample rate and bit depth at which an audio signal is
captured. The higher the sample rate, the more accurate the digital
representation of the signal. A higher sample rate produces better quality, but
uses more disk space. If you lower the sample rate, you risk degrading the
sound quality.
User’s Guide • 135
Chapter 4 • Working with Sequences
You can set the sample rate conversion quality, which determines the quality
at which your sample rate is converted. The more bits you have, the more
precisely you can represent the sample amplitude.
You can also set the mixer configuration, which determines the number and
type of outputs displayed on the mixer. You can choose from a number of
configurations, such as mono, stereo, quadraphonic, and 5.1.
You can modify the current sequence’s audio quality settings in the
Sequence Preferences dialog box.
?
Setting the Working
Video Quality
When working with digitized video and audio, it’s easy to consume large
amounts of valuable storage space. That’s why it is important to use your
storage space efficiently. Avid|DS gives you the flexibility to work with
different media qualities.
Video media quality is determined by two factors:
• Resolution, which is the amount and degree of detail in a video image, and
• Compression, which is a technique used to reduce the amount of space
necessary to store video data.
You can work at full, half, or quarter resolution, and with compressed media
at different ratios. This multi-quality feature lets you balance image quality
and system performance during the different phases of your work. The
working video settings (compression and resolution) determine the quality at
which your media is displayed in the viewer, as well as the quality at which it is
processed by Avid|DS. You can change the video settings at any time if you
want to display or process media at a different quality.
When you create a new sequence or open an existing sequence, and
change the working quality settings, you can also set new defaults for
capturing, outputting, and processing files. You can override these
settings when capturing or outputting media.
To define the working quality
1. From the File menu, choose New > DS Sequence.
2. In the Working Video Settings box, make a selection from the Resolution
list. Setting it at full resolution results in large, high-quality media and
cache files. Setting it at quarter resolution results in smaller, lower-quality
media and cache files.
3. Select one of the following options:
• Uncompressed to work with media that is not compressed.
• Compressed to work with compressed media. From the Preferred Ratio
list, select a compression ratio that best suits your needs.
136 • User’s Guide
Setting Sequence Preferences
You can capture both compressed and uncompressed video media
but you cannot use them at the same time within a sequence.
4. Select one of the following options:
• Use the closest media format available if it is not crucial that you have an
exact video media match with your sequence preferences. If Avid|DS
cannot find an exact match, it finds and displays the closest alternative.
?
• Display a ‘media not available’ message if you only want to work with
video media of a specific quality.
Avid|DS uses only the media that matches the selected working video
settings. If there is no media to match the working settings, a “Media Not
Available” message is displayed in the viewer. This serves as a good
indicator when you’ve captured video that does not conform to your
sequence preferences. For more information about displaying the closest
media, see About Video Quality Matching on page 138.
Click Help for detailed information on the New Sequence dialog box.
About the Working Resolution
The resolution you set affects the size of cache files. The higher the resolution,
the larger the size of the cache files.
When you’re performing a rough cut, you can increase throughput and limit
storage requirements by working at low resolution. Later on in the editing
process, you can use high-resolution media to obtain better results.
In Avid|DS HD, working in quarter resolution gives you the same
real-time effects that are available in the standard version of
Avid|DS.
For more information see Using Real-time Effects in Avid|DS HD on
page 80 of the Avid|DS Compositing & Effects Guide.
About the Working Compression Ratio
Compression is a technique used to reduce the amount of space necessary to
store video information. You can compress material at capture time to reduce
the size of the media file. High compression is useful when you capture media
for your initial edit. This lets you store large amounts of material using the
least amount of storage space. Compressed data usually suffers some loss or
degradation from the original source. If you choose to work with compressed
media, you can use clips that have been captured at different compression
ratios. After you’ve done a rough cut, you can purge the compressed media,
and recapture the edited material with less or no compression.
You can capture both compressed and uncompressed media, but you cannot
use them both at the same time within a sequence. If you’re using compressed
media, however, you can mix different compression ratios within a sequence.
User’s Guide • 137
Chapter 4 • Working with Sequences
About Video Quality Matching
Since Avid|DS supports multiple qualities for your video material, you can
choose the version of the captured media that you want to use.
As you set your sequence preferences, such as the working resolution,
compression, or sample rate, you are defining the quality at which clips are
previewed and processed. If a video clip was captured at a different quality
than the option set in your sequence preferences, Avid|DS can either:
?
• Display no media, or
• Use the media which best approximates the resolution or compression
ratio, or audio sample rate.
Quality matching is used for both video and audio. An audio clip can have
media at multiple sample rates, just like a video clip can have media at multiple
resolutions, compression ratios, or aspect ratios. In both cases, Avid|DS first
tries to find the media that exactly matches your sequence preferences. For
more information, see About Audio Quality Matching on page 141.
For video, Avid|DS looks for an exact match when the play cursor passes over
the clip on the timeline. To find an exact match for the video media, Avid|DS
does the following:
1. Resolution: Verifies if there is an exact resolution match.
2. Aspect ratio: Verifies if the aspect ratio matches that of the current sequence.
3. Compression ratio: Verifies if there is an exact compression ratio match.
For the purposes of quality matching, uncompressed media has a
compression ratio of 1.0.
4. Frame rates: Verifies if the frame rates are identical.
5. Field dominance: Verifies if the field dominances are compatible. For this
criteria, the match does not have to be exact, since some media files, such
as stills, can be tagged as having a field dominance of None. The matching
criteria works as follows:
Sequence
preference
Media quality
138 • User’s Guide
None
Even
Odd
None
Yes
No
No
Even
Yes
Yes
No
Odd
Yes
No
Yes
Setting Sequence Preferences
6. Image formats: Verifies if the following are identical:
• Color Model
• Frame Setup: Physical structure of the image
• Pixel Format: Structure of an image’s pixels (YUV 4:2:2 or RGB)
• Bits per Channel: Number of bits used to encode a channel
?
The test is done sequentially. If it finds video media that meets all the criteria,
then the media is displayed in the viewer. If any one of the criteria fails then
the “Media Not Available” message (if this option was selected) is displayed in
the viewer.
If you choose the Use the closest media format available option, Avid|DS first
looks for an exact match. If it does not find an exact match, then it tries to find
the closest match. Once it finds a candidate, it then continues to verify if there
are any other candidates that more closely match the sequence preferences.
When choosing a closest match, Avid|DS does the following:
1. Compression: Verifies if the compression is compatible. If you are looking
for compressed media, any compression ratio will do, except
uncompressed (compression ratio of 1.0). Similarly, if you are looking for
uncompressed media, only media with a compression ratio of 1.0 will do.
2. Frame rate: Verifies if the frame rates are identical.
If, after this search, no candidates are found, the “Media Not Available”
message is displayed in the viewer. If more than one candidate is found,
Avid|DS uses the following criteria to determine which media file is a closer
match and will be displayed:
1. Captured versus linked media: Captured media is considered a closer
match than linked media.
2. Conversion needs: Media with an image format, size, resolution, or field
dominance that does not need to be converted to match the preferences of
the current sequence is a closer match than media that needs to be
converted.
3. Resolution width: Media which matches the resolution width is a closer
match than one that does not. If none of the candidates match the
resolution width of the current sequence, then the media with the greater
resolution width is determined to be a closer match.
4. Resolution height: Media which matches the resolution height is a closer
match than one that does not. If none of the candidates match the
resolution height of the current sequence, then the media with the greater
resolution height is determined to be a closer match.
5. Compression ratio: Verifies if there is an exact compression ratio match. If
none of the candidates match the compression ratio, then the media with
the smaller compression ratio is determined to be a closer match.
User’s Guide • 139
Chapter 4 • Working with Sequences
6. Image format: Media with the same image format as the current sequence
is a better match than one that is different.
7. Aspect ratio: Media with the same aspect ratio as the current sequence is a
better match than one that is different.
• Width in square pixels: Media with the same aspect ratio width in square
pixels is a closer match than one with a different width. If none of the
candidates have the same width as the current sequence, then the media
with the greater width is determined to be a closer match.
?
• Height in square pixels: Media with the same aspect ratio height in square
pixels is a closer match than one with a different height. If none of the
candidates have the same height as the current sequence, then the media
with the greater height is determined to be a closer match.
Once it finds the candidate that is the closest match, Avid|DS determines if it
needs to convert the media to fit into the current sequence. The conversion
method is based on the following properties:
1. Image format: If the image format is different than the current sequence,
it will need to be converted.
2. Image size: If the image size is different than the current sequence size, it
will need to be converted.
3. Resolution: If the resolution is different than the current sequence, it will
need to be converted.
4. Field Dominance: If the field dominance is set to None, then no conversion
is needed. Odd and even are incompatible, so a field conversion is required.
The following table shows where conversion is required:
Sequence
preference
Media quality
None
Even
Odd
None
No
No
No
Even
No
No
Yes
Odd
No
Yes
No
Processed media (caches) are also created based on the video
resolution and compression settings. The same quality matching
method is used to select the quality of the cache during playback.
140 • User’s Guide
Setting Sequence Preferences
About Audio Quality Matching
Unlike video media, you don’t have the choice to use an exact match or a closest
match for audio media. Avid|DS first tries to find audio media that matches the
audio settings for the current sequence. If an exact match cannot be found, then
it automatically tries to find the closest match. To find an exact audio media
match, Avid|DS does the following:
1. Sample Rate: Verifies if there is an exact sample rate match.
?
2. Bit Depth: Verifies if there is an exact bit depth match.
If an exact audio media match is found, then that audio media is used during
playback. If any one of the criteria fails, then Avid|DS looks for the media that
most closely matches the current sequence settings. When choosing a closest
match, Avid|DS looks at the following criteria:
1. Sample Rate: Verifies if there is an exact sample rate match.
If no candidates are found with the same sample rate, the audio tracks
turn red and you’re prompted to convert the audio media to the sample
rate of the current sequence. If there are several candidates with the same
sample rate, Avid|DS uses the following criteria to determine which media
is a closer match:
2. Captured versus Linked Media: Captured media is considered a closer
match than linked media.
3. Bit Depth: Media which matches the bit depth of the current sequence is a
closer match than one that does not. If none of the candidates match the bit
depth, media with a greater bit depth is determined to be a closer match.
User’s Guide • 141
Chapter 4 • Working with Sequences
Changing the
Sequence Preferences
The video and audio formats determine the image frame size and audio
sampling rates, respectively. The video format cannot be changed once you
create the sequence. You can, however, change the working video settings,
processing and presets settings, and audio preferences at any time.
To change the sequence preferences
1. From the File menu, choose Sequence Preferences.
?
Sequence Preferences dialog box
2. In the Processing box, select one of the following from the Mode list:
• Field to convert the image to fields, which processes each field of your
effects and graphics separately, and then reconverts the video information
to frames to display the results. Field-based processing takes longer, but is
designed to increase the accuracy of animated effects, graphics, and DVEs.
• Frame to process the entire frame (both fields together). This option is
typically used with frame-based material.
Even though you set the processing mode for the sequence as a
whole, you can still change it in the Processing Options dialog box.
For more information, refer to Setting the Processing Options on
page 137 of the Avid|DS Compositing & Effects Guide.
142 • User’s Guide
Setting Sequence Preferences
3. Select the Display source material when processing is needed to view the
underlying material instead of the “Processing Needed” message when
unprocessed material is encountered during playback. If you don’t select
it, when you play back a sequence, the “Processing Needed” message is
displayed in the viewer when unprocessed material is encountered. This
option is only available when working in a SD sequence.
?
4. To change how preset files are converted when used in other video formats,
select one of the following from the Presets Conversion Mode list:
• Scale to Fit to scale 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 maintain the aspect
ratio of the original preset.
• Scale, Keep Aspect Ratio to scale the preset in both the X and Y axes to fit
the sequence settings, but maintains 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 to center 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 to scale the preset in the X axis to fit the
sequence settings, then scales the preset along the Y axis to maintain 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 to scale the preset in the Y axis to fit the
sequence settings, then scales the image along the X axis to maintain 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.
5. To change how media in both clips and sequences are converted when
used in sequences with different video formats, select one of the following
from the Media Conversion Mode list:
• Scale to Fit to scale 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.
• Scale, Keep Aspect Ratio to scale the media in both the X and Y axes to fit
the sequence settings, but maintains 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 to center 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 and Position to display the media in the viewer
without modifying its original size or position.
User’s Guide • 143
Chapter 4 • Working with Sequences
• Fit X Axis, Keep Aspect Ratio to scale the media in the X axis to fit the
sequence settings, then scales the media along the Y axis to maintain 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 to scale the media in the Y axis to fit the
sequence settings, then scales the media along the X axis to maintain 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.
?
6. Force Overlay Key to force the overlay track to use the matte of a clip on
this track, or treat it like it has a full alpha for the RGB composite. This
behavior is apparent when you have a clip on the overlay track, and there
are no other clips on the video tracks below it. You’ll see the image
without the key applied. If you select this option, you’ll see the image
keyed over a black background.
If you select the Force Overlay Key option, any real-time effects will
no longer be playable in real-time.
7. From the Working Video Settings box, select a working resolution and
compression ratio—see Setting the Working Video Quality on page 136.
8. To change the audio settings, select the Audio tab.
144 • User’s Guide
Setting Sequence Preferences
9. From the Sample Rate list, select a sampling rate for your sequence. The
higher the sampling rate, the more accurate the audio will be.
When you place audio clips on the timeline that contain different
sampling rates than the current sequence, you are prompted to
convert the clip to match the current sequence sampling rate. If you
do not convert the clip, you will not have access to the audio media
unless you change the sequence preferences.
?
10. From the Bit Depth list, select a bit depth value. The higher the value, the
more precise the audio will be.
11. From the Sample Rate Conversion box, select the Conversion on Drop
option if you want to convert all sample rates imported into your
sequence to the sample rate of the current sequence.
12. Deselect the Confirm Each Time 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.
13. Drag the Conversion Quality slider in the direction of one of the following:
• Fast to convert the sample rate quickly, but at a low quality.
• High to preserve quality, but this setting takes longer to convert the
sample rates.
14. Click OK to accept the changes you made.
Click Help for detailed information on the Sequence Preferences dialog box.
Understanding the Conversion Modes
Since Avid|DS is resolution independent, you can work with media and
sequences with different resolutions, all within the same sequence. Avid|DS
lets you decide how these different formats will fit together.
There are three different situations in which you convert media:
1. When you import media,
2. When you drop a clip or sequence on the timeline, and
3. When you change the conversion mode for clips that are already on
the timeline.
The first case deals with digitized media, and is therefore slightly different
than the other two cases, which deal more with how media is treated on
the timeline.
User’s Guide • 145
Chapter 4 • Working with Sequences
When you digitize or import media, it gets converted to the current sequence
preferences using the conversion modes on the Input panel of the Media
Input/Output layout. Since you’re determining how media is being digitized,
the scale/pan settings applied to the media are fixed. This means that you
cannot change these settings when you recapture the media. For more
information, see Importing Material from File on page 89.
In the second case, you’re dealing with how clips are converted when they’re
placed on the timeline. The conversion mode you select determines how clips
and sequences of different resolutions are displayed when they’re placed on
the timeline. You can set the conversion mode in the Sequence Preferences
dialog box.
?
The clips that are already on the timeline will not be affected by a
change in the Sequence Preferences settings. Only clips placed on the
timeline after the change will be affected.
In the third case, you’re dealing with clips that are already on the timeline. You
can set the conversion mode for each clip individually using the conversion
mode settings in the Clip Properties property page. This overrides the
conversion mode in the Sequence Preferences dialog box.
As previously explained, when you place a clip on the timeline which has a
different resolution than the current sequence, the image will be converted
using the method you set in the Sequence Preferences dialog box.
However, when you place a sequence on the timeline, the conversion becomes
a little more complicated, since you may be dealing with various resolutions
within that sequence. Avid|DS treats the clips within that sequence as a single
unit in order to preserve the relationship between the clips. By doing so,
Avid|DS ensures that the ratio between each clip remains the same. Once the
clips are grouped together, Avid|DS uses the conversion mode you set in the
Sequence Preferences dialog box to convert all the clips as a single unit.
If your clip is converted more than once, it can’t be assigned one of
the defined conversion modes. Instead, a separate conversion mode
called “Multiple Conversions” is used to specify that the clip has
been converted multiple times.
When you insert a sequence within another sequence, you can always override
the current sequence preference conversion mode by modifying each clip’s
conversion mode individually in the Clip Properties property editor. Only the
clip whose conversion mode you modified will be affected. All other clips will
remain in custom sequence mode.
If you use a sequence that has processed effects within another
sequence, the caches will remain valid as long as both sequences
have the same settings. If, however, you change the conversion
mode, you must process the effects again.
146 • User’s Guide
Setting Sequence Preferences
The following table summarizes how each item is converted in Avid|DS:
?
Item
Media Conversion Treatment
Captured clip
Frame size* is scaled and panned to the current sequence size
Linked clip
Image size is scaled and panned to the current sequence size
Sequence
Sequence size is scaled and panned to the current sequence size
*The sequence size at the time of capture.
Example
The following is an example of how a sequence, which contains linked images
of various resolutions, is converted when inserted into a sequence that has a
different resolution.
Sequence A is an NTSC D1 sequence at 720 × 486 resolution. It contains the
following images:
Image 1: 1440×972 linked
image set to Scale to Fit
Image 2: 300×300 linked
image set to Keep Original
Size and Position
Image 3: 1000×1000 linked
image set to Center, Keep
Original Size
User’s Guide • 147
Chapter 4 • Working with Sequences
Sequence B is a custom sequence at 360 × 243 resolution. The conversion
mode in the Sequence Preferences dialog box is set to Center, Keep Original
Size. When you place sequence A into sequence B, the following occurs (the
original frame size of sequence A is outlined in white):
?
The clips are grouped together
and treated as a single unit.
Since image 1 was centered in
the original sequence, it will
remain centered in the new
sequence. Since sequence B has
a smaller resolution, the image
just fills up more of the viewer.
This clip has been converted in
both sequences, so its
conversion mode will be set to
Multiple Conversions.
Image 2 was not centered in the
original sequence, so in this
sequence, the star gets cut out
of the viewer. Since the original
linked clip was set to Keep
Original Size and Position, it has
only been converted once and
its conversion mode will be set
to that of the current sequence.
Since image 3 was centered in
the original sequence, it remains
centered. Because the circle is so
large, it fills the entire viewer.
This clip has been converted in
both sequences, so its
conversion mode will be set to
Multiple Conversions.
If you change the conversion mode in the Sequence Preferences dialog box to
Scale to Fit, and place sequence A into sequence B again, the following occurs:
If you compare these images with the images in the original sequence, they will be exactly the same,
except smaller. Since the images are grouped together as a sequence, the individual images are not
scaled to fit the resolution of the current sequence. Instead, the whole sequence is scaled down to fit the
new sequence resolution, which, in this case, produces a smaller version of the original sequence.
148 • User’s Guide
Setting Sequence Preferences
You can then go into the Clip Properties property page and change the
conversion mode for each clip individually.
When applying a conversion mode to a clip
individually, the original sequence settings
are ignored and Avid|DS refers back to the
original image.
?
For example, the conversion mode for image 1
was set to Keep Original Size and Position.
Notice how the displayed image is the
1440×972 clip. If Avid|DS had referred back to
the original sequence, then the clip would have
been displayed at 720×486 resolution.
After changing the conversion mode of an individual clip, you can always
change it back to its original setting.
To change the sequence conversion mode
1. From the File menu, choose Sequence Preferences.
The Sequence Preferences dialog box is displayed.
2. In the Conversion Mode box, select a mode for Presets and/or Media.
From now on, when you place clips or sequences on the timeline, they will
be converted using the mode you selected.
To change the conversion mode for a clip or sequence on the timeline
1. Right-click a clip on the timeline and choose Properties from the menu.
The Clip property editor is displayed.
2. From the Conversion Mode list, select a conversion mode.
The clip will be converted using the mode you selected.
User’s Guide • 149
Chapter 4 • Working with Sequences
Saving Sequences
When you save a sequence, you are saving the contents of the timeline. Any
clips, container clips, transitions, caches, effects, and edit markers are saved
with the sequence.
It is good practice to save your sequences at regular intervals, or when you
have completed an important part of your work. The first time you save a
sequence, all information related to the sequence is saved. However, the next
time you save this sequence, only the modifications to the sequence are saved,
so it takes less time.
?
You can also create a crash recovery file for your current sequence at
regular intervals. This lets you recover the latest work on your
sequence in the event of a system failure. For more information, see
Autosaving Sequences in the online help.
To save a sequence for the first time
1. From the File menu, choose Save.
The Save Sequence dialog box is displayed.
2. Use the browser tools to navigate to the folder in which you want to save
the sequence.
3. Type in a name for your sequence in the File Name text box and click OK.
The sequence is saved and a sequence icon with the sequence name
appears in the browser. You can now continue editing or close the current
sequence, and begin work on a new sequence or project.
To save an existing sequence
• From the File menu, choose Save.
The existing sequence is overwritten.
The sequence is saved and a sequence icon with the sequence name
appears in the browser. You can now continue editing or close the current
sequence, and begin work on a new sequence or project.
150 • User’s Guide
Saving Sequences
Creating a Copy of a
Sequence
?
You can save different versions of a sequence in a project folder. If, for
example, you’ve been hired to create a series of spots for a client, you create a
project that is completely contained in a single folder. Inside that folder, you
create a number of subfolders to store elements, such as master clips, presets,
mattes, and backgrounds.
Inside that project, you create a sequence for the first spot by dragging clips to
the timeline, and saving the sequence in your project folder. For the second
spot, make a copy of the sequence calling it “Scene 2 - Take 2”, and make the
necessary adjustments. Continue to do the same for each of the spots.
To save a copy of a sequence
1. From the File menu, choose Save As.
2. Enter a new name for the sequence.
The sequence is saved. You can now make the necessary edits to
this sequence.
Another way to create versions of your sequence is by copying the
sequence directly from the browser. Copying the sequence in the
browser takes less time than creating a copy with the Save As
command. For more information, see Moving Files between Folders
on page 28.
User’s Guide • 151
Chapter 4 • Working with Sequences
Searching for Sequences
Large projects can contain many sequences and even more master clips.
Although you can use the browser to find a particular sequence or clip, it can
be more efficient to search for sequences and master clips using the Clip
Search tool.
The Clip Search tool lets you search for master clips or sequences within your
current project. You can do searches by source, file name, or file properties.
All clips found in the search appear in the clip tray.
?
To search for sequences or master clips
1. From the View menu, choose Views > Clip Search.
The Clip Search dialog box is displayed.
2. Select the Master Clips and/or Sequences option(s) to search for one, the
other, or both.
3. To search by:
• Source: Select a tape source name or file from the Referencing the
following source list and click Go.
• File name: Enter the file name in the With name containing text box and
click Go.
• File property: Select an attribute from the list, either Contains or Equals,
enter the text you are searching for in the text box, and click Go.
152 • User’s Guide
Searching for Sequences
The clips and/or sequences found in your search are displayed in the
clip tray.
?
You can only perform a clip or sequence search using one filter
option at a time.
Click Help for detailed information on the Clip Search dialog box.
User’s Guide • 153
Chapter 4 • Working with Sequences
Importing Sequences from Another Project
Depending on how you set up your sequences and projects, you may want to
use the same sequence in more than one project. You can import sequences
with or without media from one project to another. When you import the
media, both the source media and caches are imported into the current
project. If the sequence contains reference clips, they are also imported into
the current project.
?
You can also import master clips from one project to another in the
exact same way as sequences.
If you want access to the media, you have the choice of making an actual copy
in the current project or creating a link from the current project to the media
on the disk array. By creating a link to the media, you actually share the media
between the two projects. This means that you don’t have to copy it into the
current project, which saves space on your disk array. If you want to link to
the media, it must reside on the disk array connected to your workstation or
one that is shared between the two projects and/or workstations.
Shared storage devices can be any storage area on your local
machine or anywhere on the network. The limitation with media
sharing is that the storage device may not have sufficient bandwidth
to provide real-time access to the media for more than one user at a
time. However, if the storage device has sufficient bandwidth, realtime playback is possible.
When you import a sequence from another project and share the media by
creating a link to it, you do not gain ownership of this media. The ownership
of the media remains with the project in which the media resides. As a result,
you will not be able to purge or delete the media in this sequence. You can
only purge or delete the media from within the project that owns the media.
If you want to bring the media into the current project after you’ve created
a link, you can use the Media Manager to move the media.
There are two ways to import a sequence from another project. You can rightclick on the sequence and choose the Import to Current Project command or
you can drag and drop the sequence from one browser to another. The main
difference between the two options, is that the first option lets you determine
what is imported.
To import a sequence from another project
1. In the browser, open the project folder of the sequence you want to import.
If you want to import a sequence that is on another workstation on
the network, you must share the project folder and the folder
containing the media at the Windows NT level.
154 • User’s Guide
Importing Sequences from Another Project
2. In the Contents view of the browser, right-click on the sequence and
choose Import to Current Project from the menu.
The Sequence and Master Clip Import dialog box is displayed.
?
3. Select one of the following options:
• Ignore Media to import only the project files.
• Copy media into current project to import the project files and create a
copy of the media in the current project.
• Link media into current project to import the project files and create a
link to the media.
When you link to the media, the ownership of the media remains with the
project that created the media. As a result, you will not be able to purge or
delete the media.
The Link media into current project option only works if the media
resides in the same storage area or in a storage area that is shared
between the two workstations.
If you archive a project with media that is shared between projects,
the media will be archived with both projects. When it is restored,
Avid|DS will check to see if the media is still in its original location.
If it is, the link is recreated. If it is not, the media is restored to its
original location. The ownership of the media remains with the
project that created it.
User’s Guide • 155
Chapter 4 • Working with Sequences
4. If you want to ensure that the media is available from the current project,
select the Copy media if linking is not possible option. This option acts as
a backup to the linking option. If the link is not possible because the
storage areas do not meet the linking requirements, the media is copied to
the current project.
5. From the Copy Video to list, select the storage device on which you want
the video media to reside.
6. From the Copy Audio to list, select the storage device on which you want
the audio media to reside.
7. Click OK.
8. In the browser, go back to the current project folder.
A new folder appears in the browser within the current project folder,
entitled “Imported from project projectname”.
?
To import a sequence by dragging and dropping
1. From the Views menu, choose Views > Browser to open a second browser.
A floating browser is displayed.
2. In the floating browser, open the project folder of the sequence you want
to import.
3. In the original browser, open the folder in which you want the sequence
to reside.
4. Drag the sequence you want to import from the floating browser to an
empty area of the Contents view in the original browser.
If the sequence’s media resides on a shared storage device:
• The sequence is copied into the current project.
• A link to the media is created. Since you’re sharing the media files, you do
not get ownership of them
If the sequence’s media resides on a storage device that is not shared:
• The sequence is copied into the current project.
• The media files are copied into the current project. Since a new copy is
created in the current project, you now have ownership of these media files.
156 • User’s Guide
Deleting Sequences
Deleting Sequences
If you no longer require a sequence, you can create an archive of the project in
which it resides or delete it from the project. When you delete a sequence, you
usually remove all of its cache files as well. The clips and media, however,
remain intact.
When deleting sequences, you can:
?
• Check that no other sequences in the current project are using its cache
files. If the caches are being used, they are not deleted. If they are not being
used, they are deleted with the sequence file.
• Quickly get rid of sequences and their cache files without verifying if the
caches are being used by another sequence. Although this option is
quicker, it can be risky. You should only use this option when you’re
absolutely sure that you no longer need the sequence’s cache files.
To delete a sequence
1. From the view switcher, click the Browser icon.
2. In the Contents view of the browser, right-click on a sequence that is not
currently open and choose one of the following from the menu:
• Delete to delete your sequence and its cache files after having verified that
they are not being used by another sequence.
• Total Delete to quickly delete your sequence and its cache files without
checking to see if they are being used elsewhere.
You are prompted to confirm the deletion.
3. Click Yes to delete the sequence.
User’s Guide • 157
Chapter 4 • Working with Sequences
?
158 • User’s Guide
?
Chapter 5
Conforming
User’s Guide • 159
Chapter 5 • Conforming
In This Chapter...
This chapter describes how to load an EDL, OMF, or ALE file into Avid|DS
and create a sequence on which you can apply further edits.
Workflow: Conforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Working with Edit Decision Lists (EDL) . . . . . . . . . . . . . . . . . . . . . . . . 162
Working with Open Media Framework (OMF) Compositions. . . . . . 172
?
Working with Avid Log Exchange (ALE) Files. . . . . . . . . . . . . . . . . . . 184
160 • User’s Guide
Workflow: Conforming
Workflow: Conforming
Conforming is the process of bringing a project from an offline environment
into Avid|DS, so you can continue the editing process. The following
illustration shows you how to import Edit Decision Lists (EDL), Open Media
Framework (OMF), and Avid Log Exchange (ALE) files into Avid|DS.
?
1
Import the EDL, OMF,
or ALE file
2
Load the list of
events
Log as clips into the browser
3
Load directly onto timeline
Capture media
Digitize media from
tape or file into
Avid|DS.
User’s Guide • 161
Chapter 5 • Conforming
Working with Edit Decision Lists (EDL)
Avid|DS supports EDL files. An EDL is a detailed list of the edits contained in a
sequence, including all the timecode and supported effects information
required to recreate the sequence in an online session. The EDL file is organized
into a series of chronological instructions called events. You can use these events
to create clips or to completely recreate the sequence on the timeline.
The EDL view lets you import an EDL file produced on any external system,
and capture material based on the edits in that EDL. When you import an
EDL into Avid|DS, it appears in the EDL view, where you can see the list of
events. After importing your EDL into Avid|DS, you can select the events that
you want to recreate. To do this, you can either log the events as master clips
in the browser, or drop the edit list right onto the timeline. You can then
capture media from either the clips in the browser or on the timeline.
?
You can only recapture logged clips created from an EDL that
originated on tape. Avid|DS does not support recapture from file for
logged clips created from an EDL.
Clip names are created from the event number. If you have more than one
EDL in a project, however, there will be at least two clips with the same name.
To avoid the conflict, the name of the EDL is appended to the clip name.
For example:
001 (NewYork1)
001 (NewYork2)
After the clips are created, you can rename them at any time. For more
information, see Renaming Project Files on page 28.
Avid EDL Manager is available on the Avid|DS Drivers CD.
The Avid EDL Manager is a standalone application that lets you
convert between different EDL formats, such as Sony, GVG, or
CMX. You can also convert EDL files to OMF 1.0 files. Since
Avid|DS only supports OMF 2.0 files, youwill need to further
convert the OMF 1.0 files so that they can be read by Avid|DS.
You can also use the Avid EDL Manager to create an EDL that
displays additional types of information, such as comments or
patches. You can specify the different audio and video tracks in the
sequence, as well as specify the assembly modes that the online edit
controller uses when creating your sequence. Refer to the Avid EDL
Manager User’s Guide for more information.
162 • User’s Guide
Working with Edit Decision Lists (EDL)
Opening an EDL File
Avid|DS supports both the GVG and CMX EDL formats.
To open an EDL
1. Do one of the following:
• In the view switcher, click the EDL icon.
• From the View menu, choose Views > EDL.
The EDL view is displayed.
?
2. To load a new EDL, click the Load EDL icon.
3. In the Open dialog box, select an EDL. If you know the system from which
the EDL was generated, select the appropriate file type (DS, CMX, GVG).
4. Click Open.
The selected EDL is displayed in the EDL view.
If you selected the wrong file type, you are prompted to convert the file to
the appropriate type.
EDL name
EDL tools
Record in-point
Edit list
An imported EDL in the EDL view
Click the Help icon for detailed information on the EDL view.
User’s Guide • 163
Chapter 5 • Conforming
Setting EDL Properties
You can specify options for the currently displayed EDL in the EDL Properties
dialog box, such as displaying timecodes as drop frame and determining
comment placement.
To set EDL properties
1. Right-click on the main area of the EDL view and choose Properties from
the menu.
The EDL Properties dialog box is displayed.
?
2. Use the controls in the EDL Properties dialog box to set the EDL properties.
Click Help for detailed information on the EDL Properties dialog box.
Conforming an EDL
File
When conforming your EDL, you have the choice of logging the events in the
browser, recreating the list of events on the timeline, or both. Once the events
are logged, you can capture the media at any time from either the browser or
timeline. For more information, see Batch Capturing on page 104.
Before conforming your EDL, you should check if there are any layers to be
composited. Offline editors often create multiple EDLs because the
convention is to put separate layers into separate EDLs. Any audio or video
events in the list are automatically loaded onto the appropriate tracks.
During the conform process, you can set up the appropriate heads and tails
values for each clip. This is important if you need additional material at the
beginning and end of each clip to do minor changes during the final stage of
the edit. You can also configure the audio channel patching for each tape.
If you recreate your sequence on the timeline, you may want to process a
rough cut and proof it against the original EDL. You can do this by reloading
the EDL onto a new overlay track, adding a fade or crop effect to the overlay
track and processing it, and then playing the sequence to make sure that the
cuts and transitions on the two tracks occur in sync.
164 • User’s Guide
Working with Edit Decision Lists (EDL)
If the proofing session is successful, you can then remove the overlay track and
continue to add effects and finishing touches to your sequence.
To conform an EDL file
1. Open a new sequence in your project.
2. Import or open an edit list in the EDL view.
?
3. From the EDL view, click the Conform EDL icon.
The EDL Conform dialog box is displayed.
You can capture all events in the edit list, or hold down the Ctrl key
and click the EDL events associated with the source material you
want to capture.
4. Select one of the following options:
• Create Logs to create a log of events in the browser.
• Create Timeline Clips to recreate the events on the timeline.
• Create Both to create both a log of events in the browser and a sequence
based on the events in the EDL.
5. Select the Transfer to Overlay Tracks option to recreate the sequence on
an overlay track.
6. To add material before the in-point and after the out-point of all tape
sources, enter the appropriate number of frames in the Heads and Tails
text boxes.
User’s Guide • 165
Chapter 5 • Conforming
7. If you need to reconfigure the audio tracks, select a tape name from the
Tape Name list and assign the incoming audio tracks to the audio
channels of your clip by clicking in the audio channel routing matrix.
Audio channel routing matrix
?
You can assign the audio channels differently for each tape name or
you can multi-select the tape names, and make the audio channel
assignment the same for all of them.
8. Click Set after you’ve assigned the audio tracks for each tape name to save
the settings.
9. Click Conform to begin conforming the EDL.
The events are recreated on the timeline as empty clips, and master clips
are created in the browser for each event. The clip icons in the browser are
red since they have no media yet.
166 • User’s Guide
Working with Edit Decision Lists (EDL)
Audio events in the edit list do not support stereo clips. When a
stereo clip (two streams) is created on the timeline, it is split onto
two mono tracks; each track holds one stream.
Creating Layers from an EDL
?
Receiving multiple EDLs for different levels in a composite occurs frequently.
For example, there may be an EDL for the background and another for the
foreground. When this happens, both layers must be in sync on the timeline.
You can either place the layers on the overlay tracks, which allows more than
one layer to be active at a time, or you can place these two layers in a container
clip. For more information, see Using Container Clips on page 258.
To create a layer from an EDL
1. Open a new or existing sequence in your project.
2. Import or open an edit list in the EDL view.
3. From the EDL view, click the Conform EDL icon.
The EDL Conform dialog box is displayed.
4. Select one of the following:
• Create Timeline Clips to recreate the events on an overlay track.
• Create Both to create both a log of events in the browser and a sequence
based on the events in the EDL.
5. Select the Transfer to Overlay Tracks option to have the sequence
recreated on an overlay track.
6. Set the Heads and Tails and configure the audio inputs as required. For
more information on these options, click Help or see Conforming an EDL
File on page 164.
7. Click Conform to recreate the events on an overlay track on the timeline.
Avid|DS ignores the current setting of the Ripple mode when
performing an EDL to timeline. By default, all EDL conforms are
performed with the Ripple mode off.
User’s Guide • 167
Chapter 5 • Conforming
Modifying an EDL File
Avid|DS lets you modify certain properties of the EDL after you’ve loaded it
into the EDL view. You can change the name of the source tape, as well as
ripple the source timecodes.
Changing the Source Tape Name
If your source tape name is too long, or the name of the tape has changed
between the offline and the online, you can modify the name of your tape
directly in Avid|DS. Once you’ve loaded an EDL into the EDL view, you can
modify the source name of any one of the sources.
?
To change the source name of a tape in an EDL
1. Load an EDL into the EDL view.
2. Right-click on the main area of the EDL view and choose Change Source
Name from the menu.
The Change Source Name dialog box is displayed.
3. From the Old Source Name list, select the name of the tape you want
to change.
4. Enter the new name in the New Source Name text box and click OK.
The Source Name is changed in the EDL view.
Rippling the Source Timecodes
If there’s a time delay between your master tapes and the offline EDL list, or
the time of an event has changed, you can push or ripple any one of the source
timecodes forwards or backwards directly in Avid|DS.
To ripple all source timecodes in an EDL
1. Load an EDL into the EDL view.
2. Right-click on the main area of the EDL view and choose Ripple Sources
from the menu.
The Ripple Sources dialog box is displayed.
3. In the Ripple By timecode box, enter the amount by which you want the
source timecodes to move.
To ripple the source timecode backwards, enter the amount
preceded by a minus (–) sign in the Ripple By timecode box.
4. Click OK.
The source timecodes of all your source tapes are modified by the amount
you specified.
168 • User’s Guide
Working with Edit Decision Lists (EDL)
To ripple the source timecode of one event in an EDL
1. Load an EDL into the EDL view.
2. Select the event in the Edit list.
3. Right-click and choose Ripple Sources from the menu.
The Ripple Sources dialog box is displayed.
?
4. In the Ripple By timecode box, enter the amount by which you want the
source timecode to move.
To ripple the source timecode backwards, enter the amount
preceded by a minus (–) sign in the Ripple By timecode box.
5. Click OK.
The source timecode of that one event is modified by the amount
you specified.
To ripple the timecodes of all events from one source
1. Load an EDL into the EDL view.
2. Right-click on the main area of the EDL view and choose Ripple Sources
from the menu.
The Ripple Sources dialog box is displayed.
3. Select the Apply To All Edits From This Source option to modify the
source timecode of one of your source tapes.
4. Select the name of the tape from the list.
5. Enter the amount by which you want the source timecodes to move in the
Ripple By timecode box and click OK.
All the timecodes for that one source tape are modified by the amount
you specified.
User’s Guide • 169
Chapter 5 • Conforming
Exporting an EDL File
If you want to perform certain tasks on another system, you can create an EDL
of your current sequence, save it to file, and then transfer it.
Avid|DS lets you create an EDL of your current sequence. The EDL contains
information about all the timecode, transitions, and supported effects. Once
you’ve created an EDL of your current sequence, you can save it and transfer
the information to another system.
To create and save an EDL of the current sequence
?
1. From the EDL view, click the Timeline to EDL icon to create an EDL of
the current sequence.
Each event is created in the EDL view.
2. Click the Save EDL icon to save your EDL to file.
The Save As dialog box is displayed.
3. Navigate to an appropriate folder, enter a name in the File Name text box,
and click Save.
The EDL is saved in the location you specified.
Printing an EDL File
When you need a hard copy of your EDL for review or want to keep a hard
copy as a reference, you can print one out from within the EDL view. You can
set the number of copies to print, as well as the orientation of the page. The
EDL is printed on your default printer.
To print an EDL file
1. Load an EDL into the EDL view.
2. From the EDL view, click Print.
The Print EDL dialog box is displayed.
3. In the Number of Copies text box, enter the number of copies you want
to print.
4. Choose either Portrait or Landscape as the page orientation for the EDL.
5. Click Print.
The EDL is printed on your default printer.
To change your default printer, modify the printer settings in
Windows NT.
170 • User’s Guide
Working with Edit Decision Lists (EDL)
Proofing
If you recreated your sequence on the timeline, you may want to process the
rough cut, and proof it against the original EDL to make sure that the timing
is correct.
To proof the EDL to Timeline
1. Reload the EDL onto a new overlay track.
2. Add a fade or crop effect to the overlay track.
?
3. Process the effect.
4. Play the sequence to make sure that the cuts and transitions on the two
tracks occur in sync.
If the proofing session is successful, you can remove the overlay track and
continue to add effects and finishing touches to your sequence.
User’s Guide • 171
Chapter 5 • Conforming
Working with Open Media Framework (OMF) Compositions
Avid|DS supports the OMF file format. OMF files facilitate the transfer of
digital media from one system to another. They can contain both media and
compositional information. An OMF composition is basically an advanced
form of the EDL. It contains instructions for transitions, timewarps, keys,
titling, and some other effects information. The OMF view preserves all the
layering information from an OMF file, so that you can select events and
layers that you want to recreate on the timeline.
?
Avid|DS OMF support is limited to the import and export of audio
media only.
Avid|DS supports many types of Avid Media Composer® and Symphony™
effects. For a complete list, see OMF Level of Support on page 180.
Avid|DS can only import OMF 2.0 files.
172 • User’s Guide
Working with Open Media Framework (OMF) Compositions
Opening an OMF File
You can import OMF files created on other systems. By using the OMF file
format to transfer sequences from an offline system to Avid|DS, you can quickly
import sequences with most of the offline editing and effects work intact.
To open an OMF file
1. From the View menu, choose Views > OMF.
2. From the OMF view, click the Load OMF icon and select a file from the
Open dialog box.
?
The selected OMF file is displayed in the OMF view.
OMF tools
Record in-point
OMF tree
An OMF imported into the OMF view
When you load an OMF file with more than one composition, you
are prompted to choose which composition to import.
Click the Help icon for detailed information on the OMF view.
Conforming an OMF
File
You can log your clips in the browser to create master clips that can be reused
in other sequences, recreate your sequence in Avid|DS by loading the OMF file
onto the timeline, or both. It is a good practice to do both, so that when a clip
is deleted from the timeline, you always have the master clip in the browser.
You also have the option of importing any audio media that is in the OMF file.
To conform an OMF file without audio media
1. Open a new sequence in your project.
2. Load an OMF file into the OMF view.
User’s Guide • 173
Chapter 5 • Conforming
3. In the OMF view, click the Conform OMF icon.
The OMF Conform dialog box is displayed.
?
4. Select one of the following options:
• Create Logs to log the clips in the browser.
• Create Timeline Clips to recreate the sequence on the timeline based on
the compositional information in the OMF file.
• Create Both to log the clips in the browser and to recreate the sequence
based on the compositional information in the OMF file.
5. To add material before the in-point and after the out-point of all tape
sources, enter the appropriate number of frames in the Heads and Tails
text boxes.
6. If you need to reconfigure the incoming audio tracks, select a tape name
from the Tape Name list and assign the audio tracks to the audio channels
of your clip by clicking in the audio channel routing matrix.
You can assign the audio tracks differently for each tape name.
7. Click Set after you have assigned the audio tracks for each tape name to
save the settings.
174 • User’s Guide
Working with Open Media Framework (OMF) Compositions
8. Click Conform to begin conforming the OMF.
The clips, transitions, and supported effects are recreated on the timeline
using the compositional information and empty master clips are created
in the browser. The clip icons in the browser are red since no media has
been imported yet.
?
Effects that are not supported in Avid|DS are marked by effect bars that
have been deactivated. These effect bars act as markers to indicate where
the effect was originally placed.
If there are any unsupported effects, a user message is displayed that asks
you if you would like to view the generated list. If you click Yes, the list is
generated and displayed in the Conform Error Log dialog box.
The Conform Error Log dialog box displays the in and out-points of the
effect, the name of the original effect, as well as a brief description of the
type of error that occurred.
9. To save this log as an .html file, click Save.
The Save As dialog box is displayed.
10. Navigate to an appropriate folder, type in a name for the log and click Save.
The log is saved as an .html file and can be viewed in any browser.
User’s Guide • 175
Chapter 5 • Conforming
To conform an OMF file with audio media
1. Open a new sequence in your project.
2. Load an OMF file which contains audio media into the OMF view.
3. In the OMF view, click the Conform OMF icon.
The OMF Conform dialog box is displayed.
?
4. Select one of the following options:
• Create Logs to log the clips in the browser.
• Create Timeline Clips to recreate the sequence on the timeline based on
the compositional information in the OMF file.
• Create Both to log the clips in the browser and to recreate the sequence
based on the compositional information in the OMF file.
5. To add material before the in-point and after the out-point of all tape
sources, enter the appropriate number of frames in the Heads and Tails
text boxes.
6. If you need to reconfigure the audio tracks, select a tape name from the
Tape Name list and assign the audio tracks to the audio channels of your
clip by clicking in the audio channel routing matrix.
You can assign the audio tracks differently for each source name.
The audio media will be imported using the assignment specified in the
audio channel routing matrix and not those originally set in the file.
176 • User’s Guide
Working with Open Media Framework (OMF) Compositions
7. Click Set after you have assigned the audio tracks for each source name to
save the settings.
8. Select the Import Audio Data option.
9. Select one of the following options:
?
• Import All Media to import all the audio media contained in the OMF file
into the current project.
• Only Import Used Media to import only the audio media used in the
actual sequence into the current project.
10. From the Sample Rate list, select a sampling rate at which to convert your
audio media. The higher the sampling rate, the more accurate the
conversion will be.
Make sure the sample rate you select matches the sample rate of your
current sequence. If the sample rates do not match, no audio media
will be available for playback.
To playback the audio media, you would have to change the sample
rate of the sequence in the Sequence Preferences dialog box.
11. From the Bit Depth list, select a bit depth value. The higher the value, the
more precise the audio conversion will be.
12. From the Capture To list, select a storage area onto which your audio
media will be stored.
13. Click Conform to begin conforming the OMF.
Depending on the settings you chose, any of the following will occur:
• the clips, transitions, and supported effects are recreated on the timeline
using the compositional information
• master clips are created in the browser
• the audio media is imported to your disk array.
Since no video media was imported, the video clip icons in the browser
are red, indicating that no media has been imported yet.
Effects that are not supported in Avid|DS are marked by effect bars that
have been deactivated. These effect bars act as markers to indicate where
the effect was originally placed.
Even though Avid|DS may not be able to import certain effects, it
will keep any keyframed information, which you can use as a
reference to recreate the effect.
User’s Guide • 177
Chapter 5 • Conforming
If there are any unsupported effects, a user message is displayed that asks
you if you would like to view the generated list. If you click Yes, the list is
generated and displayed in the Conform Error Log dialog box.
?
The Conform Error Log dialog box displays the in and out-points of the
effect, the name of the original effect, as well as a brief description of the
type of error that occurred.
14. To save this log as an .html file, click Save.
The Save As dialog box is displayed.
15. Navigate to an appropriate folder, type in a name for the log and click Save.
The log is saved as an .html file and can be viewed in any browser.
Exporting an OMF File
If you ever need to do some audio finishing on Pro Tools®, Avid|DS lets you
create, save, and export OMF files for the audio portion of your sequence.
When you create and save an OMF file from within Avid|DS, both the
compositional information and audio media can be included.
Only the audio portion of your sequence can be exported to an
OMF file. Any video clips on the timeline are ignored when you
create an OMF file.
No audio effects are exported, but edit points are created to show
where effects were originally placed.
You will need DigiTranslator™ to convert the OMF files into a
format that Pro Tools can read.
178 • User’s Guide
Working with Open Media Framework (OMF) Compositions
Creating and Saving an OMF File
The OMF file may contain both the media and information about all the
timecode, transitions, and supported effects. Once you’ve created an OMF file
of the audio portion of your sequence, you can save it and then transfer the
information to another system.
Avid|DS only exports OMF 2.0 files.
?
To create and save an OMF file with audio media
1. From the OMF view, click the Timeline > OMF icon to create an OMF file
of the audio portion of the current sequence.
The Export Composition dialog box is displayed.
2. Select the Embed Media option to include the media in the OMF file you
are creating.
3. Select the Consolidate option to include only the media that is being used
on the timeline.
If the Consolidate option is not selected, the entire audio clip will be
included in the OMF file.
4. In the Handles Length box, do the following:
• Add a number in the Heads text box if you want to add extra frames
before the material used on the timeline. These additional frames will be
included in the OMF file for source material coming from tape only.
• Add a number in the Tails text box if you want to add extra frames of
material after the end of the material used on the timeline. These
additional frames will be included in the OMF file for source material
coming from tape only.
User’s Guide • 179
Chapter 5 • Conforming
5. Click OK.
The Save As dialog box is displayed.
6. Navigate to an appropriate folder, enter a name in the File Name text box,
and then click Save.
All the information obtained from the audio tracks on the timeline are
saved as an OMF file in the location you specified. You can now transfer it
to another system.
?
OMF Level of Support
Avid|DS supports many Media Composer 10.0 and Symphony 2.1 effects that
are imported via OMF. However, the level of support can vary, so please
consult the table and legend below for full details.
The support information for the Audio (Export) category is for use
with Pro Tools.
Legend
Support level
Description
A
Effect supported. The effect is imported as a corresponding
Avid|DS effect. All parameters are set to match, as much as
possible, the original effect.
B
Imported with some parameters
C
Imported without parameters
D
Replaced when imported
E
Not supported. Effect replaced by a “null” fade and
keyframe locations are kept.
F
Not supported. The effect is ignored by Avid|DS.
AVX
This is an AVX plug-in. Effect must be installed on an
Avid|DS system for the effect to be loaded.
Category
Effect
3D
Audio
(Import)
Audio
(Export)
180 • User’s Guide
Support
level
Comment
E
Transitions
D
Audio Effects
F
Mono Audio
Gain
C
All audio transitions are replaced with a
cross fade
Working with Open Media Framework (OMF) Compositions
Category
Effect
Support
level
Comment
Mono Audio
Transition
D
Audio Effects
F
3D Warp
E
Dip to Color
E
Dissolve
C
Fade from Color
E
Fade to Color
E
Picture-in-Picture
A
Superimpose
A
Box Wipe
All
A
Conceal
All
D
Edge Wipe
All
A
Film
1.66 Mask
B
Background color not imported
1.85 Mask
B
Background color not imported
16:9
B
Background color not imported
Anamorphic
Mask
B
Background color not imported
Blowup
E
Film Dissolve
C
Film Fade
C
Mask
B
Color Correction
E
Color Effect
C
Flip
A
Flip-Flop
A
Flop
A
Mask
B
Paint Effect
E
Pan and Scan
A
Blend
?
Image
Replaced with an audio transition. No
parameters are exported.
Replaced by corresponding SMPTE wipes
Background color not imported
Background color not imported
User’s Guide • 181
Chapter 5 • Conforming
Effect
Support
level
Comment
Resize
B
Background color not imported
Scratch Removal
E
Spot Color
E
Submaster
A
Animatte
E
Chroma Key
C/D
Luma Key
E
Matte Key
B
RGB Keyer
AVX
L-Conceal
All
D
Replaced by corresponding SMPTE wipes
Marquee®
Marquee
AVX 1.5
AVX 1.5 effects are not supported in
Avid|DS
Matrix Wipe
Grid
E
One-way Row
E
Speckle
E
Spiral
E
Zig Zag
E
Peel
All
D
Replaced by corresponding SMPTE wipes
Push
All
D
Replaced by corresponding SMPTE wipes
Shape Wipe
4 Corners
E
Center Box
D
Circle
A
Clock
A
Diamond
D
Replaced by circle wipe
Ellipse
D
Replaced by circle wipe
Horizontal Bands
E
Horizontal Blinds
E
Vertical Blinds
E
Category
?
Key
182 • User’s Guide
If used as a transition, then imported as
a dissolve
Replaced by circle wipe
Working with Open Media Framework (OMF) Compositions
?
Category
Effect
Support
level
Spin
X Spin
B
Border not supported. Effect is similar in
Avid|DS, but not identical
Y Spin
B
Border not supported. Effect is similar in
Avid|DS, but not identical
Z Spin
B
Border not supported
Squeeze
All
D
Replaced by corresponding SMPTE wipes
Ultimatte
Keyer
AVX
Timewarp
Strobe
A
Freeze Frame
A
Variable Speed
A
Comment
Symphony and Media Composer don’t
export negative speed values
Acceleration curves are always exported by Symphony and Media
Composer as linear curves.
Only the following effects applied to a Filler track in Media
Composer and Symphony are imported:
• Blend Masks
• Pan and Scan
An effect applied to a Filler track is converted into a timeline effect
in Avid|DS. This may produce unwanted results, since an effect
applied to a Filler track in Symphony or Media Composer systems
only impacts the tracks below it. In contrast, when the effect is
conformed to Avid|DS as a timeline effect, it is applied to all tracks.
User’s Guide • 183
Chapter 5 • Conforming
Working with Avid Log Exchange (ALE) Files
Avid|DS supports ALE files—a file format specifically designed to hold
information about log files generated by Media Composer. ALE files contain
only information about the source material, so you can’t import sequences,
effects or other higher level information.
Although the ALE file format was designed for log files generated by
Media Composer, many other systems can output ALE files as well.
?
You can use ALE files to transfer information from Avid MediaLog™ to
Avid|DS. MediaLog is a tool that helps you select and log footage before your
editing session. Although you can log footage with Avid|DS, using MediaLog
can free up your Avid|DS system for editing and effects. After logging shots,
you can use Avid|DS to digitize and edit the footage.
You can import bins created in MediaLog into Avid|DS. To do this, you must
first export the bin as an ALE file. You can then load the ALE file into Avid|DS
and create logs. Refer to the MediaLog User’s Guide and the article
“Converting Avid MediaLog Bins to Avid|DS Logs” for more information.
MediaLog is available on the Avid|DS Drivers CD.
Importing an ALE file
ALE files can be imported and interpreted by Avid|DS.
To import an ALE file
1. From the View menu, choose Views > ALE Import View.
2. In the ALE Import view, click the Load ALE File icon.
3. In the Open dialog box, select a file.
The selected ALE file appears in the ALE Import view.
Load ALE
Create Logs
ALE Info
Click the Help icon for detailed information on the ALE view.
184 • User’s Guide
Working with Avid Log Exchange (ALE) Files
Getting Information
on ALE Files
You can view the global properties of an ALE file, which includes the location
of the file and the values of various global properties, such as video/audio
format, fps, and more in the ALE Import view.
To get information on ALE Files
• In the ALE Import view, click the Info icon.
The ALE Global Properties dialog box is displayed.
?
Logging Clips from an
ALE File
After you’ve imported an ALE file into Avid|DS, you can select the clips you
want to log in the browser. However, before you can log master clips, the clips
must have associated values for the following properties:
•
•
•
•
•
End
Name
Start
Tape (or a global tape property)
Tracks
If any of these properties don’t have associated values, the Create Logs icon
will appear dimmed.
To log a master clip in the browser
1. Load an ALE file into the ALE view.
2. Select the clip(s) you want to log in the browser by clicking them. To
select more than one clip at a time, select a clip, hold down the Ctrl key
and click the others.
If no clips are selected in the ALE Import view, Avid|DS creates logs
for every clip.
3. In the ALE Import view, click the Create Logs icon.
The Create Logs dialog box is displayed.
Routing
matrix
User’s Guide • 185
Chapter 5 • Conforming
4. If you need to reconfigure the audio tracks, select a tape name from the
Tape Name list and assign the audio tracks to the audio channels of your
clip by clicking in the audio channel routing matrix.
You can assign the audio tracks differently for each source name.
5. Click Set after you have assigned the audio tracks for each tape name to
save the settings.
?
6. To add material before the in-point and after the out-point of all tape
sources, enter the appropriate number of frames in the Heads and Tails
text boxes.
7. Click Conform to begin conforming the ALE file.
In the browser, master clips are created for each selected clip. Once the
clips have been logged, you can capture the media at any time.
Only source material from tape can be recaptured from clips logged
from an ALE file.
186 • User’s Guide
?
Chapter 6
Editing Audio and Video
User’s Guide • 187
Chapter 6 • Editing Audio and Video
In This Chapter...
This chapter describes how to perform basic editing tasks such as arranging
clips on the timeline, performing simple transitions (cuts, dissolves, wipes),
and synchronizing clips.
Workflow: Editing Audio and Video . . . . . . . . . . . . . . . . . . . . . . . . . 189
Building Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
?
Playing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Manipulating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Using Match Frame and Match Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Extracting Parts of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Grabbing Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Rippling Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Trimming Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Slipping and Rolling Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Applying Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Using Container Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Referencing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Synchronizing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Processing Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
188 • User’s Guide
Building Sequences
Workflow: Editing Audio and Video
Editing is the process of assembling audio and video clips on the timeline,
creating transitions between these clips, and synchronizing the sound with the
images. The following illustration shows how you can build and edit a
sequence in Avid|DS.
1
Locate and prepare media for editing
?
2
Preview and trim your source media
in the viewer
3
Place clips on the timeline
Create a rough cut of your sequence by
dragging clips to the timeline
4
Manipulate clips
Move, trim, slip, roll, and nest
clips on the timeline
5
Apply transitions
Create cuts, wipes, dissolves,
crossfades, and DVE-type transitions
User’s Guide • 189
Chapter 6 • Editing Audio and Video
6
Synchronize audio with video
Synchronize video or audio events
by using markers.
?
7
Process the sequence
Process all transitions and
container clips in the
sequence to play the
results in real time.
190 • User’s Guide
Click Process indicator
Building Sequences
Building Sequences
A sequence is an arrangement of clips on the timeline. It contains information
about edit decisions, applied graphics and effects, animation settings, and
working preferences.
Before you construct your sequence, it’s important to realize that edits you
make to clips are non-destructive. In other words, you’re not actually editing
the source media. The clips that you see in the browser and on the timeline are
simply references to the media on the disk array.
?
Setting up your sequence involves previewing and editing source clips, and
then placing them on the timeline. The quickest way to create your rough cut
is to place clips directly on the timeline. You can, however, preview your
source clips to set new in and out-points before placing them on the timeline.
You can also use the clip tray to gather and organize your clips
before editing them in the viewer or on the timeline. For more
information, refer to The Clip Tray in the online help.
You may also want to bring in a project from an offline environment into
Avid|DS via an edit decision list. You can import an EDL (or OMF) into the
browser as logged clips, or onto the timeline as a sequence. For more
information, see Conforming on page 159.
Preparing Source Clips
for Editing
Before you place a clip on the timeline, you can prepare it in the viewer. When
you drag a clip to the viewer, it changes into a dual viewer that displays the source
and record viewers. The dual viewer lets you view and edit source clips.
To move a clip to the viewer
• Drag a clip from the browser to the viewer.
Clip
Viewer
Browser
User’s Guide • 191
Chapter 6 • Editing Audio and Video
The source clip is displayed in the source viewer and the record viewer
displays the clip (if any) at the current position of the play cursor on the
timeline. This lets you compare a source clip with the clip on the timeline
where it will be inserted.
Source viewer: Frame at position Record viewer: Frame at position of
of position bar on source clip
play cursor on timeline
?
Preview controls
Transport controls
Using the dual viewer to preview clips
The dual viewer has its own set of preview and transport controls for
manipulating the source clips, timeline clips, or material on an external
device. The preview controls under the dual viewer help you prepare your
clips before inserting them on the timeline. You can continuously cue and
mark your source material without affecting the sequence.
For an overview of all the preview controls in the dual viewer, refer
to Preview Controls in the online help.
After marking the appropriate in and out-points on the source clip, use the
record viewer to locate the frame (in your sequence) on which the new clip is
to be inserted. You can also decide whether or not to use all the channels of
the source clip, and on which track you want to place the clip.
Once you’ve placed a clip on a track using the dual viewer, that track
is selected by default. To change the track on which you place your
clips, select another track from the track selector in the dual viewer.
After the clip has been placed on the timeline, you can continue working in
dual viewer mode or return to the single viewer to display only the clips on
the timeline.
192 • User’s Guide
Building Sequences
Editing Source Clips
You can place master clips, container clips, or sequences in the source viewer
for previewing. This lets you cue or mark new in and out-points on the source
clip, and then insert, overwrite, replace, or fit-to-fill clips on the timeline with it.
Channels
Track Selector
?
Mark in/out
points
Position Indicator box
Play
Position bar
The preview controls
To edit a clip for use in your sequence
1. On the transport controls, click Play to play the source clip.
2. Do one of the following:
• On the preview controls, Click In when the play cursor reaches the desired
in-point, or Click Out at the desired out-point.
• Enter a timecode in the In or Out text box and press Enter.
In and out markers appear in the Position Indicator box. If you need to
adjust these points, drag them to a new location.
3. Click Play again to stop playing the clip.
4. You can now place the clip directly on the timeline—see Placing Pre-edited
Clips on the Timeline on page 197.
Creating Subclips
Instead of placing the marked clip on the timeline, you can first create a
subclip from it. This leaves the original clip untouched while a copy of the
original clip with new in and out-points is saved in the browser.
To create a subclip
1. When you’re certain about the position of the in and out markers, click
Create Subclip.
User’s Guide • 193
Chapter 6 • Editing Audio and Video
2. In the Create Subclip dialog box, enter a name for the subclip and click OK.
The new clip is created and saved in the browser.
The source clip maintains its original in and out-points.
3. You can continue to adjust the in and out-points. Click Update Clip to
save the changes to the subclip.
?
4. When you’ve finished editing the source clip in the viewer, click Done on
the lower-right side of the preview controls.
The viewer is reset to the default single viewer and displays only the clips
on the timeline.
Placing Clips on the
Timeline
The timeline is where you place and edit clips to build a sequence. You can
create any number of audio and video tracks on the timeline, and place clips
anywhere on these tracks. As you place clips on the timeline, the tracks stretch
to accommodate the clips.
Dragging and dropping clips onto the timeline overwrites any existing clips. If
you activate the Ripple mode on the timeline, however, then clips are inserted
at the timecode at which they are dropped. Existing clips are moved down the
timeline to accommodate the inserted clip.
Before editing your clips, you can customize the timeline to suit
your work by changing the settings to show, hide, or minimize some
display areas. You can also change the ruler’s time scale to display
other time formats, including drop frame, non-drop frame, and
frame numbers. For more information, refer to Ruler and Timeline
in the online help.
When you drag a clip from the browser to the timeline, the move cursor is
displayed. As you drag over the timeline, a shadow appears to indicate the
section where the clip will be placed.
The move cursor
194 • User’s Guide
Clip shadow
Building Sequences
Clips assume activeness when you place them on the timeline. Activeness
refers to the sections of a clip that are used in the final production. These
active frames are indicated by an activeness bar below a clip.
The behavior of activeness differs between audio and video clips. While only
one video clip can be active at any given time, several audio clips can be active
simultaneously. This lets you play multiple audio streams at the same time.
For more information, see Changing the Activeness of Clips on page 216.
?
Activeness bars
Multiple audio clips active at the same timecode
Video clips can be placed only on video tracks, and audio clips only on audio
tracks. When a clip with synchronized video and audio components is placed
on the timeline, the video and audio are placed as separate clips on the audio
and video tracks.
Placing Multiple Clips on the Timeline
You can select multiple clips from the browser and drag them to the timeline
or marker ribbon for editing. This is a quick way to edit several clips together.
For example, if you have previously classified material by scene number, you
can quickly sort clips by scene number and then drag them all to the timeline.
Clips are placed on the timeline in the same order in which you selected them.
When you select all the clips in a folder, they appear in the order in which they
were sorted.
To place multiple clips on the timeline
1. In the browser, do one of the following:
• To select clips randomly, hold down the Ctrl key and click any clips that
you want to select.
• To select clips sequentially, hold down the Shift key and click the clips that
you want to select.
2. Drag the selected clips to the timeline.
If the browser is set to Details view, you can select multiple clips by
dragging over a region in the Contents view.
User’s Guide • 195
Chapter 6 • Editing Audio and Video
Same Track versus Multi-track Editing
Although you can easily place all your video clips on a single track, working
on multiple tracks gives you more flexibility when editing. The active frames
determine the sequence of events.
For example, you can place shots taken with different cameras on separate
tracks. You can then easily switch the view from one camera to another. For
more information, see Cutting to a Clip on page 254.
?
The following example shows the how the same sequence is produced on one
track and on multiple tracks. The activeness bars in both scenarios indicate
which frames are used in the sequence. In both scenarios, the same frames on
the clips are used.
Before
After
Same-track editing: Clip is added to the same track
Before
New track
After
Reveal extra material
Multi-track editing: Clip is added to a new track
When you place clips on multiple tracks, you can reveal extra frames while
editing. This is especially useful when you want to see how many frames are
available for slipping or rolling. For more information, see Revealing Unused
Material on Clips on page 215.
When working with audio, placing your audio clips on different
tracks lets you play multiple audio streams simultaneously.
196 • User’s Guide
Building Sequences
Marking In and Out-points on the Timeline
When you create a new sequence, an in-point marker is automatically placed
at the beginning of the timeline. If you want to place the clip at a specific
timecode, you can mark the in-point on the timeline where you want to place
the clip. After you place a clip at this in-point, the in marker moves to the last
frame of the clip, ready for you to place the next clip in the sequence.
?
To mark an in or out-point on the timeline
1. Position the play cursor at the location where you want to place the in or
out marker.
2. On the transport controls, click In or Out.
The in or out markers are displayed on the marker ribbon.
To place in and out markers on a selected region
1. Select a clip, effect, or activeness bar, or drag to define a region where you
want to set the in and out markers.
2. On the timeline controls, click the Frame Selection icon.
In and out markers are displayed on the marker ribbon.
Once the markers are set on the timeline, they are labelled with names. You
can see the name as you move the pointer over the marker. This also displays
its exact timecode. You can change the position of the marker by dragging it
along the marker ribbon.
Placing Pre-edited Clips on the Timeline
If you’ve previewed and edited your source clip in the viewer, there are different
ways to place it on the timeline. You can manually drag it to the timeline, or use
the Overwrite, Insert, or Replace buttons in the preview controls.
The following instructions apply only when the Ripple button is
deactivated on the tracks. For more information, see Rippling Clips
on page 226.
To drag a clip to the timeline
1. Mark an in and/or out-point on the timeline—see Marking In and Outpoints on the Timeline on page 197.
2. Click the source viewer and drag the clip to a track on the timeline,
moving it close to the in marker.
• To insert the clip, hold down the V key.
• To overwrite the existing clips, hold down the B key.
The magnetism of the in marker automatically draws the clip to the
marked timecode.
User’s Guide • 197
Chapter 6 • Editing Audio and Video
When you drag a clip to the timeline, it becomes active only in areas where
there are no other active clips.
Inserted
clip
?
Before
After
Dragging a clip to the timeline
If you want to perform three-point editing, set both an in and out marker on
the timeline. As a general rule, the in and out markers on the timeline
determine the amount of space inserted into the sequence. For example, if the
clip is longer than the marked region on the timeline, the out-point of the clip
is trimmed to fit the specified duration. If the clip is shorter than the marked
region on the timeline, blank space is added in areas not covered by the
inserted clip.
In marker
Out marker
Placing a clip between marked points on the timeline
To insert or overwrite a clip on the timeline
1. Mark an in-point at the timecode where you want to place your clip.
198 • User’s Guide
Building Sequences
2. In the preview controls, select the track on which you want to place the clip
from the Track Selector list. You can place the clip on a new or existing track,
or create an overlay track to composite video clips—refer to Mapping Source
Clip Tracks to Timeline Tracks in the online help.
3. Click or select one of the following:
• Overwrite to place the clip at the in-point and overwrite any existing clips
over the section that it covers.
?
Inserted clip
• Insert to place the clip at the in-point and ripple all subsequent clips on
the timeline.
The clip that is “inserted” on the timeline becomes active regardless of
other active clips on the timeline.
Inserted clip
• Fit to Fill to size the clip to fit perfectly between the marked in and outpoints on the timeline. To use this option, you must also have specific in
and out-points marked on the clip.
If the clip is longer or shorter than the marked region on the
timeline, the clip is placed in a timewarp container clip and
stretched or shortened accordingly. This speeds up, or slows down
the action in the clip.
User’s Guide • 199
Chapter 6 • Editing Audio and Video
To replace a clip on the timeline
1. On the timeline, select a clip.
2. In the preview controls, select a channel and destination track where this
clip resides.
3. Click Replace to overwrite the selected clip with the one that is currently
in the source viewer.
?
You can also replace a section of a clip by marking a region with the
in and out markers.
Placing Video Clips on the Timeline
A video clip can consist of live action, graphics, animation, or imported images.
Avid|DS lets you build your sequence easily and efficiently. As you drag clips
to the timeline, it detects areas that are occupied, so that you do not overwrite
clips that have already been positioned in time. The inserted clip becomes
active only in areas where it will not overlap any existing clips.
You can place video clips on the video or overlay tracks on the timeline.
Placing clips on the overlay tracks lets you composite over other clips on the
tracks below it. Clips on overlay tracks are always active, and are composited
in the order in which the overlay tracks appear on the timeline. For more
information, see Simple Overlay Compositing on page 94.
To place a video clip on the timeline
1. Mark an in and/or out-point on the timeline—see Marking In and Outpoints on the Timeline on page 197.
2. Drag a clip from the browser, source viewer, or clip tray to the marker
ribbon or video track on the timeline, and align it close to the in marker.
A shadow appears on the timeline to indicate the area where your clip will
be placed. The magnetism of the clip is attracted to other objects in close
proximity. This helps you align clips with other clips or markers.
To temporarily deactivate magnetism, hold down the Shift key as
you drag an object.
200 • User’s Guide
Building Sequences
3. If you’re satisfied with the location, release the clip.
The clip is automatically placed on a new track on the timeline, and becomes
active on areas where there are no other active clips on the timeline.
?
You can also insert or overwrite clips on your tracks and specify the
track on which to place a clip. To do this, right-click on a clip and
drag it from the browser, source viewer, or clip tray to any the video
track. This opens a dialog box from which you can select a video or
overlay track.
When you place a clip on the timeline, the in-point moves to the end of the
clip. The out-point (if any) is deleted.
You can display the unused frames of the clip by right-clicking on
the overview area and choosing Display > Display Unused Material
from the menu before placing the clip on the timeline.
Inserted clip
Unused frames
Active frames
Inserted clip showing unused material
User’s Guide • 201
Chapter 6 • Editing Audio and Video
Placing Audio Clips on the Timeline
Audio clips are the sound portion of your sequence. They contain things like
sound effects, music, and dialogue.
When you place an audio clip on an empty timeline, an activeness bar is
automatically displayed under the audio clip. Unlike video clips, multiple audio
clips can be active at the same time span, as long as they’re on different tracks.
Audio clips that do not have the sample rate specified in the user
preferences can still be placed on the timeline. However, you will not
be able to hear the clips until you recapture the audio material at the
proper sampling rate. For more information, see Converting the
Sample Rate on page 464.
?
Audio clips can be mono, stereo, quadraphonic, LCRS, 4 Stream, 5.1, 6.1, 7.1, or
8 Stream, depending on how many audio channels they have.
This type of audio clip...
Contains these audio channels
Mono
A single audio channel
Stereo
Two audio channels: Left and right
Quadraphonic
Four audio channels: Left, right, left rear, and
right rear
LCRS
Four audio channels: Left, right, center, and surround
4 streams
Four generic audio channels: Output 1, output 2,
output 3, and output 4
5.1
Six audio channels: Left, right, center, LFE, left
surround, and right surround
6.1
Seven audio channels: Left, right, center, LFE,
surround center, side left, and side right
7.1
Eight audio channels: Left, right, center, LFE,
left surround, right surround, left center, and
right center
8 streams
Eight generic audio channels: Output 1 to 8
When you place an audio clip on the timeline, it generates a waveform to
display the audio channels. Each channel has a distinct waveform. For
example, a mono clip has a single waveform, a stereo clip has two waveforms,
and an 8-stream clip has eight. Each waveform has a zero line running
through the middle.
202 • User’s Guide
Building Sequences
A mono audio clip
?
A stereo audio clip
Like audio clips, audio tracks can also be mono, stereo, quadraphonic, LCRS, 4
stream, 5.1, 6.1, 7.1, or 8 stream. You can place any kind of audio clip on any
kind of audio track. If the clip and the track are not the same type two things
happen:
1. The clip appears yellow to indicate that the clip and track formats do not
match, and
2. The clip’s audio channels are assigned to the track’s audio channels, as
much as possible.
For example, if you drop a stereo clip on an 8-stream track, the stereo clip’s two
audio channels will be assigned to the first two audio channels in the 8-stream
track. Conversely, if you drop an 8-stream clip on a stereo track, the 8-stream
clip’s first two audio channels will be assigned to the stereo track’s two
channels, while the other six channels in the 8-stream clip are ignored. You can
adjust the way that a clip’s audio channels occupy a track’s audio channels in
the Mixer. For more information, see Adjusting the Mixer Outputs on page 459.
You can also mix different audio signals by creating an audio
container clip. Audio container clips let you group several audio
clips, mix them together, and treat them as a single clip on the top or
parent timeline. For more information, see Creating an Audio
Container Clip on page 261.
User’s Guide • 203
Chapter 6 • Editing Audio and Video
To place an audio clip on the timeline
1. Mark an in and/or out-point on the timeline—see Marking In and Outpoints on the Timeline on page 197.
2. Drag a clip from the browser, source viewer, or clip tray to the marker
ribbon or audio track on the timeline, and align it close to the in marker.
A shadow appears on the timeline to indicate the area where your clip will
be placed. The magnetism of the clip is attracted to other objects in close
proximity. This helps you align clips with other clips or markers.
?
To temporarily deactivate magnetism, press Shift as you drag an
object.
3. If you’re satisfied with the location, release the clip.
The clip is automatically placed on a new track on the timeline and
becomes active even where there are existing audio clips because you can
play multiple audio tracks simultaneously.
If you want to select a specific track on which to place the clip, rightclick on the clip and drag it to any of the audio tracks on the
timeline. This opens a dialog box from which you can select an
audio track.
When you place a clip on the timeline, the in marker moves to the end of the
clip. The out marker (if any) is deleted. Audio clips can be active simultaneously.
Newly-placed clip
Adjusting the Timeline
Resetting the zoom factor of the overview area to frame the media on the
timeline lets you make better use of the overview area. This is particularly true
when your media starts at a timecode other than 00:00:00:00. Avid|DS
considers the start time of the media and frames it according to the earliest
timecode on which material is present, as opposed to 00:00:00:00.
To trim the timeline to the media
• Right-click on the overview area of the timeline and choose Trim
Timeline to Media from the menu.
The overview area readjusts to show the full length of your sequence.
204 • User’s Guide
Building Sequences
Playing Sequences
Using the transport controls, you can play back your sequence in the viewer or
on the external monitor. When you play the sequence, only its active frames are
displayed in the viewer (or heard on the speakers), allowing you to view the
sequence as it will appear in the final output. While previewing, however, you
can play selected tracks of your sequence to isolate some sounds or images.
While playing a sequence, the message “Processing Needed” is
displayed in the viewer if clips on which you’ve placed effects, have
not been processed. You may also see a “Media Not Available”
message if there is no media on the disk associated with a clip. For
more information, see About Video Quality Matching on page 138.
?
Frame Backward
Skipped Frame indicator
Shuttle slider
Frame Forward
Mark In/Out-points
Loop
Timecode locator
Time display
Go to
timecode
Source name
Play/Stop
Go to Head/Rewind
Go to In/Out-point
Go to Tail/Fast Forward
Go to Previous/Next Edit
Transport controls
For more information, refer to Transport Controls in the online help.
To play a sequence
1. On the taskbar, click the Top Timeline icon. To play the entire sequence
you must be on the top timeline, not in a container clip.
2. On the transport controls, click the Go to Head button to go to the start of
the sequence.
3. Click Play or use the shuttle slider to quickly jog through the sequence.
When playing your sequence, watch for a red light on the transport
controls. This indicates that a frame has been skipped. Click the
Skipped Frame indicator to reset it and play/output the sequence again.
If you’re playing a video sequence, the viewer updates accordingly.
User’s Guide • 205
Chapter 6 • Editing Audio and Video
To stop playing a sequence
• During playback, do one of the following:
- On the transport controls, click Play.
- Click in the viewer.
- Click the timeline ruler.
The play cursor moves to the position you clicked and playback stops.
?
To skip to a new position on the timeline and keep playing
• Press Shift and click the new position on the timeline ruler.
To scrub clips on the timeline
• On the timeline ruler, drag right or left to play or rewind the clips at your
own speed.
To isolate specific tracks when playing the sequence
1. In the track controls, do one of the following:
Mute
• Click the Solo button on the video or audio tracks that you want to play.
• Click the Mute button on the audio tracks that you do not want to play.
Solo
2. On the transport controls, click Play.
Only the images or sounds from the selected tracks are played.
Varying the Playback
Speed
The markings on the transport controls serve as a visual reference for
playback speed. When using the transport controls for editing on the
timeline, the markings represent -10, -5, -2, -1, 0, 1, 2, 5, and 10, respectively.
The farther from the center that you drag the shuttle slider, the faster the rate
of playback.
To shuttle clips on the timeline
• On the transport controls, drag the shuttle slider right or left to fast
forward or rewind the clips on the timeline.
• Click the markings on the transport control. The shuttle slider snaps to the
play cursor location, and your clips will fast forward or rewind accordingly.
• On the timeline ruler, press Shift and drag the play cursor left or right.
The farther left or further right you drag, the faster the playback speed.
Shuttle slider
206 • User’s Guide
Markings
Building Sequences
Moving to Points on
the Timeline
There are two ways to move around on the timeline. You can either move the
play cursor manually to any frame in your sequence, or use the transport
controls to quickly move to marked points on the timeline.
To move the play cursor
• Do one of the following:
- Click any point on the timeline.
?
The play cursor jumps to this position and the viewer displays the frame
at this timecode.
- Drag the play cursor right or left while reading the timecode displayed in
the transport controls.
The exact position of the play cursor is displayed.
To move the play cursor to a specific timecode
• In the transport controls, do one of the following:
- Enter a value in the Timecode locator box and press Enter.
- Select a reference marker from the Timecode Locator list.
- Click Locate In-point or Locate Out-point if there are any in or outmarkers in the marker ribbon.
The play cursor moves to the specified point.
Looping Clips
You can play back a section of the timeline continuously by marking it with in
and out loop markers. This is useful if you want to view a small section of the
sequence while editing.
To loop a clip
1. Do one of the following:
• Select a clip.
• Select a region by dragging over a section of the timeline.
The selected area or clip becomes highlighted.
2. On the transport controls, click the Loop button.
Loop markers are displayed on the marker ribbon at the beginning and
end of the selected region or clip.
You can also select an effect bar, transition area, or activeness bar
for looping.
User’s Guide • 207
Chapter 6 • Editing Audio and Video
3. Adjust the markers by dragging them to the appropriate timecodes.
Marker ribbon
Loop markers
?
4. Click Play to play the clips within the specified region.
The marked section continues to play until you click Play again.
5. Click the Loop button again to deactivate loop mode.
Viewing Unprocessed
Frames
While playing a sequence, the message “Processing Needed” is displayed in the
viewer if clip effects in your sequence have not been processed. To view a clip
before processing its effects, you can either play it frame by frame, or preview
it. Previewing an effect reduces the quality of the picture during playback in
order to process each frame at an acceptable speed.
To play a clip frame by frame
1. Press Ctrl and click Play on the transport controls to play your video clip
frame by frame.
The playback is slow since Avid|DS needs to process each frame. However,
each processed frame is stored temporarily as an interactive cache, so that
the next time you visit that frame the results appear instantly in the viewer.
t
In this mode, the video plays but the audio is muted.
2. Click Play again to stop playing the clips.
To preview a clip with an effect
1. From the effect’s property editor, click Preview.
The preview will loop until you stop it. The playback is choppy since
Avid|DS drops frames in order to display the effect.
t
In this mode, the video plays but the audio is muted.
2. Click Stop to stop playing the clip.
208 • User’s Guide
Building Sequences
Manipulating Clips
After you’ve placed all your clips on the timeline, you can begin arranging
them to create a rough cut of your sequence. You can then adjust the edit
points between clips, as well as move, copy, or delete them.
As you rearrange your clips, the impact on other clips and their
activeness depends on what you select and whether or not the Ripple
mode is activated. When the ripple mode is on, any change to the
length of a clip propagates across the timeline to subsequent clips.
For more information, see Rippling Clips on page 226.
?
Selecting Clips
All editing tasks are based on what you select on the timeline. The clips are
associated with tracks, activeness bars, edit points, transition bars, effect bars,
and regions. Selecting and manipulating any of these objects affects the
position and appearance of the clip in the final output. When editing clips,
you typically work on one clip at a time.
Clip
Effect bar
Marker
Track
Selected
region
Activeness bar
Transition
Edit point
Selectable objects on the timeline
To select clips
• On the timeline, do one of the following:
- To select a single clip, click a clip.
- To select multiple clips, click on first clip, press Ctrl, and click any other
clips you want to select.
- To select multiple clips, hold down the Shift key and drag over the clips
you want to select.
User’s Guide • 209
Chapter 6 • Editing Audio and Video
The selected clip(s) are surrounded by a red border and the timecode
boxes on the status bar reflect its start and end positions. The D
(duration) text box specifies the length of time between the two points.
You can adjust the in, out, and duration timecodes by entering values
directly in the timecode boxes. This is useful when you know the exact
timecode where you want to move a clip.
?
Clip start
Moving Clips
Clip end
Clip duration
You can drag clips along the same track to move them to a different point in
time. You can also drag clips from one track to another. When working with
audio clips, however, you can only move mono clips to mono tracks and
stereo clips to stereo tracks.
Synchronized video and audio clips always move together. If you need to
move them independently, you must unlock them first. For more
information, see Synchronizing Clips on page 268.
When you move a clip, its activeness is lost in the areas where it collides or
overlaps with other active clips. This prevents you from altering the edits of
established clips.
Moving Clips on the Same Track
You can drag a clip anywhere along a track. If there are other clips in its path,
it passes directly over these clips if the Ripple mode is activated. If it is not,
then you must move it around these clips.
To drag a clip horizontally
1. Click a clip to select it.
A red border surrounds the clip and the pointer changes to a move cursor.
2. Drag the clip right or left.
210 • User’s Guide
Building Sequences
To drag multiple clips horizontally
1. On the timeline, select multiple clips.
2. Drag one of the clips in the selection right or left.
To move a clip with its activeness
1. Press Shift and click the clip to select it.
?
A blue border surrounds the clip and the pointer changes to the Move
with Activeness cursor.
2. Drag the clip right or left.
The clip retains its activeness and changes the activeness of any clips with
which it collides.
To move multiple clips with their activeness
1. On the timeline, select multiple clips.
2. Press Shift and drag one of the clips in the selection right or left.
The clips in the selection retain their activeness and change the activeness
of any clips with which they collide.
To move one clip past another on the same track
1. Drag a clip to the marker ribbon.
A shadow appears on the timeline as you drag the clip.
2. Without releasing the mouse button, drag the clip back to the original
track and drop it at the new location.
You can only do this with a single clip and not with a multiple
clip selection.
User’s Guide • 211
Chapter 6 • Editing Audio and Video
Moving Single Clips between Tracks
When you move clips to a different track, clip shadows appear on the timeline
where the clips will be placed.
To move a clip to a different track
• Using the ruler time scale as a guide, drag a clip to a different track.
If the clip overlaps any other active clips, it loses its activeness in the
overlapping areas.
?
To move a clip to a different track with its activeness
1. Press Shift and click a clip to select it.
2. Using the ruler time scale as a guide, drag the clip to the appropriate track.
If the clip overlaps any other active clips, the other clips lose their
activeness in the overlapping areas.
To move a clip to a different track and constrain it to the same
timeline location
1. Select the clip.
2. Press U and drag the clip to another track.
Moving Multiple Clips between Tracks
You can move multiple clips of different types between tracks simultaneously.
The clips that you select do not have to be on the same track.
To move multiple clips to different tracks
1. On the timeline, select multiple clips.
2. Using the ruler as a guide, drag a clip to a different track.
The Track Router dialog box is displayed.
3. Specify the destination track for the material in each selected track, and
click OK.
212 • User’s Guide
Building Sequences
The selected clips are moved to the specified destination tracks.
To move multiple clips to different tracks with their activeness
1. On the timeline, select multiple clips.
2. Hold down the Shift key, and drag a clip to a different track.
The Track Router dialog box is displayed.
3. Specify the destination track for the material in each selected track, and
click OK.
?
The selected clips are moved to the specified destination tracks. If the clip
overlaps any other active clips, the those clips lose their activeness in the
overlapping areas.
To move multiple clips to different tracks and constrain them to the
same timeline locations
1. On the timeline, select multiple clips.
2. Hold down the U key, and drag a clip to a different track.
The Track Router dialog box is displayed.
3. Specify the destination track for the material in each selected track, and
click OK.
The selected clips are moved to the same timeline locations on the
specified destination tracks.
Naming and Adding
Comments to Clips
You can rename clips in the browser or on the timeline. Since clips on the
timeline are copies of the clips in the browser, renaming a clip on the timeline
has no effect on the name of the source clip in the browser. In the Clip property
editor, you can also add comments to clips as notes or reminders for yourself.
To rename a clip on the timeline
1. Right-click on a clip in the timeline and choose Properties > Clip
Properties from the menu.
2. In the Name text box, edit the name of the clip and press Enter.
The new name appears on the clip in the timeline.
To add comments to clips
1. Right-click on a clip in the timeline and choose Properties > Clip
Properties from the menu.
2. In the Comments text box, enter your notes and press Enter.
When you reopen the clip properties dialog box, the comments are
displayed in the Comments box.
User’s Guide • 213
Chapter 6 • Editing Audio and Video
Cutting Clips
The Razor tool lets you slice a clip in two. You can then manipulate these
pieces independently of each other.
To cut a clip
1. Position the play cursor at the point where you want to apply the cut.
2. Select the clip that is to be cut.
3. From the NLE Tools toolbar, click Razor.
?
Although the clips appear to have been cut into two, you can still stretch
them both out to their original size by revealing the extra frames. For
more information, see Revealing Unused Material on Clips on page 215.
Copying Clips
You can easily copy clips on the timeline. When you copy a clip, you do not
duplicate the media stored on disk. Both clips still refer to the original media.
When you make a copy of a clip on the timeline, the new clip’s name is
prefixed by “Copy of...”. For example, if the original name of a clip is Car.
Copy the clip to a new track, the copied clip is now called Copy of Car. If you
copy the same clip again to another track, the name of the new clip is Copy 2 of
Car. This numbering scheme continues for each copy you create of the clip.
To copy a clip
1. Select one or more clips to copy.
2. From the Edit menu, choose Copy.
3. Position the play cursor at the precise timecode that you want to place a
copy of the clip, and click the track.
4. From the Edit menu, choose Paste.
A copy of the clip appears at the selected point. You can stretch this new
clip out to reveal the necessary frames. The name of the copy is prefixed by
“Copy of...”.
Deleting Clips
You can delete any clip on the timeline. This removes the clip from the
timeline. The master clip in the browser and its media are not affected.
To delete a clip
• Do one of the following:
- Select a clip or group of clips, and press Delete.
- Right-click on a clip or a multiple clip selection, and choose Delete Clip
from the menu.
The clip or selection is removed from the timeline.
214 • User’s Guide
Building Sequences
If the clip is sync-locked with another audio or video clip, the other
clip remains on the timeline. You must delete it independently.
If Ripple mode is on, however, all the sync-locked elements are deleted.
Revealing Unused
Material on Clips
?
When editing, you often need to see how much material is available at the
head or tail of a clip. When you display unused material, the selected clip
displays red handles on its top corners. These are the reveal handles; when
stretched out, they show any extra frames in a clip.
Reveal in handle
Shows extra frames at
the head of clip A
Reveal out handle
Shows extra frames at
the tail of clip A
Extra frames
Activeness bar indicates
active frames in clips
To display unused material
• Right-click on the overview area and choose Display > Display Unused
Material from the menu.
To reveal or hide frames of unused material on a clip
1. Select a clip.
2. Place the pointer over the reveal handle of a clip.
An arrowhead pointing left or right is displayed.
User’s Guide • 215
Chapter 6 • Editing Audio and Video
Reveal handles
Extra material
Dragging the reveal handles to show unused material
?
You can view extra material only when there is empty space on the
track. Editing on multiple tracks gives you this flexibility.
3. Drag the reveal handles left or right to show or hide unused material.
• To reveal more frames on the clip, drag the handle outwards. You can only
reveal as far as the last frame on the source clip.
• To hide frames on the clip, drag the handle inwards. You can only hide
frames up to the active area of the clip.
Changing the
Activeness of Clips
Activeness refers to the sections of a clip that are used in the final production.
These active frames are indicated by the activeness bar below a clip. When you
play a sequence, you can view and hear the active frames of a clip. Inactive
frames still appear in the timeline, but are not seen or heard when the
sequence is played.
Activeness bars
Activeness bars indicating active clip frames
You can adjust the activeness bar to add or remove active frames at the head or
tail of the clip. You can also activate or deactivate the entire length of the clip
using the tools on the NLE Tools toolbar.
216 • User’s Guide
Building Sequences
Activating and Deactivating Clips
In addition to adjusting the activeness bar to trim the heads or tails of clips,
you can also activate or deactivate all the frames in a clip.
To activate or deactivate the full length of a clip
1. Select a clip.
?
Before
Selected clip
2. From the NLE Tools toolbar, click one of the following.
• Activate to make all the currently displayed frames in the selected clip
active. It also removes the activeness on any other clips that overlap it.
The overlapping areas of
other clips become inactive
After
Activated clip
Activeness bar is added
• Deactivate to make all frames on the selected clip inactive. Deactivating a
clip does not change the activeness of any other clips that overlap it.
User’s Guide • 217
Chapter 6 • Editing Audio and Video
To activate or deactivate a region of a clip
1. Drag over a section of a clip.
The selected region is highlighted.
2. From the NLE Tools toolbar, click Activate.
The activeness bar is added to the selected region and removed from any
overlapping clips.
?
Before
Activated section
After
Deactivated section
You can also right-click on an activeness bar and choose Delete
Activeness from the menu. This removes its activeness bar.
Activeness of clips is not always recalculated when you deactivate clips or
move them on the timeline. You can activate any section of a selected clip
where it does not overlap other active clips on the timeline, by using the Fill
Activeness button.
218 • User’s Guide
Building Sequences
To fill in the activeness of a clip
1. Select the clip that needs to be activated.
2. From the NLE Tools toolbar, click Fill Activeness.
The clip becomes active wherever there are no other active clips.
Before
?
Select this clip
After
Fill activated
User’s Guide • 219
Chapter 6 • Editing Audio and Video
Using Match Frame and Match Bin
You can retrieve additional material from a master clip, a subclip, or subclip’s
master clip, as well as locate the folder in which you saved your clip.
When you perform a match frame, the master clip or subclip that corresponds
to the currently selected clip in the timeline or viewer is located, and the source
master clip or subclip is loaded in the viewer.
Performing a match bin is the same as performing a match frame, but it also
selects the original clip and displays its location in the browser.
?
Matching a Frame in a
Master Clip or Subclip
You can match a frame on any master clip or subclip on the timeline. You
cannot perform a match frame directly on a container clip, unless it is a
Timewarp container. You must first open the container clip and select the
desired clip. For sync-locked clips, select either the audio or video clip, and
Avid|DS will locate the corresponding video and audio components of the
source media.
To match a frame on the timeline
1. On the timeline, select a clip.
2. From the NLE Tools toolbar, click Match Frame or press the backslash (\) key.
The clip’s corresponding master or subclip is located and loaded into the
source viewer, and markers are added to indicate the source in and outpoints of the clip on the timeline. The position bar is placed at the precise
timecode (play cursor position) to match the currently displayed frame on
the timeline.
Length of parent/master clip
Length of clip on timeline
Position indicator
In marker
Position bar
Out marker
Play cursor position
3. If necessary, you can replace frames at this point—see To replace a clip on
the timeline on page 200.
220 • User’s Guide
Building Sequences
Matching a Frame in a
Subclip Using the
Viewer
You can match a frame in a subclip that was derived from another subclip
using the source viewer. Avid|DS locates the next corresponding parent or
master clip.
To match a frame in a subclip using the viewer
1. From the browser, drag the subclip to the viewer.
The subclip is displayed in the source viewer.
?
2. Select the source viewer.
3. From the NLE Tools toolbar, click Match Frame or press the backslash (\).
The clip’s corresponding parent is located and loaded into the source
viewer, replacing the subclip. In and out markers are added to indicate the
subclip’s in and out-points.
4. Click Match Frame again to locate the next corresponding parent clip.
Matching Bins for a
Clip on the Timeline
As with match frame, you can locate the folders for any clip on the timeline,
but you cannot do this directly on a container clip. You must first open the
container clip and select the desired clip. For sync-locked clips, select either
the audio or video clip, and Avid|DS will locate the corresponding video and
audio components of the source media.
To locate the folder of a clip on the timeline
1. On the timeline, select a clip.
2. From the NLE Tools toolbar, click Match Bin or press Ctrl+Backslash (\).
The folder containing the clip’s corresponding master or subclip is
displayed in the browser with the master or subclip selected. The master
or subclip is loaded into the source viewer and markers are added to
indicate the source in and out-points of the clip on the timeline. The
position bar is placed at the precise timecode (play cursor position) to
match the currently displayed frame on the timeline.
User’s Guide • 221
Chapter 6 • Editing Audio and Video
Extracting Parts of a Sequence
In Avid|DS, you can extract portions of your sequence to create new master
clips. You can create master clips from selected regions on the timeline, or
from selected objects.
This is useful when you’re satisfied with the effects that you’ve applied to a
clip, and you want create a new master clip that includes the effects, or when
you want to create a single master clip from the contents of a container clip.
Combining effects or container contents in a single clip can help to reduce
processing time.
?
You can convert individual clips, multiple clips, or regions of the timeline to
new master clips. If you’ve selected regions of the timeline or multiple
timeline objects, you can create a single new master clip that combines all of
the selected timeline material, or multiple new master clips; one for each
selected object. You can automatically replace the existing timeline material
with the new master clips.
If you create a single master clip from both audio and video
material, the result is a combined audio and video clip.
You can also specify what types of tracks to convert from the timeline, and
configure limited processing options like granularity and resolution.
Converted clips will include timeline material in different ways, depending on
how you select material.
222 • User’s Guide
If you select...
The new master clip will include...
One clip
The clip and all of its effects.
Multiple clips on one
track
All selected clips, all clip effects, and track effects. Frames
in the new master clip are black for the duration of
unselected material between clips.
Multiple clips on
multiple tracks
All selected clips, all clip effects, all track effects, and
timeline effects. Frames in the new master clip are black
for the duration of unselected material between clips.
Time span on one
track
All material in the selected time span, including clips, clip
effects, and track effects. Frames in the new master clip are
black for the duration of unselected material between clips.
Time span on
multiple tracks
All material in the selected time span, including clips, clip
effects, track effects and timeline effects. Frames in the
new master clip are black for the duration of unselected
material between clips.
Time span on the
timeline effect track
All material in the selected time span.
Building Sequences
Use the Timeline to Clip dialog box to specify how you want to convert
timeline material to new clips.
?
Converting a Timeline
Region or Object
You can convert a portion of your timeline or a timeline object, to a master clip.
To convert a region of your timeline or a timeline object to a clip
1. Do one of the following:
• On the timeline effect track, drag to select a region.
• Select one or more objects on the timeline.
2. From the NLE Tools toolbar, click Timeline to Clip.
3. In the Timeline to Clip dialog box, select the appropriate options and
click OK.
The new clip is processed saved to the folder you specified.
Click Help for more information on the Timeline to Clip properties.
User’s Guide • 223
Chapter 6 • Editing Audio and Video
Creating Multiple Clips
You can convert a timeline region, or multiple selected clips, into multiple
master clips.
To create multiple clips from objects on the timeline
1. Do one of the following:
• On the timeline effect track, drag to select a region.
• Select one or more objects on the timeline.
?
2. From the NLE Tools toolbar, click Timeline to Clip.
3. In the Timeline to Clip dialog box, select the appropriate options, making
sure to deselect Create one clip.
Click Help for more information on the Timeline to Clip properties.
4. Click OK.
The new clips are processed saved to the folder you specified.
You cannot create multiple clips from a selected timeline region. To
create multiple clips, you must multi-select objects on the timeline.
Replacing Timeline
Material
Replacing the timeline material overwrites the Timeline to Clip source
material with the new master clip.
To replace material on the timeline with new master clips
1. Do one of the following:
• On the timeline effect track, drag to select a region.
• Select one or more objects on the timeline.
2. From the NLE Tools toolbar, click Timeline to Clip.
3. In the Timeline to Clip dialog box, select the appropriate options, making
sure to select Replace Selection.
Click Help for more information on the Timeline to Clip properties.
4. Click OK.
The new clip is processed saved to the folder you specified. The Timeline
to Clip dialog box is closed, and you are returned to the timeline. The new
clips appear on the timeline in place of the selection.
You cannot replace a region of the timeline with multiple clips, even
if the region spans multiple clips. Instead, clips, or parts of clips in
the selected region, will be replaced with a single clip.
224 • User’s Guide
Building Sequences
Grabbing Frames
Using the Snapshot to Clip and Snapshot to File commands, you can create
master clips or image files from the frame currently displayed in the viewer.
Creating a Master Clip
from a Snapshot
?
You can create a master clip from the image on which the play cursor is
currently positioned. The master clip is automatically captured (logged and
digitized) under the name and location you specify. The resulting master clip
is identical to other master clips and allows you to recapture it at a different
resolution or compression ratio. You can specify the length of a master clip.
To create a master clip
1. On the timeline, move the play cursor to the desired frame.
2. From the Viewer toolbar, click Snapshot to Clip.
3. In the Save Snapshot dialog box, specify the folder and file name, and
click OK.
The Snapshot to Clip command works best with images that are set
to uncompressed and full D1 resolution.
A master clip is created in the folder you specified.
Creating an Image File
from a Snapshot
You can export an image of the frame on which the play cursor is currently
positioned. The image is exported as a bitmap image file in one of several
formats, and saved in a folder you specify.
To create an image file
1. On the timeline, move the play cursor to the desired frame.
2. From the Viewer toolbar, click Snapshot to File.
3. In the Export to File dialog box, specify the folder, file name, and the file
type then click OK.
The image file is saved in the folder you specified. You can import the file
into Avid|DS or use it in other applications.
User’s Guide • 225
Chapter 6 • Editing Audio and Video
Rippling Clips
The Ripple mode is very important in Avid|DS. It lets you preserve the integrity
of previous edits as you continue to perform other edits on the timeline. As you
move, trim, insert, or delete clips on the timeline, you can decide if any clips
following the edit point should move to accommodate the change.
?
Inserting clips in Ripple mode
You can ripple all tracks (timeline effect, overlay, video, and audio) across the
timeline or limit the rippling only to the video tracks or other selected tracks.
For example, if you’ve already edited your video clips, and now want to work
on the audio alone, simply activate the ripple mode only for the audio tracks.
When you activate the Ripple mode on any video track, it is also
activated on all video tracks. Only the audio and overlay tracks can
be rippled on a per track basis.
Working in Ripple mode is like working in insert mode. When you insert a
clip anywhere along the timeline, any successive clips are automatically
pushed later in time. Any clips that are sync-locked, such as the audio and
video components of a clip, are rippled in sync. The edits of any preceding
clips are not affected.
226 • User’s Guide
Building Sequences
When you’re not in Ripple mode, you’re in the default overwrite mode. Any
clip that you place on the timeline occupies the space in which it was placed. It
does not change the position or activeness of the other clips.
To activate or deactivate Ripple mode
1. From the timeline controls, click the main Ripple button.
The Ripple mode is activated. By default, the Ripple buttons on all the
tracks are also activated and highlighted in blue. This makes all clips in a
sequence ripple across the timeline as you perform your edits.
?
2. Deactivate the Ripple button on tracks that you do not want to ripple as
you insert new clips on the timeline.
When you activate the Ripple mode on any video track, it is also
activated on all video tracks. Only the audio and overlay tracks can
be rippled on a per track basis.
Activate Ripple mode
Activate timeline
effect track ripple
Activate track ripple
3. To deactivate the Ripple mode, click the main Ripple button.
The Ripple mode is deactivated for all tracks on the timeline.
Notice that the setting of the Ripple buttons on the tracks are preserved
even after the Ripple mode is deactivated. Although the buttons are not
highlighted in blue, they still appear activated.
Active state is
preserved
User’s Guide • 227
Chapter 6 • Editing Audio and Video
This serves as an indicator that you’re inserting clips from the source
viewer to the timeline. The Insert button on the preview controls
temporarily activates the Ripple mode, allowing you to ripple clips on
tracks where this button is activated. For more information, see
Manipulating Clips on page 209.
Setting a Ripple End
You can select a timecode beyond which you no longer want to work in Ripple
mode. Setting the ripple end at this timecode leaves Ripple mode on for the
preceding time span, and turns it off for the succeeding time span.
?
When you place clips on the timeline before the ripple end, any successive
clips will be pushed up to, but not beyond the ripple end timecode. Clips
placed after the ripple simply occupy the space where they are placed, without
changing the position or activeness of the other clips.
To set the ripple end
1. Move the play cursor to the timecode where you want to deactivate
Ripple mode.
2. From the NLE Tools toolbar, click Set Ripple End.
A light blue bar is displayed on the timeline, indicating the end of the
ripple zone.
Inserting Clips in
Ripple Mode
You can insert clips at a specified point on the timeline by activating the
Ripple mode. When the clip is inserted, all other clips from that point are
pushed forward.
To insert a clip on the timeline
1. From the timeline controls, click Ripple.
Main Ripple
button
2. Click the Ripple button on the tracks that you want to ripple forward.
When you activate the Ripple mode on any video track, Ripple is
activated on all video tracks. Only the audio and overlay tracks can
be rippled on a per track basis.
3. Drag a clip from the browser, viewer, or clip tray to the timeline.
All other clips from that timecode on are rippled forward on the tracks
where the Ripple mode was activated. If you inserted the clip in the
middle of another, that clip is split into two and the new clip is inserted
between them.
Holding down the V (insert) or B (overwrite) keys while dragging
clips to the timeline will override the current ripple setting.
228 • User’s Guide
Building Sequences
Insertion point
Ripple mode on
Ripple mode off
?
Inserting clip in Ripple mode
Inserted clip
Remainder of
clip is rippled
Clip not rippled
Only clips on the tracks in Ripple mode are moved
Editing Clips in Ripple
Mode
When moving, trimming, or deleting clips while in Ripple mode, it’s
important to preserve the integrity of edit points on other clips. Any edits that
you perform to one clip affects all successive clips on the timeline.
Instead of rippling all clips on the timeline, you can select the tracks on which
you want clips to ripple. This is useful, for instance, when you do not want the
trimming of video clips to affect the audio clips.
To edit a clip in Ripple mode
1. From the timeline controls, click the main Ripple button.
Main Ripple
button
2. Click the Ripple button on the tracks that you want to ripple.
When you activate the Ripple mode on any video track, Ripple is
activated on all video tracks. Only the audio and overlay tracks can
be rippled on a per track basis.
3. Adjust the clip’s edit points as necessary.
All clips are moved left or right to accommodate the changes on the
selected clip.
User’s Guide • 229
Chapter 6 • Editing Audio and Video
If you delete a clip, all succeeding clips are moved together to close the gap
where the clip was active.
Clip to be
deleted
?
Position of clips before deletion
Clips moved
by amount of
deleted clip’s
activeness
Position of clips after deletion (in Ripple mode)
230 • User’s Guide
Building Sequences
Trimming Clips
Trimming lets you fine-tune the incoming or outgoing frames at the edit
points of a clip. Each clip has elements that you can select and edit; they’re the
trim handles and edit points. Edit points are located at the ends of the
activeness bar of a clip, or where it transitions to another clip.
Selected activeness bar
?
Edit points
The activeness bar also displays any transitions that were applied to the clip,
such as a dissolve, wipe, or crossfade. Transition areas have their own edit
points that indicate the beginning and end of the transition. For more
information, see Applying Transitions on page 254.
Edit points
Transition area
Activeness bar
When you select an edit point, it displays trim handles and edit handles at that
edit point.
Trim-out handle
Changes the outgoing
frame on clip A
Trim-in handle
Changes the incoming
frame on clip B
Base edit handle
Changes edit time without moving clips
The edit point identifies the time at which the indicated frame will start or
end recording. In Avid|DS you can trim clips by adjusting the edit or trim
handles at an edit point.
Trimming the edit handle changes the incoming or outgoing frame and the
recording timecode. Adjusting the trim handle changes the incoming or
outgoing frame, but keeps the recording timecode (unless in Ripple mode).
User’s Guide • 231
Chapter 6 • Editing Audio and Video
When trimming clips, it’s helpful to know how much material you have
available. You can use the Display Unused Material mode to see how many
extra frames you have available at the head or tail of a clip. For more
information, see Revealing Unused Material on Clips on page 215.
Methods of Trimming
In Avid|DS there are two methods in which you can trim clips. Both methods
have their advantages:
• Interactively on the timeline
?
When you trim clips on the timeline, you immediately see how it affects
the other clips in the sequence. Also, when you select and drag an edit or
trim handle, the frames are updated in the viewer, so that you can search
for frames as you trim the clip.
• Using the Trim view
The Trim view lets you view the incoming and outgoing frames at the
same time. It also provides more controls for performing trimming tasks.
When trimming a clip, you may want to preserve the integrity of edit
points on other clips. To do this, you must deactivate the Ripple
mode on the timeline.
Trimming a clip provides different results depending on whether
you’re working in Ripple mode or not. For more information, see
Rippling Clips on page 226.
Selecting Edit Points
When you select an edit point on a clip, you’re selecting its in or out-point.
With video clips, an edit point is shared when one clip intersects with another.
If you adjust this edit point, both clips are trimmed simultaneously.
You can also select edit points on multiple audio and video clips at the same
timecode. This is useful when editing synchronized audio and video clips.
When an edit point is selected, you can turn it on or off. This is especially
useful if you want to break an edit point, so that you can trim clips
independently of each other (or perform a split edit).
To select an edit point
• On the activeness bar, click an edit point.
To toggle selection of an edit point
• Press Ctrl and click an edit point to deselect or reselect it.
To select edit points on multiple audio and video clips
• Press Shift and click an edit point.
All other edit points at the same timecode are selected regardless of the
clip type.
232 • User’s Guide
Building Sequences
• Press Ctrl+Shift and click an edit point to deselect or reselect all edit
points at that timecode.
Select an edit
point
Both edit points
on connected
clips become
selected
?
Video clips
Audio clips
Shift-click to select
all edit points at
that timecode
Ctrl-click to deselect
an edit point
User’s Guide • 233
Chapter 6 • Editing Audio and Video
Breaking Edit Points
When an edit point is selected, all other edit points at that timecode are also
selected. Since Avid|DS preserves all edit points between clips in a sequence,
you cannot break an edit point by dragging edit points apart.
?
Dragging an
intersecting edit
point right or
left adjusts both
points at that
timecode
Press Ctrl
and click an edit
point to
deselect it
You can now trim this edit point independently
To break an edit point
• Select the edit points of contiguous clips, and do one of the following:
- Press Ctrl and deselect the edit point that you do not want to adjust. The
deselected edit point is no longer highlighted.
- From the NLE Tools toolbar, click Break Links.
You can now trim the clips independently of each other.
To relink edit points at the same timecode
1. Select an edit point.
2. Click another edit point (of the same clip type) at the same timecode.
Both edit points are highlighted.
3. From the NLE Tools toolbar, click Link Edits.
234 • User’s Guide
Building Sequences
Trimming Clips on the
Timeline
You can trim a clip by dragging its edit handles, dragging its trim handles, or
entering new in and out points in the timecode boxes.
To trim clips using the edit handles
• Drag the edit handle left or right if you want to change the start or end
time at which a clip is recorded. This also changes the incoming or
outgoing frame.
?
If you want to trim synchronized audio and video clips, you must
simultaneously select multiple edit points. For more information,
see Selecting Edit Points on page 232.
Select one edit point between the intersecting clips.
The edit handles on both clips are automatically selected
To trim clips using the trim handles
• Drag the trim-in or trim-out handles left or right to change the incoming
or outgoing frames of a clip. This does not change the recording timecode.
Select a trim handle
When you trim clips by adjusting either the edit or trim handle, the
frame at that edit point is displayed in the viewer. This allows you to
see the incoming or outgoing frame while trimming.
To trim clips using the timecode boxes
• Select an edit point, a trim-in handle, or a trim-out handle, and adjust the
values in the timecode boxes on the status bar. This edits frames at the
selected point more accurately.
User’s Guide • 235
Chapter 6 • Editing Audio and Video
Display master
timecodes of
selected object
Display source
timecodes of
selected clip
Start
For selected object
Play cursor position
Duration
End
In
For in/out markers
Out
Duration
Trimming the Edit Point
?
When you move the edit handle at an edit point, you are changing the start or
end recording time for the clip.
When trimming with the edit handles, it does not matter if Ripple
mode is on or off.
The following illustration shows the different ways of trimming an edit point:
Before
<<
Trimming edit point to the left
After
More frames are available at beginning of clip
Before
>>
Trimming edit point to the right
After
Frames are hidden from
beginning of clip
Before
Trimming intersecting edit point to the right
>>
After
Edit points can only be dragged as far as there is available material on the clip.
236 • User’s Guide
Building Sequences
To trim an edit point on a clip
1. Select an edit point on a clip.
The clip’s edit handles are displayed.
2. Drag the edit point left or right.
Depending on the direction in which you drag the clip, more frames are
made available or hidden.
?
To trim edit points between clips
1. Select an edit point between two clips.
The edit handles on both clips are displayed.
2. Drag the edit point left or right.
As you move the edit point, it reveals more frames on one clip and hides
frames on the other.
You can also adjust an edit point more precisely by selecting it and
entering a value in the S (start) or E (end) timecode boxes on the
status bar.
Select one edit point
between the
contiguous clips.
Both points are
automatically selected
Drag edit point
right or left
Both edit points at that timecode
are adjusted
Adjusting the in and out-points on clips
User’s Guide • 237
Chapter 6 • Editing Audio and Video
Trimming with the Trim Handles
The trim handles on a clip are used to change the incoming or outgoing
frames of a clip. When you move the trim-in handle of a clip, you change the
incoming frame on a clip. Similarly, if you move the trim-out handle of a clip,
you are changing its outgoing frame.
Trim-in handle
?
Trim-out handle
When Ripple mode is activated, trimming clips gives you different results than
when it is deactivated. The following illustrations show how clips are affected
when you trim them with and without Ripple mode on. The first scenario
illustrates what happens when you trim an in-point.
238 • User’s Guide
Building Sequences
Trimming an in-point
Ripple mode on
Before
<<
Trimming to the left
?
After
Following clip(s) ripple
Before
>>
Trimming to the right
After
Following clip(s) ripple back
Ripple mode off
Before
<<
Trimming to the left
After
Edit point remains
fixed on timeline
Before
>>
Trimming to the right
After
User’s Guide • 239
Chapter 6 • Editing Audio and Video
Trimming an out-point
Ripple mode on
Before
<<
?
Trimming to the left
After
Following clip(s) ripple back
Before
Trimming to the right
>>
After
Following clip(s) ripple
Ripple mode off
Before
Trimming to the left
<<
After
Second clip extends as
long as there is more
material available
End point of
following clip
remains fixed
on timeline
Before
Trimming to the right
After
240 • User’s Guide
>>
Building Sequences
To adjust the trim handles
1. If you want ripple activated, click the Ripple button in the timeline
controls. Then, if necessary, click the Ripple button for the individual
tracks on which you want the clips to ripple.
Only audio and overlay tracks let you ripple individual tracks.
?
2. Select the edit point on the clip that you want to trim.
The clip’s trim handles are displayed just above the edit point.
3. Drag the trim handle to the right or left. (The trim handle can only be
moved as far as there is extra material available on the clip.)
The following example shows the results of trimming a clip when you’re in
Ripple mode and when you’re not. The clips are placed on multiple tracks, so
that you can see the unused material on the clips.
Trim-in handle to the right
Before
>>
After: Ripple mode off
Clip is slipped to the left
Opposite end’s edit point remains fixed on timeline
Incoming frame remains the same
Trim-in handle when not in Ripple mode
User’s Guide • 241
Chapter 6 • Editing Audio and Video
Clip is slipped to the left
After: Ripple mode on
>>
?
Trim-in handle to the right
Successive clips are moved the same amount of trimmed frames
Trim-in handle in Ripple mode
Trimming Audio Clips
Using the trim handles to trim audio clips lets you hear the clips as you scrub
over them. For example, in the following illustration, if you move the trim-in
handle of the Drums clip, you’ll hear that clip being played. If however, you
move the trim-out handle of the Bass clip, that’s the clip you’ll hear.
Backtiming
Backtiming is a way of trimming a clip’s out-point without changing its
activeness or position. Instead of overwriting or being overwritten by the
following clip, the selected clip is slipped along its unused material.
Backtime edits can only be performed when Ripple mode is off.
To perform a backtime edit on a clip
1. Make sure that the main Ripple button is deselected.
Main Ripple
button
2. Select the out-point that you want to edit.
3. Press E and drag the out-point trim handle right or left.
The clip is slipped along its unused material while maintaining its
activeness and position. The previous and next clips in the sequence are
not affected.
242 • User’s Guide
Building Sequences
Snapping Edit Points
If you need to quickly fix a bad edit, instead of selecting the previous or next
edit point and dragging it to the play cursor’s position, you can locate the
correct frame and then snap the edit point to that frame.
To snap an edit point to the play cursor position
1. Move the play cursor to the desired position.
?
The transport controls indicate the timecode of the play cursor.
2. Select the clip that contains the in or out-point you want to move.
3. From the NLE Tools toolbar, click one of the following:
• Snap In to move the in-point to the new timecode.
• Snap Out to move the out-point.
The selected frame becomes the new in or out-point.
You can also use Snap In and Snap Out to trim synced clips (for
example clips with audio and video content) as long as the clips are
of the same length.
You should have enough unused material available to perform this
operation. For more information see Revealing Unused Material on
Clips on page 215.
Trimming Clips Using
the Trim View
The Trim view provides a close-up view of a clip, so that you can edit the clip
on a frame-by-frame basis. The results are the same as if you were dragging
the clip’s trim handles or edit points on the timeline, except that you are given
more tools to work with on the Trim view. For more information, refer to
Trim view in the online help.
To trim a single clip using the Trim view
1. From the view switcher, click the Trim icon.
2. On the timeline, select the edit point of the clip that you want to trim.
The incoming and outgoing frames at that point are displayed in the Trim
view. The Incoming frame shows the active frame (if any) before the edit
point and the Outgoing frame shows the active frame (if any) after the
edit point.
User’s Guide • 243
Chapter 6 • Editing Audio and Video
Outgoing frame
Incoming frame
?
Clip name
Selected edit point as seen in the Trim view
A red border surrounding the Incoming and Outgoing frames indicate
which clip will be trimmed. By default, both frames are active.
3. If you only need to trim one of the clips, click on its corresponding
frame view.
The other view is automatically deactivated.
4. Click the Forward or Backward button to trim the clip.
Backward/Forward 10 frames
Backward/Forward 1 frame
As you trim the edit point, the frames of the clip are hidden or revealed to
reflect the new incoming or outgoing frame.
The plus or minus buttons are dimmed if a clip has already reached
its maximum or minimum length. When this happens, the Available
field will indicate that zero (0) frames are available for trimming.
You can also enter the number of frames to be trimmed in the
Frames text box. A positive number moves the edit point forward
while a negative number moves it backward.
244 • User’s Guide
Building Sequences
Previewing Trimmed Clips
After trimming a clip in the Trim view, you can play the results in the viewer.
To preview the results of a trim
1. In the Trim view, click Preview.
Loop markers appear on the timeline from the edit point before your
current trim to the edit point after your current trim.
?
2. From the view switcher, click the Editing icon.
3. Click Play to see the playback in the viewer.
The marked section of the timeline plays until you click Preview again.
Trimming Container
Clips
You can trim a container clip just as you would trim any other clip on the
timeline. You can drag the in-point out to the start of the material (that is, the
in-point of the first clip in the container clip). The out-point of a container
clip can be dragged to infinity. When you trim a container clip, it does not
affect the length of the clips contained within it. If the clip in the container
clip is longer than the container clip itself, the extra material is not visible in
the final production.
Top timeline
Container clip
timeline
Container clip ends at 00:00:01:12, so this portion is
not visible in final production
User’s Guide • 245
Chapter 6 • Editing Audio and Video
Trimming Transitions
Transitions are displayed as part of the activeness bar. When you select a
transition, it is highlighted in red. You can adjust the properties of the
transition by right-clicking on this area and opening its property editor.
The edit point between two clips indicates a transition from one clip to
another. You can trim this edit point to change the timecodes at which the
transition takes place.
You can also edit transitions by entering values in the timecode
boxes on the status bar.
?
Transition’s
start point
Selected
transition
Transition’s
end point
To trim the transition area
• Do one of the following:
- Click an edit point at the start or end of the transition, and drag it left or
right to trim it.
- On the activeness bar, select the transition area, and enter a new in, out,
or duration in the timecode boxes.
- On the Trim view, trim the selected edit point using the tools in this
view. For more information, see Trimming Clips Using the Trim View on
page 243.
246 • User’s Guide
Building Sequences
Slipping and Rolling Clips
In addition to fine-tuning your edits by trimming clips, you can also slip the
contents of a clip, or roll the clip to a different location in the sequence.
Slipping lets you change a clip’s contents without affecting its position and
duration on the timeline. Rolling 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.
?
The Slip/Roll view contains tools for slipping or rolling clips. It allows you to
manipulate an edit’s incoming and outgoing frames on a frame-by-frame
basis. It also shows the incoming and/or outgoing frames of the previous and
next clip (if any). You can slip or roll a clip by entering new in and out
timecodes, or by using the buttons to move the frames incrementally. After
slipping or rolling a clip in the Slip/Roll view, you can play the results in the
viewer. For more information, refer to Slip/Roll View in the online help.
In the special case where the Slip/Roll view is used for manipulating
audio clips within an audio container, the Move Backward/Forward
buttons (<, <<, >, and >>) will affect the clip in units of time
defined by the ruler's display (milliseconds, samples, drop frame, or
non-drop frame).
Slipping Clips
Slipping refers to moving the contents of a clip while its edit points remain
fixed. Imagine looking through a train window as the landscape rolls by. The
size of the window always remains the same, but the view keeps changing.
Slipping a clip does not change the position or duration of the active area of a
clip. You slip a clip when you are sure about the duration of a clip, but need to
change the incoming frame. When you slip a clip, the edit points do not move
so any transitions that have been applied are maintained. However, the
transition must be reprocessed.
Active area
Before
After
1
2
3
4
5
6
1
2
3
4
Slip clip right or left
5
6
User’s Guide • 247
Chapter 6 • Editing Audio and Video
The active area in the illustration shows the active section of a clip. If you slip
the clip, new frames appear in the active area. You can only slip the clip as far
as there is available material on the clip. Any clips that precede or follow the
slipped clip are not affected.
To slip a clip
1. From the view switcher, click the Slip/Roll icon.
2. On the timeline, select the clip that you want to slip.
?
You can slip audio and video clips together by sync-locking them.
For more information, see Synchronizing Clips on page 268.
Selected clip
Clips prior to slipping
When slipping clips, you’re limited to the extent of available material on
the clips, so it’s useful to see how much extra material you have by
displaying the frames past the activeness bar. To do this, you must be in
Display Unused Material mode. For more information, see Revealing
Unused Material on Clips on page 215.
The Slip/Roll view shows the frames in the selected clip and any clips to
which it is connected.
The Head frame and Tail frame show the start and end frames for the
selected clip. If there are any clips before or after the selected clip, they’re
displayed in the Incoming frame or Outgoing frame.
248 • User’s Guide
Building Sequences
Outgoing frame
of previous clip
Head frame
Tail frame
Incoming frame of
following clip
?
3. From the Slip/Roll view, select the Slip option.
4. Click the Forward or Backward buttons to slip the clip.
Backward/Forward 10 frames
Backward/Forward 1 frame
You can also enter the number of frames to be slipped in the Offset
text boxes. A positive number moves the clip forward while a
negative number moves it backward.
User’s Guide • 249
Chapter 6 • Editing Audio and Video
Before
?
Selected clip
After
End of clip
Slip direction
Slipped clips on the timeline
The slip stops when there are no more frames available on the selected clip.
The contents of the clip are moved left or right and the head/tail frame
views on the Slip/Roll view change to display the new in and out frames.
The frames and edit points on the adjoining clips remain unchanged.
The Incoming and Outgoing frames in the Slip/Roll view also update to
show the new in and out frames on the slipped clip.
5. You can continue to slip the clip until there are no more frames available
on the selected clip.
The plus or minus buttons become dimmed when no more material
remains to be slipped. The Available display will indicate that zero
frames are available for rolling.
To preview the results of a slip
1. From the view switcher, click the Slip/Roll icon.
2. In the Slip/Roll view, click Preview.
Loop markers appear on the timeline from the edit point before your
current trim to the edit point after your current trim. This marked section
of timeline plays continuously.
3. Click Preview to stop playback.
Click the Help icon for detailed information on the Slip/Roll View.
250 • User’s Guide
Building Sequences
Rolling Clips
?
Roll refers to moving a clip to change its location on the timeline, while
retaining its duration and active frames. Rolling a clip moves it along the
timeline with its activeness. As you roll a clip, it trims the activeness of the
previous and next clip. You can only roll the clip as far as there is available
material on the adjoining clips.
For example, you would roll a clip when your shot has the correct action
sequence but needs to be synced with its corresponding audio track. To do
this, roll the clip along the timeline until it aligns with its audio clip.
Active area
A1
A2
A3
1
2
3
4
5
B1
B2
B3
3
4
5
B3
Roll clip right or left
If rolled to
the right...
A1
A2
A3
A1
A4
A2
A5
A3
1
2
To roll a clip
1. From the view switcher, click the Slip/Roll icon.
2. From the Slip/Roll view, select the Roll option.
3. On the timeline, select the clip that you want to roll.
You can roll audio and video clips together by sync-locking them.
When rolling clips, you are limited to the extent of available material on
the clips, so it is useful to see how much extra material you have by
displaying the frames past the activeness bar. To do this, you must be in
Display Unused Material mode. For more information, see Revealing
Unused Material on Clips on page 215.
The views in the Slip/Roll view show the frames in the selected clip and
any clips to which it is connected.
The Head and Tail frames show the start and end frames of the selected
clip. If there are any clips before or after the selected clip, they are
displayed in the Incoming or Outgoing frame.
User’s Guide • 251
Chapter 6 • Editing Audio and Video
Outgoing frame of
the previous clip
Head frame
Tail frame
Incoming frame of
the following clip
?
4. Click the Forward or Backward buttons to roll the clip.
Backward/Forward 10 frames
Backward/Forward 1 frame
You can also enter the number of frames to be rolled in the Offset
text box. A positive number moves the clip forward and a negative
number moves it backward.
As you roll the clip, it moves along the timeline with its activeness. It
overwrites the activeness of the clip in its path, and stretches out the
activeness of the clip behind it.
252 • User’s Guide
Building Sequences
Before
?
Selected clip
After
Roll the clip until there is no more material left on the following clip
The rolled clip on the timeline
The roll stops when there are no more frames available on the attached
clips. The Head and Tail frames on the Slip/Roll view remain the same
while the Incoming and Outgoing frames of the adjoining clips change.
5. The views on the Slip/Roll view update to display the new in and out
frames on the adjoining clips. You can continue to roll the clip until there
are no more frames available for either of the attached clips.
The plus or minus buttons appear dimmed when no more material
remains. The Available field will indicate that zero frames are
available for rolling.
To preview the results of a roll
1. From the view switcher, click the Slip/Roll icon.
2. In the Slip/Roll view, click Preview.
Loop markers appear on the timeline from the edit point before your
current trim to the edit point after your current trim. This marked section
of timeline plays continuously.
3. Click Preview to stop playback.
Click the Help icon for detailed information on the Slip/Roll View.
User’s Guide • 253
Chapter 6 • Editing Audio and Video
Applying Transitions
Transitions are changes, like dissolves, wipes, fades, DVEs, or cuts, that you
can apply to or between clips on the timeline.You can apply transitions to the
beginning or end of a single clip, or between two clips.
For example, you can use a one-sided transition to fade into a clip at the
beginning of your sequence. You can then apply wipes cuts and dissolves
between other clips on the timeline to move smoothly from one clip to the next.
?
The type of transition you apply depends on the media you’re working with.
For instance, you can apply a dissolve, wipe, or DVE to video clips, while you
can apply a crossfade, or a fade-in or fade-out to audio clips. For more
information, refer to Image Transition Effects on page 311 of the Avid|DS
Compositing & Effects Guide.
Cutting to a Clip
A cut is a jump or sharp transition between two clips. In Avid|DS, the cut
transfers activeness from one clip to another. The Cut To transition is
especially useful for multi-camera editing when you need to constantly switch
between different camera shots to accomplish the desired edit. In this case,
you must place each camera take on a separate track. You can then “cut on the
fly” by switching the activeness from one take to another.
The behavior of a Cut To is the same for both audio and video clips.
To cut to a clip
1. Place the clips on different tracks and overlap the clips at the
appropriate timecodes.
Active clip from
camera 1
Clip on camera 2 that
you want to cut to
A cut between clips
2. Position the play cursor at the point, on the next clip, at which you want to
make a cut.
If the clip you are cutting to is inactive, you cannot see its frames in
the viewer. To view that clip’s frames, click the Solo button on the
track where the clip is located.
3. Select the clip that you want to cut to.
254 • User’s Guide
Building Sequences
4. From the NLE Tools toolbar, click Cut To.
The activeness is switched from the first clip to the selected clip at the play
cursor position.
?
Cut between
clips
Clip from camera 2 is now active
5. Continue to cut back and forth between the two cameras by placing the
play cursor at the appropriate frame, selecting the clip you want to cut to,
and then clicking Cut To on the NLE Tools toolbar.
Cut back to clip from camera 1
Creating One-Sided
Transitions
You can apply one-sided transitions to clips on the timeline. One sided
transitions are applied to the beginning or end of a single clip to transition
into it or out of it.
To apply a one-sided transition to a clip
1. On the timeline, select a clip.
2. Select the clip’s in or out-point.
3. From the Image Tools toolbar, click Apply Effect.
4. From the menu, choose Fade-in, Fade-out, DVE, or Wipe.
The transition’s property editor is displayed, and the transition appears as
a gradient on the clip’s activeness bar.
You can edit the duration of a one-sided transition the same way you
would a transition between clips. Simply drag the edit points.
User’s Guide • 255
Chapter 6 • Editing Audio and Video
Creating Transitions
Between Clips
You can apply transition between clips on the same or different tracks.
Transitions can be created only when there is extra material available on one
of the clips.
To apply a transition between clips
1. On the timeline, overlap the clips that you need to work with. These clips
can be on different tracks or on the same track.
2. Select the edit point between the two clips.
?
3. From the NLE Tools toolbar, click one of the transition tools: Dissolve,
Wipe, DVE, or Crossfade.
The transition’s property editor is displayed.
The edit point can be set to be the start, end, or center of the transition.
You can also change the type of transition that you’ve applied. All these
options are available in the property editor.
Click the Help icon for detailed information on the transition properties.
Once a transition has been applied between two clips, it is automatically
shown as a gradient on the activeness bar.
Transition area
Same-track transitions
256 • User’s Guide
Building Sequences
Before
?
Edit point at beginning of transition
Edit points
After
Transition area
Edit point at end
of transition
A transition between two clips on different tracks
Transitions have their own properties with edit points that indicate the
beginning and end of the transition. These edit points become highlighted
when you select them.
Editing Transition
Properties
Once you’ve applied a transition between two clips, you can change the
properties of a transition.
To change the properties of a transition
1. Do one of the following:
• Right-click on the transition area of the activeness bar and choose
Properties from the menu.
• Double-click on the transition bar.
2. Change the properties in the transition’s property editor.
Removing a Transition
You can easily remove a transition and restore the original clips. When you
remove a transition, it becomes a cut from one clip to the next as the edit
point remains the same.
To remove a transition
• Do one of the following:
- Select the transition and press Delete.
- Right-click on the transition’s activeness bar and choose Delete
(transition type) from the menu.
User’s Guide • 257
Chapter 6 • Editing Audio and Video
Using Container Clips
Avid|DS lets you break down complicated tasks into more manageable sections
by nesting multiple clips in a container clip. This way, an entire special effects
scene, for example, can be presented as one container clip on the timeline.
Container clips behave just like any other clip on the timeline. The same rules
of activeness, rippling, and other editing functions (trimming, slipping,
rolling) apply.
?
There are three basic types of container clips that you can use:
• Video container clips let you edit several video clips together and treat the
result as a single clip on the top or parent timeline.
• Audio container clips let you group several audio clips, mix them
together, and treat them as a single clip on the top or parent timeline.
• Graphics container clips lets you layer video clips together to create a
composited result.
In addition, there are image processing utilities (such as Timewarp, Interlace/
Deinterlace, and 3:2 Expand/3:2 Contract) that automatically create container
clips to hold the original clip before the effect is applied.
When you close a container clip, it appears as a single clip on the timeline.
You can re-open a container clip at any time to add, modify, or delete
its components.
Graphics container clip
Audio container clip
Video container clip
Top timeline
The three basic types of container clips
258 • User’s Guide
Building Sequences
Creating Container
Clips
When you open a sequence, you are always viewing the top timeline. Container
clips provide you with a new timeline on which you can place clips. By default,
the ruler inside the container clip starts at 00:00:00. This lets you build a minisequence that is independent of the final sequence on the top timeline.
?
Create container
from this clip
A container clip timeline is nested in the top or parent timeline. When you
open a container clip, it displays its contents on this new timeline. When you
close the container clip, however, the clip appears relative in time to all other
clips on the parent timeline.
New container clip timeline
An icon appears on
the taskbar to
indicate that you’re
in a container clip
You can add more clips to the container clip and layer or arrange them
sequentially for compositing, audio mixing, or editing subsections of a larger
project. You can even nest other container clips in this container clip.
You can also set the ruler in the container clip to correspond to the one on the
top timeline. This lets you view clips at the exact timecode that they will
appear in the final production.
By default, a container clip is named “Video Container x” or “Audio
Container x”, where x is the next sequential number for that type of container
clip. You can easily rename a container clip with a more suitable name by
using the clip’s property editor.
User’s Guide • 259
Chapter 6 • Editing Audio and Video
?
Container clip
Top timeline after container clip is closed
Creating a Video Container Clip
Video container clips let you edit several video clips together, and treat the
result as a single clip on the top or parent timeline. Any editing tasks that can
be performed on the top timeline can also be done in a video container clip.
For example, to perform a double dissolve (commonly known as a bi-pack),
you first dissolve two clips in a container clip. On the top timeline, you then
dissolve the container clip with a third clip.
To create a video container clip
1. On the timeline, select the video clips that you want to use in your
container clip.
To select more than one clip at a time, press Ctrl while clicking on
clips. All these clips will be placed in the same container clip.
2. On the taskbar, click the Create Container icon and choose Video
Container Clip from the menu.
Top Timeline icon
Video Container
Clip icon
A container clip timeline opens. You can now place additional clips on the
tracks, add effects or transitions, or perform other editing tasks on the clips.
Also, a new container clip timeline icon is displayed in the taskbar to
indicate that you are working in a video container clip.
3. Click the Top Timeline icon when you have finished editing the clips in
this container clip.
Container clip icon
260 • User’s Guide
The video container clip is closed and the top timeline is displayed. All the
clips are displayed as one clip on the timeline. You can reopen the
container clip at any time by clicking the icon in the title bar of the
container clip.
Building Sequences
Creating an Audio Container Clip
Audio container clips let you group several audio clips, mix them together,
and treat them as a single clip on the top or parent timeline. These audio
container clips can be synchronized with corresponding video clips or mixed
with other audio clips.
You can create submixes by nesting audio container clips in other audio
container clips. For example, you can create a container clip just to create a
submix of all the drum sound tracks, while another container clip can be used
for the guitar submix. These two container clips can then be mixed together to
generate the final recording.
?
To create an audio container clip
1. On the timeline, select the audio clips that you want to use in your
container clip.
To select more than one clip at a time, press Ctrl while clicking on clips.
2. On the taskbar, click the Create Container icon and choose Audio
Container Clip from the menu.
Audio container
clip icon
A container clip timeline opens. You can now place additional clips on the
tracks, add effects and transitions, and perform other editing tasks to the
clips. In the audio container clip, you can set your ruler to display frames or
milliseconds, giving you greater accuracy when editing your audio clips.
Also, a new container clip timeline icon appears in the taskbar to indicate
that you are working inside an audio container clip.
Stereo
audio tracks
Mono audio
track
Audio container clip
3. Click the Top Timeline icon when you’ve finished editing the clips in this
container clip.
User’s Guide • 261
Chapter 6 • Editing Audio and Video
Container clip icon
The audio container clip is closed and the top timeline is displayed. All the
clips are displayed as one clip on the timeline. You can reopen the
container clip at any time by clicking the icon in the title bar of the
container clip.
?
A closed audio container clip represented as a single clip on the timeline
Creating a Graphics Container Clip
Graphics container clips let you layer video clips and apply graphics, color
correction, keyer, and DVE effects to each layer. You can also create a graphics
container clip to draw graphics or add titles to your clips. A graphics container
clip can contain a number of video clips, and is used primarily for
compositing clips and treating the result as a single clip. For more
information, see Building a Composite in a Container Clip on page 100.
To create a graphics container clip
1. On the timeline, select the video clips that you want to use in your
container clip.
To select more than one clip at a time, press Ctrl while clicking on clips.
2. On the taskbar, click the Create Container icon and choose Graphics
Container Clip from the menu.
Graphics container
timeline icon
Container clip icon
A container clip timeline opens. You can now place additional clips on the
tracks, add effects, and perform other editing tasks to the clips.
Also, notice that a new container clip timeline icon is displayed in the
taskbar to indicate that you’re working in a graphics container clip.
3. Click the Top Timeline icon when you’ve finished editing the clips in this
container clip.
The graphics container clip is closed and the top timeline is displayed. All
the clips are displayed as one clip on the timeline. You can reopen the
container clip at any time by clicking the icon in the title bar of the
container clip.
262 • User’s Guide
Building Sequences
Navigating within
Container Clips
When you first open a sequence, the top timeline is displayed. The top
timeline is the topmost level of the timeline. This is where you can see all the
clips that comprise your sequence.
A container clip timeline is nested in the top or parent timeline. When you
open a container clip, it displays the contents of the container clip on this
new timeline.
?
You can also create container clips in container clips. A container clip that
contains another is called the parent container clip. Each time you create or
open a container clip, its corresponding icon appears at the bottom of the
taskbar. As you continue to nest container clips, the list of icons on the taskbar
continues to grow. These icons provide a quick way of navigating between
container clips. The timeline icons in the taskbar indicate how deep the
container clip is nested.
Top Timeline
Parent Timeline
Current Timeline
Container clip timelines
that are currently open
Create new container clip
You can identify container clips by the type of icon that appears in the taskbar.
This icon
Represents
A video container clip.
An audio container clip.
A graphics container clip.
User’s Guide • 263
Chapter 6 • Editing Audio and Video
Opening Container Clips
The icon at the top of the timeline icons in the taskbar represents the top
timeline. As you create nested container clips, more timeline icons appear on
the taskbar. The type of timeline icons that appear correspond to the opened
container clips.
Container clip icon
To open a container clip
• Do one of the following:
?
- Click on the icon in the container clip.
- Double-click on the clip.
Step In
- Select the clip and click the Step In icon on the Timeline navigation bar.
The container clip timeline is displayed. A new container clip icon is
displayed in the taskbar, representing the container clip in which you’re
currently working.
Closing Container Clips
After you’ve made changes to the container clip, you can close your current
container clip and go to the top or parent timeline by clicking the respective
navigation icon on the taskbar.
When you click the Top Timeline icon, it closes all of the container clips below
it and displays the top timeline.
Similarly, when you click on a parent container clip icon, it closes any nested
container clips within it and displays only the contents of the selected
container clip.
To close a container clip and return to the top timeline
Top Timeline icon
Parent Timeline icon
• From the taskbar, click the Top Timeline icon.
This closes all open container clips and returns to the top timeline.
To close a container clip and return to the parent timeline
• Do one of the following:
Step Out
- In the taskbar, click any container clip icon (Parent Timeline icon) above
the current container clip icon.
- On the Timeline navigation bar, click the Step Out icon.
The current container clip is closed and the parent container clip’s
timeline is displayed.
264 • User’s Guide
Building Sequences
Deleting Container
Clips
You can delete any container clip on the timeline. Deleting a container clip
removes the container clip and its contents from the timeline.
To delete a container clip and its contents
• Do one of the following:
- Select a container clip and press Delete.
?
- Right-click on a clip and choose Delete Clip from the menu.
The container clip is removed from the timeline.
If the container clip is sync-locked with another audio or video
component, the other component remains on the timeline. You have
to delete it as an independent clip.
To delete a container clip but preserve its contents
1. Open a container clip.
2. Press Shift and select all the clips in the container clip.
3. Press Ctrl+X to copy the clips.
4. Close the container clip.
5. Press Delete to delete the container clip.
6. Position the play cursor at the point on the timeline on which you want to
place the clips you copied.
7. Press Ctrl+V to paste the clips back on the timeline.
User’s Guide • 265
Chapter 6 • Editing Audio and Video
Referencing Sequences
Referencing other sequences lets you place pointers to other sequences on the
timeline in the current sequence. These pointers are called reference clips.
A reference clip points to another sequence within the current project.
Because reference clips only point to a sequence, they consume less memory
and load faster than container clips. This improves performance on complex
timelines. Using a reference clip also allows you to work on that portion of
your sequence separately. Once it’s updated, the changes are automatically
reflected in sequences that contain this reference clip.
?
Creating Reference
Clips
You can create a reference to any sequence that exists within the current project.
You can only play back the video and overlay tracks of a referenced
sequence. Any audio tracks within the sequence will not be heard.
To create a reference to an existing sequence
1. Locate the sequence in the browser.
2. While holding down the Alt key, drag the sequence to the timeline.
The sequence appears as a clip on the timeline.
Once you’ve created a reference clip, you cannot move or rename the
sequence to which it points. If the referenced sequence has been
moved or renamed, then the viewer will display a “Referenced
sequence not found” message. You can avoid this by placing the
sequence back in its original location or changing its name back to
the original.
Converting a
Container Clip to a
Reference Clip
You can lighten the load on your timeline and improve its responsiveness by
converting complex container clips to reference clips. This saves the contents
of the container clip to disk as a sequence, and leaves a reference to the saved
sequence in its place on the timeline.
To convert a container clip to a reference clip
1. Right-click on the container clip and choose Convert to Reference Clip
from the menu.
You are prompted to save your current sequence.
2. Click OK to save the current sequence and continue.
The current sequence is saved, and the container clip is saved as a
sequence with the same name as the container clip.
266 • User’s Guide
Building Sequences
To open a reference clip
1. Select the reference clip.
2. From the NLE Tools toolbar, click Expand Reference.
To close a reference clip and return to the top timeline
• From the NLE Tools toolbar, click Collapse Reference.
?
Processing Reference
Clips
If a reference clip contains any unprocessed material, then the message
“Referenced sequence needs processing” is displayed in the viewer
during playback.
Processing a reference clip from a master sequence using the Process
Reference button does not let you choose processing options.
Avid|DS will process the referenced sequence according to the
processing options of that sequence, except that it will change the
mode to Minimal.
To process a single reference clip
1. Select a reference clip.
2. From the NLE Tools toolbar, click Process Reference.
You are prompted to save the current sequence.
3. Click Yes to save the current sequence or click No to bypass the save.
Avid|DS closes the current sequence, opens the referenced sequence,
processes it, saves it, and then reloads the original sequence.
To process the entire timeline, including any reference clips
1. From the Processing toolbar, click Process TL And Refs.
You are prompted to save the current sequence.
2. Click Yes to save the current sequence or click No to bypass the save.
Avid|DS processes the entire timeline, and also opens and processes any
reference clips on the top timeline.
User’s Guide • 267
Chapter 6 • Editing Audio and Video
Synchronizing Clips
Synchronizing (syncing) clips refers to aligning points on different clips, so that
they occur simultaneously. When you synchronize clips in Avid|DS, you can
sync-lock them together, so that they do not fall out of alignment. You can break
the sync-lock on clips at any time to edit them independently of each other.
A locked group of synchronized clips is called a sync group. Each sync group
has a master clip and one or more slave clips. The master clip acts as the focal
point for the sync group, and the position of slave clips is always relative to the
master clip’s position.
?
One of the most common synchronization tasks that you can perform is
syncing audio clips with video clips, so that the sound in the audio clip
matches the action in the video clip.
Aligning Clips for
Synchronization
Using markers can help you synchronize your video and audio clips. You can
place reference markers on the marker ribbon and then drag the clip marker
to align it with the reference markers or with other clip markers.
To align a clip at a specific timecode
1. Move the play cursor to the timecode where you want to synchronize
the clips.
2. Right-click the timeline effect track and select Add Marker at Playback
Position from the menu.
This places a local marker on the marker ribbon to define the point at
which you align your clips.
3. Right-click on the clip and choose Add Marker from the menu, then
choose an appropriate location from the submenu.
A clip marker with a square head is displayed on the clip.
Reference marker
Clip markers
268 • User’s Guide
Building Sequences
4. Place a marker on each of the other clips that are to be aligned.
5. Drag the square head of the clip marker left or right to align it with the
reference marker.
The clip moves with the marker as you drag it. When you get close to the
reference marker, the magnetism between the markers helps align the clip.
?
Audio and video clips aligned at position of reference marker
6. Align the other clips in the same way.
Creating a Sync Group
Once you’re satisfied with the way your clips are aligned, you can lock them
together in a sync group. When you move one clip, the rest of the group
moves with it. This is especially useful when trimming audio and video clips
on multiple tracks, because the sound and accompanying images are trimmed
in sync.
You can have any number of video or audio clips synchronized together, but
you must select at least two clips to apply a sync-lock. The name of the first
selected clip in the group ends with “Master”, while the names of all clips
selected subsequently end with “Slave”. The master clip is the center of the
sync group. If the position of any clip is offset, the offset will always be
displayed as the number of frames from the master clip
User’s Guide • 269
Chapter 6 • Editing Audio and Video
When you create a sync group, the order in which you selected the clips is
maintained. Should you delete the master clip in the group, the second clip
that you originally selected becomes the new master clip.
When a clip containing both audio and video is placed on the
timeline, its audio and video components fall on separate tracks as
individual clips. These clips remain sync-locked to each other.
To lock clips in sync
?
1. Align your clips on the timeline.
2. Press Ctrl and click at least two clips to lock together.
3. From the NLE Tools toolbar, choose Sync Lock.
The name of the first clip that you selected ends with “Master” while the
names of the other clips end with “Slave”.
Master clip
Slave clip
Adding to an Existing Sync Group
As you place clips on the timeline, you can add them to existing sync groups.
If, for example, you have a sync group containing a video track and an audio
track, you can align a second audio track with the sync group, and add it to
the group when you’re satisfied with its position.
To add clips to a sync group
1. Select a clip from the sync group to which you want to add the clip.
2. Press Ctrl and select the clip that you want to add to the sync group.
3. From the NLE Tools toolbar, click Sync Lock.
The clip is added to the sync group.
270 • User’s Guide
Building Sequences
Combining Two Sync Groups
You can combine two or more sync groups to form a single group, containing
all of the clips in the original source groups. The clips in the second group that
you select are appended, as slave clips, to the first group that you select.
To combine existing sync groups
1. Select a clip from the sync group that you want to combine with
another group.
?
2. Press Ctrl and select a clip from the group that you want to add.
3. From the NLE Tools toolbar, click Sync Lock.
The groups are merged into a single sync group. The clips in the added
group are appended to the end of the group to which you are adding.
Unlocking Synchronized Clips
You can remove individual clips from a sync group without removing them
from the timeline. When a clip is no longer synchronized, you can edit it
independently of the other clips in the group. If you remove the master clip
from a sync group, the next clip that you originally selected becomes the new
master clip.
Applying the Timewarp, Interlace/Deinterlace, and 3:2 Expand/3:2
Contract effects automatically breaks the lock on synchronized clips.
To break a sync-lock
1. Select one or more synchronized clips.
2. Press Ctrl to select more than one clip.
3. From the NLE Tools toolbar, click Sync Lock.
Only the selected clips are removed from the rest of the sync group, and
can now be edited independently.
Manipulating
Synchronized Clips
You can select and move synchronized clips the same way that you would with
non-synchronized clips. There are, however, a few differences.
When you select synchronized clips, they are outlined in red. Other clips in the
group are outlined in yellow to indicate that they’re part of the same group, but
were not directly selected. If you multi-select clips in a group, or select an entire
group, the selected clips will share the focus, and be outlined in brown.
When you move synchronized clips, the entire group moves together. You can,
however, move single clips in a sync group independently of the other clips in
the group. For more information on selecting and moving clips, see
Manipulating Clips on page 209.
User’s Guide • 271
Chapter 6 • Editing Audio and Video
Selecting All Clips in a Sync Group
You can select all of the clips in a sync group at the same time. This is useful if,
for example, you want to delete an entire sync group.
To select all clips in a sync group
1. Click one clip from the group that you want to select.
2. From the NLE Tools toolbar, click Select Sync Peers.
?
All clips in the sync group are selected. Selected clips have red handles and
a brown outline.
Moving Synchronized Clips Independently
When Ripple mode is off, you can move one clip in the sync group
independently of the other clips in the group. Moving synchronized clips
independently creates an offset between the master clip and slave clips. When
an offset occurs, the name of each offset slave clip turns red, and includes the
number of frames by which it is offset from the master clip.
If you move a group’s master clip independently, all of the slave clips
in the group will show an offset.
To move a synchronized clip independently
1. Make sure that the main Ripple button is deselected.
2. On the timeline, select the clip that you want to move.
3. Holding down the W key, drag the clip along the timeline.
The position of the other clips in the sync group will not change. Any
resulting offsets will be displayed next to the names of the slave clips.
Cutting Synchronized Clips
You can cut one or more clips in a sync group in two. When you cut a single
clip, the part that you cut off remains synchronized as a new clip. If you cut
multiple clips in a group, the two new clips become a new sync group with the
same master/slave relationships as the original group. For more information,
see Cutting Clips on page 214.
272 • User’s Guide
Building Sequences
Editing Synchronized
Clips
The same rules that apply to editing clips on the timeline, apply to all
synchronized clips. Synchronized clips can still be moved, rolled, or trimmed.
When you edit synchronized clips, red handles appear on the first selected edit
point. You can use the trim handles to adjust the clip as necessary. If you want
to trim multiple clips in the group simultaneously, you can select the edit
points of all sync group members, at the same timecode.
To select all synced edit points at a specific timecode
?
1. Select an edit point of a clip in the sync group.
2. From the NLE Tools toolbar, click Select Sync Peers.
All of the sync group members’ edit points, at the same timecode are
selected. The clips can now be edited simultaneously.
When working with synced audio and video clips, it may be
necessary to trim an edit point on one clip independently of the
others. For example, if you want a synchronized audio clip to
continue for a few seconds past the end of its video clip peers, you
can perform a split edit. For more information, see Trimming Clips
Using the Trim View on page 243.
Resyncing Clips
Offsets created by moving a synchronized clip independently of its peers can
be corrected, partially or even completely, by resyncing the clip. Resyncing
slips the offset clip until the offset is back to zero, or until the offset clip runs
out of unused material. For more information, see Slipping and Rolling Clips
on page 247.
To resync an offset clip
1. On the timeline, select the offset clip.
2. From the NLE Tools toolbar, click Resync.
The clip is slipped until the offset is corrected, or no unused material is left.
In order for offset clips to be resynced properly, do not display
unused material on the timeline. For more information, see
Revealing Unused Material on Clips on page 215.
User’s Guide • 273
Chapter 6 • Editing Audio and Video
Deleting Synchronized
Clips
When you delete a sync-locked clip, only the highlighted clip is deleted. The
other clips that were synchronized with it remain synchronized. If you delete
an entire group, none of the clips remain on the timeline.
If you delete a group’s master clip, the second clip that you selected when you
created group becomes the new master clip. All subsequently selected clips
remain as slave clips.
If the group from which you deleted the clip contained only two clips, the
other clip in the group will remain on the timeline as a single clip (neither
master nor slave).
?
To delete a synchronized clip
1. On the timeline select a clip to delete.
A red border surrounds the selected clip.
2. Press Delete to delete the clip.
The selected clip is removed. If the group contained more that two clips,
the next selected clip in the group becomes the new master clip.
To delete a sync group
1. Select one clip from the group that you want to delete.
2. From the NLE Tools toolbar, click Select Sync Peers.
3. Press Delete to delete the clip.
The selected group is removed.
274 • User’s Guide
Building Sequences
Processing Sequences
If you’ve applied transitions and effects to clips and then nested them in
container clips, you must process them before playing them. Avid|DS does not
process the results until you ask it to, since it takes time and system resources
to process your clips. You can process all or part of the timeline. You can also
choose different levels at which to process your clips.
For more information, refer to Processing Effects on page 127 of the Avid|DS
Compositing & Effects Guide.
?
All audio and some video effects and transitions do not need to be
processed as they are computed during real-time playback.
To process a sequence
1. Do one of the following:
• From the Processing toolbar, click Process.
• In the timeline controls, click the Process indicator icon.
Process indicator
Highlighted marker
ribbon indicates
unprocessed section of
the sequence
2. In the Processing Options dialog box, select the appropriate options.
User’s Guide • 275
Chapter 6 • Editing Audio and Video
?
3. Click OK to begin processing.
A progress indicator appears on the bottom of the desktop to show the
status of the process.
4. Click Cancel to stop the process at any time.
Click Help for detailed information on the processing options or refer to
Processing Effects on page 127of the Avid|DS Compositing & Effects Guide.
276 • User’s Guide
?
Chapter 7
Painting and Titling
User’s Guide • 277
Chapter 7 • Painting and Titling
In This Chapter...
This chapter describes how to create graphics and titles, using vector drawing
tools that let you create images or touch up existing clips without losing the
original content. You can also retouch images, remove scratches, animate titles,
import images, as well as manipulate and rearrange the graphics you create.
Workflow: Painting and Titling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Playing Real-time Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
?
Applying Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Using Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Setting Drawing Tool Properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Defining Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Working with Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Working with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Manipulating Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Tracking Graphics Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Working in Raster Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Creating Mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Importing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Processing Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
278 • User’s Guide
Workflow: Painting and Titling
Workflow: Painting and Titling
All graphics creation is done in the Graphics layout. Avid|DS has two toolsets
for creating graphics: Paint and Titling. They share the same animatable edit
tools, color browsers, and paint effects editors. These toolsets let you touch up
and add graphics elements to layers, as well as create mattes. All strokes and
their properties are vector-based and fully editable, except for when you’re
working in the raster paint mode.
?
1
Choose a method to apply graphics
Apply the Graphics effect to a clip.
or
Create a graphics container clip and apply graphics to a layer.
or
2
Apply graphics as a node
in the Effects Tree.
Choose a drawing tool
Choose a drawing tool.
Define the tool properties.
User’s Guide • 279
Chapter 7 • Painting and Titling
3
Create graphics object
Draw a stroke or
add a title.
?
4
Edit individual graphics objects
5
Process the graphics objects
Process the frames
where the graphics
objects were applied.
280 • User’s Guide
Select object and
edit its properties.
Playing Real-time Graphics
Playing Real-time Graphics
On a multistream workstation, Avid|DS lets you play the following graphics
effects in real time without having to manually process them:
?
•
•
•
•
Airbrush
Color Blend
Cutout
Animations, such as rolls and crawls, when using the above effects
Graphics sessions cannot be played in real time if any of the following
conditions are in effect. To help you identify these conditions, a message is
displayed at the bottom of the Graphics property editor to indicate why your
session can’t be played in real time.
Message
Condition
The non-real-time option
is selected.
You have switched Avid|DS to a non-real-time
configuration for this graphics session. All real-time
graphics will require processing before output.
The graphics session has
objects with complex
effects.
Objects in this graphics session contain effects that
can’t be played in real time. Only the Airbrush, Color
Blend, and Cutout effects can be played in real time.
The graphics session has
objects with complex
transformations.
Animation that moves at different speeds can’t be
played in real time. Make sure all objects move in the
same direction (either X axis only or Y axis only) at the
same speed or not at all.
The graphics session has
objects with complex
animations.
Objects in this graphics session contain animation,
such as an animated brush size, that can’t be played
in real time. Only translations in the X or Y axis can be
played in real time.
The graphics session has
objects with complex
time spans.
Objects in this graphics session with varying time
spans can’t be played in real time. Make sure all
objects span the length of the graphics session, from
start to end.
The graphics session has
objects requiring an
alpha channel.
Objects that use the alpha channel as a matte can’t
be played in real time. Make sure the Use Alpha
option in the Masks property editor is deselected.
The graphics session has
objects with inverted fill.
Graphics sessions that contain strokes with inverted
fill can’t be played in real time.
The graphics session has
a single frame duration.
Single-frame graphics sessions can’t be played in
real time.
The graphics session has
a real-time configuration.
It indicates that Avid|DS is using the real-time
capabilities of your system within this session. This
message does not mean there is an error condition.
User’s Guide • 281
Chapter 7 • Painting and Titling
In some circumstances, workstation configurations and effect properties can
demand processing requirements that exceed the system’s ability to complete
processing on the fly. For example, if there are large graphics objects that cover
most of a frame, the system will slow down during playback. In this case, you
should process the effect before final output.
You can change your system to non-real-time configuration by
selecting the Non Real-time option from the Graphics Properties
property editor.
?
282 • User’s Guide
Applying Graphics
Applying Graphics
When creating graphics or titles, you’ll be working in a graphics session. A
graphics session is the time span over which graphics objects, such as strokes
or titles, appear. You can create a graphics session by applying the Graphics
effect to a clip or track, by applying graphics on a layer inside a graphics
container clip or as a graphics node in an Effects Tree.
Before you begin a graphics session, you’ll have to set up the environment in
which you’re going to create graphics. This includes setting the working
resolution and deciding whether you want to apply graphics as an effect, on a
layer in a composite, or as a node in an Effects Tree.
?
Applying graphics as an effect lets you add graphics to a single clip or on a video,
overlay, or timeline effect track, as well as a node in the Effects Tree. You can also
paint on a layer in a composite or on a node in the Effects Tree when you want
to use graphics as one effect among many. The method you choose depends on
the type and complexity of the graphics that you plan to use.
Setting the Working
Resolution
Resolution is the amount and degree of detail in a video image. The working
resolution that you choose affects the processing speed of your graphics
session, as well as the interactivity of the painting and titling process. You can
set the working resolution of your graphics session in the Sequence
Preferences dialog box.
To set the working resolution
1. From the File menu, choose Sequence Preferences.
2. In the Sequence Preferences dialog box, select the Video property page.
3. In the Working Video Settings box, set the working resolution—see
Setting the Working Video Quality on page 136.
Click Help for detailed information on the Sequence Preferences properties.
Graphics effect
(represented by an
effects bar) applied
to the timeline
effect, overlay, and
video tracks.
Graphics
effect applied
to a clip
User’s Guide • 283
Chapter 7 • Painting and Titling
Applying Graphics on
the Video or Overlay
Tracks
On a video track, you can apply graphics over all or part of a clip, as well as a
series of clips on the same track. An overlay track is where you can apply
graphics over all the video tracks on the timeline. You can apply a graphics
effect to a clip or track. For more information, refer to Applying Effects to
Tracks on page 36 of the Avid|DS Compositing & Effects Guide.
To apply the Graphics effect on a video track
1. Select the clip or track on which you want to apply graphics.
?
2. Right-click on your selection and choose one of the following from
the menu:
• Add Clip Effect if you selected a clip.
• Add Track Effect if you selected a track.
3. In the Load Preset dialog box, browse through the folders and select the
Graphics effect from the Image Effects folder.
The Graphics effect is applied to the selected clip or track, the play cursor
moves to the first frame of the clip or track, and the Graphics layout
is displayed.
4. You can now paint or create titles on the viewer.
To apply the Graphics effect on the overlay track
1. Right-click on the marker ribbon and choose Insert Overlay Track from
the menu.
An overlay track is created above all the video tracks.
Marker ribbon
Overlay Track
2. Select the overlay track or a clip on the overlay track and do one of
the following:
• Right-click on the clip and choose Add Clip Effect from the menu.
284 • User’s Guide
Applying Graphics
• Right-click on the upper area of the track and choose Add Track Effect
from the menu.
Upper area of
overlay track
?
3. In the Load Preset dialog box, select the Graphics effect from the Image
Effects folder.
The Graphics effect is applied to the selected clip or track, the play cursor
moves to the beginning of the track/clip, and the Graphics layout is displayed.
4. You can now paint or create titles on the viewer.
Applying Graphics on
the Timeline Effect
Track
The timeline effect track is used to apply effects on top of all other effects on
the video and overlay tracks. This track is useful for applying graphics without
creating a graphics container clip. For example, a title that was created as a
graphics effect in the timeline effect track can be moved, scaled, and
overlapped with other titles without modifying the underlying tracks.
To apply the Graphics effect on the timeline effect track
1. On the timeline effect track, drag to select a region.
Timeline effect track
2. Right-click on the highlighted area and choose Add Timeline Effect from
the menu.
3. In the Load Preset dialog box, select the Graphics effect from the Image
Effects folder.
The Graphics effect is applied to the selected region, the play cursor moves
to the beginning of the region, and the Graphics layout is displayed.
4. You can now paint or create titles on the viewer.
User’s Guide • 285
Chapter 7 • Painting and Titling
Applying Graphics on a
Layer
Painting on a layer is useful when you want to create complex effects where
paint is used with other tools, and then apply the effects to several layers
independently. Here are some of the effects you can apply to a layer:
•
•
•
•
?
Color correction effects
DVEs for creating effects, such as transformations
Graphics for creating travelling mattes
Keyers for creating a matte to reveal underlying layers
Creating a Composite
To apply graphics to the layers of a composite, you must first create a graphics
container clip, which is created from the selected clip on which the play cursor
is positioned.
To create a graphics container clip
1. Move the play cursor over the clip that you want to use in the composite.
2. Do one of the following:
• From the taskbar, click the Compositing layout icon.
• From the taskbar, click the Create Container Clip icon and choose Create
Graphics Container Clip from the menu.
• Right-click on the clip and choose Create Graphics Container.
A graphics container clip is opened and the Compositing layout is
displayed. The selected clip is automatically placed in a layer in the Layers
view. If the Layers view is not displayed, click the Layers icon from the
view switcher to display the layers in your composite.
3. If desired, you can add more clips to the composite.
4. Click the Gfx button of the layer on which you want to paint.
The Graphics layout is displayed.
5. You can now paint or create titles in the viewer.
286 • User’s Guide
Applying Graphics
Opening an Existing Composite
All composited clips are represented as a single container clip on the timeline.
To make any changes to the composite, you must open the container clip to
adjust the individual layers.
To open a graphics container clip
1. On the timeline, move the play cursor over the container clip that holds
the composited clips. By default, its name is “Graphics Container...”
?
Container clip icon
2. Do one of the following:
• Click the container clip icon.
• Double-click on the container clip to open it.
• From the taskbar, click the Compositing layout icon.
The container clip opens and the layout you last used is displayed. If the
Layers view is not displayed, click the Layers icon from the view switcher
to display the layers in your composite.
Applying Graphics in
an Effects Tree
Applying graphics in an Effects Tree is similar to applying graphics on a layer.
However, with an Effects Tree you can add multiple graphics effects to any
input or effect node.
To apply graphics in an Effects Tree
1. Right-click on a layer in the Compositing layout and choose Effects Tree
(layer) from the menu.
The Effects Tree view for the layer is displayed.
2. Right-click on the Effects Tree and choose Add Effect from the menu.
3. From the Load Preset dialog box, select Graphics from the Image
Effects folder.
A Graphics effect node is added to the Effects Tree.
4. Connect the Graphics effect node input and output—refer to Connecting
and Disconnecting Nodes on page 49 of the Avid|DS Compositing &
Effects Guide.
5. Double-click on the Graphics effect.
The Graphics layout is displayed. You can now create the graphics you
require. For more information, see Working with Graphics on page 304.
User’s Guide • 287
Chapter 7 • Painting and Titling
Using Presets
A preset is a customized set of properties for a graphics session, drawing tool,
property, stroke, or text body. You can use the presets that come with Avid|DS,
or you can create your own by saving the properties that you have already set
and reusing them in other graphics sessions. Either way, presets let you work
more efficiently.
Most graphics-related presets are in the \Dspresets\Paint folder. Graphics
session presets are in the \Dspresets\Image Effects\Graphics Sessions folder.
?
In the Graphics layout, there are presets for:
•
•
•
•
•
•
•
•
Loading and Saving
Presets
Graphics sessions
Drawing tools (Freehand, Polyline, Rectangle, Ellipse, Magic Wand, and Text)
Graphics (strokes and text bodies)
Paint Style (Brush, Brush Fx, and Fill Fx)
Titling Style (Face Fx, Edge Fx, and Shadow Fx)
Masks
Time Span
Transformations
There are several ways to load and save presets. You can use the property
editors, toolbars, Graphics property editor, or the Stroke Preset or Text Preset
tools in the GFX Creation Tools toolbar. You can also load a preset by using
the pop-up menu in the graphics property tree.
To load or save a preset using a property editor
1. In the graphics property tree, click a property icon.
Load Preset
2. In the property editor, click the Load Preset or Save Preset icon.
Save Preset
3. In the Load Preset dialog box, do one of the following:
• To load a preset, select a preset.
The graphics property tree displays the properties of the preset you selected.
• To save a preset, enter a name for the preset you’re saving.
The preset you saved appears in the folder in which you saved it.
To load a preset using the toolbars
1. Do one of the following:
• From the General toolbar, click Select and select an object on which to
apply the preset.
• From the GFX Creation Tools toolbar, click a drawing tool to set the preset
as the default properties before painting.
2. In a toolbar, click a preset button.
288 • User’s Guide
Using Presets
If you selected a graphics object, the preset is applied to it. If you selected a
drawing tool, the preset’s properties are loaded into the graphics property
tree. When you paint on the viewer, these preset properties will be applied
to the graphics you create.
To save a preset using the toolbars
1. In a property editor, drag the thumbnail to a toolbar.
?
Thumbnail is
dragged to toolbar
2. In the Save Preset As dialog box, enter a name and description for the
preset in the corresponding text boxes.
A toolbar icon is created in the toolbar.
To load a preset using the pop-up menu
• From the graphics property tree, right-click on a property icon and do one
of the following:
- Choose a preset from the menu.
- Choose Load from the menu, navigate through the folders and select
a preset.
The preset is loaded into the graphics property tree.
User’s Guide • 289
Chapter 7 • Painting and Titling
Using Stroke or Text
Presets
A stroke or text preset is a stroke or title that you saved along with all of its
properties. Using a preset lets you instantly apply the settings of a stroke or
title of any complexity to the current image without having to define any of its
properties. Once applied, the stroke or title behaves as a regular graphics
object - you can select and edit its properties.
To load a stroke or text preset
1. From the GFX Creation Tools toolbar, click Stroke Preset or Text Preset.
?
2. In the Load Stroke Preset dialog box, browse through the folders and
select a preset.
The preset is applied to the current frame in the viewer.
To save a stroke or text preset
1. In the viewer, select an object.
2. In the graphics property tree, do one of the following:
• Click the Stroke property icon if you selected a stroke.
• Click the Titling Body property icon if you selected a text body.
290 • User’s Guide
Using Presets
3. In the property editor, click the Save Preset icon.
?
4. In the File Name text box, enter a name.
5. In the File Description text box, enter a description.
The preset is saved under the file name you specified, and can be accessed
at any time by clicking the Stroke Preset or Text Preset button in the GFX
Creation Tools toolbar. Stroke presets are saved in the Strokes folder and
Titling Body presets are saved in the Bodies folder.
User’s Guide • 291
Chapter 7 • Painting and Titling
Setting Drawing Tool Properties
Before you create graphics or titles, you must define how the brush strokes or
titles will appear. Using the property editors in the graphics property tree, you
can set individual brush or text properties.
Each time you select a drawing tool from the GFX Creation Tools toolbar, its
properties are displayed in the graphics property tree. When you click any of
the property icons in the graphics property tree, its corresponding property
editor is displayed.
?
You can set the default properties of the drawing tool before creating an
object. When you do this, the new settings become the default properties that
are applied to the objects you create. These properties remain in effect until
you change the properties of any of the drawing tools. If you decide to create
an object before setting its properties, you can select the object you created
and then modify its properties. When you do this, only the properties of the
selected object are modified.
Click the Help icon for detailed information on the graphics property tree.
Properties of the
Freehand tool
Properties of
the Text tool
Graphics property trees
Setting the Paint Style
The paint style properties let you define the artistic style of the graphics you
create. In the Paint Style property editor, you can specify whether to paint
with a brush or a fill, or both.
Brush only
Brush and fill
You can also set the fill opacity and appearance of its boundary. If you’re using
a pen and graphic tablet, you can vary the amount of pressure you apply to
the pen. This affects the brush opacity and size.
292 • User’s Guide
Setting Drawing Tool Properties
Make sure your pen is adjusted for pressure sensitivity. For more
information, refer to your graphics tablet documentation.
To define the paint style
1. From the GFX Creation Tools toolbar, click one of the following drawing
tools: Freehand, Polyline, Rectangle, Ellipse, or Magic Wand.
?
2. From the graphics property tree, click the Paint Style property icon.
3. On the Paint Style property editor, select the Use option from the Brush
box to create strokes and apply effects to them.
4. Select the Antialiased option to smooth the jagged edges along the lines
and curves of strokes.
5. If you’re using a pen, select the Size and/or Opacity options from the
Pressure box.
The opacity and width of strokes respond to the amount of pressure you
apply to the pen.
6. In the Fill box, select the Use option to fill the object with the effects
you specify.
Freehand and polyline strokes are automatically closed and filled. If you
deselect the Fill option, the curve is open.
7. Select the Below Brush option to place the fill behind the stroke edge.
If you deselect this option, the fill is superimposed over the inside edge of
the stroke.
User’s Guide • 293
Chapter 7 • Painting and Titling
8. Select the Invert option to invert the fill. When creating a stroke, the area
outside of the stroke is filled.
9. Use the Opacity controls to adjust the fill transparency.
10. In the Feathering box, select the Use option to feather the edges of the fill.
11. Select the Crop option to confine the feathered area within the stroke.
12. Adjust the Soft Radius controls to define how far inside and outside the
stroke edge the feathered area extends.
?
13. Adjust the Soft Profile controls to adjust the fall off rate for the fill.
14. Adjust the Blur X and Y Radius controls to adjust the blur in the
horizontal and vertical directions.
15. You can now paint or create titles on the viewer.
The strokes you create are displayed with the properties you specified.
Click the Help icon for detailed information on the Paint Style properties.
Setting Brush
Properties
The brush properties define the brush’s size, shape, smoothness, softness, and
opacity. For example, you can simulate a calligraphic stylus by specifying a
rectangular brush shape with a slight angle. Or you can simulate an airbrush
using the opacity controls to create a round brush with a solid center and a
transparent edge.
To define the brush properties
1. In the GFX Creation Tools toolbar, click one of the following drawing
tools: Freehand, Polyline, Rectangle, Ellipse, or Magic Wand.
2. From the graphics property tree, click the Brush property icon.
294 • User’s Guide
Setting Drawing Tool Properties
3. In the Brush property editor, select a brush shape from the Shape box.
The brush shape is displayed in the preview box.
4. Use the X and Y controls to set the width and height of the brush.
When using the freehand tool, you can interactively resize the brush
by pressing Ctrl and dragging in the viewer.
?
5. Select the Lock Aspect Ratio option to link the X and Y controls, so that
when you adjust one, the other increases or decreases proportionally.
6. Select the Soft Edge option for a soft brush edge. Deselecting this option
gives you a hard brush edge.
7. Use the Hardness Diameter controls to adjust the proportion of the brush
diameter that is solid.
8. Use the Softness Profile controls to adjust the gradient fall-off rate.
9. Use the Opacity controls to define the transparency of the brush.
10. Use the Sampling Ratio controls to set the distance between each brush
stamp in a stroke. The default sampling ratio is 25 for optimum
interaction speed.
If you deselect the Continuous Interpolation option in the Freehand
Tool property editor, the sampling ratio has no impact on the stroke.
11. Use the Angle controls to adjust the rotational angle of the brush.
The brush’s new angle of rotation is displayed in the preview box.
12. You can now paint in the viewer.
Any strokes that you create use the properties you specified.
Click the Help icon for detailed information on the Brush properties.
User’s Guide • 295
Chapter 7 • Painting and Titling
Creating Custom
Brushes
You can create custom brushes using a closed stroke or an Adobe Illustrator
EPS file (created with version 8.0 or earlier). You can also save your custom
brush as a preset and then reuse it. For more information, see Importing
Encapsulated PostScript (EPS) Files on page 348.
To create a custom brush using a stroke
1. From the General toolbar, click Select and select a stroke or group of
strokes from the viewer.
?
To create a custom brush, the stroke must be a closed shape. You can
do this by holding down the C key while drawing the stroke. For
more information, see Drawing Freehand Strokes on page 306.
2. From the General toolbar, click Make Brush.
The brush is loaded with the custom shape. Using one of the drawing
tools, you can begin creating strokes in the viewer.
To see the shape of the brush, choose a drawing tool and look in the
Brush property editor.
To create a custom brush with an EPS shape
1. From the GFX Creation Tools toolbar, click a drawing tool.
2. From the graphics property tree, click Brush.
The Brush property editor is displayed.
3. Click Import EPS.
In the Open dialog box, select an EPS file to use as your brush.
The brush is loaded with the EPS shape. Using one of the drawing tools,
you can begin creating strokes in the viewer.
Not all versions of EPS files are supported.
296 • User’s Guide
Setting Drawing Tool Properties
Setting the Titling
Style
?
The titling style properties let you define the artistic style of graphics. By
adjusting these properties, you can define the appearance of a character’s face,
edge, and shadow. You can also apply numerous visual effects including softcolored edges, cloned faces, inverted shadows, etc.
Certain properties apply to the entire text body, and others apply only to the
words or characters that you select in a text body. You can define the character
edge, face, and shadow, and then use masks on the titles you create. A variety
of fonts, and text formats lets you enhance the appearance of titles. Many of
the properties you assign to text can be animated.
Edge
Face
Shadow
Close-up of a character
To define the titling style
1. From the GFX Creation Tools toolbar, click Text.
2. From the graphics property tree, click the Titling Style property icon.
3. In the Titling Style property editor, set the face, edge, and shadow properties.
4. You can now create a title on the viewer.
The face, edge, and shadow of each character in the text body changes
according to the properties you specified.
Click the Help icon for detailed information on the Titling Style properties.
User’s Guide • 297
Chapter 7 • Painting and Titling
Setting the Font
Properties
The font properties define the font, style, and size of individual text characters
and text in a text body, as well as set kerning and hinting options. Avid|DS
comes with a selection of TrueType fonts. Other fonts that are in the Fonts
folder of your operating system are also available for use. For more
information, refer to the Avid|DS Installation and Administration Guide.
To define the font properties
1. From the GFX Creation Tools toolbar, click Text.
?
2. From the graphics property tree, click the Font property icon.
3. In the Font property editor, select a font, style, and size.
4. Select the Kern Pairs option to move a character closer to the previous
character in the same word to improve the appearance of the text. (This
applies only to certain font types. )
5. Select the Font Hinting option to control the display of artifacts, such as
blurry edges, when processing. When this option is selected, redraw
information is provided to prevent these artifacts from appearing in the
viewer and rendered output. This option is not recommended when
animating the text.
6. In the Kerning box, you can set the amount of horizontal space between
characters, expressed as a percentage of the current font size. You can
select individual characters or part of the text body and set the kerning
individually. The default value is 1.
7. You can now create a title in the viewer.
Click the Help icon for detailed information on the Font properties.
298 • User’s Guide
Setting Drawing Tool Properties
Setting the Masks
Properties
?
The masks properties let you create graphics using a matte (stencil) or a paper
grain, and choose the channel(s) on which you will create graphics. You can
use any of the R, G, B, and alpha channels. If you select only the red channel,
for example, only the red component of the image is modified when you paint
on it. By using only the alpha channel, you can create a matte, which is a
grayscale image that defines the transparency of an image when it’s
composited over another.
You may want to use a mask when applying graphics to clips. A mask is an
image, portion, or component of an image. A matte is defined by the alpha
component of an image, and is used differently in the Graphics and
Compositing layouts:
• In the Graphics layout, a matte is used as a stencil to protect portions of
the image. Where alpha is 0, no paint is applied.
• In the Compositing layout, a matte determines the transparent portions of
a layer. Wherever alpha is 0, the image is transparent. Wherever alpha is
100 the image is opaque.
For example, if an object from one clip must appear over a background from
another clip, you place the clips on two different layers in the Compositing
layout, and then draw a matte on the top layer. The matte defines an opaque
object on an otherwise transparent layer. For more information, refer to
Compositing on page 87 of the Avid|DS Compositing & Effects Guide.
To define the masks properties
1. In the GFX Creation Tools toolbar, click one of the following drawing
tools: Freehand, Polyline, Rectangle, Ellipse, Magic Wand, or Text.
2. From the graphics property tree, click the Masks property icon.
User’s Guide • 299
Chapter 7 • Painting and Titling
3. On the General property page, select the channels on which you want to
paint from the Paint on Channel box.
4. In the Matte box, select the Use Alpha Channel option to use the alpha
channel as a matte.
The Alpha and Use Alpha Channel options cannot be used
simultaneously.
?
5. Select the Invert option to invert the alpha channel.
Click the Help icon for detailed information on the Masks properties.
Setting the Time Span
Properties
The time span properties define the duration of graphics. You can define the
start and end time of an object before you create it. This duration becomes the
default time span and is applied to all subsequent objects you create. Or you
can create graphics using the default time span, and then change its start, end,
or duration time later on.
In the Time Span property editor, the timecode refers to the graphics session
time. That is, 00:00:00:00 is the beginning of the graphics session regardless of
its position on the timeline.
To define the time span properties
1. In the GFX Creation Tools toolbar, click one of the following drawing
tools: Freehand, Polyline, Rectangle, Ellipse, Magic Wand, or Text.
2. From the graphics property tree, click the Time Span property icon.
300 • User’s Guide
Setting Drawing Tool Properties
3. In the Time Span property editor, specify the duration by clicking one of
the following:
• This Frame Only to make the time span one frame.
• This Frame to End to make the time span start at the current frame and
end at the last frame of the graphics session.
?
• Start to End to make the time span start at the first frame and end at the
last frame of the graphics session.
• Start to this Frame to make the time span start at the first frame and end
at the current frame of the graphics session.
• Custom to specify a custom time span in the Out and Duration timecode
boxes. All values must be expressed in SMPTE timecode.
If you’re setting the default time span, the In text box is dimmed
because Avid|DS defines the start time.
If you’re editing the time span of a selected object, the Custom button is
always highlighted.
4. If you’re editing the time span of a selected object, you can select the Lock
option to lock the duration.
If you’re defining the default time span properties before creating an
object, the Lock option is deselected. You must select an object
before using this option.
Click the Help icon for detailed information on the Time Span properties.
User’s Guide • 301
Chapter 7 • Painting and Titling
Defining Color
In Avid|DS, color is considered to be an effect that you can apply to an image
using the brush or fill properties of a stroke, or the face, edge, or shadow
properties of a title. Like any other effect, the Color Blend effect can be
substituted for other effects, such as Noise or Smear.
To define colors, you can pick a color from the default palette or from the
color wheel, use the color picker to select a color from an existing image, 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.
?
You can apply color to selected strokes or you can define the color properties
before you draw a stroke. These properties then apply to all the subsequent
strokes you create.
For more information, refer to Color Blend Effect on page 426 of the Avid|DS
Compositing & Effects Guide.
To open the Color Blend property editor
1. Do one of the following:
• From the General toolbar, click Select and select an object from the viewer.
• From the GFX Creation Tools toolbar, click a drawing tool to create a
new object.
The graphics property tree is displayed.
2. From the graphics property tree, right-click on one of the following
property icons and choose Color Blend from the menu:
• For paint strokes: Brush Fx or Fill Fx.
• For text bodies: Edge Effect, Face Effect, or Shadow Effect
The Color Blend effect is loaded in the property icon that you selected
from the graphics property tree.
Color Blend effect loaded as Brush Fx
302 • User’s Guide
Defining Color
3. From the graphics property tree, click the Color Blend property icon.
Preview box
?
Striped boxes
contain no color
Color channels
A quick way to apply color is with the Pick Color tool. Once you
have chosen your drawing tool, hold down 6. The pointer turns into
an eyedropper. Pick a color from the image in the viewer. You can
now paint with this color until you decide to load another color.
Click the Help icon for detailed information on the Color Blend properties.
User’s Guide • 303
Chapter 7 • Painting and Titling
Working with Graphics
The drawing tools in the GFX Creation Tools toolbar let you create different
kinds of graphics objects including freehand, polylines, rectangles, ellipses,
and Magic Wand strokes. You can then edit the graphics you create.
You can control the appearance of graphics by using the property editors in
the graphics property tree. Property editors let you define characteristics, such
as the brush, fill, edge, face, and shadow. When you start to paint in the
viewer, the graphics you create are displayed with the default properties.
?
If the edges of graphics appear jagged, right-click on the viewer and
choose Square Pixels to make them appear smooth.
Wireframe Mode
While painting, you can activate the wireframe mode to easily see the outline
of the strokes you create. This lets you precisely edit and manipulate strokes
without being distracted by any of the effects defined for it. Working in
wireframe mode also increases the speed of interaction because wireframe
objects are not processed.
Freehand object
Freehand object in
wireframe mode
To activate or deactivate wireframe mode
• In the General toolbar, click Wireframe or press Ctrl+W.
Strokes in the viewer appear in wireframe mode.
Text bodies cannot be displayed in wireframe mode.
Wireframe Preview
304 • User’s Guide
When you work with animated graphics objects, you may want to preview the
results of the animation without having to process the sequence. This lets you
work more quickly and eliminates processing time. When previewing
graphics animation, the clip plays back and graphics objects are processed in
wireframe over a black background.
Working with Graphics
To view animated objects in wireframe mode
• In the General 2 toolbar, click Wireframe Preview or press Ctrl+Shift+W.
The sequence plays back and the animated graphics objects appear in
wireframe mode. When the clip is finished, the play cursor moves to the
first frame at which the preview started.
Drawing Polylines
?
The Polyline tool lets you draw straight lines, Bézier curves, or a combination
of the two.
To draw a polyline
1. From the GFX Creation Tools toolbar, click Polyline or press Q.
2. In the graphics property tree, use the property editors to define the
characteristics of the polyline.
3. Depending on the type of curve you want, do one of the following:
• Click the viewer as many times as needed to add straight line segments to
the polyline.
• Constrain a polyline to a 45 degree angle by holding down the Alt key.
• Drag a vertex to display and adjust the tangent handles.
End point
Tangent handle
4. When you’re done, do one of the following:
• Press Esc to end the polyline.
• Press Ctrl and click to close the polyline.
A polyline is displayed in the viewer with the properties you specified.
Once a polyline is ended, you cannot undo polyline segments.
You can undo segments only as you are creating the polyline.
5. From the General toolbar, click Select.
The stroke is selected.
6. Press Enter or Edit Shape to edit the stroke geometry.
The stroke’s control points are displayed.
To constrain polyline segments to a 45 degree angle, hold down the
Alt key.
User’s Guide • 305
Chapter 7 • Painting and Titling
Drawing Freehand
Strokes
The Freehand tool lets you draw open or closed freeform strokes, and
simulates the feeling of drawing with a pencil on paper. Use this tool when
you want to create a hand-drawn look or quickly sketch on your image.
As you draw freehand strokes, you’re imprinting a series of stamps onto your
image. By defining the appearance of the brush stamps, you can create a
continuous stroke or a stroke with discrete brush stamps.
To draw a freehand stroke
?
1. From the GFX Creation Tools toolbar, click Freehand or press W.
2. In the graphics property tree, use the property editors to define the
characteristics of the freehand stroke.
3. From the property tree, click the Freehand property icon.
4. In the Freehand property editor, select the Close option if you want to
create a closed freehand stroke.
To create a closed freehand stroke quickly, hold down the C key
before beginning to draw the stroke.
5. Select the Continuous Interpolation option to draw a continuous path.
The number of brush stamps is based on the sampling ratio defined in the
Brush property editor.
6. Select the Fast Feedback option to view an outline of the stroke as you
draw it, instead of applying the specified effect. This also increases the
interaction speed.
7. In the Curve Fitting box, select the Fit Curve option to create a freehand
stroke with the minimum number of control points.
8. Use the Tolerance controls to specify the number of control points the
redrawn curve will retain from the original curve.
306 • User’s Guide
Working with Graphics
The Curve Fit option is usually used after the stroke is drawn by
selecting the stroke, editing the shape, and selecting the Curve Fit
option in the Edit Shape property editor.
9. Select the Overlay Brush option to show or hide the outline of the brush
while you paint.
10. Create a stroke in the viewer by dragging on the viewer.
?
Once you release the mouse or pen, the stroke is complete. The freehand
stroke is displayed in the viewer with the properties you specified. If you
selected the Fill option in the Paint Style property editor, the freehand
stroke is closed and filled.
A stroke with
continuous
interpolation
A stroke without
continuous
interpolation
Slow drawing motion
Fast drawing motion
11. From the General toolbar, click Select.
The stroke is selected.
12. Press Enter or Edit Shape to edit the stroke—see Editing the Shape of a
Stroke on page 316.
The stroke’s control points are displayed.
Using the Express Tools
The Express tools let you access a set of freehand tool brush effects quickly
and easily. By holding down a key that has been assigned to a freehand tool
brush effect, you can erase or paint with one keystroke. When you release the
key, the previous tool is reactivated. By default, the Express tools represent the
Erase, Blur, and Color Blend effects, but you can assign your favorite freehand
tool brush effects as well. This is very useful when cleaning up a matte, since
you can access the Erase tool without having to change your current tool.
The keys assigned to the Express tools are the numbers 1 through 5 on the
upper-left of your keyboard.
To use the Express tools
1. In the Graphics layout, hold down the key assigned to the Express tool you
want to activate.
A freehand tool brush effect is loaded.
2. While continuing to hold down the key, work in your graphics session.
User’s Guide • 307
Chapter 7 • Painting and Titling
3. Release the key.
The tool you were using previous to the Express tool is reactivated.
To customize the Express tools
1. In the Graphics layout, hold down one of the keys on the upper-left of the
keyboard (numbers 1 to 5).
2. Right-click on Brush Fx from the graphics property tree and load a paint
effect, such as Color Blend or Erase.
?
3. Release the key.
The key is assigned to the selected freehand tool brush effect.
Click the Help icon for detailed information on the Freehand Tool properties.
Drawing Rectangles
and Ellipses
The Rectangle tool lets you create rectangular and square shapes. The Ellipse
tool lets you create oval and circular shapes. After creating a square or round
shape, you can edit them to create unique shapes.
To draw a rectangle or ellipse
1. From the GFX Creation Tools toolbar, do one of the following:
• Click Rectangle or press R.
• Click Ellipse or press E.
2. In the graphics property tree, use the property editors to define the
characteristics of the rectangle or ellipse.
3. Create a stroke in the viewer by dragging in the viewer. To maintain the
aspect ratio, press Shift and drag.
A rectangle or ellipse is displayed in the viewer with the properties
you specified.
4. From the General toolbar, click Select.
The rectangle or ellipse is selected.
5. Press Enter to edit the stroke—see Editing the Shape of a Stroke on page 316.
The stroke’s control points are displayed.
To view and move the tangent handles on the control points of a
rectangle, press H while selecting the control point in Edit Shape
mode.
308 • User’s Guide
Working with Graphics
Using the Magic Wand
Tool
Using the Magic Wand tool, 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, you can edit the stroke.
?
A shape based on RGB values
To define a stroke
1. From the GFX Creation Tools toolbar, click Magic Wand or press Y.
2. In the graphics property tree, use the property editors to define the
characteristics of the shape.
3. Click the viewer.
A shape is created corresponding to the selected area. Control points are
visible along the shape.
4. From the graphics property tree, click the Magic Wand property icon.
User’s Guide • 309
Chapter 7 • Painting and Titling
?
5. In the Magic Wand property editor, select a color model from the Color
Model list.
6. In the Color Tolerance controls, select the channels that you want to use
to control the range of pixel values included in the selected area.
7. Adjust the Color Tolerance controls to set the range of color values for each
channel. Continue refining the settings until the desired shape is obtained.
The shape changes according to the new settings.
8. Use the Fit Tolerance controls to adjust the way the edges of the selection
are determined.
9. Select the Invert option to invert the selection.
10. Select the Similar option to select all of the pixels in the color range of the
specified range.
11. Select or click one of the following:
• Autocreate to automatically create the stroke when you click the viewer.
• Confirm to create the stroke defined by the shape.
A stroke is created with the desired shape, and is displayed using the
properties you specified.
12. From the General toolbar, click Select.
The stroke is selected.
13. Press Enter to edit the shape—see Editing the Shape of a Stroke on page 316.
The shape’s control points are displayed.
Click the Help icon for detailed information on the Magic Wand properties.
310 • User’s Guide
Working with Graphics
Selecting Graphics
Objects
You must select an object before you can move it or edit its properties or shape.
You can move an object around in the viewer, as well as select single or multiple
graphics objects. When you select an object, the graphics property tree displays
the properties of that object.
To select graphics objects
1. From the General toolbar, click Select.
?
The graphics object you last created is automatically selected.
2. In the viewer or the Graphics Object View (GOV), click an object to select it.
A yellow bounding box surrounds each selected object, and the graphics
property tree displays its properties.
When working with many graphics objects, you can hide their
bounding boxes by clicking the Show/Hide Bounding Box icon or
pressing Ctrl+H. The object is still selected and you can edit the
properties of the graphics object.
3. Do any of the following:
• Press the comma (,) key to select the previous graphics object.
• Press the period (.) key to select the next object.
• Press Shift and click each additional object.
• Press Shift+comma (,) and keep pressing the comma to select multiple
objects in descending order.
• Press Shift+period (.) and keep pressing the period to select multiple
objects in ascending order.
By default, a yellow bounding box surrounds each selected object.
Drag on the viewer to make a rectangular selection. All graphics
within the rectangle are selected.
To select all objects
• Do one of the following:
- From the General toolbar, click Select All.
- From the Edit or Graphics menu, choose Select All.
- Press Ctrl+A.
In the viewer, all objects are selected. Objects whose time span do not
cover the current frame will not be selected.
The Select All command in the Edit menu is not available when
using the Edit Text tool.
User’s Guide • 311
Chapter 7 • Painting and Titling
To select objects in Edit Shape mode
1. From the General toolbar, click Edit Shape.
2. Press Alt and click a stroke to select or deselect it.
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 need 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 them. When a
graphics object is locked, its bar in the GOV changes to a light gray color.
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 on its
corresponding bar in the GOV and choosing a menu command.
To lock graphics objects
• Select the graphics objects that you want to lock and do one of the
following:
- From the Graphics menu, choose Objects > Lock.
- Click the Lock icon on the toolbar.
- Right-click on the graphics object in the GOV and choose Lock from
the menu.
Locked objects are now represented by a light gray bar in the GOV and are
automatically deselected.
You can multi-select graphics objects by holding down the Shift key.
To unlock graphics objects
• Do one of the following:
- To unlock all graphics objects on the current frame, choose Objects >
Unlock All - Frame from the Graphics menu or click the Unlock All Frame icon in the toolbar.
- To unlock all graphics objects in the current graphics session, choose
Objects > Unlock All - Session from the Graphics menu or click the
Unlock All - Session icon in the toolbar.
All locked graphics objects are unlocked.
312 • User’s Guide
Working with Graphics
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
purple color.
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 on its
corresponding bar in the GOV and choosing a menu command.
To hide graphics objects
Select the graphics objects that you want to hide and do one of the following:
• From the Graphics menu, choose Objects > Hide.
• Click the Hide icon on the toolbar.
• Right-click on the graphics object in the GOV and choose Hide from
the menu.
Hidden objects are represented by a light purple bar in the GOV and are
automatically deselected.
To show graphics objects
Do one of the following:
• To show all graphics objects on the current frame, choose Objects > Show
All - Frame from the Graphics menu or click the Show All - Frame icon in
the toolbar.
• To show all graphics objects in the current graphics session, choose
Objects > Show All - Session from the Graphics menu or click the Show
All - Session icon in the toolbar.
All hidden graphics objects are shown and selected. Any previously
selected objects are deselected.
User’s Guide • 313
Chapter 7 • Painting and Titling
Hiding Bounding Boxes
Hiding the bounding boxes of graphics objects makes it easy for you to see the
effect of any adjustments you make to its parameters. You can still select and
edit the graphics objects after hiding the bounding boxes.
To show/hide bounding boxes
• Click the Show/Hide Bounding box icon in the toolbar or press Ctrl+H.
?
Creating Clusters of
Graphics Objects and
Vertices
Multiselecting graphics objects or vertices can be very convenient when you
want to reuse a specific selection. You can build presets of one or more
selected graphics objects or vertices.
To create a cluster of graphics objects
Build
Cluster
icon
Select
Cluster
icon
1. In the General toolbar, click Select and select the graphics objects you
want to add to the cluster.
2. On the Clusters Select toolbar, click one of the Build Cluster icons.
The graphics objects are assigned to a cluster icon.
To recall a graphics object cluster
• From the Clusters Select toolbar, click the corresponding yellow Select
Cluster icon.
The graphics objects assigned to this cluster number are selected in the
viewer.
To build a cluster of vertices
1. In Edit Shape mode, select the vertices you want to add to the cluster.
Build Vertex
Cluster icons
Select Vertex
Cluster icon
2. Click one of the Build Vertex Cluster icons.
The group of vertices is assigned to the cluster icon.
To recall a vertex cluster
• From the Clusters Vertex toolbar, click the corresponding yellow Select
Vertex Cluster icon.
The vertices assigned to this cluster number are selected in the viewer.
314 • User’s Guide
Working with Graphics
Aligning Graphics
Objects
Graphics alignment tools allow you to align graphics objects with respect to
other graphics objects or the safe action/title area. Absolute alignment tools
allow you to align graphics using the safe action/title area as a reference.
Relative alignment tools allow you to align graphics object using other
selected graphics objects as a reference.
When using the alignment tools, it’s useful to display the guides.
Right-click in the viewer and choose Viewer Properties. On the
Guides property page, select the Safe action/title option.
?
To align graphics objects
1. In the viewer, select the objects you want to align.
2. From the Absolute Align or Relative Align toolbar, click the alignment
tool you want to use.
The selected objects are aligned in the viewer.
Use this
To
Absolute Align
Bottom
Align the bottom edge of the bounding box of selected graphics
objects to the bottom edge of the safe action/title area.
Absolute Align
Vertical Center
Align the vertical center of selected graphics objects to the
vertical center of the safe action/title area.
Absolute Align
Left
Align the left edge of the bounding box of selected graphics
objects to the left edge of the safe action/title area.
Absolute Align
Horizontal Center
Align the horizontal center of selected graphics objects to the
horizontal center of the safe action/title area.
Absolute Align
Right
Align the right edge of the bounding box of selected graphics
objects to the right edge of the safe action/title area.
Absolute Align
Top
Align the top edge of the bounding box of selected graphics
objects to the top edge of the safe title/action area.
Relative Align
Bottom
Align all selected graphics objects relative to the bottom edge
of the bounding box of the bottom-selected graphics object.
Relative Align
Vertical Center
Align all selected graphics objects relative to the vertical center
of the collective bounding box of all the selected objects.
Relative Align Left
Align all selected graphics objects relative to the leftmost edge
of the bounding box of the left-selected graphics object.
Relative Align
Horizontal Center
Align all selected graphics objects relative to the horizontal
center of the collective bounding box of all the selected objects.
Relative Align
Right
Align all selected graphics objects relative to the right edge of
the bounding box of the right-selected graphics object.
Relative Align Top
Align all selected graphics objects relative to the top edge of
the bounding box of the top-selected graphics object.
User’s Guide • 315
Chapter 7 • Painting and Titling
Editing the Shape of a
Stroke
The shapes of all the strokes created by the Freehand, Polyline, Rectangle,
Ellipse, and Magic Wand tools are determined by line segments and vertices
that indicate a change in line direction. Each vertex in an object has a control
point, which you can use to alter its shape. Before you can edit the shape of a
stroke, you must select it.
To edit the shape of a stroke
1. From the General toolbar, click Select, and click a stroke in the viewer.
?
The selected stroke is surrounded by a yellow bounding box, and the
graphics property tree displays the stroke’s properties.
2. From the General toolbar, click Edit Shape or press Enter.
The stroke’s contour and control points are displayed, and the Edit Shape
tool is activated.
To select or deselect a shape while in Edit Shape mode, press Alt and
click a stroke.
3. From the graphics property tree, click the Edit Shape property icon.
4. In the Path box, click:
• Open to open a closed curve.
• Closed to close an open curve.
5. In the Curve Fitting box:
• Click Fit Curve to sample all the control points of the original curve.
• Use the Tolerance controls to set the number of controls points that the
redrawn curve retains from the original.
316 • User’s Guide
Working with Graphics
6. In the Animation box, use the buttons to set, delete, and navigate
between keyframes.
Click the Help icon for detailed information on the Edit Shape properties.
Selecting Control Points
?
When you select control points on a stroke, they remain selected between
frames. You can edit the shape of single or multiple strokes by dragging the
control points.
To select control points
1. From the General toolbar, click Select, and click a stroke in the viewer.
The selected stroke is surrounded by a yellow bounding box, and the
graphics property tree displays the stroke’s properties.
2. From the General toolbar, click Edit Shape or press Enter.
The stroke’s contour and control points are displayed, and the Edit Shape
tool is activated.
3. Do one of the following:
• Click a control point to select a single control point.
• Hold down the Shift key and click a control point, and then click each
subsequent control point.
• Drag to make a rectangular selection in the viewer, and select multiple
points simultaneously.
The selected control points are highlighted in yellow.
Control point
To edit a control point
• Press A and click the line or curve segment between two control points to
add a control point.
• Click a control point to select it and drag to move it.
• Click a control point and press Delete to delete control points.
User’s Guide • 317
Chapter 7 • Painting and Titling
To move a control point
• To move 1 pixel: Press an arrow key on the keyboard number pad.
• To move 10 pixels: Hold down the Ctrl key and press an arrow key on the
keyboard number pad.
Breaking and Unifying Strokes
A stroke’s path can be broken into any number of subpaths, which you can
later reunify. Subpaths remain part of the stroke and cannot be unified with
the subpaths of other strokes.
?
Stroke path
Subpaths of a
stroke
To break or unify a stroke
• Hold down K and drag a control point.
The stroke path is broken and a subpath is created.
• Hold down U and drag one control point and drop it over another.
The subpaths are unified.
Combining and Separating Strokes
You can combine multiple strokes to create a single compound stroke.
Similarly, you can separate compound strokes into individual strokes.
To combine strokes
1. From the General toolbar, click Select, and select the strokes you want
to combine.
The selected strokes are surrounded by yellow bounding boxes and
highlighted in yellow in the GOV.
2. From the General toolbar, click Combine Strokes.
The selected strokes are combined and surrounded by one bounding box,
and are shown in the GOV as one compound stroke.
When strokes are combined, they’re assigned the properties of the
first selected stroke. If you want to retrieve the properties of an
individual stroke before it was combined, use the undo operation.
318 • User’s Guide
Working with Graphics
To separate a stroke
1. From the General toolbar, click Select, and select the stroke you want
to separate.
The selected stroke is surrounded by yellow bounding boxes and is
highlighted in yellow in the GOV.
2. From the General toolbar, click Separate Strokes.
?
The combined stroke is separated into individual strokes.
Morphing Strokes
You can select strokes which exist at different frames and automatically
interpolate between them to create interesting effects.
You can also copy shapes and paste them between the start and end
frames of the morph. For more information, see Copying and Pasting
Shapes on page 334.
To morph strokes
1. Using the transport controls, go to the first frame that contains the stroke
you want to use at the beginning of the morph.
2. From the General toolbar, click Select and select the stroke that you want
to morph.
3. From the General toolbar, click Morph Start to begin the morph.
4. Using the transport controls, advance to the frame that contains the next
stroke you want to add to your morph.
5. From the General toolbar, click Select and select the stroke.
6. From the General toolbar, click Morph Add.
The stroke is added to your morph.
7. Continue adding selected strokes to your morph using the Morph Add
command.
8. When you’re about to add the last stroke, click Morph End in the General
toolbar to end your morph.
The resulting morphed stroke has an animated shape.
User’s Guide • 319
Chapter 7 • Painting and Titling
Changing the Slope of a Curve
At any control point, you can change the slope of a curve by changing the
length and direction of its tangent handle. You can also create discontinuity in
a curve by breaking the tangent handle at a control point.
To change the slope of a curve
1. Drag a control point or press H to give selection priority to the handles
instead of the control point. The tangent handles may sometimes lie
under the control point.
?
2. Drag the tangent handle.
The shape of the curve changes on both sides of the control point.
Tangent handles
To create a discontinuous curve
1. Click a control point to display its tangent handles.
2. Hold down the B key and drag a tangent handle.
The tangent handle breaks in the center, and the slope of the curve
changes on one side of the control point.
Discontinuous curve
320 • User’s Guide
Working with Graphics
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.
Since it’s difficult to reshape overlapping strokes, you can hide or
lock graphics objects that clutter the viewer. For more information,
see Locking Graphics Objects on page 312 and Hiding Graphics
Objects on page 313.
Edge of shape
To trace a shape
1. Do one of the following:
• In the General toolbar, click Reshaper or press P.
• From the Graphics menu, choose Tool > Reshaper.
2. To trace, do any of the following:
• Drag along the edge of the stroke.
• To trace a straight line, hold down the Alt key and trace along the edge of
the shape.
• To trace without moving existing control points, hold down the Shift key
while you trace.
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.
User’s Guide • 321
Chapter 7 • Painting and Titling
3. Press Esc to exit the Reshaper tool.
Chopping Control Points
If a shape contains a segment that you’d like to eliminate, you can always chop
out the unwanted control points.
?
Before
After: A finger is chopped off.
To chop control points
• Hold down C 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
• Hold down A 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:
• S to scale
• D to rotate
• F to skew
2. Drag the origin to a new location.
3. To center the origin, right-click on the shape.
The origin is positioned at the center of the stroke’s geometry.
To scale a shape
• Hold down S and drag the shape to scale it.
To scale proportionally, press Shift+S.
322 • User’s Guide
Working with Graphics
To rotate a shape
• Hold down D and drag the shape to rotate it.
To skew a shape
• Hold down F 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 G 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.
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
• Hold down O 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.
User’s Guide • 323
Chapter 7 • Painting and Titling
Working with Titles
A text body is a graphics object that consists of a group of words, lines, and
paragraphs. You create, edit, and select titles using text bodies in the Edit
Text mode.
By default, word wrapping is on when using the Text tool. When the edge of a
text body is reached, the text continues on to the next row.
There is no automatic word hyphenation. Line breaks always occur at the end
of a word. If a word is longer than the text body, the word breaks at the edge.
To prevent the word from breaking, increase the width of the text body.
?
To create a title
1. From the GFX Creation Tools toolbar, click Text or press T.
2. In the graphics property tree, use the property editors to define the
properties of the title.
3. Click the viewer.
A text box is displayed.
4. Begin entering text in the text body.
5. From the General toolbar, click Select.
The text body is selected and displays the title with the properties
you specified.
6. Press Enter or click Edit Text to return to Edit Text mode.
The text body in Edit Text mode is displayed.
Using Text From Other
Applications
You can cut, copy, and paste text to and from all other text generation
applications that use the Windows Clipboard. Because Avid|DS uses a Rich
Text Format (RTF) compatible text engine, you can exchange text with an
application, such as Microsoft Word. Not only is the text itself exchanged, but
also much of its formatting. Not all formatting remains intact when you
import text into Avid|DS. Some formatting may be displayed while editing
text, but not used when the text is processed.
Graphics, such as strokes or clip art, cannot be imported or exported
from Avid|DS.
To use text from an external application
1. In the external application, cut or copy the text.
The text is copied to the Clipboard.
2. From the General toolbar, click Text.
3. Click the viewer and press Ctrl+V.
The text is pasted in a text body.
324 • User’s Guide
Working with Titles
To copy text to an external application
1. From the General toolbar, click Edit Text.
2. In a text body, highlight the text to be copied and press Ctrl+C.
The text is copied to the Clipboard.
3. In the external application, place the pointer at the insertion point and
press Ctrl+V.
?
The text is pasted in the external application.
Importing HTML Text
You can import an HTML file and convert it into a text body. As many text
properties as possible are retained, such as font, size, and color. This is very
useful when setting up rolls and crawls with different styles for headers and
names, since you can set the text up before working in Avid|DS.
To import HTML text
1. From the GFX Creation Tools toolbar, click Import HTML.
The Open dialog box is displayed.
2. Select a file to import and click OK.
The text is imported as a text body.
Selecting and Editing
Text
After you create a text body, you can select and edit the text it contains, as well
as its format properties. You can edit the properties of the entire text body or
individual characters within the text body.
To select a text body
1. From the General toolbar, click Select and select a text body.
The selected text body is surrounded by a yellow bounding box.
2. From the General toolbar, click Edit Text.
You can now edit the text body properties.
Selected text body
User’s Guide • 325
Chapter 7 • Painting and Titling
To select individual text characters
1. From the General toolbar, click Select and select a text body.
The selected text body is surrounded by a yellow bounding box.
2. From the General toolbar, click Edit Text.
3. In the text body, select the character that you want to edit by clicking and
dragging over it.
?
“D” selected only
A selection bar appears at the bottom of the selected character.
4. You can now edit the properties of the individual characters.
To select text characters with the same fonts or styles
1. From the General toolbar, click Select, and select a text body.
The selected text body is surrounded by a yellow bounding box.
2. From the General toolbar, click Edit Text.
3. Hold down the Ctrl key, drag over a character possessing the style or font
you want to select.
You can set your user preferences for titling selection in the User
Preferences dialog box. You can choose to select characters that share
the same titling style, titling font, or both when you hold down the
Ctrl key and select.
4. You can now edit the properties of the selected text.
To edit the font and kerning
1. In Edit Text mode, select the text body or individual text.
2. In the graphics property tree, click the Font property icon.
The Font property editor is displayed.
3. Select the Font, Style, and Size you want to apply to your text.
4. Select the Kern Pairs option to move a character pair closer to each other.
This applies to certain fonts only.
5. Select the Font Hinting option to prevent blurry artifacts from appearing
after processing.
This option is not recommended for animated titling sequences.
326 • User’s Guide
Working with Titles
6. To adjust the horizontal spacing between characters, enter a value in the
Kerning box. The default value is 1.
7. Select the Filtering option to reduce the flickering perceived when the text
is viewed on an interlaced screen.
8. Adjust the Character Transform controls to transform characters in X and Y.
Aligning Text
?
You can specify a justification for a selected text body. By adding character
tabs, you can also justify character tabs within a text body.
To justify a text body
1. With the text body selected in Edit Text mode, right-click on the left
margin of the text body and choose a justification from the list.
Right-click on
left margin to
justify text body
The text body is aligned as specified.
To add a character tab to the text body
• With the text body selected in Edit Text mode, hold down the Ctrl key and
double-click inside the text body at the point where you want to insert a tab.
A tab is inserted in the text body. You can move the tab around by clicking
on it and dragging. To remove them, choose Remove from the menu.
To justify a character tab
• With the text body or individual text selected in Edit Text mode, rightclick on the character tab, and choose a justification from the list.
Right-click on
character tab
to justify
User’s Guide • 327
Chapter 7 • Painting and Titling
Converting Text to Strokes
You can convert a text body into individual strokes that you can then edit
individually. You can animate the strokes, edit the characters to create a
custom “font”, or use the stroke to create a custom brush.
To convert strokes to text
1. From the General toolbar, click Select and select a text body.
?
2. From the General toolbar, click Text to Strokes.
Each character is surrounded by a yellow bounding box and appears as a
separate stroke in the GOV.
Searching for Text
When working with large text files, such as credit rolls, it may be difficult to
locate text. You can search through a text body for keywords.
To search for a keyword in a text body
1. With the text body selected in Edit Text mode, click in the text body at the
position where you want to begin the text search.
2. Press Ctrl+F.
3. In the Find dialog box, enter a keyword in the String to Find text box.
The keyword is located and underlined with a selection bar.
Creating Rolls and
Crawls
A roll or crawl typically contains the titles or credits of a program. You can
create a traditional roll in which a title moves from the bottom of the screen to
the top, or a traditional crawl in which a title moves from the right of the
screen to the left. Single or multiple titles can be used for a roll or crawl.
You create rolls or crawls by using the Graphics property editor. This lets you
quickly and easily create standard rolls or crawls that involve few titles. When
you do this, the time span of the titles change to match the duration of the
graphics session.
You can also create the animation manually by using the Animation Key icon
to set individual keyframes. This lets you create a complex roll or crawl that
involves many titles that start and end in different locations. You can also
include paint strokes in a roll or crawl.
When you create a roll or crawl using the Graphics property editor,
the entire duration of the clip is used.
Also, rolls and crawls are real-time effects so you can view the results upon
playback without having to first process them.
In rare cases, real-time effects may require processing to ensure that no
frames are skipped. For more information, refer to Working with Realtime Effects on page 79 of the Avid|DS Compositing & Effects Guide.
328 • User’s Guide
Working with Titles
To create a roll or crawl
1. From the GFX Creation Tools toolbar, click Text to create a text body.
2. From the graphics property tree, open the Font property editor and
specify the font type, style, and size.
3. Click the viewer and type in some text.
4. When you’re done, select the text body.
?
5. From the General 2 toolbar, click Graphics Properties.
6. In the Graphics property editor, select one of the following options from
the Motion box:
• Roll to create a roll.
• Crawl to create a crawl.
7. In the Start Position box, select one of the following options:
• Onscreen to start the roll or crawl on the screen.
• Offscreen to start the roll or crawl off the screen.
8. In the End Position box, select one of the following options:
• Onscreen to end the roll or crawl on the screen.
• Offscreen to end the roll or crawl off the screen.
9. To guarantee optimal quality when building rolls/crawls, select the
Standard Speed option.
10. Click Build Motion.
The title’s transformation is animated.
11. To apply an automatic fade, roll, and crawl animation to selected graphics
objects only, select the Apply to Selection option.
12. To modify the transformation properties of the title, select the title, and
do one of the following:
• From the graphics property tree, open the Transformations property
editor, and modify the values.
• From the View menu, choose Views > Animation Editor. Select the
Transformation property and adjust the function curve.
Creating a Fade
You can automatically create fades by using the Graphics property editor.
When you apply a fade to a graphics object, its time span changes to match the
duration of the graphics session. In addition, the existing opacity settings for a
stroke (brush and fill) and text body (edge, face, shadow) are overwritten with
the new fade values.
User’s Guide • 329
Chapter 7 • Painting and Titling
To fade an object
1. From the GFX Creation Tools toolbar, select a drawing tool.
2. In the graphics property tree, define the properties for your tool.
3. Create an object in the viewer.
4. Move the object to the desired fade-in position.
5. From the General 2 toolbar, click Graphics Properties.
?
6. In the Fade box, set the In and Out values in frames.
7. Click Build Fade.
The object’s opacity properties are animated.
8. To modify the opacity properties of the object, select the object and
adjust the Opacity controls on the Paint Style, Brush, and Titling Style
property editors.
Click the Help icon for detailed information on the Graphics properties.
Creating Handwritten
and Type-On
Animation
You can create animated, scrolling text effects that simulates handwriting or a
typewritten effect.
You can generate a handwritten type of animation on a single or combined
stroke, which is useful for simulating the look of a pen writing across the screen.
You can also generate an animated typewritten effect based on a selected text
body, giving it 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.
To create a handwritten animation
1. In the GFX Creation Tool toolbar, click one of the following drawing
tools: Freehand, Polyline, Rectangle, or Ellipse. Create the graphics object
on which you want to apply the handwriting animation.
2. Draw a single stroke or multiple strokes in the viewer. Make sure you’re
using the brush.
Use the Combine Strokes command in the General toolbar to
combine multiple strokes. For more information on combining
strokes, see To combine strokes on page 318.
3. From the General toolbar, click Select and select the stroke to which you
want to apply the handwritten animation.
The stroke is selected and surrounded by a yellow bounding box.
4. In the graphics property tree, set the time span.
330 • User’s Guide
Working with Titles
You can only create handwritten animation for strokes that have a
duration that’s longer than one frame.
5. Do one of the following:
• From the General toolbar, click Handwriting.
• In the graphics property tree, click Stroke.
?
6. In the Handwriting property editor, click one of the following:
• Forward if you want the handwriting animation to begin with the first
brush stamp, and move towards the last.
• Backward if you want the handwriting animation to begin with the last
brush stamp, and move towards the first.
• Center if you want the handwriting animation to begin in the center of the
stroke, and move outwards towards the first and last brush stamps.
7. Use the Custom Settings if you want the animation to begin or end at a
specific point. The default is 0 for the head setting and 100 for the tail.
Click the Help icon for more information on the Handwriting properties.
To create a type-on animation
1. From the General toolbar, click Select and select the text body to which
you want to apply the type-on animation.
The text body is selected and surrounded by a yellow bounding box.
2. Do one of the following:
• From the General toolbar, click Type-On
• From the graphics property tree, click Titling Body
3. In the Type-On box, click one of the following:
• Forward if you want the type-on animation to begin with the first text
character entered, and move towards the last.
• Backward if you want the type-on animation to begin with the last
character entered, and move towards the first.
• Center if you want the type-on animation to begin in the center of the text
body, and move outwards towards the first and last characters drawn.
4. Use the Head and Tail settings if you want the animation to begin or end at
a specific point. The default is 0 for the Head setting and 100 for the Tail.
Click the Help icon for more information on the Type-On properties.
User’s Guide • 331
Chapter 7 • Painting and Titling
Manipulating Graphics
Before you can edit an object, you must select it. Then you can use the
transformation tools to change the rotational angle, size, and skew of a
graphics object. The shape of individual strokes and the contents of a text
body can also be modified. Other tools let you reorder selected objects by
moving them in front of or behind other objects. Selection tools speed up the
editing process since you can simultaneously select, deselect, and delete
multiple objects.
?
Editing Graphics
Properties
After you’ve created graphics, you can edit any of its properties. You can edit
the properties of a single object or multiple objects simultaneously. When you
edit the properties of a selected object(s), only its properties are changed. The
default properties for the drawing tools are not changed.
To change the properties of a single object
1. From the General toolbar, click Select and click an object in the viewer.
The graphics property tree displays the object’s properties.
2. From the graphics property tree, click a property icon.
The property editor is displayed.
3. Adjust the desired properties.
In the viewer, the object displays the properties you specified.
To change the properties of multiple objects
1. From the General toolbar, click Select and click an object in the viewer.
The graphics property tree displays the object’s properties.
2. Hold down the Shift key and click the objects you want to select.
332 • User’s Guide
Manipulating Graphics
The graphics property tree displays the properties of the selected objects.
Properties common to
all selected objects
?
Stroke properties
Text body properties
3. In the graphics property tree, click a property icon.
• If you clicked the Masks, Time Span, or Transformations property icon,
its property editor displays the properties that are common to the
selected objects.
• If you clicked a stroke property, its property editor displays the properties
that are common to the selected strokes.
• If you clicked a text body property, its property editor displays the
properties that are common to the selected text bodies.
When you open additional property editors, they’re displayed one
on top of the other. Drag the property editor to another location to
view multiple property editors simultaneously.
4. In the property editor, modify the properties.
The selected objects display the properties you specified.
User’s Guide • 333
Chapter 7 • Painting and Titling
Cutting, Copying, and
Pasting Graphics
You can cut or copy objects in the viewer and paste them on the same frame or
on another frame. Cut or copied objects are placed on the Clipboard in the
system memory and remain there until you perform another cut, copy, or
paste operation.
To cut, copy, or paste an object
1. From the viewer, select an object.
The object is surrounded by a yellow bounding box.
?
2. From the Edit menu, choose:
• Cut or press Ctrl+X to cut an object.
• Copy or press Ctrl+C to copy an object.
• Paste or press Ctrl+V to paste an object.
Copying and Pasting Shapes
You can copy the shape of a stroke and apply it to another stroke. The new
stroke is deformed into the new shape, but retains its orginal properties, such
as color and time span information. You can only copy and paste one stroke
shape at a time.
To copy a stroke’s shape
1. Select the stroke with the shape you want to copy.
2. Do one of the following:
• From the General toolbar, click Copy Shape.
• In the Edit Shape property editor, click Copy Shape.
• Press Alt+C.
3. Select the stroke to receive the shape.
4. Do one of the following:
• To paste the shape on top of the first selected stroke, click Paste at Origin
from the General toolbar.
The shape of the first stroke is applied to the second stroke and is
positioned over the first stroke.
• To paste the shape on top of the second selected stroke, click Paste in Place
from the General toolbar.
The shape of the first stroke is applied to the second stroke and is
positioned over the second stroke.
334 • User’s Guide
Manipulating Graphics
Original strokes
?
After the Paste at Origin command is
applied, the rectangle takes the shape
of the circle, but retains its color
information. The new shape is pasted
on top of the first circle.
Duplicating Graphics
After the Paste in Place command is
applied, the rectangle takes the shape
of the circle, but retains its color
information. Note that the new shape
is pasted on top of the rectangle.
Duplicating an object lets you copy an object and its associated properties,
including the time span. Duplicating an object differs from copying an object
in that duplicating takes place within the same graphics session, whereas
copying an object lets you copy and paste objects between different graphics
sessions or layers. A duplicate of the object is pasted on the viewer, whereas a
copy of an object remains in the system memory until you paste it on a frame.
To duplicate an object
1. From the viewer, select an object.
The selected object is highlighted by a yellow bounding box.
2. From the General toolbar, click Duplicate or press Ctrl+K.
The selected object is duplicated and placed on top of the original object.
To see the two objects, you must select the duplicate and move it.
Original object
Duplicate object (surrounded
by a yellow bounding box)
User’s Guide • 335
Chapter 7 • Painting and Titling
Deleting Graphics
You can delete graphics objects one at a time or delete them all simultaneously.
Objects are deleted over their entire duration. For example, if an object in the
current frame has a duration of 5 frames, all 5 frames are deleted.
Once an object is deleted, it cannot be retrieved except by choosing
the Undo command from the Edit menu.
To delete an object
?
1. From the viewer, select an object.
The object is surrounded by a yellow bounding box.
2. Do one of the following:
• Press Delete.
• From the Edit menu, choose Clear.
The object is deleted.
To delete all objects that intersect on the current frame.
• In the General toolbar, click Delete All - Frame or press Ctrl+Delete.
All objects in the current frame are deleted.
To delete all objects in a graphics session
• In the General toolbar, click Delete All - Session.
Changing the Order of
Graphics
Each time you create a graphics object, it’s added to the existing graphics
session. You can change the order of objects by using the Front, Raise, Lower,
and Back tools. The last object you create is placed on top of all other objects.
Graphics applied on layers in a container clip are all part of the same
compositing layer.
Reordering three strokes
To reorder objects
1. From the viewer, select an object.
The object is surrounded by a yellow bounding box.
336 • User’s Guide
Manipulating Graphics
2. In the General toolbar, click any of the following:
• Bring to Front or press Shift+Pg Up (number pad) to move the object in
front of all other objects.
• Raise or press Pg Up (number pad) to move the object up by one level.
• Lower or press Pg Dn (number pad) to move the object down by one
level.
?
• Send to Back or press Shift+Pg Dn (number pad) to move the object to
the back of all other objects.
Transforming Graphics
You can transform an object by moving, scaling, rotating, or skewing it. When
you do this, objects are surrounded by a yellow bounding box and handles are
displayed at its corner and sides. You can manipulate these handles to
transform objects.
For interactive updates while moving, scaling, rotating and skewing
graphics objects, press Ctrl while you drag a handle.
Moving Objects
To move graphics objects, you must use the Select tool.
To move an object
1. In the General toolbar, click Select.
2. In the viewer, click an object to select it.
A yellow bounding box surrounds the selected graphics object and the
graphics property tree displays its properties.
3. Do one of the following:
• Drag to move the selected object
• Use the arrows on the number pad to move the object by 1 pixel.
• Hold down the Ctrl key and use the arrow keys on the number pad to
move the object by 10 pixels.
Scaling Objects
You can modify the height and width of strokes and titles using the Scale tool.
The height and width are scalable as independent values or proportionally.
To scale an object
1. In the General toolbar, click Scale.
2. In the viewer, click an object.
A bounding box with handles surrounds the object, and a red circle marks
the object’s center.
User’s Guide • 337
Chapter 7 • Painting and Titling
3. Drag one of the handles.
Press Shift and drag to increase or decrease the height and width of
the object proportionally.
Press Ctrl and drag. One or more of the opposite handles are pinned
in place while you drag.
By default the object is scaled according to its center and its
transformation properties are set in the Transformations property editor,
where you can edit them.
?
Object center
Bounding box
handles
Scaled object
Original object
Rotating Objects
You can rotate selected objects around their rotation point. The Rotate tool
lets you modify the rotational angle of an object. By default, an object rotates
around its center. You can move this center to any position in twodimensional space. This lets you rotate an object around its corner or around
another object in the image.
To rotate an object
1. In the General toolbar, click Rotate.
2. In the viewer, click an object.
A bounding box with handles appears at each corner of the bounding box,
and a red circle marks the object’s center.
3. Drag a handle clockwise or counterclockwise.
The object rotates around its center and its transformation properties are
set in the Transformations property editor, where you can edit them.
To move an object’s center
1. In the General toolbar, click Select.
2. In the viewer, click an object to select it.
A yellow bounding box surrounds the selected graphics object and the
graphics property tree displays its properties. The object’s center is
displayed as a small red circle.
338 • User’s Guide
Manipulating Graphics
3. Press Shift and drag the center to a new location.
Bounding box
handles
?
Object center
Object center is moved
Skewing Objects
The Skew tool lets you slant an object according to the angle you specify.
To skew an object
1. In the General toolbar, click Skew.
2. In the viewer, click an object.
A bounding box with handles surrounds the object.
3. Drag the handles left or right until the required slant is reached.
The bounding box handles for skewing appear on each edge of the
bounding box. The object is skewed and its transformation properties are
set in the Transformations property editor, where you can edit them.
User’s Guide • 339
Chapter 7 • Painting and Titling
Setting the Transformation Properties
The transformations properties let you apply transformations, such as
translating, scaling, skewing, rotating, and centering the objects you create.
The transformation properties appear in the graphics property tree when you
select an object.
To define the transformations properties
1. From the General toolbar, click Select, and select an object from the viewer.
?
2. From the graphics property tree, click the Transformations property icon.
3. In the Transformations property editor, set the Center, Translation,
Dimensions, Rotation, and Skew properties.
The selected object is transformed according to the transformation
properties you defined.
Click the Help icon for more information on Transformation properties.
340 • User’s Guide
Tracking Graphics Objects
Tracking Graphics Objects
Tracking graphics objects can be very useful in rotoscopy tasks. You can track
the transformation of a graphics objects over time, as well as track the
deformation of shapes. To choose an appropriate tracking method, you’ll have
to decide if it’s more effective to track an entire graphics object or its vertices.
For more information, refer to Tracking on page 451 of the Avid|DS
Compositing & Effects Guide.
?
Transformation
Tracking
You can transform a stroke or a text body by applying one or two trackers
directly to the entire stroke or text body. When applying only one tracker, the
stroke or text body will only translate over time. When applying two trackers,
the stroke or text body can undergo translation, rotation, and scaling.
To transform a graphics object using the tracker
1. From the GFX Creation Tools toolbar, select a drawing tool.
2. Draw a shape that defines the region you want to track.
3. Select the graphics object.
4. From the General toolbar, click Tracker.
The Select (Tracker) property editor is displayed.
5. You are now ready to position the trackers, set the tracker options, and
begin tracking—refer to Using the Shape Tracker on page 476 of the
Avid|DS Compositing & Effects Guide.
To help you position and view the trackers, click Hide Gfx to hide
the graphics object.
Tracking Vertices
You can deform the shape of a stroke by applying trackers to vertices.
To deform a shape using the tracker
1. From the GFX Creation Tools toolbar, select a drawing tool.
2. Draw a shape defining the region you want to track.
S
You can use any drawing tool, but the Polyline tool gives you distinct
control points. When using other drawing tools, select the Curve Fit
option in the Edit Shape property page to reduce the number of
control points.
3. From the General toolbar, click Select and select the graphics object.
4. In the General toolbar, click Edit Shape.
5. In the Edit Shape property editor, select the Tracker tab.
6. You are now ready to position the trackers, set the tracker options, and
begin tracking—refer to Using the Shape Tracker on page 476of the
Avid|DS Compositing & Effects Guide.
User’s Guide • 341
Chapter 7 • Painting and Titling
Working in Raster Mode
Raster mode (also known as destructive mode) lets you perform tedious tasks,
such as rotoscoping quickly and effectively. Since this mode is not vectorbased, processing is not required. The time required to load and save graphics
objects is also dramatically reduced.
As you paint frame-by-frame, the finished, or burned, frames are placed in a
cache and the original graphics objects are deleted. Working in Raster mode
deactivates the recording of graphics objects in the Graphics Objects View
(GOV), flattens them, and stores the resulting images on individual frames
directly to a cache. You can choose to have the frame you’re currently working
on automatically “burned” or you can choose to burn frames later, when
you’re satisfied with the results.
?
When burning frames, keep in mind that clip effects previously applied to a
sequence will be no longer be editable. If you want to apply clip effects to your
sequence, it’s best to use the raster mode to burn your frames first.
Raster mode only works for graphics objects that have a duration of
one frame.
Effect in which Raster mode is used
Clip effects that will be uneditable
after frames are burned
When working in raster mode, you cannot undo an operation once a
frame has been burned. You can use the Delete Burned command
from the Raster Paint toolbar to undo your work on that frame
entirely and start over.
To use the raster mode
1. From the General 2 toolbar, click Graphics Properties.
2. On the Raster Mode property page, click Start.
A message box is displayed to warn you that the operation you’re about to
attempt cannot be reverted.
3. Click OK to proceed in the Raster mode.
4. Do one of the following:
• To automatically burn or “destroy” frames as you advance frames, select
the Burn on Frame Change option.
• Deselect the Burn on Frame Change option if you want to burn frames on
demand. You can do this by clicking Burn Frame in the Raster Paint
toolbar when you’re satisfied with your work.
342 • User’s Guide
Working in Raster Mode
5. To create a copy of the rastered strokes when advancing frames, select the
Copy Burned Strokes option.
6. If you don’t want to work in real time, select the Non Real-time option.
7. To deactivate the warning message that appears concerning undo/redo
operations when you change frames, select the Remove Warning When
Burning option.
8. To easily retrieve work done in the raster mode, enter a file name in the
Base Cache File Name text box. It should not exceed ten alphanumeric
characters. If you do not enter a file name, one will be entered by default
based on the sequence name. For more information on working with
caches, refer to Raster Mode Caches on page 154 of the Avid|DS
Compositing & Effects Guide.
?
9. Use the transport controls to advance the clip to a frame where you want
to begin using the raster mode.
10. Apply paint strokes to the first frame.
When you’ve completed the first frame, you can advance to the next
one by using the right arrow key on the keyboard.
11. Advance to the next frame.
If you selected the Burn on Frame Change option, when advancing to a
new frame, the graphics objects applied to the previous frame are burned
and saved to a cache. A small white box appears under the timeline in the
GOV to indicate that the frame has been burned.
In the GOV, white boxes
indicate burned frames
To work even more quickly, you can use the Raster Paint toolbar.
The toolbar can be accessed from the View menu, choose Toolbars >
Raster Paint.
To delete burned, rastered strokes
While you’re painting frame-by-frame, you may decide to redo a rastered
frame. To do this, you must still be in the current graphics session in order to
delete the rastered strokes.
1. Using the transport controls, advance the clip to the frame on which you
want to delete the rastered strokes.
2. From the View menu, choose Toolbars > Raster Paint.
User’s Guide • 343
Chapter 7 • Painting and Titling
3. From the Raster Paint toolbar, click Delete Burned.
The strokes created before burning the frame are now deleted and the
white box disappears for that frame in the GOV.
Using the GOV in Raster Mode
The GOV provides useful information when working in the Raster Paint
mode. The Raster Paint log lets you save a list of the rastered frames in a text
file. It provides you with information about the rastered frames, so that you
can easily locate them in the cache. The GOV also provides tooltips of the
rastered framed, so that you can locate a frame if you want to delete or redo it.
?
To create and save a Raster Paint log
1. In the GOV, right-click on a small white box.
Right-click on
a white box
2. Click Save Raster Paint Log.
A dialog box appears, prompting you to save the log.
3. Choose the folder in which you want to save the Raster Paint Log
information. You may want to save your work for different graphics
sessions in separate folders.
4. Click Save.
A text file is created.
Date the file
was created
Name of
rastered frame
Base cache file name
To see the file name of a rastered frame, place the pointer over the
frame’s white box and a tooltip appears indicating the file name.
344 • User’s Guide
Creating Mattes
Creating Mattes
A matte is a grayscale image that defines the transparency of an image when it
is composited over another. An image can have a matte in its alpha channel
(internal matte) or use a matte derived from another image (external matte).
When you use the graphics tools to create a matte, it is created in the alpha
channel of the clip or layer that will be composited.
A garbage matte can be used on images in which portions of an image are
difficult to key out. This occurs when colors in the foreground image are
similar to the background colors that you want to key out. A garbage matte
lets you block out areas that cannot be properly keyed.
?
Creating a Travelling
Matte
A travelling matte is used for compositing a part of a foreground image onto
the background image. You can then animate the geometry of the shape so
that it matches the outline of the object in every frame of the sequence.
When the element you want to rotoscope is a fast moving object,
such as a car, you should apply the Deinterlace effect inside the
graphics container clip, perform the graphics or compositing tasks
and then go to the parent timeline to apply the Interlace effect. For
more information, refer to Deinterlace Effect on page 345 of the
Avid|DS Compositing & Effects Guide.
To create a travelling matte
1. From the browser, drag the background clip to a video track on the timeline.
2. Click the compositing icon in the taskbar.
This automatically creates a graphics container.
3. Right-click on the timeline effect track, and select Insert Track from
the menu.
4. From the browser, drag the foreground clip to the new video track.
5. Drag the track icon for the new video track to the Layers view.
A layer is created in the Layers view.
6. Make sure the Autokey button is deactivated.
7. On the top layer, click the Gfx button.
The Graphics layout is displayed.
8. From the GFX Creation Tools toolbar, click Polyline.
9. In the graphics property tree, load the Fill Fx property icon with the Color
Blend or Reveal effect.
User’s Guide • 345
Chapter 7 • Painting and Titling
10. In the graphics property tree, click the property icons, and do the following:
• Paint Style: Select the Fill option, and deselect the Brush option.
• Fill Fx: If you’re using the Color Blend effect, set the Alpha value to 0.
• Masks: On the General property page, select the Alpha option, and
deselect the R, G, and B options in the Paint on Channels box.
• Time Span: Set a stroke duration.
?
11. In the viewer, draw an outline of your subject.
12. From the General toolbar, click Select and then click Edit Shape.
Polyline stroke
reveals the
background
image (sky)
13. Edit the object’s shape.
14. Open the Edit Shape property editor, and click Set Key.
A keyframe is set at the current timecode.
15. Advance to the next frame, edit the object’s shape, and set another
keyframe. Repeat these steps until you’re done.
16. When you’re done, press Esc to exit Edit Shape tool.
17. From the General 2 toolbar, click Process to process the graphics session.
Use the transport controls to play the clip.
18. To view the matte, click the Layers icon on the view switcher.
346 • User’s Guide
Importing an Image
Importing an Image
Importing an image in your graphics session lets you use images of any size
without having to capture them. You can also import images that were created
in other paint applications, as well as use the image’s alpha. For example, you
can import a logo created in Adobe Photoshop or Illustrator, and use it in
your graphics session.
When you import an image in Avid|DS, a rectangular stroke is created in the
viewer and filled with the image you imported. The original size of the
imported image is retained. That is, the image is not scaled or cropped. You
can treat the imported image as a graphics object, which means you can edit
any of its properties, as well as animate and transform it.
?
You can import still images, but not video sequences.
To import an image
1. From the GFX Creation Tools toolbar, click Import Image.
2. From the Import Image dialog box, select an image to import.
The image, in its original size, is imported and appears in the lower-left
corner of the viewer. The default time span is one frame. If the imported
image is small, you can see the entire image in the viewer. If the imported
image is large, part of the image will lie outside the viewer.
The imported image, a
small logo, is actually a
rectangular stroke that is
filled with the image you
imported. The stroke was
scaled and moved to the
upper-center of the viewer.
3. To use an image’s alpha, select the stroke, open the Fill Fx (Cutout)
property editor, and select the Use Alpha option.
If you can’t see the entire stroke, zoom out of the viewer by pressing
Shift+Z and dragging.
User’s Guide • 347
Chapter 7 • Painting and Titling
A zoomed out view of
a large imported
image. Because of its
size, only the map
portion of the image is
displayed in the viewer.
The rest of the image
lies outside the viewer.
?
Importing
Encapsulated
PostScript (EPS) Files
If you have EPS files that you want to use in your current graphics session, you
can import them directly into your graphics session. The color information in
the EPS files is retained. Once imported, each shape in the EPS file is a
separate stroke in Avid|DS.
You can import solid colors, but not gradients.
Avid|DS can import files created with Adobe Illustrator 8.0 or earlier
versions. To work with Illustrator 9.0 files, save it as a version 8.0 file.
Avid|DS only supports Microsoft Windows EPS files. If you have
Macintosh EPS files, open them with a Windows version of Adobe
Illustrator and resave them.
You can also import EPS files as brushes. For more information, see Creating
Custom Brushes on page 296.
To import an EPS file
1. From the GFX Creation Tools toolbar, click Import EPS.
The Open dialog box is displayed.
2. Select an EPS file and click Open.
The EPS file is imported into your graphics session.
If your EPS file contained closed characters, such as a, b, d, o, p, 6, 8, 9, or
0, their shapes may not appear as expected. That’s because each character
consists of several strokes. Avid|DS imports each stroke separately and
then fills it. For example, the letter “O” consists of two strokes, the inner
and outer shapes; both are filled. To “knock out” the inner shape, select
the inner and outer stroke of the character and click Combine Strokes.
After import, both
inner and outer
shapes are filled
348 • User’s Guide
Combined inner and
outer shapes. Inner
shape is “knocked out”.
Processing Graphics
Processing Graphics
Any graphics that you created or any effects applied to clips must be processed
before you can preview them. You can process all or part of the timeline, as
well as choose different levels at which to process your clips. You can process
graphics you have created in full resolution, and view them in real time. The
results of the processing is stored in a new media file (cache), so that your
source media remains unaltered. For more information on processing, refer to
Processing Effects on page 127 of the Avid|DS Compositing & Effects Guide.
?
You can preview the resulting composite before processing all frames
in the sequence. To view the sequence frame by frame, press
Ctrl+Up Arrow.
To process graphics
1. Do one of the following:
• From the General 2 toolbar, click Process.
• From the Processing toolbar, click Process.
• In the timeline controls, click the Process indicator icon.
Process indicator
Highlighted marker ribbon
indicates unprocessed
section of the sequence.
User’s Guide • 349
Chapter 7 • Painting and Titling
2. In the Processing Options dialog box, select the appropriate options.
?
3. Click OK to begin processing.
A progress indicator appears on the bottom of the desktop to show the
status of the process.
4. Click Cancel to stop the process at any time.
350 • User’s Guide
?
Chapter 8
3D DVE and Titling
User’s Guide • 351
Chapter 8 • 3D DVE and Titling
In This Chapter...
This chapter describes how to create and edit 3D DVEs, graphics, and titles.
You’ll also learn how to work with surfaces, materials, lights, and shadows, as
well as import and export projects.
Workflow: Creating 3D DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Workflow: Titling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
?
Working in the 3D World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Setting Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Working with the Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
About Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Manipulating Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Working with 3D DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Working with Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Working with Surfaces and Materials . . . . . . . . . . . . . . . . . . . . . . . . 424
Working with Lights and Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Importing and Exporting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Setting the Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
352 • User’s Guide
Workflow: Creating 3D DVEs
Workflow: Creating 3D DVEs
Not available in
Avid|DS HD Editor
1
You can create and manipulate 3D DVEs in the 3D DVE layout. The following
illustration shows the typical workflow of a 3D DVE session.
Select a clip to use as the DVE
?
Apply 3D DVE
effect to clip on
timeline
Clip used as 3D DVE
A 3D layer is automatically created
in the 3D DVE Layers view.
2
Decide whether you want to work in Direct View mode.
3
Manipulate the 3D DVE in
the viewer
4
Add effects to the 3D DVE
User’s Guide • 353
Chapter 8 • 3D DVE and Titling
Workflow: Titling
You can create and manipulate 2D and 3D titles in the 3D DVE layout. The
following illustration shows the typical workflow of a titling session.
1
Decide whether you want to create a 2D or 3D title.
Apply the 2D Titling or 3D Titling effect to your clip.
Clip is used as background for titles.
?
Depending on the effect you selected, either a 2D layer or
3D layer is automatically created in the 3D DVE Layers view.
Decide whether you want to work in Direct View mode.
2
3
Select the Text tool and set its properties
Text tool
4
Create a title in the viewer
5
Select the title and edit its properties
The word “Venice” was kerned to match
the length of the words above it.
354 • User’s Guide
Working in the 3D World
Working in the 3D World
Not available in
Avid|DS HD Editor
?
Three-Dimensional
Space
Before you create 3D DVEs, graphics, or titles, you should be aware of some
basic 3D concepts, such as three-dimensional space, materials, and lights.
It’s essential to understand the notion of working within a virtual threedimensional space using a two-dimensional user interface. To represent the
geometry of an object, Avid|DS uses the classical Euclidean/Cartesian
mathematical representation of space. It is based on three perpendicular axes
X, Y, and Z, intersecting at one point called the origin.
XYZ Axes
To remember the direction of the X, Y, Z axes, use the “right-hand” rule: hold
up your right hand so that your palm is facing you, then extend your thumb
to the right, hold your index finger up, and point your middle finger towards
you. Your thumb is pointing in positive X, your index finger in positive Y, and
your middle finger in positive Z. The point of origin is 0, 0, 0. The opposite
directions represent negative X, Y, and Z.
XYZ Coordinates
With the Cartesian coordinate system, you can locate any point in space using
three coordinates. For example, if X = +6, Y = –6, Z = +6, a point would be
located to the right of, below, and in front of the origin.
XZ, XY, YZ Planes
Since you’re working with a two-dimensional interface, spatial planes are used
to locate points in three-dimensional space. The perpendicular axes extend as
spatial planes: XZ, XY, and YZ. Imagine that the XZ, XY, and YZ planes are
folded together like the top, front, and right side of a box. This helps you keep
a sense of orientation when you’re working.
User’s Guide • 355
Chapter 8 • 3D DVE and Titling
Global and Local Coordinate Systems
The XYZ coordinate system can be global or local.
When you place an object in 3D space, it is inside a world, with the origin at
(0, 0, 0) of the ground plane in the viewer. Accordingly, the XYZ coordinates
locating the object in relation to the origin are called global coordinates.
A local coordinate system is thought of in terms of an object’s own point of
reference, which is its own center. This center also has three axes: X, Y, and Z.
?
The center of an object is only a reference—it is not necessarily in the middle
of the object because it can be relocated (as well as rotated and scaled).
Materials
Once you’ve created an object, you can apply materials to define its surfaces’
appearance. A surface is an area of an object. You can control the visibility and
appearance of each surface by applying a set of properties called a material.
You can modify the appearance of the various surfaces of an object. For
example, you can apply a brick texture to a rectangle to give the appearance of
a brick wall, a gradient to a wavy shape that runs along the left edge of the
view to enhance a scene, or a reflective texture to the edges of the characters in
a word to simulate a chrome outline.
Lights
Another basic element you will work with is light. Light sources are points in
three-dimensional space that emit light, causing objects (with materials that
can be affected by light) to appear illuminated. There are three kinds of light
sources: infinite, local, and spot.
You specify the location of light sources relative to objects in the scene by
using light source objects, which exist above all other objects in the scene.
For more information, see Working with Lights and Shadows on page 433.
356 • User’s Guide
Setting Preferences
Setting Preferences
Often, when setting up an animation or creating text, you don’t really need to
see all the other layers and effects in your sequence. When working with the
3D DVE effect, there are many ways to improve the responsiveness of
Avid|DS. You can turn on the features you really need and turn off the rest,
such as the following:
• Working in Direct View mode—see Working in Direct View Mode on page 359.
?
• Viewing the background—see Using a Background on page 357.
• Suspending output to the output monitor—see Suspending Output to the
Output Monitor on page 360.
• Working in wireframe mode—see Working in Wireframe Mode on page 363.
• Viewing preferences and quality level—see Setting the Viewer Quality
Level on page 364.
All of your choices depend on the complexity of the objects you plan on
creating in the 3D DVE layout, as well as how responsive you want Avid|DS to
be. Just keep in mind that in a typical scenario, Avid|DS processes one entire
frame before displaying the ouput in the viewer and output monitor. As a
result, this slows down the responsiveness of Avid|DS.
Using a Background
You’ll have to decide whether you want to composite your graphics onto the
background inside the 3D DVE or outside. We recommend that you do so
within the 3D DVE so you can see the background while working in the
Direct Vew mode. The background lets you easily place titles or graphics, so
that they appear in the correct location relative to the background.
However, if your background is large, it is probably better to leave it outside the
3D DVE. For more information, see Working in Direct View Mode on page 359.
There are two ways to include a background in your 3D DVE session:
• Use a clip on the timeline or
• Select a background image from the 3D DVE/Options property editor.
Using a clip as the background
Using an image as the background
User’s Guide • 357
Chapter 8 • 3D DVE and Titling
To use a clip on the timeline as the background
1. On the timeline, select a clip and position the play cursor over it.
2. From the Image Tools toolbar, click one of the following:
• 2D Titling to create 2D titles.
The 3D DVE layout is displayed, the selected clip is used as the
background, and a 2D layer is created in the 3D DVE Layers view.
?
• 3D Titling to create 3D titles.
The 3D DVE layout is displayed, the selected clip is used as the
background, and a 3D layer is created in the 3D DVE Layers view.
To use a background image
1. On the timeline, select a clip and position the play cursor over it, and click
the 3D DVE layout icon on the taskbar.
The 3D DVE layout is displayed.
2. From the 3D DVE/Options property editor, select the Preferences
property page.
3. Select the Background option and select an image from the list:
358 • User’s Guide
Blinds
Boilerplate
Brick
BrickRed
Brushed
Metal
Clouds
Concrete
Default
Default
Gradient
FloorMat
Fur
GiraffeFur
GoldWave
Granite
Metal
OakBoard
Peanuts
Pearl
Pennies
People
Rivets
Setting Preferences
Satin
Silver
SilverWave
Speaker
TreeBark
Wood
The selected image is centered behind all objects in the viewer and scaled
down (if larger than the pixel dimensions of the scene) or padded with a
black border (if smaller than the pixel dimensions of the scene).
?
You can also select an input (from the list) to use the clip on the
timeline as the background.
Click the Help icon for detailed information on the Preferences properties.
To show or hide the background
1. From the 3D DVE/Options property editor, select the Direct View
property page.
2. Select the View Background option. For quicker previews of your
sequence, hide the background.
The View Background option is for viewing purposes only and does
not affect the processed output.
Click the Help icon for detailed information on the Direct View properties.
Working in Direct View
Mode
Just like all other effects in Avid|DS, the 3D DVE layout, by default, displays
the results of one entire frame in the viewer. While this may be convenient for
viewing the results of your sequence, including the output of the 3D DVE
effect, it can be quite slow, reducing the responsiveness of Avid|DS. Some or
all of the effects before you can see them in the viewer.
If you have a complex sequence, such as the following:
• A 3D DVE effect on the overlay track that contains a picture-in-picture
effect with a spotlight,
• A large blur effect on top of the 3D DVE effect, and
• A background clip in the timeline,
It would be much faster not to view all of this while you’re working on the 3D DVE
portion of the sequence, especially the large blur, which takes time to process.
This is where the Direct View mode comes in handy; it lets you focus
exclusively on your 3D DVE session, without being slowed down by the
processing of other clips or effects in the frame. This improves the
performance of Avid|DS, especially when working with text.
User’s Guide • 359
Chapter 8 • 3D DVE and Titling
The Direct View mode is for viewing purposes only and does not affect the output.
?
Default mode show the results of your
entire sequence in the viewer
Direct View mode shows only the
results of your 3D DVE session
To work in Direct View mode
• From the Viewer toolbar, click Direct Mode.
The viewer displays only the contents of your 3D DVE session.
Suspending Output to the Output Monitor
By suspending (or not sending) the output of your scene to the output monitor,
you can increase the interaction speed when working in the 3D DVE layout.
You can only suspend output to the output monitor when working
in the Direct View mode.
To suspend output to the output monitor
• From the Viewer toolbar, click Suspend Output.
The output of your scene is not displayed on the output monitor.
Displaying Guides
You can display various guides or hide parts of objects in the viewer to
position objects relative to each other and to the edges of the viewable area.
Guides are not visible in the final production.
Showing the Safe Action/Title Areas
The safe action area is the central area of the viewer where action can occur
without having noticeable distortion. The safe title area, also in the central
area of the viewer, is where you can safely place graphics and titles without
having any of its edges cut off. These areas delineate where action and titles
should occur to be fully visible on a television set.
360 • User’s Guide
Setting Preferences
Safe action guide
?
Safe title guide
To show or hide the safe action/title areas
• Do one of the following:
- Right-click on the viewer and choose Safe Action/Title from the menu.
- From the Viewer toolbar, click the Safe Action/Title icon.
When the safe action/title guides are displayed. When you move objects
near the safe action/title guides, they snap to it. You can, however, still
move the objects outside the safe action/title areas.
Showing Construction Lines
Construction lines define the boundaries of objects, such as text and the scene
itself. By showing construction lines, you can identify the location and size of
these types of objects, as well as any that are empty. Construction lines also
display the shadow plane for projected shadows. For more information, see
Changing a Shadow’s Location on page 439.
Construction line
To show or hide construction lines
• From the Viewer toolbar, click the Construction Lines icon.
Construction lines appear as dashes around the borders of objects.
User’s Guide • 361
Chapter 8 • 3D DVE and Titling
Showing the Grid
The grid consists of evenly spaced points that you can use to align objects to
each other or to the sides of a scene. The grid uses a standard 16×12 layout.
When you show the grid while in the 3D DVE layout, by default, it’s in Snap to
Grid mode. For more information, see Positioning Objects at Specific Locations
on page 377 and Aligning Objects Relative to Each Other on page 378.
The grid is not visible in the final production.
?
To show or hide the grid
• From the Viewer toolbar, click the Grid icon.
The grid appears as points at the intersections of the grid lines.
Showing Objects Viewable Within the Frame
The frame of a project is the dimensions of the scene, which represent the
output resolution. If there are objects moving in or out of a frame over time,
you may want to show or hide those parts of the objects that are “outside the
frame”. Viewing only the visible portions of objects may make previewing the
project less distracting. However, when you’re editing objects, you will usually
want to see all the objects.
Objects outside of the viewable frame will be hidden only if you have
not tumbled the scene.
Although objects may be hidden from view, you can still select them.
Clip to Frame: Selected
Clip to Frame: Deselected
To show or hide all objects within a frame
• From the Viewer toolbar, click the Clip to Frame icon.
362 • User’s Guide
Setting Preferences
Working in Wireframe
Mode
Working in wireframe mode lets you easily see the outline of all the objects in
your scene, making it easier to select and edit them. This can be useful when
there are objects hidden behind other objects.
You can also precisely edit and manipulate objects without being distracted by
any of the effects defined for it. The wireframe mode increases the speed of
interaction because wireframe objects are not processed.
?
To work in wireframe mode
1. In the 3D DVE/Option property editor, select the Direct View property
page.
2. Select the View as Wireframe option.
All objects in the viewer appear in wireframe.
For fast animation playback, suspend the output (to output
monitor) and press Ctrl-play. The sequence will play back and
animated objects appear in wireframe mode.
Rendering Objects as a Wireframe
You can draw select objects as a wireframe to help you focus on the placement
of objects in a scene, and not on how the objects appear.
To render objects in wireframe
1. Using the Edit tool, select an object.
2. From the Effect property editor, select the Render as Wireframe option.
The Render as Wireframe option affects the final production.
Rendered normally
Rendered as a wireframe
The wireframe is drawn using the object’s main material.
Click the Help icon for detailed information on the Effect properties.
User’s Guide • 363
Chapter 8 • 3D DVE and Titling
Setting the Viewer
Quality Level
You can change the processed on-screen quality of objects in the viewer by
adjusting the quality level. Increasing the quality level improves the visual
accuracy of objects, but at the expense of system responsiveness. Decreasing
the quality level makes it faster for you to move and edit objects, but at the
expense of visual accuracy and detail. The quality setting does not affect the
processing quality.
To set the quality level
?
1. From the 3D DVE/Options property editor, select the Direct View property
page.
2. Adjust any of the following properties that affect the quality of objects
rendered in the viewer:
• From the Antialiasing list, select one of the following:
- None to apply no antialiasing. This setting produces jagged or aliased
edges.
- Fast 2D to draw flat objects.
• Texturing controls the quality of textured surfaces in proportion to the
time required to render the texture onto the surface.
• Lighting controls the quality of lit surfaces.
• Tessellation controls the smoothness or approximation of curved edges
on characters and shapes.
• Shadowing controls the quality of soft shadows.
• Motion Blur applies a motion blur on fast moving objects.
Click the Help icon for detailed information on the Direct View properties.
364 • User’s Guide
Working with the Camera
Working with the Camera
The camera in Avid|DS is similar to a real camera, letting you view objects in
the scene from different angles and perspectives. You can create interesting
effects, such as camera fly throughs, by animating the camera’s parameters.
The camera shows you what the scene will look like when you render it.
The main camera icon in the viewer has two arrows. The blue arrow indicates
where the camera is “looking”, that is, the direction the lens is facing. This is
called the interest. The camera is always constrained to the interest. The green
arrow indicates the camera’s up direction. You can change the camera’s
direction by rolling the camera.
?
You can only see the camera icon while you’re viewing through the
alternate camera. For more information, see Viewing Through the
Alternate Camera below.
Green arrow shows up direction
Blue arrow points towards interest
To select the camera
• Do one of the following:
- In the 3D DVE Object View, click the bar that corresponds to the
camera.
- In the 3D DVE Layer view, click Camera.
- Click the camera in the viewer.
Viewing Through the
Alternate Camera
In addition to the main camera, there’s also an alternate camera. In many
ways, the main and alternate cameras are similar, except that the alternate
camera is not an actual object. It’s only a tool for viewing and navigating
through your scene; it is not displayed in the viewer and does not have any
properties for you to edit.
When viewing through the alternate camera, you can see the main camera,
and the background, if any, is not visible. You cannot select or animate the
alternate camera.
User’s Guide • 365
Chapter 8 • 3D DVE and Titling
Viewing through the main camera, which is
not visible as you are looking through it.
Viewing through the alternate camera.
The main camera is visible.
?
Zoomed out view through the alternate camera.
Snapping the Camera
By snapping the main camera to the alternate camera or vice versa, you can
get a different view of your scene.
To snap one camera to the other
• Click one of the following icons in the Viewer toolbar:
- Snap Alternate Camera to Main Camera.
- Snap Main Camera to Alternate Camera.
To toggle the current camera
• In the Viewer toolbar, click the Toggle Camera icon.
If you were using the main camera, the view is switched to the alternate
camera and vice versa.
Viewing a Scene from Different Angles
Using the alternate camera, you can view the objects in your scene from
different angles. This is useful when positioning or animating objects.
Viewing the scene through the alternate camera does not affect the
final output of your scene.
366 • User’s Guide
Working with the Camera
To view the scene from different angles
• From the 3D DVE Viewer toolbar, click one of the following icons:
Icon
Example
Description
View Top
Displays scene
from above
View Left
Displays scene
from left
View Front
Displays scene
from the front
View Right
Displays scene
from the right
?
If you were using the main camera, the view is switched to the alternate
camera and you can see your scene from different angles.
User’s Guide • 367
Chapter 8 • 3D DVE and Titling
To tumble the scene
• From the Viewer toolbar, click the Tumble icon and drag on the viewer.
?
A tumbled scene
A light-colored orientation grid and axis appear in the viewer as you
tumble the scene. The X, Y, and Z axes identify the orientation of the
frame, with Y identifying the top of the frame and Z identifying the front
of the frame.
Manipulating the
Camera
It’s easier to view your scene when you manipulate the camera by zooming,
panning, dollying, or rolling it.
To zoom the camera
• Click the Zoom icon in the Viewer toolbar. In the viewer, drag down/left
to zoom in or drag up/right to zoom out.
To pan the camera
• Click the Pan icon in the Viewer toolbar and drag in the viewer.
To dolly the camera
• Click the Dolly icon in the Viewer toolbar and drag in the viewer.
To roll the camera
• Do one of the following:
- Click the Roll icon in the Viewer toolbar. In the viewer, drag down/left
to roll clockwise or drag up/right to roll counterclockwise.
- In the Camera property editor, set the Roll angle. Negative values make
the camera roll left and positive values make the camera roll right.
368 • User’s Guide
Working with the Camera
Resetting the Camera
If you’ve zoomed in and out too much and the perspective on your camera is
in need of a reset or refresh, you can always reset it.
To reset the camera
Do one of the following:
• In the Camera property editor, click Reset.
This resets all the properties of the main camera to the default values.
?
• In the Viewer toolbar, click the Reset Current Camera icon.
The properties of the current camera (main or alternate) are reset to the
default values.
Setting the Camera
Position
The camera’s position defines where the camera exists in the scene. These
coordinates are local and are not affected when a transformation is applied to
the camera.
To set the camera position
Do one of the following:
• In the viewer, select the camera and drag it to a new location.
• In the Camera property editor, enter values in the Position box.
Defining the Camera
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. It is
represented by a cross, which you can view through the alternate camera.
You can translate and animate the position of the interest as you would any
other parameter. By animating the interest, you can keep a certain object in
the scene in every frame.
Interest
Interest plane
Viewing the interest and interest plane through the alternate camera
User’s Guide • 369
Chapter 8 • 3D DVE and Titling
To define the camera interest
• In the Camera property editor, enter values in the Interest box.
Click the Help icon for detailed information on the Camera properties.
Setting the Clipping
Planes
?
Clipping planes are useful when you want to show or hide specific objects.
You can use clipping planes to set the minimum and maximum viewable
distances from the camera. Objects outside these planes 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.
To set clipping planes
• In the Camera property editor, set the following:
- Near Plane to set the minimum viewable distance from camera. Objects
in front of this plane will not be visible.
- Far Plane to set the maximum viewable distance camera. Objects
behind this plane will not be visible.
You can reduce processing time by choosing appropriate clipping
planes. Smaller ranges of clipping planes take less time to process.
Click the Help icon for detailed information on the Camera properties.
Selecting a Projection
Method
When you rotate an object around the X or Y axis or move the object away
from the center of the scene, you can control the amount of perspective
distortion applied to the object. The perspective distortion simulates the realworld appearance of a rotated or far-away object, where points on the object
farther away look smaller than points closer to you.
Depending on the look you want to achieve, you can change the view from an
orthographic to a perspective projection. When you select an orthographic
projection, objects do not change size as they change distance from the
camera. A perspective projection simulates depth and is useful for simulating
a real camera.
Orthographic projection
370 • User’s Guide
Perspective projection
Working with the Camera
To set the perspective
• From the Camera property editor, select one of the following options
from the from the Projection box:
- Orthographic perspective in which all camera rays are parallel and
objects do not change size as they change distance from the camera.
- Perspective perspective to simulate depth. This projection simulates a
real camera. You can also adjust the Vertical Field of View value. Higher
values produce exaggerated distortions, whereas lower values produce
subtle distortions.
?
Click the Help icon for detailed information on the Camera properties.
Setting the Field of
View
The field of view is the angular measurement of how much the camera can see
at any one time. By changing the field of view, you can distort the perspective
to give a narrow, peephole effect or a wide, fish-eye effect.
To set the field of view
1. From the Camera property editor, set the Angle in the Field of View box.
Small angles are equivalent to a telephoto lens and large angles are
equivalent to a wide angle lens.
2. Select one of the following options:
• Horizontal to apply the angle to the horizontal field of view.
• Vertical to apply the angle to the vertical field of view
Click the Help icon for detailed information on the Camera properties.
User’s Guide • 371
Chapter 8 • 3D DVE and Titling
About Objects
Objects are the building blocks of your 3D DVE session. An object is anything
you can create or manipulate in the viewer while working in the 3D DVE
layout. For example, text, two-dimensional graphics (rectangles and circles),
and even the background itself are objects.
You can create and modify the following types of objects:
• DVE objects are objects whose appearances you can deform based on an
effect or image you apply to them. For example, you can create spheres,
page curls, and ripples—see Working with Surfaces and Materials on
page 424.
?
• Text objects contain characters (letters, numbers, and other symbols) that
you type. The characters in a text object can be static, move vertically
(rolling text), or move horizontally (crawling text). You create text objects
using the Text tool—see Working with 3D DVEs on page 386.
• Graphics objects are geometric shapes, such as rectangles and ellipses. You
create graphics objects by using the Shape, Rectangle, and Ellipse tools—
see Working with Surfaces and Materials on page 424.
• Path objects or paths are shapes onto which you can place or crawl text.
You can convert shapes into paths or paths into shapes—see Placing and
Moving Text on a Path on page 419.
• Layers allow you to create simple two-dimensional effects or more
complex three-dimensional effects in which objects can intersect.
Some objects can contain subobjects, such as the characters you type in a text
body. The 3D DVE session contains all the objects you create while working in
the 3D DVE layout. You can modify subobjects separately.
Object (text object)
Subobject (characters)
372 • User’s Guide
About Objects
About Drawing Tool
Properties
?
The 3D DVE layout is similar to the Graphics layout. That is, before you create
titles or DVEs, you must define how the titles or DVE will appear. Using the
property editors, you can set the object’s properties, such as the color or font.
Each time you select a tool, its properties are displayed in the property editors.
You can set the default properties of the drawing tool before creating an
object. When you do this, the new settings become the default properties that
are applied to the objects you create. These properties remain in effect until
you change the properties in any of the drawing tools. If you decide to create
an object before setting its properties, you can select the object you created
and then modify its properties. When you do this, only the properties of the
selected object are modified.
User’s Guide • 373
Chapter 8 • 3D DVE and Titling
Manipulating Objects
You can select, deselect, arrange, modify, and identify objects. You can copy
and move objects around in the scene, and align objects relative to the scene
or each other. You can also remove objects you no longer need.
Selecting and
Deselecting Objects
?
Before you can edit an object, you must first select it with the Edit tool. You
can select multiple objects at a time to perform the same operation, such as
changing the color on multiple objects at the same time.
When you select an object, its bounding box appears, displaying the bounds
or extent of the selected object.
Bounding box
Bounding box handle
To select a single object
• Using the Edit tool, do one of the following:
- In the viewer, click an object or drag a selection box around an object.
- In the 3D DVE Object View or 3D DVE Layers view, click an object’s
name.
To select multiple objects
• Using the Edit tool, do one of the following:
- In the viewer, press Shift and click the objects.
- In the viewer, drag to make a rectangular selection box around
the objects.
- In the 3D DVE Object View or 3D DVE Layers view, press Shift and click
the objects.
To select all visible objects in the current frame
• Using the Edit tool, click the Select All icon in the 3D DVE Layer toolbar.
To select characters or a grouped object using the Edit or Rotate tool
• Alt-click the character or grouped object.
To deselect all objects
• Using the Edit tool, do one of the following:
- Click away from any object in the viewer.
- From the 3D DVE Layer toolbar, click the Deselect All icon.
374 • User’s Guide
Manipulating Objects
Cutting, Copying, and
Pasting Objects
You can cut or copy objects in the viewer, and paste them to the same frame or
to another frame. Cut or copied objects are placed on the Clipboard and
remain there until you perform another cut, copy, or paste operation. At the
end of your 3D DVE session, all objects that were cut or copied from the
viewer are permanently deleted.
To copy an object to a different location or page
?
1. Using the Edit tool, select an object.
2. From the Edit menu, choose Copy or press Ctrl+C.
A copy of the selected object is placed on the Clipboard.
3. Pan or zoom to the location in the scene or the time in the project in
which you want to copy the objects.
4. Click in the page to activate it.
5. From the Edit menu, choose Paste or press Ctrl+V.
The selected objects are pasted in the new location or page. If the original
object was locked, the copy of the object is also locked.
To move an object to a different location or page
1. Using the Edit tool, select an object.
2. From the Edit menu, choose Cut.
The selected object is placed on the Clipboard.
3. Pan or zoom to the location in the scene to move the object.
4. From the Edit menu, choose Paste or press Ctrl+V.
A copy of the Clipboard’s contents is pasted.
To remove an object from the scene
1. Using the Edit tool, select an object.
2. Do one of the following:
• Press Delete.
• From the Edit menu, choose Cut.
When you use Cut, you can paste the object in another location.
• Right-click on the object in the 3D DVE Layers view and choose Delete
from the menu.
User’s Guide • 375
Chapter 8 • 3D DVE and Titling
Moving Objects
You can move objects freely within the scene, constrained horizontally or
constrained vertically. For rotated objects, you can move an object along the
local or global axes. You can also prevent objects from being moved
accidentally when clicking objects.
If the safe title guide is currently displayed, moving an object near this guide
automatically snaps the sides and corners of an object’s bounding box to the
guide. Subobjects within objects, such as characters in a text body, do not
snap to the safe title guide. For more information, see Showing the Safe Action/
Title Areas on page 360.
?
To move an object freely
• Drag a selected object to a different location.
To move an object horizontally or vertically
• Hold down the Shift key and drag a selected object. The direction you first
drag becomes the constrained axis of movement.
To move a selected object by one pixel
• Hold down the Ctrl key and press one of the arrow keys.
To move a selected object by one-quarter of a pixel
• Hold down the Ctrl+Alt keys and press one of the arrow keys.
To move a rotated object freely within its rotated, local plane
• Hold down the Ctrl+Alt keys and drag a selected object.
To move a rotated object horizontally or vertically along its local axes
• Hold down the Ctrl+Alt+Shift keys and drag a selected object. The
direction you first drag becomes the constrained axis of movement.
Locking and Unlocking
Objects
Locking objects prevents you from moving them accidently when you’re
working with multiple objects. Once you’ve locked an object, you can still
modify the object’s properties using the property editors.
To lock an object
1. Using the Edit tool, select an object.
2. From the 3D DVE Layer toolbar, click the Lock icon.
To unlock an object
1. Using the Edit tool, select a locked object.
2. From the 3D DVE Layer toolbar, click the Unlock icon.
376 • User’s Guide
Manipulating Objects
Reordering 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 or
after another object, you can reorder them in the viewer or 3D DVE Layers view.
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 overlap effects.
Also, you cannot reorder characters in a text object.
?
To reorder objects in the viewer
1. Using the Edit tool, select an object.
2. Click one of the following icons in the 3D DVE Layer toolbar:
• Bring to Front to move the object to the front of all other objects.
• Raise to move the object up one level.
• Lower to move the object back one level.
• Send to Back to move the object behind all other objects.
You cannot move an object between layers using these toolbar
buttons. For more information, refer to Copying and Moving Objects
Between Layers in the online help.
Positioning Objects at
Specific Locations
You can move objects to specific locations within the scene. Each object has
nine common locations (the four corners, four sides, and center) where you
can quickly position other objects. If the safe title guide is displayed, you can
quickly position objects within it instead of the scene.
To position an object within its boundaries (layer or group)
1. Using the Edit tool, select an object.
2. From the Viewer toolbar, click the Scene View icon or one of the Layer
View icons in the toolbar to make sure you’re not viewing the scene or
layer at an arbitrary angle.
3. Click an icon in the Position toolbar.
Use the Lower Left, Lower Center, or Lower Right buttons for lowerthird titles.
User’s Guide • 377
Chapter 8 • 3D DVE and Titling
Upper center
?
Upper left
Upper right
Middle left
Middle right
Lower left
Lower right
Lower center
Center
Each selected object moves to the selected position within the safe title
area. However, note the following behavior:
• If an object is extruded, the object’s front face determines how to position
the object.
• If an object is rotated, the object is positioned based on the front face of
the object.
• If your effect uses perspective projection, objects may appear positioned
incorrectly. This is a side effect of perspective projection. Switching to
orthographic projection will show the correct positioning of objects—see
Selecting a Projection Method on page 370.
• If an object’s position on the Z axis is not 0, the object may not be
positioned properly.
Aligning Objects
Relative to Each Other
You can align the edges or centers of multiple objects relative to each other to
ensure a consistent layout in a scene. You can align objects to their bounding
box edges or centers. Objects will align to the safe title guide if it’s displayed.
To align objects relative to another object
1. Using the Edit tool, select the objects to align.
2. Hold down the Shift key and select the object to which all other selected
objects will be aligned. This is the reference object, as its bounding box
handles are solid instead of hollow.
If you drag on the viewer or use the Select All icon to select the
objects, the reference object is the frontmost object.
3. Click the Scene View icon or one of the Layer View icons in the toolbar to
make sure that you’re not viewing the scene or layer at an arbitrary angle.
378 • User’s Guide
Manipulating Objects
4. To select a different object alignment, click a different Align icon.
Align horizontally
Align right edges
Align left edges
Align top edges
Align bottom edges
Align vertically
?
The selected objects align themselves relative to the reference object.
Object alignment has the same limitations as object positioning. For more
information, see Positioning Objects at Specific Locations on page 377.
Grouping and
Ungrouping Objects
If you want to scale or rotate several objects as if they were part of a larger
object, you can group the objects together.
To group objects together
1. Using the Edit tool, select the objects.
2. From the 3D DVE Layer toolbar, click the Group icon.
The grouped objects appear with a single bounding box.
Hold down the Alt key and click an object in a group to modify the
object separately.
To ungroup grouped objects
1. Using the Edit tool, select a grouped object.
2. From the 3D DVE Layer toolbar, click the Ungroup icon.
If you group an animated collection of objects, animate the group,
and then ungroup the objects, some parts of the animation may be
lost.
Showing and Hiding
Objects
By showing or hiding objects, you can isolate the effect of certain objects or
focus your work on specific parts of the scene.
Mute
Solo
User’s Guide • 379
Chapter 8 • 3D DVE and Titling
To hide a single object
• In the 3D DVE Layers view, click the Mute button for the object.
To show a single object and hide all others
• In the 3D DVE Layers view, click the Solo button for the object. You can
solo multiple objects.
To show all hidden objects
?
• From the 3D DVE Layer toolbar, click the Unhide All icon.
To show or hide objects
1. Using the Edit tool, select one or more objects.
2. From the Render property editor, do one of the following:
• Select the Show Object option to show the object.
• Deselect the Show Object option to hide the object.
Changing the Visibility
of Objects
You can control the visibility of each object in a scene from fully transparent
to opaque. By controlling visibility, you can blend or mix objects in a scene to
produce subtle effects, such as having objects fade in and out over time.
An object with an opacity of zero still requires rendering.
To change the opacity of an object
1. Using the Edit tool, select an object.
2. From the Surfaces property editor, adjust the Master Opacity value.
Unlike the opacity settings for each material on an object, this master
opacity control determines the appearance of the entire object, including
its shadow (if one exists).
Modifying Objects
When you scale and rotate objects, they occur relative to the anchor point, a
location on the selected object from which the operation is based.
If you scale or rotate multiple objects, each object is modified
independently. To modify a collection of objects as a single entity,
you should group them first. For more information, see Grouping
and Ungrouping Objects on page 379.
For graphics objects, you can also deform the object. For more information,
see Editing Shapes and Paths on page 394.
380 • User’s Guide
Manipulating Objects
Adjusting the Anchor Point
When you scale or rotate objects, the objects change based on a point in threedimensional space called the anchor point. Scaling and rotation operations use
the same anchor point.
?
Crosshair
Crosshair
Object’s bounding box
Crosshair
To adjust the anchor point
• Do one of the following:
- Using the Rotate tool, drag the small crosshairs at the intersections of the
axes on the rotation sphere to the intended location.
The anchor point moves along the plane of the crosshair.
- From the Transform property editor, adjust the Anchor Point values
(X, Y, and Z).
You can adjust the Z value of the anchor point only if the object
is extruded.
To reset the anchor point
• Do one of the following:
- Using the Rotate tool, select an object, right-click and choose Reset
Anchor Point from the menu.
- In the Anchor Point box of the Transform property editor, enter 0 in the
X, Y, and Z boxes.
User’s Guide • 381
Chapter 8 • 3D DVE and Titling
Scaling Objects
Although you can draw an object at a specific size, you can still make the
object larger or smaller by scaling it. You can scale an object either
independent of or constrained to its original aspect ratio. Also, you can scale
an object relative to the opposite bounding box handle or to its anchor point.
For more information, see Adjusting the Anchor Point on page 381.
?
Original object
Scaled down
(unconstrained)
Scaled down
(constrained)
To scale an object
1. Using the Edit tool, select an object.
2. To scale the object, do one of the following:
• Drag one of the bounding box handles.
The object scales relative to the bounding box handle on the opposite side
or corner of the object’s bounding box.
• To constrain scaling to the object’s aspect ratio, press Shift and drag one of
the object’s bounding box handles.
• To constrain scaling relative to an object’s anchor point, hold down the
Shift+Ctrl keys and drag one of the object’s bounding box handles—see
Adjusting the Anchor Point on page 381.
• To scale an object in all directions, press Ctrl and drag one of the object’s
bounding box corner handles.
Resizing Objects
Text boxes and groups are objects that have width, height, and depth
dimensions. You can resize an object to any dimensions or fit it exactly around
its contents’ bounding box. Unlike scaling a object, which scales the contents,
resizing an object does not affect the size of its contents.
To resize a text box
1. Using the Edit tool, select an object.
2. Hold down the Alt key and drag one of the object’s bounding box handles.
When resizing a text box, the bounding box changes size, but its
contents do not.
382 • User’s Guide
Manipulating Objects
Rotating Objects
Rotation occurs in three-dimensional space around the X, Y, and Z axes.
Angles of rotation increase in the counterclockwise direction around an axis,
whereas they decrease going clockwise. Rotation adjustments are applied to
objects in the following order: X, Y, and then Z.
y
90°
?
180°
x
z
0°/360°
270°
To rotate an object
1. Using the Edit tool, select an object.
2. From the Tools toolbar, click the Rotate icon.
A rotation sphere appears around the selected object.
3. Use the controls on the sphere to adjust the anchor point—see Adjusting
the Anchor Point on page 381.
Default rotation
anchor point
Object rotated
45 degrees
Rotation anchor point
moved off center
Object rotated 45
degrees
4. Rotate the object by doing one of the following:
• To rotate around a single axis, drag the circle on the rotation sphere
corresponding to the axis.
• To constrain rotations to 15-degree increments, hold down the Shift key
and drag an axis circle.
To reset the rotation of a selected object
1. In the Rotation box of the Transform property editor, enter 0 in the X, Y,
and Z boxes.
2. Using the Rotate tool, select an object, right-click and choose Reset
Rotation from the menu.
User’s Guide • 383
Chapter 8 • 3D DVE and Titling
Renaming Objects
Each object has a name and optional comment you can assign to it. The layers
in the 3D DVE Layers view display these object names. Using unique names
will helps you differentiate similar objects in a scene, and using comments will
remind you of information about an object, such as its purpose in the scene.
To change the name of an object
1. Select an object in the 3D DVE Layers view or use the Edit tool to select an
object in the viewer.
?
2. Do one of the following:
• From the Info property editor, enter a new name in the Name text box.
• In the 3D DVE Layers view, right-click and choose Rename from the
menu, and then enter a new name.
To add a comment to an object
1. Using the Edit tool, select an object.
2. From the Info property editor, enter a description in the Comment text box.
Click the Help icon for detailed information on the Info properties.
Setting the Time Span
The time span defines the duration of 3D DVE objects. By default, the time
span is from the start of the 3D DVE session to the end. You can make an
object appear on one frame only, from the current frame to the end of the
session, from the beginning of the session to the end, or from the first frame
to the current frame. You can also set custom time spans for specific objects.
In the Time Span property editor, the timecode refers to the 3D DVE session
time. That is, 00:00:00:00 is the beginning of the 3D DVE session regardless of
its position on the timeline.
To define the time span
1. Select an object from the viewer or 3D DVE Layers view.
The corresponding bar in the 3D DVE Object View (3D OV) turns yellow.
2. In the Time Span property editor, specify the duration by clicking one of
the following:
• This Frame Only to make the time span one frame.
• This Frame to End to make the time span start at the current frame and
end at the last frame of the 3D DVE session.
• Start to End to make the time span start at the first frame and end at the
last frame of the 3D DVE session.
• Start to this Frame to make the time span start at the first frame and end
at the current frame of the 3D DVE session.
384 • User’s Guide
Manipulating Objects
3. To specify a custom time span, use the In, Out, and Duration timecode
boxes. All values must be expressed in SMPTE timecode.
While you’re editing the time span of a selected object, you can select
the Lock option to lock the duration.
Click the Help icon for detailed information on the Time Span properties.
?
User’s Guide • 385
Chapter 8 • 3D DVE and Titling
Working with 3D DVEs
A 3D DVE is an object whose appearance you can deform based on an effect
or image you apply to it. Some examples of DVEs are spheres, page curls, and
ripples. For some DVEs, you can simulate a displaced surface by applying a
grayscale texture known as a displacement map.
What’s the difference between using a 3D DVE and a simple rectangle? You
can extrude rectangles, but not the DVE and you can apply effects to a DVE,
such as displacement maps.
?
You can modify DVE objects like other objects, with the following exceptions:
•
•
•
•
•
•
Creating DVEs
Editing using the Shape tool
Profile effects
Extrusion
Wireframe rendering
Converting to a path
Combining with other shapes or DVE objects
When you want to include a DVE in a scene, you need to create a DVE object.
You can create multiple DVEs within a scene, as well as delete DVEs that you
no longer need. DVE objects have properties common to all DVE types, as
well as properties specific to the effect you’re using.
To create a DVE
1. From the Tools toolbar, click the Add DVE Node icon.
A rectangle appears within the current layer and covers the entire scene.
2. Using the Edit tool, select the DVE object.
3. To change the effect, open the DVE property editor and select an effect
from the Effect list. Here are some examples:
Effect
Default
Examples
Border
Size: 2.50
Softness: 0.00
Color: Black
Default
386 • User’s Guide
Size: 10.00
Softness: 50.00
Color: Brown
Working with 3D DVEs
Effect
Default
Examples
Page Curl
?
Radius: 0.10
Angle: 0.00
Curl time: 40.00
Radius: 0.25
Angle: 30.00
Curl time: 45.00
Radius: 0.02
Angle: -75.00
Curl time: 30.00
Amplitude: 0.10
Angle: 0.00
Ripple time: 0.00
Frequency: 1.00
Amplitude: 0.10
Angle: 0.00
Ripple time: 0.45
Frequency: 1.00
Amplitude: 0.15
Angle: 30.00
Ripple time: 0.45
Frequency: 2.50
Angle:120.00
Distortion: 0.00
Angle: 360.00
Distortion: 0.00
Angle: 360.00
Distortion: -40.00
Angle: 360.00
Distortion: 100.00
Angle: -180.00
Distortion: 100.00
Angle: -360.00
Distortion: -100.00
Ripple
Sphere
A list of effect-specific properties appears in the Options box next to the
Effect list.
Click the Help icon for detailed information on the DVE properties.
To delete a DVE
1. Using the Edit tool, select a DVE object.
2. Press Delete.
Simulating a Textured
Surface Using a
Displacement Map
In addition to the deformation of an object produced by a DVE, you can also
use a texture to define convex and concave areas on its surface. The luminance
values of the color in the texture (the alpha channel is ignored) define the
convex (raised) and concave (lowered) areas on the surface.
User’s Guide • 387
Chapter 8 • 3D DVE and Titling
A displacement map cannot be used on the Border DVE.
To use a displacement map on a DVE
1. Select a DVE object.
2. From the Surfaces property editor, select the Enable Lighting option for
the Main surface.
?
3. From the DVE property editor, adjust the following controls in the
Displacement box:
• Texture to select an image whose grayscale version defines the contour on
the surface.
• Scale to set the magnitude of the displacement.
• Offset to set the grayscale level in the texture that represents no
displacement of the surface.
• Softness to adjust the smoothness of the surface. You can soften a
displacement map to hide irregularities in grayscale levels in the texture.
4. To adjust the detail of the DVE’s appearance, adjust the X and Y values in
the Detail box. Lower values produce a less accurate appearance, but
rendering is faster and vice versa. For displacement maps, increase the
detail of the DVE object.
Click the Help icon for detailed information on the DVE properties.
To remove a displacement map from a DVE
1. Select a DVE object.
2. From the DVE property editor, select Default from the Texture list.
Applying Profile
Effects
The outline of characters or shapes is known as its profile. You can set the
profile to one of the predefined profile effects, such as Bevel, Ridge, or Tube,
in one of three thicknesses.
To apply a profile effect to objects
1. Using the Edit tool, select the objects.
2. From the Effect property editor, select a profile from the Profile list.
An object that uses a profile effect will not have antialiased edges in
the viewer. To view antialiased edges, render a preview on screen or
output to disk.
For a glow effect, use a colored shadow. For more information, see
Using Shadows to Simulate Glows on page 442.
388 • User’s Guide
Working with 3D DVEs
?
Profile
Profile
Profile
Bevel
Border
Box
Chisel
Default
Emboss
Frame
Ridge
Inset
Ridge
Round
Tube
Click the Help icon for detailed information on the Effect properties.
Extruding an Object
By default, new objects are two dimensional. You can change the depth or
thickness of an object by extruding it. The extruded surface can use its
own material.
To extrude an object
1. Using the Edit tool, select an object.
2. From the Effect property editor, adjust the Extrude Depth value.
For objects that have a profile, adjusting the extrude depth does not
affect the profile.
Click the Help icon for detailed information on the Effect properties.
User’s Guide • 389
Chapter 8 • 3D DVE and Titling
Blurring Moving
Objects
In real life, an object that moves quickly appears blurred. Imagine a camera
taking a picture of the moving object. The object in the picture appears
blurred because the object moved during the short time that the camera’s
shutter was open. If the shutter was open for a shorter time, the object would
appear sharper.
To apply motion blur
1. From the 3D DVE/Options property editor, select the Output property page.
?
2. Select the Enable Motion Blur option.
3. Adjust the Exposure value. 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. The exposure time, measured
in seconds, represents the duration that the shutter is open.
Motion blur is a very time-intensive effect, especially when you use a
long exposure time.
4. If desired, change the quality of the blurred motion by adjusting the
Custom Quality parameters.
Motion blur (deselected)
Motion blur (selected)
The motion blur effect applies to all objects in the 3D DVE session, over
the duration of the session. Also, if the object changes materials, such as its
color or visibility over its duration, these changes will appear faded or
smoothed out as a result of the motion blur effect.
Although you can set a maximum quality for blurred objects,
objects that move very fast will not simulate blurred motion as well
as slower moving objects. You may need to experiment with
exposure time and quality settings to get the desired results.
Click the Help icon for detailed information on the Output properties.
390 • User’s Guide
Working with Graphics
Working with Graphics
A graphics object is made up of control points and tangent handles that define a
shape. The portion of a shape between control points is called a segment. You
can modify the shape of an object at any time.
Tangent handle
Control point
?
Creating Graphics
You can use the following tools to create shapes: Rectangle, Ellipse, and Shape.
When you create new shapes, they become the frontmost objects in the scene.
You cannot create a shape if a shape is currently selected.
Creating Squares and Rectangles
The Rectangle tool lets you create square and rectangular shapes. For example,
you can use this tool to create the basis for a textured backdrop or gradient fill
onto which you add text objects.
To create a rectangle or square shape
1. Click the Rectangle tool in the Tools toolbar.
2. Do one of the following:
• To create a rectangular shape, drag diagonally from left to right.
• To create a square shape, hold down the Shift key and drag diagonally
from left to right.
Rectangle
Square
User’s Guide • 391
Chapter 8 • 3D DVE and Titling
• To create a rectangular or square shape from the center, hold down the
Ctrl key and drag (rectangle), or hold down the Ctrl+Shift keys and drag
(square) from the intended center of the shape.
?
Rectangle
Square
Creating Circles and Ovals
The Ellipse tool lets you create circular and elliptical (oval) shapes.
To create an ellipse or circle shape
1. Click the Ellipse tool in the Tools toolbar.
2. Do one of the following:
• To create an ellipse, drag diagonally from left to right.
• To create a circle shape, hold down the Shift key and drag diagonally from
left to right.
Ellipse
Circle
• To create an ellipse or circle from the center, hold down the Ctrl key and
drag (ellipse), or hold down the Ctrl+Shift keys and drag (circle) from the
intended center of the bounding box.
Ellipse
392 • User’s Guide
Circle
Working with Graphics
Creating Polylines and Curved Shapes
The Shape tool lets you create polyline shapes, such as polygons and curves.
To create a freehand shape with the Shape tool
1. Click the Shape tool in the Tools toolbar.
2. Do one of the following:
?
• To create a polyline shape, click at the location where you want to place
the starting control point.
• To start a curved shape, drag from the location of the starting point in the
direction you want the curve to point.
3. Place subsequent control points, as follows:
• To create a straight-line segment, click at the location for the next
control point.
• To create a curved-line segment with a smooth point, drag from the
location of the next control point.
• To create a curved-line segment with a corner (angular) point, drag from
the location of the next control point. Then, hold down the Alt key and
drag the tangent handle.
Alt-drag
Drag
Cusp
Smooth
Corner
4. To create a closed shape, click the first control point you created.
5. To create an open shape, do one of the following:
• Press Esc.
• Click the right mouse button.
• Click a different tool.
Closed shapes are filled with the default main material. Open shapes
cannot be filled.
User’s Guide • 393
Chapter 8 • 3D DVE and Titling
Editing Shapes and
Paths
For shapes and paths, you can modify the actual Bézier points and curves that
define the form of the shape.
Selecting and Deselecting Control Points
For many shape-editing operations, you must select a control point first. You
can select multiple control points to adjust them at the same time, or deselect
control points that you do not want to modify. You cannot select control
points on multiple shapes at the same time.
?
Selected control point
and tangent handles
Unselected control point
To select a control point
• Using the Shape tool, click a control point.
To select multiple control points
1. Using the Shape tool, select a shape.
2. Do one of the following:
• Hold down the Shift key and click the control points.
• Drag to select the control points.
To select all control points on a shape
1. Select a shape.
2. Right-click on the shape and choose Select All Points from the menu.
To deselect all control points
• Do one of the following:
- Click away from a shape.
- Right-click on the shape and choose Deselect All Points from the menu.
394 • User’s Guide
Working with Graphics
Editing a Shape
The location of control points and curvature near control points determine
the form of a shape. You can add, delete, and move control points, as well as
adjust a control point’s tangent handles to change a shape’s form.
?
You can modify all selected control points if the pointer is not above
a control point at the time you choose the command. Simply rightclick on the shape and choose a command from the menu. Not all
commands apply to multiple control points.
To add a control point
• Do one of the following:
- Hold down the Alt key and click along a shape’s outline.
- Move the pointer above the area of a shape to add a control point, rightclick and choose Insert Point from the menu.
To delete a control point
• Do one of the following:
- Select a control point and press Delete.
- Move the pointer above a control point, right-click and choose Delete
Points from the menu.
To move a control point
• Drag the control point to a new location.
To move a control point on a rotated object
• Hold down the Shift key and drag the control point. The direction in
which you begin dragging becomes the constrained axis of movement.
To move a control point horizontally or vertically
• Hold down the Ctrl+Shift keys and drag the control point. The direction
in which you begin dragging becomes the constrained axis of movement.
To change the curvature of a shape near a control point
• Right-click on a shape and choose a command from the menu.
• Hold down the Ctrl or Alt key and drag a tangent handle. This affects the
control point under the pointer. The following table describes the various
operations you can perform on control points.
User’s Guide • 395
Chapter 8 • 3D DVE and Titling
To make a
Do the following
Cusp point
With the pointer above a control point, right-click and
choose Make Cusp Points from the menu.
Smooth point
Press Ctrl and drag a tangent handle away from a control
point or, with the pointer above a control point, right-click
and choose Make Smooth Points from the menu.
Corner point
Press Alt and drag a tangent handle away from a control
point.
?
To extend the length of a single tangent handle
• Hold down the Shift key and drag the tangent handle.
The length of the tangent handle is extended and its orientation does not
change.
Opening and Closing Shapes
Another way to edit the form of shapes is to open, split, close, or connect them.
To thicken an open shape, use a Frame, Round, or Tube profile
effect.
To open a closed shape or split an open shape in two
• Position the pointer above the control point at which you want to open or
split the shape, right-click and choose Break Point from the menu.
Before
After
Opening a closed shape
Before
After
Splitting an open shape in two
The fill of a closed shape is lost when the shape is opened. Also, if you split
an open path in two, the text on the path moves to one of the new paths.
396 • User’s Guide
Working with Graphics
To close an open shape or connect two open shapes
• Drag an end point onto another end point on the same shape (to close a
shape) or onto another shape (to connect the shapes).
?
Before
After
Before
Closing an open shape
After
Connecting two open shapes as one
Filling Shapes
You can control the appearance of the interior of closed shapes by specifying
whether the shape is filled or not.
Only closed shapes can be filled.
When you close an open shape that was not filled, the closed shape is
not automatically filled.
To fill a shape
• Right-click on the edge of a shape, and select or deselect Fill Curve from
the menu.
Filled
Not filled
Removing Segments
Another way to open a shape or split a shape in two is to remove a segment
from the shape.
To remove a segment from a shape
• With the pointer above a segment, right-click and choose Delete Segment
from the menu.
Before
After removing a
segment
After removing a
second segment
User’s Guide • 397
Chapter 8 • 3D DVE and Titling
If you remove a segment from a closed path, the text on the path adjusts to the
new length of the path. If you remove a segment from an open path (splitting
the path in two), the text on the path moves to one of the paths.
If a shape has only one segment, such as a line, removing the
segment produces two single-point shapes.
?
Working with
Compound Shapes
You can combine multiple shapes into a single compound shape to create
interesting effects. A compound shape is a single object composed of multiple,
individually editable shapes. For example, if you want to create a custom
version of a letter, such as a stylized letter A for a company logo, you can
define the various pieces of the letter and determine how they’re combined.
Compound shapes
Compound shapes are not the same as a group of shapes. All the shapes
within a compound shape exist at the same Z position in three-dimensional
space. Also, the entire compound shape uses the same surface materials. You
cannot modify the material of each shape within the compound shape.
Creating and Separating Compound Shapes
You can combine shapes into a compound shape, make a copy of a shape
that is part of a compound shape, and separate all the shapes within a
compound shape.
Before combining shapes
After combining and
repositioning shapes
To create a compound shape
1. Select the shapes. The properties of the last shape you select will be used
for the combined shape.
2. From the Commands toolbar, click Combine Shapes.
By default, a shape within another shape inverts or “cuts out” the outer
shape. If you select a path to combine with other shapes, the text on the
path is removed.
398 • User’s Guide
Working with Graphics
To copy a shape that is part of a compound shape
• With the pointer above a shape, right-click and choose Copy As Shape
from the menu.
The copied shape appears above the original shape.
Any transformations (translation, scaling, and rotation) or
animation applied to the compound shape will not be applied to the
copied shape.
?
To separate a compound shape into its individual shapes
1. Select a compound shape.
2. From the Commands toolbar, click Separate Shapes.
The properties of the separated shapes will be the same as those of the
original compound shape. However, material properties, such as how a
texture is applied to the object, may be altered.
Combining Shapes Within a Compound Shape
The way you drew the shapes within a compound shape can affect the
appearance of the compound shape. When the shapes of a compound shape
do not overlap each other, both shapes appear in the compound shape.
However, when shapes of a compound shape overlap, the inner shape “cuts
out” or subtracts from the outer shape. However, you can add the overlapping
shape to the compound shape instead of subtracting from it.
To control how one shape affects another within a compound shape
• With the pointer above a shape, right-click and choose Combine Mode
from the menu and one of the following:
- Subtract to remove the area where the shapes overlap.
- Add to fill in the area where the shapes overlap.
Reversing the
Direction of a Shape
Control points on a shape are numbered sequentially, starting at the first
control point on the shape. The route, through sequentially numbered control
points, determines the shape’s direction. This direction controls how the
shape is drawn when it’s part of a compound shape, how the profile of the
shape is drawn, and how the text on a path is laid out. You can change the
default direction for a shape or path.
To reverse the direction of a shape or path
• With the pointer above a shape or path, right-click and choose Reverse
Direction from the menu.
User’s Guide • 399
Chapter 8 • 3D DVE and Titling
Working with Text
A text object contains characters and appears as a text body. There are four
types of text objects: static, rolling, crawling, and path text.
Each type of text object can be stationary (static) or have motion over time.
You can also control whether the text moves outside the dimensions of the
text body. For more information, see Controlling Rolling, Crawling, and Path
Text on page 416.
?
• Static text does not move (scroll) within its text body. The text can still
move around if you manually move each character. Static text is the
default text object.
• Rolling text moves vertically within a text object over its duration, starting
and ending with no text visible, such as the list of credits that usually
appear at the end of television movies and feature films.
You can create rolling text that moves up and down within a text body.
If you enter more text than can fit on one line, the extra words and
characters appear on a new line. The lines of text word wrap.
• Crawling text is a single line of text that moves horizontally, usually from
right to left. A stock price ticker or weather warning messages along the
bottom of a television screen are common types of crawling text that you
see on television or websites.
• Path text (or text along a path) is a single line of text that fits to or moves
along a straight or curved path, such as letters that follow the contour of a
car or words that seem to float in the sky. You can create path text that
moves along the path or is fixed on it.
400 • User’s Guide
Working with Text
Creating a Text Object
When you want to add text, you create a text object, a box into which you type
the text or import an ASCII text file. The box can either expand to fit the text
you type or remain a fixed size into which the text word-wraps to fill it. By
default, text does not animate (roll or crawl). For more information, see
Creating Rolling or Crawling Text on page 416.
To create a text object
?
1. Using the Text tool, do one of the following:
• Click on the viewer. If the text cursor is active in an existing text object,
click away from the text object.
You cannot create a new text object while you’re editing the text in
an existing text object.
• Drag on the viewer to define a text body.
The cursor or insertion point (a vertical bar) appears in the upper-left
corner of the text body.
2. Type in some text.
By default, text aligns along the left edge of the text body and uses the
current text properties in the Text property editor. For more information,
see Aligning Text into Columns on page 408.
The new text object becomes the frontmost object in the scene. Clicking
outside the text body or clicking another tool finishes the creation of the
text object and allows you to modify the text object or the characters
within it.
User’s Guide • 401
Chapter 8 • 3D DVE and Titling
To enter text along a path
1. Create a path—see Creating and Deleting a Path on page 419.
2. Using the Text tool, click on the path and type in some text.
Using Special or
Unicode Characters
?
You can type a special (extended) character, such as a copyright symbol (©) or
any Unicode character into a text body if the font supports the actual
character. TrueType fonts work better than Type 1 fonts.
Determining a Character’s Unicode Value
Before you can enter special or Unicode characters, you must determine their
value. For example, the registered trademark symbol (®) has a Unicode value
of 00AE. You can look up the value in the Character Map utility in Windows.
To determine the Unicode value using the Character Map utility
1. On the Windows desktop, click Start and choose Programs >
Accessories > Character Map.
The Unicode Character Map window is displayed.
Unicode value
2. From the Font list, select the font that you intend to use in Avid|DS.
3. From the Subset list, select Windows Characters.
4. Click the character you want to use.
The Unicode value appears in the lower-right corner of the Unicode
Character Map window. Use this four-character value in Avid|DS.
402 • User’s Guide
Working with Text
Entering Special and Unicode Characters
Once you know the special or Unicode value of the character that you want to
enter, you can enter it in a text body in Avid|DS. The hexadecimal Unicode
value is used to identify special or Unicode characters; this value appears in
the Info property editor.
To enter a Unicode value
1. Click in a text body.
?
2. Hold down the Alt key and type the value on the numeric keypad. For
example, the registered trademark (®) symbol in the Times New Roman
font uses the Alt+0174 key sequence.
3. Release the Alt key.
The special or Unicode character appears in the text body and its
hexadecimal value appears in the Info property editor.
Importing Text
You can import text from an ASCII text file. For example, you can import a
previously created text file containing the names in a credit roll.
Only the first 6,000 characters of a text file are imported. Also, if the
text file contains binary characters, only the text up to the first
binary character is imported.
To import text
1. Create a text body or place the cursor in an existing text body.
If a text body is not currently active, the imported text appears in a new
text body that is half the width and height of the current text body.
2. From the Commands toolbar, click Import Text.
3. In the Import Text dialog box, select the ASCII text file to import.
The text in the selected text file appears in the current text body, using the
current object properties.
Text Overflow
When a text object contains more characters than can appear at one time, the
text object appears differently when the cursor is active in the text object.
When the insertion point is in a text object, a scroll bar appears along the left
edge (for rolling text) or bottom edge (for crawling text) of the text object.
The scroll bar allows you to view and edit any part of the text in the text
object. A scroll bar does not appear for path text.
If you’re currently editing text, press Esc to adjust the scroll bar.
User’s Guide • 403
Chapter 8 • 3D DVE and Titling
Rolling text
Crawling text
Scroll bar
Scroll bar
?
When the cursor is not in a text object, a scroll bar appears along the left edge
(for rolling text) or along the bottom edge (for crawling text and path text) of
text objects. The scroll position arrow controls the section of text that is
visible at the current point in time, letting you create rolling or crawling text.
Also, for rolling and crawling text, small arrows appear along the sides of the
text object as you drag the scroll position arrow.
The scroll bar appears when you’re editing text, whereas the scroll position
slider appears when you’re animating the section of text visible over time.
Rolling text
Crawling text
Scroll position slider
Scroll position arrow
More text indicators
Path text
Scroll position arrow
To edit the scroll position property of a text body, select the text
body with the Edit tool and adjust the Scroll Position control in the
Text property editor.
For more information, see Controlling Rolling, Crawling, and Path Text on
page 416.
404 • User’s Guide
Working with Text
Placing the Insertion
Point
?
Resizing a Text Object
To specify the location where you want to type new text in a text object, place
the insertion point (displayed as a vertical bar) at the desired location in the
block of text. The following table describes the different ways that you can
move the insertion point within the text.
To move to
Press this key
Previous character
Left Arrow
Next character
Right Arrow
Previous line
Up Arrow
Next line
Down Arrow
If you resize a text object, you can reformat the text by:
• Scaling the text along with the text object or
• Resizing the text object only, keeping the font size(s) of the text the same.
This is not available for text on a path.
To scale the text as you resize the text object
1. Using the Edit tool, select a text object.
2. Drag one of the object’s bounding box handles.
Before
After
To resize the text object but not the text within it
1. Using the Edit tool, select a text object.
2. Hold down the Alt key and drag one of the object’s bounding box handles.
User’s Guide • 405
Chapter 8 • 3D DVE and Titling
Al
?
t-d
rag
Before
After
The text within the text object reformats to the new dimensions. For
rolling text, the text wraps to fit the text object. For crawling text, you see
more or less of the text.
Selecting and
Deselecting Text
Before you can modify a block of text (change its font, size, style, or other
attribute), you must select the text. You can select text directly in the viewer or
in the 3D DVE Layers view if the text is difficult to edit because it’s rotated or
not visible.
To select a block of text
• Do one of the following:
- Drag across a block of text.
- With the insertion point at one end of a text block, hold down the Shift
key and click at the other end of the text block.
The selected text is highlighted in pink.
To select all the text in a text object
• With the cursor in a text object, click the Select All icon in the 3D DVE
Layers toolbar.
To select individual letters
• Using the Edit tool, hold down the Alt key and click a letter at the same
time. Now release the Alt key and you can still continue selecting
individual letters.
406 • User’s Guide
Working with Text
To select multiple letters
• Using the Edit tool, hold down the Shift key and click the letters you want
to select.
A red bounding box surrounds the selected letter(s), which you can now
edit individually. They are, however, still part of the text object.
?
Multiple selected letters
To deselect selected text
• Do one of the following:
- Click anywhere in a text object.
- From the 3D DVE Layers toolbar, click the Deselect All icon.
Editing Text
You can use common cut, copy, or paste operations on text.
To cut, copy, or paste text
1. From the viewer, select some text.
2. From the Edit menu, choose:
• Cut or press Ctrl+X to cut the text.
• Copy or press Ctrl+C to copy the text.
• Paste or press Ctrl+V to paste the text.
Formatting Text
You can format blocks and columns of text, such as changing the font, font
size, as well as adjust column width and alignment.
Changing Fonts and Font Sizes
Traditionally, a font is a specific typeface (type family) at a specific font
size (height), and with specific font styles (visual enhancements). In
Avid|DS, a font is defined as a specific typeface. The size and styles are
specified separately.
Sample fonts and font sizes
User’s Guide • 407
Chapter 8 • 3D DVE and Titling
To change the font and font size of text
1. Using the Text tool, select a block of text.
2. From the Text property editor, select a font from the Font list.
To try different fonts, display the font list and press the up and down
arrow keys on the keyboard.
3. Set the Size value.
?
You can also change the font size of the text in a text object by scaling the
text object itself using the Edit tool—see Scaling Objects on page 382.
Click the Help icon for detailed information on the Text properties.
Changing the Direction of Text
As you type new characters into a text object, the text cursor moves from left
to right by default. You can switch the direction if you’re typing in a language
that is read from right to left, such as Hebrew. You can switch the direction of
a text object at any time.
To change the direction of text in a text object
• Using the Text tool, right-click in a text object, and choose Direction and
one of the following:
- Left-to-Right to add each new character to the right of the previous
character. This is the default direction.
- Right-to-Left to add each new character to the left of the previous character.
The text in a text object that uses the Right-to-Left direction does
not automatically switch to right-aligned text.
Aligning Text into Columns
By default, a text object contains a single column of left-aligned text. You can
create columns of text, change the width and alignment of text within a column,
and remove columns. Columns are useful for tabular information or to save
vertical space, such as when using a three-column layout for names in a credit
roll. The text within each column should fit within the width of the column.
You cannot animate the number of columns, the width of columns,
or the alignment of text within columns over the duration of a
text object.
Text alignment does not work for crawling text, including text
crawling along a path. However, you can align static text on a path.
408 • User’s Guide
Working with Text
Adding a Column
You can add a column to a text body to break a line of text into two separate
sections, each of which can have its own text alignment. For example, you can
use a two-column layout for ending credits, where the actresses’s name is
right-aligned in the first column and the character she portrays is left-aligned
in the second column.
?
Before
After adding a column
and typing text into it
To add a column
1. Using the Text tool, place the insertion point in the paragraph that
contains the column.
2. From the Paragraph property editor, select the row that corresponds to the
column. Each column defined in the current paragraph of the text body
appears as a row of the following values:
• Left: The left edge of the column.
• Right: The right edge of the column.
User’s Guide • 409
Chapter 8 • 3D DVE and Titling
• Alignment: The alignment of the text within the column.
The Left and Right values are numbers between 0 (left edge of the text
body) and 100 (right edge). The distance between the Left and Right
values defines the width of a column.
3. Select the Update All Selected Paragraphs option to apply changes to
selected paragraphs only.
4. Click Add. You can create up to ten columns in a paragraph.
?
The existing column’s width is split in half.
5. Repeat steps 3 and 4 for each new column that you add.
6. To type in the next column, press Tab. Tab characters are interpreted as a
jump to the next column in a paragraph.
Click the Help icon for detailed information on the Paragraph properties.
Removing a Column
You can remove a column when you no longer need to separate the text
alignment for sections of text.
Before (two columns)
After removing the right column and
resizing one column to its full width
To remove a column
1. Using the Text tool, place the insertion point in a text body.
2. From the Paragraph property editor, select the entry that corresponds to
the column you want to remove.
You cannot remove the last column of text. Each text object must
contain at least one column.
3. Click Remove.
4. If you want the remaining columns to occupy the space left by the
removed column, adjust their widths.
The remaining columns do not automatically widen to occupy the
space left by the removed column. For more information, see
Changing a Column’s Width on page 411.
410 • User’s Guide
Working with Text
The text in the removed column moves to the previous column, separated
from the previous column’s contents by a space. If you remove the first
column, the text moves to the next column.
If you change from two columns to one column, the text word-wraps.
However, if you start with three or more columns, the text does not
word-wrap.
Click the Help icon for detailed information on the Paragraph properties.
?
Changing a Column’s Width
You can change the width of a column to adjust the positioning of text within
the column. You can adjust the position of adjacent columns by creating a
gap, called a gutter, between them. If you’re using justified or equally spaced
columns, gutters are important to help differentiate the contents in each
column. By default, there is no gap between columns.
To change the width of a column
1. Using the Text tool, place the insertion point in the paragraph that
contains the column.
2. From the Paragraph property editor, select the row that corresponds to the
column whose width you want to change.
3. To change the left edge of a column, click the Left column value, and then
change the value in the text body. Press Enter.
The width of a column is relative to the width of the column’s text body,
where 0 is the left edge of the text body and 100 is the right edge. Columns
cannot overlap.
Column 1
0
Column 2
45
55
100
Gutter (10%)
User’s Guide • 411
Chapter 8 • 3D DVE and Titling
4. To change the right edge of a column, click the Right column value, and
then change the value in the text body. Press Enter.
The text in the current column adjusts to the new column width, but long
lines of text do not word wrap.
By changing the left and right sides of adjacent columns, you change the
gutter between the columns.
Click the Help icon for detailed information on the Paragraph properties.
?
Setting All Columns to the Same Width
Balancing the columns is another way to adjust the positioning of text in
multiple columns, so that they use the same width for all the columns on a
line. You can also adjust columns after removing a column to make the widths
of each column the same.
To set all the columns in a paragraph to the same width
1. Using the Text tool, place the insertion point in the paragraph that
contains the column.
2. From the Paragraph property editor, click Balance.
Click the Help icon for detailed information on the Paragraph properties.
412 • User’s Guide
Working with Text
Changing a Column’s Text Alignment
You can change the alignment or positioning of text within a column to make
the text more readable or to produce a specific type of effect, such as text that
is right-aligned and next to the left edge of a graphic in a scene.
Each column of text can be aligned to either the left or right sides of the
column, centered within the column, or aligned to both sides of the column,
with extra spacing added either between words or characters.
?
To change the text alignment in a column
1. Using the Text tool, place the insertion point in a text body.
2. Do one of the following:
• From the Align toolbar, click a text alignment icon.
• Right-click in the column of text, choose Align and one of the following
from the menu: Left, Center, Right, Justify, or Equally Space.
The text in the selected column uses the selected alignment.
Left
Center
Justify
Right
Equally Space
User’s Guide • 413
Chapter 8 • 3D DVE and Titling
Adjusting the Kerning
Kerning or character spacing is the horizontal space between characters in a
text object. When you adjust character spacing, you’re adjusting the space
after each selected character, except the last selected character on a line within
a justified or equally spaced column. By default, characters are automatically
kerned, based on the information in the character’s font.
You can create text that expands from the center by using an
unclipped text body with Equally Spaced justification and then
adjusting the kerning.
?
To adjust kerning
1. Using the Text tool, select a block of characters or place the cursor
between two characters to adjust the kerning between them.
2. From the Text property editor, adjust the Kerning value.
Kerning = 0
Kerning = 3
Kerning = 6
Click the Help icon for detailed information on the Text properties.
Adjusting the Leading
Leading or line spacing is the vertical space between the lines of a wordwrapped paragraph. When you adjust the leading, you’re adjusting the space
after each selected line, except the last selected line in a paragraph.
To adjust leading
1. Using the Text tool, select or place the cursor in the lines of text you want
to adjust.
2. From the Paragraph property editor, change the Leading value.
The leading changes in increments of 10 percent of the font size.
A common setting for leading is 120 percent of the font size (that is,
the Leading value is set to 120).
Leading = 100
Leading = 150
Leading = 200
Click the Help icon for detailed information on the Paragraph properties.
414 • User’s Guide
Working with Text
Adjusting the
Paragraph Spacing
Paragraph spacing is the vertical space between the last line of one paragraph
and the first line of the next paragraph. When you adjust paragraph spacing,
you’re adjusting the space after each selected paragraph.
?
Space after first paragraph = 50
Space after first paragraph = 100
Space after first paragraph = 200
To adjust paragraph spacing
1. Using the Text tool, either select or place the cursor in the paragraphs you
want to adjust.
2. From the Paragraph property editor, change the Space After value.
Paragraph spacing changes in increments of 10 percent of the font size.
Click the Help icon for detailed information on the Paragraph properties.
Adjusting the Text
Margins
By default, the characters in a text body can appear anywhere within the text
body’s dimensions. However, if you’re using a background material and want
to offset the text from the sides of the text body and edge of the background
material, increase the side’s margin. You can specify a margin along the top
and bottom of a text body and simulate a margin along the left and right sides
by adjusting the text column settings.
Top margin
Height of text body
Bottom margin
To adjust the top and bottom margins of a text body
1. Using the Edit tool, select a text body.
2. From the Text property editor, adjust the Top Margin and Bottom Margin
values. Adjusting the Top margin moves the text downward. Adjusting the
Bottom margin (for rolling text only) crops the text from the bottom of
the text body. The Bottom margin value has no effect on static and
crawling text.
Click the Help icon for detailed information on the Text properties.
User’s Guide • 415
Chapter 8 • 3D DVE and Titling
To simulate the left or right margin
• From the Paragraph property editor, do the following:
- Adjust the Left value for the leftmost column in the text body.
- Adjust the Right value for the rightmost column in the text body.
For more information, see Changing a Column’s Width on page 411.
Click the Help icon for detailed information on the Paragraph properties.
?
Controlling Rolling,
Crawling, and Path
Text
For rolling, crawling, and path text, the text scrolls within the text object over
time. The text in a text object is not visible at the start and end of a text
object’s duration. For example, you may see five lines of text roll by per second
or 10 characters crawl by per second.
Creating Rolling or Crawling Text
Creating rolling, crawling, and path text is as simple as selecting an option
from the Text pop-up menu. Path text is a variation of crawling text.
To make the text roll or crawl within the text object
1. Using the Text tool, right-click in the text body, and choose Motion and
one of the following from the menu:
• Roll to make the text roll.
The Roll option is not available for text on a path.
The text body’s Scroll Position property is automatically set up for a
rolling motion from the bottom to the top of the text body.
• Crawl to make the text crawl.
A crawling motion is created from right to left (for nonpath text) or from
the start to the end of the path (for path text). You can change the speed
and direction of the motion by adjusting the Scroll Position property or
using the scroll position arrow. For more information, see Controlling
Crawling Speed and Direction on page 417.
For nonpath text, a scroll position slider appears along the side of the text
body. Along the slider is a scroll position arrow that controls the portion
of the text visible at the current time.
If you change from Roll to Crawl, the text appears on a single line and
word-wrapped lines or paragraphs are ignored but preserved. You may
want to shorten the text body to fit the single line of text. If you change
from Crawl to Roll, paragraphs are word-wrapped.
416 • User’s Guide
Working with Text
If you click the text object or click away from the text body and are at
the start or end of the text body’s duration, no text appears in the
text boxes. This is because, by default, the text in rolling or crawling
text bodies moves across the text body over its duration, starting and
ending with the text just out of view.
Controlling Crawling Speed and Direction
?
For rolling and crawling text, you can adjust the speed and direction of the
roll or crawl by using the Text property editor (the scroll position does not
apply to static text) or the Text tool.
To adjust a text object’s scroll speed and direction with the Edit tool
1. Using the Edit tool, select a text object.
2. From the Text property editor, adjust the Scroll Position.
Higher values move the text upward (for rolling text) or to the left (for
crawling text). Lower values move the text downward or to the right.
Click the Help icon for detailed information on the Text properties.
To adjust a text object’s scroll speed and direction with the Text tool
1. Using the Text tool, click in a text body.
2. Press Esc.
A scroll position slider and arrow appear for each text object.
3. Drag the scroll position arrow to specify the section of text visible in the
text body at the current time.
The scroll position arrow’s location in the slider represents the Scroll
Position value in the Text property editor.
User’s Guide • 417
Chapter 8 • 3D DVE and Titling
Scroll position = 33
Scroll position = 50
Scroll position = 66
Rolling text
?
Crawling text
Path text
Clipping Text
The characters in a rolling or crawling text body are, by default, visible only
within the dimensions of the text body; characters (or portions of them) are
clipped to these dimensions.
Turning off clipping allows characters to appear and move outside of the text
body. Unclipped text is useful if you want characters to fly off the screen, or if
the text has a shadow that you do not want clipped.
Text that moves along a path is always clipped between characters.
The character either appears or does not appear; you will not see a
partial character at the ends of a path.
Static text
Clipped
Unclipped
Rolling text
Clipped
418 • User’s Guide
Unclipped
Working with Text
To clip text to the dimensions of the text body
• Using the Text tool, right-click in the text body and choose Clip to Text
Box from the menu.
Clipped rolling text boxes are not clipped on their left and right
sides. Clipped crawling text boxes are not clipped on their top and
bottom sides.
?
Placing and Moving
Text on a Path
You can place text on and scroll text along straight or curved paths. A path is an
object that uses a curved path as the baseline for text, which can crawl along the
path. You create and edit paths using the shape drawing tools. Like other
objects, you can move, scale, and rotate the path in three-dimensional space.
Creating and Deleting a Path
You can create a path from a shape, convert a path into a shape, and delete
a path.
Closed paths are not filled. Also, paths are not drawn when you
process the project.
To create a path
1. Draw a path using any of the shape drawing tools—see Creating Graphics
on page 391.
2. From the Commands toolbar, click the Shape to Path icon.
The selected shape becomes a path. If you convert a compound shape, the
first shape within the compound shape becomes the path.
A small square along the path indicates the start of the path and, for leftaligned text, the start of the first character.
To convert a path to a shape
1. Using the Edit tool, select a path.
2. From the Commands toolbar, click the Path to Shape icon.
To delete a path
1. Using the Edit tool, select a path.
2. Press Delete.
Any text that was on the path is deleted.
User’s Guide • 419
Chapter 8 • 3D DVE and Titling
Adding Text to a Path
After you create a path, you can use the Text tool to add text to it.
To add text to a path
1. Using the Text tool, click above a path.
The pointer changes to indicate that you can enter text on the path.
2. Type in your text.
?
Before typing text
After typing text
By default, text on a path is static and left aligned. That is, the text starts at
the beginning of the path, but does not scroll along the path.
Removing Text from a Path
Like other text objects, you can remove sections of text from a path. You can
also delete the path to remove both the path and the text on it.
To remove text from a path
• Using the Text tool, delete the text as you normally would for any
text object.
The remaining text readjusts accordingly.
Deleting all the text on a path does not delete the path. The path
is empty.
Positioning Text on a Path
Like static and crawling text, you can adjust the position of text on a path.
You can also reverse the direction of the text on the path and offset the text
from the path.
To position text on a path
• If the text is static on the path, right-click on the path, and use the text
alignment commands in the menu or buttons on the Align toolbar—see
Changing a Column’s Text Alignment on page 413.
420 • User’s Guide
Working with Text
Left-aligned
?
Center-aligned
Right-aligned
Justified
Equally-spaced
• If the text scrolls along the path, adjust the Scroll Position value on the
Text property editor—see Controlling Crawling Speed and Direction on
page 417.
Scroll Position = 10
Scroll Position = 50
Scroll Position = 80
For rectangular paths, the start of the path is the upper-left corner.
For elliptical paths, the start of the path is the top of the ellipse. For all
other shapes, the start of the path is the first control point you created for
the shape.
To reverse the motion of the text on a path
• Do one of the following:
- From the Text property editor, adjust the Scroll Position value.
- Right-click above the shape and choose Reverse Direction from the menu.
To offset the text from a path
1. Using the Edit tool, select a path. Make sure you do not select the text on
the path.
2. From the Path property editor, adjust the Baseline Offset value. A value of
zero means that the baseline of the text is exactly on the path. Values
greater than zero shift the text above the path, whereas values less than
zero push the text below the path.
Baseline offset = 0
Baseline offset = 5
Baseline offset = –5
User’s Guide • 421
Chapter 8 • 3D DVE and Titling
Click the Help icon for detailed information on the Path properties.
Orienting Text on a Path
By default, characters point in the direction perpendicular to their location on
a path. For example, if the text moves along a circular path, the characters
point away from the center of the circle. If you prefer to keep the characters
upright all the time, adjust the path’s orientation.
?
To adjust the orientation of the text on a path
1. Using the Edit tool, select a path and make sure you do not select the text
on the path.
2. From the Path property editor, set the Orientation to one of the following:
• Upright to make the characters stay vertical (to the local Y axis) all the time.
• Follow to make the characters point perpendicular to their locations along
the path. This is the default setting.
Orientation = Upright
Orientation = Follow
You can further control the orientation of text on a path by adjusting the
individual character’s Rotation properties. So, a path that uses Upright
orientation, but whose characters have Rotation values other than zero,
produces text that is not upright.
Click the Help icon for detailed information on the Path properties.
Controlling Object Properties Based on Path Position
By default, the properties of characters on a path are dependent on time like
all other properties. For example, to change the height of a character over
time, you modify its Font height function curve. However, you can also
control the font height (or any property) of a character based on its position
along its path. For example, you can easily create characters that gradually
increase and then decrease in size as they scroll along their path.
422 • User’s Guide
Working with Text
To animate character properties based on their positions along a path
1. Using the Text tool, click on a path.
2. With the pointer above the path, right-click and choose Property Mode
and one of the following from the menu:
• Time to base the property values of each character on the current time in
the 3D DVE session. This is the default mode.
?
• Position to base the property values of each character on the character’s
position along the path. The text is left justified while in this mode.
In Time property mode, the property values of each character is based on
the current time in the project.
Position property mode
Font height changes based on the character’s position along the path
Time property mode
All characters use the same font height
3. Select the characters on the path that you want to modify. In most cases,
you will want to select all the characters on the path.
4. Adjust one or more properties of the selected characters at different points
in time.
If the text is crawling along the path and the path is in Position
property mode, the text may not scroll completely off the path.
To ensure that the text scrolls off the path, adjust the Scroll Position
value at the end of the path’s duration.
User’s Guide • 423
Chapter 8 • 3D DVE and Titling
Working with Surfaces and Materials
A surface is an area of an object. You can control the visibility and appearance
of each surface by applying a set of properties to it called a material.
You can modify the appearance of the various surfaces of an object. For
example, you can apply a brick texture to a rectangle to give the appearance of
a brick wall, a gradient to a wavy shape that runs along the left edge of the
view to enhance a scene, or a reflective texture to the edges of the characters in
a word to simulate a chrome outline.
?
You can apply a material to the following surfaces:
• Main: The front and back sides of an object.
• Profile: The surface created by the profile effect of an object—see Applying
Profile Effects on page 388.
• Extrude: The surface created by the extruded sides of an object—see
Extruding an Object on page 389.
• Background: The area behind all objects in text objects or the reverse side
of DVE objects—Using a Background on page 357.
Main material
Profile material
Extrude material
Background material
Each material can be one of the following types:
• Solid color: A single color.
Although you can import Avid Marquee® projects that use gradient
materials, you cannot create or edit them.
• Texture: An image or an input.
In addition, a material can be lit by light sources. For more information,
see Working with Lights and Shadows on page 433.
You do not need to create a material to change the appearance of an object.
A material is simply a definition or a shortcut way of setting an object’s
material properties to specific values.
424 • User’s Guide
Working with Surfaces and Materials
Applying Materials to
Objects
You can apply a material to an object or one of its properties to change the
object’s appearance. You can apply different materials to the front, back,
profile, and extruded materials of an object. All objects have front and back
faces, but only extruded objects have an extruded face, and only objects with a
profile effect have a profile face. You can specify a material for the background
of text objects. For more information, see Applying Profile Effects on page 388.
By default, when the main surface of an object has a material on it, the
material appears on the front and back surfaces of the object.
?
If an object does not have a selected profile material, but the object
has a profile effect, the profile uses the main material. If an object
does not have a selected extrude material but the object is extruded,
the extruded surface uses the main material.
If you apply a texture to a text body, each character in the text body uses a
copy of that texture. If, instead, you want the texture to appear across all the
characters in the text body, you must change the texture mapping setting.
For more information, see Editing Materials on page 426.
To apply a material to the surface of an object
1. Using the Edit tool, select an object.
2. From the Surfaces property editor, select a surface from the Surface list,
and adjust the material properties.
Click the Help icon for detailed information on the Surfaces properties.
Using a Custom Material for an Object’s Surface
By default, the profile and extrude surfaces of an object use the main surface’s
material. However, you can set each surface to use a different material.
To enable a surface to use a custom material
1. From the Surfaces property editor, select the Enable Surface option.
2. Adjust the material properties.
Click the Help icon for detailed information on the Surfaces properties.
Skipping the Drawing
of the Back Faces
If you do not intend to show the back faces of an object (for example, you do
not intend to rotate the object around the X or Y axis), you can skip the
drawing of the back faces. As a result, you can decrease processing time and
improve the appearance of transparent 3-dimensional objects that are rotated.
To skip drawing of the back faces of an object
1. Using the Edit tool, select an object.
2. From the Render property editor, select the Cull Back Faces option.
The back faces of the object become transparent.
Click the Help icon for detailed information on the Render properties.
User’s Guide • 425
Chapter 8 • 3D DVE and Titling
Editing Materials
A material consists of properties (characteristics) that describe its appearance.
For example, you can modify a material’s type, color, opacity, and whether it’s
affected by light sources in the scene. You can modify the material properties
of a surface of an object.
To edit a material used by an object
1. Using the Edit tool, select an object.
2. From Surfaces property editor, select a surface to edit from the Surface list.
?
3. Adjust the material properties.
Changing the Type of Material
Materials can be solid colors or textures. You can change a material’s type at
any time.
To change a material’s type
• From the Surfaces property editor, choose a type from the Type list.
Changing a Material’s Base Color
For solid-color materials, the base color is the color of the material. If textures
are tinted, the base color is the tint color of the material. For more
information, see Tinting a Texture on page 432.
To change a material’s base color
• From the Surfaces property editor, use the Base color control.
Changing a Material’s Opacity
A material’s opacity controls how much of the material, and the object surface
on which it’s applied, is visible. Also, if you’re saving a matte, the opacity level
controls the object’s participation in the generation of the matte.
To change a material’s opacity
• From the Surfaces property editor, adjust the Opacity value.
Opacity = 10
Opacity = 40
Opacity = 70
Opacity = 100
To use an object’s opacity setting to create a matte
1. Using the Edit tool, select an object.
2. From the Render property editor, select the Generate Matte option.
Click the Help icon for detailed information on the Surfaces properties.
426 • User’s Guide
Working with Surfaces and Materials
Allowing Material to
be Affected by Light
Sources
Materials can have two types of finishes:
• Flat: A matte finish, which is not affected by light sources. The material
appears the same, regardless of the lighting of the scene or the position
and orientation of the surface on which the material is applied.
• Lit: A glossy finish that is affected by light sources. The material changes
appearance depending on the lighting of the scene and the position and
orientation of the surface on which the material is applied.
?
Lit materials are useful for objects that have depth, such as objects that use
beveled or extruded profiles. For more information, see Applying Profile
Effects on page 388.
When a material is lit, you can adjust the specular highlight and emissive
colors of the material, as well as its shininess. For more information, see
Working with Lights and Shadows on page 433.
To allow a material to be affected by light sources
1. From the Surfaces property editor, select the Enable Lighting option.
2. For textures, select the Tint option. Textures use the specular and emissive
color settings and shininess controls only when the Tint option is selected.
Click the Help icon for detailed information on the Surfaces properties.
Adjusting the Specular Highlight Color
When a light source shines on a lit material, the region of the surface that
reflects the light directly to the observer (a specular highlight) appears
brighter. You can control the size of the specular highlight by adjusting the
shininess of the material. For more information, see Adjusting the Shininess of
a Material on page 427.
To adjust the specular highlight color of a lit material
• From the Surfaces property editor, use the Specular color control.
Adjusting the Emissive Color
When a light source does not shine on a lit material, the material can emit or
glow with a specific color, known as its emissive color. By adjusting the
emissive color, an object can appear red when lit and green when not lit.
To adjust the emissive color of a material
• From the Surfaces property editor, click the Emissive color swatch and use
the controls.
Adjusting the Shininess of a Material
When a light source shines on a lit material, you can control the material’s
shininess.
User’s Guide • 427
Chapter 8 • 3D DVE and Titling
To adjust the shininess of a lit material
• From the Surfaces property editor, adjust the Shininess value. Values closer
to 0 simulate a very dull surface (specular highlight area is larger and the
light is less focused), whereas values closer to 100 simulate a very shiny
surface (specular highlight area is smaller and the light is more focused).
The Shininess value has no effect if the specular color of the material
is black. For more information, see Adjusting the Specular Highlight
Color on page 427.
?
Simulating a Reflective Surface Using an Environment Map
When a surface is lit, the specular color appears on the areas of the surface closer
to a light source to simulate a highlight. You can also show a texture, called an
environment map, in the specular highlight areas of the surface. An environment
map is similar to a texture in Reflection mapping mode, except that an
environment map lets you show a reflection of a texture on an existing texture.
To use an environment map for a material
• From the Surfaces property editor, select a texture from the Texture list.
To remove an environment map
• From the Surfaces property editor, click the R (reset) icon.
Controlling the
Appearance of
Overlapping Surfaces
When two surfaces of the same object or different objects overlap, the material
on one surface does not affect the material on the other surface. However, you
can change the appearance of overlapping surfaces by using Boolean
operations. For example, you can create two different colored shapes whose
intersection or overlapping areas appear in a different color.
When you use Boolean operations, note the following:
• Shadows affect surfaces that use Boolean operations, which may not
produce the effect you want.
• Boolean operations do not affect the alpha channel of a scene.
• If an object intersects another object at a higher position, the Boolean
operation will not be apparent. Although objects in a 3D layer are
positioned in three-dimensional space, their relative depths affect the
order in which they are drawn in the scene.
• Boolean operations do not produce results that appear correct when
you’re viewing the current layer only or when you tumble the scene.
To control how a surface’s material is affected by the materials of
other surfaces
• From the Surfaces property editor, select an effect from the Overlap list.
428 • User’s Guide
Working with Surfaces and Materials
When you use a Boolean operation on an object, the object does not
appear antialiased in the viewer. Also, semitransparent surfaces
appear opaque.
Boolean
operation
Example
Description
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.
?
Changes to the surface’s opacity and type do not affect the result.
Lighting the surface deactivates the effect.
You can achieve the best results by using this effect on a solid surface.
And
The color of each pixel under the surface appears tinted.
Changes to the surface’s type affect the result. Lighting the surface
deactivates the effect. 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 as when 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.
Changes to the surface’s type affect the result. Lighting the surface
deactivates the effect.
You can achieve good results using opaque solid colors. Results are not
as good when you combine textures.
Not Or
The color of each pixel under the surface is reversed or inverted in
some combinations and tinted in other combinations.
Changes to the surface’s type affect the result. Lighting the surface
deactivates the effect. 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.
Click the Help icon for detailed information on the Surfaces properties.
User’s Guide • 429
Chapter 8 • 3D DVE and Titling
Positioning and Tiling a Texture on a Surface
When you first apply a texture to a surface, the texture is centered on the
surface. You can, however, position (offset) the texture.
To position a texture on a surface
• From the Surfaces property editor, adjust the X and Y values in the
Offset box.
?
A texture is offset from its original mapping on a surface. Texture offsets
are not based on the scene’s dimensions.
To tile a texture on a surface
1. From the Surfaces property editor, select the Tile option.
2. From the 3D DVE/Options property editor, select the Preferences tab.
Select the Allow Tiling For DS Inputs option.
If a material is tiled, the texture is repeated on all sides. Otherwise,
the texture appears only once.
Scaling a Texture on a Surface
When you first apply a texture to a surface, the texture covers the entire
surface. However, you can scale the texture up or down by using the controls
in the Surfaces property editor.
To scale a texture on a surface
• From the Surfaces property editor, adjust the X and Y values in the
Scale box.
A texture is scaled based on its original size, as mapped onto a surface.
Texture scale factors are not based on the scene’s dimensions.
If you reduce a texture on a surface, you can see another copy of the
texture next to it if you use the Tile option.
Click the Help icon for detailed information on the Surfaces properties.
Cropping a Texture on a Surface
If you want to use only a region of a texture, you can crop the edges of the
texture before it’s mapped to the surface. Cropping is useful for removing
black lines at the borders of textures captured from a video source. Cropping
is equivalent to a combined action of offsetting and scaling a texture. You can
do one or the other, but not both.
430 • User’s Guide
Working with Surfaces and Materials
To crop a texture on a surface
1. From the Surfaces property editor, click the Texture Crop icon.
The Crop controls are displayed.
2. In the Texture Crop box, adjust the top, left, right, and bottom values.
The Crop values show the equivalent Offset and Scale values, and vice versa.
?
Rotating a Texture on a Surface
When you first apply a texture to a surface, the texture is oriented upright on
the surface, based on the object’s original orientation. However, you can
rotate the texture around the Z axis by using the control in the Surfaces
property editor.
To rotate a texture on a surface
• From the Surfaces property editor, adjust the Z value in the Rotation box.
A texture is rotated based on its original orientation (no rotation), as
mapped onto a surface.
Click the Help icon for detailed information on the Surfaces properties.
Controlling How a Texture is Mapped onto a Surface
The mapping of a texture onto a surface controls how the texture is used. By
changing the texture mapping, you can produce interesting effects.
To control how a texture is mapped onto a surface
1. From the Surfaces property editor, select one of the following from the
Mapping list:
• Local to apply the texture to each object as if it were a decal.
• Container to apply the texture based on the dimensions of the object. 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 to use the surface of the object as if it were a mirror reflecting
the texture (reflection map). Reflection maps are mainly used as
“ambient” textures.
2. When you change a texture into a reflection map, the texture is enlarged to
produce less detail in the reflection. If you want more detail from the
texture in the reflection, scale down the texture using the controls in the
Scale box.
Click the Help icon for detailed information on the Surfaces properties.
User’s Guide • 431
Chapter 8 • 3D DVE and Titling
Tinting a Texture
If you want to change the tone of a texture to enhance the texture or to create
an interesting effect, use the tint controls in the Surfaces property editor.
When a material is tinted, the base color is used as the tint color. Solid-colored
materials cannot be tinted.
To tint a texture
1. From the Surfaces property editor, select the Tint option.
?
2. Select the base color.
Use a brown Base color to simulate sepia-toned surfaces.
Click the Help icon for detailed information on the Surfaces properties.
432 • User’s Guide
Working with Lights and Shadows
Working with Lights and Shadows
Light sources are points in three-dimensional space that emit light, causing
objects (with materials that can be affected by light) to appear illuminated.
You specify the location of light sources relative to objects in the scene. Light
sources exist above all other objects in the scene.
Different types of lights illuminate a scene in different ways.
• Infinite: Light source is very far away, so that the light rays are essentially
parallel to each other. The sun is an example of an infinite light source;
this type of light source is also known as a directional light.
?
• Local: The light rays extend from a single point evenly in all directions.
A candle is an example of a local light source. This type of light source is
also known as a point or omni-directional light.
• Spot: The light rays extend from a single point in a cone shape, casting
light on a specific oval or circular area of a scene.
For local and spot lights, the intensity of the light decreases in proportion to
the distance from its location.
Infinite
Local
Spot
Lights in Avid|DS, just as in real life, help illuminate a scene, and give objects a
particular look. Improper placement or adjustment of lights can cause
unwanted effects and distract from the content in the scene.
To use lights effectively, place as few lights in a scene as necessary to avoid a
bleached or washed-out appearance. Also, use appropriate light settings for
the material you use. For example, if you use a concrete-looking material, do
not make the material shiny or have a bright specular color. Concrete is not
usually shiny in real life.
User’s Guide • 433
Chapter 8 • 3D DVE and Titling
Adding, Moving, and
Deleting Light Sources
You add, move, and remove light sources. You can have up to eight light
sources. Each light source is numbered in the viewer.
To add a light source to a scene
1. Click the Light tool in the Tools toolbar.
The current light sources appear in the viewer.
2. Do one of the following:
?
• Hold down the Alt key and click to add a new light source.
• Right-click above the location for a new light source, and choose Add
Light from the menu.
A new light source appears at the pointer location. By default, the light
source is a white local light.
A bright or focused spot light shining on a material may produce
distinct triangular patterns on the surface of objects, known as
undertessellation. To reduce this problem, change the light type,
widen the size of the spot light, decrease the intensity of the light, or
increase tessellation.
To move a light source
1. Using the Light tool, select a light source.
2. Do one of the following:
• Drag the light source to a different location.
• From the Transform property editor, adjust the Position values.
The lighting of the scene changes accordingly. However, shadows on objects
do not change their offsets from their objects. You must modify the shadow
offsets manually if you want to create more realistic shadow effects.
Click the Help icon for detailed information on the Transform properties.
To delete a light source
1. Using the Light tool, select a light source.
2. Do one of the following:
• Right-click and choose Delete Lights from the menu.
• Press Delete.
434 • User’s Guide
Working with Lights and Shadows
Editing Light Sources
Each light source has a specific visibility, type, and color. You can change these
properties and animate them over time. You can change light source
properties in the Info, Transform, and Light property editors. You can adjust a
light source’s function curve in the animation editor.
To edit a light source
1. Using the Light tool, select the light sources to edit by doing one of
the following:
?
• To select a single light source, click it.
• To select multiple light sources, hold down the Shift key and click them.
• To switch the selection of a light source, hold down the Ctrl key and click it.
2. From the Info, Transform, or Light property editor, adjust the light source
properties. These property editors contain different sets of light source
properties.
All selected light sources use the modified properties.
Click the Help icon for detailed information on the Info, Transform, or
Light properties.
Turning Light Sources
On or Off
You can turn light sources on or off to make them affect or not affect the
objects in the scene. Turning off a light source is the equivalent of a nonexistent light source.
To turn a light source on/off
1. Using the Light tool, select a light source.
2. Do one of the following:
• From the Light property editor, select/deselect the Enable Lights option.
• With the pointer above the light source, choose Enable Lights or Disable
Lights from the Light menu.
Changing the Light
Type
A light source’s type affects how it illuminates the scene. A light source can be
an infinite, local, or spot light. For more information, see Working with Lights
and Shadows on page 433.
To change a light source’s type
1. Using the Light tool, select a light source.
2. Do one of the following:
• From the Light property editor, select a light type from the Type list.
• Right-click above a light source and choose a light type from the menu.
Click the Help icon for detailed information on the Light properties.
User’s Guide • 435
Chapter 8 • 3D DVE and Titling
Using Colored Lights
By default, light sources emit a white light. However, you can change the color
of the light to give lit objects a colored tint.
To change the color emitted from a light source
1. Using the Light tool, select a light source.
2. From the Light property page, click the color swatch and select a color.
Click the Help icon for detailed information on the Light properties.
?
Changing the Intensity
of a Light Source
The intensity of a light source controls how brightly it illuminates the scene.
To change the intensity of a light source
1. Using the Light tool, select a light source.
2. From the Light property editor, adjust the Intensity value.
A value of 0 produces no intensity and light is effectively disabled. A value
of 100 is normal intensity. You can set the intensity to values above 100 for
highly intense lights or below 0 for “negative light,” where light is absent.
Click the Help icon for detailed information on the Light properties.
Positioning a Light
Source
Light sources, like other objects in the scene, can exist at different locations in
the scene.
To position a light source in the scene
1. Using the Light tool, select a light source.
2. Do one of the following:
• From the Light property editor, select Spot as the type and adjust the Spot
Target values.
• From the Transform property editor, adjust the Position values.
Click the Help icon for more information on the Light/Transform properties.
Adjusting Spot Light
Properties
Spot lights have additional properties that you can control.
To position the target of a spot light
1. Using the Light tool, select the spot light source.
2. From the Light property editor, adjust the Spot Target values.
When you place the target of a spot light near or at the same position as
the spot light itself, the light focuses on a specific area of the scene, which
can cause lit materials to appear with triangular patterns on them. This
problem is known as undertessellation and is caused by the object using
436 • User’s Guide
Working with Lights and Shadows
the lit material not being adequately generated (subdivided into polygons)
to properly create a smooth illuminated surface—see Displaying Guides
on page 360.
Click the Help icon for detailed information on the Light properties.
To adjust the size of the area lit by a spot light
1. Using the Light tool, select the spot light source.
?
2. From the Light property editor, adjust the Spot Size values.
Smaller values focus the spot light onto a small area, whereas larger values
lighten a larger area.
To adjust the amount of falloff
1. Using the Light tool, select a light source.
2. From the Light property editor, adjust the Spot Falloff values.
Smaller values produce little falloff, resulting in a larger, intense light
region. Larger values produce a large falloff with a softer light spread.
Click the Help icon for detailed information on the Light properties.
Identifying Light
Sources
By default, new light sources are assigned a generic name of “Light.” Like
other objects in the scene,7 you can change the name and attach a comment
to light sources.
To change the name of a light source
1. Using the Light tool, select a light source.
2. From the Info property editor, change the description in the Name text box.
You can describe a light by its color, type, behavior, or other
characteristics.
To add a comment to a light source
1. Using the Light tool, select a light source.
2. From the Info property editor, change the description in the Comment
text box.
Click the Help icon for detailed information on the Info properties.
User’s Guide • 437
Chapter 8 • 3D DVE and Titling
Adding Shadows to
Objects
Each object in a scene can include a shadow. You can control the shadow’s
location relative to the object and the shadow’s appearance.
The location of an object’s shadow in a 3D layer is controlled by the
object’s stacking order in the 3D DVE Layers view, not by its
position along the Z axis.
A shadow is the projection of an object’s outline onto a flat surface called the
shadow plane. Shadows can be a solid color or a texture (also known as a
shadow map).
?
An object’s shadow can be one of the following types:
• Drop shadows are on the shadow plane, which is parallel to and always behind
the object. Drop shadows are not affected by light sources in the scene.
• Local shadows are located on the shadow plane, which is either hinged to
a side of the object’s bounding box or parallel to the object.
• Projected shadows are 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.
Drop
Local
Projected
(shadow plane and light shown)
Showing and Hiding Object Shadows
By default, objects do not cast shadows. When you use an object’s shadow, you
can simulate the effect of casting a shadow onto a simple plane. You do not
have to light an object’s surface for the object to cast a shadow.
Objects and text objects do not cast shadows. To cast shadows
behind these objects, create a transparent shape the same size as the
object, place it behind the object, and turn on the shape’s shadow. If
all you want is the shadow, turn off the Main material for the shape.
438 • User’s Guide
Working with Lights and Shadows
To show/hide a object’s shadow
1. Using the Edit tool, select an object.
You can use shadows for more than one object at a time.
2. From the Shadow property editor, select/deselect the Show Shadow option.
?
If you selected the option, by default, the object’s shadow appears gray
(black shadow with a 50 percent opacity) and, for drop shadows, is
positioned to the lower right of the object.
If the characters in a static text body are casting a shadow, you may want
to unclip the text body to keep the shadow from being clipped—see
Clipping Text on page 418.
Click the Help icon for detailed information on the Shadow properties.
Changing a Shadow’s Location
You can easily adjust the location of an object’s shadow. For drop shadows, you
can adjust the offset of the shadow from the object. For local and projected
shadows, you can adjust the location and orientation of the shadow plane.
Shadows and objects cannot intersect, even if they’re in a 3D layer.
To change the offset of a drop shadow
1. Using the Edit tool, select the object that is casting a drop shadow.
2. From the Shadow property editor, adjust the X Offset and Y Offset values.
Negative offsets move the shadow toward the left and bottom sides of the
object. Positive offsets move the shadow toward the right and top sides of
the object.
To create a drop shadow larger than an object, make a larger copy of
the object whose main material is hidden, add a shadow to the copy,
and move the copy behind the original.
X offset = –1
Y offset = 1
X offset = 1
Y offset = 1
X offset = –1
Y offset = –1
X offset = 1
Y offset = –1
User’s Guide • 439
Chapter 8 • 3D DVE and Titling
To change the location and orientation of local and projected
shadows
1. Using the Edit tool, select the object that’s casting the local or
projected shadow.
2. For projected shadows, open the Shadow property editor.
3. Select a light source from the Projected From list.
Although all possible light sources are in the list, only those light sources
actually available in the scene will produce a shadow. For example, if a
scene contains three lights and you select a fourth light source, no shadow
will appear. This behavior is equivalent to turning off a light source.
?
Light sources that are turned off still produce and affect projected
shadows.
When the Light tool is active, the light sources in the scene are numbered.
These numbers correspond to the light numbers in the Projected From list.
4. From the Hinge box, adjust the location and orientation of the shadow
plane relative to the object by using the following controls:
• Side to specify if the shadow plane is attached (hinged) to a side (left, right,
bottom, top) of the object’s bounding box or parallel to (back) the object.
Left-side hinge
Right-side hinge
Bottom-side hinge
Top-side hinge
Back-side hinge
• Angle to orient the shadow plane a certain number of degrees away from
the object plane.
0 degrees
20 degrees
45 degrees
60 degrees
90 degrees
If you set the shadow side to Back, the angle rotates the shadow around
the Z axis.
440 • User’s Guide
Working with Lights and Shadows
• Offset to position the shadow plane away from the object. 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.
?
Offset = -0.01
Offset = 0.00
Offset = 0.02
Offset = 0.07
Offset = 0.11
• Skew to slant the shadow plane along its local X axis. Only local shadows
can be skewed.
Skew = 0.60
Skew = 0.30
Skew = 0.00
Skew = 0.45
Skew = 0.90
Click the Help icon for detailed information on the Shadow properties.
Changing a Shadow’s Appearance
You can adjust the opacity, softness, color, and texture of an object’s shadow.
To change the opacity of a shadow
1. Using the Edit tool, select the object that is casting a shadow.
2. From the Shadow property editor, adjust the Opacity value.
An opacity of 0 produces a completely transparent shadow, which is not
very useful. An opacity of 100 produces a completely opaque shadow.
Opacity = 0
Opacity = 30
Opacity = 70
Opacity = 100
To change the softness of a shadow
1. Using the Edit tool, select the object that is casting a shadow.
2. From the Shadow property editor, adjust the Softness value.
User’s Guide • 441
Chapter 8 • 3D DVE and Titling
A shadow can range from very sharp edges and corners (values closer to 0)
to very soft edges and corners (values closer to 250). The softer a corner,
the more rounded it appears.
Softness = 0
?
Softness = 70
Softness = 150
Softness = 230
Soft shadows of large objects take longer to render than they do for
small objects. If you’re working in the viewer, decrease the
Shadowing quality setting to improve performance. For more
information, see Displaying Guides on page 360.
To change the color of a shadow
1. Using the Edit tool, select the object that is casting a shadow.
2. From the Shadow property editor, click the color swatch and select a color.
The selected object’s shadow color changes to the color you selected.
Using Shadows to Simulate Glows
Although Avid|DS does not have a glow profile effect, you can use a shadow to
simulate a colored glow.
To simulate a colored glow
1. Using the Edit tool, select an object.
2. From the Shadow property editor, set the shadow properties to
the following:
•
•
•
•
•
Show shadow: selected
Type: Drop
X offset: 0
Y offset: 0
Opacity: 50 or higher
Shadow opacity depends on the shadow color you use.
• Softness: 50 or higher. The higher the softness, the longer the shadow
takes to render. Use the highest level of softness required for a particular
effect to reduce the rendering time.
• Shadow color: Glow color. Shadow-based glows do not work well for
semitransparent objects because you can see the shadow behind the
semitransparent areas.
442 • User’s Guide
Importing and Exporting Projects
Importing and Exporting Projects
If you have projects that were created using Avid Marquee, you can import
them for use in Avid|DS. You can import projects that contain decks, edit
objects within pages, and delete decks. You cannot, however, trim or remove
pages within decks, or adjust the timing.
Projects containing decks and pages can only be imported from the
standalone Marquee application.
?
To import a Marquee project
1. From the Commands toolbar, click the Import Project icon.
2. From the Load Project File dialog box, select a Marquee project, and
click OK.
The project is loaded in Avid|DS.
To export a project
1. From the Commands toolbar, click the Export Project icon.
2. From the Save Project File dialog box, select a folder in which to save your
project, and give it a name.
3. Click OK.
Working with Decks
and Pages
A page object lets you create transitions between different objects or
collections of objects. For example, you can use page objects to cycle through
several sports box scores. You can also use pages to encapsulate or group
objects for easier placement in the scene or to create hierarchical behaviors,
such as an object rotating in a page that also rotates. A collection or sequence
of pages is called a deck.
A deck object defines the position, size, and overall duration of the pages
within it. Each page within the deck exists for a specific part of the overall
duration. As you adjust a deck object, by default, its pages and their contents
scale accordingly. If you press Alt and drag the deck object, the deck’s contents
stay the same size. You can create gaps between pages to let the objects in
lower tracks show through.
You can import projects that contain decks, edit objects within
pages, and delete decks. You cannot, however, trim or remove pages
within decks, or adjust the timing.
User’s Guide • 443
Chapter 8 • 3D DVE and Titling
Deleting Decks
You can delete decks of pages if you no longer need them.
To delete a deck
1. Using the Edit tool, select a deck object by clicking along its border.
Displaying the construction lines lets you see the borders of a deck.
For more information, see Showing Construction Lines on page 361.
?
2. Press Delete.
Moving between Pages
When you want to create objects in a page or view a page in a deck, move to
the page by changing the current time.
Objects within a page exist for the duration of the page. If you intend to
animate object properties over the duration of their page, be sure to move to
the start or end of the page’s duration to set the starting and ending points for
the animation.
To move between pages of a deck
• Do one of the following:
- In the transport controls, enter a timecode in the Timecode Locator box
and press Enter.
- Move the play cursor on the timeline.
Adding Objects to a Page
When you want to add objects to a page, you can either create them within the
page’s dimensions directly, or copy or move them from another page. You can
also move deck objects within other page objects.
An object is not considered to be in a page unless the upper-left
corner of its bounding box lies within the dimensions of the page. If
an object is not moving along with its page, you must move the
object to the page.
When you copy or move objects between pages, their locations, sizes, and
orientations are retained.
You can create hierarchical behaviors by placing a deck in a page of another
deck (by cutting or copying the deck into the page of another deck). For
example, as a deck rotates, a shape can rotate in a page of a deck.
444 • User’s Guide
Importing and Exporting Projects
To copy or move an object between pages
1. Using the Edit tool, select an object.
2. From the Edit menu, choose one of the following:
• Copy to copy the object.
• Cut to move the object.
?
3. Click in the page on which you want to place the object.
4. From the Edit menu, choose Paste.
Editing Objects Within a Page
You edit a page’s objects as you would any other object in the viewer. You may
need to move to the page’s position in time or zoom in to make it easier to
edit objects.
Resizing a Deck
When you want to change the size of a page, you can modify the dimensions
of the page’s deck. All pages in the deck use the same dimensions. You can
either scale the deck and its contents, or resize the deck to keep the contents.
To scale a deck and its contents
1. Using the Edit tool, select a deck.
2. Drag one of the deck’s bounding box handles.
The deck and its pages change to the new dimensions.
Original deck
Scaled-down deck
To resize a deck, keeping the deck’s contents the same size
1. Using the Edit tool, select a deck.
2. Hold down the Alt key and drag one of the deck’s bounding box handles.
The deck changes to the new dimensions, but the contents stay centered
in the deck.
User’s Guide • 445
Chapter 8 • 3D DVE and Titling
Setting the Output Options
The rendering process usually involves a trade-off between rendering speed
and image quality. This section provides some useful tips to consider when
rendering. Here is a suggested workflow for you to consider:
1. While working in a 3D DVE session, work in the Direct View mode if you
don’t need to see all the others effects in your sequence. This eliminates
the need to process all the effects in your sequence. Also, use low quality
viewer settings and suspend output to the output monitor when creating a
scene in the Direct View mode—see Working in Direct View Mode on
page 359.
?
The Low quality setting for the viewer produces aliased results.
However, Low quality for rendering produces antialiased results.
To work more quickly, suspend output to the output monitor.
2. Once you’re ready to preview your work, use low quality settings to
preview animation or text.
3. Next, preview a high-quality, single frame by outputting.
4. And finally, when you’re ready to do the final output, set the quality
options to high.
To set the quality level
1. From the 3D DVE/Options property editor, select the Direct View
property page.
2. Adjust any of the following properties that affect the quality of objects
rendered in the viewer:
• From the Antialiasing list, select one of the following:
- None to apply no antialiasing. This setting produces jagged or aliased edges.
- Fast 2D to draw flat objects.
• Texturing controls the quality of textured surfaces in proportion to the
time required to render the texture onto the surface.
• Lighting controls the quality of lit surfaces.
• Tessellation controls the smoothness or approximation of curved edges
on characters and shapes.
• Shadowing controls the quality of soft shadows.
• Motion Blur applies a motion blur on fast moving objects.
Click the Help icon for detailed information on the Direct View properties.
446 • User’s Guide
Setting the Output Options
Dampening Jittery
Text
At certain speeds, small text that scrolls vertically can sometimes appear to jitter.
This is noticeable along the top and bottom edges of the scrolling characters.
To dampen the effect of jittery text that scrolls vertically
1. From the 3D DVE/Options property editor, select the Output tab.
2. Select the Suppress Vertical Jitter option.
?
A one-pixel blur is applied to the text to soften the jitter.
If the text is not moving vertically or if no jitter exists, you should
not use the jitter suppression option.
Click the Help icon for detailed information on the Output properties.
User’s Guide • 447
Chapter 8 • 3D DVE and Titling
?
448 • User’s Guide
?
Chapter 9
Mixing Audio
User’s Guide • 449
Chapter 9 • Mixing Audio
In This Chapter...
This chapter describes how to mix audio, as well as how to create mixes and
submixes using audio container clips and effects. You will also learn how to
animate your audio mixes.
Workflow: Mixing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Building an Audio Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
?
Fine-tuning the Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Animating the Audio Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Converting the Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Processing the Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
450 • User’s Guide
Workflow: Mixing Audio
Workflow: Mixing Audio
Audio mixes are best created in an audio container clip. The following
illustration shows how the audio tracks are created and fed into the mixer.
1
Create an audio container
Create an audio container clip
for your mix
?
2
Apply audio effects
Apply effects on
the timeline tracks
Left
Right
Apply effects
on the mixer
input strips
Mixer
3
4
Process the mix
Fine-tune the mix
Adjust the volume and balance
of the audio streams
Close the audio container clip to
automatically process the mix
User’s Guide • 451
Chapter 9 • Mixing Audio
Input strips appear on the mixer as you add audio tracks to the timeline. On
each input strip, you can control the sound of all the clips on its
corresponding audio track. You can use the strip controls to adjust the overall
volume, add effects to the whole track, and pan the signal to the output strips.
The results of the adjustments on the input strips are mixed and passed to the
output strips, which let you adjust the output volume of the audio signals.
The signal from the output strips is then directed to an external device.
?
Building an Audio Mix
You can use the Editing layout to create mixes and add audio effects to your
clips at different stages. You can start your mixing session by overlapping
audio clips on the timeline, and then fine-tune the signal on the mixer by
adding audio effects, and adjusting the volume and balance of the signal
before output.
Avid|DS supports up to 64 tracks of audio on a timeline. This capability also
depends on the overall throughput of your system. For example, the number
of video tracks, compression settings, disk fragmentation, or audio effects can
all affect the system throughput. Instead of relying solely on the throughput,
you can give yourself more flexibility by creating mixes using audio
container clips.
Audio container clips let you compress as many as 64 tracks down to one,
leaving you more audio tracks to work with. Here are some other reasons to
use container clips:
• Grouping sound tracks: If you want to edit specific sounds more
efficiently, you can group sound tracks and create submixes of common
track types in an audio container clip. For example, you can mix hard
sound effects like creaking floors and footsteps in one container clip, vocal
tracks in another, and instrumentals in yet another container clip. All
of these clips can be premixed in their respective container clips, and then
played simultaneously on the top timeline.
• Animating (automating) your mix: If you need to boost or lower the
signal at different points in time, it’s more efficient to animate the
necessary controls in a container clip. This way, if you move the container
clip, its animation moves with it.
• Sample accurate editing: Inside an audio container, the timeline ruler is
displayed in terms of audio samples, as opposed to video frames. This lets
you have greater control over the placement of your audio clips.
When you close the audio container clip, the tracks are automatically
processed and represented as a single clip on the top timeline. You can now
play the mix in real time.
Before doing your mixes, make sure you’ve already edited your
sound tracks (music and dialogue).
452 • User’s Guide
Building an Audio Mix
Creating Audio Tracks
?
Whether you’re building a mix in an audio container clip or not, you still need
to add tracks to the timeline. Audio clips and tracks in Avid|DS can have up to
eight channels of audio in any of the following formats:
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: Output 1 to 4
5.1
Six audio channels: Left, right, center, Low Frequency Emitter
(LFE), left surround, right surround
6.1
Seven audio channels: Left, right, center, Low Frequency
Emitter (LFE), surround center, Side left, Side right
7.1
Eight audio channels: Left, right, center, Low Frequency Emitter
(LFE), left surround, right surround, left center, right center
8 Stream
Eight audio channels: Output 1 to 8
To create an audio track
• Do one of the following:
- Right-click in the overview area, and choose Insert Audio Track and
a track format from the menu.
- Drag an audio clip from the browser to the marker ribbon.
Tracks created this way adopt the format of the audio clip.
User’s Guide • 453
Chapter 9 • Mixing Audio
To determine a clip’s audio format
• Right-click on a clip on the timeline and choose Properties from the menu.
The Clip property editor is displayed, and the audio format is shown in
the Type box.
To determine a track’s audio format
• Right-click on a track and choose Properties from the menu.
?
The Track property editor is displayed, and the audio format is shown in
the Format list box.
To change a track’s audio format
1. Right-click on a track and choose Properties from the menu.
The Track property editor is displayed.
2. In the Format list box, select the format you want.
Audio clips appear yellow if their format does not match the audio
track format, such as when a stereo clip is placed on a mono track.
Mixing Clips
There are several ways of mixing audio on the timeline. You can:
• Place audio clips on different tracks on the timeline, but within the same
region. Unlike video clips, audio clips do not lose their activeness when
placed at the same timecodes as other audio clips. This allows you to play
several clips simultaneously.
Both clips
are active
Mixing audio tracks
• Overlap clips on the timeline to create a crossfade from one audio clip to
another. The two audio clips can be on the same track or different tracks.
For more information, refer to Crossfade Effects on page 498 of the
Compositing & Effects Guide.
454 • User’s Guide
Building an Audio Mix
?
Crossfade transition
Crossfade between two audio clips
• Create a submix in an audio container clip. Place multiple audio clips in a
container clip and mix them down to a single clip on the top timeline.
Creating a Submix
The mixer can support up to 64 input tracks. If you notice frames skipping
during playback (indicated by a red light on the transport controls), you
should mix your audio tracks in container clips instead.
In a container clip, you can mix 64 tracks of audio down to one, giving you
more tracks to work with. An audio container clip can also contain other
container clips, allowing you to create many more submixes.
For example, create a container clip to hold different dialogue, foley, and
background music tracks, and mix them down to a single track in preparation
for a scene. When the audio container clip is closed, these tracks appear as a
single clip, which you can mix with other audio clips and/or synchronize with
corresponding video clips.
Audio container clips also allow you to display the timeline ruler in samples,
frames, or milliseconds, giving you greater accuracy when editing audio clips.
The initial format of your audio container clip depends on the clip selected.
That is, if the audio container is created from a stereo clip, then the container
will be stereo. You can, however, change the format of an audio container clip,
by changing the mixer configuration within the container. For more
information, refer to Changing the Mixer Configuration in the online help.
To create an audio container clip
1. Place a clip on the track where the container clip will be created.
2. Right-click on the clip and choose Create Audio Container Clip.
You can select more than one clip on a track by holding down the
Ctrl key and clicking the clips that you want to select. These clips all
become part of the new container clip.
Audio container
clip icon
A new timeline is opened, and the selected audio clip is placed on the first
track. You can now insert additional audio tracks on which to place other
audio clips that form the mix.
User’s Guide • 455
Chapter 9 • Mixing Audio
Also, notice that a new container clip icon is displayed in the taskbar. This
icon indicates that you’re working in an audio container clip.
Inside an audio container clip, the ruler time scale is set to samples
by default. You can change the time scale by right-clicking on the
ruler and choosing a different time scale.
?
Stereo
audio clip
4 stream
audio clip
Mono audio
clip
Taskbar
An open audio container clip
3. When you’ve finished editing the clips in this container clip, click the Top
Timeline icon in the taskbar to close the audio container clip and return to
the top timeline.
Taskbar
A closed audio container clip is represented as a single clip on the timeline
Container clip icon
When you close the container clip, Avid|DS automatically processes the
mix and displays a single clip on the parent audio track. While processing,
a progress bar indicates the status of the process. The number of passes
that Avid|DS processes is based on the number of nested container clips in
the current container clip.
After processing, you can mix the resulting clip with other audio clips on
the timeline. You can reopen the container clip by clicking the icon on the
container clip.
456 • User’s Guide
Fine-tuning the Mix
Fine-tuning the Mix
After you’ve placed and edited your audio clips on the timeline, you can finetune the signal using the mixer. Each input strip in the mixer 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 the
strips are then mixed and routed to the output strips.
A strip’s volume level is displayed in decibels on the level meter. The level meters
resemble a plasma display, which shows the level of energy for an audio signal at
a specific point in time. Stereo tracks have a dual level meter to indicate the
strengths of each stream. Mono tracks only have a single level meter.
?
The signal that results from the adjustments on the input strips are then fed
into the mixer, where all the audio signals are combined into a single
composite signal. The mixed audio signals are then directed to the output
strips. Here, again, you have the option to adjust the volume before
outputting it to a parent container clip or external device. For more
information, refer to Mixer in the online help.
Input strips
Adjust levels
before all the
strips are mixed
Output strips
Adjust levels
after the mix
User’s Guide • 457
Chapter 9 • Mixing Audio
Adjusting the Mixer
Inputs
As you add audio tracks to the timeline, the input strips appear on the mixer,
which always reflects the appearance of the audio tracks on the timeline. If
you reorder the audio tracks on the currently-displayed timeline, the mixer is
updated accordingly.
The quality of an audio mix depends on the volume and pan levels on each
input strip. You should set the levels, so that the mix is well balanced. The
controls on the input strips let you manipulate the signal coming from each
audio track on the timeline. You can adjust the volume and pan levels of each
strip before the signal is fed into the mixer. You can also use the Mute and Solo
buttons to listen to the signals coming from individual tracks.
?
The Solo buttons are for monitoring purposes only and do not stop
the signal from going into the mixer.
The fader is used to control the volume on the mixer strips. It simulates an
audio taper fader, except that the scale is more precise between the +5 dB and
-5 dB range.
The level meter ranges from 20.0 dB to -∞ dB. On the input strip, the level
meter maintains the energy levels even if the volume is adjusted or the strip is
muted. This lets you view the signal as it comes from the audio tracks. The
volume change is only shown on the output strip level meters.
Click Post on the mixer input strip to have the level meter reflect the
volume change.
You can also add effects to the signal before it’s processed in the mixer. For
more information, see Fine-tuning the Mix on page 457.
To fine-tune the sound on an input strip
1. Click the Solo button on the input strip that you want to tune.
Only the sound from this input strip can be heard.
2. Move the play cursor to the beginning of the first audio clip on the
respective track.
3. On the transport controls, click Play.
4. During playback, click the Solo button to hear the effect of the track in
and out of the mix. Click the button again to turn off the effect.
5. As the sequence is played back, drag the fader up or down.
Double-clicking on the fader button returns it to the 0 dB position.
458 • User’s Guide
Fine-tuning the Mix
6. For mono tracks, you can also activate the pan control if you want to
change the routing of the signal. The pan control lets you adjust the
balance among the output strips. Moving the pan control determines the
distribution of the audio signals among the output strips—refer to
Adjusting the Audio Balance in the online help.
7. After you’ve completed the fine-tuning for this strip, deselect the Solo
button, and repeat this procedure for all the other input strips.
?
Adjusting the Mixer
Outputs
The results of the adjustments 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 selected
mixer configuration. The signal from the output strips is then directed to an
external device.
If you’re working in an audio container clip, the signals are directed
to the parent container clip.
To adjust the volume on the output strip
1. On the output strip you want to listen to, click the Solo button. This lets
you focus on the sounds from this strip alone.
2. Move the play cursor to the beginning of the sequence.
3. On the transport controls, click Play.
4. As the sequence is playing, monitor the output levels on the level meter
and drag the fader up or down to adjust the volume of this strip.
5. Repeat this procedure for the other output strip(s).
6. After you’ve fine-tuned each output strip, make sure you deselect any Solo
buttons to listen to the combined results of the output strips.
User’s Guide • 459
Chapter 9 • Mixing Audio
Animating the Audio Mix
When you want to adjust the volume or balance at different stages of the
sequence, you can use the animation capabilities of the mixer to automate the
volume and balance of your audio signals.
You can animate the fader, mute, and pan controls on the input strips before
the signal is processed in the mixer. You can also choose the strips that you
want to animate.
?
When you animate the pan control, fader and mute settings during real-time
playback, the adjustments are graphed as function curves. You can easily
modify these function curves in the animation graph after the recording
is complete.
All animation is track-based. Therefore, if you move the audio clips
to a different track, you will lose the associated animation.
Animating the Input
Strip Controls
The animation button lets you record any adjustments you make to the pan,
mute, and fader controls on the mixer strip in real time. The Solo button
cannot be animated because it’s a tool that lets you listen to the sounds of the
different tracks.
To activate animation on the strips
1. On the strip that you want to animate, click the Animation button.
Animation
button
By default, all the controls on this strip are animated when you begin the
keyframing process. You can, however, select the controls that you want
to animate.
2. Right-click on the Animation button and choose a command from the menu.
Pan can only be animated if the pan control is activated. Right-click
on the pan control and choose Enable Pan from the menu.
3. Deselect the controls that you do not want to participate in the animation.
460 • User’s Guide
Animating the Audio Mix
To animate the controls
1. Click the Animation button on the input strips that will participate in
the animation.
2. On the transport controls, click Play.
3. Adjust the controls on the input strip as the sequence is playing.
Any actions that you perform with the previously activated controls are
automatically recorded.
?
4. To stop playing the sequence, click Play again.
5. Click the animation button on the input strip to deactivate it.
If you leave the Animation button activated, you can record over the
animation simply by replaying the sequence and redoing the control
movements at the appropriate times. The previous animation’s
function curve is overwritten until you stop the recording.
6. Go to the beginning of the sequence and click Play to see the results of the
recorded animation.
If you open the animation editor, you can see your animated movements
graphed on the function curve.
Function
curve
Keyframes at frames 0,4,9 and 12
The animation editor displays the function curve that you generated
Animation Key icon
You can also use the Animation Key icon to manually animate your
controls. For more information, see Setting Keyframes Manually on
page 474.
User’s Guide • 461
Chapter 9 • Mixing Audio
Bypassing the
Animation
When you play a sequence that’s been animated, all the controls that were
animated will automatically play back. If you want to monitor certain sounds,
you can bypass the animated movements of some or all of the controls. This
lets you fine-tune your audio signal. Any animated controls that are bypassed
are still processed and sent to the outputs.
To bypass the animation during playback
1. On an input strip, right-click on the Animation button and choose a
command to bypass from the menu.
?
A check mark beside the command indicates that it will be bypassed.
2. Select any other commands that you want to bypass during playback.
When you replay the sequence, the controls that you selected for bypass
do not participate in the animation.
Editing the Animation
All animated movements can be modified by adjusting the keyframes that
were set for the animated controls.
To edit the animation
1. Right-click on the Animation Key icon and choose Animation Editor
from the menu.
2. In the animation tree, select the name of the strip on which the animation
was created.
3. Click the plus sign (+) to expand the tree, and then select a property or
control whose keyframes values need to be adjusted.
The corresponding function curve is displayed in the animation graph.
4. Adjust the key points on the function curve at the appropriate timecode settings.
For more information, see Editing Animation on the Animation Graph on
page 477.
462 • User’s Guide
Animating the Audio Mix
Deleting Animation
You can delete all or part of the animation on the mixer input strips.
To delete all animation on the mixer
• Right-click on the Animation Key icon and choose Remove Animation
Curves from the menu.
Animation Key icon
?
The function curves for the pan, gain, and mute of each input strip in the
mixer are removed.
To delete animation on individual strip controls
Animation
button
• On an input strip, right-click on the Animation button and choose one of
the following:
- Any of the Delete options from the bottom of the menu.
- Delete All Animation to remove all animation on this input strip.
User’s Guide • 463
Chapter 9 • Mixing Audio
Converting the Sample Rate
Avid|DS supports conversion of sample rates for clips, as well as sequences
and projects. You can change the sampling rate of clips to conform to the rest
of the sequence. Similarly, you can change the sample rate of sequences to
conform to the sampling rate supported by your audio hardware.
?
Converting Sequence
Sample Rates
If you load a sequence/project with a sample rate that’s not supported by your
audio hardware, you will be prompted to convert the sequence/project to a
supported sampling rate.
The following dialog box is displayed:
If you convert the sample rate of the sequence in this manner,
Avid|DS does not convert the sample rates of the sequence’s audio
clips. You must convert the sample rates of the audio clips manually.
For more information, see Converting the Sample Rate Manually on
page 466.
464 • User’s Guide
Converting the Sample Rate
Converting Clip
Sample Rates
Audio clips can be used in sequences that have a different sample rate. When
you place an audio clip on the timeline, its sample rate is converted according
to the settings in the Sequence Preferences dialog box (Audio property page).
You can convert the sample rate automatically or manually.
Converting the Sample Rate Automatically
?
Automatic conversion is the process by which Avid|DS converts an audio clip’s
sample rate to match the sample rate of the sequence in which it’s used.
To automatically convert a clip’s sample rate
1. From the File menu, choose Sequence Preferences.
2. In the Sequence Preferences dialog box, select the Audio property page.
3. In the Sample Rate Conversion box, select one of the following options:
• Conversion on Drop to automatically convert the sample rate of a clip
that you place on an audio track.
• Conversion on Drop and Confirm Each Time to prompt you with a
message before converting the sample rate of a clip that you place on an
audio track.
When the clip is placed on an audio track, a dialog box is displayed,
prompting you to start the conversion.
4. Use the Conversion Quality controls to specify a conversion quality.
Click Help for detailed information on the Sequence Preferences dialog box.
User’s Guide • 465
Chapter 9 • Mixing Audio
Converting the Sample Rate Manually
You can place clips on the timeline without having their sample rate
automatically converted to match that of the sequence. However, if an audio
clip’s sample rate doesn’t match that of the sequence, you will not be able to
hear it when you play the sequence. To hear the clip, you must manually
convert it to the sample rate of the sequence.
When an audio clip’s sample rate does not match the sequence’s
sample rate, the clip appears red on the timeline.
?
To manually convert the sample rate of a clip
• Right-click on a clip on the timeline and choose Convert to Current
Sample Rate from the menu.
To manually convert the sample rate of a track
• Right-click on an audio track and choose Convert to Current Sample Rate
from the menu.
Converting Audio Container Clips
When you convert the sample rate of an audio container clip, only the cache
itself is converted. The clips inside the container clip are unaffected. This lets
you use a container clip in a sequence or project that has a different sample rate,
without having to convert all of the clips inside the container clip.
To convert the sample rate of an audio container clip
• Right-click on an audio container clip and choose Convert to Current
Sample Rate from the menu.
To convert the sample rate of audio clips inside a container clip
1. Open a container clip and manually convert the individual clips.
2. Close the container clip.
466 • User’s Guide
Processing the Mix
Processing the Mix
Unlike video clips, all audio clip, track, and strip effects (as well as any
animation) are processed in real time, so that no caches need to be created.
The only exception is when you create audio container clips. These container
clips are processed automatically when you close them.
The following illustration shows how audio effects are processed from the
tracks on the timeline to the strips on the mixer.
?
Clip effects processed
1 Clip effects are processed
first, in order from bottom
to top.
2 Track effects processed
Track effects are
processed next, also in
order from bottom to top.
Left
Audio signal passed to input strips
Right
3
The signals from the audio tracks are passed
to the corresponding mixer input strip.
Strip effects processed
5
Effects on the mixer input strip
are processed in order from top
to bottom.
Adjust the volume and
balance
Mixer
4
On the input strips you can
adjust the volume and balance
of the audio signal.
6
Audio signal passed to
output strips
The signals from the input
strips are combined and
passed to the output strips.
User’s Guide • 467
Chapter 9 • Mixing Audio
Audio clip effects are processed before track effects. If the effects are stacked,
then they’re processed from bottom to top. The signal from the audio track is
then passed to the corresponding mixer input strip, where you can adjust the
volume and balance of the incoming signal. If you’re still not satisfied with the
results, you can add more effects to the strip. These strip effects are processed
from top to bottom.
The signals from all the input strips are then mixed together and distributed
to the output strips based on the pan levels set on the input strips. On the
output strips, you can make the final adjustments to the volume level using
the fader.
?
The resulting signal is recorded on your external device. If you’re currently
working in a container clip, then the resulting signal is sent to the parent
container clip.
When you close an audio container clip, Avid|DS automatically processes the
mix and displays a single clip on the parent audio track. While processing, it
will indicate the progress. The number of passes that Avid|DS processes are
based on the number of nested container clips in the current container clip.
If you haven’t made any changes to the clips in the container clip, then
processing is not necessary.
For more information, refer to Processing Order on Audio Tracks/Mixer Input
Strips on page 162 of the Avid|DS Compositing & Effects Guide.
468 • User’s Guide
?
Chap ter 10
Animating Properties
User’s Guide • 469
Chapter 10 • Animating Properties
In This Chapter...
This chapter describes the different ways you can animate an object’s
properties in Avid|DS. You can use the animation tools to create and adjust
animation by setting keyframes and manipulating function curves.
After you master the animation techniques, you can refer to specific chapters
in this guide and the Avid|DS Compositing & Effects Guide to learn how to
animate transitions, video and audio effects, composited layers, or graphics.
?
Workflow: Animating Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Creating Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Editing Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Processing Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
470 • User’s Guide
Workflow: Animating Properties
Workflow: Animating Properties
1
Create animation
Display effect’s
property editor
?
Position play cursor
on a frame
Keyframing
Process
Adjust parameters
Set a keyframe
manually
or
automatically
(Autokey mode)
2
Edit animation
Move between
keyframes, adjust
parameters, and
reset, add, and/or
remove keyframes
or
Display animation editor and
modify the function curve
3
Process animation
In the final production, the effect’s properties change over time
User’s Guide • 471
Chapter 10 • Animating Properties
Creating Animation
Animation is the change of an object/image over time. To create animation,
you record changes to an object’s properties. Using a process called
keyframing, you specify the object’s properties at the first and last frame of
each change. Properties are automatically calculated and set for the frames in
between, producing a change in the object. You can add as many keyframes to
an object as you need to create your animation.
?
Objects and effects that you can animate include transitions, video and audio
effects, layers, and graphics. For example, you can animate the blur on a video
effect, the order of a layer in a composite, the rotation of a stroke, or the color
of a title.
There are several ways to create animation:
• Use the Autokey mode to set keyframes automatically, as you adjust the
object’s properties.
• Use the Animation Key icon to set keyframes manually each time you
adjust the object’s properties.
• Use the animation editor to manipulate the function curves of selected
object properties.
• Create a motion path to animate a DVE.
• Record audio animation in the mixer.
Setting Keyframes
Automatically
When you activate the Autokey mode, keyframes are automatically created
each time you change an object’s properties. Automatic keyframing only sets
keyframes for the properties that you change, which is useful when you want
to adjust specific properties without adding or modifying the keyframes of the
other properties.
To set keyframes automatically
1. When you’re ready to begin animating, do one of the following:
• On the status bar, click the Autokey button.
• From the File menu, choose User Preferences to open the User Preferences
dialog box. From the Animation property page, select the Set Keys When
Changing Values option.
• Right-click on the Animation Key icon, in the property editor of the
object that you want to animate, and choose Autokey from the menu or
click auto in the property editor.
The Autokey mode is activated and the Animation Key icon will turn pink
whenever a keyframe is set. Keyframes will automatically be set for all
property editors and animatable properties until Autokey is deselected.
472 • User’s Guide
Creating Animation
2. Use the transport controls to go to the frame on which you want the
animation to start.
3. Use the property editor to adjust the values of the properties that you want
to animate.
A keyframe is automatically set each time you adjust the properties.
4. Go to another frame and adjust the properties again.
?
A new keyframe is set at the current timecode and property values are
computed for all frames between the keyframes.
5. Continue adding keyframes.
6. If you want to stop adding keyframes automatically, click the Autokey
button again to deactivate the Autokey mode.
7. Do one of the following to view the animation:
• Process the effect and play the clip—see Processing Animation on page 494.
• In the property editor, click Preview.
• Press Ctrl and click Play to play the clip frame by frame.
When you play the clip, the keyframed properties change as the clip advances.
In the Autokey mode, keyframes are set only for the properties that
you modify. To set a keyframe for all animatable properties, you
should use the Animation Key icon. For more information, see
Setting Keyframes Manually on page 474.
User’s Guide • 473
Chapter 10 • Animating Properties
Setting Keyframes
Manually
You can create animation by manually adjusting properties and setting
keyframes at different points in time. This method is useful when you want to
set keyframes using the controls in the property editors or views, or
interactively in the viewer. Manual keyframing places keyframes on all of an
effect’s properties.
To set keyframes manually
1. Open the property editor in which you want to create animation.
?
2. Use the transport controls to go to the frame in which you want the
animation to start.
3. Adjust the properties that you want to animate.
4. Do one of the following:
• On the status bar, click the Autokey button.
• In the property editor, click the Animation Key icon to set a keyframe.
A keyframe is set for all the animatable properties in the property editor.
5. If necessary, go to different points in the clip and continue adding
keyframes.
6. Do one of the following to view the animation:
• Process the effect and play the clip—see Processing Animation on page 494.
• In the property editor, click Preview.
• Press Ctrl and click Play to play the clip frame by frame.
When you play the clip, the keyframed properties change as the clip advances.
474 • User’s Guide
Editing Animation
Editing Animation
Once you’ve animated an object, you can use the animation editor to view and
modify its properties. The animation editor represents the animation as one
or more function curves on the animation graph, where the values of the
animated properties are plotted over time.
?
Emboss effect
changes over time
Frame 0
Frame 4
Frame 9
Frame 12
Function curve of the Relief property
Relief property
gradually increases
from frames 0 to 9 and
then decreases rapidly
from frames 9 to 12.
Keyframes at frames
0,4,9 and 12
You can use the animation editor to manipulate a function curve, or to finetune the animation frame-by-frame. You can also add, move, or delete
function curves or keyframes, and trim, crop, or remove an entire animation.
The animation editor can display function curves for multiple animations
simultaneously. Pinning an animation to the animation editor keeps its
function curves displayed while you work on other function curves.
Some effects, like fades or transitions, have an animation graph built
into one of their property pages. You can add keyframes on this
function curve the same way you add keyframes to function curves
in the animation editor.
User’s Guide • 475
Chapter 10 • Animating Properties
When you want to adjust properties using the controls in property editors or
layer controls on other views, you can edit animations with the Animation
Key. For example, if you’re adding a graphics animation to a composite, you
would typically create the graphics in the viewer and record keyframes using
the Animation Key.
Editing Keyframes
Manually
?
You can manually set or delete keyframes on a frame-by-frame basis using the
object’s property editor.
To edit keyframes manually
1. Open the property editor in which you want to create animation.
2. In the property editor, right-click on the Animation Key icon and choose
First Key from the menu.
The play cursor moves to the first keyframe in the animation.
3. If necessary, edit the settings and click the Animation Key icon to set
a keyframe.
The new settings at this frame automatically override any previous settings.
4. Click the Next Key button to move to the next keyframe.
5. If you want to add a keyframe, use the Frame Backward and Frame
Forward buttons on the transport controls to advance your clip to the
appropriate timecode. Change the values and click the Animation Key
icon to add a keyframe.
6. Continue to edit keyframes until you reach the end of the animated sequence.
To remove a keyframe
1. In a property editor or view, click the Previous Key or Next Key buttons
(located next to the Animation Key icon) to go to a timecode where a
keyframe has been set.
The Animation Key icon will be red to indicate that a keyframe is set on
the current frame.
2. Right-click on the Animation Key icon and choose Remove Key from
the menu.
The current keyframe is removed.
476 • User’s Guide
Editing Animation
Editing Animation on
the Animation Graph
In the animation editor, each animatable property is represented by a different
function curve on the animation graph. You can modify these curves to edit
the animation.
Pinned function
curve
?
Marked
parameters
Selected
function curve
Keyframes
Selected keyframe
When working in the animation graph, you can display the function curves of
properties that you want to animate, or hide curves to isolate a specific
property. Function curves on the graph appear in blue for the duration of an
effect. When you select them, they’re highlighted in white and their keyframes
are displayed.
As you modify function curves, you can take snapshots that let you compare
the results of a change to a function curve to the original curve. Snapshots
appear in black on the graph.
There are several ways of manipulating keyframes to change the result of an
animation. You can add new keyframes, delete existing ones, move a keyframe
to a new value or time, and control all of the keyframes at a specific timecode.
You can also adjust a keyframe’s tangents to increase or decrease the slope of
the function curve at that keyframe. For example, if you want a property to
change rapidly at a specific time, you can increase the slope of the function
curve at that keyframe.
Once you’ve finished adjusting a curve, you can snap keyframes to the nearest
point on the grid to precisely align keyframes with timecodes.
You can undo any operation performed on a function curve. From
the Edit menu, choose Undo or press Ctrl+Z.
For more information, refer to Animation Graph in the online help.
User’s Guide • 477
Chapter 10 • Animating Properties
Viewing Markers in the Animation Graph
In the animation graph, you can display any markers that you placed on the
timeline to help you align keyframes at specific points in your sequence.
To display markers in the animation graph
• From the animation editor, click View and choose Markers from the menu.
Adding, Moving and Deleting Keyframes
?
Using the animation tools, you can add, move, and delete keyframes to edit
an animation.
On the animation graph, you can move keyframes to values that are out of a
property’s range. However, the values that are actually processed are the
maximum or minimum values displayed in the property editor.
To add a keyframe
1. In the animation tree, click a property to select its function curve.
In the animation graph, the function curve is selected and the keyframes
are displayed in red.
2. To add a keyframe, click the Add Key icon and click the animation graph.
The closest selected function curve updates to pass through the
new keyframe.
You can use the Select tool to change the value of multiple
keyframes. Press Shift and click keyframes to select them. Now enter
a new value in the animation graph value box.
To move a keyframe
1. In the animation tree, click a property to select its function curve.
In the animation graph, the function curve is selected, and the keyframes
are displayed in red.
2. To move a keyframe, click the Select icon and do one of the following:
• Drag a keyframe to a new position.
The value and/or frame of the selected keyframe is updated.
• Click a keyframe and in the Frame and Value boxes, enter a new frame
and/or value.
The function curve is updated to pass through the modified keyframe.
478 • User’s Guide
Editing Animation
To delete a keyframe
1. In the animation tree, click a property to select its function curve.
In the animation graph, the function curve is selected and the keyframes
are displayed in red.
2. To delete a keyframe, click the Remove Key icon, and click on a keyframe.
The keyframe is removed and the function curve is updated.
?
3. To remove all the keyframes on the selected function curve, right-click on
the Animation Key icon and choose Remove Animation from the menu.
You will be prompted to confirm before all the keyframes are deleted.
Pressing the Delete key only deletes selected keyframes.
Adding, Moving, and Deleting Keyframes on Multiple
Function Curves
The meta curve region is a powerful tool that lets you add, move, and remove
keyframes on every visible function curve in the animation graph.
When you display the meta curve region, red markers appear below the
animation graph at every timecode at which a keyframe is placed on a
function curve. If several function curves have keyframes at the same
timecode, all of those keyframes are represented by a single marker.
Though markers in the meta curve region can represent and control
multiple keyframes, those keyframes are not locked together. If you
move a keyframe out of alignment with other keyframes, a new
marker will appear in the meta curve to represent the keyframe’s
new location.
Adding keyframes in the meta curve region places a keyframe on every visible
curve, at the current timecode. Moving a marker in the meta curve region
moves all of the keyframes at that timecode. Deleting keyframes from the
meta curve region removes any keyframes on any function curves at the
current timecode.
To display the meta curve region
• From the View menu, choose Meta Curve Region and choose one of
the following:
- Display for selected curves only to display the meta region for selected
curves only.
- Display for all curves to display the meta region for all curves.
The meta curve region is displayed below the animation graph.
User’s Guide • 479
Chapter 10 • Animating Properties
To add a keyframe to all visible function curves
1. From the animation editor, click the Add Key icon.
2. Click anywhere in the meta curve region.
A keyframe is added to every visible function curve in the animation
editor, at the current timecode.
To move all keyframes at a specific timecode
?
1. From the animation editor, click the Select icon.
2. Drag a marker in the meta curve region.
All keyframes represented by the marker are moved to the new timecode.
To delete a keyframe from all visible function curves
1. From the animation editor, click the Remove Key icon.
2. Click a marker in the meta curve region.
All keyframes represented by the marker are deleted.
Synchronizing Animation
You can synchronize keyframes in the animation editor by dragging their
markers in the meta curve region. Moving one marker to the same timecode
as another synchronizes their respective keyframes at the current timecode.
This is useful when, for example, you want to coordinate changes to several of
an object’s properties, at the same time.
To synchronize keyframes
1. In the animation graph, select a function curve and add a keyframe to it.
A marker appears in the meta curve region, representing the first keyframe.
2. Select a different function curve, and add a keyframe to it.
A marker appears in the meta curve region, representing the second keyframe.
3. In the meta curve region, click the second keyframe’s marker and drag it
on top of the first keyframe’s marker.
The keyframes are now synchronized, and represented by a single marker
in the meta curve region. Moving the marker moves both of the keyframes.
480 • User’s Guide
Editing Animation
Modifying Regions
In Avid|DS, you can select and modify a region of the animation graph.
Keyframes in a selected region are automatically selected, and can be moved
simultaneously. You can also stretch or shrink a selected region horizontally
or vertically.
To modify a region of the animation graph
?
1. Click the Select Region icon, and select the region of the function curve
that you want to copy.
The selected region is highlighted, and edit controls appear along on all
four sides.
2. Drag the edit controls to stretch or compress the region.
Changing the Slope of a Function Curve
The slope of a function curve determines how a property changes between
keyframes. For example, in a scene where an actor moves from artificial
lighting to sunlight, you can animate the color correction, so that it changes at
the same rate as the light changes, as illustrated in the following examples:
• If the actor is walking through an open door, the color correction should
increase rapidly along a spline curve.
Spline
• If the actor steadily approaches the end of a tunnel, the color correction
should increase linearly.
Linear
User’s Guide • 481
Chapter 10 • Animating Properties
• If the actor is suddenly exposed to sunlight, the color correction should be
constant, and then change in one step.
Constant
?
To set the type of function curve
1. From the animation editor, select a function curve.
2. Click the Animation Editor Preferences icon.
3. On the Keys property page, select one of the following options from the
Interpolation box:
• Constant to create a curve with constant values that change in steps.
• Linear to create a curve where keyframes are joined by straight lines.
• Spline to create a smooth curve whose slope you can modify at any point.
The curve is updated to the new type.
Click Help for detailed information on the Animation Editor Preferences.
To set the tangent slope options
1. From the animation editor, select a function curve.
2. Click the Animation Editor Preferences icon.
482 • User’s Guide
Editing Animation
3. On the Keys property page, select one of the following options from the
Slope box:
• Unified to keep the slopes together as they move, keeping a constant angle
between them.
• Broken to let the slopes move freely as you drag each handle individually.
Click Help for detailed information on the Animation Editor Preferences.
?
To change the slope of a spline at a keyframe
1. On a spline function curve, select a keyframe.
The tangent handles are displayed at the selected keyframe.
2. Click a tangent handle to select it and drag it to a new position.
The slope of the function curve changes at the keyframe.
If the tangent handle and the keyframe are close together, hold down
the H key and drag. This lets you manipulate the tangent handle.
Making Temporary Copies of Function Curves
Snapshot curves are temporary copies of function curves that stay in the
animation graph after you edit the original curves. Using the snapshot curves,
you can edit function curves, compare the edited curve to the temporary copy
of the original, and revert to the original if you’re not satisfied with the
change. When you’re ready to accept your changes, you can update the
snapshot curve to reflect the edits that you made.
To use snapshot curves
1. From the animation editor, select a function curve.
2. Click the Animation Editor Preferences icon.
3. On the Editor property page, select the Snapshot Curve option from the
View box.
A snapshot curve is created and hidden behind the original function curve.
4. Edit the selected function curve.
The snapshot curve is displayed in black.
5. If you want to revert to the snapshot curve, click the Swap icon.
The original curve is highlighted and you can edit it.
6. When you’re satisfied with the edits, click the Snap icon.
The black snapshot curve is updated to match the white function curve.
Click Help for detailed information on the Animation Editor Preferences.
User’s Guide • 483
Chapter 10 • Animating Properties
Snapping Keys to Grids and Frames
You can make keyframes snap to the nearest frame on the grid’s X axis or to
the nearest frame on the grid’s X axis. Snapping keyframes to the grid lets you
position them at precise timecodes.
Snapping a keyframe to the grid
• Click Edit and choose Snap to Grid from the menu.
?
Snapping a keyframe to its nearest frame
• Click Edit and choose Snap to Frame from the menu.
Click Help for detailed information on the Edit menu commands.
Locking Keyframe Positions
You can freeze a keyframe’s values, as well as its location in time, by locking
the key’s position on the X or Y axis.
If the function curve uses a spline interpolation to transition action to the
next keyframe, you can also freeze the keyframe’s speed of transition and
influence on the function curve by using the animation editor’s tangent
handle locking controls.
To lock a keyframe’s position on the animation graph
1. From the animation graph, select a keyframe.
2. Do one or both of the following:
• Click Keys and choose Lock in X (Time) to lock the key’s location in time
on the X axis.
• Click Keys and choose Lock in Y (Value) to lock the key’s value on the Y axis.
The keyframe is frozen in place on the graph editor and cannot move until
Lock in X or Lock in Y is deselected. You can still manipulate the keyframe
tangent handles to change the shape of the slope.
Offsetting Animation
You can offset an animation by moving an entire function curve. If, for
example, you’re satisfied with a function curve’s slope, but want the
corresponding change in properties to occur later in the animation, you can
move the entire curve farther down the timeline.
To offset an animation
1. From the animation editor, select a function curve.
2. Hold down the R key, and drag the curve to reposition it on the timeline.
484 • User’s Guide
Editing Animation
To offset multiple function curves
1. Hold down the Shift key, and click each function curve to select it.
2. Hold down the R key, and drag the curve to reposition it on the timeline.
Copying Animation
?
You can copy the animation of one property to another by copying the
function curve. For example, you can animate the Z position of an object, so
that it appears to move away from the viewer. You can then copy the
animation to a blur effect, so that the blur increases as the objects move away
from the viewer. You can then adjust the blur function curve according to the
scale of the blur parameter.
To copy an animation, you simply copy a property’s function curve and paste it
onto the function curve of another property. You can copy the entire curve or a
region of a curve. When pasting the animation, you can do one of the following:
• Insert the copy at a selected timecode.
• Replace a portion of the function curve at a selected timecode.
• Paste the copy over a selected region.
To copy an entire animation
1. In the animation tree, click a property.
In the animation graph, the property’s function curve is highlighted.
Copy from
this curve
2. Press Ctrl+C.
The animation is copied.
3. In the animation tree, click a property to receive the animation.
In the animation graph, its function curve is highlighted.
User’s Guide • 485
Chapter 10 • Animating Properties
Copy to
this curve
?
4. Press Ctrl+V.
The animation is pasted. In the animation graph, the function curves for
both properties are identical and appear as only one curve.
Two identical
curves appear as
one
To copy a region of a function curve
1. In the animation graph, do one of the following to specify the region that
you want to copy:
• Select contiguous keyframes.
The region to be copied is between the first and last selected keyframes.
• Click the Select Region icon and select the region of the function curve
that you want to copy.
Region to
be copied
486 • User’s Guide
Editing Animation
2. Press Ctrl+C.
The animation is copied.
3. If you want to paste the animation to a different property, select a
function curve.
4. Specify where to paste the animation by clicking the Select Region icon
and doing one of the following:
?
• Clicking a timecode
When the animation is copied, it starts at the specified timecode.
• Selecting a region
When the animation is copied, it fits into this region. If you copy an
animation to a region of a different size, the animation is automatically
scaled in time.
If you do not specify where to paste the animation, it’s pasted at
its original timecode on the selected curve.
5. Press Ctrl+V.
The animation is pasted, replacing the selected function curve over the
specified region.
Animation pasted to second
curve at selected timecode
Animation pasted to selected
region of second curve
To insert a copied region of a function curve
1. In the animation graph, do one of the following to specify the region that
you want to copy:
• Select contiguous keyframes.
The region to be copied is between the first and last selected keyframes.
• Click the Select Region icon and select the region of the function curve
that you want to copy.
User’s Guide • 487
Chapter 10 • Animating Properties
Region to be copied
?
2. Press Ctrl+C.
The animation is copied.
3. If you want to paste the animation to a different property, select a
function curve.
4. Click the Animation Editor Preferences icon.
5. On Paste Options property page, select the Insert option from the Paste
Options box.
6. To specify where to insert the animation, click the Select Region icon, and
click a timecode.
If you do not specify where to paste the animation, it’s pasted at its
original timecode on the selected curve.
7. Press Ctrl+V.
The animation is pasted at the selected timecode on the selected curve.
Copied animation inserted
in second curve
488 • User’s Guide
Editing Animation
Repeating Animation
Cycling animation allows you to repeat a function curve for the duration of an
animation. By applying different types of cycles, you can quickly create
repetitive animations like blurring in and out.
When you create cycles, the repeated information is not added to the function
curve. It’s based on the original keyframes, but does not contain any
keyframes. When you adjust the original keyframes, changes are reflected
throughout the cycle.
?
Creating a Basic Cycle
A basic cycle repeats the shape and pattern of a function curve, as defined by
the keyframes, for the duration of the animation. For example, you can use a
basic cycle to animate a blur in and out of a clip.
To create a basic cycle
1. In the animation graph, select the function curve whose shape you want
to repeat.
2. Click Curves and choose Cycle from the menu.
The pattern is repeated along the X axis of the animation.
Original curve with keyframes
Curve cycled along X axis
without keyframes
User’s Guide • 489
Chapter 10 • Animating Properties
Creating a Relative Cycle
A relative cycle repeats the shape and pattern of the function curve by starting
each cycle at the value of the last key in the preceding cycle. The result is a
progressive offset that creates a gradual overall change in the animation while
repeating the basic pattern. For example, you can use a relative cycle to blur in
and out of a clip, while gradually sharpening the overall focus.
To create a relative cycle
?
1. In the animation graph, select the function curve whose shape you want
to repeat.
2. Click Curves and choose Relative Cycle from the menu.
Last point of one
cycle becomes start
point of next cycle
Freezing a Cycle
Freezing a cycle applies it to the time span between two specified timecodes in the
animation. When the cycle is frozen, the keys in the cycled part of the function
curve are sampled and applied to each cycle in the frozen part of the curve. You
can then edit the function curve. If the cycle is not frozen to the entire length of
the animation, it will be removed from any leading or trailing frames.
Freezing cycles is useful when you only want to repeat a cycle for part of an
animation, or when you want to make slight modifications to the same basic
curve throughout the animation.
490 • User’s Guide
Editing Animation
To freeze a cycle
1. In the animation graph, select the function curve whose shape you want
to repeat.
2. Click Curves and choose Freeze Cycle from the menu.
The Freeze Cycle dialog box is displayed.
3. Enter a start and end timecode.
?
The cycle is applied between the start and end timecodes, and the repeated
information is added to the function curve.
Original cycled curve
Cycle removed from
trailing frames
Cycle removed from
leading frames
Cycle is frozen to this interval
Deleting a Cycle
Since the repeated information is not added to the function curve, you can
delete the cycle while preserving the original keyframes.
To delete a cycle
• Click Curves and choose Constant Extrapolation or Gradient
Extrapolation from the menu.
User’s Guide • 491
Chapter 10 • Animating Properties
Trimming Animation
When you want to trim animation, you should trim the animated effect by
rescaling the function curves or cropping them.
To specify how the animation is trimmed
1. Open the property editor of the effect that you want to trim.
2. In the property editor, do one of the following:
• Deselect the Crop Curves option to rescale the function curves.
?
When you trim the effect on the timeline, the function curves are rescaled
in the animation editor.
• Select the Crop Curves option.
When you trim the effect bar on the timeline, the function curves are
cropped in the animation editor. On the animation graph, the highlighted
area of the function curve shows the new length of the animated effect.
For more information, refer to Trimming Effects on page 71 of the Avid|DS
Compositing & Effects Guide.
Rescaled function curve
Cropped function curve
Trimmed effect
492 • User’s Guide
Editing Animation
Removing Animation
An object’s animation can be composed of more than one function curve.
A separate function curve exists for each animatable property of an object.
When removing animation, you can choose whether you want to remove the
entire animation or just selected animated properties within the animation.
Removing the Entire Animation
?
When you remove an animation, you’re deleting the function curves for all
the animated properties of the selected object.
When you remove animation, locked keys will also be deleted.
To remove the entire animation
1. Open the property editor or view for the property whose animation you
want to remove.
2. Right-click on the Animation Key icon and choose Remove Animation
from the menu.
All keyframes on all functions curves are deleted. The function curves
become straight lines.
Removing the Animation of a Single Property
You can remove the animation of a single property by removing all the
keyframes from the property’s function curve.
To remove all the keyframes on a function curve
1. Select an animated object.
2. In the animation editor, click View, and choose Animation Editor from
the menu.
The animation tree is displayed.
3. From the animation tree, click the property whose function curve you
want to remove.
In the animation graph, the corresponding function curve is highlighted.
4. Press the Backspace key.
All keyframes on the function curve are deleted and the function curve
becomes a straight line.
User’s Guide • 493
Chapter 10 • Animating Properties
Processing Animation
You can view the evolution of your animation by stepping through the
animation frame by frame. Before you can play the clip, you must first process
the animation.
To process animation
1. Do one of the following:
?
• From the Processing toolbar, click Process.
• In the timeline controls, click the Process indicator icon.
2. In the Processing Options dialog box, select the appropriate options.
3. Click OK to begin processing.
A progress bar appears on the bottom of the desktop to show the status of
the process.
4. Click Cancel to stop the process at any time.
Click Help for detailed information on the processing options or refer to
Processing Effects on page 127 of the Avid|DS Compositing & Effects Guide.
494 • User’s Guide
?
Chap ter 11
Outputting Media
User’s Guide • 495
Chapter 11 • Outputting Media
In This Chapter...
This chapter describes how to output your edited material to tape or file.
Workflow: Outputting Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Outputting Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
?
.
496 • User’s Guide
Workflow: Outputting Media
Workflow: Outputting Media
After you have constructed your sequence and processed any effects that you
applied to it, you can output it to tape, file, EDL or OMF file (audio only).
The following illustration shows you how Avid|DS outputs media.
1
Select the area to output
Select the entire sequence
?
2
or
Select specific region
Select the output device
Select whether you’re outputting to file or
tape. If you’re outputting to tape, you must
select the external device on which the media
will be recorded.
3
Output media
Output the sequence to tape
or
Export it as a media file
or
Export it as an EDL or OMF file (audio only)
User’s Guide • 497
Chapter 11 • Outputting Media
Preparing for Output
Preparing for output requires you to specify the output quality and select the
clips to be output. You should also verify that the external device is configured
properly. For more information, see Configuring the External Device on
page 74.
When outputting media, Avid|DS uses the video and audio quality settings that
you specified in your sequence preferences. However, if you change them, you
must recapture and reprocess your media before outputting your sequence. For
more information, see Changing the Sequence Preferences on page 142.
?
You can also compress material before outputting to the .avi or .mov
file formats. All compression codecs installed on your machine are
available from within Avid|DS.
Selecting an Area to
Output
With Avid|DS, you can output the entire sequence or just a selected region. You
can also choose to output only video or audio tracks, or a combination of both.
Setting the Duration for Output
You do not have to output your entire sequence at once. You can select a
specific region, or only the contents of a container clip.
To set the duration for output
1. From the Media Input/Output layout, select the Output panel.
2. In the Source box, select one of the following options:
• Entire Sequence to output the entire timeline.
If you’re on the top timeline, the entire sequence is output. If you’re within a
container clip, only the clips on the container timeline are output.
• To output a selected time span, go to the Editing layout and mark in and
out-points on the timeline. Return to the Media Input/Output layout and
select the Sequence In/Out option.
The marked in and out timecodes of the sequence are displayed in the
Sequence In/Out text boxes.
Click Help for detailed information on the Media Input/Output panels.
498 • User’s Guide
Preparing for Output
Selecting the Channels and Tracks for Output
In addition to specifying the length of the sequence to be output, you can also
select specific tracks or audio channels to be recorded.
To select tracks for output
1. From the Media Input/Output layout, select the Output panel.
In the External Device box, Avid|DS detects the type of media in the
sequence you selected and automatically sets the appropriate tracks.
?
2. Click V for video tracks and A for audio tracks.
Click Help for detailed information on the Media Input/Output panels.
Checking the Status of
the External Device
Before outputting your material, you should check to make sure that the
external device is reading the signal from your system.
To check the status of the external device
• From the Configuration panel of the Media Input/Output layout, click
Check Machine.
If the link between the external device and your system is operating
properly, nothing occurs. If there is a problem, a message box appears,
stating the possible cause of the problem.
You can also verify that the external device is operating within
normal parameters by checking the five items in the External Device
Status area. A green or red light beside each item displays its status.
Items that are grayed out are inactive. This area is available from all
panels in the Media Input/Output layout.
Click Help for more information on each item in the External
Device Status area.
External Device status area
User’s Guide • 499
Chapter 11 • Outputting Media
Outputting Material
When you output a sequence from Avid|DS, you’re taking all the information
contained in a sequence file, such as, timecode information, source media
used, and generated caches, and copying it to an external device or file.
Before you output your sequence, make sure you process any unprocessed
areas on the timeline. For more information, refer to Processing on page 129 of
the Avid|DS Compositing & Effects Guide.
?
In Avid|DS, you can either output to tape or export to file. If you’re outputting
to tape, your hardware should already be configured to output material to a
tape device connected to your workstation. You must configure the device
properly, so take the time to check that all the settings are correct. When
exporting to file, you must select the disk where the file is to be stored.
During output, a red indicator light will flash on the transport
controls if any frames are skipped. The output stops and a message
box appears, stating the possible cause of the problem.
If this problem continues to occur, you can try decreasing the
throughput on the system by creating audio container clips for your
audio material. For more information, see Creating an Audio
Container Clip on page 261.
Outputting to Tape
When you output video to tape, the image size always matches the resolution
set in the Sequence Preferences dialog box.
When you output your material, you can either insert edit (Auto
Edit mode) the material into an existing tape program, or you can
assemble edit your material onto a brand new tape.
When you output audio to tape, you will get the best performance with eight
streams of audio on the top timeline. For example, you can output four stereo
tracks at 48 KHz 16-bit with uncompressed video.
1. From the Media Input/Output layout, select the Output panel.
500 • User’s Guide
Outputting Material
2. In the Output Device box, select the To Tape option.
The preset name of the external device configured to your workstation
appears in the To Tape text box.
?
To change the external device or modify its configuration, select the
Configuration panel, select a new device or make the necessary
changes to the existing preset and resave it. For more information,
see Configuring the External Device on page 74.
3. In the External Device box, click the video and audio tracks to output.
4. On the Input panel, make sure the Capture Source is set to Tape, and then
use the transport controls to locate the position on the tape where you
want the program to start recording.
If you’re insert editing your material, make sure that your tape is
properly striped with timecode before attempting to output your
material.
5. On the Output panel, click Output Now.
The selected media in your sequence is output to tape.
Click Help for detailed information on the Media Input/Output panels.
User’s Guide • 501
Chapter 11 • Outputting Media
Exporting to File
When you export to file, you can set various output options, depending on
the type of file you’re creating. These options define the frame size,
compression, and alpha component of the output.
You can’t export a file at a different frame rate than that of the
current sequence. If you want to convert the frame rate of your file,
you’ll have to use an external media conversion tool, such as the
cleaner application.
?
When outputting to the .avi or .mov file formats, you can choose a
compression codec (compressor/decompressor) directly from within
Avid|DS. Every codec installed on your workstation is available during output.
You can also choose to output QuickTime reference movies. These movies are
very small in size and output very quickly since they only contain composition
information. You can use QuickTime reference movies in combination with
Avid ProEncode™ to quickly create formats suitable for distribution via the
web, DVD, or CD-ROM.
Output resolution is independent of the sequence frame size or working
resolution. By default, output resolution is set to the sequence frame size, but
you can select a different output frame size.
Audio is not exported when the selected export format is an image
format. Similarly, video is not exported when the selected export
format is an audio format.
To export to a file
1. From the Media Input/Output layout, select the Output panel.
2. In the Output Device box, select the To File option.
3. From the file type list, select a file type.
502 • User’s Guide
Outputting Material
Avid|DS 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 (Video Hal)
.gen,.omf
No
No
Bitmap (Windows)
.bmp
No
Yes
CINEON
.fido
No
Yes
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
PPM
.ppm
No
Yes
QuickTime
.mov, .qt
Yes
Yes
SGI
.sgi, .rgb
Yes
Yes
Softimage
.pic
Yes
Yes
TIFF
.tif,.tiff
Yes
Yes
Targa
.tga
Yes
Yes
WAV
.wav
-
-
Wavefront
.rla
Yes
No
YUV
.yuv
No
Yes
If you choose .avi or .mov as the file type, a Video Compression dialog box
is displayed. Choose a compression codec, modify the settings to meet the
quality you require and click OK.
4. From the Options box, select one of the following options:
• Generic to pick a standard resolution from the list.
• Custom to create your own custom resolution. You can create a custom
resolution by entering X and Y values in the appropriate text boxes.
Material is output at the selected frame size.
User’s Guide • 503
Chapter 11 • Outputting Media
5. Select the Preserve Alpha option to retain alpha channel information in
the output file.
This is useful if you plan to reuse the matte information in future
compositing or graphics projects. Not all file formats support alpha
channels, so check the list to make sure.
6. Some file formats, other than .avi and .mov, support compression. If you
have space considerations, select the Use Compression option to reduce the
size of the output material.
?
7. Click Export.
8. From the Export to File dialog box, select a folder in which to save your
material, type in a name for the file, and click Save.
The material is processed, if necessary, and exported to file, and placed in
the selected folder.
When you export a sequence to a still image format, such as .bmp or .tiff,
each frame is saved as a separate file.
For example, if you export your sequence to a file named
“MyPicture.bmp”, the output is saved as independent still image files.
The files are numbered sequentially: for example, MyPicture.001.bmp,
MyPicture.002.bmp, MyPicture.003.bmp, and so on.
To output a sequence to a specified series of image files, enter the
following in the File name text box:
prefix.[first..last;padding].extension
Property
Description
Prefix
The name of your file. The prefix can also include the name
of your directory.
First
The first frame of the sequence you want to export. First is
assumed to be a positive integer and smaller than Last.
Last
The last frame of the sequence you want to export. Last is
assumed to be a positive integer and larger than First.
Padding
The number of digits contained in the Last number. For
example, if your First number is 23 and your Last number is
1000, your padding should be 4 because 1000 has a total of
four digits.
Extension
The file name extension.
For example, if you wanted to output a sequence to a series of image files
with the names Alpha.0100.pic to Alpha.1000.pic, you would enter the
following in the File name text box:
Alpha.[100..1000;4].pic
504 • User’s Guide
Outputting Material
You can take a snapshot of the viewer and export it to file. For more
information, see Creating an Image File from a Snapshot on page 225.
Click Help for detailed information on the Media Input/Output panels.
Exporting QuickTime
Reference Movies
?
A QuickTime reference movie is a QuickTime movie that contains only
composition information. These files do not contain media. Instead, they point
to the original media on your storage device. As a result, they are very quick to
output and are very small in size. When you play back the QuickTime reference
movie, the movie references the original media files on your storage device.
As long as the QuickTime reference movie can access the original media, you
won’t have any problem playing it back. You can move the QuickTime
reference movie to another workstation but make sure that the media is
located on a storage device that is shared between the two workstations. If you
plan to move these type of files to a workstation that does not have access to
the original media, then you should export it as a standard QuickTime file.
QuickTime reference movies do not support compressed media. You
can, however, output at lower resolutions, such as half or quarter
resolution. You can output these files in either 4:3 or 16:9 format.
You can also export QuickTime reference movies directly to ProEncode to
translate your media into formats suitable for distribution via the web, DVD,
or CD-ROM.
To export a QuickTime reference movie
1. From the Media Input/Output layout, select the Output panel.
2. In the Output Device box, select the To QuickTime reference movie option.
3. Click Export.
4. From the Export to QuickTime Reference Movie dialog box, select a folder
in which to save the file, type in a name for the file, and click Save.
User’s Guide • 505
Chapter 11 • Outputting Media
The QuickTime reference file, which contains only the composition
information, is created, and placed in the selected folder. Since the
QuickTime reference movie points to the orginal media, the output
settings will be the same as the current sequence settings.
A QuickTime reference movie becomes invalid if the media to which
it points is modified.
You must have the QuickTime codec and Avid media QT codec
installed on your workstation in order to play back QuickTime
reference movies.
?
Exporting QuickTime Reference Movies to ProEncode
If you plan to convert your media into formats suitable for distribution via the
web, DVD, or CD-ROM, you can output QuickTime reference movies directly
to ProEncode. ProEncode software automates the entire encoding process. It
also allows you to distribute the encoding work to other workstations, which
lets you continue working on other tasks.
To export a QuickTime reference movie to ProEncode
1. From the Media Input/Output layout, select the Output panel.
2. In the Output Device box, select the To ProEncode option.
If the ProEncode client is not installed on your workstation, the To
ProEncode option is greyed out.
When you use the To ProEncode option, QuickTime reference
movies are created automatically. Make sure that the source media
for these files resides are on a shared storage area. The source media
must also be accessible to the machine on which the ProEncode
Provider software is running. For information on sharing storage
areas, see Configuring Media Storage on page 70.
506 • User’s Guide
Outputting Material
3. Click Export.
4. From the Export to File dialog box, select a folder in which to save the file,
enter a name for the file, and click Save.
The QuickTime reference file is created in the selected folder and the
ProEncode client is displayed.
?
When you output to ProEncode, you must save the QuickTime
reference movie in a shared folder. If the folder is not already shared,
Avid|DS shares the folder for you.
For information on using ProEncode, refer to the ProEncode User Guide and
online help.
The QuickTime reference movies are not deleted when ProEncode is
finished creating its output. You have to delete the QuickTime
reference files manually.
User’s Guide • 507
Chapter 11 • Outputting Media
?
508 • User’s Guide
1 A B C D E
F G H
Index
Numerics
?
3D DVE
finishes 427
interest 365
light sources 427
setting time span 384
3D DVE Layers view 358
Refer also to online help
3D DVE Object View (3D OV) 384
Refer also to online help
3D DVE objects
aligning 378
comments 384
copying 375
cutting 375
deleting 375
deselecting 374
distorting 370
grouping 379
hiding 380
identifying 384
locking 376
material, editing 426
matte, generating 426
moving 375, 376
muting 380
naming 384
pasting 375
positioning 377
reference 378
removing 375
renaming 384
reordering 377
rotating 383
scaling 382
selecting 374
shadow workaround 438
snapping to safe title guide 361, 376
thickness 389
ungrouping 379
unlocking 376
3D OV See 3D DVE Object View
I
J
K L M N O P Q R S
3D titles 386 to 423
adjusting margin 415
centering text 413
4 stream audio format 85
5.1 audio format 85
6.1 audio format 85
7.1 audio format 86
8 stream audio format 86
A
Absolute Align Bottom
command 315
Absolute Align Horizontal Center
command 315
Absolute Align Left command 315
Absolute Align Right command 315
Absolute Align Top command 315
Absolute Align Vertical Center
command 315
Activate tool 217
activeness 195, 216
audio clips 202
clips 216
cutting to another clip 254
filling 218
moving clips 210
rolling 251
video clips 200
AES/EBU 80
ALE
creating logs 185
importing 184
loading 184
requirements for logging 185
Refer also to online help
ALE Import view 184
global properties 185
importing ALE files 184
logging master clips 185
Refer also to online help
alignment
3D DVE objects 378
clips 268
column value 410
markers 268
tools, graphics 315
T U V W X Y Z
Index
alpha channel
importing 90, 98
premultiplied 91
anchor point
adjusting 381
resetting 381
restrictions 381
scaling relative to 382
animating
audio 452, 460 to 463
audio bypass 462
input strips 460
mute 460
objects 472
pan 460
relative cycling 490
volume 460
animation
copying 485
copying function curves 483
creating 472 to 474, 489
cycles, deleting 491
cycles, freezing 490
cycling 489
editing 462, 475 to 493
fade 329
freezing position 484
function curves 461, 475, 477, 481
function curves, copying 483
key 476
keyframes 472 to 474
locking keys 484
meta curve region, displaying 479
methods 472
offsetting 484
on mixer strips, deleting 463
pinning 475
processing 494
removing 493
repeating 489
restrictions 408
selecting 460
snapping keys to frame 484
snapping keys to grid 484
snapshot curves 483
User’s Guide • 509
Index
?
1 A B C D E
synchronizing 480
tree 462
trimming 492
workflow 471
animation editor 472, 475
Refer also to online help
animation graph 477, 484
regions, modifying 481
Refer also to online help
antialiasing, profile effect 388
archive.log file 37, 40
archiving
archive.log file 37, 40
from network 35
large projects 38
linked clips 36
media 35
non-standard projects 37
project files 24
projects 34
shared media 155
to multiple tapes 38
array, disk 24
aspect ratio
constraining scaling 382
HD 134
sequence preferences 134
assemble editing 76
audio 453
animating 452, 460 to 463
animation, recording 472
assigning inputs 86
capture quality 79
clip formats 453
clip formats, determining 454
configuring input 80
container clip icon 456
container clips 261, 451, 455
crossfade 254, 454
editing 189
formats 453
input configuration 74
input format 74
input strips 452
510 • User’s Guide
F G H
I
J
K L M N O P Q R S
inputting stereo 81, 85, 100, 103
mixing 451, 452, 454
monitoring input levels 81
output strips 452
outputting 500
panning 458
physical patching 75
sample accurate editing 452
sample rate conversion 464
storage device 80
submix 261, 455
track formats 453
tracks 203, 453
volume 458
waveform 202
workflow 451
audio clips 195
activeness 202
manually converting sample
rate 466
mixing 454
audio container clips 261, 451, 455
audio formats
4 stream 85, 453
5.1 85, 453
6.1 85, 453
7.1 86, 453
8 stream 86, 453
capturing 85
input 74
LCRS 85, 453
mono 85, 453
quadraphonic 85, 453
stereo 85, 453
Audio Output Monitor Refer to
online help
audio patching matrix 86
audio quality matching, sequence
preferences 141
audio track
manually converting sample
rate 466
types 203
T U V W X Y Z
audio track format
changing 454
determining 454
Autokey mode 472
automatic framing Refer to online help
automation See animation
autosaving sequences 150
Avid Log Exchange See ALE
Avid Log Exchange view Refer to
online help
Avid MediaLog, logging clips 184
Avid ProEncode 505, 506
Avid|DS
discussion group 12
exiting 20
starting 19
Avid|DS HD Editor
compositing 353, 355
axes, XYZ 355
B
background
surface 424
backtiming 242
balancing column widths 412
base color 426
baseline offset 421
batch capture list
adding entries 111
removing entries 111
batch capturing
browser 104
error log 112
list 110
timeline 107
using scripts 112
bevel, profile effects 389
bins
matching 220
matching clips 221
bi-pack 260
bottom margin 415
bounding box, hiding 314
Box profile effects 389
1 A B C D E
?
F G H
breaking links 234
browser
batch capturing clips 104
capturing clips 104
media properties 78
selecting multiple clips 195
standard folder structure 28
Refer also to online help
brush properties 294
defining 294
building sequences 191
burned frames 342
bypassing
audio animation 462
C
caches 23
purging 57, 62, 64
purging, current project 63
purging, current sequence 63
cameras
clipping planes 370
field of view 371
interest 369
position 369
capturing 69, 83
16×9 format 91, 98
additional material 85
audio formats 85
audio patching 86
audio quality, specifying 79
batch 104
bit depth 78
color space 81
compression 78
error log 110
from browser 104
from tape 84, 102
from timeline 104, 107
large images 89
live 102
logging clips 83
manual reel 86, 101
on-the-fly 100
I
J
K L M N O P Q R S
oversized images 97
play bias 76
preparing 70 to 82
recapturing 104
record bias 76
resolution 78
sample rate 78
scaling media 89
selecting folder 83
small images 89
source material 24
source material, previewing 80
source timecodes 83
square pixels 91, 98
still images 89
streaming 104
time available 79, 80
time delay 105
timecode breaks 88
timecodes may repeat 86, 101
using scripts 112
video quality, specifying 78
workflow 69
Cartesian space 355
channels, monitoring audio 81
character spacing See kerning
Chisel profile effects 389
chopping control points 322
circle shapes 392
clip
markers 268
Clip Search tool Refer to online help
clip tray Refer to online help
clipping
objects to frame 362
text 418
clipping planes 370
setting 370
clips
activating 217
activating region 218
adding comments 213
adding notes 213
adding to sync groups 270
T U V W X Y Z
Index
aligning 268
audio 195
backtiming 242
breaking synchronization 271
capturing from browser 104
capturing from timeline 107
changing active areas 216
changing activeness 217
constrain drag Refer to Markers in
online help
container See container clips
copying 28, 214
creating subclips 193
cutting 214
cutting to 254
deactivating 217
deactivating region 218
deleting 47, 214
deleting from browser 47
deleting synchronized 274
deleting sync-locked 215
displaying unused material 201
dragging and dropping 194
dragging to timeline 197
editing 229
filling activeness 218
four-point editing 199
importing 154
inserting 198
inserting with ripple 226, 228
linked 97
locking 269, 270
logging 83, 84
looping 207
manipulating 209 to 218
matching bins 221
moving 28, 210
moving between tracks 212
moving multiple clips with
activeness 211
moving on same track 210
moving one past another 211
moving to different track 212
moving with activeness 211
User’s Guide • 511
Index
?
1 A B C D E
F G H
naming 213
nesting 258 to 265
overwriting 198, 227
overwriting subclip 194
placing audio clips on
timeline 202
placing on specific tracks 201
placing on timeline 194, 195, 197,
200 to 204
playing 205
playing at various speeds 206
pre-editing 193
previewing 208
previewing slipped clips 250
previewing trimmed clips 245
processing 275
properties 78, 213
purging 58
recapturing 104
re-establishing links 99
renaming 28, 213
replacing 200
resyncing 273
revealing unused frames 215
rippling 226 to 230
rolling 251
scrubbing 206
searching 152
selecting 209
selecting from browser 195
selecting multiple 209
shuttling 206
slipping 247
synchronized 195
synchronizing 268 to 274
sync-lock 268
total delete 47
trimming 231 to 246
video 195, 200
viewing frame-by-frame 208
viewing unprocessed frames 208
closing shapes 397
clusters, creating 314
CmdLine view Refer to online help
512 • User’s Guide
I
J
K L M N O P Q R S
CMX, EDL format 163
codec 502
color
base 426
emissive 427
lights 436
shadows 442
solid 424
specular 427
color space 134
capturing 81
processed effects 134
real-time effects 134
RGB 134
S/W display 134
sequence preferences 134
YUV 134
column
adding 409
alignment setting 410
deleting 410
gutter 411
left value 409
moving to 410
restrictions 408
right value 409
simulating margins 416
text alignment 413
width, balanced 412
width, changing 411
combining
strokes 318
sync groups 271
commenting
3D DVE objects 384
lights 437
compound shape 398
separating shapes 399
compression 78
codec 502
ratios, mixing 137
sorting media by 50
configuring
audio input 80
T U V W X Y Z
external device 74, 80
media storage 70
sample rate 79
video input 78
conform error log, saving 175
conforming
EDL, heads and tails 164
workflow 161
consolidating OMF 179
constrain drag Refer to Markers in
online help
constraining, rotation 383
construction lines 361
identifying decks 444
viewing 361
container clips 258 to 265
audio 258, 261, 451, 455
closing 264
converting to reference clips 266
creating 259 to 262
deconstructing 265
deleting 265
graphics 258, 262
icons 263
identifying 263
navigating 263
opening 263, 264, 287
timeline 259
trimming 245
types 258
video 258, 260
Context Switcher Refer to online help
control points 316
adding 395
change curvature of shape 395
chopping 322
deleting 395
deselecting 394
editing 317
moving 318, 395
selecting 317, 394
tangent handle, editing 396
conventions 14
keyboard, mouse, and pen 14
1 A B C D E
?
F G H
conversion modes
center, keep original size 89
crop 143
keep aspect ratio 143
keep original size and position 90
presets 143
scale 143
scale to fit 90
scale, keep aspect ratio 90
sequence 146
coordinates
Cartesian 355
global and local 356
XYZ 355
copying
3D DVE objects 375
corner point, creating with Shape
tool 393
crawling text 416
controlling 416
defined 400
speed control 417
crawls 328
cropping
textures 431
crossfade 254, 454
crosshair 381
culling 425
cursor 401
move 194
curved shapes 393
curves
changing slope 320
creating discontinuous 320
filling 397
custom pixel ratio 98
customer service 16
cut 254
Cut To 254
cycle
basic, creating 489
deleting 491
freezing 490
relative, creating 490
I
J
K L M N O P Q R S
D
Deactivate tool 217
decay of spot lights 437
deck
deleting 444
modifying size 445
nesting 444
resizing 445
scaling 445
defragmenting media 54
deleting
clips 47, 214
clips in browser 47
cycles 491
decks 444
DVE 387
external device presets 77
files 45
folders 27
media 56
projects 45
sequences 48, 157
storage area 73
sync-locked clips 215
Total Delete 157
Deselect All Points command 394
deselecting
3D DVE objects 374
control points 394
destructive mode See raster mode
dimensions
objects 361
directional light 433
discussion group, Avid|DS 12
disk
array 24
array, making space 56
displacement map 386, 387
display, unused material mode 215
dissolve 260
distortion
3D DVE object 370
perspective, adjusting 371
document conventions 14
T U V W X Y Z
Index
Documentation Library 13, 14
dragging and dropping
clips 194
drawing
ellipses 308
freehand strokes 306
polylines 305
rectangles 308
with Magic Wand tool 309
drawing tools 304, 373
Ellipse 308
Freehand 306
Magic Wand 309
Polyline 305
properties 292 to 300
Rectangle 308
drives
fragmented 54
drop frame format 132
drop shadow 438
DS Archives folder 36
DS Projects folder 30
dual viewer 191, 192
Refer also to online help
duplicating graphics 335
DVE
creating 386
deleting 387
displacement map 387
object 372
E
Edit Decision Lists See EDL
edit handles 231
edit mode
assemble 76
auto 76
edit points 231
backtiming 242
breaking 234
linking 234
on transitions 256
selecting 232
snapping to 243
User’s Guide • 513
Index
?
1 A B C D E
F G H
trimming 236
trimming intersecting 237
Edit tool
adjusting text scrolling 417
selecting 3D DVE objects 374
editing
assemble 76
audio animation 462
four-point 199
insert 76
linking edits 234
material on 3D DVE object 426
materials 426
multi-camera 254
preparing media 191
ripple activated 229
same track vs. multi-track 196
sample accurate 452
source clips 193
three-point 198
workflow 189
EDL
audio patching 164
audio stereo clips 167
changing tape name 168
CMX format 163
configuring audio inputs 166
creating 170
creating layers 164, 167
creating logs 165
creating timeline clips 165
exporting 170
formats 163
GVG format 163
importing 163
layers 164
loading 163
modifying 168
multiple EDL 164
printing 170
proofing 164, 170, 171
rippling timecodes 168
saving 170
setting heads and tails 164
514 • User’s Guide
I
J
K L M N O P Q R S
setting properties 164
supported formats 163
EDL formats
CMX 163
GVG 163
EDL view Refer to online help
effects
glow 442
processing 275
profile 388
Effects Tree
graphics, applying 287
Ellipse tool 308
ellipses, drawing 308
elliptical shapes 392
emissive color 427
adjusting 427
lights 436
Encapsulated PostScript files (EPS),
importing 96, 296, 348
entire 485
environment map 428
events 162
exiting Avid|DS 20
exporting
Avid Marquee projects 443
EDL 170
OMF 178
padding 504
series of files 504
to file 502
exposure time 390
Express tools
customizing 308
using 307
external device
capture offset 76
checking status 78, 499
configuring 74, 80, 501
detect change 76
manager 74
presets 77
presets, deleting 77
T U V W X Y Z
presets, removing 77
saving settings 77
status area 78, 499
External Device Manager 74
extrude
adjusting 389
defined 389
extrude depth, effect on
alignment 379
F
fader, animating 460
fades
fade-in 254
fade-out 254
falloff, spot 437
field dominance 133
field of view, setting 371
fields
interlacing 133
order 133
file formats
alpha support 503
compression support 503
for input 92
for output 503
file pixel ratio 91
setting 98
files
importing, EPS 296, 348
project 24
purging caches 64
sequences 24
Fill Activeness tool 218
Fill Curve command 397
filling
curves 397
shapes 397
finishing
shapes 393
text boxes 401
fit to fill 199
flat material finish 427
1 A B C D E
?
F G H
folders
creating 27
deleting 27
DS Archives 36
DS Projects 30
folder.ini 28
locating 221
moving files 28
project 24
project, organizing files 26
purging contents 58
renaming 28
selecting for captured material 83
font 407
attributes 298
changing 407, 408
changing object properties 333
properties 298
style 407
font size
changing 407
scaling text box 408
formats
drop frame 132
file 92
non-drop frame 132
video 131
formatting text into columns 408
forum, Avid|DS 17
four-point editing 199
fragmented drives 54
frame rate, converting during
import 91, 98
frame size 133
HD 133
NTSC 133
PAL 133
sequence preferences 132, 135, 137
frames 362
active 216
burned 342
dropping 500
head 248
incoming 231, 248
I
J
K L M N O P Q R S
matching 220
outgoing 231, 248
revealing 215
skipping 500
tail 248
unused 201
viewing objects within 362
framing
graphics objects Refer to online
help
media in timeline 204
objects in animation graph Refer
to online help
freehand strokes, drawing 306
Freehand tool 306
freezing
cycles 490
keyframe 484
function curves 477
animation 475
changing slope 481
constant 482
copying 483
copying region 486
inserting copied region 487
linear 481
making temporary copies 483
manipulating 472
pinning 475
setting type 482
slope of spline, changing 483
slope, changing 481
slopes, tangent settings 482
snapshot curves 483
spline 481
trimming 492
type, setting 482
G
garbage matte 345
GEN files, Gen to Clip 118
Gen to Clip command 118
generating
mattes 426
genOUT shader, installing 117
T U V W X Y Z
Index
global
coordinates 356
markers Refer to online help
glows 442
GOV See Graphics Object View
graphic tablet 15
graphics 316
aligning 315
animating titles 329
applying as effect 283 to 285
applying in Effects Tree 287
applying on layers 286 to 287
applying on overlay track 284
applying on timeline effect
track 285
applying on video track 284
bounding box, hide 314
clusters 314
control points 317
copying 334
creating 304 to 325
creating rolls/crawls 328
cutting 334
defining transformations 340
deleting 336
deleting all objects 336
drawing tools 304
duplicating 335
editing shape of strokes 316
editing text 325
Encapsulated PostScript files
(EPS) 348
EPS files, importing 296, 348
Express tools 307
fade, creating 330
guides, displaying 315
hiding 313
hiding bounding boxes 314
hyphenating text 324
importing images 347
locking 312
manipulating 332 to 340
mattes 345
methods of applying 283
User’s Guide • 515
Index
?
1 A B C D E
F G H
moving 337
moving object center 338
object 283
object properties 332
ordering 336
pasting 334
presets 288
processing 349
property tree See graphics
property tree
real-time 281
reordering 336
reshaping 321
rotating 338
rotoscoping 345
scaling 337
selecting multiple 311
showing 313
skewing 339
time span 300
tools, quick access 307
tracking objects 341
transforming 337
turning on guide properties 315
unlocking 312
vertex 316
word wrapping 324
workflow 279
working resolution, setting 283
graphics alignment tools 315
graphics container clip 262, 286
Graphics Object view
Refer also to online help
graphics objects 372
control points, editing 317
control points, moving 318
selecting 311
tracking 341
graphics presets, types 288
graphics property tree 292
graphics session 283
importing images 347
grid 362
orientation 368
viewing 362
516 • User’s Guide
I
J
K L M N O P Q R S
grouping
3D DVE objects 374, 379
media 51
strokes 318
gutter 411
GVG
EDL formats 163
EDLs 163
H
handles
edit 231, 236
reveal 215
trim 231, 238
HD 133
aspect ratio 134
formats 131
heads, adding pre-roll and postroll 85
help, online
Documentation Library 14
hidden surfaces 425
hiding
3D DVE objects 380
back surface 425
bounding boxes 314
graphics 313
objects using clipping planes 370
shadows 439
hotline support 16
hyphenation 324
I
image file
creating 225
creating from snapshot 225
images
importing 89
importing in graphics session 347
importing 89
ALE files 184
alpha channel 90, 98
and scaling media 89
Avid Marquee projects 443
clips 154
clips, setting
T U V W X Y Z
premultiplication 91, 98
converting frame rate 91, 98
converting sample rate 91
custom pixel ratio 98
EDL 163
Encapsulated PostScript files
(EPS) 296, 348
files by reference 97
from another project 154
from SOFTIMAGE|3D 117
from SOFTIMAGE|XSI 119
images 89, 347
images, oversized 97
linked clips 97
Media Composer bins 184
media conversion 89
NTSC format 91, 98
OMF 172
padding 93
PAL format 91, 98
Photoshop layers 94
render passes 117, 119
sequences 154
series of files 93
setting pixel ratio 91
still images 89
supported file formats 92
text 403
time delay 105
infinite light 433
in-points
marking 197
in-points, marking 197
Input Monitor
adjusting input levels 82
Refer also to online help
input strips 452
adjusting audio levels 458
animating 460
deleting animation 463
fine-tuning the sound 458
insert editing 76
insert mode 226
insertion point 401
positioning 405
1 A B C D E
F G H
intensity of lights 436
interest, 3D DVE 365
interlacing
fields 133
J
justified text 413
?
K
kerning 414
adjusting 414
keyboard conventions 14
keyboard shortcuts 13
keyframes
adding 478, 479, 480
creating automatically 472
creating manually 472, 474, 476
deleting 476, 478, 479, 480
editing 476
freezing position 484
locking position 484
moving 478, 479, 480
snapping to grids and frames 484
keyframing 472
L
layers
3D DVE 372
3D DVE, tumbling 368
applying graphics 286
creating from EDL 164, 167
layouts
Refer also to online help
LCRS audio format 85
leading 414
recommended setting 414
left column value 409
left margin 416
left-aligned text 413
licensing support 16
light sources, 3D DVE 427
See also lights
light sources,
lights 356
adding 434
color 436
I
J
K L M N O P Q R S
comment 437
deleting 434
editing sources 435
effect on shadows 434
effective use of 433
intensity 436
local, source 433
moving 436
naming 437
omni-directional source 433
point light source 433
positioning, moving and
deleting 434
source, infinite 433
spot, falloff 437
spot, size 437
triangular patterns 434
turning on 435
types 433, 435
line spacing See leading
linked clips 97
alpha 98
archiving 36
converting frame rates 98
premultiplication 98
re-establishing links 99
linking edits 234
list, mailing 17
lit material finish 427
live capture, performing 102
loading
ALE 184
EDL 163
OMF 173
local
coordinates 356
light source 433
shadow 438
locking
3D DVE objects 376
graphics objects 312
keyframe positions 484
synchronized clips 269, 270
T U V W X Y Z
Index
logging 83
Avid MediaLog 184
material from tape 84
media from file 89 to 94
logging off workstation 20
Longitudinal Timecode 75
loop markers 207, 250, 253
looping clips 207
LTC 75
M
Magic Wand tool 309
magnetism 200
mailing list 17
Main surface 424
managing
media 50 to 56
projects 25
storage devices 70
mapping textures 431
margin 415
markers
adding, moving, deleting Refer to
online help
aligning 268
for synchronization 268
global Refer to online help
loop 207, 250, 253
meta curve region 479
reference 207, 269
reference Refer also to online help
timeline Refer to online help
viewing in the animation
graph 478
marking, in/out points 197
masks 299
changing object properties 333
properties 299
master clips 84
creating 225
creating from ALE file 185
creating from snapshot 225
logging from ALE 185
searching 152
master opacity, adjusting 380
User’s Guide • 517
Index
?
1 A B C D E
F G H
match bin 221
matching frames
master clip 220
subclip 220, 221
material 356, 424
affected by light 427
applying to objects 425
base color 426
changing type 426
custom settings 425
editing 426
emissive color 427
environment map 428
finish 427
opacity 426
overlapping 428
retrieving 220
revealing unused 215
shininess 427
specular color 427
types 424
mattes
controlling 3D DVE object 426
creating 345
generating 3D titles 426
material finish 427
travelling 345
media 23
checking for corruption 55
compressed 79
defragmenting 54
deleting 45, 56
determining space available 79, 80
displaying Media Not Available
message 137
exporting to file 502
finding 52
grouping 51
importing 89
logging from file 89 to 94
logging from tape 84 to 88
moving 55
moving multiple files 55
moving to another
workstation 45
518 • User’s Guide
I
J
K L M N O P Q R S
outputting 497, 500
processed 23, 56
purging 56
purging all except current
sequence 59
purging from sequence 61
quality 136
restoring 40
scaling 89
searching 52, 53
sharing 56
sharing between projects 154
sorting 50, 51
source 23, 56
tree 50
types 56
uncompressed 79
unreferenced 64
use best available 139
use closest available 137
verifying 55
viewing 52, 53
media conversion modes 89
media folder, moving 55
Media Input/Output panels Refer to
online help
Media Manager 50, 54
accessing 50
opening 50
thumbnail display 53
viewing thumbnails 53
Refer also to online help
Media Not Available message 59, 84,
137, 205
Media Not Found message 84
MediaLog 184
memory caches
purging 57
memory, efficient use 26
messages
Media Not Available 59, 84, 205
Media Not Found 84
Processing Needed 205
Referenced Sequence Needs
Processing 267
T U V W X Y Z
meta curve region 479 to 480
displaying 479
marker 479
Microsoft Word 324
mixer 455
input strips 458
input strips, fine-tuning
sound 458
output strips 459
output strips, fine-tuning
sound 459
Refer also to online help
mixing 451, 452, 454
fine-tuning 457 to 459
panning 458
processing 467
processing order 468
volume, adjusting 458
workflow 451
modes
Autokey 472
Display Unused Material 215
insert 226
overwrite 227
Position property 423
Raster Paint 344
Ripple 226 to 230
Time property 423
wireframe 304, 305
mono
audio format 85
audio tracks 457
morphing
strokes 319
motion blur, exposure time 390
motion path
creating 472
motion tracking
graphics objects 341
mouse
conventions 14
move 212, 376
move cursor 194
1 A B C D E
?
F G H
moving
3D DVE objects 376
control points 395
multi-camera editing 196, 254
multi-track editing 196
mute, animating 460
muting
3D DVE objects 380
audio tracks 206
N
nesting decks 444
New Features Guide 13
No Entry icon 28
non-drop frame, format 132
NTSC 91, 98
O
objects 372
applying materials to 425
construction lines 361
copying between pages 445
DVE 372
editing in a page 445
graphics 283, 372
identifying bounds 361
moving between pages 445
path 372
selecting from a group 379
skewing 339
text 372
viewing within frame 362
visibility 380
wireframe, rendered as 363
offset 273
clips, resyncing 273
offsetting
text from path 421
textures 430
OMF 161, 172
conform error log 175
conforming with audio 176
consolidating media files 179
creating 179
effects table 180
I
J
K L M N O P Q R S
errors 175
exporting audio 178
importing 172
importing audio media 177
loading 173
media support 172
opening 173
saving 179
supported effects 180
unsupported effects 175, 177
OMF tree 173
OMF view Refer to online help
OMFI compositions See OMF
omni-directional light source 433
one-sided transitions 255
online help 13
on-the-fly log and capture 100
opacity 380
3D DVE object 380
material 426
shadow 441
Open Media Framework See OMF
Open Media Framework view Refer
to online help
opening
existing project 33
projects 30
sequences 127
shapes 396
order of rotation 383
orientation
grid 368
path text 422
text 422
text, upright 422
origin 355
global and local 356
out-points
marking 197
Refer also to online help 197
output
assemble editing 76, 500
audio 500
T U V W X Y Z
Index
checking external device
status 499
codec 502
compressing material 498
compression 502
configuring external device 498
custom resolution 503
EDL 497
file formats 503
insert editing 76, 500, 501
mattes 504
media 497, 500
OMF 497
preparing for 498
QuickTime reference movies 505
resolution 502
selecting an area 498
selecting channels, tracks, and
clips 499
series of files 504
setting duration 498
standard resolution 503
supported file formats 503
to file 502
to ProEncode 505, 506
to tape 500
using compression 504
output strips 452
adjusting audio levels 459
adjusting volume 459
mixer, fine-tuning sound 459
oval shapes 392
overflowing text 403
overlap effects 428
overlay tracks
applying graphics 284
oversized images, importing 97
overwrite mode 227
overwriting clips 227
User’s Guide • 519
Index
1 A B C D E
F G H
P
?
padding 93, 504
page
copying objects between 445
editing objects 445
moving objects between 445
resizing 445
scaling 445
Page Curl DVE 387
paint style
defining 293
properties 292
PAL 91, 98
pan
animating 460
mixer 458
paragraph spacing 415
parent timeline 259
password 19
pasting 3D DVE objects 375
paths
baseline offset 421
converting from shape 419
creating 419
deleting 419
editing 394
object 372
orientation of text 422
positioning text on 420
removing text from 420
reversing direction, shape 399
reversing direction, text 421
start 421
text 400, 402, 420
pen
conventions 14
perspective distortion, adjusting 371
perspective projection
effect on alignment 379
effect on positioning 378
phone support 16
Photoshop
importing 94
pinning
function curves 475
520 • User’s Guide
I
J
K L M N O P Q R S
pixel format, bits per pixel 134
pixel ratio
custom 91, 98
importing files 91
sequence preferences 135
standard 91
planes
XYZ 355
planes, clipping 370
planes, XYZ 355
play bias 76
play cursor
moving 207
moving to a specific timecode 207
scrubbing 206
playing
clips 205
clips frame-by-frame 208
sequences 205
point light source 433
polygon shapes 393
Polyline tool 305
polylines, drawing 305
position 484
Position property mode 423
post-roll 85
preferences 19
project 31
sequence 131 to 145
premultiplication
setting 91
setting when importing clip 98
premultiplied alpha 91
pre-roll 85
presets
graphics 288
loading 288, 289
stroke 290
text 290
types of graphics presets 288
presets, saving
stroke 290
using property editor 288
using toolbar 289
T U V W X Y Z
previewing
clips 208
source material 80
processed media 23
purging 56
processing
animation 494
audio mix 467
fields 142
graphics 349
order, when mixing 468
output 500
reference clips 267
sequence preferences 142
sequences 275
Processing Needed message 205
ProEncode 505, 506
profile
antialiasing, used with 388
applying 388
effect on alignment 379
reversing 399
surface 424
profile effects
Bevel 389
Box 389
Chisel 389
Ridge Inset 389
Round 389
progressive scanning 133
project
purging caches 63
Project Browser 126, 127
project files 24
renaming 28
Project Manager 34 to 46
Refer also to online help
projected shadow 438
projects 23
archiving 24, 34
backing up 40
creating 31
deleting 45
files, deleting 45
folder structure 28
1 A B C D E
?
F G H
managing 25
moving 28, 34
moving to another
workstation 45
multiple versions 30
opening 30, 31
opening existing 33
opening from a network 33
organizing 26
preferences 31
renaming files 28
restoring 40, 42
restoring from multiple tapes 44
selective restore 42
subfolders, creating 26
proofing
EDL 171
sequences 170
properties
brush 294
clip 213
drawing tools 292 to 300
font 298
masks 299
paint style 292
text 297
time span 300, 374
property tree, graphics 292
purging
all media except current
sequence 59
caches 62
caches in current project 63
clips 58
files or folders in browser 58
folder contents 58
from sequence 61
media 56
memory caches 57
methods for source media 57
on exit 64
orphaned media 64
processed media 56
sequences 58
I
J
K L M N O P Q R S
source media 58
timeline caches 64
unreferenced media 64
Q
quadraphonic audio format 85
quality 78
level, viewer 364
video 136
quality matching
audio 141
caches 140
video 138
Quick Reference card 13
QuickTime
reference movie, outputting 505
R
raster mode 342
activating 342
automatically destroying
frames 342
burned frames 343
burned strokes, copying 343
burning on frame change 342
non real-time 343
raster paint log 344
Raster Paint toolbar 343
warning message 343
Raster Paint mode 344
Razor tool 214
razoring synchronized clips 272
real-time effects
graphics 281
recapturing
batch capture list 110
record bias 76
recording audio animation 472
Rectangle tool 308
rectangles
drawing 308
shapes 391
reference
3D DVE object 378
clips 26
T U V W X Y Z
Index
markers 207, 269 Refer also to
online help
reference clips 26
converting from container
clips 266
creating 266
processing 267
using 266 to 267
Referenced Sequence Needs
Processing message 267
region
marking 197
meta curve 479
Relative Align Bottom
command 315
Relative Align Horizontal Center
command 315
Relative Align Left command 315
Relative Align Right command 315
Relative Align Top command 315
relative cycle 490
Relative Vertical Center
command 315
render passes
creating 117, 119
genOUT shader 117, 119
importing 117, 119
rendering
culling back faces 425
objects as wireframes 363
Reshape tool See Shape tool
reshaping strokes 321
changing opacity 323
chopping control points 322
moving shapes 322
rotating shapes 322
scaling shapes 322
skewing shapes 322
stretching shapes 323
resizing
decks 445
pages 445
text column 411, 412
text object 405
User’s Guide • 521
Index
?
1 A B C D E
F G H
resolution 136
capture 78
output 502
sorting media by 50
video 78
working 283
restoring
complete projects 40
from multiple tapes 44
media 41
non-standard projects 37
part of project archive 42
projects 40, 42
selective restore 42
resyncing clips 273
retrieving additional material 220
reveal handles 215
revealing
activating reveal mode 215
unused frames 215
Reverse Direction command 399, 421
reversing
direction of text on path 421
shape direction 399
RGB 134
Ridge Inset profile effect 389
right-aligned text 413
Ripple mode 209, 226 to 230
activating 227
editing clips 229
end, setting 228
inserting clips 228
tracks, video 226
trimming frames 238
roll, text 328
rolling clips 251
rolls
text, controlling 416
text, creating 416
text, speed control 417
Rotate tool 338
rotating
3D DVE objects 383
graphics objects 338
522 • User’s Guide
I
J
K L M N O P Q R S
shadows 440
textures 431
rotation
anchor point, resetting 381
effect on alignment 379
effect on positioning 378
order of 383
resetting 383
sphere 383
rotoscopy 345
rough cut 191
Round profile effect 389
S
S/PDIF 80
S/W display color space 134
safe action area 360
viewing 361
safe title area 360
3D DVE object positioning
behavior 378
snapping 3D DVE objects to 376
snapping objects to 361
viewing 361
sample accurate editing 452
sample rate
configuring 79
setting 135
sample rate conversion 464
audio container clips 466
automatic 465
clips 465
during import 91
manual 466
sequences 464
Save As command 151
saving
EDL 170
OMF 179
sequences 150
subclips 194
Scale tool 337
scaling
3D DVE objects 382
T U V W X Y Z
constrained 382
decks 445
graphics objects 337
pages 445
relative to anchor point 382
text object 405
textures 430
to change font size 408
scanning, progressive 133
scene
tumbling 368
Script Editor 112
Refer also to online help
scripting languages 115
scripts
creating 113
creating toolbars 114, 115
editing 116
running 114
Script Editor 113
to capture 112
scroll position
arrow 404, 416
slider 404, 416
scrolling text 416, 417, 421
scrubbing 206
searching
clips, sequences, media 53
master clips 152
sequences 152
segments (graphics) 391
removing 397
sequence
conversion mode, multiple 146
purging caches 63
purging media 61
sequence preferences 131 to 145
aspect ratio 134
audio format 135
audio quality 135
audio quality matching 141
changing 142
color space 134
compression ratio, working 137
1 A B C D E
?
F G H
confirming each time 145
conversion mode 143
converting sample rates 145
field dominance 133
frame size 132, 135, 137
pixel ratio 135
processing 142
resolution, working 137
video format 132
video quality matching 138
video quality, working 136
Sequence Tree Refer to online help
Sequence view Refer to online help
sequences 24, 127
autosave 150
building 191, 194
copying 28, 151
creating 128
creating versions 151
creating with different
preferences 129
creating within current
project 128
deleting 48, 157
importing 154
memory usage 26
opening 127, 129
opening from browser 130
opening from File menu 130
opening from Project Browser
dialog 129
outputting 497
playing 205
playing at various speeds 206
processing 275
proofing 170
purging 58
renaming 28
Save As command 151
saving 150
scrubbing 206
searching 152
setting preferences 131 to 145
setting up 191
skip while playing 206
I
J
K L M N O P Q R S
stop playing 206
versioning 151
workflow 125
shadows 438
affected by lights 434
color 442
local 438
location 440
map 438
offset 439
opacity 441
plane, attachment 440
plane, defined 438
positioning 439
projected 438
rotating 440
simulated glows 442
softness 441
suggestions 439
turning off 439
shapes
closed 393
closing 397
compound, creating 398
compound, separating 399
converting to path 419
creating 391, 392, 393
curved 393
editing 394
filling 397
form 395
form, editing 395
open 393
opening 396
reversing direction 399
segment, removing 397
segments 391
selecting control points 394
shared media, archiving 155
sharing media 56
between projects 154
shininess control 427
Shortcut card 13
shortcuts
T U V W X Y Z
Index
keyboard 13
media input/output
commands 74
show 380
showing graphics 313
shuttling clips 206
Skew tool 339
skewing
graphics objects 339
objects 339
Slip/Roll view 247, 248, 251
Refer also to online help
slipping clips 247
slipping or rolling clips 247 to 253
slope, changing 481
smooth point, creating 393
Snap In command 243
Snap Out command 243
snapping
edit points 243
keys 484
snapshot 505
snapshot curves 477, 483
Snapshot to Clip command 225
Snapshot to File 225
softness of shadow 441
solid color 424
soloing
tracks 206
sorting media 25
by compression 50
by project 50
by properties 50
by quality 50
by resolution 50
by source 50
by storage 50
source media 23
methods to purge 57
purging 56, 58
spacing after a paragraph 415
special characters
determining value 402
entering 402
User’s Guide • 523
Index
?
1 A B C D E
F G H
specular highlight 427
spline
changing slope 483
split-edit 232, 273
spot light 433
falloff 437
moving 436
properties 436
size 437
spot, target 436
square pixels 91, 98
square shapes 391
static text 400
stereo
audio format 85
input 81, 85, 100, 103
tracks 457
stills, setting duration 89
storage area
adding 71
configuring 70, 71
deleting 73
modifying 72
moving 72
real time access 72
sharing 72
storage device 78
during reinstall 71
during uninstall 71
maximum number 72
naming 72
storage space, remaining 79
storage utility 70 to 73
streaming capture 42, 104
deactivating 86
stretching shapes 323
strokes
breaking 318
changing object properties 333
changing slope of curves 320
combining 318
defining 309
editing 316
freeform 306
524 • User’s Guide
I
J
K L M N O P Q R S
grouping 318
morphing 319
preset 290
reshaping 321
separating 318
ungrouping 318
unifying 318
style
fonts 407
titling 297
subclips
creating 193
overwriting 194
updating 194
subfolders, creating 26, 84
submix 261, 455
support 16
hotline 16
licensing 16
training 16
web 17
surface 356, 424
culling 425
extrude 424
overlapping 428
texture position 430
surround channels 202, 453
Surround Panner Refer to online help
sync groups 268
adding to 270
breaking 271
combining 271
creating 269
manipulating 271
offset 273
razoring 272
selecting all clip 272
synchronized clips
cutting 272
manipulating 271
moving independently 272
offset 273
T U V W X Y Z
synchronizing animation 480
synchronizing clips 268 to 274
aligning 268
deleting 274
editing 273
using markers 268
sync-lock 268
unlocking 271
T
tangent handle, extending
length 396
tangent slopes
broken 483
setting options 482
unified 483
tangents 477
tape, capturing material 84
TC Mode
LTC 75
VITC 75
technical support 16
telephone support 16
text
3D 354
adjusting scrolling 417
alignment 413
baseline offset 421
clipping 418
columns 408
copying to an external
application 325
crawling 372, 400
creating rolls/crawls 328
deselecting 406
editing 325, 326
editing font properties 326
editing kerning 326
entering 401
entering Unicode characters 402
equally spaced 413
font 298, 407
from other applications 324
hyphenating 324
importing 403
1 A B C D E
?
F G H
kerning 414
leading 414
margins 415
Microsoft Word 324
orientation 422
overflowing 403
path 400
path, adding to 420
path, orientation 422
path, positioning 420
path, removing 420
preset 290
properties 297, 333
rolling 372
saving presets 290
scroll control 417
scrolling 421
selecting 406
selecting a text body 325
static 400
word wrapping 324
text body 324
text object 372, 400
creating 401
gutter 411
resizing 405
scaling 405
shadow suggestions 439
text orientation 422
texture 424
as displacement map 387
cropping 431
mapping 431
position on surface 430
rotating 431
scaling 430
tiling 430
tinting 432
three-dimensional space 355
three-point editing 198
tiling textures 430
Time property mode 423
I
J
K L M N O P Q R S
time span
3D DVE 384
changing object properties 333
properties 300, 374, 384
timecode
breaks, during capture 88
repeating 86, 101
timecode modes
LTC 75
VITC 75
timeline 191
batch capture 107
building sequences 24, 191
capturing clips 107
converting to a clip 223
creating a master clip 225
creating an image file 225
framing media 204
in-points 197
marking in and out-points 197
marking region 197
moving to marked points 207
of container clip 259
outputs 197
parent 259
placing clips 194, 197, 200
placing multiple clips 195
placing pre-edited clips 197
purging caches 64
top 259
trimming 204
Refer also to online help
timeline effect track
applying graphics effect 285
Timeline to Clip command 223, 224
tinting
textures 432
titles
3D 386 to 423
creating See also text
titling
style 297
toolbars
Raster Paint 343
T U V W X Y Z
Index
top margin 415
top timeline 259
Total Delete command 47, 157
tracing strokes 321
track type, audio 203
tracking, motion
graphics objects 341
tracks
audio 203, 453
mono (audio) 457
muting audio 206
soloing 206
stereo (audio) 457
training support 16
transformation 340
graphics 337
properties 333
transitions 254 to 257
adjusting 246
applying between clips 256
applying one-sided 255
creating between clips 256
creating one-sided 255
Crossfade 254
cut 254
edit points 256
editing properties 257
Fade-in 254
Fade-out 254
processing 275
removing 257
trimming 246
transport controls 80, 106
Refer also to online help
travelling matte 345
creating 345
tree
animation 462
Effects 287
graphics property 292
media 50
OMF 173
triangular patterns 434
trim handles 231
User’s Guide • 525
1 A B C D E
F G H
Trim view 232, 243
Refer also to online help
trimming
adjusting trim handles 241
animation 492
clips 231, 243, 246
container clips 245
edit points 236
function curves 492
intersecting edit points 237
methods 232
previewing the results 245
Ripple mode activated 238
split-edits 273
timeline to media 204
transitions 246
using Trim view 243
with trim handles 238
Tube profile effect 389
tumbling scene 368
typeface 407
V
W
verifying
media 55
versioning 30
sequences 151
vertex 316
Vertical Interval Timecode 75
video
capture quality 78
clips 195, 200
clips, activeness 200
clips, placing on timeline 200
compression 78
container clips 260
editing 189
format, setting 132
image scaling 89
input configuration 74
media quality 136
quality matching 138
resolution 78
storage device 79
synchronizing 268 to 274
tracks, rippling 226
viewer
dual 191, 192
placing clips 191
quality level 364
tumbling in 3D DVE layout 368
Refer also to online help
views
Slip/Roll 248
Trim 232, 243
Refer also to online help
visibility of material 426
VITC 75
volume
adjusting on output strips 459
fader 458
mixer 458
setting input levels 81
VTR
detect change 76
waveforms 202
web support 17
wireframe mode 304, 305
wireframe rendering 363
word wrapping 324, 400
column behavior 412
workflows
3D DVE 353
animation 471
audio 451
capturing material 69
conforming 161
editing 189
graphics 279
sequences 125
titles 354
workgroups
adding shared storages 72
working quality, setting 136
working resolution 136
sequence preferences 137
setting 136, 283
working video quality, setting 136
Index
?
U
undertessellation 436
appearance of 434
ungrouping
3D DVE objects 379
strokes 318
Unicode
determining value 402
entering characters 402, 403
unifying strokes 318
unlocking
3D DVE objects 376
graphics 312
unreferenced media 64
purging 64
unused material
hiding 215
revealing 215
upright text orientation 422
user
name 19
profile 19
526 • User’s Guide
I
J
K L M N O P Q R S
T U V W X Y Z
X
XYZ
axes 355
coordinates 355
planes 355
Y
YUV color space 134
YZ planes 355
Z
Z axis
effect on alignment 379
effect on positioning 378
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertisement