Avid® Advanced Effects Guide

Avid ®
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Copyright © 1988–1997 Sam Leffler
Copyright © 1991–1997 Silicon Graphics, Inc.

Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose
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The following disclaimer is required by the Independent JPEG Group:
This software is based in part on the work of the Independent JPEG Group.

This Software may contain components licensed under the following conditions:
Copyright (c) 1989 The Regents of the University of California. All rights reserved.

Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph
are duplicated in all such forms and that any documentation, advertising materials, and other materials related to such
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University may not be used to endorse or promote products derived from this software without specific prior written
permission. THIS SOFTWARE IS PROVIDED ``AS IS'' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES,
INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A
PARTICULAR PURPOSE.

Copyright (C) 1989, 1991 by Jef Poskanzer.

Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby
granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission
notice appear in supporting documentation. This software is provided "as is" without express or implied warranty.

Copyright 1995, Trinity College Computing Center. Written by David Chappell.

Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby
granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission
notice appear in supporting documentation. This software is provided "as is" without express or implied warranty.

Copyright 1996 Daniel Dardailler.

Permission to use, copy, modify, distribute, and sell this software for any purpose is hereby granted without fee, provided that
the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in
supporting documentation, and that the name of Daniel Dardailler not be used in advertising or publicity pertaining to
distribution of the software without specific, written prior permission. Daniel Dardailler makes no representations about the
suitability of this software for any purpose. It is provided "as is" without express or implied warranty.

Modifications Copyright 1999 Matt Koss, under the same license as above.

Copyright (c) 1991 by AT&T.

Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this
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copies of the supporting documentation for such software.

THIS SOFTWARE IS BEING PROVIDED "AS IS", WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN PARTICULAR,
NEITHER THE AUTHOR NOR AT&T MAKES ANY REPRESENTATION OR WARRANTY OF ANY KIND CONCERNING THE
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This product includes software developed by the University of California, Berkeley and its contributors.

The following disclaimer is required by Nexidia Inc.:

© 2006 Nexidia. All rights reserved.

Manufactured under license from the Georgia Tech Research Corporation, U.S.A. Patent Pending.

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Portions of this software licensed from Paradigm Matrix.

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 The following disclaimer is required by Videomedia, Inc.:
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“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by
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of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players
and the like.”

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Source Code:
©1993–1998 Altura Software, Inc.

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Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are
subject to copyright protection.

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

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© DevelopMentor

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JCifs © Copyright 2004, The JCIFS Project, is licensed under LGPL (http://jcifs.samba.org/). See the LGPL.txt file in the Third
Party Software directory on the installation CD.

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Pinnacle Studio MovieBoard, Pinnacle Systems, ProEncode, ProServices, ProSessions, Pro Tools, QuietDrive, Recti-Fi,
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VideoSpin, Vortx, Xdeck, X-Form, Xmon, Xponent, and X-Session are either registered trademarks or trademarks of Avid
Technology, Inc. in the United States and/or other countries.

Adobe and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States
and/or other countries. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other
countries. Windows is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other
countries. All other trademarks contained herein are the property of their respective owners.

Arri — Courtesy of Arri/Fauer — John Fauer, Inc.

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

Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc.,

Editor/Producer Bryan Foote.
Canyonlands — Courtesy of the National Park Service/Department of the Interior.
Ice Island — Courtesy of Kurtis Productions, Ltd.
Tornados + Belle Isle footage — Courtesy of KWTV News 9.
WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA.
Women in Sports – Paragliding — Courtesy of Legendary Entertainment, Inc.

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

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

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

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

Avid Advanced Effects Guide • 0130-07972-02 • September 2009

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6
 Contents

Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Chapter 1 Effects Concepts and Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Understanding Effect Icon Color Coding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Changing Timeline View Settings for Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Adjusting Trim Settings for Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Understanding Effect Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Changing the Effect Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Setting Effect Grid Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Working with Effects in HD and in Progressive Frame Projects . . . . . . . . . . . . . . . . 44
Chapter 2 Applying and Customizing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Additional Methods for Applying Dissolve Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Applying a Dissolve Effect Using the Transition Parameters . . . . . . . . . . . . . . . 48
Adding Dissolves with the Head Fade and Tail Fade Buttons . . . . . . . . . . . . . . 48
Additional Information for the Quick Transition Button . . . . . . . . . . . . . . . . . . . . . . . 50
Using the Quick Transition Button to Apply Effects to
Multiple Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Understanding the Graphical Display in the
Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Adjusting a Transition Effect by Dragging in the
Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Repositioning the Dissolve Effect with the
Quick Transition Alignment Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Adjusting Transitions in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Transition Effect Preservation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

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 Replacing an Effect in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Using the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Toolbar Buttons in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . 59
Using Big Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Mapping User-Selectable Buttons in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . 61
Understanding Effect Preview Monitor Tracking Information . . . . . . . . . . . . . . 61
Displaying Safe Title and Safe Action Guidelines in Monitors. . . . . . . . . . . . . . 62
Understanding the Effect Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Displaying the Effect Grid in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Displaying Position Coordinates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Obtaining Position Information in a Film Project . . . . . . . . . . . . . . . . . . . . . . . . 65
Moving an Enlarged Image in the Effect Preview Monitor. . . . . . . . . . . . . . . . . 67
Stepping Through Field-Based Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Using the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Displaying an Effect’s Parameters in the Effect Editor . . . . . . . . . . . . . . . . . . . 69
Understanding Parameters in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . 70
Effect Editor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Selecting a Parameter from a Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Changing a Parameter with a Slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Using Parameter Enable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Accessing Additional Parameters for an Effect . . . . . . . . . . . . . . . . . . . . . . . . . 76
Adjusting a Color Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Manipulating Effects Directly in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . 79
Defining a Motion Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Moving the Image Directly to Add a Motion Path . . . . . . . . . . . . . . . . . . . . . . . 79
Resizing a Foreground Image by Dragging Handles. . . . . . . . . . . . . . . . . . . . . 81
Chapter 3 Working with Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Understanding Advanced Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Keyframe Track Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Promoting Effects to Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Viewing Advanced Keyframe Graphs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Showing and Hiding the Keyframe Graph Display . . . . . . . . . . . . . . . . . . . . . . 86
Opening Advanced Keyframe Graphs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

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 Understanding Advanced Keyframe Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Resizing Advanced Keyframe Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Zooming Advanced Keyframe Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Using Zoom to Curve Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Scrolling Advanced Keyframe Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Resetting Advanced Keyframe Graph Views . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Manipulating Advanced Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Understanding Advanced Keyframe Display . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Adding Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Deleting Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Removing Redundant Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Keyframe Mode Menu Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Selecting and Deselecting Advanced Keyframes. . . . . . . . . . . . . . . . . . . . . . . 104
Moving Advanced Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Considerations When Moving Advanced Keyframes . . . . . . . . . . . . . . . . . . . . 107
Understanding the Align Keyframes and Slip Keyframes Commands . . . . . . . 108
Aligning Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Slipping Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Copying and Pasting Advanced Keyframe Parameters . . . . . . . . . . . . . . . . . . 111
Examples of Copy and Paste Operations on
Advanced Keyframe Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Controlling Parameter Changes at Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . 116
Advanced Keyframe Interpolation Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Adjusting Parameter Values with the Bézier Interpolation Option . . . . . . . . . . 118
Reversing Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Controlling Advanced Keyframe Behavior with Trimmed Effects . . . . . . . . . . . 121
Selecting Elastic Keyframes or Fixed Keyframes. . . . . . . . . . . . . . . . . . . . . . . 122
Controlling Parameter Changes Outside First and Last Keyframes. . . . . . . . . 123
Setting Extrapolate or Hold for an Effect Parameter . . . . . . . . . . . . . . . . . . . . 125
Controls and Settings for Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Effect Editor Controls for Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . 126
Accessing Settings for Advanced Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . 127

9
 Shortcut Menus for Keyframe Tracks and the Motion Effect Editor. . . . . . . . . 128
Shortcut Menu and Settings for the Effect Editor . . . . . . . . . . . . . . . . . . . . . . 130
Chapter 4 Rendering Effects and Managing Effect Media Files . . . . . . . . . . . . . . 133
Creating and Using Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Render Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Using Partial Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Using 16-Bit Processing Support for Rendered Effects . . . . . . . . . . . . . . . . . . . . . 139
Rendering 3D Effects Using the HQ (Highest Quality) Option . . . . . . . . . . . . . . . . 141
Rendering Effects for the Media Station XL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Modifying the Render to Media Station Results . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Canceling a Render to Media Station Command During Modification . . . . . . . . . . 145
Managing Effect Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Understanding Effect Media Files Management . . . . . . . . . . . . . . . . . . . . . . . 146
Revealing Effect Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Deleting Effect Media Files from a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Chapter 5 Working with Plug-In Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Understanding AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Support for AVX 1.x and AVX 2.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Freeing Memory Used by AVX 1.x Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Installing AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Locating the AVX 1.x Plug-Ins Folder (Windows Only) . . . . . . . . . . . . . . . . . . . . . 154
Updating an AVX Plug-in to a New Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Promoting AVX 1.x Plug-ins to AVX 2.0. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Assigning Multiple Tracks in Plug-in Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Using AVX Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Using the Client Monitor to Preview the Plug-In Effect. . . . . . . . . . . . . . . . . . . . . . 159
Troubleshooting AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Avid After Effects External Monitor Preview Plug-In (Windows Only) . . . . . . . . . . 161
Installing the Avid After Effects EMP Plug-in (Windows Only) . . . . . . . . . . . . 161
Using the Avid After Effects EMP Plug-in (Windows Only) . . . . . . . . . . . . . . . 162
Tips for Using the Avid After Effects EMP Plug-in (Windows Only) . . . . . . . . 163

10
Chapter 6 Creating and Customizing Motion Effects. . . . . . . . . . . . . . . . . . . . . . . 165
Understanding Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Creating Traditional Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Creating a Traditional Freeze Frame Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Creating a Rolling Clip That Freezes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Creating a Traditional Variable Speed Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Using the Fit to Fill Button to Create a Variable Speed Effect . . . . . . . . . . . . . 172
Creating a Traditional Strobe Motion Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Playing and Rendering Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Playback Capabilities for Traditional Motion Effects . . . . . . . . . . . . . . . . . . . . 175
Understanding When to Render or Rerender Motion Effects. . . . . . . . . . . . . . 176
Controlling Motion Effect Type When Rendering or
Rerendering Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Considerations for Motion Effects in Progressive Projects. . . . . . . . . . . . . . . . 178
Understanding the Timewarp Effect and FluidMotion . . . . . . . . . . . . . . . . . . . . . . . 178
Differences Between the Timewarp Effect and
Traditional Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Understanding Speed and Position Controls for the Timewarp Effect . . . . . . . 179
Understanding Keyframe Interpolation Options for the
Timewarp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Rendering Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Creating a Timewarp Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Promoting a Traditional Motion Effect to Timewarp . . . . . . . . . . . . . . . . . . . . . . . . 182
Working with the Motion Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Opening the Motion Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Motion Effect Editor Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Rendering Options for Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Using Adaptive Deinterlacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Displaying and Activating the Speed Graph and Position Graph in the
Motion Effect Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Changing a Graph Display in the Motion Effect Editor with the
Scale Sliders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Fast Menu Commands for the Motion Effect Editor . . . . . . . . . . . . . . . . . . . . . 193

11
 Toolbar Buttons for the Active Control Graph in the
Motion Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Timewarp Speed Graph Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Using the Source Anchor Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Timewarp Position Graph Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Setting Up the Motion Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Timewarp Effect Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Speed Graph Example: Creating a Rolling Clip That Freezes . . . . . . . . . . . . 200
Speed Graph Variations: Moving Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . 203
Strobe Motion Using the Timewarp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Setting Effect Position with the Position Graph . . . . . . . . . . . . . . . . . . . . . . . . 205
Position Graph Example: Reverse Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Working with FluidMotion Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Opening FluidMotion Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Displaying Vectors in FluidMotion Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Defining a Region Around a FluidMotion Artifact. . . . . . . . . . . . . . . . . . . . . . . 213
Approaches to Correcting a FluidMotion Edit Region . . . . . . . . . . . . . . . . . . . 213
FluidMotion Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Example of Correcting FluidMotion Artifacts . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Timewarp Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
FluidFilm Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Using the FluidFilm Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Default Values for the FluidFilm Preset Effects . . . . . . . . . . . . . . . . . . . . . . . . 223
Setting Source and Output Options for Format Conversion with
Timewarp Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Format Conversion Options for the Timewarp Effect . . . . . . . . . . . . . . . . . . . 224
Chapter 7 Creating Layered and Nested Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Creating Key Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Understanding the SpectraMatte Chroma Key Effect . . . . . . . . . . . . . . . . . . . 226
Understanding SpectraMatte Analysis Displays . . . . . . . . . . . . . . . . . . . . . . . 228
How the SpectraMatte Effect Calculates Key Color Values . . . . . . . . . . . . . . 231
Creating a SpectraMatte Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Understanding the Chroma Key Effect and the RGB Keyer Effect . . . . . . . . . 235

12
 Creating a Chroma Key Effect or RGB Keyer Effect . . . . . . . . . . . . . . . . . . . . 237
Using Post-Key Color Correction in the RGB Keyer . . . . . . . . . . . . . . . . . . . . 239
Promoting a Chroma Key Effect to the SpectraMatte Effect . . . . . . . . . . . . . . 239
Creating a Luma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Creating a Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Working with Real-Time Moving Mattes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Considerations When Working with Real-Time Moving Mattes . . . . . . . . . . . . 242
Using the Color Effect to Prepare a High-Contrast Image . . . . . . . . . . . . . . . . 242
Working with Imported Graphics and Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Editing with Imported Matte Key Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Editing with Imported Master Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Stepping Into and Out of Nested Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Expanding Nested Effects in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Creating a Simple Nested Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Nested Effects in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Nesting a Matte Key Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Submaster Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Applying the Submaster Effect to a Multilayered Sequence . . . . . . . . . . . . . . 252
Using the Submaster Effect with a Series of Short Clips . . . . . . . . . . . . . . . . . 254
Understanding the Collapse Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Collapsing Layers into One Submaster Effect . . . . . . . . . . . . . . . . . . . . . . . . . 255
Performing a Video Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Chapter 8 Working with Camera Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Using the Reformat Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Working with the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Understanding the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Outputting the Media with the Pan and Scan Effect. . . . . . . . . . . . . . . . . . . . . 262
Positioning the Pan and Scan Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Applying the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Selecting the Source and Target Aspect Ratios. . . . . . . . . . . . . . . . . . . . . . . . 264
Setting Up Your Monitors for the Pan and Scan Effect . . . . . . . . . . . . . . . . . . 266
Viewing Pan and Scan Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

13
 Using the Effect Grid with the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . 268
Setting an Origin in the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . . . . . 269
Subdividing the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Using the Wire Frame in the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . 271
Adjusting the Pan and Scan Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Combining the Pan and Scan Effect with Transition Effects . . . . . . . . . . . . . . 274
Placing Pan and Scan Effects on the Video Track . . . . . . . . . . . . . . . . . . . . . 274
Using Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Working with Image Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Applying the Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Controlling How You View an Avid Pan & Zoom Image . . . . . . . . . . . . . . . . . 278
Adjusting the Field of View for an Avid Pan & Zoom Image . . . . . . . . . . . . . . 279
Modifying Apparent Camera Speed for an Avid Pan & Zoom Effect . . . . . . . . 281
Setting Up a Simple Ease In and Ease Out for an
Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Creating a Path with Constant Velocity for an
Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Controlling Path Changes at Keyframes for an
Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Setting a Rendering Option for an Avid Pan & Zoom Effect . . . . . . . . . . . . . . 285
Rendering (Filtering) Options for Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . 285
Selecting the Background for an Avid Pan & Zoom Effect . . . . . . . . . . . . . . . 286
Adjusting for Source Image Pixel Shape and Color Levels in an
Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Managing Memory with the Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . 288
Chapter 9 Motion Tracking and Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Understanding Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Understanding the Tracking Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Uses of Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Motion Tracking and Footage Characteristics . . . . . . . . . . . . . . . . . . . . . . . . . 291
Workflow for Motion Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Effects and Effect Parameters That Use Tracking Data. . . . . . . . . . . . . . . . . . . . . 293

14
Understanding the Tracking Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Tracking Controls in the Effect Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Tracking Controls in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . 295
Opening The Tracking Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Tracking Window Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Setting Up an Effect for Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Understanding Video Layers and Motion Tracking . . . . . . . . . . . . . . . . . . . . . 300
Applying an Effect for Motion Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Making Non-Tracking Parameter Adjustments to an Effect . . . . . . . . . . . . . . 300
Preparing to Generate Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Enabling Tracking in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Options for Enabling Tracking in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . 302
Understanding Tracker Selectors and Tracker Function . . . . . . . . . . . . . . . . . 304
Creating and Mapping Trackers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Enabling, Disabling, and Deleting Trackers . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Setting Up Tracking in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . 306
Guidelines for Positioning Tracking Boxes. . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Guidelines for Resizing Tracking Boxes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Setting Up Tracking in the Tracking Window . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Understanding Tracking Engines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Understanding How to Generate Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Generating Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Offset Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Understanding Offset Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Adding and Deleting Tracker Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Moving to a Tracking Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Performing Offset Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Understanding Generated Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Tracking Data in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Tracking Data in the Tracker Timelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Customizing Tracking Data Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Setting the Reference Frame for a Tracker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Understanding the SteadyGlide and Smoothing Options for Tracking . . . . . . . . . . 320

15
 Using SteadyGlide or Smoothing to Process Tracking Data . . . . . . . . . . . . . . . . . 321
Modifying Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Finding a Specific Tracker Data Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Selecting Tracker Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Deleting Tracking Data From Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Moving Tracker Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Moving Tracker Data Points Outside the Frame Boundary . . . . . . . . . . . . . . . 325
Stretching a Range of Tracker Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Limiting the Effect of Position Tracking Data to a Single Axis . . . . . . . . . . . . . . . . 327
Playing Effects That Use Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Understanding Stabilizing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Stabilizing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Reviewing and Adjusting a Stabilized Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Guidelines for Using Multiple Trackers When Stabilizing. . . . . . . . . . . . . . . . . . . . 333
Using the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Stabilizing an Image with the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . 334
Making Adjustments to the Region Stabilize Region of Interest . . . . . . . . . . . 336
Editing Segments That Use Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Reusing Existing Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Copying and Pasting Tracking Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Conforming Symphony Meridien Sequences with Tracking Data . . . . . . . . . . . . . 340
Examples of Effects Using Motion Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340
Example 1: Replacing the License Plate on a Moving Vehicle . . . . . . . . . . . . 341
Example 2: Special Effects Using Targets for Motion Tracking. . . . . . . . . . . . 344
Chapter 10 Working with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Accessing 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Applying the 3D Warp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Using Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Promoting 2D Effects to 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Using Matte Keys with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Real-Time Playback of 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Understanding 3D Geometry and Degrees of Rotation . . . . . . . . . . . . . . . . . . . . . 353

16
 Working with 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Accessing 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Manipulating 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Resetting Default Values for 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . 356
Using Effect Templates with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Zooming In or Out on 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Manipulating 3D Effects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Manipulating 3D Effect Handles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Using the Motion Path Editor for 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Applying 3D Effects: Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Tips for Creating 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Creating a Page Fold Transition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Creating a Cropped Foreground Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Using the Spline Parameters with 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . 365
Corner Pinning an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Creating a Stamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Using Axis for a Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Applying a Chroma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Chapter 11 Creating and Editing Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Toolbar Reference for the Title Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Advanced Title Tool Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Installing Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Using Safe Colors with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Displaying and Snapping to a Grid in the Title Tool . . . . . . . . . . . . . . . . . . . . . 379
Using the 16:9 Display Format for Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Creating Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Page Count Limits for Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . 381
Using Auto Size Mode for Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . 382
Setting Up Text Formatting for Rolling and Crawling Titles . . . . . . . . . . . . . . . 382
Workflow Options for Creating Crawling Titles. . . . . . . . . . . . . . . . . . . . . . . . . 383
Typing the Text in a Rolling Title or a Crawling Title . . . . . . . . . . . . . . . . . . . . 383
Resizing the Width of a Rolling Title or a Crawling Title. . . . . . . . . . . . . . . . . . 384
Using the Make Crawl Command to Position a Crawling Title . . . . . . . . . . . . . 384

17
 Scrolling Through a Rolling Title or a Crawling Title . . . . . . . . . . . . . . . . . . . . 385
Working with Pages in Rolling or Crawling Titles . . . . . . . . . . . . . . . . . . . . . . 385
Formatting Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Modifying Box Corners, Lines, and Borders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Rounding Box Corners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Selecting a Line or Border Width. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Working with Arrowheads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Selecting Colors and Setting Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Adjusting the Color of a Title or Graphic Object . . . . . . . . . . . . . . . . . . . . . . . 391
Blending Two Colors in an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Adjusting the Transparency of a Title Object. . . . . . . . . . . . . . . . . . . . . . . . . . 394
Blending Transparency of Fills and Borders . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Adjusting Shadows on Title Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Setting Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Adjusting Shadow Softness On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Viewing Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Creating a Glow Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Manipulating Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Manipulating Objects Using the Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Layering Text and Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Grouping and Ungrouping Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Locking and Unlocking Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Aligning Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Distributing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Saving and Recalling Title Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Saving a Title Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Title Style Sheet Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Recalling a Title Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
Confirming Function Key Mapping of Title Styles . . . . . . . . . . . . . . . . . . . . . . 404
Applying Title Styles to Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Managing Title Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Creating and Using Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Working with Multiple Title Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

18
 Creating Multiple Format Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Saving Multiple Format Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
Exporting a Title as a Graphics File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Adjusting Title Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Revising a Title in a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Working with Existing Multiple Format Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Replacing Fill Tracks in a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Rendering Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413
Guidelines for Handling Playback Issues with Rolling Titles. . . . . . . . . . . . . . . . . . 413
Re-creating Title Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413
Re-creating Title Media from the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
Creating Media for Unrendered Titles in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . 415
Re-creating Title Media With Multiple Formats . . . . . . . . . . . . . . . . . . . . . . . . 416
Troubleshooting Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Guidelines for Handling Title Error Messages . . . . . . . . . . . . . . . . . . . . . . . . . 417
Handling a Wrong Format Message for a Title. . . . . . . . . . . . . . . . . . . . . . . . . 418
Using Filtering for HD Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Chapter 12 Working with the SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Understanding the SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420
How the SubCap Effect Handles Caption Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Applying the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Entering Caption Text Directly in the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . 425
Importing a Caption File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
Adding Information to a SubCap Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427
Editing Text in the Master Caption List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
Adjusting SubCap Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Synchronizing SubCap Effect Parameters and Information . . . . . . . . . . . . . . . . . . 429
Exporting SubCap Effect Data to Caption Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Working with Unicode Text in the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Working with SubCap Effect Stylesheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Examples of SubCap Effect Parameter Adjustments . . . . . . . . . . . . . . . . . . . . . . . 436

19
Chapter 13 Intraframe Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Understanding the Intraframe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Rendering Intraframe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Getting Started with the Paint and AniMatte Effects . . . . . . . . . . . . . . . . . . . . . . . 442
Applying the Paint or AniMatte Effect to a Sequence . . . . . . . . . . . . . . . . . . . 443
Effect Editor Reference for the Paint and AniMatte Effects. . . . . . . . . . . . . . . 444
Using the Intraframe Drawing Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
Understanding Intraframe Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Understanding the Brush Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Selecting a Color for the Brush Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Painting with the Brush Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Creating a Custom Brush Head from a Template . . . . . . . . . . . . . . . . . . . . . . 449
Saving and Applying Brush Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Using the Brush Tool and the Path Parameter to Create a
Signature Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Selecting Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Creating Rectangular Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Creating Oval Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Understanding the Polygon Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454
Creating Intraframe Objects with Straight-Line Segments . . . . . . . . . . . . . . . 454
Creating Intraframe Objects with Curved Segments . . . . . . . . . . . . . . . . . . . . 456
Creating a Straight Line Segment Following a Curve in an
Intraframe Object. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Creating Freehand Curved Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Changing the Parameters of a Painted Object . . . . . . . . . . . . . . . . . . . . . . . . 458
Working with Vector-Based Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
The Elements of Vector-Based Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Reshaping an Intraframe Object with Straight Edges . . . . . . . . . . . . . . . . . . . 462
Experimenting with Bézier Curves and Direction Handles . . . . . . . . . . . . . . . 462
Creating a Corner Join on an Intraframe Object . . . . . . . . . . . . . . . . . . . . . . . 465
Reference for Modifying Lines and Curves in Intraframe Objects . . . . . . . . . . 466
Adding and Removing Control Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

20
 Moving to Adjacent Control Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Moving Control Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Previsualization Marker Tool for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Applying a Previsualization Marker Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Creating a Cut List with Previsualization Marker Information. . . . . . . . . . . . . . 471
Manipulating Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Moving Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Reshaping Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Reshaping Objects Created with the Curve Tool . . . . . . . . . . . . . . . . . . . . . . . 474
Rotating Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Scaling Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Changing Intraframe Object Parameters over Time. . . . . . . . . . . . . . . . . . . . . 476
Layering, Grouping, and Locking Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . 477
Layering with the Paint Effect and AniMatte Effect . . . . . . . . . . . . . . . . . . . . . 477
Locating Layered Objects with the Outline/Path Button . . . . . . . . . . . . . . . . . . 477
Changing the Layer Order of Objects and Mattes . . . . . . . . . . . . . . . . . . . . . . 478
Grouping and Ungrouping Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . 478
Locking and Unlocking Intraframe Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Exporting a Matte Key Created With the AniMatte Effect . . . . . . . . . . . . . . . . . . . . 480
Scratch Removal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
Understanding Scratch Removal Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
Processing by Frame or Field When Using Scratch Removal . . . . . . . . . . . . . 482
Understanding Frame Processing for Scratch Removal . . . . . . . . . . . . . . . . . 483
Understanding Field Processing for Scratch Removal. . . . . . . . . . . . . . . . . . . 484
Removing a Flaw Within a Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
Removing a Flaw by Using Nearby Frames. . . . . . . . . . . . . . . . . . . . . . . . . . . 485
Selecting Material to Use When Correcting Flaws . . . . . . . . . . . . . . . . . . . . . . 486
Isolating a Flaw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Detecting Video Dropout in 24p or 25p Material . . . . . . . . . . . . . . . . . . . . . . . 488
Removing a Flaw By Drawing a Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
Removing a Flaw By Dragging Replacement Material. . . . . . . . . . . . . . . . . . . 491
Using IN and OUT Points with Scratch Removal . . . . . . . . . . . . . . . . . . . . . . . 492

21
 Using the Scratch Removal Positioning Parameters. . . . . . . . . . . . . . . . . . . . 494
Examples of Scratch Removal Parameter Settings. . . . . . . . . . . . . . . . . . . . . 495
Intraframe Editing Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Intraframe Example: Colorizing with Magic Mask . . . . . . . . . . . . . . . . . . . . . . 498
Intraframe Example: Applying the Paint Effect to Regions of a Clip . . . . . . . . 501
Intraframe Example: Creating a Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . 503
Intraframe Example: Animating a Matte Key Effect. . . . . . . . . . . . . . . . . . . . . 505
Intraframe Example: Creating a Single-Layer Organic Matte Wipe. . . . . . . . . 506
Working with the Blur Effect and Mosaic Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
Effect Editor Reference for the Blur Effect and Mosaic Effect . . . . . . . . . . . . . 509
Creating Blur and Mosaic Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
Modifying Blur and Mosaic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Chapter 14 Working with PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Understanding PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
PlasmaWipe Folder Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Using PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Creating PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Creating PAL and NTSC Versions of the Image . . . . . . . . . . . . . . . . . . . . . . . 517
Creating a PlasmaWipe from a Custom Image . . . . . . . . . . . . . . . . . . . . . . . . 517
Creating a Wipe Using the Photoshop Pencil Tool . . . . . . . . . . . . . . . . . . . . . 519
Creating a PlasmaWipe Effect from an Existing Image. . . . . . . . . . . . . . . . . . 521
Tips for Working with Gradient Images for PlasmaWipe Effects . . . . . . . . . . . 522
Using the Histogram in Photoshop with PlasmaWipe Images. . . . . . . . . . . . . 522
Testing a PlasmaWipe Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
Saving a PlasmaWipe Image for PAL and NTSC . . . . . . . . . . . . . . . . . . . . . . 527
Storing Images in the PlasmaWipes Folder Structure. . . . . . . . . . . . . . . . . . . 528
Adjusting an Existing PlasmaWipe Effect While the
Application is Running . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Using PlasmaWipe Frame and Border Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Applying and Adjusting Frame and Border Effects . . . . . . . . . . . . . . . . . . . . . 532
Default Values for PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Creating Custom Border and Frame Effects . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Using PlasmaWipes with HD Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

22
Chapter 15 Effects Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
Blend Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540
Blend: 3D Warp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
Blend: Dip to Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
Blend: Dissolve. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542
Blend: Fade from Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542
Blend: Fade to Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543
Blend: Picture-in-Picture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543
Blend: Superimpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
Box Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
Box Wipe: Bottom Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
Box Wipe: Bottom Left to Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
Box Wipe: Bottom Right to Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
Box Wipe: Left Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
Box Wipe: Right Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547
Box Wipe: Top Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547
Box Wipe: Top Left to Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
Box Wipe: Top Right to Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
Conceal: Bottom Left to Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
Conceal: Bottom Right to Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
Conceal: Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
Conceal: Left to Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
Conceal: Right to Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
Conceal: Top Left to Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
Conceal: Top Right to Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
Conceal: Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Edge Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Edge Wipe: Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Edge Wipe: Horizontal Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
Edge Wipe: Lower Left Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
Edge Wipe: Lower Right Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
Edge Wipe: Upper Left Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556

23
 Edge Wipe: Upper Right Diagonal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
Edge Wipe: Vertical Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557
Edge Wipe: Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557
Film Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558
Film: 1.66 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558
Film: 1.85 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558
Film: 16:9 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
Film: Anamorphic Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
Film: Blowup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
Film: Film Dissolve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
Film: Film Fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561
Film: Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561
Generator Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561
Generator: SubCap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562
Generator: Timecode Burn-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562
Illusion FX Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
Illusion FX: Color Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
Illusion FX: Crystal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564
Illusion FX: Film Grain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564
Illusion FX: Flare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Illusion FX: FluidBlur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Illusion FX: FluidColorMap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566
Illusion FX: FluidMorph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566
Illusion FX: Iris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567
Illusion FX: Kaleidoscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567
Illusion FX: Lightning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
Illusion FX: Melt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
Illusion FX: Motion Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569
Illusion FX: Pagecurl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569
Illusion FX: Particle Blast. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
Illusion FX: Particle Orbit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
Illusion FX: Particle Wind. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571
Illusion FX: Pattern Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571

24
 Illusion FX: Pinch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Illusion FX: Radial Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Illusion FX: Random Blend. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573
Illusion FX: Ripple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573
Illusion FX: Rollup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574
Illusion FX: Shear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574
Illusion FX: Sparkler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Illusion FX: Sphere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Illusion FX: Swirl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576
Illusion FX: Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577
Illusion FX: Twist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Illusion FX: Wave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Image: Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
Image: Blur Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
Image: Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
Image: Color Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
Image: Flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Image: Flip-Flop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Image: Flop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
Image: Mask. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
Image: Mosaic Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
Image: Paint Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
Image: Region Stabilize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
Image: Resize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
Image: Safe Color Limiter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Image: Scratch Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Image: Stabilize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Image: Submaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586
Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586
Key: AniMatte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586
Key: Chroma Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
Key: Luma Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588

25
 Key: Matte Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588
Key: RGB Keyer (AVX Plug-in Effect) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
Key: SpectraMatte Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
L-Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
L-Conceal: Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591
L-Conceal: Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591
L-Conceal: Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592
L-Conceal: Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592
Matrix Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
Matrix Wipe: Grid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
Matrix Wipe: One-Way Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Matrix Wipe: Speckle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Matrix Wipe: Spiral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
Matrix Wipe: Zig-Zag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
Motion Effect: Freeze Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Motion Effect: Variable Speed and Strobe Motion. . . . . . . . . . . . . . . . . . . . . . 597
Peel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Peel: Bottom Left Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Peel: Bottom Right Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
Peel: Bottom to Top. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Peel: Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Peel: Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Peel: Top Left Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Peel: Top Right Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Peel: Top to Bottom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Push Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Push: Bottom Left to Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Push: Bottom Right to Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
Push: Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
Push: Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605
Push: Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605

26
 Push: Top Left to Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Push: Top Right to Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Push: Top to Bottom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Reformat Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Reformat: 14:9 Letterbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
Reformat: 16:9 Letterbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
Reformat: 4:3 Sidebar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
Reformat: Pan and Scan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Sawtooth Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Sawtooth Wipe: Horizontal Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Sawtooth Wipe: Horizontal Open Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
Sawtooth Wipe: Vertical Open Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610
Sawtooth Wipe: Vertical Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Shape Wipes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Shape Wipe: 4 Corners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
Shape Wipe: Center Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
Shape Wipe: Circle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613
Shape Wipe: Clock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613
Shape Wipe: Diamond . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614
Shape Wipe: Ellipse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614
Shape Wipe: Horizontal Bands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Shape Wipe: Horizontal Blinds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Shape Wipe: Vertical Blinds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Spin Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Spin: X Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
Spin: Y Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
Spin: Z Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
Squeeze Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
Squeeze: Bottom Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Squeeze: Bottom Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Squeeze: Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
Squeeze: Bottom to Top. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
Squeeze: Centered Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621

27
 Squeeze: Horizontal Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
Squeeze: Left Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
Squeeze: Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
Squeeze: Right Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
Squeeze: Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
Squeeze: Top Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Squeeze: Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Squeeze: Top Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
Squeeze: Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
Squeeze: Vertical Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
Timewarp: 0% To 100% . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
Timewarp: 100% To 0% . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
Timewarp: FluidFilm 2:3 Cadence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
Timewarp: FluidFilm Progressive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
Timewarp: Pulldown Insertion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Timewarp: Pulldown Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
Timewarp: Reverse Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
Timewarp: Speed Boost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
Timewarp: Speed Bump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
Timewarp: Timewarp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
Timewarp: Trim to Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Title Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Title Effects: Crawling Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
Title Effects: Rolling Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
Title Effects: Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
Xpress 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638
Comparison of Similar Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639
Chapter 16 Effects Parameter Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641
Common 2D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642
Acceleration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642
Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642
Border . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643

28
 Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644
Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 645
Custom Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646
Feathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646
Foreground. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648
Grid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649
Magic Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651
Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654
Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654
Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
Transition Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
Film Effects Blowup Parameter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Generator Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
SubCap Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
SubCap Effect Global Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662
Timecode Burn-In Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663
Illusion FX Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668
Border Parameter for Illusion FX Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668
Color Mix Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668
Crystal Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669
Film Grain Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670
Flare Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670
FluidBlur Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
FluidColorMap Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
FluidMorph Effect Source Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673
FluidMorph Effect Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673
Iris Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
Kaleidoscope Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
Kaleidoscope Effect Center Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Kaleidoscope Effect Offset Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Lightning Effect Generation Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676
Lightning Effect Core Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676

29
 Lightning Effect Glow Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Melt Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678
Motion Blur Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679
Pagecurl Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679
Particle Blast Effect Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Particle Orbit Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682
Particle Orbit Effect Parameter Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683
Particle Wind Effect Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684
Pattern Generator Effect Background Parameters . . . . . . . . . . . . . . . . . . . . . 685
Pattern Generator Effect Number Parameters . . . . . . . . . . . . . . . . . . . . . . . . 687
Pattern Generator Effect Circle Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 688
Pinch Effect Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688
Radial Blur Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689
Random Blend Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690
Ripple Effect Motion Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690
Ripple Effect Generation Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
Ripple Effect Illumination Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
Rollup Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692
Shear Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693
Sparkler Effect Generation Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694
Sparkler Effect Movement Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694
Sparkler Effect Glow Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695
Sparkler Effect Core Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696
Sphere Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696
Swirl Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Timecode Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Timecode Effect Start Timecode Parameters . . . . . . . . . . . . . . . . . . . . . . . . . 699
Twist Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
Wave Effect Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
Image Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701
Avid Pan & Zoom Effect Other Options Button . . . . . . . . . . . . . . . . . . . . . . . . 701
Avid Pan & Zoom Effect Display Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Avid Pan & Zoom Effect Display Options Parameter . . . . . . . . . . . . . . . . . . . 702

30
Avid Pan & Zoom Effect Size Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Avid Pan & Zoom Effect Position Parameters . . . . . . . . . . . . . . . . . . . . . . . . . 703
Avid Pan & Zoom Effect Velocity Parameters . . . . . . . . . . . . . . . . . . . . . . . . . 703
Avid Pan & Zoom Effect Path Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Avid Pan & Zoom Effect Filtering Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Avid Pan & Zoom Effect Background Parameters . . . . . . . . . . . . . . . . . . . . . . 706
Avid Pan & Zoom Effect Advanced Parameters. . . . . . . . . . . . . . . . . . . . . . . . 707
Avid Pan & Zoom Effect Cache Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . 708
Avid Pan & Zoom Effect Render Mode Parameter. . . . . . . . . . . . . . . . . . . . . . 709
Blur Effect Blur Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709
Color Effect Luma Adjust Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710
Color Effect Luma Range Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711
Color Effect Luma Clip Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713
Color Effect Chroma Adjust Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713
Color Effect Color Style Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715
Color Effect Color Gain Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716
Mosaic Effect Mosaic Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716
Paint Effect Mode Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717
Paint Effect Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718
Paint Effect Color Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
Region Stabilize Effect Model Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . 726
Region Stabilize Effect Region of Interest Parameters . . . . . . . . . . . . . . . . . . 726
Region Stabilize Effect Options Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 727
Safe Color Limiter 422 Safe Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727
Safe Color Limiter Source Monitor Analysis Parameters . . . . . . . . . . . . . . . . . 728
Safe Color Limiter Composite/Luma Levels Parameters . . . . . . . . . . . . . . . . . 728
Safe Color Limiter RGB Levels Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . 729
Scratch Removal Effect Scratch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 730
Spot Color Correction Effect Color Match Parameters
(Symphony Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731
Stabilize Effect Run Auto-Zoom Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732

31
 Key Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733
Key Effects Key Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733
AniMatte Effect Mode Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734
Chroma Key Secondary Key Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735
Chroma Key Spill Suppression Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 735
RGB Keyer Key Color Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736
RGB Keyer Chroma Key Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736
RGB Keyer Matte Control Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737
RGB Keyer Color Correction Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738
SpectraMatte Bypass Parameter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739
SpectraMatte Key Color Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739
SpectraMatte Matte Analysis Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740
SpectraMatte Chroma Control Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . 743
SpectraMatte Luma Control Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747
SpectraMatte Matte Processing Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . 749
SpectraMatte Spill Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751
Motion Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754
Freeze Frame Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754
Variable Speed and Strobe Motion Parameters . . . . . . . . . . . . . . . . . . . . . . . 755
Reformat Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757
14:9 Letterbox Position H Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757
Pan and Scan Aspect Ratios Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757
Pan and Scan Actions Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 758
FluidMotion Edit Parameters for Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . 759
FluidMotion Edit Display Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760
FluidMotion Edit Mask Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761
FluidMotion Edit Mode Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761
Title Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762
Crawling Title Position V Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763
Crawling Title Scroll Position H Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . 763
Rolling Title Position H Parameter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764
Rolling Title Scroll Position V Parameter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764

32
3D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765
Understanding 3D Parameter Hierarchy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766
Acceleration (3D) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767
Axis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
Background Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
Border (3D). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 769
Corner Pin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 770
Crop (3D) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771
Defocus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 772
Erode/Expand. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773
Foregnd (Foreground) (3D) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 774
Suggested Workflow for Adjusting a Chroma Key . . . . . . . . . . . . . . . . . . . . . . 777
Highlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 777
Highlight Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778
Lowlight Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 779
Perspective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 779
Position (3D). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780
Profile (3D) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781
Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781
Scaling (3D) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 782
Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 783
Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784
Tips and Limitations for 3D Shape Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787
Skew. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789
Spill Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 790
Spline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791
Examples of Spline Parameter Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . 792
Stamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794
Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795
Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 796
Trail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 796
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797

33
34
 Using This Guide

This guide covers all of the effects capabilities of your Avid® editing application that are not
described in the basics guide. The guide explains effects concepts, provides step-by-step
instructions for advanced effects tasks, and includes reference information for every effect
and effect parameter available in your Avid editing application.

This guide is intended for all Avid editing application users, from beginning to advanced.

Unless noted otherwise, the material in this document applies to the Windows® XP,
Windows Vista®, and Mac OS® X operating systems.The majority of screen shots in this
document were captured on a Windows system, but the information applies to both Windows
and Mac OS X systems. Where differences exist, both Windows and Mac OS X screen shots
are shown.

n The documentation describes the features and hardware of all models and applies to both
the Windows and Mac OS X operating systems. Your system might not contain certain
features and hardware that are covered in the documentation, and might not be available on
both Windows and Mac OS X.
Symbols and Conventions
Avid documentation uses the following symbols and conventions:

Symbol or Convention Meaning or Action

n A note provides important related information, reminders,

recommendations, and strong suggestions.

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

w A warning describes an action that could cause you physical harm.

Follow the guidelines in this document or on the unit itself when
handling electrical equipment.

> This symbol indicates menu commands (and subcommands) in the

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

This symbol indicates a single-step procedure. Multiple arrows in a list

indicate that you perform one of the actions listed.

(Windows), (Windows This text indicates that the information applies only to the specified
only), (Macintosh), or operating system, either Windows or Macintosh OS X.
(Macintosh only)

Bold font Bold font is primarily used in task instructions to identify user interface
items and keyboard sequences.

Italic font Italic font is used to emphasize certain words and to indicate variables.

Courier Bold font Courier Bold font identifies text that you type.

Ctrl+key or mouse action Press and hold the first key while you press the last key or perform the
mouse action. For example, Command+Option+C or Ctrl+drag.

36
 If You Need Help

If You Need Help

If you are having trouble using your Avid product:
1. Retry the action, carefully following the instructions given for that task in this guide. It
is especially important to check each step of your workflow.
2. Check the latest information that might have become available after the documentation
was published:
- If the latest information for your Avid product is provided as printed release notes,
they are shipped with your application and are also available online.
If the latest information for your Avid product is provided as a ReadMe file, it is
supplied on your Avid installation CD or DVD as a PDF document
(README_product.pdf) and is also available online.
You should always check online for the most up-to-date release notes or ReadMe
because the online version is updated whenever new information becomes
available. To view these online versions, select ReadMe from the Help menu, or visit
the Knowledge Base at www.avid.com/readme.
3. Check the documentation that came with your Avid application or your hardware for
maintenance or hardware-related issues.
4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are
available 24 hours per day, 7 days per week. Search this online Knowledge Base to find
answers, to view error messages, to access troubleshooting tips, to download updates,
and to read or join online message-board discussions.

Accessing the Online Library

The Online Library for your Avid editing application contains all the product documentation
in PDF format, including a Master Glossary of all specialized terminology used in the
documentation for Avid products.

The Online Library for your Avid editing application is installed along with the application
itself.

n You will need Adobe® Reader® to view the PDF documentation online. You can download
the latest version from the Adobe web site.

37
 To access the Online Library, do one of the following:
t From your Avid editing application, select Help > Online Library
t (Windows only) From the Windows desktop, select Start > All Programs > Avid > Avid
editing application > Online Library
t Browse to the Online Library folder, and then double-click the MainMenu file.
The Online Library folder is in the same location as the application itself, for example:
(Windows) C:\Program Files\Avid\Avid editing application\Online Library
(Macintosh) MacintoshHD/Applications/Avid editing application/Online Library

Accessing the Goodies Folder

Avid supplies a Goodies folder located on the editing application DVD. Access the Goodies
folder by browsing the DVD. This folder contains programs and files you might find useful
when trying to perform functions beyond the scope of your Avid editing application.

The information in the Goodies folder is provided solely for your reference and as
suggestions for you to decide if any of these products fit into your process. Avid is not
responsible for the manufacture, support, or sales of these products. Avid is also not
responsible for any loss of data or time, or any other adverse results related to the use of
these products. All risks of using such products or accessing such Web sites are entirely your
own. The Web sites listed in the Goodies folder are not under the control of Avid, and Avid
is not responsible for their content, any changes or updates to them, or the collection of any
personal data or information by the operators of such Web sites. All information and product
availability is subject to change without notice.

Avid Training Services

Avid makes lifelong learning, career advancement, and personal development easy and
convenient. Avid understands that the knowledge you need to differentiate yourself is always
changing, and Avid continually updates course content and offers new training delivery
methods that accommodate your pressured and competitive work environment.

To learn about Avid's new online learning environment, Avid Learning Excellerator™
(ALEX), visit http://learn.avid.com.

For information on courses/schedules, training centers, certifications, courseware, and

books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID
(800-949-2843).

38
1 Effects Concepts and Settings

This chapter describes concepts you should understand before you begin creating effects and
settings adjustments that affect how you work with effects. This chapter supplements the
basic information found in “Working with Effects: Basics” in the Help.

This chapter contains the following main topics:

• Understanding Effect Icon Color Coding
• Changing Timeline View Settings for Effects
• Adjusting Trim Settings for Effects
• Understanding Effect Aperture
• Changing the Effect Aperture
• Setting Effect Grid Options
• Working with Effects in HD and in Progressive Frame Projects

Understanding Effect Icon Color Coding

Effect icons in the Effect Palette and in the Timeline display color-coded dots to help you
determine whether an effect is real-time or non-real-time.

Real-time effects show a green dot. Real-time effects play in real time in a sequence, subject
to the playback capabilities and constraints of your Avid editing system. For more
information, see “Real-Time Playback of Video Effects” in the Help.

Non-real-time effects have no dot in the Effect Palette. In the Timeline, the effect icon shows
a blue dot until you render the effect.
1 Effects Concepts and Settings

Green dot mode indicates a real-time effect

that might not be playable in real time.

No dot indicates a non-real-time effect; in the

Timeline, a non-real-time effect icon contains
a blue dot until the effect is rendered.

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

Changing Timeline View Settings for Effects

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

To change the Timeline settings:

1. In the Timeline window, click the Fast Menu button, and then do one of the following:
t To display all effect icons in the Timeline, select Effect Icons.
t To display all effect icons except Dissolve icons, select Effect Icons and deselect
Dissolve Icons.
t To display no effect icons, deselect Effect Icons. Dissolve Icons appears dimmed
and is now unavailable.
2. (Option) To save your Timeline settings, click the Timeline View Name button, select
Save As, and type a view name.

Timeline View
Name button

40
 Adjusting Trim Settings for Effects

Adjusting Trim Settings for Effects

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

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

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

1. In the Project window, click the Settings tab.
The Settings list appears.
2. Double-click Trim.
The Trim Settings dialog box opens.
3. Click the Features tab, and then select or deselect Render On-The-Fly.
4. Click OK.

Understanding Effect Aperture

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

n The Effect Aperture feature applies only to NTSC projects.

Your Avid editing application uses 243 horizontal lines per field to display media for NTSC
video as follows:
• For uncompressed and non-DV resolutions, the system uses all 243 lines to display the
image.
• For DV media, the system uses 240 lines for the image and adds two black lines above
the image and one black line below the image.

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

In a DV project the black lines can become visible when you create effects such as
Picture-in-Picture or Squeeze effects.

41
1 Effects Concepts and Settings

The following illustrations show four PIP effects. In the first illustration you can clearly see
the black lines between the effects. This illustration uses the default ITU 601 aperture. The
second illustration displays the same media with the DV25 effect aperture — the black lines
between the effects are removed.

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

42
 Changing the Effect Aperture

Changing the Effect Aperture

To change the effect aperture:
1. Double-click General in the Settings list in the Project window.
The General Settings dialog box opens.

2. Select one of the following Effect Aperture options:

Option Description

ITU 601 (720x 486) Select this setting when you are using uncompressed media or
mixed resolutions. This is the default setting.

DV25 (720 x 480) Select this setting when you are using DV media exclusively.

3. Click OK.

43
1 Effects Concepts and Settings

Setting Effect Grid Options

You can display a grid in the Effect Preview monitor in Effect mode to help guide your work
as you create and adjust effects. For information on using the grid, see “Understanding the
Effect Grid” on page 63.

The Grid Settings dialog box allows you to customize the grid.

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

t In the Settings list of the Project window, double-click Grid.
t If the effect you are working with has a Grid parameter group, click the Other Options
button for the Grid parameter group in the Effect Editor.
The Grid Settings dialog box opens.
For information on the Grid Settings options, see “Grid Settings” in the Help.

Working with Effects in HD and in Progressive

Frame Projects
Many video effects work the same way in both SD and HD and work the same way in both
interlaced and progressive formats. This section describes several situations where effect
behavior varies depending on whether a project is SD or HD, or is interlaced or progressive.

Effects Considerations for HD Projects

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

n The Safe Color Limiter effect converts from 709 to 601 color space before limiting unsafe
colors, and then converts back to 709 color space. For more information, see
“Understanding the Safe Color Limiter” in the Help.

44
 Working with Effects in HD and in Progressive Frame Projects

Note the following:

• Titles: There is no need to generate 4:3 media.
• Timewarps: These effects use a 60p input and output format in 720p/59.94 projects.

Effects Considerations for Progressive Frame Projects

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

Effects that do not involve any movement across the screen — for example, masks, Color
Effects, and dissolves — always look the same in progressive projects as they do in
interlaced projects.

Effects that involve movement across the screen — for example, wipes, 3D shapes, or
moving titles — might look different in 24p or 25p projects from their equivalents in
interlaced projects for the following reasons:
• Since the effect is created using 24 or 25 progressive frames per second (24p or 25p),
motion across the screen is interpolated in 24 or 25 increments per second. (Contrast the
50 increments per second for a PAL interlaced project or the 60 increments per second
for an NTSC interlaced project.) For example, the edge of a 1-second Horizontal Edge
Wipe effect will appear in 24 or 25 different positions across the screen. For effects of
short duration in particular, this difference might be perceptible to the viewer.
• When the 24p or 25p media is output (to the interlaced Client monitor or as a digital
cut), it is interlaced again and pulldown is inserted to achieve 60 fields per second
(NTSC). Your Avid editing application inserts pulldown by duplicating some of the
existing frames to create the correct number of fields per second. Temporal artifacts
created by this duplication process might be perceptible to the viewer. This behavior is a
normal result of the pulldown insertion process and is often perceptible in conventional
transfers of films to video formats.

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

45
1 Effects Concepts and Settings

Motion effects created in 24p or 25p projects, such as Variable Speed effects, might also
look different from motion effects created in interlaced projects. For more information on
24p or 25p motion effects, see “Considerations for Motion Effects in Progressive Projects”
on page 178.

n For more information on how your Avid editing application handles 24p or 25p material, see
“Understanding 24p Media,” “Understanding 25p Media,” and “How Avid Editing
Applications Store and Display 24p and 25p Media” in the Help.

If an effect in a 24p or 25p project does not look completely smooth, do one or more of the
following:
• Slow down the effect.
For example, a 2-second Horizontal Edge Wipe effect, while it is still performing at the
same rate (24 increments per second), moves across the screen in 48 steps. These
smaller movements make the wipe appear smoother to the viewer.
• Soften the edges of the effect.
The more the edges of the effect are blurred, the less noticeable the movements between
the increments of the effect is.
• When working with moving titles, avoid small font sizes and sharp edges.
In a moving title such as a roll, lines of small text might move less smoothly than lines
of larger text.

n In a 24p or 25p project, if you select Output to DV Device from the Video Quality menu in
the Timeline, the Realtime Encoding option is automatically turned off. For more
information, see “Playing Back to a DV Device” in the Help.

46
2 Applying and Customizing Effects

This chapter contains advanced information on applying and customizing effects that builds
on the information presented in “Working with Effects: Basics” in the Help.

This chapter contains the following main topics:

• Additional Methods for Applying Dissolve Effects
• Additional Information for the Quick Transition Button
• Adjusting Transitions in the Timeline
• Transition Effect Preservation
• Replacing an Effect in Effect Mode
• Using the Effect Preview Monitor
• Stepping Through Field-Based Media
• Using the Effect Editor
• Manipulating Effects Directly in the Effect Preview Monitor

Additional Methods for Applying Dissolve Effects

One of the most common transition effects is a dissolve. You can apply a Dissolve effect
using any of the following methods:
• Select the Dissolve effect from the Effect Palette.
For more information, see “Applying Effects from the Effect Palette” in the Help.
• Click the Quick Transition button.
For more information, see “Using the Quick Transition Button” in the Help.
• Type a duration in the Transition parameters in Trim mode or in the Effect Editor.
For more information, see “Applying a Dissolve Effect Using the Transition
Parameters” on page 48.
• Use the Head Fade button or the Tail Fade button.
For more information, see “Adding Dissolves with the Head Fade and Tail Fade
Buttons” on page 48.
2 Applying and Customizing Effects

Applying a Dissolve Effect Using the Transition Parameters

You can create a Dissolve effect by using the Transition parameters displayed in Trim mode
and in the Effect Editor. Simply enter the duration for which the effect will play, and the
application adds the Dissolve effect to the sequence.

Transition Effect
Alignment button Transition Effect
Duration text box

Transition Effect
Alignment menu

To create a Dissolve effect by using the Transition parameters:

1. Click a transition in the Timeline while in Trim mode or Effect mode.
2. In the Transition Effect Duration text box in the Effect Editor, type the
dissolve’s duration.

n The duration format is determined by the Duration setting above the Record monitor — for
example, seconds:frames.

The application adds the Dissolve effect at the transition, and the Dissolve Effect icon
appears in the Timeline.
3. Click the Transition Effect Alignment button, and select the effect’s position relative to
the cut point.
For an explanation of the Transition Effect Alignment menu selections, see “Transition
Parameters” on page 655.

Adding Dissolves with the Head Fade and Tail Fade Buttons
You can use the Head Fade button and Tail Fade button to add a dissolve for selected audio
and video tracks.

When you use the Head Fade button and Tail Fade button this way, all the selected tracks,
including layered tracks, receive the effect.

n When you use the Head Fade button and Tail Fade button with filler, your Avid editing
application treats the filler like another video clip. You can use the Tail Fade button, for
example, to fade from filler at the beginning of a sequence into the opening video clip.

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 Additional Methods for Applying Dissolve Effects

To add a fade (dissolve):

1. Move the position indicator to a clip where you want the dissolve to end or begin.
Your Avid editing application uses the location of the position indicator to begin or end
the dissolve. For example, if you move the position indicator ten frames after the
beginning of the clip and then use the Head Fade button, the Avid editing application
creates a ten-frame dissolve that lasts from the beginning of the clip to the location of
the position indicator.
2. Select the tracks on which you want to create dissolves.
If you select more than one track, the editing application creates dissolves of appropriate
lengths for each track, as shown in the following illustration.

Before After — two dissolves of different lengths

are created on the two tracks.

3. Select Tools > Command Palette.

4. Click the FX tab, and then click Active Palette.
5. Click the Head Fade button or the Tail Fade button.
The dissolves appear in the Timeline. If a dissolve begins or ends at the edit point
between two clips, the dissolve crosses between the two clips. Otherwise the dissolve is
a fade from or to black.
6. (Option) If, for any selected track, there is insufficient source media to create a dissolve
of the length you specified with the position indicator, the Insufficient Source dialog box
opens. Do one of the following:
t Click Size to Fit.
Your Avid editing application creates the longest dissolve possible. For more
information on sizing effects to fit available media, see “Sizing the Effect to Fit the
Media” in the Help.
t Click Skip Track.
Your Avid editing application does not create a dissolve on the track with
insufficient source material but does create dissolves on any other selected tracks
with sufficient source material.
t Click Cancel.
Your Avid editing application does not create any dissolves.

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2 Applying and Customizing Effects

Additional Information for the

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

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

Using the Quick Transition Button to Apply Effects to

Multiple Transitions
You can select multiple transitions by marking IN and OUT points. Then you can apply an
effect from the Quick Transition dialog box in one of the following ways:
• Apply the effect to all transitions between the IN and OUT points.
• Apply the effect to only those transitions that do not already have an effect applied.

To apply an effect to multiple transitions by using the Quick Transition button:

1. Mark IN and OUT points around the transitions to which you want to add the effect.
2. Make sure that the Record Track buttons in the Track Selector panel are selected for the
tracks to which you want to add the effect.
3. (Option) If you want to see a particular transition in the graphical display of the Quick
Transition dialog box, move the position indicator to that transition.

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

4. Click the Quick Transition button.

n The Quick Transition button appears on the Tool palette, in the Timeline top toolbar, and on
the Command palette. For more information, see the following topics in the Help: “Using
the Tool Palette,” “Displaying the Timeline Top Toolbar,” and “The Command Palette.”

The Quick Transition dialog box opens.

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 Additional Information for the Quick Transition Button

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

For an explanation of individual effects shown in the menu, see “Blend Effects” on page
540.

n When you save a Dissolve effect template into a bin named Quick Transitions, the effect
template appears in the Add menu. For more information, see “Working with Effect
Templates” in the Help.

n When you select a color transition with Quick Transition, the default color is black. You must
enter Effect mode to select another color. For more information, see “Using the Effect
Editor” on page 69.

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

t Type the duration in frames in the Duration text box.
t Click either the left edge or right edge of the Dissolve Effect icon and drag it to
change the duration.
For more information, see “Understanding the Graphical Display in the
Quick Transition Dialog Box” on page 52.
The graphical display changes — the size of the effect icon increases or decreases, and
the numbers in the Duration and Start text boxes change — to reflect the new duration.
7. Adjust the effect’s position relative to the cut point in one of the following ways:
t Click the Position menu, and select an option to have the effect end at the cut point,
center on the cut point, or start at the cut point.
t Click the Position menu, select Custom, and then type a number in the Start text box
to specify how many frames before the cut point you want the effect to begin.
t Click the Dissolve Effect icon and drag it to position the effect with respect to the
cut point.
t Click one of the alignment buttons below the graphical display.

Alignment buttons

These buttons appear when you select Custom from the Position menu or click in the
graphical display. For more information on the graphical display options, see
“Understanding the Graphical Display in the Quick Transition Dialog Box” on page 52.

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2 Applying and Customizing Effects

Your Avid editing application positions the effect, updates the graphical display to show
the new position of the effect, and updates the value in the Start text box.
If you select an alignment for which there is not enough media, the application comes as
close as it can to the alignment you requested.
8. Click the Target Drive menu, and select a drive on which to store the effect if you choose
to render it.
The Effect Source Drive is the drive where the media on the outgoing shot of a
transition resides.
9. Select Apply to All Transitions (IN -> OUT).
10. (Option) To apply the effects only to transitions that do not already have a transition
effect applied, select Skip Existing Transition Effects.
11. Do one of the following:
t To add the effect without rendering it, click Add.
t To add the effect and render it, click Add and Render.
Your Avid editing application adds the selected effect to all the transitions between the
marked IN and OUT points on the selected tracks in the sequence.

n If there is not enough incoming or outgoing media material to apply the effect to a
transition, a dialog box opens. For more information, see “Sizing Effects to Fit the Media”
in the Help.

Understanding the Graphical Display in the

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

Outgoing media Transition effect

Handle on outgoing media

Frames of incoming Frames of outgoing

media available for media available for
the effect the effect
Handle on Alignment buttons Incoming media
incoming media

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 Additional Information for the Quick Transition Button

The graphical display shows the following:

• The outgoing (A) and incoming (B) media for the transition to which you are applying
the effect.
The amount of handle available for each piece of media is indicated both as a darker
area on the graphic itself and as a number of frames.
• The transition effect that you are applying.
The display shows the effect icon and indicates the length and position of the effect in
relation to the media. You can adjust the effect by dragging this part of the display. For
more information, see “Adjusting a Transition Effect by Dragging in the Quick
Transition Dialog Box” on page 53.
• Three alignment buttons.
These buttons appear when you select Custom from the Position menu or click in the
graphical display. The buttons allow you to quickly reposition the effect so that it either
ends at the cut point, is centered on the cut point, or starts at the cut point. For more
information, see “Repositioning the Dissolve Effect with the Quick Transition
Alignment Buttons” on page 54.

Your Avid editing application draws and scales the graphical display so that it represents the
relative size and position of the transition effect in relation to the media. For example, in the
illustration above, the effect is 30 frames long while the incoming handle is 46 frames long.
The effect is therefore shown about two-thirds the size of the incoming handle.

Adjusting a Transition Effect by Dragging in the Quick Transition

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

To adjust the length of the effect:

1. Do one of the following:
t To adjust the length of the effect without changing its start point, move the pointer
over the right edge of the effect.
t To adjust the length of the effect without changing its end point, move the pointer
over the left edge of the effect.
The pointer changes to a resizing arrow.

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2 Applying and Customizing Effects

Resizing arrow

2. Do one of the following:

t To lengthen the effect, drag away from the effect icon in the center.
t To shorten the effect, drag toward the effect icon in the center.
The graphical display and the Duration text box update to reflect your adjustment. If
you are dragging the left edge of the effect, the Start text box also updates to reflect the
changed start point.

To adjust the position of the effect:

1. Move the pointer inside the effect.
The pointer changes to a hand.

2. Drag the effect to adjust its position with respect to the cut point.
The graphical display updates to show the new effect position, and the Start text box
updates to show the new number of frames before the cut point.

n You cannot drag an effect beyond the ends of the handles on the media because you cannot
create a transition unless both incoming and outgoing media are available for every frame
of the transition. You also cannot drag an effect beyond the cut point.

For information about preserving transition effects, see “Transition Effect Preservation”
on page 56.

Repositioning the Dissolve Effect with the Quick Transition Alignment

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

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 Adjusting Transitions in the Timeline

Ending at Cut Centered on Cut Starting at Cut

To reposition the effect with an alignment button:

t Click one of the following buttons:

Button Description

Ending at Cut Aligns the effect so it ends at the cut point.

Centered on Cut Aligns the effect so it is centered on the cut point.

Starting at Cut Aligns the effect so it starts at the cut point.

Adjusting Transitions in the Timeline

You can adjust transitions directly in the Timeline while you are in Trim mode.

You can trim a transition effect by using the standard transition trim procedures. For more
information, see “Working in Trim Mode: Basics” in the Help.

In some Avid editing applications, you can also change the duration of transition effects just
by dragging them in the Timeline. To use this feature, you open the Transition Corner
Display in Trim mode.

n The Transition Corner Display feature is only available in some Avid editing applications,
and only when you are in Big Trim mode. To ensure that you enter Big Trim mode when you
click the Trim Mode button, select “Never use Small Trim mode” in the Features tab of the
Trim Settings dialog box. For more information, see “Trim Settings: Features Tab” in the
Help.

To customize transition effect parameters, see the procedures in “Transition Parameters” on

page 655.

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2 Applying and Customizing Effects

To adjust a transition by using the Transition Corner Display:

1. Click the transition in the Timeline.
2. Click the Trim Mode button below the Timeline to enter Trim mode.
3. Click the Transition Corner Display button.
The button changes to bright green, and the display is enabled. As you position the
pointer over the transition, it changes to look like a film clip that has been cut for a
splice, as shown in the following illustration.

4. Lengthen or shorten the transition effect by dragging the transition to the length you
want.
t To shorten a transition, drag toward the transition point.
t To lengthen a transition, drag away from the transition point.
The pointer changes to a hand that moves as you drag. You can adjust either the
outgoing or the incoming video.
5. To review your edit, click the Play Loop button.
For information about preserving transition effects, see “Transition Effect Preservation”
on page 56.

Transition Effect Preservation

The following details the behavior of clips with transition effects when you trim and move
them in the Timeline.

Segment Mode

When you move a segment that includes a transition effect into filler, the effect remains with
the segment, the system does not remove the effect.

When you move a segment with a transition effect into another segment, the effect remains
with the stationary segment.

For information about Segment mode, see “Using Segment Mode” in the Help.

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 Replacing an Effect in Effect Mode

Splicing and Overwriting

When you splice or overwrite a sequence onto another sequence, the transition effects at the
marks in the source are preserved, depending on the position of the mark. For example:

If you: The result is:

Place the Mark In at the cut Your Avid editing application leaves the
transition effect as is.

Place a Mark In before the cut Your Avid editing application leaves the
transition effect, but the transition is shortened.

Place a Mark In after the cut Your Avid editing application removes the
transition effect.

Trim Mode

You can trim past the edge of the transition effect up to the cut.

For information about Trim mode, see “Working in Trim Mode: Basics” in the Help.

Cut or Extract

When you cut or extract a clip with a transition effect, the effect remains in the Timeline.
The system does not remove the effect.

For information about extracting, see “Extracting Material” in the Help.

Replacing an Effect in Effect Mode

You can replace an existing effect in Effect mode. However, some effects cannot replace
other effects. For example, some segment effects, such as the Mask effect, cannot replace
transition effects. In addition, two-track effects, such as wipes, cannot replace three-track
effects, such as matte keys.

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2 Applying and Customizing Effects

To replace an effect:
1. If the application is not in Effect mode, enter Effect mode, for example, by selecting
Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
2. In the Effect Palette, select an effect category.
3. Do one of the following to replace the effect:
t Drag the new effect’s icon to the Timeline. To replace an existing effect, move the
new effect’s icon on top of the existing effect’s icon.
t Drag the new effect’s icon to the Effect Preview monitor.
t Select the effect in the Timeline, and double-click the new effect’s icon in the Effect
Palette.
4. Set the applicable effect parameters in the Effect Editor.

Using the Effect Preview Monitor

The Effect Preview monitor displays the selected effect in the sequence where the position
indicator is located in the Timeline. The effect’s position bar, located directly below the
Effect Preview monitor, represents only the selected effect, not the entire sequence.

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

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 Using the Effect Preview Monitor

Effect Preview Monitor

Press and hold mouse button

for tracking information Length of effect Current position in effect

Keyframe

Scale bar for expaning position bar Effect’s position indicator Effect’s position bar

n If the effect you expect does not appear in the Effect Preview monitor, make sure that you
have selected the Record Track Monitor button in the Track Selector panel. If a black frame
appears in the Effect Preview monitor, the position indicator might be at a location in the
Timeline where an effect has not been applied to the sequence. The following illustration
shows the Record Track Monitor buttons.

Record Track Monitor buttons

Toolbar Buttons in the Effect Preview Monitor

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

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2 Applying and Customizing Effects

The Effect Editor also contains controls that you use to adjust and preview effects. For more
information, see “Effect Editor Controls” on page 70.

Button Description

Rewind Places the position indicator at the first frame or field of the sequence.

Fast Forward Places the position indicator at the last frame or field of the sequence.

Add Keyframe Creates a keyframe at the current position of the position indicator in the effect’s
position bar. Alt+click (Windows) or Option+click (Macintosh) to delete the
selected keyframe.

Step Backward Moves the position indicator one frame backward.

One Frame

Step Forward Moves the position indicator one frame forward.

One Frame

Play Plays the effect from the current position in the effect’s position bar. Click again
or press the space bar to stop play.
Rendered effects play at full speed, and real-time unrendered effects play at full
speed in most circumstances. For information, on effect playback, see
“Real-Time Playback of Video Effects” in the Help.

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

Play Loop Plays back the current effect repeatedly in a loop. Click again or press the space
bar to stop play.
Rendered effects play at full speed, and real-time unrendered effects play at full
speed in most circumstances. For information, on effect playback, see
“Real-Time Playback of Video Effects” in the Help.

Dual Split Click to divide the Effect Preview monitor in half, showing the image with and
without the effect applied. Click again to remove.

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

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

n You can also Ctrl+click (Windows) or Command+click (Macintosh) in

the Effect Preview monitor to enlarge the image.

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 Using the Effect Preview Monitor

Using Big Effect Mode

Some Avid editing applications let you use Big Effect mode to work on an enlarged Effect
Preview monitor if you have a high-resolution monitor. The Source monitor disappears, and
the Effect Preview monitor becomes a larger working space that makes it easier to create
effects and make changes to them.

To enter or leave Big Effect mode:

1. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
2. Alt+click (Windows) or Option+click (Macintosh) the Effect Mode button.
If the application was in the default Effect mode, it enters Big Effect mode. You can
click the Effect Editor and drag it to the left of the enlarged Effect Preview monitor.
If the application was in Big Effect mode, it returns to the default Effect mode.

n Once you enter Big Effect mode, it remains enabled until you Alt+click (Windows) or
Option+click (Macintosh) the Effect Mode button again.

Mapping User-Selectable Buttons in Effect Mode

You can customize the buttons that are available in Effect mode by mapping user-selectable
buttons directly from the Command palette to the Tool palette or to the area below the Effect
Preview monitor.

To remap user-selectable buttons, enter Effect mode and use the procedure in “Mapping
User-Selectable Buttons” in the Help.

n When you customize the display of buttons in Effect mode, the new configuration appears in
Effect mode only. The default editing mode buttons reappear when you exit Effect mode.

Understanding Effect Preview Monitor Tracking Information

The two boxes above the Effect Preview monitor display the length of the effect in seconds
and frames and the current position in the effect’s position bar.

If you are working with two-field media, the current position display indicates the field that
appears in the monitor. The current position display ends with .1 for the first field of a frame
and with .2 for the second field. These boxes replace the name of the sequence that normally
appears in this position.

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2 Applying and Customizing Effects

n If the position information boxes do not appear above the Effect Preview monitor, increase
the size of the window.

Displaying Safe Title and Safe Action Guidelines in Monitors

Many effects can utilize the outer edges of the viewing screen area. If you are editing
material that will be viewed on screens with more limited viewing areas, such as standard
televisions, you can use the Safe Title and Safe Action options to provide visual guidelines
in the Effect Preview monitor that replicate the actual viewable area on a standard television
screen.

For example, you can use the Safe Title option as a template for the area in which you want
the effect to operate. In this way, you can avoid the appearance of the effect floating off into
a nonviewable area of a standard television screen.

You can also display safe title and safe action guidelines in other monitor types and in the
Title tool. For information on displaying guidelines in the Title tool, see “Displaying Safe
Title and Safe Action Guidelines in the Title Tool” in the Help.

To display the Safe Title and Safe Action guidelines in the Effect Preview monitor:
t Click the Grid button in the Effect Editor.

n You can customize the type of grid displayed by the Grid button. For more information, see
“Understanding the Effect Grid” on page 63.

Two outlined boxes appear in the Effect Preview monitor. The inner box is the safe title
area. All text and objects should remain within the inner box. The outer box is the safe
action area for video display

Safe title area

Safe action area

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 Using the Effect Preview Monitor

Understanding the Effect Grid

The Effect Grid provides a variety of ways for you to position effects with accuracy and
previsualize them in the Effect Preview monitor. The grid coordinates can be expressed in
traditional fields or X–Y pixels in any resolution.

The following illustration shows a 12-field grid displayed in a video project.

Axis with tick marks

Safe title area

Grid points

You can use the Effect Grid to:

• Display the aspect ratios for film categories such as standard film, Academy, Super
35 mm, and Anamorphic, as well as the 4:3 safety area for the 16:9 aspect ratio.
• Show coordinate information to track the exact location of an effect in the frame.
• Use the snap-to-grid feature to easily position effects.

In film projects, you can also use the Effect Grid to:
• Create position information for the following effects: Paint, AniMatte™, Blowup. You
can include this information in an optical list created using Avid FilmScribe™.
• Create position information for an effect you previsualize using the Previsualization
Marker tool. You can include this information in an optical list created using
Avid FilmScribe. For more information, see “Previsualization Marker Tool for Film
Projects” on page 470.

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2 Applying and Customizing Effects

The Grid parameter category in the Effect Editor allows you to customize the grid display
for an individual effect. Grid parameters set in the Effect Editor apply only to that effect and
temporarily override the current settings in the Grid Settings dialog box. For more
information on the parameters available with the Grid parameter category, see “Grid” on
page 649.

Displaying the Effect Grid in Effect Mode

To display the Effect Grid rather than the Safe Title/Safe Action guidelines:
t Press the Alt key (Windows) or Option key (Macintosh), and click the Grid button.

To switch between the Effect Grid and the Safe Title/Safe Action guidelines:
t Press the Alt key (Windows) or Option key (Macintosh), and click the Grid button until
the appropriate grid is displayed.

To remove the display of either the Effect Grid or the Safe Title/Safe Action guidelines:
t Click the Grid button without pressing the Alt key (Windows) or Option key
(Macintosh).

Displaying Position Coordinates

Your Avid editing application uses compass coordinates and X, Y coordinates to describe
the position of an effect.

For compass coordinates, the point (0, 0) is the center of the axes. For X, Y coordinates, the
point (0, 0) is the upper left corner of the monitor. X values increase to the right, and Y
values increase as you move down.

The compass coordinates describe the effect’s position in terms of film optical house
standards. Each compass coordinate begins with a direction (N, S, E, or W, the abbreviations
for North, South, East, or West) followed by a numerical value. This numerical component
reflects the Fields and Sub Fields parameters you select in the Grid Settings dialog box or
the Grid parameter group.

The X, Y coordinates describe position in terms of the Source Scan Size parameters you
select in the Grid Settings dialog box or the Grid parameter group.

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 Using the Effect Preview Monitor

To enable display of position coordinates:

1. In the Settings tab of the Project window, double-click Grid.
The Grid Settings dialog box opens.
2. Select Show Position Info, and then click OK.
3. Enable the Effect Grid as described in “Displaying the Effect Grid in Effect Mode” on
page 64.

To display position coordinates in Effect mode:

1. Deselect all tools in the Effect Editor (including the Outline/Path button and the
Selection tool for Intraframe effects).
2. Press and hold the mouse button, and drag the pointer in the Effect Preview monitor.

To display position coordinates in Source/Record mode (editing mode on NewsCutter

systems):
t Move the pointer to the Record monitor, press and hold the mouse button, and move the
mouse.

Obtaining Position Information in a Film Project

Some Avid editing applications let you use the Effect Grid to include position information in
a cut list for the Paint and AniMatte effects on a keyframe-by-keyframe basis. You can
include both compass coordinate and X, Y coordinate information in a cut list for each
corner of a Paint or AniMatte effect. For example, a rectangle you create with the Paint
Effect shows four compass and four X, Y coordinates for each keyframe.

The following illustration shows the presentation of Paint Effect information for a
rectangular object in a cut list.

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2 Applying and Customizing Effects

Grid information

Keyframe number and

reference numbers

Shape type and color

information

Compass and (X, Y) coordinate information

for each corner of the rectangle

Additionally, you can display the position information for the first keyframe of a Blowup
effect in a cut list. The event section of the cut list displays the compass coordinates of the
effect at the first keyframe in the segment and the Fields parameter you have selected for the
effect. You must enable the Effect Grid before you generate the cut list to display this
information in the list.

The following illustration shows the presentation of Blowup effect information in a cut list.

Grid information

Keyframe number Field parameter value Compass coordinates

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 Using the Effect Preview Monitor

n You generate film cut lists and change lists with Avid FilmScribe. For general information on
using Avid FilmScribe, see the Avid FilmScribe Help.

You can also generate effect information in a cut list by using the Previsualization Marker
Tool in the Paint Effect. For more information, see “Previsualization Marker Tool for Film
Projects” on page 470.

To include coordinate information in a cut list:

1. Enable the Effect Grid before you generate the list.
For more information, see “Displaying the Effect Grid in Effect Mode” on page 64.
2. In the Cut List tool within Avid FilmScribe, select the Key Frames check box in the
Options pane for the optical list.

Moving an Enlarged Image in the Effect Preview Monitor

You can use the Enlarge and Reduce buttons in the Effect Editor or the Effect Preview
Monitor toolbar to zoom in or out on an image in the Effect Preview monitor.

This allows you to view parts of an image in detail or to view parts of effects and effect
controls that extend beyond the limits of the standard-size image. For more information, see
“Effect Editor Controls” on page 70 and “Toolbar Buttons in the Effect Preview Monitor” on
page 59.

When you use the Enlarge button to increase the size of the image in the Effect Preview
monitor, you cannot view the entire frame all at once. When you are creating an effect that
requires great detail, you can reposition the enlarged frame in the monitor to view the
sections that need your attention.

n This feature applies only to an enlarged image in the Effect Preview monitor, not to a
standard-size or reduced image.

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2 Applying and Customizing Effects

To move an enlarged image within the Effect Preview monitor:

1. Click within the boundaries of the Effect Preview monitor.
2. Press and hold Ctrl+Alt (Windows) or Command+Option (Macintosh).
The pointer changes to a hand.

Zoom ratio

Pointer

3. Drag the hand in any direction to reposition the image within the Effect Preview
monitor.

n Similarly, you can enlarge the frame in the Source monitor and move the frame around by
pressing and holding Ctrl+Alt (Windows) or Command+Option (Macintosh). To access the
Enlarge and Reduce buttons when you are not in Effect mode, you must use the Command
palette, or map the buttons to your keyboard or to the user-selectable palettes. You can also
use Ctrl+L (Windows) or Command+L (Macintosh) to enlarge the frame and Ctrl+K
(Windows) or Command+K (Macintosh) to reduce the frame.

Stepping Through Field-Based Media

Your Avid editing application behaves differently when stepping through two-field media
depending on the mode you are in.

In Effect mode, your Avid editing application displays each field in the media as you step
forward or back using the standard controls, for example, the Step Forward and Step
Backward buttons below the Effect Preview monitor.

In Source/Record and Color Correction modes (editng and Color Correction modes on
NewsCutter systems), your Avid editing application displays only field 1 of each frame by
default. If you need to view both field 1 and field 2 of each frame of video while in these
modes, you can use the Step Forward One Field and Step Backward One Field buttons.

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 Using the Effect Editor

To step through footage one field at a time in Source/Record or Color Correction

mode:
t Click the Step Forward One Field button or the Step Backward One Field button.
As you step, the number “2” appears in the upper right corner of the image display in the
Record monitor whenever field 2 of the media is displayed. The number disappears
during the display of field 1 (the default display).

Using the Effect Editor

Use the Effect Editor to adjust the parameters for an effect. The following topics provide
procedures and information for working with the Effect Editor.

Displaying an Effect’s Parameters in the Effect Editor

You display the Effect Editor by entering Effect Mode. The Effect Editor shows effect
parameters for the effect currently selected in the Timeline.

To display an effect’s parameters in the Effect Editor:

1. Move the position indicator to the effect’s icon in the Timeline.
2. Make sure that the Record Track button for the track that contains the effect is selected
in the Track Selector panel.
3. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
The Effect Editor opens. The name of the effect and its icon appear at the top of the
Effect Editor and the parameters that pertain to the effect appear in the Effect Editor.

n If the Effect Editor is already open and active, select the segment or transition effect to
display the effect’s parameters in the Effect Editor.

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2 Applying and Customizing Effects

Understanding Parameters in the Effect Editor

Effect parameters are values that define the appearance of an effect. For example, you can
set parameters that control the size and position of a Picture-in-Picture effect.

Parameter controls are grouped in parameter categories within the Effect Editor. For
example, the Border parameter category includes all the controls that you can use to define
the color and appearance of an effect border.

A number of parameters are common to many effects, such as parameters affecting size,
position, or foreground level (transparency). You can adjust these parameters once for the
entire effect, or you can use the Effect Editor along with keyframes to change the effect
parameter over time. Other parameters can be adjusted only once for the entire effect,
regardless of keyframe selection.

Not all effect parameters apply to all effects. Parameters that do not apply to an effect do not
appear in the Effect Editor for that effect.

n If the position indicator is not on an effect’s icon in the Timeline, or if the track that contains
the effect is not selected, the Effect Editor is blank.

For reference information on all of the available effect parameters (including which effect
parameters apply to each effect), see “Effects Reference” on page 539 and “Effects
Parameter Reference” on page 641.

Effect Editor Controls

This topic describes the controls in the Effect Editor. Not all controls apply to each effect. If
a control is not applicable, it does not appear in the Effect Editor for that effect.

The following illustration is an example of the location of controls and buttons within a
typical Effect Editor display. The exact number of controls and their appearance might vary
for your Avid editing application.

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 Using the Effect Editor

Effect Editor Other Options button

Controls and Parameters
Effect icon

Effect name

Triangular opener

Parameter group These buttons always appear

(parameter category) on the right side of the Effect
Slider used to Editor. Additional buttons
adjust parameter appear depending on the
effect used.

Parameter name

Promote to Advanced Keyframes

button
Render Effect button

3D Promote button
Outline/path button
Transition Effect Duration box
Transition Effect Alignment button

The following table describes in detail the buttons that all effects have in common.
Additional buttons appear in the Effect Editor, depending on the effect used. For example, if
you are working with a 3D effect, a set of 3D-specific buttons appears along the right side of
the Effect Editor. For more information on 3D-specific Effect Editor buttons, see “Working
with 3D Effects” on page 347.

When you are working with advanced keyframes, additional buttons appear in the bottom
toolbar of the Effect Editor. For more information, see “Effect Editor Controls for Advanced
Keyframes” on page 126.

The Effect Preview Monitor toolbar also contains buttons that you use to adjust and preview
effects. For more information, see “Using the Effect Preview Monitor” on page 58.

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2 Applying and Customizing Effects

Effect Editor Controls

Location in
Button or Control Effect Editor Description

Triangular Left side Opens or closes the parameter group. A downward-pointing

opener triangle displays the parameter group; a right-pointing
triangle displays the parameter name.

n Triangular openers also appear to the left of keyframe

graphs when you use advanced keyframes. For more
information, see “Opening Advanced Keyframe
Graphs” on page 86.

Other Options Inside some Opens additional parameters for some effects, including the
parameter Macintosh Colors panel or the Windows Color dialog box for
categories color selection. For more information, see “Accessing
Additional Parameters for an Effect” on page 76.

Reduce Right side Reduces the image in the Effect Preview monitor.

Enlarge Right side Enlarges the image in the Effect Preview monitor.

Dual Split Right side Splits the Effect Preview monitor in half to show the image
with and without effects applied to it.

Play Loop Right side Plays back a transition or segment effect in a loop.

Play Right side Plays the effect from the current position in the effect’s
position bar for most 2D and 3D effects.

HQ Right side Appears when a 3D effect has the HQ (Highest Quality)

rendering option. Click to select the HQ implementation or
the standard implementation with which to render the effect.
The button is green when the HQ implementation is selected.
For more information, see “Rendering 3D Effects Using the
HQ (Highest Quality) Option” on page 141.

Tracking Tool Right side Appears when the effect can use motion tracking data. Click
to open the Tracking window. For more information, see
“Motion Tracking and Stabilization” on page 289.

Grid Right side Displays Safe Action/Safe Title guidelines or the Effect Grid.
For more information, see “Displaying the Effect Grid in
Effect Mode” on page 64.

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 Using the Effect Editor

Effect Editor Controls (Continued)

Location in
Button or Control Effect Editor Description

Render Effect Bottom Renders the current effect.

Outline/Path Bottom Displays a wire-frame path to illustrate the movement of an

effect from the first keyframe through the last keyframe.

Transition Bottom Opens a menu from which you select the alignment of a
Effect transition effect relative to the cut point. The appearance of
Alignment the button changes depending on which alignment option you
have selected from the menu. For a detailed explanation of the
Transition Effect Alignment menu and the Transition Effect
Duration box, see “Applying a Dissolve Effect Using the
Transition Parameters” on page 48.

n The Transition Effect Alignment button shows the

alignment of the transition effect applied at the cut
point. If the cut point does not have a transition effect,
the Transition Effect Alignment button appears as a
vertical bar. If the cut point has an existing transition
effect, the button indicates the alignment of the
transition effect.

Transition Bottom Sets a duration for the transition effect other than the duration
Effect displayed.
Duration box

Promote to Bottom Available only for effects that support advanced keyframes.
Advanced Promotes the effect to advanced keyframes. See
Keyframes “Understanding Advanced Keyframes” on page 83.

3D Promote Bottom right Available for some effects, including titles, Picture-in-Picture,
corner and imported matte keys. Promotes the effect to a 3D effect.

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2 Applying and Customizing Effects

Selecting a Parameter from a Fast Menu

Some effects have parameters that you select from a Fast menu. For example, border types
for 3D effects are in the same Fast menu.

To select a parameter from a Fast menu:

t Click the Fast Menu button, and then select a parameter.

Fast menu button

Menu showing other parameters

Changing a Parameter with a Slider

Many parameters have sliders for controlling parameters with a range of possible values.

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

Slider Thumbwheel

Activated slider Parameter’s numeric value Activated thumbwheel Parameter’s numeric value

Some parameters display a blank slider track until you click an Effect Editor tool that
activates the control.

n When you edit an effect that has advanced keyframes, you can choose to display parameters
with either sliders or thumbwheels. See “Effect Editor Controls for Advanced Keyframes”
on page 126.

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 Using the Effect Editor

To display an adjustable parameter slider:

t Click an Effect Editor tool that pertains to the slider.
The slider appears on the track.

Adjustable
sliders

Rectangle tool (relates to

Brush parameter category)

To activate a parameter that has a slider:

t Click the parameter’s slider.
The slider changes to pink.

To change the value of a parameter that has a slider, use any of the following methods:
t Move the slider with the mouse.
t Use the Left Arrow or Right Arrow key to change the value by –1 or +1.
t Press the Ctrl key and use the mouse scroll wheel to change the value by increments of
–1 or +1.
t Press the Shift key, and use the Left Arrow key or Right Arrow key to change the value
by –10 or +10.
t Press the Ctrl and Shift keys, or the Ctrl and Alt keys, and use the mouse scroll wheel to
change the value by increments of -10 or +10.
t Use the numeric keypad to type a new value, and, if you entered fewer than three digits,
press Enter (Windows) or Return (Macintosh).
The parameter’s numeric value (to the right of the slider) changes as you move the
slider.

To move from one slider to the next slider:

t Press the Tab key.

To move from one slider to the previous slider:

t Press Shift+Tab.

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2 Applying and Customizing Effects

Using Parameter Enable Buttons

You control some parameters using parameter Enable buttons. These parameters can either
be active or inactive but cannot be adjusted over a range of values. For example, the Fixed
Aspect parameter Enable button controls whether the aspect ratio of an image is maintained
when you adjust one of its dimensions.

To turn a parameter on or off using a parameter Enable button:

t Click the Enable button.
Parameter Enable buttons are pink when the parameter is active and gray when the
parameter is inactive.

Off On

Accessing Additional Parameters for an Effect

Some effects have additional parameters that control their operation. For example, the Grid
effect has additional parameters in which you set the number of columns and rows in the
wipe.

When an effect has additional parameters, the Other Options button appears next to the
effect name or in a parameter group.

To access an effect’s additional parameters:

t Next to the effect name or in a parameter group, click the Other Options button.
A dialog box opens in which you set the additional parameters.

n You also use the Other Options button to access the parameters for third-party plug-in
effects and for the Windows Color dialog box or Macintosh Colors panel in effects that
allow you to change color parameters.

Adjusting a Color Parameter

In addition to using the Hue, Sat (saturation), and Lum (luminance) sliders, you can change
a color parameter or select a key color with the following methods:
• Select a color with the eyedropper
• Specify a color in the Windows Color dialog box or Macintosh Colors panel.
The Windows Color dialog box is part of the Windows operating system and the
Macintosh Colors panel is part of the Macintosh operating system.

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 Using the Effect Editor

To select a color using the eyedropper:

1. Position the pointer over the Color Preview window to activate the eyedropper.

Eyedropper
Color Preview window

2. Press and hold the mouse button, then drag the eyedropper to the Effect Preview
monitor, and release the mouse button on the color you want to select from the video
image.
Your Avid editing application updates the parameter’s numeric values, and the selected
color appears in the Color Preview window.

To open the Windows Color dialog box:

t Click the Other Options button next to a color parameter.
The Windows Color dialog box opens.

Color matrix

Current color

Default
choices
Color|Solid box

Color slider

Custom
colors Color Selection
palette text boxes

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2 Applying and Customizing Effects

To use the Windows Color dialog box:

1. To select a color from the Basic colors palette, click the color you want.
2. To specify a custom color, do one of the following:
t Click in the color matrix to select a color, and then drag the color slider to adjust the
amount of white and black in the color.
t Type numeric values for each color component in the color selection text boxes.
The new color is displayed in the left side of the Color|Solid box.
3. When you are satisfied with the color, click Add to Custom Colors to add it to the
Custom Colors palette.
4. To select a custom color from the Windows Color dialog box, click the color you want.
5. Click OK.
The Windows Color dialog box closes, and your Avid editing application applies the
color to the parameter in the Effect Editor.

To open the Macintosh Colors panel:

t Click the Other Options button next to a color parameter.
The Macintosh Colors panel opens.

The Macintosh Colors panel provides several methods for specifying colors. Select the
appropriate icon at the top of the Colors panel to display the method you want. You can
select from many options, including RGB sliders, a crayon box, an HSV (hue,
saturation, luminance) color wheel, a Web-safe color picker (Name), or CMYK (cyan,
magenta, yellow, and black) sliders. For a complete description of how to use the
Macintosh Colors panel, see the documentation that ships with your Macintosh.

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 Manipulating Effects Directly in the Effect Preview Monitor

Manipulating Effects Directly in the

Effect Preview Monitor
In addition to defining effects using parameter controls, you can make some adjustments to
effects by manipulating them directly in the Effect Preview monitor. These adjustments use
handles and wire-frame outlines that you can display in the monitor.

You can create a motion path that defines how the foreground image moves across the
background video. You can also resize a foreground image, as in a picture-in-picture effect.

Defining a Motion Path

You can define how the foreground image of a multilayer effect moves across the
background video by building a motion path, or string of keyframes. You can define a
motion path on multilayer video effects such as Picture-in-Picture effects. Use the
wire-frame preview feature when you want to see the path an image takes on the screen.

When you are creating a motion path that moves beyond the viewing screen, you can use the
Reduce button to view an outline of the image at a reduced scale. The reduced scale view
shows the area outside the background image and allows you to extend the motion path into
that area. The Enlarge button returns the screen to full view.

To define a motion path for the foreground image, do one of the following:
t Move the image directly and automatically add keyframes.
For more information, see “Moving the Image Directly to Add a Motion Path” on page
79.
t Add keyframes and adjust the parameter sliders.
For more information, see “Working with Keyframes” in the Help.

Moving the Image Directly to Add a Motion Path

You can use the wire-frame feature and keyframes to add a motion path to a multilayer
effect. The Outline/Path button on the Effect Editor window places a wire frame around the
foreground image in the Effect Preview monitor. You can then drag the wire frame to new
locations and add keyframes at each location to add movement to the effect.

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2 Applying and Customizing Effects

To add a motion path to the foreground image by using the wire frame and keyframes:
1. Create a sequence with two video layers (foreground video on track V2, background
video on track V1).
For information about editing a sequence, see “Creating and Edting Seqeunces: Basics”
in the Help.
2. Apply a multilayer effect to the foreground segment on track V2.
3. Select the foreground effect segment on track V2.
4. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
By default, the wire frame is active. The foreground image is outlined, and both the
starting and ending keyframe indicators are highlighted (pink) in the effect’s
position bar.

Wire frame outlining

foreground image on
track V2

Background image on
track V1

Effect’s position bar

Starting keyframe indicator Position indicator Ending keyframe indicator

5. (Option) If the wire frame is not displayed, click the Outline/Path button in the Effect
Editor to activate the wire frame.
6. Drag the wire frame to the start point of the motion path you are creating.
The starting keyframe indicator represents the start point.
7. Click the ending keyframe indicator to select it.
Make sure the ending keyframe indicator is the only indicator selected (pink).

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 Manipulating Effects Directly in the Effect Preview Monitor

8. Drag the wire frame to the end point of the motion path.
A path line from the center of the starting position to the center of the ending position
appears.
9. Drag the position indicator in the effect’s position bar to a new location.
The wire frame moves with the position indicator; the path line does not change.
10. Click inside the wire frame, and drag or stretch the wire frame to add a keyframe at the
new location.
A handle appears in the center of the wire frame, indicating the path position of the new
keyframe.
11. Drag the wire frame to change the effect’s path.

Path line

Center handle

Wire frame

Effect’s position bar

Selected keyframe

12. Repeat steps 9 to 11 to add more variation to the path.

Resizing a Foreground Image by Dragging Handles

You can resize the foreground image in a multilayer effect by clicking the wire-frame
handles in the Effect Preview monitor and dragging them to a new location. The top center
handle adjusts the image’s height and the right center handle adjusts the image’s width. You
can use the top right corner handle to change the image’s height and width proportionally,
retaining the image’s existing aspect ratio.

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2 Applying and Customizing Effects

To resize the foreground image by dragging wire-frame handles:

1. Create a sequence with two video layers (foreground video on track V2, background
video on track V1).
For information about editing a sequence, see “Creating and Edting Seqeunces: Basics”
in the Help.
2. Apply a multilayer effect to the foreground segment on track V2.
3. Select the foreground effect segment on track V2.
4. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
By default, the wire frame is active in the Effect Preview monitor.

Wire-frame
resize handles

5. (Option) If the wire frame is not displayed, click the Outline/Path button in the Effect
Editor to activate the wire frame.
6. Drag one of the handles to resize the image:
t Drag the top center handle to adjust the image’s height.
t Drag the right center handle to adjust the image’s width.
t Drag the top right corner handle to equally change the image’s height and width.
This option maintains the aspect ratio while resizing the image.

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3 Working with Advanced Keyframes

This chapter describes how to use advanced keyframes to change the behavior of an effect
over time. Advanced keyframes allow you to animate each keyframeable parameter in an
effect independently, giving you a great deal of flexibility and control for effects
adjustments.

You can also use standard keyframes in your Avid editing applications. Standard keyframes
apply to every parameter in an effect. While they provide less precise control over effect
adjustments, they are simpler to use and might be the best choice for your more
straightforward effects adjustments. For information on using standard keyframes, see
”Working with Keyframes” in the Help.

This chapter contains the following main topics:

• Understanding Advanced Keyframes
• Keyframe Track Types
• Promoting Effects to Advanced Keyframes
• Viewing Advanced Keyframe Graphs
• Manipulating Advanced Keyframes
• Controls and Settings for Advanced Keyframes

Understanding Advanced Keyframes

You can maximize your control of effect parameters for many effects using advanced
keyframes. When an effect uses advanced keyframes, each keyframeable effect parameter
has a separate keyframe track that opens to display a keyframe graph — where you set and
customize keyframes. Keyframe tracks are also available for each parameter group, and for
the entire effect. For more information on the three keyframe track types, see “Keyframe
Track Types” on page 84.

You can modify the keyframes for any single parameter independently from the keyframes
for any other parameters. You can also modify the keyframes for various groups or
combinations of parameters independently from the keyframes for any other parameters.
3 Working with Advanced Keyframes

n You can still select standard keyframes, in which each keyframe affects all parameters. You
can also use advanced keyframes as if they were standard keyframes.

The following illustration shows part of the Effect Editor display for a Center Box effect that
uses advanced keyframes. The illustration shows the three types of keyframe tracks and an
open keyframe graph.

Effect track
Parameter group tracks
Parameter tracks

Keyframe graph

Parameter group track

Parameter tracks

Parameter group track

Keyframe Track Types

The following table describes the three keyframe track types in the Effect Editor.

Track Type Description

Effect track The keyframes in this track correspond to the keyframes in the Effect Preview monitor.
When you select a keyframe in the effect track, the system automatically selects all of the
keyframes at that point in time in the effect (all the keyframes directly under that
keyframe in the Effect Editor). This makes it easy to move, delete, or perform other
operations on many keyframes at the same time.

Parameter group track This track shows all the keyframes in the specific parameter group. When you select a
keyframe in the parameter group track, the system automatically selects all the
corresponding parameter keyframes in the group. Parameter groups can have subgroups.
For example, in the previous illustration, Color and Blend Color are subgroups of Border.

n By allowing you to manipulate multiple keyframes at the same time, effect tracks and parameter group
tracks provide similar functionality to the meta curve region available in Avid DS systems.

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 Promoting Effects to Advanced Keyframes

Track Type Description

Parameter track This track shows the keyframes for the individual parameter. Parameter tracks are lighter
in color than the parameter group tracks. You can open individual parameter tracks to
fine-tune the parameter values in a keyframe graph.

n Advanced keyframe functions are available even when a keyframe graph is closed
to show only the keyframe parameter track.

Promoting Effects to Advanced Keyframes

Many effects support advanced keyframes. If you can promote an effect to advanced
keyframes, a Promote to Advanced Keyframes button appears in the Effect Editor.

n The SpectraMatte key effect uses advanced keyframes by default and does not need to be
promoted to advanced keyframes.

Once you promote an effect to advanced keyframes, the Acceleration parameter category no
longer appears. You manipulate acceleration (ease-in and ease-out) using the spline or
Bézier interpolation options, which give you more control than the standard Acceleration
parameter category. For more information, see “Controlling Parameter Changes at
Keyframes” on page 116.

When you use advanced keyframes, all nested effects on a segment are fully available. You
can open and manipulate the available parameters and keyframe graphs for any nested
effect at any time.

To promote an effect to advanced keyframes:

t In the Effect Editor, click the Promote to Advanced Keyframes button.
The Effect Editor displays the effect with keyframe tracks.

Viewing Advanced Keyframe Graphs

You can open a keyframe graph for any effect parameter that is keyframeable. Once a
keyframe graph is open, you can customize your view of the graph in a variety of ways.

n Parameters that are not keyframeable, such as the Fixed Aspect parameter, have tracks that
do not show the parameter’s name, default keyframes, or time marks. You can drag the
effect’s position indicator in these tracks, but you cannot add keyframes to them.

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3 Working with Advanced Keyframes

Showing and Hiding the Keyframe Graph Display

You can choose to either show or hide the keyframe graph display area in the Effect Editor.
You might find it helpful to hide the graphs and simplify your view of the Effect Editor when
you do not need to make graph adjustments.

To show or hide the keyframe graph display:

t Click the Show/Hide Keyframe Graphs button in the bottom right corner of the Effect
Editor.
The Show/Hide Keyframe Graphs button is highlighted when the keyframe graphs are
visible.

Opening Advanced Keyframe Graphs

You open a keyframe graph by using the triangular opener that appears to the left of the
parameter track.

n You do not have to open a keyframe graph to set and manipulate advanced keyframes. You
can add and delete keyframes, customize keyframe interpolation options, and use the
standard controls for each parameter to set the values for its keyframes while a keyframe
graph is closed.

To open a keyframe graph:

t Click the triangular opener.
The keyframe parameter track opens to display a keyframe graph.

Triangular openers for keyframe graphs

Parameter tracks
(graphs closed)

Keyframe graph
(open)

Understanding Advanced Keyframe Graphs

In keyframe graphs, the horizontal axis represents the length of the effect and the vertical
axis represents the range of parameter values. The graph area itself is very dark grey.

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 Viewing Advanced Keyframe Graphs

In the default view, a keyframe graph shows the full length of the effect on the horizontal
axis and the full range of parameter values on the vertical axis, as shown in the
following illustration.

Beginning of effect’s length End of effect’s length

Maximum parameter value

Minimum parameter value

Vertical axis (represents Horizontal axis (represents

range of parameter values) length of effect)

You can scale and scroll a keyframe graph both horizontally and vertically, for example to
concentrate on one part of the effect’s length or one part of its parameter value range. When
you do this, the boundaries of the keyframe graph might not be visible. For more
information, see “Zooming Advanced Keyframe Graphs” on page 88 and “Scrolling
Advanced Keyframe Graphs” on page 92.

The active keyframe graph is highlighted using a darker background. This allows you to see
which keyframe graph is active when multiple keyframe graphs are open. When you make
another graph active, for example, by clicking a keyframe indicator in that graph, the
background for that graph changes to the darker grey color.

In the following illustration, the Radius keyframe graph is active and is highlighted with a
darker grey background.

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3 Working with Advanced Keyframes

Resizing Advanced Keyframe Graphs

You can widen a keyframe graph or create space for expanding a keyframe graph vertically
by resizing the entire Effect Editor window. You can expand or contract a keyframe graph
vertically by dragging on the keyframe graph’s bottom border.
t Click a corner of the Effect Editor, and drag it to resize the window.
If you make the Effect Editor window wider, the keyframe track area and any open
keyframe graphs also become wider. If you make the Effect Editor window taller, you
create extra space within which you can expand keyframe graphs vertically.

To change the height of a keyframe graph:

1. Position the pointer over the bottom border of the keyframe graph that you want to
change.
The pointer changes to a vertical resizing pointer.
2. Click the edge of the graph, and drag it up or down.
The height of the keyframe graph gets smaller or larger.

Before vertical resizing After vertical resizing

Zooming Advanced Keyframe Graphs

You can zoom (or scale) advanced keyframe graphs in several ways. You can:
• Zoom keyframe graphs horizontally using the horizontal scale bar at the bottom of the
Effect Editor.
The horizontal scale bar expands or contracts the view in the keyframe graphs centered
around the position indicator. This allows you to either zoom in to focus on a specific
area of your keyframe graph or zoom out to display the entire keyframe graph.

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 Viewing Advanced Keyframe Graphs

• Zoom (or scale) any individual keyframe graph vertically using the graph’s vertical
scale bar, located to the left of the graph.
The vertical scale bar expands or contracts the view in a keyframe graph. This allows
you to either zoom in to focus on a specific area of your keyframe graph or zoom out to
display the entire keyframe graph. You can zoom out beyond the limits of the parameter
value range.
• Use the Zoom to Curve Height feature to quickly scale a graph so that its keyframe
curve fills the available viewing area for the graph.
For more information, see “Using Zoom to Curve Height” on page 90.

Horizontal scale bar

Vertical scale bar

Zoom to Curve
Height button

To zoom in or out horizontally on a keyframe graph:

t Drag the horizontal scale bar to the right (to zoom in) or to the left (to zoom out).
The view in the keyframe graph expands or contracts horizontally to show more or less
detail.

Keyframe graph zoomed out horizontally Keyframe graph zoomed in horizontally

(graph shows full length of effect) (graph shows detail of the middle of the effect’s
length; start and end keyframes are not visible)

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3 Working with Advanced Keyframes

To zoom in or out vertically on a keyframe graph:

t Drag the vertical scale bar down (to zoom in) or up (to zoom out).
The view in the keyframe graph expands or contracts to show a smaller or larger range
of parameter values.

Keyframe graph at default vertical zoom

(graph shows full range of
parameter values)

Keyframe graph zoomed in vertically

(graph shows a reduced range of
parameter values)

Keyframe graph zoomed out vertically

(graph shows an extended range of
parameter values)

Using Zoom to Curve Height

The Zoom to Curve Height feature provides a quick way to focus on part of the keyframe
graph.

Zoom to Curve Height centers the keyframe graph and scales the graph vertically so that the
keyframe curve fills the available viewing area.

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 Viewing Advanced Keyframe Graphs

Before: Keyframe graph is zoomed out After: Keyframe graph is scaled so the keyframe
and hard to read and manipulate curve fills the available viewing area

n If the curve passing through a selected keyframe uses the Bézier interpolation option, the
scaling ensures that the Bézier handles for the keyframe are also visible in the viewing area.

Zoom to Curve Height also takes account of the horizontal zoom setting of the graph. If a
graph is zoomed in horizontally on a small time range in an effect, for example, Zoom to
Curve Height scales the curve vertically while maintaining the horizontal zoom. By
combining horizontal zooming and the Zoom to Curve feature, you can quickly make a
keyframe graph easier to work with, even when keyframes are very close together and their
parameter values are similar.

Before: Multiple keyframes are very hard to see

or manipulate in this zoomed out keyframe graph

After horizontal zooming and scrolling: After using Zoom to Curve Height: The curve
The keyframes are better separated, but for the zoomed in part of the graph is easy to see
the curve remains flat and hard to read and interpret, and keyframes are easy to adjust

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3 Working with Advanced Keyframes

To zoom on a keyframe graph so the keyframe curve fills the available viewing area, do
one of the following:
t Click the Zoom to Curve Height button.
t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe graph and select
Zoom to Curve Height.

Scrolling Advanced Keyframe Graphs

You can scroll the view in a keyframe graph horizontally by using the scroll thumbwheel at
the bottom of the Effect Editor. You can scroll the view in a keyframe graph both
horizontally and vertically by dragging directly in the keyframe graph.

Scroll thumbwheel

To scroll the view in a keyframe graph horizontally:

t Drag the scroll thumbwheel to the left or to the right.
The view in the keyframe graph scrolls so that part of the view disappears on one side
and more comes into view on the other side.

To scroll the view in a keyframe graph horizontally or vertically:

1. Alt+click (Windows) or Option+click (Macintosh) the keyframe graph.
The pointer changes to a hand.
2. Drag the hand to reposition the view within the keyframe graph.

Resetting Advanced Keyframe Graph Views

If you move the view in a keyframe graph so that you can no longer see the keyframes, you
can use the shortcut menu to recenter the keyframes in the keyframe graph.

To reset the view in a keyframe graph:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe graph, and select
Reset All Graph Views.
The keyframes appear centered in the keyframe graph.

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 Manipulating Advanced Keyframes

Manipulating Advanced Keyframes

You can manipulate advanced keyframes in a wide variety of ways. You can:
• Add or delete keyframes
• Select or deselect keyframes
• Move keyframes
• Determine whether or not multiple keyframes move relative to one another
• Copy and paste keyframe parameters
• Control how effect parameters change at keyframes
• Reverse the order in which keyframes are applied over time in an effect
• Control how keyframes adjust when you trim effects
• Control how effect parameters change at bracketing (start and end) keyframes

You can also determine whether your keyframe manipulations apply to a single effect
parameter or to multiple parameters.

Understanding Advanced Keyframe Display

When you add a keyframe to a parameter, corresponding keyframe indicators appear in the
effect track, in the parameter group track, and in the Effect Preview monitor. The following
illustration shows the result after keyframes are added to the Position parameters H Pos and
V Pos.

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3 Working with Advanced Keyframes

Keyframe in the
effect track

Keyframe in the
parameter group track

New keyframes added

to parameters in
Position group

New keyframe in the Effect Preview monitor

You should be aware of the following aspects of advanced keyframe display:

• Keyframe indicators in the Effect Editor’s effect track or parameter group tracks are
darker than those in individual parameter tracks, making it easier for you to distinguish
between them.
• Keyframe indicators in parameter group tracks and in the effect track are linked to any
keyframes that are beneath them in the parameter hierarchy. You can think of the
keyframe indicators that appear in parameter group tracks and in the effect track as
parent indicators, and the individual parameter keyframes beneath them as their
children.
When you select a keyframe indicator in a parameter group track, any keyframes at that
point in time for any individual parameters in that group are also selected and can be
manipulated together. When you select a keyframe indicator in the effect track, all
keyframes at that point in time throughout the effect are also selected and can be
manipulated together.

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Remember that a keyframe indicator in a parameter group track or in the effect track
does not necessarily indicate that a keyframe exists at that point in time for every
parameter in the group or in the effect. The keyframe indicator in the parameter group
track or in the effect track might be the parent of one keyframe, or of several, or of a
keyframe for every keyframeable parameter in the group or in the effect.
• Keyframe indicators in the Effect Preview monitor’s position bar behave in the same
way as keyframe indicators in the effect track of the Effect Editor. When you select a
keyframe indicator in the Effect Preview monitor, the corresponding keyframe indicator
in the effect track and all keyframes at that point in time in the effect are also selected.

n By allowing you to manipulate multiple keyframes at the same time, effect tracks and
parameter group tracks provide similar functionality to the meta curve region available in
Avid DS systems.

In earlier versions of Avid editing applications, the system highlighted the keyframe in the
Effect Preview monitor if you selected any keyframe in the associated column. Now the
system highlights the keyframe in the Effect Preview monitor only if all the keyframes in the
column are highlighted.

Adding Advanced Keyframes

You can add keyframes to any keyframeable parameters by using the following commands
and buttons:
• The Add Keyframe command in the shortcut menu for the keyframe track
• The Add Keyframe button in the Effect Editor
• The Add Keyframe button in the Effect Preview monitor

Depending on which method you use and how the Effect Editor is configured, you can add a
keyframe to a single parameter, all the parameters in a group, every parameter in an effect, or
any other custom combination of parameters.

You can use the Effect Editor shortcut menu to set a default Add Keyframe command that
controls where keyframes are added when you use the Add Keyframe button in the Effect
Editor or in the Effect Preview monitor. For more information, see “Shortcut Menu and
Settings for the Effect Editor” on page 130.

n You cannot add keyframes to parameters that are not keyframeable (for example, the Fixed
Aspect parameter). The graph area for these parameters does not display time marks,
default keyframes, or the parameter name.

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To add a keyframe by using the shortcut menu for the keyframe track:
1. Move the position indicator to the point in the effect’s duration where you want to add a
keyframe.
2. Right-click (Windows) or Ctrl+Shift+click (Macintosh) one of the following:
t The keyframe graph or the parameter track for an individual parameter, to add a
keyframe to that parameter only.
t A parameter group track, to add a keyframe to every keyframeable parameter in that
group.
The track displays the text “Apply to Group.”
t The effect track, to add a keyframe to every keyframeable parameter in the effect.
The track displays the text “Apply to All.”
3. Select Add Keyframe.
Active keyframe indicators appear at the position indicator in all appropriate tracks. For
more information on where keyframe indicators appear, see “Understanding Advanced
Keyframe Display” on page 93.

To add a keyframe by using the Add Keyframe button in the Effect Editor:
1. Move the position indicator to the point where you want to add a keyframe.
2. In the Effect Editor, click the Add Keyframe button.
The Add Keyframe Mode menu opens.

n If the Add Keyframe Mode menu does not appear, Show Add Keyframe Mode Menu is
deselected on the Effect Editor shortcut menu or in the Effect Editor settings. For more
information, see “Shortcut Menu and Settings for the Effect Editor” on page 130.

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3. Do one of the following:

t Click the Add Keyframe button a second time to select the command that has a
check mark next to it.
This is the default command for adding keyframes that you can set by using the
Effect Editor settings or the Effect Editor shortcut menu. For more information, see
“Shortcut Menu and Settings for the Effect Editor” on page 130.
t Select another command from the Add Keyframe Mode menu.
For more information on the command selections, see “Keyframe Mode
Menu Commands” on page 100.
Active keyframe indicators appear at the position indicator in all appropriate tracks. For
more information on where keyframe indicators appear, see “Understanding Advanced
Keyframe Display” on page 93.
The command you select becomes the default command for adding keyframes and its
Delete Keyframe equivalent becomes the default command for deleting keyframes. For
more information, see “Shortcut Menu and Settings for the Effect Editor” on page 130.

To add a keyframe by using the Add Keyframe button in the Effect Preview monitor:
1. Move the position indicator to the point where you want to add a keyframe.
2. In the Effect Preview monitor, click the Add Keyframe button.
Your Avid editing application adds one or more keyframes as determined by the current
default command for adding keyframes in the Effect Editor shortcut menu. For more
information on this default and how to change it, see “Shortcut Menu and Settings for
the Effect Editor” on page 130.
Active keyframe indicators appear at the position indicator in all appropriate tracks. For
more information on where keyframe indicators appear, see “Understanding Advanced
Keyframe Display” on page 93.

Deleting Advanced Keyframes

You can delete advanced keyframes by selecting the keyframes you want to delete and then
using one of the following:
• The Delete key
• The Delete Keyframe command in the shortcut menu for the keyframe track
• The Add Keyframe button in the Effect Editor
• The Add Keyframe button in the Effect Preview monitor

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To delete advanced keyframes by using the Delete key or the Delete Keyframe
command in the shortcut menu for the keyframe track:
1. Click a keyframe indicator to activate it.
2. (Option) Ctrl+click additional keyframes in the same graph or in other graphs.
3. Do one of the following:
t Press the Delete key.
t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe graph or
keyframe track, and select Delete Keyframe.
Your Avid editing application deletes the selected keyframes.

To delete advanced keyframes by using the Add Keyframe buttons:

1. Click a keyframe indicator to activate it.
2. (Option) Ctrl+click additional keyframes in the same graph or in other graphs.
3. Do one of the following:
t In the Effect Editor or in the Effect Preview monitor, press and hold the Alt key
(Windows) or the Option key (Macintosh), and then click the Add Keyframe button.
Your Avid editing application deletes any selected keyframes that are affected by
the current default Delete Keyframe Mode menu command. For example, if Delete
From Open Graphs is the current default, the application deletes any selected
keyframes in open keyframe graphs.
t In the Effect Editor, press and hold the Alt key (Windows) or the Option key
(Macintosh), click the Add Keyframe button while still holding the Alt or Option
key and pressing the mouse button, and then select a command from the Delete
Keyframe Mode menu.
For more information on the Delete Keyframe Mode menu commands, see “Keyframe
Mode Menu Commands” on page 100.
The command you select becomes the default command for deleting keyframes and its
Add Keyframe equivalent becomes the default command for adding keyframes. For
more information, see “Shortcut Menu and Settings for the Effect Editor” on page 130.

n If the Delete Keyframe Mode menu does not appear, Show Add Keyframe Mode Menu is
deselected on the Effect Editor shortcut menu or in the Effect Editor settings.

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Removing Redundant Keyframes

When you work with advanced keyframes, you can sometimes accumulate redundant
keyframes in your keyframe graphs. For example, if three or more keyframes lie on a
straight line segment in the graph for a single parameter, only the first and last keyframes are
necessary to define the parameter change, and the other keyframes are redundant.

You can remove redundant keyframes from either a single parameter graph, or from all the
graphs in a parameter group, or from all the graphs in an effect.

You can also remove redundant keyframes for all effects in a sequence at one time. This is
one good way to reduce the amount of memory required when working with a complex
sequence.

To remove redundant keyframes:

1. Right-click one of the following:
- The effect track
The track displays the text “Apply to All.”
- A parameter group track
The track displays the text “Apply to Group.”
- A parameter track
- A keyframe graph
2. Select Remove Redundant Keyframes.
Your Avid editing application removes redundant keyframes from the range of keyframe
graphs you specified in step 1.

To remove all redundant keyframes in a sequence:

1. (Option) If you want to keep a safe copy of your sequence with all of the existing
keyframe data, duplicate the sequence.
For more information, see “Duplicating Clips and Sequences” in the Help for your Avid
editing application.
2. Select the sequence in a bin.

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3. Right-click (Windows) or Ctrl+click (Macintosh) the sequence, and select Remove

Redundant Keyframes.
A message box appears, warning you that the sequence will be modified.
4. Click OK to remove all redundant keyframes in the sequence, or Cancel to take no
action.

n When keyframes use the Bézier interpolation option, your Avid editing application might
leave some keyframes that could be removed. This conservative behavior is to ensure that
needed keyframes never get removed by the Remove Redundant Keyframes command.

Keyframe Mode Menu Commands

The Add Keyframe Mode and Delete Keyframe Mode menus provide commands that
control how parameters are added or deleted when you use the Add Keyframe buttons in the
Effect Editor or in the Effect Preview monitor. The same set of commands also appears in
the Effect Editor shortcut menu.

When you select a command in one of these menus it becomes the default command when
you add or delete keyframes using the Add Keyframe buttons. For more information, see
“Shortcut Menu and Settings for the Effect Editor” on page 130.

The Add Keyframe Mode and Delete Keyframe Mode menus mirror one another. When you
change one, a corresponding change happens in the other.

The following table describes the effect of each of the menu commands.

n Several of the menu command names include the word “group.” In these names, “group”
refers to a parameter category.

The default command for adding and deleting keyframes applies to the keyframes in the
Effect Preview monitor’s position bar just as it does to keyframes in the Effect Editor. For
example, if “Add Keyframes to Open Groups” is the default command but no groups are
open in the Effect Editor, you cannot add any keyframes to the Effect Preview monitor’s
position bar. In this case, open a group in the Effect Editor before you add keyframes or
change the command for adding and deleting keyframes.

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Add Keyframe Mode and Delete Keyframe Mode Menu Commands

Command Description

Add to Active Parameter Adds a keyframe to or removes selected keyframes from the parameter
(Add Keyframe Mode menu) track or keyframe graph for the active parameter only.
Delete From Active Parameter The active parameter is the parameter that is currently selected, for
(Delete Keyframe Mode menu) example, a slider that you clicked is highlighted.
Add Keyframes to Active Parameter Corresponding keyframes appear in or are removed from the relevant
(Effect Editor shortcut menu) parameter group track and the effect track.

Active parameter (highlighted)

Added keyframes when

Add to Active Parameter
command is used

Add to Active Group Adds keyframes to or removes selected keyframes from the parameter
(Add Keyframe Mode menu) tracks or keyframe graphs of all parameters that are in the same parameter
category as the active parameter. If the category containing the active
Delete From Active Group
parameter is a subcategory of a larger category (for example, Color is a
(Delete Keyframe Mode menu)
subcategory of Border), keyframes appear only in the subcategory and not
Add Keyframes to Active Group in the larger category.
(Effect Editor shortcut menu)
The active parameter is the parameter that is currently selected, for
example, a slider that you clicked is highlighted.
Corresponding keyframes appear in or are removed from the parameter
group track and the effect track.

Active group (contains active parameter) Active parameter (highlighted)

Added keyframes
when Add to Active
Group command is
used. In this case, the
Hue, Sat, and Lum
parameters each have
a new keyframe

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Add Keyframe Mode and Delete Keyframe Mode Menu Commands (Continued)

Command Description

Add to Open Groups Adds keyframes to or removes selected keyframes from the parameter
(Add Keyframe Mode menu) tracks or keyframe graphs of all parameters in groups that are currently
open, whether or not the group is enabled.
Delete From Open Groups
(Delete Keyframe Mode menu) Corresponding keyframes appear in or are removed from the relevant
parameter group tracks and the effect track.
Add Keyframes to Open Groups
(Effect Editor shortcut menu)

Added keyframes when Add to Open Groups command

is used. New keyframes are added to all parameters in
open groups, even if the keyframe tracks are closed.

Open groups
and subgroups
(Border)

Closed group
(Foreground)

Open group
(Scaling)

Add to Enabled Groups Because your Avid editing application treats all parameter groups as
(Add Keyframe Mode menu) enabled at all times, this command has the same effect as the All
Parameters command. It adds keyframes to or deletes selected keyframes
Delete From Enabled Groups
from the keyframe tracks or keyframe graphs for every keyframeable
(Delete Keyframe Mode menu)
parameter in the effect.
Add Keyframes to Enabled Groups
Corresponding keyframes appear in all parameter group tracks and the
(Effect Editor shortcut menu)
effect track.

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Add Keyframe Mode and Delete Keyframe Mode Menu Commands (Continued)

Command Description

Add to Open Graphs Adds keyframes to or removes selected keyframes from all open keyframe
(Add Keyframe Mode menu) graphs, whether or not the group is enabled.
Delete From Open Graphs This command lets you add or delete keyframes from any custom
(Delete Keyframe Mode menu) grouping of parameters. Open the keyframe graph for each parameter, and
then use the command.
Add Keyframes to Open Graphs
(Effect Editor shortcut menu) Corresponding keyframes appear in or are removed from the relevant
parameter group tracks and the effect track.

Added keyframes when Add to Open Graphs command is used. New keyframes
are added to any parameters whose keyframe graphs are open, to the group
tracks that contain those parameters, and to the effect track.

Open graph

Open graph

Open graph

Add to All Parameters Adds keyframes to or deletes selected keyframes from the keyframe tracks
(Add Keyframe Mode menu) or keyframe graphs for every keyframeable parameter in the effect.
Delete From All Parameters Corresponding keyframes appear in all parameter group tracks and the
(Delete Keyframe Mode menu) effect track.
Add Keyframes to All Parameters
(Effect Editor shortcut menu)

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Selecting and Deselecting Advanced Keyframes

You can select one or more keyframes at any level of the keyframe track hierarchy — open
keyframe graphs, parameter tracks, parameter group tracks, or the effect track. When you
select keyframes in parameter group tracks or in the effect track, you also select all the
keyframes in the group or in the effect at that point in time.

To select a keyframe:
t Click the keyframe.
The keyframe changes to pink (active).

To select more than one keyframe:

1. Click the first keyframe that you want to select.
The keyframe changes to pink (active).
2. Ctrl+click each additional keyframe.
Each keyframe changes to pink (active).

n In earlier versions of the Avid editing applications, you could single-click a keyframe in a
different parameter group to select it. Now you must Ctrl+click the keyframe in a different
group if you want to add it to a multiple-keyframe selection.

When you select more than one keyframe in a single keyframe track, the Avid editing
application uses the most recently selected one as the reference keyframe for aligning and
slipping keyframes. In addition, there are special considerations when you align keyframes
in a track with both selected keyframes and deselected keyframes. See “Aligning Advanced
Keyframes” on page 109.

To select all keyframes in a track:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) a parameter track, parameter
group track, or effect track, and select Select All Keyframes.

To deselect a keyframe:
t Ctrl+click the keyframe.

To deselect all keyframes but one in a track:

t Click the keyframe you want to remain selected.
The keyframe indicator you click changes to pink (active). All other keyframes in the
track appear gray and are deselected.

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To deselect all keyframes in a track, do one of the following:

t With a parameter enabled (for example, the slider for the parameter is highlighted),
select Edit > Deselect All Keyframes.
All keyframes are deselected in the enabled parameter’s parameter track.
t Right-click (Windows) or Ctrl+Shift+click (Macintosh) a parameter track, a parameter
group track, or the effect track, and select Deselect All Keyframes.
All keyframes for the parameter, group, or entire effect are deselected. When you
right-click a parameter group track, your Avid editing application displays the text
“Apply to Group” in the parameter group track, as shown in the following illustration.

Moving Advanced Keyframes

Once you create an advanced keyframe, you can move it to another location in the keyframe
graph.

This topic describes methods for moving keyframes by dragging in the Effect Editor or in
the Effect Preview monitor. You can also move keyframes to the location of the position
indicator by using commands on the shortcut menu for the keyframe track. For more
information, see “Understanding the Align Keyframes and Slip Keyframes Commands” on
page 108.

For additional information, see “Considerations When Moving Advanced Keyframes” on

page 107.

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To move a single keyframe, do one of the following:

t Drag the keyframe up or down in the keyframe graph to change its parameter value
without changing its position in time.
t Alt+Shift+drag (Windows) or Option+Shift+drag (Macintosh) the keyframe
horizontally to change its position in time without changing its parameter value.
t Alt+drag (Windows) or Option+drag (Macintosh) the keyframe to move it freely both
vertically and horizontally and so change both its parameter value and its position in
time.

To move multiple keyframes:

1. Click one of the keyframes to select it.
2. Ctrl+click additional keyframes to add them to the selection.
3. Do one of the following:
t Drag one of the keyframes up or down in the keyframe graph to change the
parameter value of all the keyframes by the same relative amount without changing
their positions in time.

Two keyframes selected in Drag one of the keyframes to move

a parameter both vertically.

t Press the Alt key (Windows) or the Option key (Macintosh) and then drag one of the
keyframes.
When you Alt+drag (Windows) or Option+drag (Macintosh) multiple keyframes in
an open keyframe graph, you can move the keyframe you are dragging both
vertically and horizontally. The rest of the keyframes move horizontally (in time)
but do not move vertically.

Two keyframes selected in a parameter .

Press the Alt key and then drag the top keyframe.
The keyframe you drag moves in both time and
value. The second keyframe moves in time only.

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Considerations When Moving Advanced Keyframes

You should be aware of the following when you are moving advanced keyframes:
• You can move keyframes by dragging at all levels of the keyframe track hierarchy —
open keyframe graphs, parameter tracks, parameter group tracks, and the effect track.
However, only open keyframe graphs allow you to move keyframes vertically and so
change their parameter values.
• When you move keyframe indicators in a parameter group track or the effect track, you
move all keyframes at that point in time in the parameter group or in the entire effect.
• You can move a keyframe outside the time boundaries of the keyframe graph, so that the
effect behaves as if parameter values are changing before the beginning or after the end
of the effect. This works only for the time at which a keyframe occurs; you cannot move
a keyframe to a parameter value outside the maximum or minimum value for the
parameter. (You can also move keyframes outside the time boundaries by using the
Align Keyframes and Slip Keyframes commands. For more information, see
“Understanding the Align Keyframes and Slip Keyframes Commands” on page 108.)

Moving a keyframe outside the time boundaries

Before After

Start of effect End of effect Keyframe moved before beginning of effect

• If you drag a keyframe for a parameter out of a column containing many keyframes, the
system creates new keyframes on the effect track, on the corresponding parameter group
track, and in the Effect Preview monitor.
The following illustration shows an example of what happens when one of the
keyframes is dragged out of the column.

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In this example, the keyframe in the Sat parmeter has been

dragged to the left out of the column of keyframes at the
location of the position indicator. New keyframe indicators
appear in the effect track, in the Effect Preview monitor’s
position bar, in the parameter group track, and in the group
track for the Color parameter subcategory.

• You cannot move a keyframe past another keyframe; that is, keyframe movement is
bounded by neighboring keyframes.
• If two or more effects are shown in the effect editor, only the top effect is editable. This
means that if you have nested effects, you can move the keyframes in only one effect at
a time.

Understanding the Align Keyframes and Slip Keyframes Commands

The Align Keyframes and Slip Keyframes commands in the shortcut menu for the keyframe
track allow you to move keyframes to the location of the position indicator.
• Align Keyframes moves the selected keyframe to the position indicator. The other
keyframes in the keyframe track do not move.
• Slip Keyframes moves all the keyframes of the parameter so the selected keyframe
aligns with the position indicator, and the rest of the keyframes maintain their relative
location.

You do not have to select a keyframe from an open keyframe graph to use Align Keyframes
and Slip Keyframes. You can select keyframes in any keyframe track.

n Disabling Set Position To Keyframe can make it easier for you to use Align Keyframes and
Slip Keyframes. See “Shortcut Menu and Settings for the Effect Editor” on page 130.

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You can use Align Keyframes and Slip Keyframes within a single keyframe track by
selecting a single active keyframe. You can also use Align Keyframes and Slip Keyframes to
bring several parameters into alignment, by selecting an active keyframe in more than one
parameter and then choosing where you invoke the shortcut menu. See “Selecting and
Deselecting Advanced Keyframes” on page 104.

When you select more than one keyframe in a single keyframe track, the Avid editing
application uses the most recently selected one as the reference keyframe for aligning and
slipping keyframes. In addition, there are special considerations when you align keyframes
in a track with both selected keyframes and deselected keyframes. See “Aligning Advanced
Keyframes” on page 109.

Both Align Keyframes and Slip Keyframes can move keyframes outside the time boundaries
of the keyframe graph. That is, you can make the effect behave as if parameter values are
changing before the beginning or after the end of the effect.

Aligning Advanced Keyframes

In the procedure below, the reference keyframe of any keyframe graph is the keyframe you
activated most recently in that keyframe graph.

To align the reference keyframe to the position indicator:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) an open keyframe graph, a
parameter track, a parameter group track, or the effect track, and select Align
Keyframes.
The reference keyframe moves to the position indicator. If the reference keyframe is in a
parameter group track or in the effect track, all the keyframes at that point in time in the
parameter group or in the entire effect move to the position indicator.

n Align Keyframes does not move the reference keyframe beyond an intervening keyframe; that
is, a keyframe between the reference keyframe and the position indicator. If there is an
intervening keyframe, the reference keyframe moves to within one frame or field of it.

Align Keyframes

No intervening keyframe One intervening keyframe

Before Before

After After

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Align Keyframes exhibits more complex behavior when you have multiple keyframes
selected in one keyframe graph.
If you select all keyframes in one keyframe graph, Align Keyframes is equivalent to Slip
Keyframes. The reference keyframe moves to the position indicator, and all other
keyframes maintain their position relative to the reference keyframe.
Deselected (gray) keyframes do not move. All selected keyframes do move, as close to
the target position as possible, unless a deselected keyframe intervenes.
The following illustration shows several examples.

Examples of Align Keyframes with multiple keyframes

(in all cases, the second keyframe is the reference keyframe)

All keyframes selected — the reference keyframe moves to the position indicator and all
other keyframes move to maintain their positions relative to the reference keyframe.
Before After

One deselected keyframe — the reference keyframe moves to the position indicator, other selected keyframes
move to maintain their positions relative to the reference keyframe, but the deselected keyframe does not move.
Before After

Two deselected keyframes — the reference keyframe moves to the position indicator, the other selected keyframe
moves to maintain its position relative to the reference keyframe, but the deselected keyframes do not move.
Before After

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Slipping Advanced Keyframes

In the following procedure, the reference keyframe of any keyframe track is the keyframe
you activated most recently in that keyframe track.

To slip keyframes to the position indicator, in one keyframe track:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) an open keyframe graph, a
parameter track, a parameter group track, or the effect track, and select Slip Keyframes.
All the keyframes move so that the reference keyframe aligns with the position
indicator, and the other keyframes maintain their position relative to the
reference keyframe. If the reference keyframe is in a parameter group track or in the
effect track, all the keyframes at that point in time in the parameter group or in the entire
effect move to the position indicator, and the other keyframes in the same parameters
maintain their position relative to the reference keyframe.

Slip Keyframes

Before After — reference keyframe moves to the

position indicator and other keyframes move
relative to the reference frame

Copying and Pasting Advanced Keyframe Parameters

You have several options for copying and pasting advanced keyframe parameters. You can:
• Copy and paste selected keyframes in a single parameter.
• Copy and paste selected keyframes in more than one parameter.
The selected keyframes can be in graphs or on tracks (that is, the graphs that contain the
selected keyframes can be open or closed). If the selected keyframes are offset from one
another, the pasted keyframes preserve the offset.
• Copy and paste all graph values at a specific position.
This option is available both in the position bar of the Effect Preview monitor and in the
keyframe graphs in the Effect Editor.
For this option, there does not have to be a keyframe in any parameter at the location
you are copying from. Your Avid editing application takes all the parameter values at the
copying location and uses them to create new keyframes (or replace existing ones) at the
pasting location.

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For further clarification of how these options work, see the illustrations in “Examples of
Copy and Paste Operations on Advanced Keyframe Parameters” on page 113.

To copy and paste an advanced keyframe in a single keyframe graph or track:

1. Click the keyframe you want to copy.
2. Select Edit > Copy, or press Ctrl+C (Windows) or Command+C (Macintosh).
3. Do one of the following:
t Move the position indicator to the location where you want to paste.
t Click a keyframe to select it.
t Ctrl+click (Windows) or Shift+click (Macintosh) multiple keyframes to select
them.
4. Select Edit > Paste, or press Ctrl+V (Windows) or Command+V (Macintosh).
The parameters from the keyframe that you copied are pasted to the keyframes you
selected, or a new keyframe using the parameters that you copied is created at the
location of the position indicator.

To copy and paste multiple selected advanced keyframes:

1. Ctrl+click (Windows) or Shift+click (Macintosh) multiple keyframes to select them.
You can select multiple keyframes within a single parameter or across several
parameters.
2. Select Edit > Copy, or press Ctrl+C (Windows) or Command+C (Macintosh).
3. Do one of the following:
t Move the position indicator to the location where you want to paste.
t Click a keyframe to select it and move the position indicator to that location.
4. Select Edit > Paste, or press Ctrl+V (Windows) or Command+V (Macintosh).
The keyframes that you copied are pasted to the location you selected. When the
keyframes you copied are offset from one another, the leftmost of the copied keyframes
is pasted at the location you selected and the other keyframes are pasted in locations that
preserve the original offset.

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To copy and paste all parameter values at a position:

1. Do one of the following, either in the position bar below the Effect Preview monitor, or
in the keyframe graphs in the Effect Editor:
t Move the position indicator to the location from which you want to copy values.
t Click a keyframe at the location from which you want to copy values.
2. Do one of the following:
t If you are working in the position bar of the Effect Preview monitor, select Edit >
Copy, or press Ctrl+C (Windows) or Command+C (Macintosh).
t If you are working in the keyframe graphs in the Effect Editor, right-click in the
graph area and select Copy All Values at Position, or press Ctrl+Alt+C (Windows)
or Command+Option+C (Macintosh).
3. Do one of the following:
t Move the position indicator to the location where you want to paste values.
t Click a keyframe to select it and move the position indicator to the location where
you want to paste values.
4. Select Edit > Paste, or press Ctrl+V (Windows) or Command+V (Macintosh).
New keyframes are created at the pasting location, or existing keyframes are modified.
As a result of this procedure, every keyframe graph in the effect has a keyframe at the
pasting location with its parameter value set to the value for that parameter at the
copying location.

Examples of Copy and Paste Operations on Advanced Keyframe

Parameters
The following illustrations show the effects of the various copy and paste operations that you
can perform on advanced keyframe parameters. For more information and step-by-step
instructions for copying and pasting advanced keyframe parameters, see “Copying and
Pasting Advanced Keyframe Parameters” on page 111.

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Copying and Pasting Keyframes in a Single Parameter

Although this keyframe is

at the same point in time
as the keyframe selected
for copying, it is not
selected and is not in an
active graph, so it is not
copied.

The selected keyframe is

copied to the new location
of the position indicator.

Before After

When multiple keyframes

are selected, their offset
from one another is
preserved in the new
copies.
Before After

Copying and Pasting Keyframes in Multiple Parameters

When keyframes are

selected in multiple
keyframe graphs, the
leftmost selected
keyframe is pasted at the
new location of the
position indicator, and the
offset of other keyframes
from the leftmost one is
preserved.

Before After

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Copying and Pasting All Parameter Values at a Position

Before After
In this example, a keyframe exists for one parameter at the copying location, but no keyframes exist for the other
parameters. Your Avid editing application uses the parameter values for each parameter at the copying location,
regardless of whether a keyframe already exists, and creates new keyframes with those values at the pasting
location. Any other parameters for the effect also get a new keyframe at the pasting location, even if (as in the
top Level graph here) the new keyframe uses default values. If necessary, you can delete any redundant
keyframes created by this process using the Remove Redundant Keyframes command.

Before After
This example shows the same behavior even though there are no existing keyframes at the copying location.
Your Avid editing application uses the parameter values at the copying location to create new keyframes with
those values at the pasting location.

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Controlling Parameter Changes at Keyframes

How an effect parameter changes at a keyframe is governed by which keyframe interpolation
option you select. Interpolation refers to the method the Avid editing application uses to
calculate the rate of change and the relative smoothness of change.

To select an interpolation option:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe graph or keyframe
track for the parameter with which you are working, and select one of the following:
- Shelf
- Linear
- Spline
- Bézier
For information on these options, see “Advanced Keyframe Interpolation Options” on
page 116.

Advanced Keyframe Interpolation Options

The following table describes the interpolation options available for advanced keyframes.

Advanced Keyframe Interpolation Options

Interpolation Option Description

Shelf The parameter value does not change between keyframes and then changes abruptly
to the new value. Some applications call this Hold.
Use Shelf to hold a parameter value for a fixed length of time. For example, you can
use Shelf with the Position parameters to create a PIP that appears to “pop” to a new
location at each keyframe.

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Advanced Keyframe Interpolation Options (Continued)

Interpolation Option Description

Linear The parameter value ramps smoothly between keyframes but then changes abruptly
at each keyframe. The change in parameter value at a keyframe happens with no
ease-in or ease-out.

n Effects with standard keyframes always make linear parameter changes (with
the exception of Spline for motion paths and Acceleration for other
parameters). With advanced keyframes, you can use the Linear interpolation
option for some parameters and not for others, depending on the effect you
want to achieve.

Spline The parameter value changes smoothly at each keyframe, creating a simple ease-in or
ease-out effect. Spline is sometimes called Natural Spline or Cardinal Spline because
the line representing the parameter value always goes precisely through each
keyframe.
With two keyframes, the parameter value changes slowly at the beginning of the
effect, speeds up the rate of change, and then slows down to come to rest gently at the
end of the effect. Use three keyframes to create an arc.
Use the Spline interpolation option (or the Bézier interpolation option) for any
parameter for which you want to avoid abrupt changes, such as Scaling or Border
width.

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Advanced Keyframe Interpolation Options (Continued)

Interpolation Option Description

Bézier The Bézier interpolation option is similar to the Spline interpolation option, in that
the parameter value changes smoothly at each keyframe. In addition, the Bézier
interpolation option provides direction handles at each keyframe. You adjust the rate
at which the parameter value changes by manipulating the direction handles.
When you click a direction handle and drag it, you change the height and angle of the
curve. The curve responds as if you were gently tugging it like a piece of string. The
curve remains anchored to the keyframes on either side of the active keyframe.
You have several options for how you manipulate Bézier direction handles. For more
information, see “Adjusting Parameter Values with the Bézier Interpolation Option”
on page 118.
Use the Bézier interpolation option (or the Spline interpolation option) for any
parameter for which you want to avoid abrupt changes.

Adjusting Parameter Values with the Bézier Interpolation Option

You can adjust Bézier curves in the following ways:
• Symmetrically: Dragging a direction handle changes the length and rotation of both
direction handles symmetrically.

Before After — dragging the left handle up

and to the left causes both sides to
rotate and increase in length.

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 Manipulating Advanced Keyframes

• Asymmetrically: Dragging a direction handle changes the length of the selected handle,
but not the opposite handle. The rotation of both handles changes as you drag the
selected handle.

Before After - dragging the left

handle up and to the left
causes the left side to rotate
and increase in length. The
right side rotates but does
not change in length.

• Independently: Dragging a direction handle changes both the length and rotation of the
selected handle. The opposite handle does not change. You do this by “breaking” the
handle.

Before

After dragging (no rotation) — dragging the left

handle to the left causes only the left side to increase
in length. The right side does not change.

After dragging and rotating — dragging the left

handle up and to the left causes only the left side
to rotate and increase in length. The right side
does not change.

The default adjustment method is symmetrical. You change the adjustment method using the
Alt key (Windows) or Option key (Macintosh).

To use the Bézier interpolation option for adjusting a parameter value:

1. Select the Bézier interpolation option.
For more information, see “Controlling Parameter Changes at Keyframes” on page 116.
2. Click a keyframe indicator to activate it.
The keyframe indicator changes to pink, and a direction bar with direction handles
appears.
3. Position the pointer over one of the direction handles.
The pointer changes to a hand pointer.

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4. Do one of the following:

t Drag the mouse to move the direction handle.
Your Avid editing application uses the currently active adjustment option. The
direction bar and the curve change to show the new interpolation motion.
t Alt+click (Windows) or Option+click (Macintosh) the direction handle, and then
drag the mouse to move the direction handle.
The use of the modifier key instructs your Avid editing application to use the next
adjustment method in the sequence of adjustment options: symmetrical,
asymmetrical, or independent.
For example, suppose you make an adjustment using independent direction handles,
and then move the cursor away from the keyframe. To continue using independent
direction handles, click the direction handle and make further adjustments. To
change the adjustment method from independent to symmetrical, Alt+click
(Windows) or Option+click (Macintosh) the direction handle.
5. Continue adjusting the direction handles to achieve the effect you want.

Reversing Advanced Keyframes

You can use the Reverse Keyframes command in the shortcut menu for the keyframe track to
reverse the keyframes in time for an individual parameter, a parameter group, or an entire
effect.

The Reverse Keyframes command is an enhanced version of the Reverse Animation

command found in the standard keyframe interface.

You should be aware of the following when working with the Reverse Keyframes command:
• Keyframe parameter values are not affected by Reverse Keyframes; the command
changes only their position in time.
• Reverse Keyframes always applies to the entire effect duration. You can’t reverse the
keyframes for a portion of the effect duration.
• If the effect is a transition effect that contains a Swap Sources button, the system
automatically enables the Swap Sources button when you reverse the keyframes on the
entire effect. This maintains the shot continuity while reversing the movement.

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 Manipulating Advanced Keyframes

To reverse keyframes in time:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) an open keyframe graph, a
parameter track, a parameter group track, or the effect track, and select Reverse
Keyframes.
Your Avid editing application reverses the appropriate keyframes in time:
- For an open keyframe graph or a single parameter track, the keyframes are reversed
for that parameter.
- For a parameter group track, keyframes are reversed for all parameters in the group.
The parameter group track displays the text “Apply to Group” when you right-click
or Ctrl+Shift+click the track.
- For the effect track, keyframes are reversed for all parameters in the entire effect.
The parameter group track displays the text “Apply to All” when you right-click or
Ctrl+Shift+click the track.

Controlling Advanced Keyframe Behavior with Trimmed Effects

You can use the Elastic and Fixed commands in the shortcut menu for the keyframe track to
control how advanced keyframes adjust when you change the length of an effect by
trimming.

When you use the Elastic option, your Avid editing application scales the keyframes to fit
the new duration. For example, if you trim out the start of a keyframed 2-second effect
segment so that its length increases to 3 seconds, the gap between each of the keyframes
increases by 50% and the original animation takes place over 3 seconds. Elastic is the default
behavior for a parameter, and is also the behavior used by standard keyframes.

The keyframe indicator for an elastic keyframe is a simple triangle, as shown in the
following illustration.

When you use the Fixed option, your Avid editing application leaves the existing duration of
your keyframe animation intact. For example, if you trim out the start of a keyframed
2-second effect segment so that its length increases to 3 seconds, the original animation still
takes places over 2 seconds at the end of the segment. The one second of material you have
added uses the parameter values of the first keyframe, so no movement or other change takes
place until the first keyframe is reached. Fixed keyframes allow you to “pin” a parameter
change to a particular timecode.

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The keyframe indicator for a fixed keyframe has a mark or tail on its bottom edge, as shown
in the following illustration.

n You can select elastic keyframes or fixed keyframes for each parameter of an effect. That is,
some parameters can have elastic keyframes and other parameters can have
fixed keyframes.

All keyframes for a parameter are either elastic or fixed. You cannot mix elastic keyframes
and fixed keyframes within a single parameter.

The following illustration shows an example of the difference between elastic and fixed
keyframes.

2-second clip with four keyframes

02:00 02:18 03:04 03:29

Same clip, trimmed out to add 1 second at the head (shaded area)
and using elastic keyframes: time between keyframes stretches.

01:00 01:27 02:21 03:29

Same clip, trimmed out to add 1 second at the head (shaded area)
and using fixed keyframes: timing of events does not change.

01:00 02:00 02:18 03:04 03:29

Selecting Elastic Keyframes or Fixed Keyframes

To select elastic keyframes or fixed keyframes:
t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe graph, parameter
track, or parameter group track whose keyframes you want to affect, and select Fixed or
Elastic.
The keyframes for the parameter or parameter group change to the selected keyframe
type and the keyframe indicators for the parameter display the selected keyframe type.
All subsequent keyframes you add to this parameter appear as the selected
keyframe type.

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 Manipulating Advanced Keyframes

Controlling Parameter Changes Outside First and Last Keyframes

When you use standard keyframes, you always have a starting keyframe and an ending
keyframe that are fixed at the start of the effect and the end of the effect. You cannot move or
delete the starting keyframe and the ending keyframe. With advanced keyframes, you do not
need to set a starting keyframe or an ending keyframe, and you can move or delete them.

In a keyframe graph, the first keyframe and the last keyframe are the bracketing keyframes
for the parameter. The Avid editing application determines parameter values beyond the
bracketing keyframes using either Extrapolate or Hold.

With Extrapolate enabled, the Avid editing application extrapolates — that is, estimates
more values for — the parameter values at the start and end of an effect using the values at
the bracketing keyframes. Parameter values continue to change over time. The application
calculates new values using the interpolation option in effect for that parameter.

Parameter values change

before and after the bracketing
(start and end) keyframes.

In the previous illustration, the blue lines represent the parameter value before and after the
bracketing keyframes and show the extrapolation of the parameter value.

n You might find it useful to view the color images in the online version of this document
available in the Online Library for your Avid editing application.

For example, if the parameter value between the last two keyframes increases as the end of
the effect approaches, the parameter value continues to increase until the end of the effect.
Similarly, if the first keyframe is not at the very beginning of the clip, the Avid editing
application extrapolates the parameter value from the start of the effect up to the first
keyframe.

With Hold enabled, the application uses only the parameter values at the bracketing
keyframes to set values at the start and end of the effect. The parameter values hold steady
— that is, are the same — from the start of the effect to the first keyframe, and again from
the last keyframe to the end of the effect.

Parameter values hold steady

before and after the bracketing
(start and end) keyframes.

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In the previous illustration, the horizontal blue lines indicate the parameter value before the
first keyframe and after the last keyframe.

Extrapolate and Hold are useful any time you slip keyframes or align keyframes in such a
way that a bracketing keyframe falls within the effect, or if you are using fixed keyframes for
a parameter and you trim in or trim out the effect so that a bracketing keyframe falls within
the effect.

n The Extrapolate or Hold setting remains in effect if you trim in or trim out the effect.

In either case, you do not have an explicitly defined value outside the bracketing keyframes.
Extrapolate and Hold can save you the trouble of individually setting new values for each
parameter whenever you make changes to the position of keyframes or the length of the
effect.

Keyframe graph before Slip Keyframes — bracketing keyframes included

When you select Extrapolate, the application estimates more values for the parameter before
and after the bracketing keyframes using the values at the bracketing keyframes. Parameter
values continue to change over time. The application calculates new values using the
interpolation option in effect for that parameter.

Keyframe graph after Slip Keyframes: Extrapolate example

Parameter value changes

before the bracketing keyframe.

When you select Hold, the application uses only the parameter values at the bracketing
keyframes to set values before and after the bracketing keyframes. The parameter values are
the same from the start of the effect to the first keyframe, and again from the last keyframe to
the end of the effect.

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 Controls and Settings for Advanced Keyframes

Keyframe graph after Slip Keyframes: Hold example

Parameter value does not change
before the bracketing keyframe.

n As a result of slipping the keyframes in the previous examples, the last keyframe indicator
has moved out of the keyframe graph view but is still present and is still the bracketing
keyframe. The keyframe indicator visible at the right edge of the keyframe graph (the third
keyframe indicator) is not a bracketing keyframe. Therefore, the parameter values in effect
from the third keyframe to the end of the effect are calculated along the curve between the
third keyframe and the last (bracketing) keyframe.

You set Extrapolate and Hold independently for each parameter in an effect. The default
condition is Hold.

Setting Extrapolate or Hold for an Effect Parameter

To set Extrapolate or Hold for a parameter:
t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe track, and select
Extrapolate or Hold.
The display changes to reflect the new setting.

Controls and Settings for Advanced Keyframes

This topic provides reference information for the following parts of the advanced keyframes
user interface:
• Effect Editor controls that are specific to advanced keyframes.
• The shortcut menu for the keyframe track.
• The Effect Editor shortcut menu and the Effect Editor Settings dialog box.
You use commands in the Effect Editor shortcut menu or settings in the Effect Editor
Settings dialog box to control certain aspects of advanced keyframe behavior, such as
whether start and end keyframes are automatically added to parameters.

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Effect Editor Controls for Advanced Keyframes

The toolbar at the bottom of the Effect Editor includes specific controls for advanced
keyframes.

Scroll thumbwheel

Effect Editor buttons Horizontal zoom slider

The following table describes the Effect Editor toolbar controls for advanced keyframes. For
information on the buttons on the left side of the toolbar, see “Effect Editor Controls” on
page 70.

Control Description

Rewind Moves the position indicator one keyframe to the left and
activates the keyframe. If there is no keyframe to the left, the
position indicator does not move. That is, the position
indicator does not move to the beginning of the effect unless
you have a keyframe there.

Fast Forward Moves the position indicator one keyframe to the right and
activates the keyframe. If there is no keyframe to the right,
the position indicator does not move. That is, the position
indicator does not move to the end of the effect unless you
have a keyframe there.

Add Keyframe Creates a keyframe at the current position. Alt+click

(Windows) or Option+click (Macintosh) this button to delete
a keyframe. When you add or delete a keyframe, a menu
gives you additional selections. For more information, see
“Adding Advanced Keyframes” on page 95 and “Deleting
Advanced Keyframes” on page 97.

Horizontal Zooms (or scales) the view of keyframe graphs horizontally

scale bar so that you can focus in on a particular part of a graph. For
more information, see “Zooming Advanced Keyframe
Graphs” on page 88.

Scroll Scrolls the view of keyframe graphs horizontally so that part

thumbwheel of the view disappears on one side and more comes into view
on the other side. For more information, see “Scrolling
Advanced Keyframe Graphs” on page 92.

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 Controls and Settings for Advanced Keyframes

Accessing Settings for Advanced Keyframes

You access settings for advanced keyframes by displaying one of the shortcut menus
available in the Effect Editor, or by opening the Effect Editor settings dialog box.

For more information on the settings themselves, see “Shortcut Menus for Keyframe Tracks
and the Motion Effect Editor” on page 128 and “Shortcut Menu and Settings for the Effect
Editor” on page 130.

To display the shortcut menu for a keyframe track:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) a keyframe graph, a parameter
graph, a parameter group title track, or the effect title track.

To display the shortcut menu for the Motion Effect Editor:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the active control graph.

To display the Effect Editor shortcut menu:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Effect Editor outside the
keyframe track area.
The Effect Editor shortcut menu opens.

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To display the Effect Editor settings dialog box:

t In the Settings tab of the Project window, double-click Effect Editor.

Shortcut Menus for Keyframe Tracks and the Motion Effect Editor
Advanced keyframes use two shortcut menus. The shortcut menu for the keyframe track is
available from the area of the Effect Editor that displays keyframe tracks and keyframe
graphs. The Effect Editor shortcut menu is available from the part of the Effect Editor that
does not display the keyframe tracks. For more information about the Effect Editor shortcut
menu, see “Shortcut Menu and Settings for the Effect Editor” on page 130.

Because the Motion Effect Editor uses advanced keyframes, the shortcut menu for the
Motion Effect Editor and the shortcut menu for keyframe tracks are nearly identical. The
differences stem from the multiple tracks available in the Effect Editor. In the following
table, the listed commands appear in both menus unless otherwise stated.

Control Description

Add Keyframe Adds a keyframe at the position indicator. See “Adding Advanced Keyframes” on
page 95.

Delete Keyframe Deletes the selected keyframe. See “Deleting Advanced Keyframes” on page 97.

Remove Redundant Removes extra keyframes that are not needed to define parameter changes. See
Keyframes “Removing Redundant Keyframes” on page 99.

Copy All Values at Copies parameter values at the current position for all keyframe graphs in an effect.
Position You can then paste these values at another location, creating new keyframes or
replacing existing ones. For more information, see “Copying and Pasting Advanced
Keyframe Parameters” on page 111.

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 Controls and Settings for Advanced Keyframes

Control Description

Select All Keyframes For the Effect Editor, selects all keyframes in the section of the editor where you click
to display the shortcut menu. See “Selecting and Deselecting Advanced Keyframes”
on page 104.
For the Motion Effect Editor, selects all keyframes in the active graph.

Deselect All Keyframes Deselects all the keyframes in the currently active track, parameter group, or effect.
See “Selecting and Deselecting Advanced Keyframes” on page 104.

Align Keyframes Moves the selected keyframe to the position indicator. See “Understanding the Align
Keyframes and Slip Keyframes Commands” on page 108.
(Motion Effect Editor shortcut menu only) Moves the selected keyframe in one or
more keyframe graphs to the position indicator, depending on which keyframes you
select and on where you click to display the shortcut menu. See “Understanding the
Align Keyframes and Slip Keyframes Commands” on page 108.

Slip Keyframes Moves all the keyframes of the parameter so the active keyframe aligns with the
position indicator, and the rest of the keyframes maintain their relative location. See
“Understanding the Align Keyframes and Slip Keyframes Commands” on page 108.

Reverse Keyframes Allows you to reverse the keyframes in time for a parameter, a parameter group, or an
entire effect. See “Reversing Advanced Keyframes” on page 120.

Shelf Sets the way parameter changes occur at keyframes. See “Controlling Parameter
Linear Changes at Keyframes” on page 116.
Spline
Bézier

Fixed Sets how the application moves keyframes when an effect is trimmed. Elastic
Elastic keyframes change the time at which they occur when you trim an effect, in proportion
to the new effect length. Fixed keyframes do not change. See “Controlling Advanced
Keyframe Behavior with Trimmed Effects” on page 121.

Extrapolate Determines how the application sets parameter values before the first keyframe and
Hold (Shortcut menu for after the last keyframe. See “Controlling Parameter Changes Outside First and Last
the keyframe track only) Keyframes” on page 123.

Zoom to Curve Height Scales the keyframe graph so that its keyframe curve fills the available viewing area
for the graph. For more information, see “Zooming Advanced Keyframe Graphs” on
page 88.

Reset All Graph Views Resets all graph views. This includes removing any changes to the views made using
the zoom sliders or the Zoom to Curve Height feature. See “Resetting Advanced
Keyframe Graph Views” on page 92.

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Shortcut Menu and Settings for the Effect Editor

The Effect Editor shortcut menu and the Effect Editor Settings dialog box give you options
for adjusting the Effect Editor display, for controlling the playback of effects with advanced
keyframes, and for setting a default command for the Add Keyframe button. The shortcut
menu and the settings dialog box have some options in common, but others appear only in
either the menu or in the settings dialog box. The table below indicates where options appear
only in one of the locations.

n The Effect Editor shortcut menu is available only for effects with advanced keyframes.

The following table describes the options for the Effect Editor shortcut menu and the Effect
Editor settings dialog box.

Option Description

Indent Rows When selected, parameter rows are indented from the parameter
category row, and any parameter subgroups are indented again. When
deselected, the left edges of parameter rows line up with the parameter
category row.

Indented parameter rows

Non-indented parameter rows

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 Controls and Settings for Advanced Keyframes

Option Description

Large Text When selected, text in the Effect Editor appears in 12-point size.
When deselected, text in the Effect Editor appears in the default size,
10 points (Windows) or 9 points (Macintosh).

Normal text size

Large text

Thumbwheels When deselected, variable controls in the Effect Editor appear as the
default slider control. When selected, variable controls appear as
thumbwheels. For information on using thumbwheels, see “Changing
a Parameter with a Slider” on page 74.

Sliders Thumbwheels

Real-Time Update When selected, the Avid editing application updates the rendered
effect image in real time. Because the update can be slow for complex
effects, you have the option to deselect updating in real time.

Set Position To Keyframe With Set Position To Keyframe selected, when you click a keyframe,
the Avid editing application moves the position indicator to the
keyframe. With Set Position To Keyframe deselected, when you click
a keyframe, the position indicator does not move. Deselecting Set
Position To Keyframe allows you to align a keyframe to the position
indicator. See “Understanding the Align Keyframes and Slip
Keyframes Commands” on page 108.

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Option Description

Update Position While Playing When selected, the position indicator in the Effect Editor moves while
you play the effect. Because using Update Position While Playing can
cause video underrun problems in complex real-time effects, the
option is deselected by default.

Show Add Keyframe Mode Menu When this option is selected, the Add Keyframe Mode menu (or the
Delete Keyframe Mode menu) appears when you use the Add
Keyframe button to add (or delete) keyframes. See “Keyframe Mode
Menu Commands” on page 100.
When Show Add Keyframe Mode Menu is deselected, the Add
Keyframe button performs the default command from the Add
Keyframe button options list below, without displaying the Add
Keyframe Mode menu or the Delete Keyframe Mode menu.

Add Keyframe button options (Effect Select one as the default command for the Add Keyframe button.
Editor shortcut menu only):
• When you deselect Show Add Keyframe Mode Menu, clicking the
• Add Keyframes To Add Keyframe button once performs the default command.
Active Parameter
• When you select Show Add Keyframe Mode Menu, clicking the
• Add Keyframes To Active Group Add Keyframe button twice performs the default command. (The
first click displays the Add Keyframe Mode menu, at which point
• Add Keyframes To Open Groups
you can select another command.)
• Add Keyframes To Enabled Groups
• Add Keyframes To Open Graphs n The selection you make for the Add Keyframe mode is mirrored
in the Delete Keyframe Mode menu, and vice versa. For
• Add Keyframes To All Parameters example, when you change your selection to Add Keyframe To
Open Groups, the Delete Keyframe mode changes to Delete
Keyframe From Open Groups.
For a description of each command, see “Keyframe Mode
Menu Commands” on page 100.
These options are available only in the Effect Editor shortcut menu.

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4 Rendering Effects and Managing Effect
Media Files

Your Avid editing application can play many single effects and effect combinations in real
time, both for preview purposes while you are editing and for output. However, depending
on the complexity of your sequence, you might need to render some effects if you want to
preview them in real time and at full quality, or before you can output a finished sequence.

This chapter provides information on rendering effects that extends the basic information
provided in “Basics of Effects Rendering” in the Help. It also provides information on
managing your effect media files.

You can use the ExpertRender feature to determine which effects need to be rendered. For
more information, see “ExpertRender” in the Help.

For more information on playing and previewing effects, see “Playing Effects” and
“Real-Time Playback of Video Effects” in the Help.

This chapter contains the following main sections:

• Creating and Using Render Settings
• Render Settings Options
• Using Partial Render
• Using 16-Bit Processing Support for Rendered Effects
• Rendering 3D Effects Using the HQ (Highest Quality) Option
• Rendering Effects for the Media Station XL
• Managing Effect Media Files
4 Rendering Effects and Managing Effect Media Files

Creating and Using Render Settings

You can create one or more sets of render parameters and save them as a custom Render
setting. For example, you can create one setting especially for rendering single-field motion
effects and another for rendering two-field motion effects. You can then activate the setting
that you need at each stage of your project.

To create a new Render setting:

1. In the Project window, click the Settings tab.
The Settings list opens.
2. Select All Settings from the Project window Fast menu.
3. Click Render.
4. Select Edit > Duplicate.
5. Name the setting by doing the following:
a. Click the custom name column (in between the setting name and the setting type
identifier).
b. Type a name.
c. Press Enter (Windows) or Return (Macintosh).
6. Select options for the new Render setting as described in the table “Render Settings
Options” on page 135.

To activate a Render setting:

t Click in the column to the left of the setting name in the Settings list of the Project
window.
A check mark appears beside the setting that is currently active.

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 Render Settings Options

To adjust the options for a Render setting:

1. In the Settings tab of the Project window, double-click a Render setting.
The Render Setting dialog box opens.

2. Select the appropriate options, based on the descriptions in “Render Settings Options”
on page 135, and then click OK.

Render Settings Options

The following table describes the options available in the Render Setting dialog box.

Option Suboption Description

Render Sets a sound to activate once the rendering process is complete. This
Completion is useful when you are rendering multiple effects.
Sound

None Disables the rendering completion sound. This is the default.

System Beep Sets the rendering completion sound to match the sound set for your
operating system.

Render Sound Sets the rendering completion sound to a customized sound.

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Option Suboption Description

Motion Effects These two menus determine the processing method when existing
Render Using and motion effects and Timewarp effects are rendered or rerendered.
Timewarp Effects
Render Using

Original Preference Causes effects to be rendered as the type they were when originally
created.

Duplicated Field Displays a single field in the effect. For two-field media, this reduces
the information stored by half because it drops one field of the image,
resulting in a lower quality image. For single-field media, this is
usually the best choice because of its speed (the other options do not
improve effect quality for single-field media).
With JFIF resolutions, selecting this option causes the effect to render
in the shortest amount of time. With DV and MPEG resolutions, the
effect renders approximately as quickly as it would if you selected
Both Fields as the rendering option.

Both Fields Displays both fields in the effect. For example, the first two frames of
a half-speed (50%) slow-motion effect repeat the original Frame 1
(both fields) twice. This option is good for shots without inter-field
motion, NTSC or PAL film-to-tape transfers, and still shots. With
footage that includes inter-field motion, this method might result in
minor shifting or bumping of the image because it disturbs the
original order of fields: a Field 1 will appear both before and after the
corresponding Field 2.
The effect renders relatively quickly. For best results, you should use
evenly divisible frame rates with this option.

Interpolated Field Creates a second field for the effect by combining scan line pairs from
the first field in the original media. This option calculates the motion
effect at the field level rather than the frame level. Because the Avid
editing application considers all fields and does not disturb the
original order of fields, the smoothest effect results.
Effects created using this option take the longest amount of time to
render.

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 Render Settings Options

Option Suboption Description

VTR-Style Creates a second field for the effect by shifting selected video fields
of the original media by a full scan line. This technique is similar to
that used by high-quality professional video decks when playing
footage at less than normal speed. This option also creates the motion
effect at the field level rather than the frame level; however, because
pixels are not filtered, the final image is sharper than that created by
the Interpolated Field option. The image might display some slight
jitter at certain speeds.
The time needed to render effects created with this option is longer
than the time for effects created using either Duplicated Field or Both
Fields but similar to the time needed for Interpolated Field.

Blended Interpolated (Timewarp only) Blends (averages) pixels from the original frames or
fields to create intermediate frames or fields. For example, at 25%
speed, the application creates three blended images between outgoing
Image A and incoming Image B. The first blended image weights the
pixels from Image A at 75% and Image B at 25%. The second
blended image weights the pixels from Image A at 50% and Image B
at 50%. The third blended image weights the pixels from Image A at
25% and Image B at 75%. Objects in motion from Image A to
Image B appear to fade out of Image A and fade in to Image B.
Timewarp effects created using Blended Interpolated or Blended VTR
render less quickly than Interpolated Field or VTR-Style.

Blended VTR (Timewarp only) Creates a second field for the effect by shifting
selected video fields of the original media by a full scan line, then
blends (averages) pixels from the original frames or fields to create
intermediate frames or fields. For example, at 25% speed, the
application creates three blended images between outgoing Image A
and incoming Image B. The first blended image weights the pixels
from Image A at 75% and Image B at 25%. The second blended
image weights the pixels from Image A at 50% and Image B at 50%.
The third blended image weights the pixels from Image A at 25% and
Image B at 75%. Objects in motion from Image A to Image B appear
to fade out of Image A and fade in to Image B.
Timewarp effects created using Blended Interpolated or Blended VTR
render less quickly than Interpolated Field or VTR-Style.

n Another Timewarp rendering option, FluidMotion™, is available only through the

Motion Effect Editor. See “Creating a Timewarp Effect” on page 181.

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Option Suboption Description

Effects Quality Sets a global override for 3D effects that have HQ (Highest Quality)
Render Using rendering options. You select HQ rendering or standard rendering for
individual effects by clicking the HQ button in the Effect Editor. For
more information, see “Rendering 3D Effects Using the HQ (Highest
Quality) Option” on page 141.

n Once the application begins rendering, it changes all affected

HQ settings to the Effects Quality Render Using value in the
active Render setting. If you cancel the render, HQ settings do
not revert to their previous values.

Quality Set in Each Causes effects to render at the quality determined by the HQ selection
Effect in the individual effects. This is the default.

Standard Quality Causes effects to be rendered as Standard Quality, regardless of

whether the HQ button was selected for the individual effect.

Highest Quality Causes effects to be rendered as High Quality.

Using Partial Render

If you interrupt a render that is not complete, your Avid editing application allows you to
save the completed portion of the render. You can finish the render later by resubmitting the
effect for rendering. Your application then renders only the part of the effect that has not
been rendered previously and saves that part as a separate precompute.

This feature is especially useful if you have to interrupt a long render of a single effect, such
as a Submaster effect.

You can also use the Render Ranges command in the Timeline Fast menu to customize the
Timeline so that it indicates which parts of an effect the Avid editing application has
rendered.

The playback behavior of a partially rendered effect depends on the frame at which playback
begins. If playback begins at a rendered frame, the Avid editing application attempts to play
the entire effect in real time. You see the rendered portion in real time but cannot see the
unrendered portion. If playback begins at a non-rendered frame, the application plays the
entire effect using Render On-the-Fly.

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 Using 16-Bit Processing Support for Rendered Effects

To interrupt a render:
1. Press Ctrl+period (Windows) or Command+period (Macintosh) to interrupt the render.
A message box opens.
2. Do one of the following:
t Click Keep to save the material already rendered.
t Click Discard to end the render without saving the material already rendered.

To customize the display of render ranges in the Timeline:

1. Click the Timeline Fast Menu button, and select Render Ranges.
2. Select one of the following from the submenu:

Option Description

None Turns off the display of render ranges

Partial Only Displays a red line on the portion of any partially rendered effect
that is currently unrendered (but does not mark completely
unrendered effects). This is the default option.

All Displays a red line on the portion of any partially rendered effect
that is currently unrendered and on all completely unrendered
effects. This is a simple visual indication of which effects are
unrendered. It is not an indication of which effects might need to
be rendered to achieve successful playback.

Using 16-Bit Processing Support for

Rendered Effects
You can choose to render most effects using a bit depth of 16 or a bit depth of 8. 16-bit
rendering provides greater precision and better color quality when working with 10-bit
resolutions. For example, if you apply a color effect to a clip that contains a gradient (such as
a wide, soft border), you notice a difference if you zoom in on the rendered effect. An effect
rendered at 8-bit would show banding between colors at higher zoom ratios than an effect
rendered at 16-bit. Also, if you use nested effects with many levels of nesting, using 16-bit
precision can help preserve the overall image quality of the rendered effect.

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The results of 16-bit precision rendering are more obvious with 10-bit resolutions than with
8-bit resolutions. However, 16-bit precision can be useful with 8-bit resolutions if you use
color effects or use nested effects with many levels of nesting. Because it takes longer to
render effects with 16-bit precision, you need to determine when the additional time will
be useful.

Some effects do not support 16-bit processing. The reference information for each individual
effect in “Effects Reference” on page 539 indicates which effects do not support 16-bit
processing.

n Rendering times are slower when using 16-bit processing. Turning on HQ (highest quality
render mode) for a 3D effect can also add additional rendering time. For more information
on HQ, see “Rendering 3D Effects Using the HQ (Highest Quality) Option” on page 141.

To set the bit depth for rendered effects:

1. Select Tools > Media Creation.
The Media Creation dialog box opens.
2. Click the Render tab.

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 Rendering 3D Effects Using the HQ (Highest Quality) Option

3. Set the Effects Processing bit depth option to one of the following:

Option Description

8-bit Use this option when rendering time is more important than image
quality, or if you are mainly working with effects that don’t support
16-bit precision.

16-bit Use this option if you want the best overall image quality. Use this
option if you use 10-bit resolutions, use many levels of nested
effects, or want the best color fidelity for rendered effects.

Automatic Use this option if you want the media source to determine the effects
resolution. Effects render at 16-bit for 10-bit media and at 8-bit for
8-bit media. This is the default.

Rendering 3D Effects Using the HQ (Highest

Quality) Option
A small number of 3D effects have two rendering options, the standard hardware-assisted
render and the HQ (Highest Quality) software-based render. HQ rendering produces a
superior image but takes longer than standard rendering.

The HQ button appears in the Effect Editor for 3D effects that have an HQ rendering option.
Use the HQ button to select HQ rendering for an individual effect in your sequence.

The additional quality that you achieve using the HQ rendering option depends on the effect
and the footage used to create the effect. For example, HQ rendering can often improve the
quality of an effect that dynamically resizes an image or an effect applied to a clip with a lot
of motion.

n If an effect supports 16-bit processing, you can achieve additional quality by turning on HQ
rendering along with 16-bit processing. See “Using 16-Bit Processing Support for
Rendered Effects” on page 139.

To select HQ rendering for an individual effect:

1. In Effect mode, move the position indicator to the effect you want to select.
If HQ rendering exists for the effect, the HQ button is available in the Effect Editor.
2. Click the HQ button.
The button turns green.

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To select standard rendering for an individual effect:

t Click the HQ button again.
The button turns black.
The HQ button has a global setting in the Render Setting dialog box. The Effects
Quality Render Using menu lets you override the selection you made in the Effect
Editor for individual effects.

You can easily change from standard rendering to HQ rendering for your entire
sequence, once you are satisfied with your draft version, by using the Render Setting
selection. You can also choose to set all effect rendering to standard if you want to
decrease rendering time. For more information, see “Creating and Using Render
Settings” on page 134.

n Once the application begins rendering, it changes all affected HQ settings to the Effects
Quality Render Using value in the active Render setting. If you cancel the render, HQ
settings for individual effects do not revert to their previous values.

For example, suppose you apply several effects to a sequence and use the HQ button in
the Effect Editor to select HQ rendering for some but not all the effects. In the active
Render setting, you set Effects Quality Render Using to Highest Quality. You set an IN
point and an OUT point, and select Clip > Render In/Out.
When you start the render, the application immediately changes all the effects between
the IN point and the OUT point to HQ rendering, if the HQ render is available for a
given effect. If you cancel the render, the HQ settings that were changed will not be
changed back. You must reset the HQ settings individually.

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Rendering Effects for the Media Station XL

When your workflow includes an Avid Media Station XL system for off-loading the
rendering process, you can use the Render to Media Station command. Because
Media Station cannot render all types of effects, this command determines which effects in
the selected area require rendering on your Avid editing application before you send the
sequence to the Media Station XL system.

For example, the Media Station XL system is not configured with 3D hardware, so you must
render any 3D effects before you send the sequence to the Media Station XL system.

You can choose to render the effects identified by the Render to Media Station command or
to modify the selections before submitting them for rendering. For more information, see
“Modifying the Render to Media Station Results” on page 144.

For a multiple-track sequence, Render to Media Station begins analyzing the effects from
the top track down. When your Avid editing application finds an effect that cannot be
rendered by Media Station XL, it selects the effect for rendering. Any lower-track effects
entirely covered by an upper-track clip that contains a selected effect will not be rendered. If
you want to render these effects, deselect the tracks above the track with the effects that you
want to render. Then use Render to Media Station again.

To use the Render to Media Station command:

1. Select all tracks in the Timeline that contain effects you want the Render to
Media Station command to analyze.
2. Do one of the following:
t To render at position, move the position indicator to the effects in the Timeline.
t To render between IN and OUT points, mark IN and OUT points around the effects.
3. Select Clip > Render to Media Station.
The Render to Media Station dialog box opens.

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4. Select one of the following options:

Option Description

Entire Sequence Selects any effects in the sequence that require rendering on your
Avid editing application

In/Out Selects any effects between the IN and OUT points that require
rendering on your Avid editing application. This option is
available only when IN and OUT points are marked.

Position Selects any effects located at the position indicator that require
rendering on your Avid editing application. This option is not
available when IN and OUT points are marked in the sequence.

5. (Option) Select Render AVX™ Effects if you want your Avid editing application to
render the AVX effects.
6. Click OK.
The Render to Media Station command analyzes the selected effects and highlights the
effects that require rendering by your Avid editing application.
The Render Effects for Media Station dialog box opens and indicates how many of the
effects submitted require rendering.
7. Click the Drive menu, and select a drive for the rendered media.
The Effect Source Drive is the location of the media for the outgoing shot of a transition.
8. Do one of the following:
t Click OK to render the selected effects that Media Station cannot render.
t Click Modify Selection if you want to modify the set of effects selected to render.
For more information, see “Modifying the Render to Media Station Results” on
page 144.
t Click Cancel to remove all Render to Media Station highlighting and to cancel the
Render to Media Station process without rendering any effects.

Modifying the Render to Media Station Results

To modify the results of a Render to Media Station analysis:
1. Perform the Render to Media Station analysis by following steps 1 to 6 in “Rendering
Effects for the Media Station XL” on page 143.
2. In the Render Effects for Media Station dialog box, click Modify Selection.

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 Canceling a Render to Media Station Command During Modification

3. Shift+click effects in the Timeline to add them or remove them from the set of effects to
render.
Selected effects are highlighted.
4. When you are satisfied with your selection, do the following:
a. Select Tools > Command Palette.
b. Click the FX tab.
c. If Active Palette is not selected, click the Active Palette radio button.
d. Click the Render Effect button.
The Render Effect dialog box opens.
5. Click the Drive menu, and select a drive for the rendered media.
The Effect Source Drive is the location of the media for the outgoing shot of a transition.
6. Click OK.
If there is not enough room on the drive, a message box opens.
7. (Option) Do one of the following:
t Click Stop to stop the rendering process and return to the Render Effects dialog box,
and then select another drive before continuing.
t Click Continue to attempt to render the effects anyway, in case there might be
enough room on the drive.
The selected effects render.

n To display the estimated rendering time, press the T key on the keyboard. Press the T key
again to clear the display. Press the P key to view the percent rendered.

Canceling a Render to Media Station Command

During Modification
You can cancel a Render to Media Station command at any point during the modification
process.

To cancel a Render to Media Station command during the modification process, do

one of the following:
t Click in the timecode (TC) track to move the position indicator.
t Double-click one of the Segment Mode buttons (the Extract/Splice-in button or the
Lift/Overwrite button) below the Timeline.

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t Select Clip > Render to Media Station, and then click Cancel in the Render to
Media Station dialog box.
The application removes all Render to Media Station highlighting and cancels the
Render to Media Station process without rendering any effects.

Managing Effect Media Files

Your Avid editing application allows you to view effect media files and select them for
deletion. You can quickly find or delete an effect media file from a bin, or you can use the
Media tool to view all the files that relate to your project and select those you want to delete.

Understanding Effect Media Files Management

When you render an effect, your Avid editing application creates two elements: a rendered
effect clip (also known as a precompute clip) and an associated media file. When you create
a title or an imported matte key clip, the application creates several elements: an effect clip,
a precompute clip, and associated media files.

Your Avid editing application overwrites or automatically deletes a media file from your
drive only if you:
• Render an effect two or more times with the Render Effect button.
• Close the project before either an Auto-save or a manual save occurs.

In this case, your Avid editing application automatically saves the last-rendered effect and
deletes the earlier, unreferenced versions. This autodeletion applies only to effects rendered
since the last save or project close.

This prevents you from deleting media that might be necessary to play other versions of the
sequence. If you want to remove media files from your drive to save space, you have to
manually delete the files.

For complete information on the media management features and on the use of the Media
tool, see “Managing Media Files: Basics” in the Help.

n If you are using your Avid editing application in an Avid Interplay™ workgroup
environment, you can use the asset manager to manage your media. For more information,
see “Working with Media Files in an Avid Interplay Environment” in the Help.

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 Managing Effect Media Files

Revealing Effect Media Files

You can reveal the media files associated with effect clips (titles and matte keys), rendered
effect clips (precompute clips), and motion effects so that they are visible in their folders on
the desktop. You can then verify information about the media files, delete them directly from
the folder, or perform other standard file management operations.

To reveal effect clip, rendered effect clip, or motion effect media:

1. (Option) If you want to reveal effect media for rendered effect clips (precompute clips),
display those clips in the bin by doing the following:
a. Select Bin > Set Bin Display.
The Set Bin Display dialog box opens.
b. Select Rendered Effects and Show reference clips, and click OK.
Any rendered effect clips appear in the bin. The clips are named with the sequence
name and effect type. In the following illustration, the effects are in a sequence
named Rendered Effects.

Rendered effect
(precompute) clips

2. Select an effect item in the bin.

In the following illustration, a rendered effect clip is selected.

n You can reveal media files for only one item in a bin at a time.

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4 Rendering Effects and Managing Effect Media Files

3. Select File > Reveal File.

(Windows) Your Avid editing application searches all available drives, opens the folder
in Windows Explorer, and highlights a related media file.

(Macintosh) Your Avid editing application searches all available drives, opens the
folder, and highlights related media files.
4. (Option — Windows only) If more than one media file is associated with the clip, the
Avid editing application displays a message box prompting you to reveal the next file.
Do one of the following:
t Click OK to reveal the next file.
If the Explorer window disappears from view, bring it forward by pressing and
holding the Alt key and pressing the Tab key until you select the Explorer window
containing the OMFI MediaFiles folder or Avid MediaFiles folder information.
t Click Cancel to end the Reveal File operation.

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 Managing Effect Media Files

Deleting Effect Media Files from a Bin

You can delete effect media files (for titles, matte key clips, and rendered effects) and motion
effect media from a bin using the Delete dialog box.

To delete effect media files and motion effect media:

1. (Option) If you want to delete effect media for rendered effect clips (precompute clips),
display those clips in the bin by doing the following:
a. Select Bin > Set Bin Display.
The Set Bin Display dialog box opens.
b. Select Rendered Effects and Show reference clips, and click OK.
Any rendered effect clips appear in the bin.
2. In the bin, select the clip or clips whose media you want to delete.
In this example, two items are selected: a title and a motion effect.

3. Press the Delete key.

The Delete dialog box opens.
4. Select the appropriate check boxes for the material you want to delete, and then click
OK.
For more information, see “Deleting Bin Items” in the Help.

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150
5 Working with Plug-In Effects

You can use AVX plug-in effects to add new effects or to update existing effects. This
chapter describes how to work with these plug-in effects.

On Windows systems only, some Avid editing applications can use Avid input/output
hardware and an Avid plug-in for Adobe After Effects® to view After Effects compositions
on an external (client) monitor.

This chapter contains the following main topics:

• Understanding AVX Plug-Ins
• Support for AVX 1.x and AVX 2.0
• Freeing Memory Used by AVX 1.x Plug-ins
• Installing AVX Plug-ins
• Locating the AVX 1.x Plug-Ins Folder (Windows Only)
• Updating an AVX Plug-in to a New Version
• Promoting AVX 1.x Plug-ins to AVX 2.0
• Assigning Multiple Tracks in Plug-in Effects
• Using AVX Plug-In Controls
• Using the Client Monitor to Preview the Plug-In Effect
• Troubleshooting AVX Plug-Ins
• Avid After Effects External Monitor Preview Plug-In (Windows Only)

Understanding AVX Plug-Ins

Third-party plug-in effects are compatible with the Avid Visual Extensions (AVX) standard.
AVX is a cross-platform software architecture designed to allow software effect modules to
be dynamically linked with a host application such as an Avid editing application.

Some of the effects that are supplied with your Avid editing application are AVX plug-in
effects, for example, the Illusion FX category of effects. The exact set of Avid-supplied AVX
plug-in effects varies depending on the model of your Avid editing application.
5 Working with Plug-In Effects

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

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

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

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

Support for AVX 1.x and AVX 2.0

Your Avid editing application supports AVX 1.x and AVX 2.0 plug-ins. AVX 2.0 supports
the advanced keyframe model and allows plug-in vendors to take advantage of 16-bit effects
processing.

AVX 2.0 plug-ins automatically use the advanced keyframe interface. You do not need to
promote them as you do with many other effects. Whether a particular AVX 2.0 effect
supports 16-bit processing is up to the plug-in vendor. For more information on 16-bit
effects processing, see “Using 16-Bit Processing Support for Rendered Effects” on page
139.

AVX 1.x plug-ins are compatible with this release but do not take advantage of the advanced
keyframe model or 16-bit processing.

Some vendors allow you to promote AVX 1.x plug-ins to an AVX 2.0 version. For more
information, see “Promoting AVX 1.x Plug-ins to AVX 2.0” on page 156.

In general, AVX plug-ins are resolution-independent and automatically scale to the

resolution of the clip. If an older AVX plug-in doesn’t scale correctly with HD resolutions,
please contact the plug-in vendor.

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 Freeing Memory Used by AVX 1.x Plug-ins

Freeing Memory Used by AVX 1.x Plug-ins

Each time you apply an AVX plug-in to a sequence, your Avid editing application keeps the
effect resident in memory. When you close the bin containing the sequence, the application
also closes the AVX plug-ins, freeing the memory. If you have applied many plug-ins and
you find your Avid editing application running out of memory, use the following procedure
to free the memory being used by the plug-ins.

To close all the AVX 1.x plug-ins:

1. Select Tools > Console.
2. Type the command closeallavxplugins and press Enter (Windows) or Return
(Macintosh).
The application closes all open AVX 1.x plug-ins. The AVX plug-ins automatically open
again as needed.

Installing AVX Plug-ins

Most AVX plug-ins have their own installation program that locates the correct AVX Plug-In
folder and installs the plug-ins automatically when you follow the installation instructions.
AVX plug-ins usually come complete with any necessary documentation.

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

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

To install AVX plug-ins manually:

1. Quit your Avid editing application.

c Do not add or remove plug-ins while your Avid editing application is running.

2. Copy the plug-in files from the software vendor’s folder to the corresponding AVX
Plug-Ins folder located on your Avid system.
t (Windows) AVX 2.0 plug-ins must be installed in the following folder:
C:\Program Files\Avid\Avid editing application\AVX2_Plug-Ins
t (Windows) The default location for AVX 1.x plug-ins is:
C:\Program Files\Avid\AVX_Plug-Ins
The AVX 1.x Plug-Ins folder might be in a different location on your system.

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t (Macintosh) The AVX_Plug-Ins folder is located within the Avid file structure:
Macintosh HD:Applications:Avid editing application:SupportingFiles:
AVX_Plug-Ins
(AVX 1.x plug-ins only) You must place AVX 1.x plug-ins directly in the corresponding
AVX_Plug-Ins folder. They cannot be inside another folder within this folder or
elsewhere on the Avid system. If they are, your Avid editing application does not
recognize them.
(Windows only) If the AVX 1.x AVX_Plug-Ins folder does not appear in the default
location and you do not know where the folder is located, you can use the Regedit
application that comes with your Windows system to locate the folder. For more
information, see “Locating the AVX 1.x Plug-Ins Folder (Windows Only)” on page 154.
3. Restart your Avid editing application.
4. Select Tools > Effect Palette.
For more information, see “Understanding the Effect Palette” in the Help.
The AVX plug-in effects appear in the Effect Palette, usually in their own category
under the name of the vendor.
(Windows only) If the plug-in effects do not appear in the Effect Palette after
installation, see “Troubleshooting AVX Plug-Ins” on page 159.

Locating the AVX 1.x Plug-Ins Folder

(Windows Only)

c This section applies only to AVX 1.x plug-ins. AVX 2.0 plug-ins folders are always
stored in the same location. For more information, see “Installing AVX Plug-ins” on
page 153.

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

C:\Program Files\Avid\AVX_Plug-Ins

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

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

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

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

To locate the AVX_Plug-Ins folder by using Regedit:

1. Click the Start button, and then click Run.
The Run dialog box opens.
2. Type regedit in the command line, and click OK.
The Registry Editor window opens.
3. In the left pane of the window, navigate to the following path:
HKEY_LOCAL_MACHINE\SOFTWARE\Avid Technology\AVX Plug-Ins
4. Click the AVX Plug-Ins folder in the left pane, and then check the entry for “Directory”
in the right pane.
The value of this entry is the path that contains the AVX_Plug-Ins folder. For example,
if the AVX_Plug-Ins folder is in its default location, the Directory entry is “C:\Program
Files\Avid.” If you navigate to C:\Program Files\Avid using My Computer or Windows
Explorer, you will find the AVX_Plug-Ins folder in that location.

HKEY_LOCAL_MACHINE\SOFTWARE\Avid Technology\AVX Plug-ins Directory entry. The path listed here is the
path that contains the AVX_Plug-ins folder

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c You must place AVX 1.x plug-ins directly in the AVX_Plug-Ins folder. They cannot be
inside another folder within this folder or elsewhere on the Avid system. If they are,
your Avid editing application does not recognize them.

Updating an AVX Plug-in to a New Version

This topic describes how to update an AVX 1.x plug-in with a newer AVX 1.x plug-in, and
how to update an AVX 2.0 plug-in with a newer AVX 2.0 plug-in. For information on
promoting an AVX 1.x plug-in to an AVX 2.0 version, see “Promoting AVX 1.x Plug-ins to
AVX 2.0” on page 156.

You can upgrade an AVX plug-in simply by uninstalling the old version of the plug-in and
installing the new version in your AVX2_Plug-Ins or AVX_Plug-Ins folder.

Once you have installed a new version of an AVX plug-in, your Avid editing application
upgrades existing effects in sequences to be compatible with the new version. The existing
parameter values for the effect appear in the Effect Editor or in the plug-in’s own user
interface.

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

c (AVX 1.x plug-ins only) Once a plug-in effect or transition has been upgraded, you
should not reinstall the older version of the plug-in. Your Avid editing application
cannot use an older version of a plug-in to process effects that have been created with a
newer version. Similarly, if you transfer projects between systems, an effect created
with a newer version of a plug-in does not work on a system that has an older version
installed.

n It may be possible to downgrade an AVX 2.0 plug-in but it depends on the vendor’s
implementation. See your plug-in documentation for details.

Promoting AVX 1.x Plug-ins to AVX 2.0

Some vendors allow you to promote AVX 1.x plug-ins to an AVX 2.0 version. In order to do
this you must have both versions of the plug-in installed on your system.

You can also promote all promotable and missing AVX1 plug-ins in a sequence to AVX2 in
a single operation. For more information, see “Promoting and Demoting Existing Effects in
Sequences” in the Help for your Avid editing application.

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 Assigning Multiple Tracks in Plug-in Effects

n Once you promote an effect to AVX 2.0 and save the effect in a bin, you cannot demote it
back to AVX 1.x. This is important if you are moving sequences and effects between different
Avid editing systems. If you will be moving sequences and effects between newer and older
Avid editing systems, you might want to keep the plug-in effect at the 1.x version.

To promote an AVX 1.x plug-in effect to AVX 2.0:

1. Ensure that both the 1.x and the 2.0 versions of the plug-in are installed on your system.
2. Open the sequence containing the 1.x plug-in that you want to promote.
3. Open the AVX 1.x plug-in in the effect editor.
If the plug-in is promotable, the Promote to Advanced Keyframes button is visible in the
Effect Editor.
4. Click the Promote to Advanced Keyframes button.
The Effect Editor changes to display the advanced keyframe interface.

n New parameters might not exactly match the old parameters, depending on how the vendor
implements the new version of the plug-in.

Assigning Multiple Tracks in Plug-in Effects

Some plug-in effects take an arbitrary number of tracks as input. Your Avid editing
application allows you to select the number of video inputs from the AVX Optional Inputs
dialog box.

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

To assign multiple tracks to a plug-in effect by using the AVX Optional Inputs dialog
box:
1. Drag the plug-in icon to the Timeline.
If the plug-in supports a variable number of input tracks, the AVX Optional Inputs
dialog box opens.
2. Click the Number of Tracks menu, select the number of video inputs, and then click OK.
For more information on nested effects, see “Nesting Effects” on page 246.

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Using AVX Plug-In Controls

AVX plug-ins use a variety of interfaces that give you control over the effects. Plug-in
vendors have the following styles for controls:
• Standard buttons and parameter controls.
For AVX 2.0 plug-ins, this includes advanced keyframe model buttons and parameter
controls.
The Effect Editor for a specific plug-in might include only Avid standard buttons and
parameter controls, or it might include additional custom controls presented in the
Effect Editor using an Avid-like interface.
• Custom dialog box only
You typically access this dialog box by clicking the Other Options button or another
custom button in the Effect Editor.
• Direct manipulation controls in the Effect Preview monitor
In this case, when you click the Outline/Path button in the Effect Editor, custom controls
appear over the image in the monitor.

For more information on how the plug-in vendor implements their interface, see the plug-in
vendor’s documentation.

Some plug-in effects allow you to adjust an image by using controls that appear as overlays,
such as handles and wire frames, in the Effect Preview monitor. You access these overlays
by clicking the Outline/Path button at the bottom of the Effect Editor. In some cases, you can
then access further controls by clicking buttons on the right side of the Effect Editor that are
similar to the buttons available in standard Avid 3D effects.

The Angle control is an Effect Editor parameter that is not available in standard Avid effects
but appears in some AVX plug-in effects. The Angle allows you to manipulate an effect’s
angle or direction by dragging within a graphic representation of a circle to alter the angle or
direction value. Values can be positive or negative and are not limited to a single
360º rotation.

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 Using the Client Monitor to Preview the Plug-In Effect

Using the Client Monitor to Preview the

Plug-In Effect
Some plug-in vendors provide the ability to preview the effect in the client monitor. This
allows you to preview how the effect will look in your Avid editing application while you are
working on the effect in the plug-in interface. The effect does not play smoothly but you can
view the results frame by frame.

Depending on the vendor’s implementation this might apply to HD as well as SD projects.

See your plug-in documentation for information on whether the option is supported and any
additional information on configuring the plug-in to work with the client monitor.

n The AVX Plug-ins custom interface cannot display frames on the client monitor if the
Capture tool is open.

Troubleshooting AVX Plug-Ins

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

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

Plug-In Does Not Appear in the Effect Palette

AVX plug-ins have a plug-in icon in the Effect Palette and in the Timeline. If the plug-in
icon does not appear in the Effect Palette after installation, the plug-in might be in the wrong
folder. For more information, see “Locating the AVX 1.x Plug-Ins Folder (Windows Only)”
on page 154 and “Installing AVX Plug-ins” on page 153.

Plug-In Does Not Load

AVX plug-ins might not load correctly for a variety of reasons. In particular, even though it
is located correctly in the AVX2_Plug-Ins or AVX_Plug-Ins folder, a plug-in might require
supporting files — for example, .dll files — that are missing from your system or are
installed in the wrong location.

Also check the Console monitor for any messages about why the plug-in did not load
correctly.

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

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Your Avid Editing Application Cannot Render the Plug-In

If your Avid editing application cannot render the plug-in, the plug-in might have expired.

If you have problems rendering a plug-in effect, check the Console window. Some plug-ins
write more information about the failure to the Console window. Also, some plug-ins might
report the problem as a message in the Bin or in the Edit monitor.

Blank Effect Icons in the Timeline

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

To identify the plug-in that is missing or misplaced, open the Console window (select Tools
> Console), and look for the message “Can’t find effect.” The message identifies the plug-in
that cannot be located. You can then reinstall the plug-in in your AVX2_Plug-Ins or
AVX_Plug-Ins folder and restart your Avid editing application.

Missing Effect Categories in the Effect Palette

If plug-in effect categories are not visible in the Effect Palette, either they are not installed
correctly or you might have an incorrect version of the AVX Library. Check the Console
window for a message that states that AVX was disabled.
• If AVX was not disabled, quit your Avid editing application, reinstall the plug-ins, and
restart the application.
• If AVX was disabled, contact Avid Technical Support to determine whether you need a
new version of the AVXLibrary.
To obtain Technical Support, visit the online Knowledge Base at www.avid.com.

The Avid System Is Running Out of Free Memory

Each time you apply an AVX plug-in to a sequence, your Avid editing application keeps the
effect resident in memory. When you close the bin containing the sequence, the application
also closes the AVX plug-ins, freeing the memory. To close the AVX plug-ins, see “Freeing
Memory Used by AVX 1.x Plug-ins” on page 153.

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

Avid After Effects External Monitor

Preview Plug-In (Windows Only)
Some Avid editing applications allow you to use the Avid After Effects EMP (External
Monitor Preview) plug-in with your Avid input/output hardware to view an Adobe After
Effects composition on an external NTSC or PAL monitor. This allows you to preview how
the composition will look in your Avid editing application while you are working on the
composition in After Effects. The Avid After Effect EMP plug-in is a Windows-only feature.

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

Install the plug-in on the system on which you run After Effects. In order to use the plug-in,
Avid input/output hardware must be connected to the system. For information on connecting
and configuring the hardware, see the installation poster and instructions that shipped with
the hardware.

n You can run After Effects on the same system as your Avid editing application. While you run
After Effects, After Effects uses the Avid input/output hardware. When you switch to your
Avid editing application, your application takes control of the Avid input/output hardware.

You install the Avid After Effects EMP plug-in from your Avid editing application
CD-ROM as you would install one of the auxiliary applications such as FilmScribe or
MediaLog™.

To install the Avid After Effects EMP plug-in:

1. On the system that runs After Effects, quit all Windows applications.
2. Insert the Avid editing application CD-ROM into the CD-ROM drive.
If the installer does not automatically start after you insert the application CD-ROM, do
the following:
a. Double-click the My Computer icon.
b. Double click the CD-ROM icon.
c. Double-click Launch.exe to start the Installer.
3. In the main installer window, click Install Individual Products.

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4. Click Avid After Effects EMP.

5. Follow the instructions on the screen.
The installer automatically searches for After Effects on your system. If you have
multiple versions of After Effects or if you store After Effects in an unusual location,
use the Browse button to select the correct version.

n The installer creates a Plugin/Avid folder to store the Avid After Effects EMP plug-in. Do not
change the name of this folder.

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

To enable the Avid After Effects EMP plug-in:
1. Start the After Effects application.
2. Select Edit > Preferences > Avid External Monitor Settings.
3. Select one of the following options:

Option Description

NTSC Use if you have an external NTSC monitor connected to your system.

PAL Use if you are using a PAL monitor.

Disable Use if you want to want to disable the plug-in. This might be useful if
you need to free up system resources when you edit a complex
composition.

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

Tips for Using the Avid After Effects EMP Plug-in (Windows Only)
You use the Avid After Effects EMP plug-in mainly to preview colors, objects, and
anti-aliased text on an NTSC or PAL monitor without having to export the composition to
your Avid editing application.

The Avid After Effect EMP plug-in accurately converts colors produced in After Effects to
color values that can be displayed on an NTSC or PAL monitor. It converts RGB 4:4:4
values to the YUV 4:2:2 values used for video output.

Playback Motion

Playback motion isn’t as smooth on the external monitor because After Effects displays full
progressive frames rather than interlaced fields. In order to view the interlaced video, you
must render the composition with the Field Render option active and then import the
composition into your Avid editing application.

Composition Settings

In order to view the identical image that you will see in your Avid editing application, select
one of the following resolutions for your After Effects composition:
• NTSC D1
• NTSC DV
• PAL D1/DV

If you use another resolution, After Effects resizes the image when it displays it on the
external monitor. This might cause some softening of the image. Color representation is
still correct, but the display quality differs from the image you see in your
Avid editing application.

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6 Creating and Customizing Motion
Effects

This chapter describes how to create and customize effects that alter motion in a clip either
by changing a clip’s speed or by creating a Strobe Motion effect.

This chapter contains the following main topics:

• Understanding Motion Effects
• Creating Traditional Motion Effects
• Playing and Rendering Motion Effects
• Considerations for Motion Effects in Progressive Projects
• Understanding the Timewarp Effect and FluidMotion
• Creating a Timewarp Effect
• Promoting a Traditional Motion Effect to Timewarp
• Working with the Motion Effect Editor
• Timewarp Effect Examples
• Working with FluidMotion Timewarp Effects
• Timewarp Preset Effects
• FluidFilm Preset Effects
6 Creating and Customizing Motion Effects

Understanding Motion Effects

Motion effects can be divided into two main categories, traditional motion effects and
Timewarp effects.

Traditional Motion Effects

You create a traditional Freeze Frame, Variable Speed, or Strobe Motion effect by generating
a new clip with specific motion characteristics from an original clip that you open in the
Source monitor. You then edit the motion effect clip into your sequence.

For example, if you begin with a 3-second clip and create a Variable Speed motion effect
from that clip with the speed set to 50%, the result is a new 6-second clip in which
movement takes place at half the speed of the original clip.

The advantage of traditional motion effects is that they are simple to create. The
disadvantage of traditional motion effects is that they limit flexibility when you are editing
and they allow only one speed for the duration of the clip. You cannot change the speed of a
Variable Speed effect without creating a new motion effect clip, and you cannot achieve an
effect where a clip moves slowly for part of its duration and then suddenly speeds up.

For more information, see “Creating Traditional Motion Effects” on page 167.

Timewarp Effects

You create Timewarp effects by applying the Timewarp effect from the Effect Palette to a
clip that you have already edited into a sequence. You modify the effect by using the Motion
Effect Editor. You can also promote a traditional motion effect to a Timewarp effect once
you have edited it into the sequence.

With the Timewarp effect, you can use keyframes to make multiple changes to the speed and
position of any image in the effect. You can employ several different rates of speed,
including reverse speed, in the same clip. You can also freely edit the effect, changing your
speed settings as often as you need until you achieve the look you want.

In a Timewarp effect, the variations in speed are independent of the length of the clip in the
sequence, so you can trim the clip without affecting your speed adjustments.

For more detailed information on Timewarp effects and how they differ from traditional
motion effects, see “Understanding the Timewarp Effect and FluidMotion” on page 178.

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Creating Traditional Motion Effects

Your Avid editing application creates a traditional motion effect by creating a new clip in a
bin. You then use standard editing techniques to edit the clip into your sequence.

You can create the following kinds of traditional motion effects:

• Freeze Frame
For more information, see “Creating a Traditional Freeze Frame Effect” on page 167
and “Creating a Rolling Clip That Freezes” on page 169.
• Variable Speed
For more information, see “Creating a Traditional Variable Speed Effect” on page 169
and “Using the Fit to Fill Button to Create a Variable Speed Effect” on page 172.
• Strobe Motion
For more information, see “Creating a Traditional Strobe Motion Effect” on page 173.

You can also combine a variable speed effect with a strobe motion effect. For more
information, see “Creating a Traditional Variable Speed Effect” on page 169.

Some of the options you can choose from when you create traditional motion effects, for
example the rendering options, affect the quality of the finished effect or its playback
capabilities. It is important to understand these choices fully. For more information, see
“Playing and Rendering Motion Effects” on page 175.

Creating a Traditional Freeze Frame Effect

A Freeze Frame effect is a still image, based on a selected frame from a clip, that continues
to display for the duration that you select. When combined with the original clip, the footage
plays and then “freezes” and holds on the frame that you specified.

As an alternative to creating a traditional freeze frame as described in the following

procedure, you can use the Timewarp effect to freeze a single frame or create a rolling clip
that freezes. See “Speed Graph Example: Creating a Rolling Clip That Freezes” on page
200.

To create a traditional Freeze Frame effect:

1. Load a clip into the Source monitor.
For more information, see “Creating and Editing Sequences: Basics” in the Help.
2. Cue the clip to the frame that you want to freeze.

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3. Select Clip > Freeze Frame.

A submenu appears.
4. (Option) If you are using two-field or uncompressed media, select Two Field Freeze
Frames, and then select one of the following:

Option Description

Using Duplicated Your Avid editing application uses a single field to create the effect.
Field While this reduces the vertical resolution of the image by one-half, it is
often the best option if the source footage contains rapid motion.

Using Both Fields Your Avid editing application uses both fields to create the effect. This
option is especially useful when there is little or no motion in the footage
since it preserves all vertical resolution.

Using Interpolated Your Avid editing application creates a second field for the effect by
Field combining scan line pairs from the first field in the original media. This
might result in a slightly softer look to the freeze frame.

n For more information on these options, see “Motion Effect: Freeze Frame” on page 597.

The selected option becomes the default until you select another option.
5. (Option) If you made a Two Field Freeze Frames choice in step 4, select Clip > Freeze
Frame again.
6. Select a duration:
t Select a preconfigured duration from the list.
t Select Other and type a custom duration in the dialog box; then click OK to enter
the new duration.
A dialog box opens, prompting you to select a target drive for the freeze frame media.
7. Click the Drive menu, select a drive, and then click OK.
A new clip appears in the Source monitor and in the current bin preceded by a Motion
Effect icon. The new clip has the original clip name followed by the letters FF.

Motion Effect FF (Freeze Frame) clip name suffix

icon

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 Creating Traditional Motion Effects

Creating a Rolling Clip That Freezes

One common use for freeze frames is to create a segment that plays normally and then
freezes, either to superimpose text information or to add emphasis to the end of a sequence
before fading.

The procedure in this topic uses a traditional Freeze Frame effect. For an example using the
Timewarp effect, see “Speed Graph Example: Creating a Rolling Clip That Freezes” on page
200.

To create a rolling clip that freezes:

1. Edit the clip into the sequence.
2. Mark an IN point in the sequence at the frame where you want the freeze frame to occur.
3. Click the Match Frame button to load and cue the source clip to the matching frame.
For more information on matchframing, see “Using Match Frame” in the Help.
4. Create the Freeze Frame effect from the source footage as described in “Creating a
Traditional Freeze Frame Effect” on page 167.
5. Click the Extract/Splice-in button or the Lift/Overwrite button to edit the freeze frame
into the sequence at the previously marked IN point.
When you play the sequence, the footage plays full-motion and then freezes at the
selected frame.

Creating a Traditional Variable Speed Effect

Variable Speed effects involve changing the rate of playback to achieve fast-motion or
slow-motion effects. Your Avid editing application creates slow-motion effects by
duplicating frames in the original media. It creates fast-motion effects by eliminating frames
from the original media.

For information on using the Timewarp effect to create a Variable Speed effect, see
“Timewarp Speed Graph Reference” on page 194 and “Position Graph Example: Reverse
Motion” on page 207.

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To create a Variable Speed effect:

1. (Option) If you require a fixed duration for the clip based on a segment in the sequence,
mark the segment in the Timeline with IN and OUT points.

n You can use the Fit to Fill button, on the Edit tab of the Command palette, to create a motion
effect of fixed duration. See “Using the Fit to Fill Button to Create a Variable Speed Effect”
on page 172.

2. (Option) If you want to use only part of the source clip for the motion effect, mark IN
points and OUT points in the Source monitor.
3. Click in the Source monitor to activate it.

n If you do not activate the Source monitor, clicking the Motion Effect button does not open the
Motion Effect dialog box. If the Record monitor is active, clicking the Motion Effect button
opens the Motion Effect Editor for Timewarp effects.

4. Do the following:
a. Select Tools > Command Palette.
b. Click the FX tab.
c. Select Active Palette.
d. On the Command palette, click the Motion Effect button.
The Motion Effect dialog box opens.

n If you map the Motion Effect button from the Command palette to the button palettes on the
interface or to the keyboard, it opens the Motion Effect Editor for Timewarp effects. You
must use the Motion Effect button on the Command palette (with Active Palette selected) to
create traditional Variable Speed or Strobe Motion effects. For information on using the
Command palette, see “The Command Palette” in the Help.

5. Select the Variable Speed option.

6. Specify the play speed for the Variable Speed motion effect by doing one of the
following:
t Type a number of frames in the Frames text box.
t Type a frame rate in the FPS text box. To indicate reverse motion, enter a negative
number for the play rate.

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 Creating Traditional Motion Effects

t Type a percentage of the current play rate in the % Speed text box. To indicate
reverse motion, enter a negative number for the percentage.
t Select the Fit To Fill option to automatically set the variable speed parameters so
that the duration of the motion effect will match the IN to OUT duration marked in
the sequence.
When one of these is set, all values change to reflect the specified play rate.
7. (Option) If you are using two-field or uncompressed media, select Two Field Freeze
Frames, and then select one of the following:

Option Description

Duplicated Field Your Avid editing application creates the effect using one field.

Both Fields Your Avid editing application creates the effect using one field.

Interpolated Field Your Avid editing application creates a second field for the effect by
combining scan line pairs from the first field in the original media.

VTR-Style Your Avid editing application creates a second field for the effect by
shifting selected video fields of the original media by a full scan line.
This technique is similar to that used by high-quality professional
video decks when playing footage at less than normal speed.

n For more information on these options, see “Motion Effect: Variable Speed and Strobe
Motion” on page 597.

8. (Option) If you are using two-field media, and a specific motion effect type is set as the
Motion Effects Render Using option in the active Render setting (in the Settings list),
your Avid editing application automatically selects that type in the Motion Effect dialog
box, makes all other types unavailable, and displays the Ignore Render Setting check
box.If you want to override the Render setting, select the Ignore Render Setting check
box, and then select one of the four options described in step 7.
9. Complete the effect by doing one of the following:
t Click Create to create the new clip and close the dialog box. Another dialog box
asks you to select the target bin for the effect.
t Click Create and Render to render the clip — creating new media files — and close
the dialog box. Another dialog box asks you to select the target bin for the effect.

n You must render a reverse motion Variable Speed effect in order to play it back in real time.
If you do not render the effect at the time you create it, the effect plays back as filler (black
image) until it is rendered.

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6 Creating and Customizing Motion Effects

A new clip appears in the Source monitor and in the current bin. The clip has the
original clip name followed by the frame rate in parentheses. You can then edit this clip
into your sequence as you would any other clip.

Motion Effect Variable Speed clip name suffix

icon

Using the Fit to Fill Button to Create a Variable Speed Effect

You can create a Variable Speed effect that is automatically sized to fit a marked IN to OUT
duration in a sequence by clicking the Fit to Fill button.

The Fit to Fill button, on the Edit tab of the Command palette, performs an overwrite edit
and uses a Variable Speed motion effect to fill the marked duration. When you click the Fit
to Fill button, your Avid editing application automatically selects variable speed parameters
so that the duration of the motion effect matches the IN to OUT duration marked in the
Timeline. The application then overwrites the motion effect into the sequence.

The motion effect you create with the Fit to Fill button uses the parameters you set in the
Render Setting and Media Creation dialog boxes. If the Render preference is set to Original
Preference, the new motion effect is rendered with duplicated fields.

n To create an unrendered motion effect, press the Alt key (Windows) or the Option key
(Macintosh) when you click the Fit to Fill button.

For more information, see the following topics in the Help:

• “The Command Palette”
• “Performing an Overwrite Edit”
• “Media Creation Settings”

For information about Render settings, see “Creating and Using Render Settings” on page
134.

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 Creating Traditional Motion Effects

Creating a Traditional Strobe Motion Effect

Strobe motion results in a stuttering effect during playback of a clip. You determine the
degree of the “stutter” or strobe when you create the effect.

n You can also combine the Strobe Motion effect with the Variable Speed effect. For more
information on the Variable Speed effect, see “Creating a Traditional Variable Speed Effect”
on page 169.

The procedure in this section uses a traditional motion effect. For a procedure using the
Timewarp effect, see “Strobe Motion Using the Timewarp Effect” on page 205.

To create a Strobe Motion effect:

1. (Option) If you want to use only part of the source clip for the effect, mark IN and OUT
points in the Source monitor.
2. Click in the Source monitor to activate it.

n If you do not activate the Source monitor, clicking the Motion Effect button does not open the
Motion Effect dialog box. If the Record monitor is active, clicking the Motion Effect button
opens the Motion Effect Editor for Timewarp effects.

3. Do the following:
a. Select Tools > Command Palette.
b. Click the FX tab.
c. Select Active Palette.
d. On the Command palette, click the Motion Effect button.
The Motion Effect dialog box opens.

n The Motion Effect button on the Tool palette and in the Timeline top toolbar opens the
Motion Effect Editor for Timewarp effects. If you map the Motion Effect button from the
Command palette to another button, it opens the Motion Effect Editor. You must use the
Motion Effect button on the Command palette to create traditional Variable Speed or Strobe
Motion effects.

4. Select the Strobe Motion option.

5. Specify the update rate in frames for the Strobe Motion effect. For example, a rate of 5
causes every fifth frame to be held for five frames before updating in the Strobe
Motion effect.

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6. (Option) If you are using two-field or uncompressed media, select Two Field Freeze
Frames, and then select one of the following:

Option Description

Duplicated Field Your Avid editing application creates the effect using one field.

Both Fields Your Avid editing application creates the effect using one field.

Interpolated Field Your Avid editing application creates a second field for the effect by
combining scan line pairs from the first field in the original media.

VTR-Style Your Avid editing application creates a second field for the effect by
shifting selected video fields of the original media by a full scan line.
This technique is similar to that used by high-quality professional
video decks when playing footage at less than normal speed.

n For more information on these options, see “Motion Effect: Variable Speed and Strobe
Motion” on page 597.

7. (Option) If you are using two-field media, and a specific motion effect type is set as the
Motion Effects Render Using option in the active Render setting (in the Settings list),
your Avid editing application automatically selects that type in the Motion Effect dialog
box, makes all other types unavailable, and displays the Ignore Render Setting check
box.
8. Complete the effect by doing one of the following:
t Click Create to create the new clip and close the dialog box. Another dialog box
asks you to select the target bin for the effect.
t Click Create and Render to render the clip — creating new media files — and close
the dialog box. Another dialog box asks you to select the target bin for the effect.

n You must render a Strobe Motion effect in order to play it back in real time. If you do not
render the effect at the time you create it, the effect plays back as filler (black image) until it
is rendered.

A new clip appears in the Source monitor and in the current bin preceded by a Motion
Effect icon. The new clip has the original clip name followed by the word Strobe and the
number of update frames in parentheses.

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 Playing and Rendering Motion Effects

Motion Effect Strobe Motion clip name suffix

icon

Playing and Rendering Motion Effects

This section provides information on playback capabilities for traditional motion effects, and
on your options for rendering and rerendering motion effects.

Playback Capabilities for Traditional Motion Effects

Some motion effect clips play in real time when edited into a sequence; others must be
rendered before they can be played.

The normal playback capabilities for traditional motion effects are as follows:

Effect Type Description

Freeze Frame Clips play in real time, whatever their type or duration. No icon
appears on a Freeze Frame clip in the Timeline.

Variable Speed, forward motion Clips play in real time, and appear with a motion effect icon and a
green dot in the Timeline. The motion effect icon indicates the
type of the effect.

Variable Speed, reverse motion Clips cannot play in real time and play as filler (black image) until
rendered. Clips of this type appear with a motion effect icon and a
blue dot in the Timeline.

Strobe Motion or Strobe Motion Clips cannot play in real time and play as filler (black image) until
combined with Variable Speed rendered. Clips of this type appear with a motion effect icon and a
blue dot in the Timeline.

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Understanding When to Render or Rerender Motion Effects

In certain situations, you might need to render or rerender existing traditional motion effects.
To do this, follow one of the procedures described in “Basics of Effects Rendering” in the
Help.

The following is a list of the circumstances in which you might need to render or rerender
motion effects.
• You need to render any motion effect that requires rendering for successful playback if
you did not render that effect at the time you created it. This kind of effect appears with
a blue dot in the Timeline until it is rendered.
• You might need to render a motion effect so that it plays successfully in a complex
sequence even if that effect does not normally require rendering. (Motion effects that
display a green dot in the Timeline might not play back in real time under some
circumstances.)
For more information on overall real-time playback capabilities, see “Real-Time
Playback of Video Effects” in the Help.
• You might need to render or rerender motion effects when you edit them into a sequence
and perform trims or apply transition effects. If an effect that was previously rendered
(no colored dot in the Timeline) or that previously played in real time (green dot in the
Timeline) changes in such a way that it requires rendering, it appears with a blue dot in
the Timeline. With the Partial Render feature, only those parts of the Motion Effect clip
that have been changed by your editing require rendering. Using the Render Ranges
command in the Timeline Fast menu, you can see which parts of the motion effect
require rendering. For more information, see “Using Partial Render” in the Help.
• You need to rerender motion effects when you recapture media at a different resolution.
For example, if you offline a sequence using a single-field resolution and then recapture
at a two-field resolution, you need to rerender all motion effects before they can play
back correctly. In this circumstance, it is important to manage the quality of the finished
effects using the most appropriate Render settings. For more information, see
“Controlling Motion Effect Type When Rendering or Rerendering Motion Effects” on
page 177 and “Creating and Using Render Settings” on page 134.

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Controlling Motion Effect Type When Rendering or Rerendering

Motion Effects
Information about the type and rendering status of motion effects appears in the Timeline in
the same form as that used for other effects. Each motion effect type has a distinct effect
icon:

Icon Description

Duplicated Field Motion Effect

Both Fields Motion Effect

Interpolated Field Motion Effect

VTR-Style Motion Effect

Color-coded dots appear on Motion Effect icons to indicate whether they require rendering.
For more information, see “Understanding Effect Icon Color Coding” on page 39.

The following illustration shows several examples of Motion Effect icons in the Timeline.

Rendered VTR-style Unrendered Interpolated Unrendered Interpolated Field

motion effect (no Field motion effect (green motion effect (blue dot —
dot) dot — plays in real time) plays as black until rendered)

ExpertRender correctly identifies motion effects that require rendering.

The motion effect type that your Avid editing application uses when it renders a motion
effect depends on the setting for the Motion Effects Render Using option or the Timewarp
Effects Render Using option in the active Render setting. If the option is set to Original
Preference (the default setting), your application makes no change to the type of motion
effects when it renders them. If the option is set to a specific motion effect type, the
application changes all motion effects to that type when it renders them.

If you are rendering motion effects after recapturing at a new resolution, or if you have
another reason for wanting to change the type of all motion effects, you should make sure
you have set the type you want in the active Render setting. Changes to motion effect types
are permanent changes to both the Motion Effect clip and its associated media, and you can
return to the old motion effect type only by rerendering.

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Using the same type for all motion effects is particularly important for controlling the look
of motion effects when you are working with two-field media. For example, you might
offline a project using single-field media and the Duplicated Field type for motion effects.
Later, you might recapture the media at a two-field resolution, set the Motion Effects Render
Using option in the active Render setting to VTR-Style, and submit the whole sequence for
rendering. By doing this, you create new motion effects that are higher quality and that can
play with the two-field media.

If you want to ignore the motion effect type set in the active Render setting for an individual
motion effect or for a group of motion effects selected for rendering, you can do so using the
Ignore Render Setting check box in the Motion Effect Editor. For more information, see
“Motion Effect Editor Reference” on page 184.

Considerations for Motion Effects in Progressive Projects

Motion effects created in progressive projects behave somewhat differently from the same
effects created in interlaced projects. You should be aware of the following issues when you
are working with motion effects in progressive projects.
• Your Avid editing application always uses complete progressive frames to create motion
effects since there are no fields in progressive material. There are no two-field rendering
options available in the Motion Effect dialog box when you are working in a progressive
project.
• The application creates motion effects by duplicating or eliminating frames to speed up
or slow down the motion. Since progressive motion effects use a relatively small number
of full frames per second (for example, 24 or 25), if you use speed ratios that are not
integer values, you might notice minor stuttering due to unusual patterns of duplication.
Select simple ratios such as 2:1 (50%), 3:1 (33%), or 4:1 (25%).
• Progressive motion effects might look slightly different from interlaced motion effects
because of the way the application handles progressive material. For more information,
see “Working with Effects in HD and in Progressive Frame Projects” on page 44.

Understanding the Timewarp Effect

and FluidMotion
The Timewarp effect provides a powerful and flexible alternative to traditional motion
effects for modifying the motion in a segment. You apply Timewarp effects to segments
edited into a sequence. You can then use keyframes and other controls available in the
Motion Effect Editor to control the speed and the position of any image in the effect. For
example, you can create a sequence that begins and ends with specific images, and in which
the speed of motion changes an arbitrary number of times between the first image and the
last.

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 Understanding the Timewarp Effect and FluidMotion

For information on creating and modifying Timewarp effects, see “Creating a Timewarp
Effect” on page 181, “Promoting a Traditional Motion Effect to Timewarp” on page 182,
and “Working with the Motion Effect Editor” on page 183.

FluidMotion is a method of interpolating motion in a Timewarp effect that results in

extremely smooth motion. The tools available in FluidMotion Edit allow you to refine the
results of rendering effects with FluidMotion. For more information, see “Working with
FluidMotion Timewarp Effects” on page 209.

Differences Between the Timewarp Effect and

Traditional Motion Effects
There are several important differences between the Timewarp effect and traditional motion
effects:
• Method of application: You apply a Timewarp effect to a segment in a sequence, in just
the same way that you apply any other effect from the Effect Palette. If you want to
switch to a different Timewarp effect, you simply replace the effect. With traditional
effects, you must load a source clip, create a motion effect clip from that source clip, and
then edit the motion effect into the sequence. If you want to change the speed, you must
go back to the original clip, make a new motion effect clip, and then cut the new effect
clip into the sequence.
• Clip duration: With traditional motion effects, if you create an effect at 50-percent
speed, the clip becomes twice as long. With the Timewarp effect, the duration of the
segment in the sequence does not change. You can enter Trim mode directly from the
Motion Effect Editor to make the segment longer or shorter.
• Speed display in the Timeline: Traditional motion effects display the effect speed in
parentheses beside the effect icon in the Timeline. Because the speed in a Timewarp
effect is not fixed, a clip with a Timewarp effect does not display the speed.

Understanding Speed and Position Controls for the Timewarp Effect

The Timewarp effect provides two ways to control motion: speed and position. You display
the Speed graph and the Position graph in the Motion Effect Editor.

Of the two effect controls, Speed more closely resembles traditional motion effects. You
determine how fast you want the clip to play and change the speed accordingly. The Motion
Effect Editor displays the speed of the source (input speed) at output time in the Speed
graph. You customize the effect by using the Speed graph to add keyframes at specific times
and then setting the speed of the effect at that time. For more information, see “Timewarp
Speed Graph Reference” on page 194.

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Position maps input (source) time to output (effect) time. The Motion Effect Editor displays
input time (vertical axis) over output time (horizontal axis) in the Position graph. You use the
Position graph if you need a specific frame in the source to be at a specific frame in the
effect. For example, in a sports clip, you might want the clip to begin with the striker kicking
the ball and end with the goalie catching the ball. You can position everything in between for
effect, but you keep these two keyframes fixed. For more information, see “Timewarp
Position Graph Reference” on page 197.

The Motion Effect Editor works with one control graph at a time. You can work with either
the Speed graph or the Position graph but not both at once. Further, the adjustments you
make with one control graph do not alter adjustments made on the other control graph.
Activate the graph with which you want to work by selecting it from the Edit Graph menu.
See “Displaying and Activating the Speed Graph and Position Graph in the
Motion Effect Editor” on page 191.

n When you render a Timewarp effect, your Avid editing application applies only the
information from the active graph.

Your Avid editing application stores the keyframe information for both control graphs and
maintains the two sets of keyframe information separately. For example, suppose you make
adjustments using the Speed graph, switch to working with the Position graph, and then
change back to the Speed graph. The application displays and applies all the keyframe
information you initially created using the Speed graph. It does not show what you have
done with the Position graph but does save the Position graph information so you can return
to it if you choose.

While you adjust the active graph, the Motion Effect Editor represents changes in the
inactive graph as well. This gives you a visual check in the inactive graph of your
modifications to the active graph. You might find this useful, especially when working with
the Position graph, to give you an idea of how your position alterations affect the speed of
the effect.

Understanding Keyframe Interpolation Options for the

Timewarp Effect
The way the Timewarp effect changes speed or position in a clip is governed by which
keyframe interpolation option you select. Keyframe interpolation refers to the method by
which the application determines the rate of change and the relative smoothness of change at
keyframes. For example, you can create an effect in which all changes occur abruptly, or you
can choose to smooth out all changes. For a full explanation of interpolation options, see
“Controlling Parameter Changes at Keyframes” on page 116.

You select an interpolation option from the Motion Effect Editor Fast menu.

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Rendering Timewarp Effects

The rendering options for Timewarp effects display different playback characteristics.
Duplicated Field, Both Fields, Interpolated Field, and VTR-Style are familiar from other
Avid effects. Blended Interpolated, Blended VTR, and FluidMotion are additional rendering
options for the Timewarp effect. For more information, see “Motion Effect Editor
Reference” on page 184.

The Blended Interpolated rendering option takes the quality of the Interpolated Field option
and combines it with frame blending. In the same way, the Blended VTR rendering option
first applies the VTR-Style rendering option and then applies frame blending.

The FluidMotion option uses an interpolation algorithm that creates intermediate images by
morphing the motion across the bracketing images. This results in extremely smooth motion.
However, it can also cause artifacts (distorted areas) to appear when objects move in front of
or behind other objects, move significantly from one frame to the next, or move into the
image from outside the frame. FluidMotion Edit provides tools for correcting artifacts. See
“Working with FluidMotion Timewarp Effects” on page 209.

Rendering time for a Timewarp effect varies considerably, depending on which rendering
option you select. The rendering options are ranked in the following list by length of
rendering time, from shortest to longest:
• Duplicated Field
• Both Fields
• Interpolated Field and VTR-Style (approximately the same)
• Blended Interpolated and Blended VTR (approximately the same)
• FluidMotion Draft
• FluidMotion

n To save time while rendering the Timewarp effect, select one of the other rendering options
to rough out your sequence and use FluidMotion only when you are satisfied with the overall
sequence.

Creating a Timewarp Effect

You create a Timewarp effect by dragging the Timewarp effect icon from the Effect Palette.

You can also promote a traditional motion effect to a Timewarp effect. For more
information, see “Promoting a Traditional Motion Effect to Timewarp” on page 182.

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Click to promote a
traditional motion effect
to a Timewarp effect.

Speed information from the

traditional motion effect

Duration and strobe

information from the
traditional motion effect

To apply a Timewarp effect from the Effect Palette:

1. Create a sequence in the Record monitor by using the standard Avid editing procedures.
For information about creating a sequence, see “Creating and Editing Sequences:
Basics” in the Help.
2. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
3. In the Effect Palette, click the Timewarp Effect category.
4. Click the Timewarp Effect icon, and drag it to the clip in the Timeline.
The Timewarp Effect icon appears in the Timeline.

n If you apply the Timewarp effect as part of a nested effect, it must be the outermost effect.

Promoting a Traditional Motion Effect to Timewarp

You can promote a traditional motion effect to the Timewarp effect by using the Promote
button in the Motion Effect Editor. The Promote button appears in the Motion Effect Editor
only when you have the position indicator on a traditional motion effect in the Timeline.

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 Working with the Motion Effect Editor

You can also promote all traditional motion effects in a sequence to Timewarp effects with a
single operation. For more information, see “Promoting and Demoting Existing Effects in
Sequences” in the Help for your Avid editing application.

To promote a traditional motion effect to a Timewarp effect:

1. Move the position indicator to the traditional motion effect in the Timeline.
2. Click the Effect Mode button or the Motion Effect button.
For more information, see “Working with the Motion Effect Editor” on page 183.
The Motion Effect Editor opens.
The Promote button appears in the Motion Effect Editor. The Speed, Strobe and
Duration values for the motion effect appear in the appropriate text boxes in the Motion
Effect Editor.
3. In the Motion Effect Editor, click the Promote button.
The Timewarp icon appears in the Timeline. The Motion Effect Editor uses the duration
and speed information from the traditional motion effect to create a Timewarp effect.

n Strobe motion information does not carry over to the Timewarp effect.

The name of the clip in the Timeline does not change. Your Avid editing application
creates traditional motion effect clips with speed and strobe information in parentheses
following the name. For example, a traditional motion effect clip named Turbocharge
(15FPS) (Strobe: 5) is a half-speed effect with a strobe every five frames. After you
promote the effect to a Timewarp effect, the name remains the same. This can be
confusing if you rely on the information in parentheses to accurately reflect the effect’s
parameters.

n Once you promote the effect, you might not be able to load or use the sequence on an older
system. Before promoting any effect, create a copy of the original sequence.

Working with the Motion Effect Editor

You customize a Timewarp effect by using the Motion Effect Editor.

You do not have to be in Effect mode to use the Motion Effect Editor, and you do not have to
close the Motion Effect Editor to use other modes. You can, for example, use the Motion
Effect Editor while in Trim mode.

n You cannot create a traditional motion effect with the Motion Effect Editor open. To create a
traditional motion effect, close the Motion Effect Editor and follow the procedure in
“Creating Traditional Motion Effects” on page 167.

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Opening the Motion Effect Editor

To open the Motion Effect Editor:
t Click the Motion Effect button.
The Motion Effect Editor opens.

n The Motion Effect button appears on the Tool palette and in the Timeline top toolbar. You
can also map the Motion Effect button from the Command palette to another button or to the
keyboard. For more information, see the following topics in the Help: “Using the Tool
Palette,” “Displaying the Timeline Top Toolbar,” and “The Command Palette.”

Motion Effect Editor Reference

When you first open the Motion Effect Editor, its appearance depends on whether there is no
motion effect, a Timewarp effect, or a traditional motion effect in the segment at the position
indicator. The following illustration shows three possibilities.

Motion Effect Editor Motion Effect Editor Motion Effect Editor

No effect Timewarp effect Traditional motion effect

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 Working with the Motion Effect Editor

The following table describes the components of the Motion Effect Editor display.

Motion Effect Editor Components

Component Description

Timewarp Effect icon Click the icon, and drag it to a bin to create a Timewarp Effect template from the
current settings in the Speed graph and Position graph.

Speed Graph display button Click to open the Speed graph. Click again to close the Speed graph. See
“Displaying and Activating the Speed Graph and Position Graph in the
Graph
closed
Motion Effect Editor” on page 191.

Graph
n Clicking a graph display button does not activate the graph. Use the Edit
Graph menu to select the Speed graph or Position graph. See “Timewarp
open Speed Graph Reference” on page 194.

Position Graph display Click to open the Position graph. Click again to close the Position graph. See
button “Displaying and Activating the Speed Graph and Position Graph in the
Motion Effect Editor” on page 191.
Graph
closed
n Clicking a graph display button does not activate the graph. Use the Edit
Graph menu to select the Speed graph or Position graph. See “Timewarp
Graph Position Graph Reference” on page 197.
open

Promote to Timewarp button Click to promote a traditional motion effect to a Timewarp effect. See “Creating a
Timewarp Effect” on page 181.

Edit Graph menu Click to select a control graph with which to customize the Timewarp effect. You
can work with either the Speed graph or the Position graph but not both at once.
• Speed
• Position n The Motion Effect Editor applies information only from the active control
graph.
For more information, see “Timewarp Speed Graph Reference” on page 194 and
“Timewarp Position Graph Reference” on page 197.

Type menu Click to select a rendering option. For more information, see “Rendering
Timewarp Effects” on page 181 and “Rendering Options for Timewarp Effects” on
page 188.

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Motion Effect Editor Components (Continued)

Component Description

Ignore Render Setting The Ignore Render Setting check box appears below the Type menu when you
check box have made a rendering selection other than Original Preference in either the
Motion Effects Render Using or the Timewarp Effects Render Using menu in the
Render Setting dialog box. In this situation, the Type menu is dimmed.
If you want to override the motion effect render settings in the Render Setting
dialog box, click the Ignore Render Setting check box, and then select an option
from the Type menu. For information about the Render Setting dialog box, see
“Creating and Using Render Settings” on page 134.

Speed display Displays the percent speed of the traditional motion effect.

Anchor text box Displays the source timecode of the Source Anchor Frame. Use the Anchor text
box to set the timecode of the Source Anchor Frame for the Timewarp effect. For
more information, see “Using the Source Anchor Frame” on page 196.

Source Anchor Frame Click to set the Source Anchor Frame at the active keyframe. The default Source
button Anchor Frame is the first frame of the source clip. For more information, see
“Using the Source Anchor Frame” on page 196.

Source menu Click to select the Source format for a rendered Timewarp effect. Your selection
should match the format of the original source material. For example, if you shot
the material on a 30i camera, select Interlaced.

Output menu Click to select the Output format for a rendered Timewarp effect. If you are
creating a regular motion effect, you can use the same value as for the Source
format. You also have the option of performing a format conversion on the effect.
This allows you to create a film look from interlaced video sources. For more
information, see “FluidFilm Preset Effects” on page 221.
You might also use a Timewarp effect to help in the processing of an effect on an
interlaced clip within a progressive project. In this situation, you set the Source
menu to Interlaced and the Output menu to Progressive. For more information, see

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Motion Effect Editor Components (Continued)

Component Description

Adaptive Deinterlace Source An additional processing option that might improve output image quality in some
option circumstances. This option is only available when certain combinations of options
are set in the Type, Source, and Output menus. For more information, see “Using
Adaptive Deinterlacing” on page 190.

n The Source and Output menus are not available in Film projects.

Strobe n frames text box Displays the number of frames the Strobe Motion effect holds the image before
updating. To change the strobe rate of the effect, type a new strobe rate in the text
box and then press Enter (Windows) or Return (Macintosh).

Duration display Displays the duration of the effect. If you change the output duration by
manipulating the Speed graph or Position graph, or by trimming the clip in the
Timeline, the application reflects the new duration in this display.

The following table describes the buttons in the Motion Effect Editor toolbar.

Motion Effect Editor Toolbar Buttons

Button Description

Render Effect Renders the Timewarp effect with the selected rendering option.

Remove Effect Removes the Timewarp effect.

Match Frame Finds and displays the frame in the source material that matches the frame in the
Timewarp effect. In the case of an intermediate (interpolated) frame, the application
displays the frame closest to the intermediate frame.

Play Loop Plays the Timewarp effect in a loop.

Play Plays the Timewarp effect from the current position in the effect’s position bar.

Trim Mode You can trim out or trim in material while the Motion Effect Editor is active. For
more information, see “Working in Trim Mode: Basics” in the Help.

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Rendering Options for Timewarp Effects

The following table describes the available rendering options for the Timewarp effect. For
information on the procedure for selecting a rendering option, see “Setting Up the Motion
Effect Editor” on page 199.

Option Description

Duplicated Field Displays a single field in the effect. For two-field media, this reduces the information
stored by half because it drops one field of the image, resulting in a lower quality image.
For single-field media, this is usually the best choice because of its speed. (The other
options do not improve effect quality for single-field media.)
Timewarp effects created using Duplicated Field render in the shortest amount of time.
You can use this option to remove unwanted field motion in interlaced material brought
into a progressive project.

Both Fields Displays both fields in the effect. For example, the first two frames of a half-speed (50%)
slow-motion effect repeat the original Frame 1 (both fields) twice. This option is good
for clips without inter-field motion, for NTSC or PAL film-to-tape transfers, and for
stills. With footage that includes inter-field motion, this method might result in minor
shifting or bumping of the image because it disturbs the original order of fields: a Field 1
appears both before and after the corresponding Field 2.
Timewarp effects created using Both Fields render relatively quickly. For best results,
use evenly divisible frame rates with this option.

n In some circumstances, Adaptive Deinterlace Source is available as a further

processing option. For more information, see “Using Adaptive Deinterlacing” on
page 190.

Interpolated Field Creates a second field for the effect by combining scan line pairs from the first field in
the original media. This option calculates the motion effect at the field level rather than
the frame level. Because the application considers all fields and does not disturb the
original order of fields, the smoothness of the rendered effect is second only to
FluidMotion. This method is best for video-originated material or film-originated
material transferred at 24 fps.
Timewarp effects created using Interpolated Field or VTR-Style render less quickly than
Both Fields but more quickly than Blended Interpolated, Blended VTR, or FluidMotion.

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 Working with the Motion Effect Editor

Option Description

VTR-Style Creates a second field for the effect by shifting selected video fields of the original media
by a full scan line. This option also creates the motion effect at the field level rather than
the frame level, but because pixels are not filtered, the final image is sharper than that
created by the Interpolated Field option. The image might display some slight jitter at
certain speeds. This technique is similar to that used by high-quality professional video
decks when playing footage at less than normal speed.
Timewarp effects created using Interpolated Field or VTR-Style render less quickly than
Both Fields but more quickly than Blended Interpolated, Blended VTR, or FluidMotion.

Blended Interpolated Blends, or averages, pixels from the original frames or fields to create intermediate
frames or fields. For example, at 25% speed, the application creates three blended
images between outgoing Image A and incoming Image B. The first blended image
weights the pixels from Image A at 75% and Image B at 25%. The second blended
image weights the pixels from Image A at 50% and Image B at 50%. The third blended
image weights the pixels from Image A at 25% and Image B at 75%. Objects in motion
from Image A to Image B appear to fade out of Image A and fade in to Image B.
Timewarp effects created using Blended Interpolated or Blended VTR render less
quickly than Interpolated Field or VTR-Style but more quickly than FluidMotion.

n In some circumstances, Adaptive Deinterlace Source is available as a further

processing option. For more information, see “Using Adaptive Deinterlacing” on
page 190.

Blended VTR First creates a second field for the effect by shifting selected video fields of the original
media by a full scan line. Then blends, or averages, pixels from the original frames or
fields to create intermediate frames or fields. For example, at 25% speed, the application
creates three blended images between outgoing Image A and incoming Image B. The
first blended image weights the pixels from Image A at 75% and Image B at 25%. The
second blended image weights the pixels from Image A at 50% and Image B at 50%.
The third blended image weights the pixels from Image A at 25% and Image B at 75%.
Objects in motion from Image A to Image B appear to fade out of Image A and fade in to
Image B.
Timewarp effects created using Blended Interpolated or Blended VTR render less
quickly than Interpolated Field or VTR-Style but more quickly than FluidMotion.

n In some circumstances, Adaptive Deinterlace Source is available as a further

processing option. For more information, see “Using Adaptive Deinterlacing” on
page 190.

FluidMotion Draft This setting allows you to view the motion that would be created by the FluidMotion
setting, but at a lower quality. Use this setting if you are working in vector edit mode and
performance is too slow. Use the FluidMotion setting for final output.

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Option Description

FluidMotion Analyzes the motion between outgoing Image A and incoming Image B, and interpolates
intermediate frames pixel-by-pixel. The motion generated by FluidMotion is the
smoothest of all the rendering options.
Timewarp effects created using FluidMotion are the slowest to render.

n When you step through a sequence with a Timewarp effect, the editing application
can take a noticeable amount of time to update the Effect Preview monitor. For
better performance, use FluidMotion Draft while you work on your sequence.
To save time while rendering the Timewarp effect, select one of the other rendering
options to rough out your sequence and use FluidMotion only when you are satisfied
with the overall sequence.

n This option is not available in the Render Setting dialog box in the Settings list
because it is best used while you are working with a Timewarp effect.

c You must render FluidMotion effects before combining with any other effects, especially any other
time-based effects such as FluidColorMap.

Using Adaptive Deinterlacing

Adaptive deinterlacing is an additional processing option for Timewarp and Motion Adapter
effects. The Adaptive Deinterlace Source check box is available in the Motion Effect Editor
when the following are true:
• The Source parameter value is Interlaced
• The Output parameter value is Progressive
• The Type parameter value is one of the following: Both Fields, Blended Interpolated,
Blended VTR

Adaptive deinterlacing uses an algorithm for producing progressive frames from interlaced
fields that analyzes adjacent frames as well as the currrent frame. Adaptive deinterlacing
results in higher image quality for some kinds of clips, particularly where there is fast
motion in the clip and when the clip is being slowed down significantly. For example, it can
help to eliminate interlacing line artifacts, or jagged edges between a moving object and a
background, without losing information from an entire field.

However, the complex calculations required by adaptive deinterlacing reduce processing

performance, so you need to balance any improvement in image quality against
performance. You can experiment with the option to see whether it provides a valuable gain
in image quality with your footage at an acceptable performance cost.

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 Working with the Motion Effect Editor

Displaying and Activating the Speed Graph and Position Graph in the
Motion Effect Editor
You can expand the Motion Effect Editor to display the Speed graph, the Position graph, or
both.

Displaying a graph does not activate the graph. You use the Edit Graph menu to select the
active graph. Although both graphs may be visible, only one graph can be active at a time.

To display the Speed or Position graph:

t Click the Speed Graph Display button or the Position Graph Display button.

Speed Graph Position Graph

Display button Display button

The Motion Effect Editor expands and opens the graph you selected. The following
illustration shows the fully expanded Motion Effect Editor.

Click to select the active control graph. Speed graph Position graph

To activate a graph for customizing a Timewarp effect:

t Select one of the following from the Edit Graph menu:
- Speed to activate the Speed graph
- Position to activate the Position graph
The Edit Graph menu changes to show the active graph. The Fast Menu, Rewind, Fast
Forward, and Add Keyframe buttons appear under the active graph. The graph you
selected becomes the active graph. For more information, see “Toolbar Buttons for the
Active Control Graph in the Motion Effect Editor” on page 193.

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Changing a Graph Display in the Motion Effect Editor with the

Scale Sliders
Directly below each graph in the Motion Effect Editor are two scale sliders. The left slider of
each graph is the Value scale slider. The right slider of each graph is the Position scale slider.
Use the sliders to scale the graph view up or down to see more or less detail.

For the Speed graph, the Value scale slider controls the Percent Speed (vertical) axis. The
Position scale slider controls the Output Position (horizontal) axis.

For the Position graph, the Value scale slider controls the Input Position (vertical) axis. The
Position scale slider controls the Output Position (horizontal) axis.

Speed graph Position graph

Percent Speed axis Input Position axis

Output
Position Output
axis Position axis

The Value scale bar controls The Value scale bar controls
the Percent Speed axis. the Input Position axis.
The Position scale bar controls The Position scale bar controls
the Output Position axis. the Output Position axis.

To change the amount of detail in the Percent Speed axis (Speed graph) or the Input
Position axis (Position graph):
t Drag the Value scale slider for either the Speed graph or the Position graph to the right
(to show more detail) or to the left (to show less detail.

To change the amount of detail in the Output Position axis for either graph:
t Drag the Position scale slider for either the Speed graph or the Position graph to the
right (to show more detail) or to the left (to show less detail).

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 Working with the Motion Effect Editor

n The darker gray area of a graph represents the valid working area; that is, it depicts the
amount of source material you have available. The lighter gray area represents handles
before and after the source material.

To move the view in the graph display without scaling:

1. Click within the boundaries of the graph display you want to move.
2. Press and hold Ctrl+Alt (Windows) or Command+Option (Macintosh).
The pointer changes to a hand.
3. Drag the hand in any direction to reposition the view within the graph display.

Fast Menu Commands for the Motion Effect Editor

The Motion Effect Editor Fast Menu button appears in the toolbar of the active graph and
provides keyframe commands and operations.

The same menu appears as the shortcut menu when you right-click (Windows) or
Ctrl+Shift+click (Macintosh) the active control graph.

Because the Motion Effect Editor uses advanced keyframes, its Fast menu is similar to the
Effect Editor shortcut menu for keyframe graphs. The components of these menus are
described in “Shortcut Menus for Keyframe Tracks and the Motion Effect Editor” on page
128.

Commands for adding, moving, and selecting keyframes

Commands for moving keyframes

Keyframe interpolation options

Keyframe trim options

Resize the graph view after scaling

Toolbar Buttons for the Active Control Graph in the

Motion Effect Editor
The following table describes the buttons that appear in the toolbar below the active
control graph.

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Button Description

Fast Menu Displays the Fast menu. See “Fast Menu Commands for the Motion Effect Editor” on
page 193.

Rewind Moves the position indicator one keyframe to the left and activates the keyframe. If
there is no keyframe to the left, nothing happens. That is, the position indicator does not
move to the beginning of the effect unless you have a keyframe there.

Fast Forward Moves the position indicator one keyframe to the right and activates the keyframe. If
there is no keyframe to the right, nothing happens. That is, the position indicator does
not move to the end of the effect unless you have a keyframe there.

Add Keyframe Creates a keyframe at the current position. Alt+click (Windows) or Option+click
(Macintosh) this button to delete a keyframe.

Timewarp Speed Graph Reference

The following illustration shows the activated Speed graph.

Active keyframe Percent Speed axis Position indicator (blue)

Green line
indicates output
speed as a
percentage of
input speed.

Output Position
axis
Scale bar
Active control
graph toolbar
Anchor text box Source Anchor Frame Percent Speed Output Position
button text box text box Value scale slider (Percent Speed
axis) and Position scale slider
(Output Position axis)
Source Anchor Frame indicator

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The following table describes the components of the Speed graph.

n The Fast menu that appears when you click the Fast Menu button in the Speed graph toolbar
is the same as the shortcut menu that appears when you right-click (Windows) or
Ctrl+Shift+click (Macintosh) the Speed graph. The menu is described in “Shortcut Menus
for Keyframe Tracks and the Motion Effect Editor” on page 128.

Motion Effect Editor Speed Graph Components

Component Description

Percent Speed axis The Percent Speed axis (the vertical axis) represents the speed of the resulting effect
Output Position axis as a percentage of the speed of the source material. The Output Position axis (the
horizontal axis) represents the timecode for the resulting effect. For example, if
Percent Speed is 200 at an Output Position of 00:00:02:15, then at 2:15 after the start
of the effect, the speed of the effect will be twice the speed (200%) of the source
material.

Position indicator (blue) The image that appears in the monitor is the image at this position in the effect. You
move the Speed graph position indicator as you would any other position indicator.
When you add a keyframe, it appears at the position indicator.

Green line Indicates output speed in the effect as a percentage of input speed. The slope of the
line tells you how fast and in which direction the speed changes over the course of the
effect. You add keyframes to further refine the effect.

Percent Speed text box Displays the percent speed at the active keyframe. You change the percent speed by
moving keyframes vertically; you can change percent speed more precisely by typing
a number in the Percent Speed text box.

Output Position text box Displays the timecode for the resulting effect at the active keyframe. You can change
the output position by Alt+dragging (Windows) or Option+dragging (Macintosh)
keyframes horizontally; you can change the position more precisely by typing a
timecode in the Output Position text box.

Active keyframes The keyframes to which the application applies any changes you specify. The active
keyframe indicators are pink.

Active control graph Appears under the active control graph. See “Toolbar Buttons for the Active Control
toolbar Graph in the Motion Effect Editor” on page 193.

Source Anchor Frame Click to anchor the Source Anchor Frame at the current keyframe. For more
button information, see “Using the Source Anchor Frame” on page 196.

Anchor text box Displays the timecode of the Source Anchor Frame. For more information, see “Using
the Source Anchor Frame” on page 196.

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Motion Effect Editor Speed Graph Components (Continued)

Component Description

Source Anchor Frame Indicates the point (timecode) in the effect where you have anchored the source. The
indicator default Source Anchor Frame is the first frame or field of the source, and the default
point for anchoring the Source Anchor Frame is timecode 0; that is, the first frame or
field of the effect. For more information, see “Using the Source Anchor Frame” on
page 196.

Value scale slider Scale sliders scale the Speed graph view up or down so you can see more or less
Position scale slider detail. The Value scale slider controls the Percent Speed axis. The Position scale slider
controls the Output Position axis. For more information, see “Changing a Graph
Display in the Motion Effect Editor with the Scale Sliders” on page 192.

Using the Source Anchor Frame

The Source Anchor Frame is necessary for the application to completely determine the
results of Speed graph settings. One point in the source material — the input material for the
effect — must map to one point in the effect — the output material. Then the application
uses your Speed graph keyframe information to create the Timewarp effect.

The default Source Anchor Frame is the first frame or field of the source, and the default
point for anchoring the Source Anchor Frame is timecode 0 — the first frame or field of the
effect’s output.

When you select elastic keyframes, the Source Anchor Frame determines which frame
remains anchored (stays the same) while the other keyframes stretch or compress. See
“Controlling Advanced Keyframe Behavior with Trimmed Effects” on page 121.

To change the Source Anchor Frame:

t Enter the source timecode of the frame or field you selected in the Anchor text box.

To anchor the Source Anchor Frame at the active keyframe:

t Click the Source Anchor Frame button.
The Source Anchor Frame indicator moves to the active keyframe. The output timecode
shows above the Record monitor.

To anchor the Source Anchor Frame manually:

t Click the Source Anchor Frame indicator, and drag it in the Output Position axis of the
Speed graph.
The output timecode shows above the Record monitor.

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Timewarp Position Graph Reference

The following illustration shows the activated Position graph.

Active keyframe (pink) Input Position axis Position indicator (blue)

Green line
indicates input
position relative
to output
position.

Output Position
axis
Scale bar
Active control
graph toolbar
Input Position Output Position Value scale box Position scale box
text box text box (Input Position axis) (Output Position axis)

n The Fast menu that appears when you click the Fast Menu button in the Position graph
toolbar is the same as the shortcut menu that appears when you right-click (Windows) or
Ctrl+Shift+click (Macintosh) the Position graph. The menu is described in “Shortcut Menus
for Keyframe Tracks and the Motion Effect Editor” on page 128.

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The following table describes the components of the Position graph.

Motion Effect Editor Position Graph Components

Components Description

Input Position axis The Input Position (vertical) axis represents the timecode for the source clip. The
Output Position axis Output Position (horizontal) axis represents the relative timecode for the resulting
effect. The exact timecode is shown above the Record monitor.

Position indicator (blue) The image that appears in the monitor is the image at this position in the effect. You
move the Position graph position indicator as you would any other position
indicator.
When you add a keyframe, it appears at the position indicator.

Green line A point on the green line indicates the timecode in the source clip relative to the
timecode in the resulting effect. The line shows the mapping of source material to
the effect. You add keyframes to further refine the effect.

Input Position text box Indicates the input position (timecode in the source clip) at the active keyframe. You
can change the input position by moving keyframes vertically; you can change the
position more precisely by typing a number in the Input Position text box.

Output Position text box Indicates the relative timecode for the resulting effect at the active keyframe. You
can change the output position by Alt+dragging (Windows) or Option+dragging
(Macintosh) keyframes horizontally; you can change the position more precisely by
typing a timecode in the Output Position text box.

Active keyframes The keyframes to which the application applies any changes you specify. The active
keyframes are pink.

Active control graph The active control graph toolbar appears under the active control graph. See
toolbar “Toolbar Buttons for the Active Control Graph in the Motion Effect Editor” on page
193.

Value scale slider Use the scale sliders to scale the Position graph view up or down to see more or less
Position scale slider detail. The Value scale slider controls the Input Position axis. The Position scale
slider controls the Output Position axis. For more information, see “Changing a
Graph Display in the Motion Effect Editor with the Scale Sliders” on page 192.

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Setting Up the Motion Effect Editor

The following procedure outlines the process for setting up the Motion Effect Editor to
customize a Timewarp effect. After you follow the setup, you customize the effect by using
either the Speed graph or the Position graph. You can change from one to the other
while working.

To set up the Motion Effect Editor for customizing a Timewarp effect:

1. Do one of the following:
t Apply a Timewarp effect by clicking the Timewarp Effect icon in the Effect Palette
and dragging it to the segment in the Timeline where you want to create a Timewarp
effect.
t Move the position indicator to an existing Timewarp effect in the sequence.
2. If the Motion Effect Editor is not already open, click the Motion Effect button.
For more information, see “Working with the Motion Effect Editor” on page 183.
The Motion Effect Editor opens.
3. Do one or both of the following:
t Click the Speed Graph Display button to open the Speed graph.
The Speed graph opens, and the Speed Graph Display button changes.
t Click the Position Graph Display button to open the Position graph.
The Position graph opens, and the Position Graph Display button changes.

Speed Graph Position Graph

Display button Display button

4. Click the Edit Graph menu, and select the active control graph.
The Active Control Graph toolbar appears below the active control graph.
5. Make input and output format selections required by your project in the Formats dialog
box.
For more information, see “Motion Effect Editor Reference” on page 184.
6. Click the Motion Effect Editor Fast Menu button, and select an interpolation option.
For more information, see “Controlling Parameter Changes at Keyframes” on page 116.

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7. (Option) If you are using two-field media, and a specific motion effect type is set as the
Timewarp Effects Render Using option in the active Render setting, the application
automatically selects that type in the Type menu, makes all other types unavailable, and
displays the Ignore Render Setting option.
If you want to override the Render setting, select the Ignore Render Setting option, and
then select a new rendering option. For a complete description of rendering options, see
“Rendering Timewarp Effects” on page 181.
8. At this point, you are ready to begin customizing your effect.
For more information, see “Timewarp Speed Graph Reference” on page 194 and
“Timewarp Position Graph Reference” on page 197.
For examples using the Speed graph and the Position graph to create various effects, see
“Timewarp Effect Examples” on page 200.

Timewarp Effect Examples

The examples in this section demonstrate several basic effects you can achieve with the
Timewarp effect. You can also use the Timewarp templates that appear in the Motion Effect
category as a starting place for familiarizing yourself with the capabilities of the Timewarp
effect. For more information, see “Timewarp Effects” on page 626.

Speed Graph Example: Creating a Rolling Clip That Freezes

When you create a traditional Freeze Frame effect, you create a clip of a single frozen image
in the Source monitor and edit it into your sequence at the right place. To change the location
of the frozen image, you must create a new Freeze Frame clip.

You create a freeze frame with a Timewarp effect by cueing to the image in your sequence
that you want to freeze and adding a keyframe to set the speed of the clip to 0% at that point.
When you want motion to resume, add a keyframe at that timecode and set the speed of the
clip to 100%.

You can easily add multiple freeze frames to a single clip by creating additional pairs of
keyframes: one at the beginning of each freeze frame to set the speed to 0%, and one at the
end of each freeze frame to return the speed to 100%.

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To create a rolling clip that freezes by using the Timewarp effect Speed graph:
1. Apply a Timewarp effect, and set up the Motion Effect Editor by using the procedure in
“Setting Up the Motion Effect Editor” on page 199, with the following specifics:
a. Click the Edit Graph menu, select Speed, and click the Speed Graph Display button
to open the Speed graph.
b. Click the Motion Effect Editor Fast Menu button, and select Shelf as the
interpolation option. See “Controlling Parameter Changes at Keyframes” on page
116.
2. (Option) Click the Position Graph Display button to open the Position graph.
Changes you make to the Speed graph are reflected in the Position graph. Having the
Position graph open lets you see how your changes could have been achieved by using
the Position graph.
The Position graph opens, and the Position Graph Display button changes.
3. Cue to the image in your sequence where you want the image to freeze.
4. In the toolbar below the Speed graph, click the Add Keyframe button.
A keyframe indicator appears at the position indicator in the Speed graph.

Position indicator (blue)

5. Move the position indicator to the timecode at which you want action to resume.
As you drag the position indicator in the Position graph, the output timecode shows in
the upper left corner of the Position graph.

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6. In the toolbar below the Speed graph, click the Add Keyframe button.
A keyframe indicator appears at the position indicator in the Speed graph.

7. Click the middle keyframe indicator to activate it, and set the speed at 0% for this
keyframe by doing one of the following:
t Type 0 in the Percent Speed text box, and press Enter (Windows) or Return
(Macintosh).
t Click the keyframe indicator, and drag it down until it reaches the zero (0) marking
on the Percent Speed axis.

n You move Timewarp keyframes directly in the same way you move keyframes in keyframe
graphs. See “Moving Advanced Keyframes” on page 105.

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Notice the line in the Position graph. At the beginning of the effect, the line shows that
input position (timecode in the source) and output position (timecode in the effect) are
changing at the same rate.
The effect plays at 100% speed until the freeze frame, and at that point the line becomes
flat. For the length of the freeze frame, the line remains flat, because the timecode in the
source does not change.
From the end of the freeze frame to the end of the effect, the line again shows that input
position and output position are changing at the same rate.
You can become familiar with using the Position graph by experimenting with
duplicating the Speed graph freeze frame results with the Position graph as the active
control graph.
8. In the Motion Effect Editor toolbar, click the Render Effect button.
9. (Option) In the Motion Effect Editor toolbar, click the Trim Mode button, and trim the
effect to achieve the duration you want.
For more information, see “Working in Trim Mode: Basics” in the Help.
10. (Option) Click the Timewarp Effect icon in the Motion Effect Editor, and drag it to a bin
to create an effect template with the current parameters.

Speed Graph Variations: Moving Keyframes

By moving the keyframes controlling the starting and ending times of the freeze frame, you
can change the time in the clip at which the freeze frame starts or ends, and you can change
the length of the freeze.

n You move Timewarp keyframes directly in the same way you move keyframes in keyframe
graphs. See “Moving Advanced Keyframes” on page 105.

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To change the time at which the freeze frame starts:

1. Click the keyframe indicator at which the freeze frame ends.
2. Shift+click the keyframe indicator at which the freeze frame starts.

3. Do one of the following:

t Alt+Shift+click (Windows) or Option+Shift+click (Macintosh) the first keyframe
indicator, and drag it to its new position.
t Type a new start timecode in the Output Position text box.
The keyframes move together to the new position.

The freeze frame now starts and ends at the new keyframe positions.

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To change the length of the freeze frame, without changing the starting time, do one of
the following:
t Alt+Shift+click (Windows) or Option+Shift+click (Macintosh) the second keyframe
indicator, and drag it to its new position.
Dragging to the left shortens the freeze frame; dragging to the right lengthens it.
t Type a new ending timecode in the Output Position text box.

Strobe Motion Using the Timewarp Effect

Strobe motion is essentially the same for the Timewarp effect as for a traditional motion
effect.

To create a Strobe Motion effect by using the Timewarp effect:

1. Apply a Timewarp effect, and set up the Motion Effect Editor by using the procedure in
“Setting Up the Motion Effect Editor” on page 199.
2. Type the strobe motion rate in frames in the Strobe text box.
For example, a rate of 5 causes every fifth frame to be held for five frames before
updating.
3. In the Motion Effect Editor toolbar, click the Render Effect button.
4. View the result. If you want to change the strobe motion rate, repeat steps 3 and 4
5. (Option) You can combine strobe motion and variable speed in the same Timewarp
effect. Set and customize keyframes in either the Speed graph or the Position graph to
achieve the result you want.
6. (Option) In the Motion Effect Editor toolbar, click the Trim Mode button, and then trim
the effect to achieve the duration you want.
For more information, see “Working in Trim Mode: Basics” in the Help.
7. (Option) In the Motion Effect Editor, click the Timewarp Effect icon, and drag it to a bin
to create an effect template with the current parameters.

Setting Effect Position with the Position Graph

When you use the Position graph to customize a Timewarp effect, you map source material
position to output position. That is, any timecode of the source material is mapped to any
timecode of the result, within the constraints of the Position graph. The results of the
Position graph are reflected in the Speed graph.

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To set effect speed with the Position graph:

1. Apply a Timewarp effect, and set up the Motion Effect Editor by using the procedure in
“Setting Up the Motion Effect Editor” on page 199, with the following specifics:
a. Click the Edit Graph menu, select Position, and then click the Position Graph
Display button to open the Position graph.
b. Click the Motion Effect Editor Fast Menu button, and select an interpolation option.
For more information, see “Controlling Parameter Changes at Keyframes” on page
116.
2. (Option) Click the Speed Graph Display button to open the Speed graph.
Changes you make to the Position graph are reflected in the Speed graph. Having the
Speed graph open gives you a visual check on how your changes affect the speed of the
result.
The Speed graph opens, and the Speed Graph Display button changes.
3. Where you want to have a particular part of the source appear at a fixed time in the
effect, move the position indicator to that timecode in the Output Position axis, and add
a keyframe. Use the procedure outlined in “Adding Advanced Keyframes” on page 95.
A keyframe indicator appears on the green line at the position indicator.
4. Map the source timecode to the output by doing one of the following:
t Move the keyframe indicator to the point where the input timecode (shown in the
Input Position text box) maps to the output timecode (shown in the Record monitor)
to achieve the effect you want.

n You move Timewarp keyframes directly in the same way you move keyframes in keyframe
graphs. See “Moving Advanced Keyframes” on page 105.

As you drag the keyframe over major position markings, you will notice a detent —
a slight “stickiness.” This helps you place keyframes more accurately.
t Type the input timecode in the Input Position text box.
5. Add and customize more keyframes to achieve the effect you want.
For more detailed information, see “Position Graph Example: Reverse Motion” on page
207.
6. Render and review the effect.
7. (Option) Click the Timewarp Effect icon in the Motion Effect Editor, and drag it to a bin
to create an effect template with the current parameters.

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Position Graph Example: Reverse Motion

While the Motion Effect category contains a Reverse Motion template for the Timewarp
effect, setting up reverse motion directly in a clip demonstrates how the Position graph
works in this basic effect. You can use the same technique to create reverse motion in part of
a clip instead of across the entire clip.

To create reverse motion, you map the end of the source to the beginning of the effect, and
the beginning of the source to the end of the effect. You do this by setting new input
positions for the first keyframe and the last keyframe, either by dragging the keyframe
indicators to their new locations or by typing the input position timecodes for each
keyframe.

n You move Timewarp keyframes directly in the same way you move keyframes in keyframe
graphs. See “Moving Advanced Keyframes” on page 105.

To create reverse motion in a clip:

1. Apply a Timewarp effect, and set up the Motion Effect Editor by using the procedure in
“Setting Up the Motion Effect Editor” on page 199 with the following specifics:
a. Click the Motion Effect Editor Fast Menu button, and select Linear or Bézier as the
interpolation option.
The Bézier interpolation option gives ease-in and ease-out to the parameter change
at each keyframe. By manipulating the Bézier direction handles, you control the
characteristics of the speed change. For more information, see “Controlling
Parameter Changes at Keyframes” on page 116.
b. Click the Edit Graph menu, and select Position to make the Position graph the
active control graph.
The Motion Effect Editor displays the graphs for the unaltered clip. In the Position
graph, a straight diagonal line stretches from the first keyframe to the last keyframe.
Each frame of the input is the same as each output frame, with no variations in
speed. The Input Position timecode is the same as the Output Position timecode at
each keyframe.
In the Speed graph, a straight line crosses the graph at 100% speed.

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2. Click the first keyframe indicator, and note the starting timecode displayed in the Input
Position text box.
3. Click the last keyframe indicator, and note the ending timecode displayed in the Input
Position text box.
4. Reverse the starting timecode and ending timecode by doing the following:
a. Click the first keyframe indicator, and either drag the indicator up the Input Position
axis until it is even with the last keyframe indicator, or type the original ending
timecode in the Input Position text box.
If you drag, the Input Position text box changes until it reaches the timecode for the
last frame of the source. In the Speed graph, the Percent Speed at the left changes
until it reaches 0% — with starting and ending timecodes the same, if you played
the effect it would be a freeze frame of the last frame.
b. Click the last keyframe indicator, and either drag it vertically down the graph until
the line in the Speed graph reaches -100%, or type the original starting timecode in
the Input Position text box.
If you drag, the value in the Input Position text box changes until it reaches the
timecode for the first frame of the source.
In the Position graph, a straight line descends across the graph, mapping the effect’s
starting time to the clip’s ending time, and the effect’s ending time to the clip’s starting
time, effectively reversing the clip.

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The effect plays back in reverse motion.

5. (Option) Click the Timewarp Effect icon in the Motion Effect Editor, and drag it to a bin
to create an effect template with the current parameters.

Working with FluidMotion Timewarp Effects

When you use FluidMotion to render a Timewarp effect, the rendered effect plays very
smoothly. FluidMotion uses an interpolation algorithm that creates intermediate images by
morphing the motion across the bracketing images. The application examines each pixel in
the outgoing image, finds the corresponding pixel in the incoming image, and creates a
motion path between the two that it uses to build the intermediate images necessary to fill
out the effect.

n On a Macintosh system, FluidMotion requires significant system resources and rendering

times can be very long. In addition, when you step through a sequence with a Timewarp
effect, the editing application can take a noticeable amount of time to update the Effect
Preview monitor.

The algorithm FluidMotion uses can introduce artifacts into the effect, particularly when
objects move in front of or behind other objects, move significantly between one frame and
the next, or move into the image from outside the frame. FluidMotion Edit provides tools to
correct artifacts in a Timewarp effect.

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In the following example, a table tennis ball crosses a net. Using FluidMotion to render the
effect results in one artifact where the ball crosses the net and a second artifact directly
above the first at the edge of the table.

First source image (Image A) Image created with FluidMotion Second source image (Image B)

Areas with artifacts

By definition, artifacts appear only in images created by the application when you select
FluidMotion to render a Timewarp effect. The bracketing images, whether frames or fields
of original material, do not have artifacts. You use FluidMotion Edit to make corrections by
either incorporating motion information from other parts of the image or clip or directly
manipulating the artifact’s motion vectors.

FluidMotion Edit provides a variety of methods for dealing with artifacts. In general, you
define a region around an artifact and then modify the way FluidMotion creates new material
from the source material within that region. FluidMotion does not alter the way it creates
new material outside defined regions.

The application performs motion estimation based on the original source frames. When you
use the Effect Editor to edit the motion vectors in a FluidMotion effect, the Timeline changes
to a source-frame Timeline. The position indicator under the Record monitor appears green
when you are working in a source-frame Timeline.

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Opening FluidMotion Edit

To open FluidMotion Edit:
1. In the Motion Effect Editor, click the Type menu, and then select FluidMotion.
The Edit FluidMotion Vectors button appears in the Motion Effect Editor next to the
Type menu.
2. Click the Edit FluidMotion Vectors button.
If the application was not in Effect mode, it enters Effect mode and the Effect Editor
opens.
FluidMotion Edit appears in the Effect Editor.The following illustration shows the
FluidMotion Edit parameters in the Effect Editor.

For general information on working with the Effect Editor, see “Using the Effect Editor”
on page 69.

Displaying Vectors in FluidMotion Edit

FluidMotion Edit uses motion vectors to represent the relative speed and direction of a pixel
from the outgoing Image A to the incoming Image B. FluidMotion Edit represents motion
vectors as arrows and as colors.

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To view vectors as arrows:

t In the Display parameter category, select Show Vectors.

Notice the motion vectors around the rope and the child’s hand. The length of a vector
arrow represents the speed at which a pixel moves between Image A and Image B, and
the arrow’s orientation shows the direction of motion.

To view vectors as colors:

1. In the Display parameter category, click the Fast Menu button, and select Color Warp
50%.
2. (Option) Deselect Show Vectors to see the color vectors and the underlying image more
clearly.

The saturation of a vector color corresponds to speed, and hue corresponds to direction.

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n If you are reading a printed version of this document, you might find it useful to view the
color images in the Help or in the online version of this document available from the Online
Library for your application.

Defining a Region Around a FluidMotion Artifact

An artifact occurs when the application makes an incorrect estimation about the motion for a
region of pixels. To fix an artifact, first define a region and then apply a new motion value to
that region.

To define a region for FluidMotion Edit:

1. In the Display parameter category, click the Fast Menu button, and then select Warp
50% or Color Warp 50%.
Warp 50% shows the image generated by FluidMotion that is halfway between source
material Image A and Image B. Color Warp 50% shows the same image, with an overlay
of motion vector colors. For more information, see “Displaying Vectors in FluidMotion
Edit” on page 211.
2. (Option) Select Show Vectors to display the motion vector arrows.
3. Step through your clip until you reach an image in which you want to make a correction.
4. Select a shape from the drawing tools in the Effect Editor, and draw around the region
that has the artifact.
You use the drawing tools in the same way you would for Intraframe editing. You can
copy, move, and modify any shape. For more information, see “Intraframe Editing” on
page 439.

n Use the Feathering and Brush parameters to help define and modify the selected area. You
can make these modifications anytime during the correction process.

Approaches to Correcting a FluidMotion Edit Region

Correcting an artifact involves changing the motion vectors calculated by FluidMotion to
motion vectors that produce no, or minimal, distortion. You can use the following
approaches to make corrections:
• Copy the motion vectors from an area of the image that behaves correctly to the defined
region, replacing the original motion vectors with the copied motion vectors.
• Copy a correction from one image, and paste it into another to correct multiple artifacts.

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• Inside a defined region, clear the motion vectors that FluidMotion created. You can do
this by drawing a region and setting the vectors within the region to zero with the Vector
X and Vector Y sliders.
• Use the Mask parameter to prevent black borders around the image from affecting the
result. Mask defines a border around the edge of the image, shown by a blue wire frame
on the Effect Preview monitor.

FluidMotion Workflow
The typical workflow for using FluidMotion effects is as follows:
1. Use Blended Interpolated to set up the initial motion effect.
This allows you to quickly set up the ramp rates and time curves you want. Blended
Interpolated is the closest in quality to FluidMotion but takes less time to render.
For more information, see “Understanding Keyframe Interpolation Options for the
Timewarp Effect” on page 180.
2. Render and play the effect.
For more information, see “Basics of Effects Rendering” in the Help.
3. If you want smoother motion, use the Motion Effect Editor to change the effect to
FluidMotion.
4. Render the effect, and look for artifacts in the rendered media.
5. Use the Effect Editor and the Effect Preview monitor to step through the effect to the
first frame that contains artifacts.
6. Fix the artifacts on that frame, and render the effect again.
The application renders just the portion that has changed.
7. Make a determination of whether you need to continue to work on the current frame or
move on to the next frame.
8. Each time you fix an artifact, render the effect again.
This is often the fastest way to remove all the artifacts.

n By fixing the intermediate frame represented by Warp 50% or Color Warp 50%, you are
fixing all the intermediate frames in the final result between Image A and Image B.

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 Working with FluidMotion Timewarp Effects

Example of Correcting FluidMotion Artifacts

This example fixes three artifacts in footage that shows a table tennis ball moving across a
net from upper right to lower left. The following illustrations show the two images from the
source file and the intermediate image created by the FluidMotion effect.

First source image (Image A) Image created with FluidMotion Second source image (Image B)

Areas with artifacts

The artifacts identified in the illustrations are caused by the ball moving across the net. The
following illustrations show the vector information in the image as vector arrows and vector
colors. You can see from the vector displays that there is motion across a large portion of
the image.

In this example, we use vector colors to fix the artifacts.

n If you are reading a printed version of this document, you might find it useful to view the
color images in the Help or the online version of this document available from the Online
Library for your Avid editing application.

Artifacts without vector display Artifacts with vector arrow display Artifacts with color vector display

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You can view artifacts by stepping through the effect while keeping the Display Fast menu in
the Effect editor set to Warp 50% or Color Warp 50%. This shows the images created at the
halfway point between the source images. To view the corresponding source images, change
the Display Fast menu to Image A or Image B.

In this example, we fix the artifacts by reducing the amount of motion within the areas where
the artifacts occur.

To fix the artifacts:

1. In the Effect Editor, click the Fast Menu button in the Mode parameter category, and
select Set Vector.
2. Select the Oval tool, and draw ovals around the areas containing the artifacts.

Before After

The application automatically sets the Vector X and Vector Y values to 0 within the new
objects. This removes all motion information from within the regions. You can see that
the artifacts are removed but the image of the ball now appears extended and dimmer
than before. This occurs because the application displays a blend of the two original
images in the oval region as shown in the following illustrations.

First source image (Image A) A blend of the two images Second source image (Image B)

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 Working with FluidMotion Timewarp Effects

If you played the effect now, the image of the ball over the net would fade out as the
image of the ball under the net faded in. The Warp 50% image shows the two images
faded at 50%. We need to add motion information back into the image so we can view
the moving ball.
3. Turn on the color vector information in the image by doing the following:
t Click the Fast Menu button in the Display parameter category, and select Color
Warp 50%.

Before After

The Color Warp 50% display mode shows movement as chroma (color) and direction
and hue (color intensity). You can see from the image that there is no motion
information within the oval.
You can see that there is some motion along the top of the net, shown as yellow in the
image. We will use the eyedropper in the Mode parameter category to copy motion
information into the oval.
4. Do the following:
a. Select the oval shape that you created to make it active.
b. Press and hold the cursor over the Color Preview window of the Effect Editor.
The cursor changes to an eyedropper.

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c. Drag the eyedropper over the top of the net, and view the changes in the Vector X
and Vector Y parameter values. You will see that the values change as they move
over an area containing motion information.

Color Preview window

Vector X and
Vector Y sliders

d. Release the mouse button over the yellow portion of the net (the top of the net to the
left of the oval).
The application applies the yellow color (and the corresponding motion
information) to the oval.

Before After

Now we know that the portion within the oval is no longer completely without
motion.

n You can use the eyedropper to view Vector X and Vector Y information in the image even if
Color Warp 50% is not enabled.

5. Render the effect, and click the Play Loop button to review the rendered effect.
For more information, see “Basics of Effects Rendering” in the Help.
In this example, we would like to put some of the motion information back into the
image of the ball. One way to do this is to draw an object around the ball and use the
object to cut a hole through the oval that we just created. This hole will reveal the
original motion of the ball.

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 Working with FluidMotion Timewarp Effects

6. Select the Polygon tool, and draw an object around the blurred image of the ball.
The following illustrations show the result displayed with Color Warp 50% and Warp
50%.

Image with Color Warp 50% Image with Warp 50%

7. In the Mode parameter category, click the Fast Menu button, and select Erase.
8. Add some feathering to create a smooth transition between the motion within the
polygon and the motion in the oval.
We used the following feathering values:
- Bias 92
- Feathering X 5
- Feathering Y 5
For more information, see “Intraframe Editing” on page 439.

Image with Color Warp 50% Image with Warp 50%

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6 Creating and Customizing Motion Effects

9. Render the effect, and play the resulting media.

The following illustrations show the images before and after removing the artifact.

First source image (Image A) Image created with FluidMotion Second source image (Image B)

Before

After

After you remove the artifact at the Warp 50% position, all intermediate frames between
Image A and Image B reflect the change.

Timewarp Preset Effects

The Timewarp effect category contains the effects described in the following table.

You apply these effects directly to the clips in a sequence. The effects are set up as templates
but you can modify them using the Motion Effect editor.

For information on using the FluidFilm templates, see “FluidFilm Preset Effects” on page
221. For details on using the other templates, see “Timewarp Effects” on page 626.

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 FluidFilm Preset Effects

Effect Description

0% To 100% Ramps motion in a sequence from 0% (freeze frame) to 100%

(full speed).

100% To 0% Ramps motion in a sequence from 100% (full speed) down to 0%

(freeze frame). The last frame of the clip is the last frame of the
motion effect.

FluidFilm 2:3 Cadence and Allow you to create a film look from interlaced video sources or to
FluidFilm Progressive create a video look from sources originally shot on film.

Pulldown Insertion and Inserts or removes pulldown in a sequence.

Pulldown Removal

Reverse Motion Creates a reverse motion effect at 100% speed.

Speed Boost Creates an effect that starts out at half speed, reaches approximately
double speed at the midpoint, and returns to half speed at the end.

Speed Bump Creates an effect that starts out at full speed, slows to approximately
half speed at the midpoint, and returns to full speed at the end.

Trim to Fill Plays at a constant speed. You can adjust the speed by entering
Trim mode and trimming the effect.

FluidFilm Preset Effects

The FluidFilm effect templates appear in the Timewarp category of the Effect Palette. The
FluidFilm effect templates allow you to create a film look from interlaced video sources.

Film footage has specific timing characteristics that you might want to duplicate with video
footage. These timing characteristics stem from the fact that a film camera records images as
full frames while a video camera records individual fields, a fraction of a second apart. The
resulting video playback has a very different look from film.

The FluidFilm templates use the FluidMotion rendering option to create intermediate
progressive frames. The result is a motion effect that plays as though it were shot on film.
The default speed is 100%.

n You can also use the templates as a starting point to create a video look from sources
originally shot on film by switching the input and output format values.

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The following FluidFilm templates are in the Timewarp category of the Effect Palette.
• FluidFilm 2:3 Cadence
• FluidFilm Progressive

Using the FluidFilm Preset Effects

This section covers two common uses of the FluidFilm Timewarp effects (FluidFilm 2:3
Cadence and FluidFilm Progressive).

Applying a Film Look to a Video Clip

A common scenario involves a show that was shot on film and edited at 30i where you want
to incorporate some video clips into the Timeline. In this case, you could process the video
clips with the FluidFilm template to generate a look similar to the film footage.

Applying a Film Look to an Entire Sequence

You can use the FluidFilm templates to apply a film look to an entire interlaced sequence. In
this case, you could do one of the following:
• Mix down the entire sequence and apply a FluidMotion effect to the resulting master
clip
• Apply the FluidMotion effect to each clip in the sequence

If you apply the effect to the mixed down master clip, the system might produce artifacts
between the original cuts. If this happens, you can use FluidMotion Edit to set the motion
vectors for the entire frame to zero at the cut points. For more information, see “Working
with FluidMotion Timewarp Effects” on page 209.

If you apply the effect individually to clips, the 2:3 cadence might be off between adjacent
clips depending on whether the clip starts on an A, B, C. or D frame. If this is a problem you
can perform a video mixdown and apply the effect to the mixed down master clip.

n The FluidMotion rendering option is one of the most time-consuming of the Timewarp
rendering options. It can take a long time to process an entire sequence.

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 FluidFilm Preset Effects

Default Values for the FluidFilm Preset Effects

The FluidFilm Timewarp effect options use the following default values:
• FluidFilm 2:3 Cadence
- Source format: Interlaced
- Output format: Film with 2:3 Pulldown
- Rendering option: FluidMotion
• FluidFilm Progressive
- Source format: Interlaced
- Output format: Progressive
- Rendering option: FluidMotion

By default, these templates create 100% Timewarp effects (the effect plays at the same speed
as the original clip). Use the Speed and Position controls to change the speed if desired.

Setting Source and Output Options for Format Conversion with

Timewarp Effects
You can use the Motion Effect editor to convert formats when creating a Timewarp effect.

It is important to match the Source format option to the format of the original source
material. For example, if the material was shot on a 30i camera, select Interlaced as the
Source format.

If your source material includes repeated progressive frames, such as animation or video
from a consumer digital photo camera, select Progressive Repeated as the Source format

In some circumstances, you might consider using adaptive deinterlacing to improve the
image quality of the output. For more information, see “Using Adaptive Deinterlacing” on
page 190.

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To set source format and output format options:

1. In the Motion Effect Editor, click the Source menu, and select your source format.
For information on the available options, see “Format Conversion Options for the
Timewarp Effect” on page 224.
If you select Film with Pulldown as the source format, the application displays
additional options that allow you to either manually or automatically set the pulldown
pattern.
If you select Progressive Repeated as the source format, the application displays
additional options that allow you to either manually or automatically set the repeated
frame count.
2. Click the Output menu, and select an output format.
For information on the available options, see “Format Conversion Options for the
Timewarp Effect” on page 224.
3. (Option) Select Adaptive Deinterlace Source.
For more information, see “Using Adaptive Deinterlacing” on page 190.
4. Click OK.

n For best results when performing a format conversion, use the FluidMotion render option
and view the resulting footage on a client monitor.

Format Conversion Options for the Timewarp Effect

The following table lists the source format and the output format options to use for format
conversions. Progressive projects do not allow format conversions.

Corresponding
Project Type Source media type Source Option Possible Output Options

30 fps interlaced 30 fps interlaced Interlaced Progressive, Film with pulldown

30 fps progressive Progressive Interlaced, Film with pulldown

30 fps interlaced with 2:3 pulldown Film with pulldown Interlaced, Progressive

Repeated progressive frames Progressive Repeated Interlaced, Progressive, Film

with pulldown

25 fps interlaced 25 fps interlaced Interlaced Progressive

25 fps progressive Progressive Interlaced

Repeated progressive frames Progressive Repeated Interlaced, Progressive

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7 Creating Layered and Nested Effects

This chapter describes how to apply multilayer effects to your sequence. Layered effects
consist of two or more layers of video built up vertically in the Timeline that play back
simultaneously with effects such as Picture-in-Picture, Superimpose, or Submaster applied
to the tracks. Nested effects consist of one or more effect layers that are contained within
another effect on the same video layer.

The methods and concepts for creating multilayer effects described in this chapter build on
the procedures for creating single-layer effects described in “Applying Effects” in the Help.

This chapter contains the following main topics:

• Creating Key Effects
• Working with Imported Graphics and Animation
• Nesting Effects
• Submaster Editing
• Performing a Video Mixdown
7 Creating Layered and Nested Effects

Creating Key Effects

Your Avid editing application supports the following key effects:

Key Effect Type Description

Chroma Replace one part of the video image with another video image based on color.
You have the following options for chroma key effects:
• The SpectraMatte™ chroma key effect creates a superior quality key and
makes it easy to correct common keying problems such as controlling
shadows and removing color spill
• The Chroma Key and RGB Keyer effects are more basic effects that are
supported for backwards compatibility with other versions of
Avid editing applications

Luma Replace one part of the video image with another video image based on
luminance (brightness). You create a luma key using the Luma Key effect.

Matte Replace one part of the video image with another video image or graphic based
on the location of a high-contrast image known as a matte. You create a matte
key using the Matte Key effect or using an imported Matte Key clip.

For reference information on all key effects, see “Key Effects” on page 586.

Understanding the SpectraMatte Chroma Key Effect

The SpectraMatte effect is available in the Key category of the Effect Palette. The
SpectraMatte effect automatically uses advanced keyframes as shown in the following
illustration.

n The keying capabilities of SpectraMatte are also available in the 3D Warp effect when it is
promoted to advanced keyframes. A SpectraMatte Key option in the Foreground parameter
category provides access to the full set of SpectraMatte parameter controls. You might prefer
to use SpectraMatte from the 3D Warp effect because 3D Warp uses Hue, Saturation, and
Luminance controls to define the key color rather than Red, Green, and Blue controls. For
more information, see “Foregnd (Foreground) (3D)” on page 774.

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 Creating Key Effects

Show Alpha and

SpectraGraph
buttons provide
visual feedback

The SpectraMatte effect includes the following main features:

• Analysis displays that provide visual feedback and aid in fine-tuning the key
• Chrominance controls for precise adjustment of the range of hue and saturation values
that the effect keys out
• Additional luminance-based controls that allow you to fine-tune alpha values in the key
and remove unwanted shadows
• Matte processing controls that allow you to blur, erode, or dilate the edges of the alpha
matte generated by the effect
• Spill suppression controls that allow you to remove reflected key color from a
foreground subject
• Scale, position, and crop controls
• Advanced keyframes that allow you to keyframe each effect parameter individually,
enabling you to adjust for changes over the duration of a clip

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You apply the SpectraMatte effect to the foreground track of a multilayer segment in the
Timeline in the same way that you apply other chroma key effects. For more information on
the basic procedure for applying a SpectraMatte key effects, see “Creating a SpectraMatte
Effect” on page 233.

The SpectraMatte effect provides superior quality keying and makes it easy to fine-tune your
keys to solve problems such as controlling shadows and removing color spill. To get the best
results with the SpectraMatte effect, it is important to understand the following aspects of
the effect’s display and behavior:

n If you are reading a printed version of this document, you might find it useful to view the
color images in the Help or in the online version of this document available from the Online
Library for your application.

Understanding SpectraMatte Analysis Displays

The SpectraGraph™ display for the SpectraMatte effect shows how the effect would operate
on the entire CbCr color space. This helps you see how the effect is working and what
further adjustments you might need to make.

You can also display the alpha matte that is currently being generated by the effect. This
allows you to see clearly which pixels from the foreground image are being keyed in and
keyed out, and how pixels on the edge of the matte are being blended.

You can display these analysis views in either the Effect Preview monitor or in the Source
monitor. If you display them in the Effect Preview monitor, they replace your view of the
composite image created by the effect itself until you turn the analysis display off. If you
display them in the Source monitor, you can see the analysis and the composite image at the
same time.

The SpectraGraph Display

The SpectraGraph display shows a color swatch that represents the entire CbCr color space
with which the SpectraMatte effect works. You activate the SpectraGraph display using
controls in the Matte Analysis category in the Effect Editor. For more information, see “Key:
SpectraMatte Effect” on page 590.

The center point of the swatch is neutral gray while the outer areas show highly saturated
color. The representation of color is therefore similar to that in the ChromaWheel color
wheels in the Color Correction tool, with hue changing as you move around the swatch and
saturation increasing as you move away from the center. The following illustration shows
this swatch.

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 Creating Key Effects

Hue changes as
you move around
the swatch

Saturation increases as
you move away from the
center of the swatch

The range of colors that the SpectraMatte effect is currently keying out from your
foreground image is also keyed out from this swatch, revealing a black background in its
place. The range of colors that the effect is currently retaining from the foreground image
appears as fully opaque color. The range of colors that the effect is currently blending
between foreground and background appears as partially transparent color. For more
information on how the effect calculates these color ranges based on your input, see “How
the SpectraMatte Effect Calculates Key Color Values” on page 231.

Superimposed on the color swatch is a display that shows the color values in the foreground
image distributed in a manner similar to a vectorscope display. This typically shows a
concentration of either green or blue color values that represent the background screen
colors you want to key out, along with the distribution of other color values from the
foreground subject that you want to retain.

For example, the following illustration shows a typical SpectraGraph display for an image
where the key color is green. The black area shows the range of colors that are currently
keyed out and replaced by background pixels; the solid color area shows the range of colors
that are being retained from the foreground image; and the gradient between black and solid
color shows the range of values that are currently a blend of foreground and background
pixels. The superimposed color data shows the distribution of color in the foreground image,
which is a subject shot in front of a green screen.

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7 Creating Layered and Nested Effects

Range of colors
where foreground
is retained in the
effect

Superimposed
display of color
values from
Range of colors foreground subject
where foreground
and background
are blended in the
effect

Range of colors where foreground

Superimposed display of color
is keyed out and background is
values from green screen
revealed in the effect

The SpectraGraph display allows you to clearly see the relationship between the current
result of the key and the color values in your image. In the preceding illustration, for
example, you can see that many of the green color values in the superimposed color display
are still at least partially included in the key. Knowing this, you can make further parameter
adjustments that will remove these values more completely from the key. By viewing both
the SpectraGraph display and the standard view of the composited images, you get all the
information you need to produce a high-quality key.

The Alpha Matte Display

The alpha matte display shows the alpha matte that the SpectraMatte effect is currently
generating and that is used to create the final composite of foreground and background
images. You activate the alpha matte display using controls in the Matte Analysis category in
the Effect Editor. For more information, see “Key: SpectraMatte Effect” on page 590.

Viewing the alpha matte display is particularly useful for checking and adjusting how
foreground and background pixels are being blended at the edges of the matte. Refining this
blend is often important to create a natural-looking composite of foreground and
background.

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 Creating Key Effects

As you adjust parameter controls that affect the position and extent of the blend, the alpha
matte display updates to show the result of your adjustments.

The following illustration shows a typical alpha matte display.

How the SpectraMatte Effect Calculates Key Color Values

The SpectraMatte effect calculates a range of color values that are either completely or
partially keyed out from the foreground image. In the SpectraGraph display, this range of
color appears as a wedge with blended edges in the CbCr color swatch. The effect generates
an alpha matte based on these values, then uses this matte to create the final composite.

The shape and design of the wedge is a good model for calculating key color values because
it automatically keys out a relatively wide range of high-saturation color values in the region
of the key color. These are the kinds of color values that should always require keying out in
well-shot key footage and that you should not normally need to blend or adjust. At the same
time, the wedge provides very precise control over the handling of lower saturation color
values and of hue color values that fall on the borderline between those you want to key out
and those you want to retain. These are the kinds of color values that you often need to blend
or fine-tune, for example, to improve the edges of the foreground subject in a key shot.

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The remainder of this section explains how the key color wedge is calculated from some of
the main parameter values you set. For detailed information about all of the SpectraMatte
effect’s parameters, see “Key: SpectraMatte Effect” on page 590.

The basic size and position of the wedge is defined by the following parameters:
• The hue set by the Key Color parameters defines the position of the wedge around the
swatch. In the following illustration, the key color is green, so the wedge falls in the
green part of the swatch.
• The saturation value set by the Chroma Control Key Saturation parameter defines the
location of the center point of the wedge. The illustration shows the effect of the default
Key Saturation value (0), so the point of the wedge is at the exact center of the swatch.
You can move the wedge out from the center of the swatch by increasing the Key
Saturation value.
• The angle set by the Chroma Control Tolerance parameter defines the width or spread of
the wedge. The illustration shows the effect of the default Tolerance value (90 degrees),
so the wedge is 90 degrees wide, 45 degrees on either side of the line between the Key
Saturation value and the Key Color value.

Angle defined
by Tolerance Point defined by
parameter Key Saturation
parameter
Point defined
by Key Color
parameter

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 Creating Key Effects

Many of the other parameters modify how this basic key color wedge is calculated. For
example, the Key Saturation Line parameter reshapes the wedge near the center of the
swatch so that it retains a wider range of low-saturation color values from the foreground
image. Several parameters affect how the blend gradient is calculated (its position and its
width on the wedge), which results in changes to how foreground and background pixels are
blended in the final composite.

Creating a SpectraMatte Effect

To create a SpectraMatte Key effect:
1. Create a sequence with two video layers.
For information about editing a sequence, see “Creating and Editing Sequences: Basics”
in the Help.
2. Edit the background image onto track V1.
3. Edit the foreground image onto track V2.
4. Enter Effect mode by selecting, for example, Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
5. In the Effect Palette, click the Key category.
6. Drag the SpectraMatte icon from the Effect Palette to the clip on track V2.
Your Avid editing application adds the SpectraMatte Key effect.
7. Move the position indicator to the segment containing the effect in the Timeline.
The Effect Editor displays parameters for adjusting the SpectraMatte effect. The effect
automatically uses advanced keyframes.

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8. Click the Color Preview window in the Key Color parameter category to display the
Eyedropper icon, and then drag the eyedropper to a representative region of the blue or
green background screen in the Record monitor.

Color Preview window

Your Avid editing application selects the primary key color, and the key takes effect.

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 Creating Key Effects

The chroma key takes effect.

Select a key color from the chroma

background with the eyedropper.

9. Fine-tune the key by enabling additional parameter categories and then adjusting
parameters as necessary. In this example we performed the following operations to
improve the edges of the key:
- Increased the Spill Angle Offset value
- In the Matte Processing parameter category, used the Erode matte Blur type and
added a small amount of Matte Blur
- In the Chroma Control parameter category, increased the Inner Softness value
You can achieve similar results using different parameter combinations. For more
information, see “Understanding the SpectraMatte Chroma Key Effect” on page 226.
While adjusting the colors and matte, use the analysis displays as described in
“Understanding SpectraMatte Analysis Displays” on page 228. For more information on
specific parameters, see “Key: SpectraMatte Effect” on page 590.

Understanding the Chroma Key Effect and the RGB Keyer Effect
The Chroma Key and RGB Keyer effects do not create as high a quality key as the
SpectraMatte effect. They are supported to maintain backwards compatibility with other
Avid editing applications.

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n If you are moving sequences between different versions of Avid editing applications, use the
Chroma Key or RGB Keyer effect. Otherwise, try the higher quality SpectraMatte effect.

You can promote a Chroma Key effect to the SpectraMatte effect. For more information, see
“Promoting a Chroma Key Effect to the SpectraMatte Effect” on page 239.

The Chroma Key effect and the RGB Keyer effect are used most frequently with a
foreground image shot in front of a highly saturated color screen that is keyed against a
background image.

This topic explains the basic differences between these color-based key effect options. For
information on creating color-based key effects, see “Creating a Chroma Key Effect or RGB
Keyer Effect” on page 237.

Chroma Key Effect

The Chroma Key effect includes several standard digital video effect (DVE) parameters such
as scaling, position, and crop in addition to key control parameters. You can also promote
the Chroma Key effect to 3D for additional adjustments to various 3D DVE parameters such
as skew, perspective, and spline-based motion.

Use the Chroma Key effect when you want to work in real time, or when you need to adjust
various DVE parameters of the foreground chroma key footage.

Chroma Key effect example

This example shows a Chroma Key effect that has been promoted to 3D and then repositioned
with defocus applied to enhance the effect of perspective between foreground and background.
Before After

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 Creating Key Effects

RGB Keyer Effect

The RGB Keyer effect is a non-real-time plug-in effect that includes additional parameters
for fine-tuning the edges of the key and for applying post-key color correction (correction
applied to the foreground image without affecting the key itself) to the foreground elements.
You cannot promote the RGB Keyer effect to 3D.

Use the RGB Keyer when working with full-screen chroma key footage that does not require
DVE parameter adjustments such as repositioning or scaling, or when you need the RGB
Keyer’s post-key color correction capabilities to better match the foreground to the
background.

Creating a Chroma Key Effect or RGB Keyer Effect

To create a Chroma Key effect:
1. Create a sequence with two video layers.
For information about editing a sequence, see “Creating and Edting Seqeunces: Basics”
in the Help.
2. Edit the background image onto track V1.
3. Edit the foreground image onto track V2.
4. In the Effect Palette, click the Key category.
5. Drag either the Chroma Key Effect icon or the RGB Keyer icon from the Effect Palette
to the clip on track V2.
The following example shows the Chroma Key effect applied to V2.

Chroma key footage on V2 Chroma Key effect applied to V2 Background footage on V1

Your Avid editing application adds the Chroma Key effect. Ultimatte® blue is the default
key color.
6. Move the position indicator to the segment containing the effect in the Timeline.
7. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
The Effect Editor displays parameters for adjusting the effect you applied.

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8. Open the Key parameter category (Chroma Key effect) or the Key Color parameter
category (RGB Keyer).
Ultimatte blue is selected by default. To match the key color more closely to the color of
the background screen used in the footage, proceed with the following step.
9. (Option) Click the Color Preview window in the Key or Key Color parameter category
to display the Eyedropper icon, and then drag the eyedropper to a representative region
of the blue or green background screen in the Record monitor.

Color Preview window

Your Avid editing application selects the primary key color, and the key takes effect.

Select a key color from the chroma The chroma key takes effect.
background with the eyedropper.

10. Fine-tune the key by enabling additional parameter categories and then adjusting
parameters as necessary:
- For more information on specific parameters, see the reference information in “Key
Effects” on page 586.
- For more information on using post-key color correction with the RGB Keyer, see
“Using Post-Key Color Correction in the RGB Keyer” on page 239.

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 Creating Key Effects

Using Post-Key Color Correction in the RGB Keyer

You can use the Color Correction parameters in the RGB Keyer effect for post-key color
correction of the foreground elements in the key.

Because the foreground and background elements of a chroma key are often shot at different
times and locations, post-key color correction is especially useful for maintaining the key
while matching the visual characteristics of the foreground elements to the background
footage.

To perform post-key color correction:

1. Apply and adjust the RGB Keyer effect as described in “Creating a Chroma Key Effect
or RGB Keyer Effect” on page 237.
2. While in Effect mode, adjust the hue, saturation, and value of the foreground elements
by using the Color Correction parameters in the Effect Editor.
For more information on the specific parameters, see the reference information in “Key:
RGB Keyer (AVX Plug-in Effect)” on page 589.

Promoting a Chroma Key Effect to the SpectraMatte Effect

You can promote a Chroma Key effect to the SpectraMatte effect. Because of the differences
in the way the two effects work, existing parameter adjustments in the Chroma Key effect
might not all move forward to the SpectraMatte effect. The primary key color does always
move forward correctly to the SpectraMatte effect.

To promote a Chroma Key effect to the SpectraMatte effect:

t Click the Promote to SpectraMatte button in the bottom right of the Effect Editor for the
Chroma Key effect.

Creating a Luma Key Effect

Use a Luma Key effect to replace portions of the foreground video with the background
video based on brightness or luminance.

To create a Luma Key effect:

1. Create a sequence with two video layers.
For information about editing a sequence, see “Creating and Edting Seqeunces: Basics”
in the Help.
2. Edit the background image onto track V1.
3. Edit the foreground image onto track V2.
4. In the Effect Palette, click the Key category.

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5. Drag the Luma Key Effect icon from the Effect Palette to the segment on track V2.
6. In the Timeline, move the position indicator to the segment with the Luma Key effect.
7. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
The Luma Key parameters appear in the Effect Editor.
8. Use the eyedropper or the Luma Key sliders to select a brightness value in the
foreground video.
Your Avid editing application replaces the corresponding portions of the foreground
video with background video.
For information on all Luma Key parameters, see “Key: Luma Key” on page 588.

Creating a Matte Key Effect

A Matte Key effect replaces one part of the video image with another video image or graphic
based on the location of a high-contrast image known as a matte.

The Matte Key effect uses three layers of video to create the effect. The bottom layer is the
background image, the middle layer is the foreground image, and the top layer contains the
matte or alpha channel.

To create a Matte Key effect:

1. Create a sequence with three video layers.
For information about editing a sequence, see “Creating and Edting Seqeunces: Basics”
in the Help.
2. Edit the background image onto track V1.
3. Edit the foreground image onto track V2.
4. Load a high-contrast image into the Source monitor, and edit it onto track V3.
The high-contrast image can be an imported graphic or a clip that you adjust within the
application.

n If the image is not high enough in contrast, you can adjust the contrast by applying the Color
Effect, and then adjusting its parameters in Effect mode. For more information, see “Using
the Color Effect to Prepare a High-Contrast Image” on page 242.

5. In the Effect Palette, click the Key category.

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6. Apply the Matte Key effect as follows:

t If your high-contrast image was created with the Color Effect, press and hold the
Alt key (Windows) or Option key (Macintosh) and drag the Matte Key Effect icon
from the Effect Palette onto the segment on track V3 to nest the Color Effect within
the Matte Key effect.
t If your high-contrast image on track V3 does not include a Color Effect, drag the
Matte Key Effect icon from the Effect Palette onto the segment on track V3.
7. Click the Record Track Monitor button for track V3 in the Track Selector panel.
You should see tracks V2 and V1 through the high-contrast image on track V3.

Record Track
Monitor button

8. Move the position indicator to the Matte Key effect, and render the effect.
For more information, see “Basics of Effects Rendering” in the Help.

n For information on Matte keys and Matte Key parameters, see “Using Matte Keys with 3D
Effects” on page 351 and “Key: Matte Key” on page 588.

Working with Real-Time Moving Mattes

If you import a moving matte as a 32-bit QuickTime file or a graphic sequence, the
application handles the effect in real time. The application treats a QuickTime file with
embedded alpha as a moving matte if it has more than one frame.

The basic procedure for importing a moving matte is described in “Importing Files” in the
Help.

For additional information on working with real-time moving mattes, see “Considerations
When Working with Real-Time Moving Mattes” on page 242.

To import a QuickTime file as a moving matte:

1. Click the Image tab of the Import Settings dialog box.
2. In the Alpha parameter category, select either Use Existing or Invert Existing.

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To import a graphics sequence as a moving matte:

1. Select the first file in the sequence as the file to import.
2. In the Image tab of the Import Settings dialog box, select Autodetect Sequential Files.
The application uses all the files in the sequence to make the moving matte. If you
import only one graphic file with alpha, it becomes a static matte.
The application creates a real-time Matte Key effect with nested alpha and video fill. To
preserve real-time performance, the application locks the alpha track so that you cannot
replace it.

Considerations When Working with Real-Time Moving Mattes

The following guidelines apply to editing with real-time moving mattes:
• You can promote a real-time Matte Key effect to a 3D Warp effect, and use the 3D
manipulation parameters.
• If the Matte Key effect is not on the top video track of a multilayered composite, you
must render it before it will play in real time.
• If you add a motion effect to the matte and foreground, the effect does not play in real
time until you render the motion effect.
• Real-time moving mattes cannot be combined with real-time titles without rendering the
effect.
• Moving mattes in a 24p or 25p project play in real time in their native format only. You
must render moving mattes in order to output the sequence in alternate formats when
using the Digital Cut tool. For example, a moving matte imported into a 24p NTSC
project will not play back to the PAL format on output unless you render it first.

Using the Color Effect to Prepare a High-Contrast Image

This topic describes how to enhance high-contrast images for use in creating Matte Key
effects.

You can also import a graphic image with an alpha channel and use it as a Matte Key effect.
For more information, see “Editing with Imported Matte Key Clips” on page 244.

To create a high-contrast image from available footage:

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

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3. Change the Luma Range to 0 to 255.

4. Drag the Sat (saturation) slider under Chroma Adjust all the way down to remove all
color saturation from the image.
5. Adjust the Gamma to change the color of the midtones; this is the only nonlinear
function in the Color Effect.
The high-contrast image can now be used as a matte for the key effect, as described in
“Creating a Matte Key Effect” on page 240.
6. (Option) Black portions of the high-contrast image are transparent and white portions
are opaque. To switch the order, use the Reverse option in the Foreground parameter
category of the Matte Key effect.

Working with Imported Graphics and Animation

This topic describes two different approaches to editing with imported graphic images,
depending upon whether:
• The image was imported as a master clip with no alpha channel (an opaque graphic
element).
For more information, see “Editing with Imported Matte Key Clips” on page 244.
• The image was imported as a Matte Key clip with an alpha channel (a keyable graphic
element for video overlay).
For more information, see “Editing with Imported Master Clips” on page 245.

Graphic master clip

with no alpha channel
Matte Key Effect clip
with alpha channel

These alternatives apply to both single-frame graphic images and animation. In addition,
you can edit imported images into sequences by using standard Avid editing application
effects.

n (Windows only) AVI files cannot be imported with an alpha channel. To import animation
with an alpha channel, you must use another supported format. For more information on
importing graphic and animation clips, see “Importing Files” in the Help.

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Editing with Imported Matte Key Clips

When an imported clip includes an alpha channel for keying the graphic over video, it
appears in the bin with a Key Effect icon.

Both single-frame graphic images (such as a single JPEG file) and multiple-frame animation
sequences (such as a JPEG file sequence) appear in the bin in the same form after import,
and you use the same editing techniques for both. You can edit this type of clip into a
sequence as a standard matte key overlay.

n Only single-frame files can be used as real-time keyed graphics. PICT sequences, QuickTime
files, PICS animation files, and ERIMovie files cannot be used as real-time keyed graphics.

To edit a Matte Key clip into the sequence:

1. Edit the main video sequence.
2. Add a new track above the tracks in the sequence by selecting Clip > New Video Track.

n You must edit Matte Key clips onto an upper track to achieve the keying effect. If you edit a
Matte Key clip onto track V1, for example, the image is keyed over black unless track V1
contains nested tracks.

3. Play the sequence, and mark an IN point and an OUT point where you want to overlay
the graphic.
4. Load a Matte Key clip into the Source monitor. Mark an IN point toward the center of
the clip if it is a still.
For information about editing a sequence, see “Creating and Edting Seqeunces: Basics”
in the Help.
5. In the Track Selector panel, click the V1 Source Track button and drag it to the Record
Track button for the new track to patch the video from track V1 of the Source monitor to
the track in the sequence that will receive the Matte Key clip.

Track Selector panel

Source Track button Source Track button

Record Track button Record Track button

Before After

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 Working with Imported Graphics and Animation

6. Click the Overwrite button to edit the matte key into the sequence.
Your Avid editing application keys the graphic over the video on the lower tracks.
7. Adjust effect parameters in the Effect Editor, if necessary, using procedures described in
“Using the Effect Editor” on page 69.
8. (Option) If the keyed portions of the images are the reverse of the intended effect, open
the Foreground parameter category and click the Invert Key button.
For more information, see the reference information in “Foreground” on page 648.
9. Use standard effect editing procedures to preview, render, or play the Matte Key clip.
To see the complete effect, make sure the Record Track Monitor button for the topmost
track is selected in the Track Selector panel.

Editing with Imported Master Clips

When an imported clip does not include an alpha channel for keying the graphic over video,
its icon is the standard Master Clip icon. This is true for both single-image graphics and
animation sequences. You can edit this type of clip into a sequence as an opaque image or
animation (in other words, as a single layer) using basic editing techniques described in this
topic.

To edit an imported master clip into the sequence:

1. Create the sequence, and then load a graphic clip into the Source monitor.
For information about editing a sequence, see “Creating and Edting Seqeunces: Basics”
in the Help.
2. In the Source monitor, mark an IN point at the start of the clip and mark an OUT point to
specify the duration of the graphic.
3. In the sequence, mark an IN point where you want the graphic clip to begin.
4. Click the Source Track and Record Track buttons.

Source Track and

Record Track buttons
Overwrite button

Splice-in button

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5. Click the Splice-in button or the Overwrite button to add the opaque graphic to the
sequence.
The opaque image appears in the sequence. In the Timeline, the graphic looks like a
standard video clip edited into the sequence.
6. Play the clip by using the standard playback procedures.

Nesting Effects
You can place effect tracks inside one another to better combine multiple images and digital
video effects (DVEs). This involves a process known as nesting, which allows you to use the
Timeline to step into a track, to perform a series of editing operations, and then to step out to
view and render the effect as one segment on the track.

Additional
nested layers
inside the
first nest
Effects
nested inside
a Submaster
effect

Depending on the model of your Avid editing application, you can edit up to 24 video track
layers, and you can additionally nest (stack inside) up to 24 more video tracks within each
layer. You can step into each video track indefinitely, constrained only by your Avid
system’s memory.

You can use nesting when you want to create layered effects. In this case, the nested layers
are treated as one element during the transition. Since transition effects, such as dissolves,
fades, and wipes, are not multilayered, nesting is not applicable to these types of effects; nor
are nesting effects applicable to audio tracks.

Nested effects have the same playback capabilities and constraints as any other effects that
you apply to a sequence. However, because of the complexity created when you layer effects
in nests, nested effects are a good example of a situation where you are likely to need to
render or change video display settings to achieve acceptable playback for preview purposes,
or full-quality real-time playback.

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n Some effects do not work well with each other when nested. For example, the Box Wipe effect
and Edge Wipe effect cannot be used together in a nested segment because the two effects
are competing to establish the shape of the wipe.

Another use of nesting is to constrain one effect using another effect. For example, you can
use the Circle Shape Wipe effect to constrain an image posterization inside a region.

When you use advanced keyframes, all nested effects on a segment are fully available. You
can open and manipulate the available parameter and keyframe graphs for any nested effect
at any time.

n Nested effects do not appear in edit decision lists (EDLs) because they are not supported by
linear tape-based edit controllers.

Stepping Into and Out of Nested Effects

You can step into an existing nested effect for editing. When you step into the effect, your
Avid editing application replaces the full sequence in the Timeline with just the tracks that
make up the nested effect. You can then add new tracks, monitor individual tracks, edit
source material into the tracks, apply effects, and adjust effects on the nested tracks. You can
step into any segment effect in this way.

n You can also expand nested effects while leaving the rest of the sequence visible in the
Timeline. See “Expanding Nested Effects in the Timeline” on page 248.

When you step into a nested effect, a number appears with the letter N in the Timecode
button. This number represents the level of nesting that you are currently in. For example,
N2 indicates that you are two levels in from the outermost track level.

To step into a nested effect:

t Click the Step In button.

To step out of a nested effect:

t Click the Step Out button.

n The Step In and Step Out buttons appear by default in the Timeline top toolbar, and are also
available in the Command palette.

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Expanding Nested Effects in the Timeline

You can expand an existing nested effect for editing within the Timeline. You can then add
new tracks, edit source material into the tracks, apply effects, and adjust effects on the nested
tracks. Any segment with a segment effect applied can be expanded in this way.

n You cannot monitor individual tracks when you expand nested tracks in the Timeline. To
monitor individual tracks within a nested effect, see “Stepping Into and Out of Nested
Effects” on page 247.

To expand a nested effect, do one of the following:

t In Effect mode, double-click the nested effect.
t In Source/Record mode (editing mode in NewsCutter), click either the Extract/Splice-in
or the Lift/Overwrite Segment Mode button below the Timeline, and then double-click
the nested effect.
The nested tracks appear in the Timeline above the track you double-clicked. Editing
and patching features are available for changing the content of the track’s effect.

To step out of the nested effect

t Double-click the effect’s icon in the Timeline.

Creating a Simple Nested Effect

This example involves nesting a sequence of clips with dissolves inside another segment
effect.

To create the nest:

1. Create a sequence, and add a segment effect.
For information about editing a sequence, see “Creating and Editing Sequences: Basics”
in the Help.

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2. Click either the Extract/Splice-in or the Lift/Overwrite Segment Mode button below the
Timeline, and then double-click the segment.
The segment opens to reveal the nested tracks.

3. Edit new footage into the nested tracks, and apply additional effects as necessary.
In this example, a series of clips is edited onto nested track 1.2, with dissolves applied
between the shots. The 3D Picture-in-Picture effect applies to the entire nested dissolve
sequence.

4. Double-click the main track for the nested effect (V2 in this example) to close the nested
tracks again.

Nested Effects in the Effect Editor

Nested effects on a segment are fully available in the Effect Editor when you use advanced
keyframes. You can open and manipulate the available parameters and keyframe graphs for
any nested effect at any time. For example, if you have a Picture-in-Picture effect with a
Color Correction effect nested inside it, you can see both effects and their parameters in the
Effect Editor, as shown in the following illustration.

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Foreground and nested effect in the Timeline

Foreground and nested effect available in the Effect Editor

If you have nested standard keyframe effects in a sequence, the Effect Editor shows only one
effect at a time. If you have a mix of standard keyframe and advanced keyframe effects in a
nest, effects below the standard keyframe do not show in the Effect Editor unless you step
into the nest.

Nesting a Matte Key Effect

A Matte Key effect uses three layers of video to create the effect.

To nest a Matte Key effect:

1. Create a sequence with the background video on track V1.
For information about editing a sequence, see “Creating and Editing Sequences: Basics”
in the Help.
2. Load a high-contrast image into the Source monitor, and edit it onto track V2.
For an example of a high-contrast image, see “Key: Matte Key” in the Help.

3. In the Effect Palette, click the Key category.

4. Drag the Matte Key Effect icon from the Effect Palette to the segment on track V2.

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 Nesting Effects

5. Click either the Extract/Splice-in or the Lift/Overwrite Segment Mode button below the
Timeline.
6. Double-click the Matte Key Effect icon in the segment.
The Timeline expands to display three nested tracks (1.1, 1.2, and 1.3).

Record Track
Monitor
buttons

By default, nested track 1.3 contains the same image segment as track V2. Nested track
1.2 is empty (foreground filler track). Nested track 1.1 (background video) is also
empty.
7. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) again to
leave Segment mode so you can edit the tracks.
8. Edit the foreground image onto nested track 1.1.
9. Click one of the Segment Mode buttons, and double-click track V2 to collapse the
nested tracks.
10. Click the Record Track Monitor button for track V2 in the Track Selector panel.
You should see tracks V1 and nested track 1.1 through the high-contrast image on track
1.3.

For information on Matte Key parameters, see “Key: Matte Key” on page 588.

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Submaster Editing
The Submaster effect is in the Image category of the Effect Palette. It is a single-track
segment effect. When you render the Submaster effect, your Avid editing application creates
a single media file from several clips or effects in a sequence.

Rendering a Submaster effect saves the new Submaster clip to the drive as a single media
file. However, the Avid editing application leaves untouched each element that makes up the
composite, so you can still manipulate any element.

The Submaster effect is useful when you want to play back bandwidth-limited sequences,
such as sequences composed of several seconds of single-frame clips. It is much faster to use
the Submaster effect than to use methods such as applying a graphic, or using a
Picture-in-Picture, Mask, or Resize effect. Normally, Submaster effects render at about the
same rate as motion effects.

n You can nest up to 24 tracks inside a Submaster effect depending on the model of your Avid
editing application.

An edit decision list (EDL) for a sequence that contains a Submaster effect represents the
contents of the Submaster effect as a single cut. To work around this, you can create a new
sequence with the contents of the Submaster effect and generate a separate EDL for that
sequence.

Applying the Submaster Effect to a Multilayered Sequence

You can use the Submaster effect to speed the rendering process by applying it to a track
above layered or nested effects and then rendering only the Submaster. Your Avid editing
application renders the composite result of all tracks into the top track.

The Submaster effect maintains links to the original media files, so you should not delete the
original media files. If you want to combine tracks to create a sequence that is independent
from the original media files, perform a video mixdown. For more information, see
“Performing a Video Mixdown” on page 256.

The Submaster effect does not render each track separately, so you cannot play each track
individually, and the blue dot remains in the effect icon. In addition, if you delete or modify
a track below a Submaster effect, the Submaster effect becomes unrendered.

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 Submaster Editing

To apply the Submaster effect to a multilayered sequence:

1. Select Clip > New Video Track.
2. On the new video track (V5 in this example), create one add edit before and another
after the group of clips to be submastered.
For more information on add edits, see “Adding an Edit (Match Framing)” in the Help.

Add edit marks on new track V5; bracket clips on track V4

3. In the Effect Palette, click the Image category.

4. Drag the Submaster Effect icon to the space between the add edits you added on the new
track (V5 in this example).
Your Avid editing application applies the effect above the layers.

Submaster effect on track V5

5. Render the Submaster effect, as described in “Basics of Effects Rendering” in the Help.

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Using the Submaster Effect with a Series of Short Clips

The Submaster effect is useful when you want to play back bandwidth-limited sequences,
such as a sequence composed of a series of short clips (a few frames each). You can apply
and render the Submaster effect above the clips to improve playback.

To apply the Submaster effect to multiple clips:

1. Select Clip > New Video Track.
2. On the new video track, create one add edit before and another after the group of clips.
For more information on add edits, see “Adding an Edit (Match Framing)” in the Help.
3. In the Effect Palette, click the Image category.
4. Drag the Submaster Effect icon to the space between the add edits you added on the new
track.

5. Render the Submaster effect, as described in “Basics of Effects Rendering” in the Help.

n If you alter or move either the Submaster segment or the clips below it, the effect becomes
unrendered. You must render it again.

Understanding the Collapse Feature

The Collapse feature allows you to build your effect at the topmost level and when you are
finished, collapse the layers automatically into one Submaster effect. This feature is useful
for simplifying a sequence with complex compositing. Once you have collapsed a complex
composite, you can easily add transition effects to the start and end of the newly created
Submaster composite effect.

n You can also use the Collapse feature to simplify the deletion of multilayer segment effects.
After collapsing the effects, you can select the resulting segment and press the Delete key
twice to delete the effect and all the layers.

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 Submaster Editing

After your Avid editing application collapses the tracks into a Submaster effect, it recognizes
a Submaster effect as a multilayer effect instead of a single-layer effect. This allows you to
add chroma keys and other multilayer effects to the nested tracks within a Submaster effect.

n You can drag “two-channel” effects (such as chroma key) onto Submaster effects if the
Submaster segment contains two or more nested tracks. This is useful after performing a
Collapse operation to composite the newly created Submaster effect over another
background.

Collapsing Layers into One Submaster Effect

To collapse layers into a submaster effect:
1. Select all the tracks you want to collapse.
The tracks must be adjacent.
2. Mark an IN point and an OUT point around the area to be collapsed.
3. Click the Collapse button.
Depending on the model of your Avid editing application, the Collapse button might
appear by default in the Timeline top toolbar or in the Tool palette. It is also available
from the Command palette.
Your Avid editing application collapses the tracks into a Submaster effect on a single
track.

To open the nested tracks again:

1. Click either the Extract/Splice-in or Lift/Overwrite Segment Mode button below the
Timeline.
2. Double-click the Submaster effect.

To collapse a sequence (alternative procedure):

1. Click either the Extract/Splice-in or Lift/Overwrite Segment Mode button below the
Timeline.
2. Select the segments you want to collapse.
3. Click the Collapse button.

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Performing a Video Mixdown

Video mixdown allows you to combine several tracks into a new master clip. You can use
video mixdown after you have finished building your sequence and want to make it into one
piece (for example, a standard opening to a program).

Video mixdown can be useful when you want to:

• Create a complex sequence you need to use repeatedly.
• Add a motion effect to an entire sequence.
• Finalize a complex sequence before consolidating, exporting, or transferring.

Video mixdown is similar to the Collapse feature; the difference is the end result.
• With the Collapse feature, you collapse the tracks into a Submaster effect. After you
collapse the tracks, you are still able to step in to the Submaster effect and work on the
individual elements.
• With video mixdown, your end result is a new master clip made up of all the tracks you
built on different layers. Those tracks become one clip; you cannot separate the tracks to
work on them or step in to the sequence.

For more information on the Collapse feature, see “Understanding the Collapse Feature” on
page 254.

n You cannot generate an edit decision list (EDL) for a sequence that contains a video
mixdown. To work around this, you can either remove the video mixdown or maintain a
version of the sequence that does not contain a video mixdown.

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 Performing a Video Mixdown

To perform a video mixdown:

1. Select the Record Track Monitor button in the Track Selector panel for the highest track
you want to include in the video mixdown.

Record Track
Monitor buttons

n Video Mixdown collapses the selected track and all tracks under it. If you want to perform a
video mixdown of only one track, select the track for solo monitoring by Ctrl+clicking
(Windows) or Shift+clicking (Macintosh) the Record Track Monitor button. For more
information, see “Monitoring and Soloing Tracks” in the Help.

2. Mark an IN point and an OUT point around the area to mix down.
3. Select Special > Video Mixdown (or Clip > Video Mixdown on NewsCutter systems).
The Video Mixdown dialog box opens.
4. Select a target bin, target drive, and resolution for storing the new master clip, and then
click OK.
A progress indicator appears. When the video mixdown finishes, a new clip appears in
the bin along with the sequence, and a new media file is created on the target drive.

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8 Working with Camera Effects

This chapter describes effects that control aspect ratio, format, or apparent camera motion in
a clip.
• The Reformat effects, including Pan and Scan, allow you to reformat media to different
aspect ratios.
• The Pan & Zoom effect allows you to import a high-resolution still image and then pan
and zoom around that image with extensive keyframe control over the apparent camera
motion.

The following topics are covered in this chapter:

• Using the Reformat Effects
• Working with the Pan and Scan Effect
• Using Avid Pan & Zoom

n You can also use the Stabilize and Region Stabilize effects to alter the apparent camera
motion in a clip in order to eliminate unwanted camera motion. For more information, see
“Motion Tracking and Stabilization” in the Help.

Using the Reformat Effects

The Reformat category contains effects for conforming media of different aspect ratios. One
of these effects, Pan and Scan, usually works as a vertical effect that you apply to a layer
above the rest of your video material and that affects all the video material beneath it. For
more information, see “Working with the Pan and Scan Effect” on page 261.

Reformat effects allow you to reformat media to different aspect ratios, such as when you
need to reformat a film aspect ratio for television programming.
8 Working with Camera Effects

Original footage After 16:9 Letterbox effect applied

n Reformat works on all tracks below the track to which you apply it. For example, if you apply
Reformat above a title track, the titles become reformatted as well. If you don’t want to
reformat the titles, apply Reformat below the title track.

The Reformat category contains three effects, other than Pan and Scan, that reformat media
to new aspect ratios:

Effect Description

16:9 Letterbox Scales the image vertically to the 16:9 aspect ratio within a 4:3 frame; works on
16:9 Anamorphic media.

14:9 Letterbox Reformats media to the 14:9 Letterbox aspect ratio with a black band at the top
and bottom. First the application expands the media horizontally by a fixed
amount before scaling it down vertically, resulting in a slight horizontal cropping
of the image. You control what part of the image is cropped with the
Position slider.

4:3 Sidebar Reformats 4:3 source media to the 16:9 Anamorphic aspect ratio by scaling
down the media horizontally and applying a black band to the left and right sides
of the image.

Use one of these effects when you need to reformat a film aspect ratio for television
programming. These effects also make it easier to combine 4:3 legacy media into a 16:9
master.

For reference information on these effects, see “Reformat Effects” on page 607.

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 Working with the Pan and Scan Effect

Working with the Pan and Scan Effect

Pan and Scan allows you to select a portion of the media to reformat and provides other
parameters. For more information, see “Understanding the Pan and Scan Effect” on page
261.

Pan and Scan also supports conversion of 15:9 Anamorphic source media to 16:9
Anamorphic. For more information, see “Selecting the Source and Target Aspect Ratios” on
page 264.

n If you use the Pan and Scan effect and another Reformat effect on the same sequence, you
must render one of the effects before the sequence will play in real time. For more
information on other Reformat effects, see “Using the Reformat Effects” on page 259.

The following topics describe the Pan and Scan effect and explain how to use it to change
the aspect ratio of your media.

Understanding the Pan and Scan Effect

Pan and Scan is a technique for reformatting media to different aspect ratios. The most
widespread use of this technique is for reformatting television programming, for example,
when 16:9 Anamorphic material needs to be converted to the 4:3 aspect ratio.

Merely stretching or shrinking the media to fit a new aspect ratio would distort the media. If
you do not want to distort the original media, select a portion of each frame in your media
for output. Traditionally, this selection process, known as Pan and Scan, is done during the
transfer from film to tape in a telecine room.

The Pan and Scan effect lets you pan across your media and select what portion of the media
you want to retain for output. If necessary, you can insert keyframes into the Pan and Scan
effect and adjust the effect for each keyframe.

You can use Pan and Scan on any type of project.

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Original media with the Pan and Scan

Results of the Pan and Scan effect (in 4:3 mode)
wire frame (in 16:9 mode)

Outputting the Media with the Pan and Scan Effect

You can output media with the Pan and Scan effect in two video formats: 4:3 or 16:9
Anamorphic. The Pan and Scan effect does not generate data for inclusion in cut lists created
with Avid FilmScribe. If your target is not video, or if your source requires excessive
scaling, you can preview the reformatting operation but the Pan and Scan effect does not
automate a film-to-film or a film-to-tape transfer.

Positioning the Pan and Scan Track

When your sequence does not contain titles, the Pan and Scan track should typically be the
top track. When using titles, you can place the Pan and Scan track above a title track to
properly scale the title along with the video tracks beneath it. If you need to pan, however,
the pan applies to the title as well as the other video tracks. Since this technique results in the
title being panned, the results might not be what you want.

If you need to pan your footage and the title aspect ratio is not critical, you can move the
titles above the Pan and Scan track. If the title aspect ratio is important, you might need to
create a new title in your target aspect ratio.

If you use titles on an Avid Symphony system, the most effective way to work with Pan and
Scan and titles is to work with multiformat titles. If you work with multiformat titles, you
can place the Pan and Scan track below the titles. This placement ensures that both titles and
the Pan and Scan effect play correctly in real time.

n When you place the Pan and Scan effect below multiformat titles, you might not see the titles
with the correct Target aspect ratio as you work. For example, if you are reformatting from
4:3 to 16:9, titles appear distorted in the Client monitor. When you output the sequence at
16:9 by using the Digital Cut tool, select the 16:9 aspect ratio and the titles are sized
correctly during the digital cut.

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Applying the Pan and Scan Effect

Because the Pan and Scan effect controls the aspect ratio of your final output, the effect must
be applied to your entire sequence. You should apply Pan and Scan to its own video track
after you finish editing the sequence.

n There might be some situations in which you want to place a Pan and Scan effect directly on
a video segment. For more information, see “Combining the Pan and Scan Effect with
Transition Effects” on page 274.

n If you apply the Pan and Scan effect and then add a segment to or remove a segment from
your sequence, the Pan and Scan effect does not automatically adjust to cover the entire
segment. Either trim the Pan and Scan effect manually, or remove the Pan and Scan effect
and insert a fresh effect.

To apply the Pan and Scan effect:

1. After you finish editing your sequence, press Ctrl+Y (Windows) or Command+Y
(Macintosh) to create a new video track on the topmost track.

2. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
3. In the Effect Palette, click the Reformat category.
4. Drag the Pan and Scan Effect icon from the Effect Palette to the new track.

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Selecting the Source and Target Aspect Ratios

If you enter Effect mode and select the Pan and Scan effect, you see a white wire frame in
the Effect Preview monitor. This wire frame lets you select the portion of the media that
appears in your output. The Pan and Scan aspect ratios determine the size and shape of the
wire frame.

Correctly setting the Pan and Scan aspect ratios is the most important part of using Pan and
Scan.

Whenever you change aspect ratios, you must decide which part of an image you will retain
for the final output and which part you will discard. The Pan and Scan aspect ratios specify
the size of the incoming image and determine how much of that image you can retain for
your final output.

You must set two ratios:

• Source ratio specifies the aspect ratio of your incoming media.
• Target ratio specifies the aspect ratio of the final output.

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To set the Source and Target aspect ratios for a Pan and Scan effect:
1. Apply the Pan and Scan effect to the new video track, following the procedure described
in “Applying the Pan and Scan Effect” on page 263.
2. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
The Effect Editor opens.

3. Move the position indicator to the Pan and Scan effect.

4. In the Effect Editor, click the triangular opener for the Aspect Ratios parameter
category.

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5. Set the Source aspect ratio to the ratio of your source material.

6. Set the Target aspect ratio to the ratio of the final output.

Setting Up Your Monitors for the Pan and Scan Effect

To accurately view the effects of Pan and Scan while you edit, you need to set your monitors
to display the correct aspect ratios. Your Record or Effect Preview monitors can display in
4:3 aspect ratio (the default) or 16:9 aspect ratio. Your Client monitor should also be able to
display these two aspect ratios.

Generally, your monitors should all be set to 4:3. However, if your source aspect ratio is 16:9
Anamorphic, you should set the Record or the Effect Preview monitor to 16:9. If your target
aspect ratio is 16:9 Anamorphic, the Client monitor should be set to 16:9. Use 4:3 aspect
ratio for all other aspect ratios.

n If you are working with 16:9 Anamorphic and do not have the monitors set up correctly, the
media and the wire frame appear distorted. They appear either elongated or squeezed.

To set the Record or the Effect Preview monitor aspect ratio:

t Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the monitor, and select 16:9
Video to select or deselect 16:9 display.

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Viewing Pan and Scan Media

In Effect mode, the Effect Preview monitor displays your original media and the Pan and
Scan wire frame. The Client monitor displays the original media.

In Source/Record mode (editing mode on NewsCutter systems), the Client monitor displays
the media inside the Pan and Scan wire frame. The portion of the image inside the wire
frame expands to fill the entire monitor. The Record monitor also shows the media inside the
wire frame; however, the media is distorted if either the Source or Target aspect ratio is 16:9
Anamorphic.

Effect Preview monitor in Effect mode Record monitor in Source/Record mode

In Effect mode, the original media displays in the Effect In Source/Record mode, the Record monitor shows
Preview monitor with the Pan and Scan wire frame. a distorted view of the results of the Pan and Scan
effect. The Client monitor shows the accurate view
of the results.

Other effects let you view results on a frame-by-frame basis while in Effect mode. The Pan
and Scan effect does not. You see the entire source image so that you can select a portion of
it. To see the results of the Pan and Scan effect while in Effect mode, click the Play button. In
Source/Record mode (editing mode on NewsCutter systems), you can see the results of the
Pan and Scan effect on a frame-by-frame basis or by playing the media.

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Using the Effect Grid with the Pan and Scan Effect
The Effect Grid displays a variety of positioning guides to help you move and position the
Pan and Scan wire frame. Displaying the Safe Action grid and Thirds grid can be
particularly useful when adjusting Pan and Scan compositions.

The following illustration shows the Effect Grid with Show Safe Action, Show Thirds, and
Show Axes selected.

n Safe Title/Safe Action and Thirds grid marks are based on the Target aspect ratio and are
displayed inside the wire frame. Other grid markings are displayed as normal across the
entire monitor.

You can open the Grid Settings dialog box by clicking the Other Options button in the Grid
parameter category of the Effect Editor. The Grid Settings dialog box controls the size,
position, and display of a variety of grids. For more information on Grid settings, see
“Understanding the Effect Grid” on page 63.

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The following illustration shows the Grid parameter category in the Effect Editor.

Other Options button

Grid parameter
category

Grid button

In addition to using the options in the Grid Settings dialog box, you can use the controls in
the Grid parameter category of the Effect Editor to change some Grid settings. For more
information on these parameters, see “Matrix Wipe: Grid” on page 593.

Setting an Origin in the Pan and Scan Effect

Each Target aspect ratio has default position and scaling settings. You can return to these
default settings at any time by selecting the aspect ratio again.

In addition to using the effect’s default values, you can create customized default values for
each instance of the Pan and Scan effect by using Establish Origin.

n Establish an origin before subdividing or adjusting individual keyframes in your Pan and
Scan effect.

After inserting the Pan and Scan effect, you might want to adjust the size and position of the
wire frame and save the wire frame’s new settings as base settings for the Pan and
Scan effect.

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To save wire-frame settings for the Pan and Scan effect:

t In the Effect Editor, open the Actions parameter category and click Establish Origin.
Now, whenever you adjust Pan and Scan, you can return to these settings by clicking
Reset to Origin. Reset to Origin is useful for quickly centering the wire frame after you
move it.

To reset the wire frame for the Pan and Scan effect:
t In the Effect Editor, open the Actions parameter category and click Reset to Origin.

n If you do not set an origin, clicking Reset to Origin returns to the default values for the
Target aspect ratio.

Subdividing the Pan and Scan Effect

Because your sequence probably contains a variety of segments with different panning
requirements, you might need to adjust the position of the Pan and Scan effect on a
segment-by-segment basis. To make it easier to adjust Pan and Scan for individual segments,
Pan and Scan includes the Subdivide Effect command. Subdivide Effect splits the Pan and
Scan effect based on the segment boundaries of the selected video tracks underneath the Pan
and Scan track.

n You can also use add edits to subdivide a Pan and Scan effect manually.

The following illustrations show the Timeline before and after using the Subdivide Effect
command.

Pan and Scan effect on a Filler track before subdividing the effect

After subdividing

Subdividing the effect minimizes the number of keyframes you need to add and manipulate
because, by default, each effect has a keyframe at the start and end of the effect. If you want
to reposition Pan and Scan for an entire segment, you can select the segment and drag the
Pan and Scan wire frame to a new position. If you need to adjust Pan and Scan within the
segment, add keyframes to the effect.

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n You should subdivide the Pan and Scan effect only after you have finished editing your
sequence and have selected your Pan and Scan aspect ratios and origin. For more
information, see “Selecting the Source and Target Aspect Ratios” on page 264 and “Setting
an Origin in the Pan and Scan Effect” on page 269.

To subdivide a Pan and Scan effect:

1. If your Avid editing application is not in Effect mode, enter Effect mode, for example,
by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
2. Move the position indicator to the Pan and Scan effect.
3. Click the Record Track buttons in the Track Selector panel for the video tracks to use as
the subdivision guide.

Record Track button

Subdivide Effect divides Pan and Scan based on the segment boundaries of the selected
tracks underneath the Pan and Scan track.
4. In the Actions parameter category, click Subdivide Effect.
Your Avid editing application divides the Pan and Scan effect into multiple effects.

n Subdivide Effect works on the selected Pan and Scan effect, not on the entire track.

n Subdivide Effect does not subdivide segments connected by transition effects. For
information on using Pan and Scan with transition effects, see “Combining the Pan and
Scan Effect with Transition Effects” on page 274.

Using the Wire Frame in the Pan and Scan Effect

The wire frame displayed in the Record monitor outlines the section of media selected for
output. The Pan and Scan wire frame functions similarly to the Picture-in-Picture wire
frame.

You can move the wire frame and define a motion path similarly to other multilayer effects.

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You can manipulate the wire frame in the following ways:

• Resize (scale) the wire frame by dragging its handles or by using the Scaling sliders
Scaling lets you zoom in on your media. When you make the wire frame smaller, the
image inside the wire frame is enlarged to fit the output monitor. Because making the
wire frame very small results in a pixelated (grainy) image, it might not be appropriate
to zoom in closely on an image when you plan to output directly to video.
• Reposition the wire frame by dragging it or by using the Position sliders
You cannot drag the wire frame off the screen because in most circumstances you will
not need to select empty space outside the boundaries of the source image. If you do
need to position the edges of the wire frame beyond the screen’s limits, use the Position
sliders in the Effect Editor.

You cannot change the wire frame’s shape, which is determined by the Target aspect ratio.
Your Avid editing application maintains the wire frame’s shape during scaling.

To scale the wire frame, do one of the following:

t Click one of the wire frame’s handles, and drag it to the position you want.
t Click the triangular opener for the Scaling parameter category in the Effect Editor, and
use the slider controls to adjust the wire frame’s height and width.

To position the wire frame, do one of the following:

t Click inside the wire frame, and drag it to a new position.
Movement of the wireframe is restricted to the most important axis. For example, if you
go from a wide aspect ratio (16:9) to a narrow aspect ratio (4:3), you can drag the wire
frame from side to side. If you go from 4:3 to 16:9, you can drag the wire frame up and
down.

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t Press and hold the Shift key, click inside the wire frame, and drag it to a new position.
Movement of the wireframe in all directions is possible.
t In the Position parameter category, adjust the wire frame’s horizontal and vertical
Position sliders.

Adjusting the Pan and Scan Effect

You might need to adjust Pan and Scan at different points throughout your sequence. The
following are some suggestions for adjusting Pan and Scan.

If your sequence needs few adjustments:

1. Click the Play button or the Play Loop button.
2. If you see a problem with the panning, stop playback by doing one of the following:
t Click the Play button or the Play Loop button.
t Press the space bar.
3. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
4. Adjust the Pan and Scan effect.

If your sequence needs many adjustments:

1. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
You will do all your adjustments in Effect mode.
2. Use the Go To Next Edit and Go To Previous Edit buttons to step from one Pan and Scan
effect to the next.
The Go To Next Edit and Go To Previous Edit buttons appear on the Command palette.
You can map the buttons from the Command palette to the keyboard or to another
button. For more information, see “The Command Palette” in the Help.
3. Adjust the Pan and Scan effect.

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Combining the Pan and Scan Effect with Transition Effects

When you subdivide the Pan and Scan effect, the subdivisions are based on the segment
boundaries of the selected track. However, if two segments are connected by a transition
effect, Pan and Scan does not place a subdivision between those segments. If one or more
segments are connected by transition effects, Subdivide Effect treats this string of segments
as one continuous segment.

The following illustration shows this behavior for a typical sequence with transition effects.

Pan and Scan effect above segments with transition effects

After subdividing, the Pan and Scan effect above the transition effects is not subdivided.

You can set Pan and Scan parameters for the starting and ending keyframes of the entire
segment string and insert additional keyframes wherever you need to fine-tune the panning.
However, this approach works only if the panning does not vary among the segments in the
string.

If panning needs to vary greatly from segment to segment, you might need to handle Pan and
Scan on a segment-by-segment basis. To work on a segment-by-segment basis, you need to
combine the Pan and Scan effect with the transition effects by placing the Pan and Scan
effect on your video track. For more information, see “Placing Pan and Scan Effects on the
Video Track” on page 274.

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Placing Pan and Scan Effects on the Video Track

To combine Pan and Scan effects with transition effects, you need to place the Pan and Scan
effects in the segments of the segment string.

To place Pan and Scan effects in the segments:

1. After subdividing the Pan and Scan effect, select the Pan and Scan effect above the
segment string.
For more information, see “Subdividing the Pan and Scan Effect” on page 270.
2. Press the Delete key to remove the Pan and Scan effect.

3. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
4. In the Effect Palette, click the Reformat category.
5. Drag the Pan and Scan Effect icon from the Effect Palette to the first segment in the
segment string in the Timeline.
6. Repeat step 5 for each segment in the segment string.

7. Adjust each Pan and Scan effect as needed.

Using Avid Pan & Zoom

The Avid Pan & Zoom plug-in effect provides capabilities similar to a motion control
camera using high-quality digital processing. You import a high-resolution still image, and
then move around the image with extensive keyframe control over the location (pan) and
magnification (zoom) of the field of view. You can preview the movement in real time with
no filtering and render the effect with a wide range of filtering options that provide
exceptional image quality.

Importing the image file is an important step in using the Pan & Zoom effect. To import the
image file, you create a segment as a placeholder for your image, apply the effect to the
placeholder segment, and then import the image into the segment from within the Effect
Editor.

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The effect parameters available for the Avid Pan & Zoom effect let you control many aspects
of your effect, such as how you view the image while you are working on it, what parts of
the image the camera views, how the camera moves over time, and how the effect is
rendered.

The following topics describe how to apply the Avid Pan & Zoom effect and how to adjust
the effect using the Avid Pan & Zoom parameters.

Working with Image Files

The Avid Pan & Zoom effect supports any image file format for which your system has the
appropriate QuickTime codec. You can download the latest version of QuickTime from the
Apple® Web site. For more information, see www.apple.com.

Most images you use with Avid Pan & Zoom come from digital cameras, scanners, or
third-party graphics applications such as Adobe Photoshop®. In the rare case where an
image comes from a video source, you can set parameters in the Advanced parameter
category to enable the effect to compensate appropriately. For more information, see
“Adjusting for Source Image Pixel Shape and Color Levels in an Avid Pan & Zoom Effect”
on page 287.

If you move an image file after you import it into the effect, the image is no longer
accessible to the effect. The next time you open the effect a dialog box opens asking you to
locate the file.

Applying the Avid Pan & Zoom Effect

To apply the Avid Pan & Zoom effect:
1. Using standard editing techniques, load a sequence and create a placeholder segment of
the duration you want for your image.
For information about editing a sequence, see “Creating and Edting Seqeunces: Basics”
in the Help.
The footage you use in the placeholder segment is the footage the effect uses if you set
the Background parameter to Video. For more information, see “Selecting the
Background for an Avid Pan & Zoom Effect” on page 286.

n You cannot use filler in the placeholder segment.

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2. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
The Effects Editing toolset appears.
3. In the Effect Palette, click the Image category.
4. Click the Avid Pan & Zoom icon, and drag it to the placeholder segment you created in
step 1.
The Avid Pan & Zoom parameters appear in the Effect Editor.

Other Options
button

5. In the Effect Editor, click the Other Options button.

A file selection dialog box opens.

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6. Navigate to the file containing your image, and click OK.

Your Avid editing application superimposes the image on the placeholder segment. The
image appears in the Effect Preview monitor.

n If you select a file that your application does not recognize as an image file, the application
takes no action and no error message appears. For more information, see “Working with
Image Files” on page 276.

The placeholder segment name does not change. That is, the name of the image file does not
appear in the segment.

7. Customize the Avid Pan & Zoom effect using the procedures described in the following
topics.
- Controlling How You View an Avid Pan & Zoom Image
- Adjusting the Field of View for an Avid Pan & Zoom Image
- Modifying Apparent Camera Speed for an Avid Pan & Zoom Effect
- Setting Up a Simple Ease In and Ease Out for an Avid Pan & Zoom Effect
- Creating a Path with Constant Velocity for an Avid Pan & Zoom Effect
- Controlling Path Changes at Keyframes for an Avid Pan & Zoom Effect
- Setting a Rendering Option for an Avid Pan & Zoom Effect
- Rendering (Filtering) Options for Avid Pan & Zoom
- Selecting the Background for an Avid Pan & Zoom Effect
- Adjusting for Source Image Pixel Shape and Color Levels in an
Avid Pan & Zoom Effect
- Managing Memory with the Avid Pan & Zoom Effect

Controlling How You View an Avid Pan & Zoom Image

The Display parameter lets you select how you view the image as you work on it. You can
view a scaled representation of the entire Source image while you draft the effect, or the
result (Target) of your pan and zoom settings to preview the final look of the effect.

If your material will be viewed on screens with limited viewing areas, such as standard
televisions, you can use the Show Action Safe option in the Display Options parameter
category to provide a visual guideline in the Effect Preview monitor that replicates the actual
viewable area on a standard television screen.

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To set the Display parameter:

t Click the Display Fast Menu button, and select Source or Target.
- Source shows you the entire image scaled to fit inside the Effect Preview monitor.
Use Source Display mode as you draft the effect.
The pan and zoom settings appear as a rectangle (4:3 aspect ratio) superimposed
over the image. The closer in you zoom, the smaller the rectangle appears.
- Target shows you the results of your pan and zoom settings. Use Target Display
mode for previewing your moves.
A crosshair appears at the center of the image. If you use Target Display mode and
one of the real-time filtering options, the image appears pixelated in the Effect
Preview monitor. This does not affect the quality of the rendered image. For more
information, see “Setting a Rendering Option for an Avid Pan & Zoom Effect” on
page 285.

To set the Safe Action display in the Display Options parameter:

t Click the Show Action Safe button to turn the Safe Action area display on or off.
When the button is pink (on), the Safe Action area displays. When the button is gray
(off), the Safe Action area does not display.

Adjusting the Field of View for an Avid Pan & Zoom Image
The field of view is that part of the source image that you select to create the final image. It
is represented in the Effect Preview monitor by a gray rectangle superimposed on the
source image.

The Zoom Factor slider in the Size parameter category controls zoom. You control pan by
either dragging the crosshair across the image or using the X and Y Position parameters.

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Field of view rectangle

Safe Action area

Crosshair

n If your final image will be viewed on screens with limited viewing areas, you should turn on
the Safe Action area display as a guideline while you work. For information on the Safe
Action area, see “Controlling How You View an Avid Pan & Zoom Image” on page 278.

To zoom in or out on the Source image:

t Use the Zoom Factor slider in the Size parameter category.
Zoom Factor ranges from 0.1 to 20. At 0.1, the effect scales down the image to one-tenth
the original. At 1, the effect applies no magnification to the image. At 20, the effect
scales up the image 20 times — that is, by 2000 percent. The larger the Zoom Factor, the
smaller the field of view rectangle appears when you use Source Display mode.

Scaled image using Source Display Mode Scaled image using Target Display Mode
Field of view rectangle

n The Avid Pan & Zoom effect automatically preserves the clip’s aspect ratio. Any aspect ratio
you select from the Clip menu is also used by the Avid Pan & Zoom effect.

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 Using Avid Pan & Zoom

To pan over the source image, do one of the following:

t Using either Source Display mode or Target Display mode, click the crosshair, and drag
it to a new location.
t Use the X and Y Position parameters.
The Position parameters refer to the center of the field of view. A Position of 0, 0
centers the field of view over the center of the image.
You can use the click-and-drag method to easily create a rough path, and then refine it
with the X and Y Position parameters.

Modifying Apparent Camera Speed for an Avid Pan & Zoom Effect
You control the rate of change for apparent camera movement at each keyframe using the
Velocity parameter.

The Avid Pan & Zoom effect uses Velocity In and Velocity Out at each keyframe to modify
apparent camera speed as it pans across the image between keyframes. It modifies changes
in the Zoom Factor setting in the same way.

The gradual acceleration at the beginning of movement is ease in, and the gradual
deceleration at the end of movement is ease out. Acceleration, a global parameter found in
other effects, adjusts an effect’s speed over time by having the effect ease in and ease out at
the first and last keyframes respectively. Velocity is a keyframeable parameter and it gives
you more options than does Acceleration.

The Velocity parameters divide the time between keyframes in half. Velocity In controls the
rate of movement in the first half; Velocity Out controls the rate of movement in the second
half.

Selected keyframe

First keyframe Last keyframe

Period controlled by Velocity In Period controlled by Velocity Out

(first half of time between keyframes) (second half of time between keyframes)

The following steps describe the general method for setting the Velocity parameter. Specific
procedures for setting a simple ease in and ease out, and for setting a constant speed for an
effect, are described in “Setting Up a Simple Ease In and Ease Out for an
Avid Pan & Zoom Effect” on page 282 and “Creating a Path with Constant Velocity for an
Avid Pan & Zoom Effect” on page 283.

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To set the Velocity parameter:

1. Click the keyframe indicator for the keyframe you want to adjust.
2. Click the In Fast Menu button, and then select a Velocity In option from the Fast menu.
For a description of all the Velocity options, see “Image: Avid Pan & Zoom” on page
579.
3. Click the Out Fast Menu button, and then select a Velocity Out option from the Fast
menu.
4. Repeat steps 1 to 3 for any other keyframes you want to adjust.

Setting Up a Simple Ease In and Ease Out for an

Avid Pan & Zoom Effect
With the Avid Pan & Zoom effect, most of the time you probably want to create a simple
ease in only on the first keyframe and an ease out only on the last keyframe. If you use Ease
In and Ease Out for each keyframe, the pan and zoom movements bounce at each keyframe
like a car repeatedly speeding up and slowing down.

To set up a simple ease in and ease out for an effect with multiple keyframes:
1. Click the first keyframe indicator to select it.
2. Set Velocity In to Ease In.
3. Set Velocity Out to Linear.
4. Click the next keyframe indicator to select it.

n For a quick way to jump to the next or previous keyframe indicator, you can use the Fast
Forward and Rewind buttons in the Effect Preview Monitor toolbar.

5. Set Velocity In and Velocity Out to Linear.

6. Repeat steps 4 and 5 for all keyframes except the last keyframe.
7. Click the last keyframe indicator to select it.
8. Set Velocity In to Linear.
9. Set Velocity Out to Ease Out.

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Creating a Path with Constant Velocity for an Avid Pan & Zoom Effect
When you change the time at which a keyframe occurs, for example by moving the
keyframe indicator in the Timeline, the length of time it takes the effect to move from the
position set in that keyframe to the position set in the next keyframe also changes. Most of
the time this is the result you want.

If you want an effect’s path to have a constant velocity across a number of key frames, you
can make the calculations manually and place the keyframes accordingly, or you can use the
Constant option for the Velocity parameters.

When you use the Constant option, your Path parameter selection can affect the result of
changes you might make to the effect.
• If you select Linear for the Path parameter, moving keyframes or changing the Position
parameters does not affect the velocity of the effect’s path.
• If you select Spline for the Path parameter, moving keyframes or changing the Position
parameters might affect the velocity of the effect’s path.

For more information, see “Controlling Path Changes at Keyframes for an Avid Pan & Zoom
Effect” on page 283.

To create a path with constant velocity:

1. Create an Avid Pan & Zoom effect.
For more information, see “Applying the Avid Pan & Zoom Effect” on page 276.
2. Add keyframes to define the path you want the effect to take.
3. At each keyframe, set the Velocity In and Velocity Out parameters to Constant.

n When you use Constant for Velocity In and Velocity Out, the position at which you placed a
keyframe in the Timeline is not necessarily the time at which the Avid Pan & Zoom effect
applies the keyframe’s parameters. The effect applies the parameters at the time calculated
by the effect to achieve a constant velocity for the path you created.

4. Press the Play button or the Play Loop button to preview the effect.
The velocity of the path is constant.

Controlling Path Changes at Keyframes for an Avid Pan & Zoom Effect
The Path parameter controls how the Avid Pan & Zoom effect interpolates Position
parameter changes at keyframes.

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8 Working with Camera Effects

To set the Path parameter:

t Click the Path Fast Menu button, and select one of the following options from the Fast
menu.
- Linear interpolation creates straight-line changes from one keyframe to the next.

Linear interpolation

4 The line represents the path

of the effect over time. The
numbers at each angle
7 represent keyframes,
3 numbered 1 to 8, indicating
1 where the direction of the
5 path changes.

2 Note how the path changes

direction abruptly at each
keyframe.

- Spline interpolation smooths out changes at keyframes to create a more natural

movement.

Spline interpolation

8
The line represents the
4 path of the effect over
time. The numbers at
each angle represent
keyframes, numbered 1 to
7
3 8, indicating where the
1 direction of the path
5 changes.

2 Note how the path

smooths out at each
keyframe.

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 Using Avid Pan & Zoom

The Avid Pan & Zoom effect calculates a Spline path so that it is smooth through all
points. If you move a point, the effect recalculates the entire path.

n If you combine a Spline path with Constant velocity, when you move a keyframe, the path
recalculation might result in a change to the velocity of the effect.

Setting a Rendering Option for an Avid Pan & Zoom Effect

The rendering option you select for the Avid Pan & Zoom effect determines the quality of
the rendered result.

n The image quality of the effect in the final output depends in part on the resolution at which
you output the sequence. Some sharpness might be lost due to compression during the final
output.

Use the Filtering parameter category to select the rendering method. The various filtering
options allow you to trade off the clarity or sharpness of the resized image and the speed at
which the effect renders.

If you are working in a progressive project, use the Progressive option in the Render Mode
parameter category to create a smoother animation when using progressive frames.

To select a rendering method:

t Click the Filtering Fast Menu button, and select a rendering option from the Fast menu.
For information on the available options, see “Rendering (Filtering) Options for Avid
Pan & Zoom” on page 285.

To adjust animation smoothness in progressive projects:

t Click the Progressive button in the Render Mode parameter category.
When the button is pink (on), progressive frames render more smoothly. When the
button is gray (off), progressive frames render less smoothly.

Rendering (Filtering) Options for Avid Pan & Zoom

The following table describes the options available in the Filtering parameter category for
the Avid Pan & Zoom effect. The options are ranked from fastest render and lowest quality
image to slowest render and highest quality image.

You might not always want the sharpest possible result. Images with many sharp edges
might look better with a softer rendering. Many users find that B-Spline Catmull is the best
compromise between image quality and rendering time. Experiment with Filtering options
to decide which one produces the effect you want.

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Option Description

Real Time Renders most quickly but results in a draft-quality image.

n The application uses Real Time filtering during uncompressed play.

Triangle Results in fairly soft images.

Quadratic Results in slightly sharper images than Triangle filtering.

Cubic Results in sharper images than Quadratic filtering although they are still fairly
soft.

B-Spline Catmull Allows you to shrink an image (zoom out) by a large amount.
B-Spline Catmull produces a sharper image than Cubic filtering when you stay
close to the original size of the image (very little zooming in or zooming out) or
when you enlarge the image (zoom in) past the source image resolution.

Gaussian Results in an image that is relatively soft but sharper than B-Spline Catmull.

Avid Hi Qual Creates sharp images when you shrink the original (zoom out).

Avid Ultra Qual Creates extremely sharp images when you shrink the original (zoom out).

Selecting the Background for an Avid Pan & Zoom Effect

With the Avid Pan & Zoom effect, you can select a field of view from the original image that
does not fill the entire screen. The Background parameter determines what appears outside
the field of view.

n The Background parameter is not keyframeable.

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 Using Avid Pan & Zoom

To select the background:

1. Click the Background Fast Menu button, and select Color or Video.

Option Description

Color Lets you select a background color.

Video Uses the video from the segment upon which you placed the
Avid Pan & Zoom effect.

2. (Option) If you selected Color, use one of the following methods to set the background
color:
t Manipulate the RGB sliders directly, or use the numeric keypad to enter values.
t Click the Other Options button to use the Windows Color dialog box or the
Macintosh Colors panel.
t Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 76.

Adjusting for Source Image Pixel Shape and Color Levels in an

Avid Pan & Zoom Effect
The Advanced parameter category provides controls to compensate for differences in pixel
shape and in color levels between the source image and the video output.

Digital cameras and scanners, common sources for the Avid Pan & Zoom effect, use square
pixels. Computer monitors also use square pixels but television monitor pixels are
rectangular.

Most images you import into the Avid Pan & Zoom effect use RGB color levels that range
from 0 to 255. In rare cases, you might use images from a video source with 601 color
levels.

To compensate for pixel shape differences:

t Click the Source Has Square Pixels button in the Advanced parameter category.
When Source Has Square Pixels is pink (on), the Avid Pan & Zoom effect makes the
calculations necessary to produce results compatible with rectangular pixels. This is the
default setting. When Source Has Square Pixels is gray (off), the Avid Pan & Zoom
effect makes no changes to the pixel shape but does apply the aspect ratio in effect for
the project.

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To adjust for source image color levels:

t Click the Level Fast Menu button, and select an option from the Fast menu.
- Source has RGB Level: For images with a black level of 0 and a white level of 255.
The effect maps colors to video black and white levels, which are 16 and 235
respectively. This is the default setting.
- Source has 601 Levels: Refers to the ITU-R-601 standard for video black and white
levels. Select 601 in the rare case when you use images from a video source. When
you select 601 for the Level setting, the effect makes no adjustment to color levels.

Managing Memory with the Avid Pan & Zoom Effect

The images you import into Avid Pan & Zoom can be extremely large. The amount of
memory used to store a large image can impact the performance of your Avid editing
application. The Cache parameter gives you control over the amount of memory used to
store your images for playback. A full resolution image is always used for rendering.

To control the amount of memory used to store images:

t Click the Cache Fast Menu button, and select an option from the Fast menu.

Option Description

Video Resolution The effect stores the resized source image at 720 x 480 pixels, using
about 1 MB per image. Use Video Resolution if you have many
images in your sequence and you need to limit how much memory
they occupy.

Image Resolution The effect stores a source image at its original resolution. The
amount of memory used varies with the size of the image.

Multi-Resolution The effect stores several versions of the image: original image
resolution, half resolution, quarter resolution, and so on, for eight
versions of the image. The result is higher quality real-time preview
and faster rendering. Multi-Resolution uses about twice the
memory of Image Resolution.

Free Current Cache The effect frees all memory used for image storage and then reverts
to Image Resolution. Use this setting to free up memory after you
have rendered the clip.

Cache All Your Avid editing application sets the same Cache parameter for all
instances of the effect in a sequence.

Free All Caches Free the caches for all instances of the plug-in in that sequence.

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9 Motion Tracking and Stabilization

Your Avid editing application can track the motion of a selected area in an image over time.
Once you have obtained tracking data, you can use it to control the motion of a digital video
effect such as a Picture-in-Picture or a Paint effect. You can also use tracking data to
stabilize an image to compensate for camera motion.

This chapter includes the following main topics:

• Understanding Motion Tracking
• Workflow for Motion Tracking
• Effects and Effect Parameters That Use Tracking Data
• Understanding the Tracking Interface
• Setting Up an Effect for Tracking
• Preparing to Generate Tracking Data
• Understanding How to Generate Tracking Data
• Generating Tracking Data
• Offset Tracking
• Understanding Generated Tracking Data
• Customizing Tracking Data Display
• Setting the Reference Frame for a Tracker
• Understanding the SteadyGlide and Smoothing Options for Tracking
• Using SteadyGlide or Smoothing to Process Tracking Data
• Modifying Tracking Data
• Limiting the Effect of Position Tracking Data to a Single Axis
• Playing Effects That Use Tracking Data
• Understanding Stabilizing
• Stabilizing an Image
• Guidelines for Using Multiple Trackers When Stabilizing
• Using the Region Stabilize Effect
9 Motion Tracking and Stabilization

• Editing Segments That Use Tracking Data

• Reusing Existing Tracking Data
• Copying and Pasting Tracking Data
• Conforming Symphony Meridien Sequences with Tracking Data
• Examples of Effects Using Motion Tracking

Understanding Motion Tracking

This section includes conceptual information that helps you to understand how tracking
works and when you might want to use it.

Understanding the Tracking Process

Motion tracking works by searching for a distinctive pattern of pixels in each frame of a
video segment. As the pattern moves over time, your Avid editing application records the
movement as a series of points, one for each frame or field in the segment. For example, if a
car is moving across a segment, you can track a distinctive pattern on the side of the car,
such as the shape of its side mirror. The result is a set of tracking data points that represent
the movement of the car over time.

Once you have a set of data points, you can associate them with an effect parameter to
control how an effect moves. For example, if you need to hide the identity of the person
driving the car in your segment, you can associate the tracking data with the Position
parameter of a Blur effect. The tracking data then controls the movement of the Blur effect
so that the blurred area remained over the person’s head throughout the segment.

Each set of data points is contained within a structure called a tracker. Depending on the
kind of motion you need to track, you might need one, two, or more trackers. For simple
two-dimensional movement, a single tracker is sufficient. If you need to track rotational
movement or scaling information, you need two trackers so that the system can calculate the
position of one point in the image relative to a second point. For even more complex motion,
such as that involved in corner pinning an image, you might need three or four distinct points
to correctly track perspective or the angle at which the image is tilted.

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Uses of Motion Tracking

One common use for motion tracking is to replace a moving area in one image with new
material. For example, you can track the motion of a distinctive area on a vehicle and then
use that data to replace an advertising sign on the vehicle or to replace or blur the license
plate. In many cases, especially when the motion of the vehicle is complex, using tracking
data to control the movement of the foreground replacement is much quicker than using
keyframes to define the movement by hand. For an example of this use of motion tracking,
see “Example 1: Replacing the License Plate on a Moving Vehicle” on page 341.

Sometimes a shot is designed from the outset with motion tracking in mind. A director might
attach a target to the moving vehicle so that it can be tracked easily. You could create a
replacement sign as a graphic and import it or shoot a replacement sign against a keying
background. During editing, you use tracking data to control the movement of the
replacement material in a Picture-in-Picture or a chroma key effect promoted to 3D Warp.

Another use for motion tracking is to create an effect in which a foreground object follows a
background object but remains offset from it. For example, you might track the movement of
a hand in a background clip and then use that tracking data to control the movement of a
foreground object so that the object’s movement appears to be controlled by the moving
hand.

When you stabilize an image, you use tracking information somewhat differently. By
tracking an object that should be motionless — for example, part of a building — you collect
information about the movement of the camera from one frame to the next. The Stabilize
effect then applies the inverse of that movement to each frame in order to eliminate the
camera motion.

Motion Tracking and Footage Characteristics

The motion tracking tools in your Avid editing application allow you to track movement in
many kinds of footage successfully.

However, there will always be some footage that is difficult or even impossible to track
successfully. There might be no consistent pattern to track across multiple frames, or
insufficient distinction between the pattern you want to track and the surrounding material.
Typically, tracking requires a distinct edge in the target area, for example the edge of a
moving vehicle against a background, or the edge of an advertising sign against the body of
a vehicle.

n In some cases, you might be able to temporarily apply a color correction or a Color Effect
that you can use to make a pattern more distinct. For example, if a blue vehicle does not
track well against a sky background that is a similar shade of blue, you could use a
secondary color correction on the vehicle to change its color temporarily.

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Workflow for Motion Tracking

The following workflow outlines the main stages of the motion tracking process and
indicates where to find more detailed information and procedures for each stage.

Motion tracking provides considerable workflow flexibility. As you become a more

experienced user of motion tracking, you can modify the order of these stages or merge them
together to suit your editing style and the requirements of a particular project.
1. (Option) Before you begin working with the motion tracking tools, develop a general
concept and design for the effect you want to create.
In some cases, you can design your shoot itself with tracking in mind, for example, by
attaching a distinctive target to a moving object that you can later track and replace with
an effect.
2. Set up the effect that you want to control using tracking information.
You access motion tracking from within an effect parameter for a specific effect, so you
must set up the effect first. For more information, see “Setting Up an Effect for
Tracking” on page 300.
3. Prepare to generate tracking data by creating trackers and customizing how the system
will conduct the tracking operation.
For more information, see “Preparing to Generate Tracking Data” on page 301.
4. Generate tracking data.
Depending on the complexity of the movement you want to track, you might need to
track one, two, or more distinct points in the image. Also, if you are not able to track one
target area successfully throughout your segment, you might need to add one or more
additional tracker regions and track each additional region.
For more information, see “Generating Tracking Data” on page 312 and “Performing
Offset Tracking” on page 315.
5. If necessary, process or modify the tracking data.
For example, you might want to smooth the path of the tracking points, or adjust some
of the points by hand. For more information, see “Using SteadyGlide or Smoothing to
Process Tracking Data” on page 321 and “Modifying Tracking Data” on page 322.
6. Play back the effect.
The system calculates the motion of the effect by incorporating the tracking data and
displays the result. For more information, see “Playing Effects That Use Tracking Data”
on page 328.
7. If necessary, continue to adjust the tracking information or other effect parameters until
you are satisfied with the look of the effect.

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 Effects and Effect Parameters That Use Tracking Data

Effects and Effect Parameters That Use

Tracking Data
You can enable tracking and use tracking data for most segment effects that can move over
time, including Picture-in-Picture, keys, Intraframe™ effects, titles, and all 3D effects. In
some cases, you must promote an effect to 3D to access tracking for the effect or to access
the full range of tracking options.

Effect parameters that can use tracking data divide into two groups:
• The Position, Scaling, and Rotation parameters allow you to use tracking data to control
the specific kinds of motion associated with each parameter. You can work with tracking
enabled in any combination of these parameters at the same time. For example, you can
work with tracking enabled in both the Position and the Scaling parameters to control
both the position of an effect on the X and Y axes and the size of the effect.
• The Tracking parameter category provides a more flexible way to define and use
tracking data by allowing you to enable up to four trackers. The Tracking parameter is
the only parameter that allows you to work with more than two trackers at one time and
is therefore the only option for controlling complex motions that involve perspective
changes or tilting of the effect.
You can also use the Tracking parameter with only one or two trackers enabled to
control simpler motions such as position and scaling. This is the only option for such
control in effects that do not have Position, Scaling, and Rotation parameters, such as
Intraframe effects. This is also an alternative method for controlling simpler motions in
effects that do have Position, Scaling, and Rotation parameters.

It is important to understand that the two groups of parameters that use tracking data are
mutually exclusive. When you enable the Tracking parameter, tracking is automatically
disabled in the Position, Scaling, and Rotation parameters. When you enable tracking in the
Position, Scaling, or Rotation parameters, the Tracking parameter is automatically disabled.

The following table provides a complete list of the effects and effect parameters that can use
tracking data. For reference information on these effects and their parameters, see “Effects
Reference” on page 539 and “Effects Parameter Reference” on page 641.

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Effect Available Parameters

Picture-in-Picture (2D) Position, Scaling

Paint Tracking
AniMatte
Blur Effect
Mosaic Effect
Scratch Removal
Spot Color Correction (Symphony only)

Stabilize Position, Scaling, Tracking

Matte Key effect (applied from Key category in the Position, Scaling
Effect Palette)

Imported Matte Key clip (2D) Position, Scaling

Titles (2D) Position, Scaling

3D Warp (including promoted Picture-in-Picture Position, Rotation, Scaling, Tracking

effects, keys, 3D Xpress shape effects, and titles)

Understanding the Tracking Interface

The interface items that you use when tracking divide into three groups according to their
locations:
• The Effect Editor
For more information, see “Tracking Controls in the Effect Editor” on page 295.
• The Effect Preview monitor
For more information, see “Tracking Controls in the Effect Preview Monitor” on page
295.
• The Tracking window
For more information, see “Opening The Tracking Window” on page 296 and “Tracking
Window Components” on page 296.

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Tracking Controls in the Effect Editor

The Effect Editor includes tracking controls within those effect parameter categories that can
use tracking information. These controls allow you to enable tracking for the parameter and
to define which trackers apply to that parameter.

The appearance of tracking controls in the Effect Editor varies depending on whether or not
the effect has been promoted to advanced keyframes.

The following illustration shows the tracking controls for the Position parameter category in
both standard keyframes and advanced keyframes.

Tracker controls for Position

parameter category — effect
with standard keyframes

Tracker controls for Position

parameter category — effect
promoted to advanced keyframes

For more information, see:

• “Effects and Effect Parameters That Use Tracking Data” on page 293
• “Enabling Tracking in the Effect Editor” on page 301
• “Creating and Mapping Trackers” on page 305

Tracking Controls in the Effect Preview Monitor

The Effect Preview monitor displays tracking controls that you can manipulate directly. The
monitor displays the tracking boxes that you use to define the target area and the search area
on the first frame or field of the region that you want to track. As tracking takes place, the
monitor displays the generated data points for each frame or field. Once tracking data has
been generated, you can display tracking data points in various ways and manipulate them in
the monitor. For more information, see the following sections:
• “Setting Up Tracking in the Effect Preview Monitor” on page 306
• “Tracking Data in the Effect Preview Monitor” on page 316
• “Customizing Tracking Data Display” on page 317
• “Modifying Tracking Data” on page 322

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The following illustration shows a typical display of tracking boxes and data points.

Opening The Tracking Window

Many of the controls that you use to create, customize, and modify trackers are located in the
Tracking window.

For more information on the features of the Tracking window, see “Tracking Window
Components” on page 296.

To open the Tracking window, do one of the following in the Effect Editor:
t Enable tracking in an effect parameter for a tracker that is not currently mapped.
For more information, see “Creating and Mapping Trackers” on page 305.
t Click the Tracking Tool button.
You might need to resize the Effect Editor to see the Tracking Tool button in the column
of buttons on the right side.

Tracking Window Components

The Tracking window has the following main features:
• An area containing controls for setting up and performing tracking, controlling the
display of tracking data, and modifying tracking data
• A timeline representation of each tracker for the current effect

The following illustration shows the Tracking window.

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 Understanding the Tracking Interface

The following table provides a brief description of each interface item in the window and
indicates where to find more detailed information.

Tracking Window Components

Control Description

Start Tracking Starts a tracking operation from the current location

of the position indicator. For more information, see
“Generating Tracking Data” on page 312.

New Tracker Creates a new tracker. For more information, see

“Creating and Mapping Trackers” on page 305.

Go to Previous Region Click one of these buttons to move to the previous or

and Go to Next Region next region boundary in the tracker timelines. For
more information, see “Moving to a Tracking
Region” on page 315.

Tracking Engine Allows you to choose between the two available

tracking engines, Correlation Tracker and
FluidTracker. For more information, see
“Understanding Tracking Engines” on page 310.

Track Allows you to choose between tracking the

Background/Foreground background shot and tracking the foreground shot,
In the great majority of cases, you will want to track
the background shot. For more information, see
“Setting Up Tracking in the Tracking Window” on
page 309.

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Tracking Window Components (Continued)

Control Description

Point Range Controls how many of the tracking data points

appear in the Effect Preview monitor. For more
information, see “Customizing Tracking Data
Display” on page 317.

Display Controls the display in the Effect Preview monitor,

allowing you to view either the tracking data or the
results of the effect. For more information, see
“Customizing Tracking Data Display” on page 317.

Stretch Points Mode Allows you to stretch data points. For more
information, see “Stretching a Range of Tracker
Data Points” on page 325.

Enable Tracker button When the Enable Tracker button is active for a
(Tracker timeline tracker, tracking boxes and tracking data points
displays) display in the Effect Preview monitor. Also, when
the Enable Tracker button is active for a tracker, the
system generates tracking data for that tracker
during a tracking operation. The button is purple
when active and gray when inactive. For more
information, see “Enabling, Disabling, and Deleting
Trackers” on page 306.

Offset Tracking (Tracker When this option is selected, the tracker uses offset
timeline displays) tracking to calculate a continuous motion for the
effect from multiple regions of tracking data. For
more information, see “Offset Tracking” on page
313.

SteadyGlide (Tracker When this option is selected, the tracking data for
timeline displays) the tracker is processed to remove unwanted jittery
motion while preserving underlying smooth
movement such as a camera pan or zoom. The value
set in the Smoothing Value text box controls the
extent of the processing. For more information, see
“Using SteadyGlide or Smoothing to Process
Tracking Data” on page 321.

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Tracking Window Components (Continued)

Control Description

Smoothing (Tracker When this option is selected, the tracking data for
timeline displays) the tracker is processed to smooth the path between
selected points. The value set in the Smoothing
Value text box controls the amount of smoothing
applied. For more information, see “Using
SteadyGlide or Smoothing to Process Tracking
Data” on page 321.

Smoothing Value Enter a value in this text box between 1 and 100 to
(Tracker timeline control the amount of smoothing performed by the
displays) SteadyGlide or Smoothing processes. The larger the
value, the more smoothing is performed. For more
information, see “Using SteadyGlide or Smoothing
to Process Tracking Data” on page 321.

Tracker Color box Shows the color the system uses to display
(Tracker timeline information for this tracker in the Effect Preview
displays; also visible in monitor and allows you to change the tracker’s
the Effect Editor) display color. For more information, see
“Customizing Tracking Data Display” on page 317.

Tracker Name text box Shows the name of the tracker and allows you to
(Tracker timeline change the name of the tracker. For more
displays; also visible in information, see “Creating and Mapping Trackers”
the Effect Editor) on page 305.

Tracker timeline Shows information about the tracking data in the

(Tracker timeline tracker. Color coding indicates the status of the data.
displays) For more information, see “Setting Up Tracking in
the Effect Preview Monitor” on page 306 and
“Tracking Data in the Tracker Timelines” on page
316.

Tracker Close button Closes the tracker and permanently deletes any
(Tracker timeline information within it. For more information, see
displays) “Enabling, Disabling, and Deleting Trackers” on
page 306.

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Setting Up an Effect for Tracking

The first stage of the motion tracking workflow is to set up the effect to which you want to
apply tracking data. To do this, you need to edit the necessary footage into a sequence and
apply the effect. In most cases, you will also want to make initial parameter adjustments to
the effect.

Understanding Video Layers and Motion Tracking

Since motion tracking either controls the movement of an effect in relation to a moving area
in a clip or controls the stabilization of a clip, you need one of the following situations for
motion tracking to be useful:
• Two (or more) layers in the Timeline, where one contains the video you intend to track
and another contains the material to which you will apply the effect (that material might
be video, an imported graphic, or a title clip).
• A single video layer on which you draw one or more Intraframe objects. When you
track movement in the video, you can use that tracking data to control the movement of
the Intraframe objects.
• For stabilizing only, a single video layer that you intend to stabilize.

In most circumstances when you are working with two video layers, the material you intend
to track forms the background layer and the effect is on the foreground layer. However, the
system can track either the foreground or the background layer, so you can place the material
you want to track on top of the material that receives the effect if necessary.

Applying an Effect for Motion Tracking

You apply an effect for motion tracking in the same way that you apply any effect that either
operates on a multilayer sequence or allows you to draw a foreground object on top of a
video layer. For more information, see “Applying Effects” in the Help.

Making Non-Tracking Parameter Adjustments to an Effect

The final look of an effect that uses tracking is almost always the result of combining the
tracking data with standard effect parameter adjustments. You will usually need to define the
appearance of the effect in the first frame or field of the segment; you might also need
keyframe adjustments at other points in the segment.

In most cases, you can choose whether to make these adjustments before or after you
generate the tracking data itself. As long as the standard adjustments as well as the tracking
data are in place when you play the effect, you see the final result of all the adjustment data.

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 Preparing to Generate Tracking Data

For example, if you are replacing a sign on a moving vehicle, you need to use standard effect
parameter adjustments to set the initial size, shape, and position of the sign. Depending on
the complexity of the material, you might make these adjustments using basic parameters
such as Position and Scaling, or you might need to place each corner independently using
the Corner Pin parameter.

If you want the effect to be offset from the moving area that you plan to track, you can
establish that offset by adjusting the Position parameters. The final motion of the effect
maintains that offset from the tracking data points as it moves. If you want the size of the
effect to change in a manner that is not dependent on changes in the moving area, you can set
up that change in size by using keyframes and the Scaling parameters.

When you are working with Intraframe effects, you must draw the foreground object that
you want to control with tracking information and select it with the Selection tool before you
can generate tracking data. As with other effects, however, you can establish the precise size,
shape, and position of the object either before or after generating tracking data.

n You can choose which frame in a tracked segment is the reference frame — the frame at
which the tracking data makes no change to the look of the effect. For more information, see
“Setting the Reference Frame for a Tracker” on page 319.

Preparing to Generate Tracking Data

There are several procedures that you need to follow before you can generate tracking data.
These procedures control how the system operates as it creates the tracking data.

Enabling Tracking in the Effect Editor

The first step in creating tracking data is to enable tracking for an effect parameter in the
Effect Editor. Once you do this, other tracking controls become available.

The basic procedure for enabling tracking in an effect parameter is simple, but there are
slight variations depending on:
• The parameter type
• Whether the effect you are working with is 2D or 3D
• Whether the effect you are working with is using standard keyframes or advanced
keyframes

n For Intraframe effects, trackers can be enabled only when an Intraframe object is selected.

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To enable tracking for an effect parameter:

t Perform the appropriate steps for your effect type and effect parameter, as described in
“Options for Enabling Tracking in the Effect Editor” on page 302.
Once you have enabled tracking for a parameter, the Tracking window opens. For more
information on the Tracking window, see “Tracking Window Components” on page
296.
When you first enable tracking for a parameter, the system creates appropriate default
trackers and maps them to the parameter, as described in the table. For more
information, see “Creating and Mapping Trackers” on page 305.

Options for Enabling Tracking in the Effect Editor

The following table describes the available methods for enabling tracking in the Effect
Editor.

Options for Enabling Tracking in the Effect Editor

Parameter and
Keyframe Type Procedure and Result Illustration

Position, Rotation, • Click the Use Tracking button.

or Scaling in any
The application creates an appropriate
effects using
number of trackers (one for Position, two
standard keyframes
for Rotation or Scaling) and maps them to
the parameter.

Position or Scaling • Open the Position or Scaling category, then

in 2D effects using click the enable button for the Tracking
advanced keyframes subcategory.
The application creates an appropriate
number of trackers (one for Position, two
for Scaling) and maps them to the
parameter. You must open the Tracking
subcategory to see the list of mapped
trackers and any additional controls.

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Options for Enabling Tracking in the Effect Editor (Continued)

Parameter and
Keyframe Type Procedure and Result Illustration

Position, Rotation, • Open the Position, Rotation, or Scaling

or Scaling in 3D category, and then click the enable button
Warp effects using for the Position Tracking, Rotation
advanced keyframes Tracking, or Scale Tracking subcategory.
The application creates an appropriate
number of trackers (one for Position, two
for Rotation or Scaling) and maps them to
the parameter. You must open the Position
Tracking, Rotation Tracking, or Scale
Tracking subcategory to see the list of
mapped trackers and any additional
controls.

Tracking in any • Click one or more of the individual tracker

effect using enable buttons.
standard keyframes
The application creates and maps a tracker
for each tracker enable button you click,
and also enables the Tracking
parameter category.

Tracking in 2D • Open the Tracking parameter category, and

effects using then click one or more of the individual
advanced keyframes tracker enable buttons.
The application creates and maps a tracker
for each tracker enable button you click,
and also enables the Tracking category.

Tracking in 3D • Open the Corner Tracking parameter

Warp effects using category, and then click one or more of the
advanced keyframes individual tracker enable buttons.
The application creates and maps a tracker
for each tracker enable button you click,
and also enables the Corner Tracking
category.

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Understanding Tracker Selectors and Tracker Function

Each parameter includes a number of tracker selectors appropriate to its function in
controlling movement. When you enable tracking in a parameter, the application looks for
existing trackers and maps them to the parameter’s tracker selectors. If trackers do not yet
exist, the system creates them and then maps them to the parameter’s tracker selectors. In the
Tracking parameter category, new trackers are created and mapped as you enable individual
tracker selectors.

When you are working in the Position, Scaling, and Rotation parameters, the number of
trackers you can use is limited by the type of movement controlled by the parameter. For
example, the Position parameter includes a single tracker selector since only one point is
required to define movement in X and Y.

When you are working in the Tracking parameter, you can use any number of trackers up to
a total of four. The following table describes the kinds of motion that you can control with a
given number of trackers.

Number of Trackers Description

One Allows control of position on the X and Y axes only. Use one tracker if you want
your effect to move in only two dimensions on the plane of the screen.

Two Allows control of position, scaling, and rotation. Use two trackers if you want your
effect to change size or rotate.

Three Allows control of position, scaling, rotation, and skew. Skew refers to a
transformation that tilts or squashes an object along one axis while retaining its
orientation along the other axis. This has the effect, for example, of transforming a
rectangle into a parallelogram. Use three trackers if you want your effect to skew in
this manner.

Four Allows control of position, scaling, rotation, skew, and perspective. Perspective
refers to the way parallel lines appear to converge and changes depending on the
angle from which an object is viewed. Use four trackers if you want to control
perspective for your effect.

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Creating and Mapping Trackers

Your Avid editing application performs initial tracker creation and mapping automatically
when you first enable tracking for an effect parameter.

For most tracking work, there is no need to create additional trackers beyond those that are
created automatically by the system. Accepting the defaults and creating your tracking
information with them is quicker and more straightforward.

In some situations, however, you might want to create extra trackers. For example, you
might want to track more than the minimum number of points necessary for a parameter so
that you can experiment with different combinations of tracking points. You also might want
to change the mapping of trackers so that an effect parameter uses a different tracker or
combination of trackers from that originally created by the application. For more
information about the uses of different tracker combinations, see “Understanding Tracker
Selectors and Tracker Function” on page 304.

The system allows up to eight trackers for each effect.

To create a new tracker manually:

1. In the Tracking window, click the New Tracker button.
For more information, see “Opening The Tracking Window” on page 296.
A new tracker timeline display appears in the bottom area of the Tracking window. The
system names the tracker using the next letter of the alphabet that is not already in use,
up to the letter D. If all of the letters A through D are in use, subsequent new trackers are
named “Untitled Tracker.”
2. (Option) If you want to rename the new tracker, click the Tracker Name text box, and
type a new name.

The new tracker appears as an option in all the tracker selector Fast menus in the Effect
Editor.

To map a tracker manually, do one of the following, depending on the interface style in
the Effect Editor:
t Click the Fast Menu button for the appropriate tracker selector in the parameter, and
then select the tracker you want.
t Click the tracker selector in the parameter, and then select the tracker you want.

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Enabling, Disabling, and Deleting Trackers

Once you have created a tracker, you can enable and disable it as necessary. Enabling and
disabling a tracker has a different effect depending on whether you do it in the Tracking
window or in the Effect Editor.
• When you enable or disable a tracker in the Tracking window, you control whether or
not the tracker displays in the Effect Preview monitor and whether or not your
application generates tracking data for that tracker.
• When you enable or disable a tracker in the Effect Editor, you control which sets of
tracking data your application uses to control the effect. This allows you to compare the
look of an effect under the control of different tracker combinations.

You can also delete existing trackers. When you do so, you permanently erase that tracker
and any tracking data associated with it.

To enable or disable a tracker in the Tracking window:

t Click the Enable Tracker button for the tracker in the tracker’s timeline.

To enable or disable all trackers at once:

t Alt+click (Windows) or Option+click (Macintosh) the Enable Tracker button for any
tracker.

To enable or disable a tracker in the Effect Editor:

t Click the Enable button for the appropriate tracker selector.

n In the Tracking (or Corner Tracking) parameter category, clicking the Enable button that
controls the whole parameter disables all the trackers at the same time but does not change
the enable status or the mappings of the individual trackers. When you click the Enable
button for the whole parameter again, the system reenables all the individual trackers.

To delete a tracker:
t In the Tracking window, click the Close button in the top right corner of the tracker’s
timeline.

Setting Up Tracking in the Effect Preview Monitor

You define the region of interest (the area of an image that each tracker tracks) and the larger
area it searches within by making direct adjustments to the tracking box display in the Effect
Preview monitor.

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Each tracking box display includes three elements:

• An inner rectangle used to define the target area
• An outer rectangle used to define the search area
• A data point locator, which appears at the center of the rectangles

Each rectangle has a corner adjustment handle.

The following illustration shows the tracking box display.

Search Area box

Adjustment handles

Data point locator

Target area box

n You can change the color of the tracking boxes display for a tracker. This might make it
easier to see the display against the background image. For more information, see
“Customizing Tracking Data Display” on page 317.

To display tracking boxes in the Effect Preview monitor:

1. If you have not already done so, enable, create, and map the trackers with which you
want to work.
2. In the Display Tracking Data area of the Tracking window, make sure that Tracking
Data is selected in the Display menu.
3. Make sure that the Enable Tracker button is active (purple) in the tracker timeline
display of the Tracking window for each tracker that you want to display.
4. Make sure that you are monitoring the track in the Timeline that contains the material
you want to track.
5. Move the position indicator to the first frame or field of the segment, or to the first frame
or field of the tracker region.
A tracking box display appears in the Effect Preview monitor for each tracker. For more
information on tracking regions, see “Performing Offset Tracking” on page 315.

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To move a tracking box display in the monitor:

t Click anywhere within the boxes except the adjustment handles, and drag the boxes to a
new position.

To resize a box in a tracking box display:

t Drag the adjustment handle for the box.
For more information on what to consider when making these adjustments, see
“Guidelines for Positioning Tracking Boxes” on page 308.

n If you have multiple trackers enabled, you might find it difficult to select one. You can
disable some of the trackers temporarily in the Tracking window to simplify the display in
the Effect Preview monitor and make it easier to select and manipulate a particular tracker.

Guidelines for Positioning Tracking Boxes

When you position tracking boxes, consider the following factors:
• Locating the boxes over material that the system can track successfully
• Locating the boxes so that the tracking data you generate accurately represents the
movement you want to track

The system tracks most successfully on an area of the image that is easily distinguishable
from the parts of the image that surround it. For example, a bright dot tracks extremely well
if it is generally surrounded by darker material. You will often need to scrub through the
entire clip to get a sense of which areas are good candidates for tracking.

To represent the movement you want to track accurately, you need to consider the geometry
of the motion that you want to achieve. For complex movement such as controlling a
replacement sign for a bus that is receding into the distance as well as moving across the
screen, you need to track enough points to represent the change in shape and size of the sign
over time. Tracking two corners allows you to control changes in scale and rotation (the
corners should be diagonally opposite if scaling on the X axis differs from scaling on the Y
axis). Adding third and fourth trackers fills in the other two corners as needed for more
complex transformations.

Remember that you do not have to track points at the exact location where you want the
finished effect to appear. You can track any set of points that represent the right movement.
For example, you might want to add a small sign to the door of a moving car. Since the door
panel is a uniform surface you cannot track areas on it. However, you can gather tracking
data to control the positioning and scaling you need for the sign, for example by tracking
two or more of the corners of the car’s window.

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Guidelines for Resizing Tracking Boxes

When you make adjustments to resize either of the tracking boxes, you should consider the
following factors:
• Defining material that the system can track successfully
• Ensuring that tracking proceeds successfully from frame to frame or from field to field
throughout the range of frames or fields you are tracking
• Minimizing the length of time the system spends generating tracking data

In general, the smaller you can make the boxes, the less image information the tracking
engine has to search and the faster it can work. However, if you set the boxes too small, you
increase the possibility that the system will lose the search pattern between one frame or
field and the next.

n You can also refine how the system follows a target area by setting controls in the Tracking
window. For more information, see “Setting Up Tracking in the Tracking Window” on page
309.

Size the Target Area box so that it is as small as possible while still enclosing a distinct area
to track. Remember that the pattern needs to remain distinct throughout the range you
are tracking.

Size the Search Area box so that it is as small as possible while remaining large enough to
encompass the movement of the target area from one frame or field to the next. You will
probably need to scrub through the clip you are tracking to check how much a prospective
target area moves from one frame or field to another.

Setting Up Tracking in the Tracking Window

In addition to defining the search criteria for a tracker in the Effect Preview monitor, you can
also set up the following aspects of tracking behavior in the Tracking window.
• Choose which tracking engine to use
For more information on available tracking engines, see “Understanding Tracking
Engines” on page 310.
• Choose whether the region to track is in the background or the foreground clip.
You can choose to track either the background or foreground for a multilayer effect. In
the great majority of situations you will want to track the background to define the
movement of an effect or painted object layered above the background shot.
One situation in which you need to choose Track Foreground is when you are stabilizing
an image using a 3D Warp effect promoted to advanced keyframes. For more
information, see “Stabilizing an Image” on page 329.

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The following illustration shows the area of the Tracking window that contains these
controls.

To switch the tracking engine:

t In the Setup Tracking area of the Tracking window, select the tracking engine you want
to use from the Tracking Engine menu.

To switch between background and foreground tracking:

t In the Setup Tracking area of the Tracking window, select the option you want to use
from the Track Background/Foreground menu.

Understanding Tracking Engines

The term tracking engine refers to the calculation methods that your application uses to
recognize a moving pattern and generate data for it.

The following table describes the tracking engines available in your Avid editing
application.

Tracking Engine Description

Correlation Tracker This is the same tracking engine that is used in Avid DS Nitris.
The Correlation Tracker is often the best first choice for tracking motion in an image. It
usually produces accurate tracking data when the traget area is distinctive, and usually
generates tracking data faster than the FluidTracker when the area being searched is
small. If you need to search a larger area, the Correlation Tracker might become too
slow to be useful, in which case you should switch to the FluidTracker.

FluidTracker This tracking engine uses the same motion analysis methods used in
FluidMotion Timewarp.
If you need to search a large part of your image, the FluidTracker might produce good
tracking data faster than the Correlation Tracker.
In the following two specific situations, FluidTracker usually produces more accurate
data than the Correlation Tracker:
• When the points you want to track start outside the visible area of the frame
• When you are using four trackers to control the corner-pinning of an image

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 Understanding How to Generate Tracking Data

Tracking Engine Description

FluidStabilizer This tracking engine is specifically designed to track camera motion and is
recommended for use with the Stabilize effect. It is often particularly effective for
removing camera motion when used in combination with the SteadyGlide feature. For
more information on SteadyGlide, see “Understanding the SteadyGlide and Smoothing
Options for Tracking” on page 320.
FluidStabilizer divides the image into a grid, automatically selects a point of interest in
each grid area, and then tracks each point using the same motion analysis methods used
in FluidMotion Timewarp. These points appear as highlighted green pixels in the image
display.
FluidStabilizer then uses further calculations to combine the motion of these points,
de-emphasizing any values that are not consistent with the general pattern of motion.
The result is a series of data points (displayed with the standard tracking data cross and
dots) that, for many images, accurately represents the motion of the camera and is not
distorted by other motion or noise in the image.

Understanding How to Generate Tracking Data

When you have made all the preparations necessary to set up the tracking operation, you can
generate tracking data.

You can generate tracking data for any number of the available trackers in a single operation.

You can generate tracking data for the entire length of the segment, or for any part of the
segment starting from the location of the position indicator. This allows you to stop tracking
at any point in the segment and resume later, or to retrack over any part of the segment
whenever you need to do so.

You can also create separate tracking regions for different parts of your segment, and define
a different target area for each region. This is primarily useful for performing offset tracking.
Once you have created a region, you can move the position indicator to the start of that
region and generate tracking data for the region. For more information, see “Offset
Tracking” on page 313.

As the system generates tracking data, it updates the tracker timeline displays to show the
status of tracking data over time. For more information on the tracker timeline display, see
“Understanding Generated Tracking Data” on page 316.

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Generating Tracking Data

To generate tracking data:
1. In the Tracking window, click the Enable Tracker button for each tracker you want the
system to track.

n Alt+click (Windows) or Option+click (Macintosh) the Enable Tracker button for any tracker
to enable all trackers at once.

2. Move the position indicator to the location where you want to start generating tracking
data.
This location can be at any point in the segment, but in most cases, the position indicator
will be either:
- At the beginning of the segment.
- At the beginning of a region.
- At the location where you stopped generating tracking data and from where you
want to resume tracking.
For information about moving to the beginning of a tracking region, see “Moving to a
Tracking Region” on page 315.
3. Click the Tracking button.
The system begins to generate tracking data.
As the tracking operation proceeds:
- The Effect Preview monitor displays each frame or field on which tracking is being
performed, and shows the tracking data point for that frame or field as a cross.
- The application updates the timeline for each tracker to indicate the status of the
tracking data over time. If you are tracking where there is no existing tracking data,
the application replaces the red bar at the bottom of the line with a black bar at the
top as data is generated, as shown in the following illustration. If you are retracking
where tracking data already exists, you see no change in the tracker timeline, but the
old tracking data is being replaced with new data.

n When you start tracking from the beginning of a tracking region, your Avid editing
application steps back one frame from the region boundary before it starts tracking. This is
normal behavior to ensure that motion at the region boundary is tracked correctly.

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 Offset Tracking

To stop a tracking operation, do one of the following:

t Press the space bar.
t Press Ctrl+period (Windows) or Command+period (Macintosh).
t Click any element of the application’s interface.
The tracking operation stops.

Offset Tracking
You can use your application’s offset tracking capabilities to create smooth effect motion
from tracking data that you generate using more than one target area. This lets you track
motion successfully when a single target area is not available for the full duration of
a segment.

Understanding Offset Tracking

The simplest case for motion tracking is when you can track a single distinct area for the full
length of a segment. For example, if a bus is moving through the scene and the entire side of
the bus is visible throughout the segment, you can select any area or set of areas on the side
of the bus and track them throughout the segment.

Other situations might be more complex. For example, if a bus is moving slowly through the
scene but is also relatively close to the camera, you might find that an area you choose to
track at the beginning of the segment is no longer visible later in the segment because it has
moved out of the frame. Or perhaps you have a shot where a bus moves through a scene but
passes behind a foreground sign, again with the result that an area you choose to track at the
beginning becomes unavailable later in the segment.

In these situations, you can generate useful tracking data by using offset tracking. Offset
tracking lets you track one target area until it becomes unavailable because it leaves the
frame or is hidden by another object, then track another target area that shows the same kind
of motion as the first. Your application calculates the offset from the first set of tracking
points to the second, and takes account of this offset when animating the final effect. The
result is an effect that follows a continuous path.

If necessary, you can track more than just two targets. You can also track one target, switch
to a second (for example, when the first becomes temporarily hidden), and then return to the
first when it becomes visible again.

To track more than one target area in a segment, you add a new tracker region to a tracker
timeline. You can then set a new target area in the first frame or field of the new region and
track that target area.

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Adding and Deleting Tracker Regions

If you have a situation where you cannot track a single target area successfully for the whole
length of a clip, you can add one or more new tracker regions to the tracker timeline and
track a new target area for each of the regions.

In most cases, you use tracker regions in combination with the offset tracking feature, so that
your finished effect combines the tracking data from more than one target area into one
continuous motion. For more information on the concept of offset tracking, see
“Understanding Offset Tracking” on page 313.

To add a new tracker region for a tracker:

1. In the tracker’s timeline, move the position indicator to the location where you want the
new region to start.
2. Right click in the tracker’s timeline, and select Add New Tracker Region.
Your application creates a new region that extends from the location of the position
indicator to either the start of the next tracker region or the end of the timeline. The start
of the new region appears as a vertical bar in the tracker timeline.

Tracker Region boundaries

To delete a tracker region for a tracker:

1. In the tracker’s timeline, move the position indicator to any location within the region.
2. Right-click in the tracker’s timeline, and select Delete Tracker Region.
Your application deletes the tracker region. The region’s vertical boundary bar
disappears from the timeline, and any tracking data for the region is deleted. A red bar
appears at the bottom of the tracker’s timeline for the duration of the old region,
indicating that you need to retrack these frames to get new tracking data, as shown in the
following illustration.

Location of start of deleted tracker region

boundary. Previous tracking data has been
deleted from this point to the end of the
deleted region, as indicated by the red bar.

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 Offset Tracking

Moving to a Tracking Region

When you have multiple tracking regions in the tracker timelines, you can move between
them by using the Go to Previous Region and Go to Next Region buttons.

To go to the beginning of the previous or next tracking region:

t Click the Go to Previous Region or Go to Next Region button.

Performing Offset Tracking

To perform offset tracking:
1. Make sure that offset tracking is enabled for each tracker you plan to use.
Offset tracking is enabled by default, and the Offset Tracking button is purple when
offset tracking is enabled.
2. In the first frame or field of your segment, set up a tracker for your first target area, as
described in “Preparing to Generate Tracking Data” on page 301.
3. Begin generating tracking data, as described in “Generating Tracking Data” on page
312.
4. When the target area disappears, stop tracking by pressing the space bar.
5. (Option) If necessary, step back a few frames or fields in the segment until the position
indicator is on the last frame or field with a good tracking data point.
6. Right-click in the tracker timeline and select Add New Tracker Region.
A vertical bar appears in the tracker timeline to show the beginning of the new region,
and the tracking boxes for the tracker appear in the Effect Preview monitor.
7. Drag the tracking boxes to the location of your second target area and size them as
necessary.
8. Begin tracking from the start of the new region by clicking the Tracking button.

n When you start tracking from the beginning of a tracking region, your Avid editing
application steps backward one frame from the region boundary before it starts tracking.
This is normal behavior to ensure that motion at the region boundary is tracked correctly.

9. (Option) If necessary, repeat steps 3 through 7 for additional target areas (or to return to
tracking the original target area when it becomes visible again).

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Understanding Generated Tracking Data

Once the system has completed generating tracking data, a set of tracking data points exists
for each tracker enabled during the tracking operation. You can display these points in the
Effect Preview monitor. You can also view information about the status of the tracking data
in the tracker timeline display.

Tracking Data in the Effect Preview Monitor

Tracking data points display in the Effect Preview monitor.

While tracking is taking place, your application shows the location of the current tracking
data point as a cross.

Once tracking has stopped, your application displays, by default, every point created during
the tracking operation. The data point for the current frame or field displays as a flashing
cross; all other data points display as solid dots.

You can control which sets of data points display and how many of the points display. You
can also manipulate the points directly in the monitor in a variety of ways. For more
information, see “Modifying Tracking Data” on page 322.

Tracking Data in the Tracker Timelines

The tracker timeline display shows you the status of tracking data over the length of the
effect.

Tracking data exists for this part of the Tracking data exists for this part of the Display Markers define
timeline. The data points are not timeline. These data points are currently a range of frames for IN
selected in the Effect Preview monitor selected in the Effect Preview monitor to OUT tracking data
display

Reference Frame Marker

Vertical bar marks the start No tracking data exists for
marks the frame at which
of a new tracking region this part of the timeline
the tracking data does not
alter the effect

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 Customizing Tracking Data Display

The following table describes the display options.

Color Description

Black Line at top Tracking data exists for this part of the segment, and the data points for this part of the
of timeline segment are not currently selected in the Effect Preview monitor. For more information, see
“Generating Tracking Data” on page 312.

White Line at top Tracking data exists for this part of the segment, and the data points for this part of the
of timeline segment are currently selected in the Effect Preview monitor. For more information, see
“Selecting Tracker Data Points” on page 323.

Red Line at bottom Tracking data does not exist for this part of the segment.
of timeline

Vertical Bar Marks the start of a new tracking region. For more information, see “Offset Tracking” on
page 313.

Display Markers Define the beginning and end of a range of frames. When In to Out is selected in the Point
Range menu, the Effect Preview monitor only shows tracking data points for this range of
frames. For more information, see “Customizing Tracking Data Display” on page 317.

Reference Frame Marks the location of the reference frame — the frame at which the tracking data does not
Marker modify the effect. For more information, see “Setting the Reference Frame for a Tracker”
on page 319.

Customizing Tracking Data Display

You can customize how your application displays tracking data in the following ways:
• You can enable or disable display for each tracker
• You can customize the color used to display each tracker
• You can control how many of the tracking data points display
• You can control whether the Effect Preview monitor shows tracking data or shows the
results of applying the tracking data to the effect

To turn the tracking display on or off for a tracker:

t In the Tracking window, click the Enable Tracker button for the appropriate tracker.
The Enable Tracker button is purple when the display is on.

n Alt+click (Windows) or Option+click (Macintosh) the Tracking Box Display button for any
tracker to turn the display on or off for all trackers at once.

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To customize the display color for a tracker:

t Click the Tracker Color box, and then on the Color palette click the color you want
to use.

To define the range of data points in the display:

1. (Option) If you want to define a range of frames for which you want data points to
display, do one of the following:
t Drag the Display Markers in any one of the tracker timelines to define the beginning
and end of the range you want.
t Use the position indicator in the tracker timelines along with the Mark IN and Mark
OUT buttons to define the beginning and end of the range you want.
The Display Markers move to the beginning and end points you establish.
2. In the Display Tracking Data area of the Tracking window, click the Point Range menu,
and then select an option.

Option Description

Current Displays the data point at the current location of the position indicator for each
enabled tracker.

In to Out Displays the data points for the range currently defined by the Display
Markers in the Tracking window for each enabled tracker. Shows the points
for the current frame or field as flashing crosses.

All Displays every data point for each enabled tracker. This is the default option.
Shows the points for the current frame or field as flashing crosses.

To choose Tracking Data or Effect Results display:

t In the Display Tracking Data area of the Tracking window, select the option you want to
use from the Display menu.

n The Display menu affects what you see in the Effect Preview monitor once tracking data is
available and while you are parked on a frame or are stepping through the effect. The
Display menu does not affect what you see in the Effect Preview monitor while tracking is
taking place (when you always see the current data point represented as a cross). Also, when
you play an effect with tracking data, for example by clicking the Play button in the Effect
Preview monitor, you always see the results of the effect.

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 Setting the Reference Frame for a Tracker

Setting the Reference Frame for a Tracker

The reference frame for a tracked segment is the frame at which the tracking data makes no
change to the appearance of the effect. For example, for a Stabilize effect, the reference
frame is the frame at which the tracking data causes no change in the position of the image.
The location of the reference frame is marked on the tracker timeline by a red diamond.

Reference Frame Marker

By default, your Avid editing application considers the first frame of a tracked segment to be
the reference frame. In every frame after the first, the effect is modified by the tracking data
for that frame.

You can choose to set the reference frame to any other frame in the segment. This can be
useful when trimming changes the location of the head frame for the segment, or in other
circumstances where the position of the reference frame influences the final look of the
effect. For example, if you set the reference frame for a Stabilize effect to the frame at the
midpoint of the segment, the tracking data at that frame causes no change in the position of
the image. In all earlier and all later frames, the effect is modified by the tracking data for
that frame.

To set the reference frame for a tracker:

1. In the tracker timeline, move the position indicator to the frame you want to set as the
reference frame.
2. Right-click the tracker timeline, and select Set Reference Frame.
The red diamond reference frame marker moves to the location of the position indicator.

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Understanding the SteadyGlide and Smoothing

Options for Tracking
Your Avid editing application provides two options for processing the tracking data in a
tracker to smooth the motion it represents. You can turn these options on or off at any time,
and you can control the extent of the processing they perform by setting a smoothing value.
The original set of tracking data points is not changed in any way by the processing. For
information on using these options, see “Using SteadyGlide or Smoothing to Process
Tracking Data” on page 321.

SteadyGlide™

SteadyGlide processes tracking data to reduce abrupt, jittery movements without affecting
underlying motion. SteadyGlide is particularly useful as a tool for stabilizing unwanted
camera motion without eliminating desirable motion. You typically use SteadyGlide with
the Stabilize effect, or with Stabilize Tracking turned on for an effect parameter in the 3D
Warp effect. For example, you can use SteadyGlide to reduce any jittery motion in a pan shot
with a hand-held camera while retaining the underlying motion of the pan itself. For more
information on stabilizing, see “Stabilizing an Image” on page 329.

When you are using SteadyGlide, the display shows a graph of the jittery motions that your
application is removing. It is not easy to assess the final look of the effect from this
information, so you should view the effect results to determine whether you need to adjust
the smoothing value further.

Smoothing

Smoothing processes tracking data to smooth out the path between the tracking data points.
The higher the Smoothing value you define, the smoother the path becomes. You typically
use Smoothing when compositing an image or a paint object over a tracked region of a
moving background, for example, when the motion of the tracked region is not completely
smooth but you want the motion of the image or paint object to be smooth.

When you are using Smoothing, the display shows the smoothed curve that results from the
processing, which gives a useful visual indication of the amount of smoothing your
application is applying. The following illustrations show typical results for Smoothing using
different smoothing values.

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Tracking points before smoothing Smoothing with Smoothing Value = 10

Smoothing with Smoothing Value = 50 Smoothing with Smoothing Value = 90

Using SteadyGlide or Smoothing to Process

Tracking Data
To use SteadyGlide or Smoothing:
1. In the tracker timeline, click the SteadyGlide button or the Smoothing button.
The button is purple when the processing option is turned on.

n SteadyGlide and Smoothing are mutually exclusive processing operations. You cannot
perform both SteadyGlide and Smoothing at the same time, and if you turn on one, the other
will automatically be turned off if it was on previously.

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2. In the Smoothing Value text box, type a smoothing value between 1 and 100.
The smoothing value controls the extent of the smoothing performed by both the
SteadyGlide and the Smoothing options. The larger the value, the more smoothing is
performed.
If you are displaying tracking data in the Effect Preview monitor, the display updates to
show the results from the processing.
3. (Option) If necessary, check the effect results and adjust the smoothing value until you
are satisfied with the results, or click the SteadyGlide or Smoothing button again to turn
off the processing if you decide you do not want it.

Modifying Tracking Data

You can manipulate tracking data points in the Effect Preview monitor in a variety of ways.
You can select individual data points or ranges of data points. You can delete points, move
one or more points, and stretch a range of points. If necessary, you can move points outside
the limits of the frame to extend the movement of an effect smoothly out of the frame.

Unlike the processing performed by SteadyGlide and Smoothing, these kinds of adjustments
change the tracking data itself. They are reversible only by using your application’s Undo
feature, or by retracking to generate a new set of tracking data points.

n Depending on the speed of the motion you have tracked, your tracking data points might be
very close together at normal magnification and therefore hard to distinguish from one
another. You can use your Avid editing application’s standard methods for zooming and
panning in the Effect Preview monitor to zoom in on your tracking data and view it more
clearly. For more information, see “Using the Effect Preview Monitor” in the Help.

Finding a Specific Tracker Data Point

Whenever multiple data points are displaying for a tracker (when In to Out or All is selected
in the Point Range menu), the data point for the current frame or field displays as a flashing
cross in the Effect Preview monitor. This makes it easy to see the current data point even
when a set of points are very close together.

To find a specific data point:

t Move the position indicator to the frame or field for which you want to find the data
point.
The data point for that frame or field flashes in the Effect Preview monitor.
To isolate the point further, you can select Current in the Point Range menu in the
Tracking window, so that the point for the current frame or field is the only point that
appears in the Effect Preview monitor.

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 Modifying Tracking Data

Selecting Tracker Data Points

To select a single data point:
t Click the point in the Effect Preview monitor.
The point is highlighted with a circle in the monitor, and the corresponding part of the
tracker timeline display changes to white.

To select a single data point and move to the frame or field for that point:
t Double-click the point in the Effect Preview monitor.
The point is highlighted with a circle in the monitor and with a flashing cross, the
corresponding part of the tracker timeline display changes to white, and the system
automatically moves to the frame or field for that point.

To select a contiguous range of data points, do one of the following:

t Click the first data point in the range you want to select, and then Shift+click the last
data point in the range you want to select.
t Drag the pointer across the range of data points that you want to select to lasso them.
The points in the range are highlighted with a circle and the corresponding part of the
tracker timeline display changes to white.
The following illustration shows a range of selected data points.

Deleting Tracking Data From Points

You can delete the tracking data generated by the tracking engine for a single data point or
for a range of data points. When you do this, your application repositions the selected point
or points onto a straight line between the two unselected points that bound your selection.
The data points remain fully functional. They display in the Effect Preview monitor at their
newly calculated locations, and they remain available for you to modify further.

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Selected points before deleting Result of deleting — points are repositioned in a straight
line between the unselected bounding points

To delete one or more selected data points:

t Press the Delete key.
The system repositions the selected data points along a straight line between the two
unselected points that bound the selected points.

Moving Tracker Data Points

To move a single selected data point:
t Drag the point to a new location.

To move a range of selected data points:

t Drag any one of the points in the range to a new location.
All the selected data points move along with the one you drag and maintain their
positions relative to one another, as shown in the following illustrations.

Selected range of data points Selected range of data points Selected range of data points
before move. during move. The points move after move.
as a group and maintain their
positions with respect to one
another.

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 Modifying Tracking Data

Moving Tracker Data Points Outside the Frame Boundary

If you track a target area that moves out of the frame, the tracking engine can no longer track
the target area and generates invalid data points. You have two options to ensure consistent
motion if you want your effect to move smoothly out of the frame.
• You can use offset tracking to track a second target area that does not leave the frame
until the end of the segment. For more information, see “Offset Tracking” on page 313.
• You can move the very last data point outside the boundary of the frame so that it
extends the line of motion that has been successfully tracked earlier in the segment.
(You need to reduce the magnification in the Effect Preview monitor to less than 100%
to view the area outside the frame.) You can then delete all of the invalid points between
that final point and the last valid data point. Your application repositions the points you
delete on a straight line. When the effect plays back, the repositioned data points ensure
that the effect moves smoothly out of the frame. If the motion you are tracking is, for
example, simple straight line movement, this might be quicker than setting up an extra
tracking region.

Stretching a Range of Tracker Data Points

You can select a range of data points and then stretch them into a new position. In contrast to
simply moving a range of points, the stretching process uses one moving point and one or
two anchor points. As you move the moving point, all the other points in the selected range
stretch to new relative positions.

This feature is particularly useful when the system generates tracking data points that are
slightly offset from the area you are tracking but otherwise represent the motion you are
tracking accurately. For example, if you are tracking an area on a moving vehicle, a
combination of changes in the image from frame to frame and the system’s updating of the
target area might yield tracking data points that lag behind the area you are tracking.

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The following illustration shows this behavior.

Frame 1

Object being
tracked
Frame 6
Tracking data
points
Frame 11

This illustration represents data points created by tracking an area across 11 frames.
Until Frame 6, the system tracks the object accurately. After Frame 6, a small amount of
error is introduced. By Frame 11, the data point lags behind the object being tracked
somewhat. Stretching the points between 6 and 11 so that the last point is placed over
the last triangle quickly creates a complete set of usable points.

You can select a range of points that are slightly out of the ideal position in this way and
stretch them so that they more exactly represent the path of the object you want to follow.
This enables you to achieve the motion you need for your effect without retracking or
moving many data points individually.

To stretch a range of data points:

1. Select the range of points as described in “Selecting Tracker Data Points” on page 323.
2. In the Modify Tracking Data area of the Tracking window, click Stretch Points Mode.
The button is purple when Stretch Points mode is turned on.
3. Drag one of the selected points to a new location.
The points in the selected range are relocated proportionally along the path between the
point you have moved and the anchor point or points. If you move a point at either end
of the selected range, the point at the opposite end becomes the anchor. If you move a
point in the middle of the range, the two end points become anchors.

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 Limiting the Effect of Position Tracking Data to a Single Axis

The following illustrations show these two behaviors.

Original range of selected points

before stretching.

When you stretch by moving one end point, the point at

the other end of the range becomes the anchor while you
drag the moving point. After the stretching process, all
the selected points are relocated proportionally between
the point you have dragged and the anchor point.

When you stretch by moving a point in the middle of

the range, both end points of the range become
anchors while you drag the moving point. After the
stretching process, all the selected points are
relocated proportionally between the point you have
dragged and the two anchor points.

Limiting the Effect of Position Tracking Data to a

Single Axis
In some circumstances, you might want to track an area to generate data on its X, Y position
but then control the movement of the effect on only one axis. You can limit the effect of
Position tracking data to one axis to achieve this effect.

n Limiting Position motion to a single axis is also an option when you want to stabilize a shot
without eliminating camera motion in one direction, such as a pan. However, a more flexible
approach to handling this scenario for most shots is to use data from both axes and then use
SteadyGlide to process the data. For more information, see “Stabilizing an Image” on page
329 and “Using SteadyGlide or Smoothing to Process Tracking Data” on page 321.

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To limit the effect of Position tracking data to a single axis:

1. In the Effect Editor, open the Position parameter category.
2. Click the Enable button for X Only or Y Only.
The Enable button changes to pink when selected.

X Only and Y Only buttons

Playing Effects That Use Tracking Data

Once you have generated tracking data and have modified it to create acceptable sets of data
points, you can play the effect to check its movement over time.

n The real-time status of an effect is not altered when it uses tracking data. If an effect is
normally real time, it remains real time when it uses tracking data. If an effect normally
requires rendering, it continues to require rendering when it uses tracking data. Playback of
an effect while still in Effect mode also follows the normal behavior of the effect.

To play an effect that uses tracking data:

1. Move the position indicator to the beginning of the effect.
2. Click the Play button.
3. (Option) If you are not satisfied with the appearance of the effect, you can do one or
more of the following to further modify its movement:
t Adjust the effect’s keyframe parameters.
For more information, see “Changing a Standard Keyframe’s Parameters” in the
Help.
t Modify the existing tracking data.
For more information, see “Modifying Tracking Data” on page 322.
t Retrack all or part of the segment to generate new tracking data.
For more information, see “Generating Tracking Data” on page 312.

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 Understanding Stabilizing

Understanding Stabilizing
Stabilizing allows you to track an object in a shot that should not be in motion and then use
the tracking data to keep that object stationary and eliminate the unwanted motion. (Objects
such as buildings, telephone or light poles, and fixed objects in nature such as rocks, are
good candidates for tracking when you use the Stabilize effect.)

The tracking process exposes black around the edges of the repositioned frames, so you
typically need to resize or reposition the clip to remove the exposed edges. The Stabilize
effect includes an Auto-Zoom option that automatically processes the tracking information
and adjusts the Position and Scaling parameters so that exposed edges are removed and the
stabilized image fills the frame. Alternatively, you can make manual adjustments to the
Position and Scaling parameters to remove the exposed edges. For more information, see
“Reviewing and Adjusting a Stabilized Image” on page 332.

If you use stabilizing and also process the tracking data using SteadyGlide, you can
eliminate unwanted jittery movement while retaining underlying camera motion such as a
pan. For more information, see “Using SteadyGlide or Smoothing to Process Tracking Data”
on page 321.

You can also use stabilizing to create unusual special effects. For example, if you stabilize an
object that is actually moving in a clip, you force other parts of the clip to move from frame
to frame. You can take a clip of a person running down a street, stabilize on that person, and
force the buildings in the shot into motion.

Unlike other effects that use motion tracking, stabilizing works with only one layer of video,
using the tracking data to move each frame of the video as much as is needed to keep the
tracked object stationary.

n Clips that contain extreme camera motion might be hard to stabilize successfully since they
need to be resized substantially to remove exposed edges. As a result, you might lose so
much of the image information that the clip is no longer useful.

Stabilizing an Image
If you need to eliminate unwanted motion in a video clip, such as motion from an unstable
camera or even more subtle motion such as that introduced by gate weave during the telecine
process, you can use:
• The Stabilize effect
• The Stabilize Tracking parameter control in a 3D Warp effect promoted to advanced
keyframes.

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The easiest way to stabilize an image is to use the FluidStabilizer tracking engine, which
does not require you to set up regions of interest.

If FluidStabilizer does not provide you with good results, you can track using one of the
other tracking engines on regions of interest that you select yourself.

n The Region Stabilize effect is an alternative option for stabilizing a clip. For more
information, see “Using the Region Stabilize Effect” on page 334.

To stabilize a segment using the FluidStabilizer tracking engine:

1. Do one of the following:
t Apply the Stabilize effect from the Image category in the Effect Palette.
t Apply the 3D Warp effect from the Blend category in the Effect Palette (or promote
an effect that uses tracking data to 3D), and then promote the effect to advanced
keyframes by clicking the Promote to Advanced Keyframes button in the Effect
Editor.

n You can promote the Stabilize effect both to advanced keyframes and to 3D, so you can
stabilize an image using the Stabilize effect and then promote it to access additional effect
functionality. When you promote the Stabilize effect to advanced keyframes and to 3D,
Stabilize Tracking is automatically activated for all effect parameters that use tracking data.

2. Enable a tracker by doing one of the following:

t For the Stabilize effect, open the Tracking parameter category and click the Enable
button for one tracker.
t For the 3D Warp effect promoted to advanced keyframes, open the Position
parameter category, then the Position Tracking subcategory, and then click the
Stabilize Tracking button.
The Tracking window opens.
3. In the Tracking window, choose FluidStabilizer from the Tracking Engine menu.
4. (Option) If you are using the 3D Warp effect, in the Tracking window, choose Track
Foreground from the Track Background/Foreground menu.
5. Click Start Tracking.
During the tracking process, the Effect Preview monitor displays each frame or field on
which tracking is being performed. Highlighted green pixels in the image display mark
the points of interest automatically selected by the FluidStabilizer, while a cross marks
the final data point calculated from the points of interest. For more information on how
FluidStabilizer works, see “Understanding Tracking Engines” on page 310.
6. Review and adjust the effect, as described in “Reviewing and Adjusting a
Stabilized Image” on page 332.

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 Stabilizing an Image

To stabilize a segment without using the FluidStabilizer tracking engine:

1. Do one of the following:
t Apply the Stabilize effect from the Image category in the Effect Palette.
t Apply the 3D Warp effect from the Blend category in the Effect Palette (or promote
an effect that uses tracking data to 3D), and then promote the effect to advanced
keyframes by clicking the Promote to Advanced Keyframes button in the Effect
Editor.

n You can promote the Stabilize effect both to advanced keyframes and to 3D, so you can
stabilize an image using the Stabilize effect and then promote it to access additional effect
functionality. When you promote the Stabilize effect to advanced keyframes and to 3D,
Stabilize Tracking is automatically activated for all effect parameters that use tracking data.

2. Enable one or more trackers, by doing one of the following:

t For the Stabilize effect, open the Tracking parameter category and click the Enable
button for one or more trackers.
t For the 3D Warp effect promoted to advanced keyframes, open the Position
Tracking, Rotation Tracking, Scaling Tracking, or Corner Tracking parameter
categories, then click the Stabilize Tracking button, and then enable one or more
trackers.
For specific information on the number of trackers to use when stabilizing, see
“Guidelines for Using Multiple Trackers When Stabilizing” on page 333.
3. Set up each tracker for tracking, for example by selecting the region of interest, and by
choosing either the Correlation Tracker or the FluidTracker from the Tracking Engine
menu in the Tracking window.
For more information, see “Preparing to Generate Tracking Data” on page 301.
4. (Option) If you are using the 3D Warp effect, in the Tracking window, choose Track
Foreground from the Track Background/Foreground menu.
5. Generate the tracking data.
For more information, see “Generating Tracking Data” on page 312.
6. Review and adjust the effect, as described in “Reviewing and Adjusting a
Stabilized Image” on page 332.

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Reviewing and Adjusting a Stabilized Image

After you stabilize an image, you typically need to review the results to determine whether
the stabilized image looks good. You can also adjust the effect using one or more of the
following options:
• Use SteadyGlide: This option often provides good results when you use it with
FluidStabilizer tracking data, and is particularly useful if you want to remove jittery
motion, such as that in a hand-held camera shot, while retaining underlying motion such
as a pan.
• Run Auto-Zoom: This option automatically adjusts the Position and Scaling parameters
for the effect so that exposed black edges are removed and the stabilized image fills the
frame.
• Manually adjust the Position and Scaling parameters: Although in most cases
Auto-Zoom provides good positioning and scaling results, you might want to make
further adjustments, or use the Position and Scaling parameters as an alternative to using
Auto-Zoom.

For information on how to stabilize an image, see “Stabilizing an Image” on page 329.

To review the look of a stabilized effect:

t In the Effect Editor, click the Play Loop button.
The effect plays repeatedly, allowing you to see how your Avid editing application
repositions each frame or field in accordance with the tracking data.

To apply SteadyGlide processing to the tracking data:

t In the Tracking window, click the SteadyGlide button for the tracker.
For complete details on using SteadyGlide, see “Understanding the SteadyGlide and
Smoothing Options for Tracking” on page 320 and “Using SteadyGlide or Smoothing to
Process Tracking Data” on page 321.

To use Auto-Zoom to remove exposed black edges on a stabilized effect:

1. (Option) If the effect is not already using advanced keyframes, in the Effect Editor, click
the Promote to Advanced Keyframes button.
Auto-Zoom is only available for the Stabilize effect when it is using advanced
keyframes.

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 Guidelines for Using Multiple Trackers When Stabilizing

2. In the Tracking subcategory of the Position parameter category, click Run Auto-Zoom.
Your Avid editing application processes the tracking information and generates values
for the Position and Scaling parameters that reposition and enlarge the image enough to
remove black edges. Any existing keyframes on the Position and Scaling parameters are
removed.
A warning message appears if no tracking data exists. A warning message also appears
if some tracking points are too far outside the frame. Such extreme tracking results do
not allow your Avid editing application to calculate values that remove black edges
throughout the effect.

n The Position and Scaling values that Auto-Zoom creates are only valid with the original
tracking data that Auto-Zoom operates on. If you create new tracking data by selecting a
new region of interest and retracking the image, you must run Auto-Zoom again to remove
exposed black edges.

To manually remove exposed black edges on a stabilized effect:

t In the Effect Editor, adjust the Position and Scaling parameter sliders until black edges
are no longer visible in the effect.

Guidelines for Using Multiple Trackers When

Stabilizing
As with other effects that use motion tracking, the number of trackers that you need when
stabilizing depends on the complexity of the motion you want to stabilize. However,
multiple trackers might introduce unnecessary additional motion that is detrimental to the
final look of the clip, so you should use them only when they are absolutely necessary.

When the motion of an unstable camera is limited to movement on the X and Y axes only,
you need only one tracker (enabled either in the Position parameter category or in the
Tracking parameter category). Even when you see a small amount of rotational movement or
change in scale in an image you want to stabilize, you will probably find that a single point
stabilizes the image well enough to give an acceptable result without introducing unwanted
motion.

If you are stabilizing a clip that shows significant changes in scaling, rotational, or other
movement, or if you are using the Stabilize effect to create a special effect, you might need
to use two or even more tracking points.

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Using the Region Stabilize Effect

The Region Stabilize plug-in effect provides an alternative option for stabilizing an image.
Although the Region Stabilize effect provides fewer controls than the Stabilize effect or the
Stabilize Tracking option in 3D Warp, its simplicity makes it easier to use, and it might be
all you need in some circumstances. Region Stabilize also provides two options that are
unavailable in Stabilize:
• The AutoZoom option automatically resizes and repositions the segment to remove
exposed black around the edges of frames repositioned as a result of the stabilization
process.
• The Progressive Source option allows you to specify that the footage you are tracking is
progressive material so that it is tracked correctly in an interlaced project.

The following illustration shows the Region Stabilize parameters.

For a reference summary of the Region Stabilize effect and its parameters, see “Image:
Region Stabilize” in the Help.

Stabilizing an Image with the Region Stabilize Effect

You apply the Region Stabilize effect from the Image category in the Effect Palette.

To stabilize a clip with the Region Stabilize effect:

1. Enter Effect mode by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
The Effects Editing toolset appears.
2. In the Effect Palette, click the Image category.
3. Drag the Region Stabilize Effect icon to the segment you want to stabilize.

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 Using the Region Stabilize Effect

4. Move the effect position bar to the segment with the Region Stabilize effect.
A wire frame appears in the Effect Preview monitor to indicate the region of interest.
This is the area you want to use in stabilizing the image.

5. Reposition and resize the wire frame by doing one of the following:
t Use the sliders in the Region of Interest parameter category.
t Click the wire frame, and drag it in the Effect Preview monitor.
Select a region that contains one or more features that do not change much from frame
to frame, for example, objects such as buildings or rocks. Another approach is to shoot
the scene with stabilization in mind: include an object, such as a reflective sticker, that
you intend to use as your region of interest.
6. Click the Model Fast Menu button, and select the type of stabilization:

Option Description

Translational Keeps the region of interest steady along both the horizontal and the
vertical axes.

Horizontal Constrains horizontal motion in the region of interest. Features in the

region of interest can move vertically but not horizontally.

Vertical Constrains vertical motion in the region of interest. Features in the

region of interest can move horizontally but not vertically.

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7. (Option) Turn on Auto Zoom:

a. Click the triangular opener for the Options parameter category.
b. Select Auto Zoom.
Stabilization exposes black around the edges of the repositioned frames. Auto Zoom
compensates by resizing and, if necessary, repositioning the clip to remove the
exposed edges.
8. (Option) Select Progressive Source:
a. Click the triangular opener for the Options parameter category.
b. Select Progressive Source.
Select Progressive Source if your footage was captured or converted to progressive
footage (not interlaced). If your sources are progressive, selecting Progressive Source
produces smoother results.

n Progressive Source has no effect in 24p projects because the application assumes that you
are using progressive footage.

If you click the Progressive Source button and your underlying source is not progressive, you
may see motion artifacts between fields in the rendered effect.

9. Render and review the effect.

If the rendered clip does not perform as expected, see “Making Adjustments to the
Region Stabilize Region of Interest” on page 336.
10. (Option) Add keyframes to further refine the motion of the stabilized clip.
11. Continue to review and refine the effect until you achieve the results you want.
12. (Option) Resize and, if necessary, reposition the clip to eliminate black edges.

Making Adjustments to the Region Stabilize Region of Interest

If the Region Stabilize effect does not perform as expected, it might be due to one of the
following:
• Large motion — If an object in your region of interest moves too far away from the
region from one frame to the next, the rendered clip might display unexpected results.
• Extraneous motion — An object in your region of interest might move over the course
of the clip in a way that unpredictably affects the stabilization.
• Insufficient texture — The region of interest might not have enough features to allow
Region Stabilize to track it effectively.

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 Editing Segments That Use Tracking Data

If the Region Stabilize effect does not perform as expected, experiment with the following
adjustments:
• Increase the size of the region of interest, or reposition it, to encompass large motion.
• Decrease the size of the region of interest to eliminate extraneous motion that is
affecting the stabilization.
• Select a new region of interest.
• Add keyframes to reestablish or refine the region of interest over the course of the clip.

Editing Segments That Use Tracking Data

Once tracking data exists for a segment, you can edit that segment in a number of standard
ways without losing the tracking data and having to retrack.

Segment Mode Editing with Segments That Use Tracking Data

Tracking data persists during Segment mode editing. For example, if you shift the position
of a segment that contains tracking data, or copy a segment to another point in your
sequence, the data is still available. If you lift a portion of the segment out of your sequence,
tracking data is preserved on all parts of the segment for the range of frames in each part.

Remember, however, that if you move only the foreground layer of a multilayer effect, the
tracking data will be useful only to the extent that it corresponds, or can be made to
correspond, to the background layer at its new location. For example, if you shift an effect
segment with tracking data a few frames with respect to the background material beneath it,
you might be able to continue to use the tracking data to follow the background area
(perhaps by selecting all the points and moving them a little). If you shift the effect segment
substantially, or even place it over a different background clip, the tracking data remains
available but has no practical use.

n In some situations, it might be useful to create a multilayer effect with motion tracking as a
nested effect. If you do this, you can move or divide the nested effect during segment editing
and be sure that the effect will stay in sync with the tracked material. For more information,
see “Nesting Effects” in the Help.

Trimming Segments That Use Tracking Data

If you trim in from the edges of a segment, tracking data is preserved for both the new length
of the segment and for the material you have trimmed. If you later trim the edges of the
segment back out, the tracking data is still available to control the motion of your effect.

If you trim out beyond the tracked data for an effect, you must track over the range of these
new frames to generate data for them.

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If you edit a segment into a sequence by marking it to be longer than you will finally need,
you can track the whole segment, trim it in, and know that you can adjust the trims back out
when fine-tuning your sequence without having to retrack. This might be a useful approach
if you know that a clip is likely to be trimmed.

Adding Transition Effects to Tracked Segments

If you add a transition effect to a tracked segment, you usually need to track the additional
frames that are used by the transition. For example, if you add a standard one-second,
centered-on-cut dissolve at the beginning of a tracked segment, the dissolve will use
one-half-second of new material from the tracked segment’s master clip.

It might be difficult to track these additional frames after you apply the transition effect
because the Effect Preview monitor displays the combination of outgoing and incoming
media created by the transition effect. In the case of a dissolve, for example, the monitor
shows the blend of outgoing and incoming frames, which often obscures the pattern you
need to track.

You can avoid this problem by doing the following:

1. Trim the tracked segment out by the number of frames that the transition requires.
2. Track the frames added by this trim.
3. Trim the tracked segment back in to the original edit point.
4. Add the transition effect.

Reusing Existing Tracking Data

Once you have created tracking data for an effect, that data is available for reuse in several
different contexts. You can reuse tracking data within the same effect. You can also copy and
paste tracking data to another effect, as described in “Copying and Pasting Tracking Data”
on page 339.

Trackers initially created and mapped to one effect parameter are available for use in any
other parameter in the effect that can use tracking data. For example, you might create a
single tracker with the default Point A name in the Position parameter category. This tracker
is available for use in other parameters such as Scaling.

n The Tracking parameter and the Position, Scaling, and Rotation parameter categories form
two mutually exclusive groups. You cannot have tracking enabled in both groups at the same
time. For more information, see “Effects and Effect Parameters That Use Tracking Data” on
page 293.

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 Copying and Pasting Tracking Data

You are less likely to want to use tracking information outside the effect for which it was
created since the information refers specifically to the motion in one particular background
clip. No other background clip is likely to contain exactly the same movement. However,
there are some circumstances in which you might want to move tracking data to a new effect,
such as the following two examples:
• You might want to move tracking data to an additional effect applied over the same
background clip in the sequence. This might be a duplicate use of the background at
another point in the sequence or an extra effect layered above the first (such as a second
Picture-in-Picture effect tied to the same background movement).
• You might want to destabilize a stable shot so that it has a handheld look. To do this, you
can track a segment that does have unsteady camera motion, and then copy the resulting
tracking data to an effect on the segment you want to destabilize.

Copying and Pasting Tracking Data

You can copy one or more trackers and their associated tracking data and then paste those
trackers into another effect. You can also copy one or more trackers and paste them within
the same effect to create two versions of a tracker. This might be useful if you want to make
two different sets of modifications to tracking data and then compare how each set changes
the effect.

To copy and paste tracking data into another effect:

1. Enable the trackers you want to copy in the Tracking window.
2. Do one of the following:
t Select Edit > Copy.
t Press Ctrl+C (Windows) or Command+C (Macintosh).
3. Move the position indicator to the effect to which you want to copy the trackers.
4. Make sure that the Tracking window is active.
5. Do one of the following:
t Select Edit > Paste.
t Press Ctrl+V (Windows) or Command+V (Macintosh).
The trackers appear in the Tracking window below any existing trackers. For example, if
you are pasting into an effect that has trackers T1 and T2, the pasted trackers are
numbered T3 and T4.
6. (Option) If existing trackers in the effect have the same name or color as the trackers
you paste, you might want to rename the trackers that have duplicate names or change
their assigned colors to avoid confusion.

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To copy and paste tracking data within the same effect:

1. Enable the trackers you want to copy in the Tracking window.
2. Do one of the following:
t Select Edit > Copy.
t Press Ctrl+C (Windows) or Command+C (Macintosh).
3. Do one of the following:
t Select Edit > Paste.
t Press Ctrl+V (Windows) or Command+V (Macintosh).
Duplicate copies of the enabled trackers appear in the Tracking window with new
tracker numbers.
4. Rename the duplicate copies, and change their assigned colors so that you can continue
to distinguish between the different versions.

Conforming Symphony Meridien Sequences with

Tracking Data
Tracking data in sequences originally created on Symphony Meridien systems is available
for use when those sequences are opened in your Avid editing application. You can
manipulate the data in all the ways described in “Using SteadyGlide or Smoothing to
Process Tracking Data” on page 321 and “Modifying Tracking Data” on page 322. You can
also add new regions to the tracker timelines, for example, to perform offset tracking.

Neither of the tracking engines used by current Avid editing applications works in the same
way as the tracking engine used in Symphony Meridien systems. As a result, if you retrack
all or part of a segment containing tracking data created on a Symphony Meridien system,
the new data that you create does not match the old data exactly.

Examples of Effects Using Motion Tracking

This section includes two illustrated examples of typical uses of motion tracking to control
effects. Studying these examples will help you to understand how you can use motion
tracking in your own work.

n If you find it difficult to distinguish details in the printed versions of the following
illustrations, you can view them in full color in the online version of this guide available
from the Online Library for your application.

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 Examples of Effects Using Motion Tracking

Example 1: Replacing the License Plate on a Moving Vehicle

This example uses motion tracking to track the license plate on a truck and then replace the
plate with an imported graphic.

In this case, the license plate in the footage is white and the surrounding areas of the truck
are generally dark, so the exact corners of the license plate are good targets for the tracking
operation. However, if tracking the exact corners of the plate is difficult, you can track other
points on the back of the truck to achieve the same control over the changing size and shape
of the replacement plate. For more information, see “Guidelines for Positioning Tracking
Boxes” on page 308.

All four corners of the license plate have been tracked for this example to ensure that any
skew and perspective changes are recorded by the tracking data. In fact, changes in
perspective are relatively small in this clip since the plane of the back of the truck remains at
almost exactly the same angle with respect to the plane of the screen. You might be able to
achieve an acceptable finished look for this clip by using three trackers or even just two
trackers on opposite corners of the license plate, especially since the replacement object
is small.

Original Material

These illustrations show the original materials used for this example. On the left is the
first frame of the video clip. The effect will replace the white license plate. On the right is
the graphic used as the replacement license plate. A blur has been applied to the
graphic so that it will blend in with the clip. (You could do this in a graphics application or
use Blur mode in the Paint Effect.) In the finished effect, a softened border is also
applied to disguise the sharp edge of the graphic.

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Tracking Information

This illustration shows the location of the

four tracking boxes at the four corners of
the license plate.

This illustration shows the tracking data points that the system generates for the four
trackers. As the truck moves into the distance and the plate gets smaller, the points
move closer together.

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 Examples of Effects Using Motion Tracking

Comparison of Original Video and Finished Effect

These illustrations show images from the beginning, middle, and end of the clip. The
images on the left are from the original clip; the images on the right show the final effect
with the replacement license plate. The replacement plate is positioned and sized
manually in the first frame of the clip. The size and shape of the replacement changes
under the control of the tracking data in the remaining frames of the clip.

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Example 2: Special Effects Using Targets for Motion Tracking

This example uses special effects footage that has been specifically created to make use of
motion tracking. White targets have been placed in the shot to be tracked. After tracking
these targets, you can use the tracking data to control the movement of an effect layer, for
example, a keyed video image or an object created with the Paint Effect. In this example, the
tracking data controls the movement of an object created with the Paint Effect.

Original Material

These two illustrations show the first frame of the clip. On the left is the original video showing
the target white dots on the wand. On the right is the image with the Paint object added.

Tracking Information

This illustration shows the two tracking This illustration shows the generated
boxes located over the targets. tracking data points for the entire clip.

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 Examples of Effects Using Motion Tracking

Comparison of Original Video and Finished Effect

These illustrations show images from the beginning, middle, and end of the clip. The
images on the left are from the original clip; the images on the right show the final effect
with the Paint object.

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10 Working with 3D Effects

Avid 3D effects feature a wide range of digital video effects, including the following:
• Image effects such as blur (defocus), corner pin, and resize with rotation and perspective
• Two-channel segment effects including smooth-motion picture-in-picture
• Shapes, including page folds, balls, and slats
• Positioning, scaling, skewing, and rotation, with perspective
• Source cropping
• Internal borders including beveled and rounded edges
• Soft borders
• Trails and drop shadows with varying opacity
• Highlights and wipe generator
• Luma key and chroma key effects

This chapter describes procedures for creating and manipulating 3D effects. For reference
information on the parameters that apply to 3D effects and all the available 3D shapes, see
the chapter “Effects Reference” on page 539.

This chapter contains the following main topics:

• Accessing 3D Effects
• Real-Time Playback of 3D Effects
• Understanding 3D Geometry and Degrees of Rotation
• Working with 3D Effects Parameters
• Zooming In or Out on 3D Effects
• Manipulating 3D Effects Directly
• Applying 3D Effects: Examples
10 Working with 3D Effects

Accessing 3D Effects
You have three options for creating 3D effects, as follows:
• Apply the 3D Warp effect from the Blend category in the Effect Palette.
This option lets you create a 3D effect from scratch and have access to the full range of
3D effect parameters. For more information, see “Applying the 3D Warp Effect” on
page 348.
• Apply one of the effects from the Xpress 3D Effect category in the Effect Palette.
The effects in the Xpress 3D Effect category use a subset of the full 3D effect parameter
set and are completely compatible with Avid Xpress® editing applications that include a
3D Effects option. If you are working on sequences that need to maintain compatibility
with Avid Xpress, the effects in the Xpress 3D Effect category are the only 3D effects
you can use.
For more information, see “Using Xpress 3D Effects” on page 349.
• Promote an existing 2D effect to 3D.
You can promote a wide variety of 2D effects to 3D, including titles and matte key
effects. The reference information in the chapter “Effects Reference” on page 539
indicates which effects can be promoted to 3D. For more information, see “Promoting
2D Effects to 3D Effects” on page 350 and “Using Matte Keys with 3D Effects” on page
351.

Applying the 3D Warp Effect

All the 3D effects features are accessible through the 3D Warp effect in the Blend category.

n Before you use the following procedure, you need to be familiar with adding effects to a
sequence. For more information, see “Applying Effects” in the Help.

To apply the 3D Warp effect:

1. Create a sequence by using standard Avid editing procedures.
For information about editing a sequence, see “Creating and Editing Seqeuences:
Basics” in the Help.
2. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
3. Click the Blend category.

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4. Drag the 3D Warp Effect icon to a transition or a segment in the Timeline, and release
the mouse button.
The 3D Warp Effect icon appears in the Timeline as shown in the following illustration.

5. In the Timeline, move the position indicator to the 3D Warp effect.

The two default keyframe indicators appear under the Effect Preview monitor.
6. (Option) In the Effect Editor toolbar, click the Promote to Advanced Keyframes button.
For more information, see “Understanding Advanced Keyframes” on page 83.
Now you can begin adjusting the 3D Warp parameters to customize your effects.

Using Xpress 3D Effects

The Effect Palette contains an Xpress 3D Effect category. Xpress 3D effects are completely
compatible with Avid Xpress editing applications that include 3D effects capability. As a
result, you can move sequences containing Xpress 3D effects between Avid editing
applications.

c To maintain compatibility when transferring sequences between Avid editing

applications, use only Xpress 3D effects. Do not use the 3D Warp effect to create 3D
effects.

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The Xpress 3D effects include:

• 3D Ball
• 3D PIP
• 3D Page Fold
• 3D Slats

Xpress 3D effects use a subset of the parameters that are available for the 3D Warp effect.
For more information about a specific parameter that appears in the Effect Editor for an
Xpress 3D effect, see “Working with 3D Effects Parameters” on page 355.

Xpress 3D effects provide a fast way to apply basic 3D effects to your sequence, without
using the 3D Warp effect to make custom adjustments. For example, the 3D Page Curl effect
automatically creates a page curl effect when you apply it.

n You can use the Shape menu in the Effect Editor to switch between the 3D shapes, but the
name of the effect in the Effect Editor does not change when you change the shape. For
example, when you are editing a 3D Ball effect, you can change the shape to 3D Slats. All of
the 3D Slats parameters apply to the effect but the name of the effect in the Effect Editor
continues to be 3D Ball. This limitation applies to all the effects in the Xpress 3D Effect
category.

Promoting 2D Effects to 3D Effects

You can promote many 2D effects to 3D. For example, if you have a 2D Picture-in-Picture
effect, you can promote the effect to 3D and add 3D features like 3D borders, drop shadow,
page curls, smooth curve movement, and rotation.

n For information on creating a 2D Title effect, see “Creating and Editing Titles” on page
375.

For reference information on which 2D effects you can promote to 3D, see “Effects
Reference” on page 539.

The following rules and restrictions apply to promoting effects to 3D:

• You cannot demote a 3D effect to a 2D effect (although you can immediately undo the
promotion of a 2D effect to 3D if you decide that you do not want the 3D version).
• All effects that were real time in 2D are still real-time when you upgrade to 3D.

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 Accessing 3D Effects

To promote a 2D effect or title to a 3D effect:

1. Enter Effect mode , for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
2. Click the effect icon in the sequence to select it.
3. In the Effect Editor, click the 3D Promote button.

Using Matte Keys with 3D Effects

A matte key is an effect made up of three components:
• High-contrast image or matte, also called the key
• Background image (the image that shows through the lightest part of the matte)
• Foreground image (the image that shows through the darkest part of the matte)

For more information on Matte Key clips, see “Creating a Matte Key Effect” on page 240.

You can promote real-time 2D Matte Key effects (graphics imported with alpha channel) to
3D Warp, and apply additional parameters, such as Shape Wipe effects, or X, Y, and Z
positioning.

n You cannot promote matte keys created using the Matte Key effect from the 2D Effect Palette
to a 3D matte key.

To create a matte key for use with 3D effects:

1. Import a graphic file containing an alpha channel.
Your Avid editing application creates a Matte Key clip when you import the file. In this
example, the imported graphic is a title created in Adobe Photoshop.

Graphic master
clip with no
alpha channel

Matte Key Effect

clip with alpha
channel

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2. Edit the Matte Key clip into your sequence as an overlay.

2D Matte Key title import

Make sure Render On-the-Fly is enabled so you can see the matte key as you are
working with it. When Render-On-the-Fly is enabled, it displays a check mark in the
Special menu (or the Clip menu on NewsCutter systems).
3. Promote the Matte Key clip to a 3D Warp effect as explained in “Promoting 2D Effects
to 3D Effects” on page 350.
4. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
5. Apply changes to additional parameters to achieve the effect you want.

Real-Time Playback of 3D Effects

In most circumstances, 3D effects play in real time, subject to the normal limitations on
real-time playback described in “Understanding Real-Time Effects Processing” in the Help.

However, in the following cases, 3D effects cannot play in real time and appear in the
Timeline with a blue dot:
• If a 3D effect has the HQ (Highest Quality) rendering option available and you turn on
that option, the effect can no longer play in real time. For more information, see
“Rendering 3D Effects Using the HQ (Highest Quality) Option” on page 141.
• If you are working with HD media, the following 3D effects cannot play in real time:
- 3D Shape effects (Ball, Page Fold, Slats), whether applied from the Xpress 3D
effect category or by selecting from the Shape parameter category in the 3D Warp
effect
- Titles promoted to 3D
- Imported moving Matte Key effects promoted to 3D

In addition, some parameter adjustments to a 3D effect prevent the effect from being
processed using hardware acceleration. As a result, the effect cannot play in real time.

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 Understanding 3D Geometry and Degrees of Rotation

Understanding 3D Geometry and Degrees of

Rotation
You do not need to use a lot of math to create most 3D effects, but you do need some basic
understanding of 3D coordinate geometry and of degrees of motion, as described in
this section.

n Moving objects in 3D space requires an understanding of each of the 3D effects parameters

and its correct order in the effects parameters hierarchy. For more information, see “Effects
Parameter Reference” on page 641 and “Understanding 3D Parameter Hierarchy” on page
766.

In the discussions of 3D effects in this document, the terms X, Y, and Z refer to the three
axes or dimensions of the image that can be manipulated in the 3D effect’s coordinate space:
• X refers to the image’s left/right direction.
• Y refers to the image’s up/down direction.
• Z refers to the image’s front/back dimension.

Y Axis

X0, Y0, Z0
X Axis

X Axis — values increase from left to right

Z Axis Y Axis — values increase from bottom to top

Z Axis — values increase from back to front

The Shape and Rotation parameters allow you to rotate the image around the X, Y, and Z
axes. Note that you can rotate more than 360 degrees (from –720 to 720 degrees)
between keyframes.

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The following illustration shows how angles of rotation are distributed around a circle.

0 degrees

–45 degrees – + +45 degrees

–90 degrees +90 degrees

–135 degrees +135 degrees

–180 degrees
+180 degrees

A positive number of degrees refers to a clockwise rotation; a negative number of degrees

refers to a counterclockwise rotation. For example, a rotation of +45o will rotate the image
clockwise by one-eighth of a full circle, while a rotation of –45o will rotate the image
counterclockwise by one-eighth of a full circle.

The following illustration shows several rotation examples.

0 degrees
+45 degrees
A

+180 degrees –45 degrees

–180 degrees
A

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 Working with 3D Effects Parameters

Working with 3D Effects Parameters

The following topics provide a basic introduction to 3D effects parameters. For specific
information on each of the parameters available in the Effect Editor, as well as important
information on the hierarchy of 3D effects parameters, see the chapter “Effects Parameter
Reference” on page 641 and “Understanding 3D Parameter Hierarchy” on page 766.

n Manipulating 3D effects parameters requires a basic understanding of degrees of motion

and the system of geometry used in the 3D effects interface. For more information, see
“Understanding 3D Geometry and Degrees of Rotation” on page 353.

Accessing 3D Effects Parameters

To access an effect’s 3D parameters:
1. Move the position indicator to the icon for the 3D effect in the Timeline.
2. If the application is not in Effect mode, enter Effect mode, for example, by selecting
Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
The Effect Editor opens and displays the parameters for the 3D effect.

Manipulating 3D Effects Parameters

As in 2D effects, 3D effect parameters are grouped in collapsible panes. Each parameter
pane represents a specific type of manipulation, called a category or group, that you can
apply to an image. You can apply category adjustments either individually or in
combination.

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The following illustration shows the 3D Warp parameters in the Effect Editor.

Effect Editor buttons

3D Warp parameter
categories

Basic manipulation of the parameter categories, sliders, and buttons is identical to that of 2D
effects parameters. For more information, see “Using the Effect Editor” on page 69.

Resetting Default Values for 3D Effects Parameters

To reset the parameters for a category to their default values:
t Alt+click (Windows) or Option+click (Macintosh) the parameter category’s Enable
button.

Enable button (standard keyframes)

Enable button (advanced keyframes)

This operation affects only selected keyframes.

n This method works only for 3D effects and AVX plug-in effects.

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 Zooming In or Out on 3D Effects

Using Effect Templates with 3D Effects

Once you create a 3D effect and adjust parameters, you can save the adjustments as a
template for later use. This allows you to use the same effect parameters in multiple places in
a sequence or in different sequences.
• You can drag an effect template and drop it into the Effect Preview monitor or onto the
effect segment in the Timeline to apply all the values from the template.
• You can drag an effect template and drop it onto an open parameter category to reset the
parameters of the category to those of the first keyframe of the effect template. This
allows you to use selected portions of effect templates.

For more information, see “Applying an Effect Template” in the Help.

Zooming In or Out on 3D Effects

Because you can move the edges of a 3D effect outside the enclosing frame, your Avid
editing application lets you view an outline of the image area at a reduced scale.

To zoom in or out on the Effect Preview monitor:

t Click the Enlarge button (to zoom in) or the Reduce buttons (to zoom out) in the
Effect Editor.

Manipulating 3D Effects Directly

You can perform a number of operations on an image by clicking buttons in the Effect Editor
and dragging handles attached to the image in the Effect Preview monitor. This is similar to
the procedures you use to directly manipulate 2D effects; some additional manipulations are
possible, however, when working with 3D effects.

For more information on direct manipulation of 2D effects, see “Manipulating Effects

Directly in the Effect Preview Monitor” on page 79.

Manipulating 3D Effect Handles

Various 3D effect handle buttons appear along the right side of the Effect Editor. You
determine the direction and type of manipulation performed in the Effect Preview monitor
by selecting one of the image manipulation buttons in the Effect Editor.

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Corner Pin

Crop
Scale
Axis
Z Rotation
X Rotation
Y Rotation
XY Position

XZ Position

To manipulate a 3D effect handle in the Effect Preview monitor:

1. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
2. In the Effect Editor, click one of the image manipulation buttons to activate the specific
handles.
3. Click the handles, and drag them to manipulate the image.
4. Click the image manipulation button a second time to turn off the handles.
The following illustrations show the handles for several image manipulation buttons.

Scale Y

Scale X and Y
at same time
Scale X

Scale Position Rotation Axis

Rotate around X Axis Rotate around Y Axis Rotate around Z Axis

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Using the Motion Path Editor for 3D Effects

Use the Outline/Path button when you want to see the path a moving effect takes on the
screen. The motion path editor displays the path between keyframes as either a straight line
or a smooth curve, depending on the Spline parameter setting.

To see the path an image takes on the screen:

t Click the Outline/Path button.

To switch between a straight line and a curve:

t In the Spline category, click the Enable button.
For a description of the Spline parameters, see “Spline” on page 791. For an example,
see “Using the Spline Parameters with 3D Effects” on page 365.

Applying 3D Effects: Examples

This section provides examples of some basic 3D transition and segment effects, including
the steps and values used to create the effects. You can use them to practice creating 3D
effects, or you can use them to get ideas for building your own effects.

If you need more information while you are trying to complete the examples shown here, see
the following sources:
• For basic information on effects editing, see “Working with Effects: Basics” in the Help.
• For information on the 3D interface and moving in 3D space, see “Understanding 3D
Geometry and Degrees of Rotation” on page 353 and “Working with 3D Effects
Parameters” on page 355.
• For reference information on all 3D effects parameters and controls, see “Effects
Parameter Reference” on page 641.
• For basic information about editing a sequence, see “Creating and Edting Seqeunces:
Basics” in the Help.

In addition to re-creating the examples in this chapter, you can experiment with the default
shape effects. Each shape effect has default values for the first and last keyframes. For more
information, see “Shape” on page 784.

n When you apply a shape effect, what you see in the Effect Preview monitor depends on where
in the clip the position indicator is located. If the position indicator is at the start or end of
the clip it might look as if the effect is missing.

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Tips for Creating 3D Effects

The following tips apply to the examples in this chapter:
• Creating the sequence: Transition effects require only a two-clip sequence. Some of
the segment effects require at least two tracks.
• Avoiding Insufficient Source errors: Several of these examples assume that you are
creating a transition effect centered on the cut between the incoming and outgoing
video. Leave enough material for the overlapping portions of the transition when you
mark the source material. For example, the following illustration shows the Source
monitor position bar for the outgoing video clip.

Source monitor position bar

Video material used for segment Material left behind for

transition to next clip

If you receive an Insufficient Source message when you apply an effect to the transition,
you did not leave enough source material behind for the application to create
the transition.
• Using the Swap Sources button: When you use the 3D Warp effect as a transition and
click the effect for the first time, the application applies the effect to the incoming video.
To apply the effect to the outgoing video, click the Swap Sources button in the Foregnd
(foreground) parameter category. Click anywhere in the effect’s Timeline to view
the results.

Swap Sources button

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 Applying 3D Effects: Examples

The following illustration shows the display for “Creating a Page Fold Transition” on page
361 and identifies several areas that are referred to throughout the chapter.

Effect name Effect icon Effect Preview monitor

Incoming
video

Outgoing
video

3D Warp effect parameters Keyframe indicators in

the effect’s position bar
A simple two-clip sequence

3D Warp used as a transition effect

Creating a Page Fold Transition

This example uses the Page Fold effect. This effect treats the foreground video channel as
though it were a sheet of paper being folded over to reveal another page beneath. Page Fold
supports one highlight along the top edge the fold and a second lowlight under the fold. The
following illustrations show the effect created in this example.

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Outgoing video Incoming video

Low light High light

Page Fold

To create the Page Fold effect:

1. Create a sequence, and apply the 3D Warp effect as described in “Applying the 3D Warp
Effect” on page 348.
2. In the 3D Warp parameter list, click the triangular opener to open the Shape
parameter category.
3. Click the Shape Fast Menu button, and select Page Fold.

Category name Shape Fast Menu button

Triangular Enable button

opener

The default Page Fold effect appears on the incoming video. To apply the effect to the
outgoing video, swap the video sources as follows:
a. Scroll down to display the Foregnd (foreground) parameter category, and click the
triangular opener.
b. Click the Swap Sources button.
c. Click anywhere in the Effect Preview monitor’s position bar, and the application
displays the effect on the outgoing video.

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 Applying 3D Effects: Examples

4. Locate the Highlight parameter category, and click the Enable button.

Enable button

5. Click the first keyframe indicator.

First keyframe Last keyframe

The 3D Warp parameters for the first keyframe are now active.
6. In the Shape parameter category, set the Curl slider to 0 (no curl).
7. Click the last keyframe indicator.
8. Set the Curl slider to 100.
This takes the curl completely off the underlying video.
9. Click the Play button or the Play Loop button to preview the effect.
10. (Option) Use the Transition parameters to adjust the length of the effect.
For more information, see “Applying a Dissolve Effect Using the Transition
Parameters” on page 48.

Creating a Cropped Foreground Effect

This example shows how to adjust 3D Warp parameters and apply them repeatedly as a
template to create a consistent band of foreground segments — scaled and cropped with a
soft border shadow — across a background.

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Settings for the 3D Warp effect

are saved as a template and then
are applied to all segments on the
top video track for consistency
throughout the dissolve sequence.

Top video track (V2) Bottom video track (V1)

To create a foreground band of footage:

1. Build the sequence with the background footage on the bottom track and the foreground
footage on the top track.
In this example, dissolves are added between a series of foreground segments.
2. Apply the 3D Warp effect to one segment of the top video track.
3. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
4. Click the segment to display the parameters in the Effect Editor.

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5. Make sure both the starting and ending keyframes are selected; then adjust the effect
parameters as shown in the following table.

Parameter Category Parameter Settings

Crop T (top): 600 B (bottom): –600

L (left): –999 R (right): 999

Scaling Wid: 110 Hgt: 100

Position Enable the category (leave parameter defaults).

Border Select a dark color for the border. For more

information on color selection, see “Adjusting a
Color Parameter” on page 76.

Width: 40 S (saturation): 0
Soft: 100 L (luminance): 255
H (hue): 0

Leave all other categories deselected.

6. Save the parameters as a template by dragging the effect icon from the Effect Editor to a
bin.
7. Apply the template from the bin to the remaining segments on the top track.
8. Click the Play button or the Play Loop button to preview the effect.
The foreground segments play through smoothly with the same scale, border, and
cropping effect against the background.

Using the Spline Parameters with 3D Effects

You can use the Spline parameters to create a smooth path for moving a 3D Warp effect.

The following illustrations show the motion path editor with the Spline parameter turned on
and off. (The background image is black to make the motion paths more visible in
this illustration.)

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Motion path editor with Spline turned off Motion path editor with Spline turned on

To use the Spline parameters:

1. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
2. Click the first keyframe indicator (on the left end of the effect’s position bar).
3. In the Effect Editor, click the Outline/Path button.
A dot appears in the center of the image, and the arrow indicator appears to show the
orientation of the image.
4. Click anywhere in the foreground video, and move the image to the starting location you
want, for example, the bottom left corner of the Effect Preview monitor.

n Click a wire frame and drag it to move it around the monitor. Press the Alt key (Windows) or
Option key (Macintosh), and drag to move the actual effect object.

5. Click the last keyframe indicator, and move the image for that keyframe to the ending
location you want, for example, the top right corner of the monitor. Notice that the two
dots are connected by a straight line.
6. Move the position indicator approximately halfway along the effect’s position bar, and
click the Add Keyframe button.
7. Move the image for the center keyframe to the intermediate location you want, for
example, the top left corner of the monitor.
8. Play the effect. Notice that the image moves along straight lines.

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9. In the Spline parameter category, click the Enable button.

Enable button

The straight lines connecting the dots turn into a smooth curve.
10. Play the effect again, and notice the smooth movement.
Experiment with the XY Position and XZ Position buttons at any one of the keyframes.
Also experiment with the Rotation buttons.

Corner Pinning an Image

Corner pinning is a way of precisely positioning a foreground image over an image in the
background video track, with matching perspective. You “pin” the foreground image onto
the background image and adjust the corners to give the desired perspective.

This example shows the background and foreground videos used to create a segment
transition using corner pinning. The segment starts with the foreground image “pinned” onto
the video monitor in the scene; the image then moves off the TV and eventually fills the
screen.

Background video Foreground video

Foreground video corner pinned Foreground video moving Foreground video continuing
to background image off background image to move off background image

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To corner pin an image:

1. Create a segment with two video tracks, placing the foreground video on the top track.
For information about editing a sequence, see “Creating and Editing Sequences: Basics”
in the Help.
2. Apply the 3D Warp effect to the top track.
3. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
4. Position, scale, and rotate your image if necessary.

n For best results, make adjustments to the Position, Scale, and Rotate parameters before you
use Corner Pin. The center of the image for Corner Pin scale and rotation adjustments will
be closer to the apparent center of the image, and you will find it easier to get the results you
want.

5. Position the corners using one of the following methods:

t Use the Corner Pin button:
a. In the Effect Editor, click the Corner Pin button to activate the handles.
b. Click the handles, and drag to manipulate the image.
c. Click the Corner Pin button a second time to turn off the handles.

t Use the Quick Pin feature:

a. In the Effect Editor, click the Corner Pin button to activate the handles.
b. Press and hold the Ctrl and Alt keys (Windows), or the Ctrl and Option keys
(Macintosh), then position the pointer where you want the highlighted corner to be
corner pinned, and click.
The next corner is highlighted.

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c. Continue using the Ctrl and Alt keys (Windows), or the Ctrl and Option keys
(Macintosh), while clicking until the image is positioned where you want it.
The next corners continue to be highlighted in a clockwise rotation each time you
click.
d. Click the Corner Pin button a second time to turn off the handles.
t Use the Corner Pin parameter category:
a. In the Effect Editor, click the Corner Pin button to activate the handles.
b. Use the X and Y sliders in the Corner Pin parameter category to position the image.
The Corner Pin parameter category has a button for each corner, letting you pin one
corner at a time.
6. Click the Play button or the Play Loop button to review your edit.

To return a corner to the default position:

1. In the Corner Pin parameter category, click the button for the corner you want to reset.
2. Alt+click (Windows) or Option+click (Macintosh) the Corner Pin Enable button.

Creating a Stamp
The Stamp category of the 3D Warp effect allows you to make certain effects — such as
titles and Matte Key effects — remain on screen while other effects come and go, even
though the effect segment itself has ended. For example, you can stamp a product or channel
logo onto the lower corner to act as a type of watermark effect without adding additional
layers onto the sequence.

In the following example, two effects are applied sequentially on the top track. Each one has
Stamp enabled on the last keyframe. Enabling Stamp lets each element remain in place as
the next element appears on the screen.

Both elements remain in place, and you could add additional stamps until you enable Clear
to clear the Stamp buffer.

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The first element zooms into The first element is then “stamped” The second element appears
position from full screen. in place on the last keyframe. and is also stamped in place.

To create a stamp:
1. Create the image you want to use as a stamp.
For example, you can use the Title tool to create a title or you could import a PICT
image.
2. Create a segment with at least two video tracks.
For information about editing a sequence, see “Creating and Editing Sequences: Basics”
in the Help.
If you want the stamp to be in the foreground, it has to be on the top track.
3. Add the track with your stamp image to the segment.
4. Enter Effect mode by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
5. Click the 3D Promote button to turn on the 3D parameters.
6. Select the keyframe indicator where you want the stamp to occur.
If you do not want to use the first or last keyframe, add a keyframe where you want the
stamp to occur.

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7. In the Stamp parameter category, click the Enable button.

Enable button

You can enable Stamp on more than one keyframe by repeating steps 6 and 7.
8. Click the Play button or the Play Loop button to review your edit.

To clear a stamp:
1. Select the keyframe where you want the stamp to be cleared.
2. In the Stamp parameter category, click the Clear button.
Everything in the Stamp buffer is cleared.

Using Axis for a Transition

The effect created in this example uses changes to axis and rotation to create a transition. If
you move the axis in Z, the point of rotation moves off the object and creates a “barrel roll”
effect as if the object is inside a rolling barrel. By breaking the move into two parts, you can
add another shot on the reverse side of the image.

To use axis for a transition:

1. Create a two-track sequence.
For information about editing a sequence, see “Creating and Editing Sequences: Basics”
in the Help.
2. Apply the 3D Warp effect to the segment on the second track.
For more information, see “Applying the 3D Warp Effect” on page 348.
3. Make the effect at least 5 seconds long.
4. With both keyframes selected, set Z to –90 in the Axis parameter category.
5. Select the second keyframe and set Y to –180 in the Rotation parameter category.
6. Play the effect to see the simple YZ barrel roll.
For more information, see “Playing Effects” in the Help.
7. Go back 3 seconds from the end of the effect and add a new keyframe.
8. Copy the last keyframe values to the new keyframe.
For more information, see “Copying and Pasting Standard Keyframe Parameters” in the
Help.

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9. Duplicate this new keyframe 1 second later by copying and pasting so that the last three
keyframes are identical.
The frame stays at the half barrel roll position for 3 seconds.
10. Select the last keyframe and set Z to 180 in the Position parameter category.
This should bring the frame full screen for the new ending position.
11. Play the effect.
It should do a half barrel roll back, stay in position, and then move forward.
12. Find the point during the half barrel roll where the image is edge on to the viewer.
The image should disappear and reappear with the back of the image showing.
13. Perform an add edit at this point.
For more information, see “Adding an Edit (Match Framing)” in the Help.
This divides the effect in two with the correct keyframes being sent to the correct parts
of the clip.
14. Load the incoming video into the Source monitor, and mark it so that you can use it for
the back of the image.
15. Step into the second part of the effect until all you see in the Timeline is the original
video.
For more information, see “Stepping Into and Out of Nested Effects” on page 247.
16. Mark the clip and replace it with the new shot.
17. Step out and play the effect.
The new incoming shot is reversed.
18. Step back in and apply a Flop effect to the incoming image.
19. Render the Flop effect.
For more information, see “Basics of Effects Rendering” in the Help.
20. Step out again and play the effect.
The incoming shot correctly transitions to full screen at the end of the effect.

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Applying a Chroma Key Effect

You can use the options in the Foreground category of 3D Warp to apply a chroma key
effect.

n If you promote a 3D Warp to advanced keyframes, you also have the option of using the
SpectraMatte option for a chroma key that has higher quality and gives you greater control
over the final look of the effect. For more information, see “Key: SpectraMatte Effect” on
page 590.

To apply a Chroma Key effect:

1. Edit the foreground image onto track V2 and the background image onto track V1 in the
Timeline.
For information about editing a sequence, see “Creating and Editing Sequences: Basics”
in the Help.
2. Apply the 3D Warp effect to track V2.
For more information, see “Applying the 3D Warp Effect” on page 348.
3. Open the Foregnd (foreground) parameter category, click the Fast Menu button, and
select Chroma Key.
4. Click the Color Preview window, and press and hold the mouse.
5. When the eyedropper appears, drag it to the most representative area of color to be
keyed and release the mouse.

n When selecting a color, stay away from corners of the frame or the area immediately around
the foreground because these areas might contain subtle shades of gray.

When you are finished, the application replaces the color with the video on track V1.
6. (Option) If your Avid editing application includes the 3D Spill Suppression parameter
category, use Spill Suppression if necessary to remove spill in the foreground image.
7. (Option) Use the sliders in the Foregnd parameter category to make refining adjustments
to improve the look of the key.

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11 Creating and Editing Titles

The Title tool enables you to create titles that incorporate text, graphic objects, imported
graphics, and video. This chapter provides information on how to create titles that extends
the basic discussion in “Working with Titles” in the Help.

Throughout this chapter, the term “title” refers to both text and graphics.

This chapter contains the following main topics:

• Toolbar Reference for the Title Tool
• Advanced Title Tool Setup
• Creating Rolling and Crawling Titles
• Modifying Box Corners, Lines, and Borders
• Selecting Colors and Setting Transparency
• Adjusting Shadows on Title Objects
• Manipulating Title Objects
• Saving and Recalling Title Styles
• Creating and Using Title Templates
• Working with Multiple Title Formats
• Exporting a Title as a Graphics File
• Adjusting Title Effect Parameters
• Revising a Title in a Sequence
• Working with Existing Multiple Format Titles
• Replacing Fill Tracks in a Title
• Rendering Titles
• Guidelines for Handling Playback Issues with Rolling Titles
• Re-creating Title Media
• Troubleshooting Titles
11 Creating and Editing Titles

Toolbar Reference for the Title Tool

At the bottom of the Title tool are tools and menus you can use for creating and editing text
and objects. They work much like similar tools in other drawing and paint programs.

For a general introduction to the layout of the whole Title tool, see “Understanding the Title
Tool” in the Help.

Selection tool Video Placement tool Color and Shadow tools

Text tool Drawing tools Text formatting tools Transparency Blend tools

Line attribute Templates Background Color Selection Transparency Level boxes

tools button Selection tools boxes

Styles button and Save Style Parameter button Crawling Title button and Rolling Title button

The following table describes each component of the toolbar.

Title Toolbar Components

Component Description

Selection tool Changes the pointer to an arrow and allows you to select text or
objects for operations. For more information, see “Using the
Selection and Text Tools” in the Help.

Text tool Changes the pointer to an I-beam and allows you to enter text. For
more information, see “Using the Selection and Text Tools” and
“Creating Text” in the Help.

Video Placement tool Changes the pointer to a hand and allows you to pan around the
entire video clip within the Title tool.

Drawing tools Allow you to draw boxes, circles, ovals, and lines. For more
information, see “Creating Graphic Objects” in the Help.

Styles button Displays (as a tear-off menu) examples of the styles you defined
and allows you to select one. For more information, see “Recalling
a Title Style” on page 404.

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Title Toolbar Components (Continued)

Component Description

Save Style Parameter Displays the Title Style sheet and allows you to modify it and save
button the changes. For more information, see “Saving a Title Style” on
page 402.

Templates button Allows you to create a standard format for text and graphics that
you use regularly. The template prevents you from changing the
position, colors, shadows, or graphics, which ensures consistency.
For more information, see “Creating and Using Title Templates”
on page 406.

Line attribute tools Allow you to change the corners of boxes, line and border
thickness, and arrowhead styles. For more information, see
“Modifying Box Corners, Lines, and Borders” on page 387.

Background Allow you to switch between a video and an opaque background

Selection tools and change the color of opaque backgrounds. For more
information, see “Selecting a Background for Titles” in the Help.

Text formatting tools Allow you to set various text attributes such as font, font size,
kerning, and leading. For more information, see “Formatting Text”
in the Help.

Color Selection Allow you to change the color of text and objects. For more
boxes information, see “Selecting Colors and Setting Transparency” on
page 391.

Transparency Level Allow you to change the transparency levels of text and objects.
boxes For more information, see “Adjusting the Transparency of a Title
Object” on page 394.

Color and Allow you to create a blend between two colors or two
Transparency Blend transparency values. For more information, see “Blending Two
tools Colors in an Object” on page 392.

Shadow tools Allow you to create drop shadows and depth shadows for text and
objects and to preview the degree of softness set for shadows. For
more information, see “Adding Shadows to Title Objects” in the
Help.

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Title Toolbar Components (Continued)

Component Description

Crawling Title button Allows you to create crawling titles. For more information, see
“Creating Rolling and Crawling Titles” on page 380.

Rolling Title button Allows you to create rolling titles. For more information, see
“Creating Rolling and Crawling Titles” on page 380.

Advanced Title Tool Setup

This section describes several aspects of the Title tool that you can use to set up your titling
or drawing session.

In addition to the topics covered in this section, you can also make the following basic
adjustments, which are described in “Setting Up the Drawing Environment” in the Help.
• Control how the Title tool uses anti-aliasing when drawing objects
• Display safe action and safe title guides
• Control the background for a title

n You can set or change these features at any time during your work on a title. These settings
are stored with User settings and appear each time a particular user opens the Title tool.

Installing Fonts
You can apply any font that is installed on your system when you create titles in the Title
tool. When installing and using fonts, consider the following:
• If you want to apply a special font that is not currently on the system, you must install
the font first before creating titles.
• If you are bringing a project from another system, check to make sure you have installed
any fonts used in titles contained in the project. These fonts must match exactly (you
cannot use variations of the font in the same font family). If the Title tool does not
recognize a font contained in a title, the Font Replacement dialog box opens to enable
you to substitute an alternative font.

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• If you are bringing a project from one platform to another (Macintosh platform to
Windows platform, or Windows platform to Macintosh platform), you might need to
substitute a font from the new platform for an existing font in the project. Windows and
Macintosh fonts sometimes differ even when they have the same name. If the Title tool
does not recognize a font contained in a title, the Font Replacement dialog box opens to
enable you to substitute an alternative font.
• If you intend to create titles with font sizes of 128 points or larger, use TrueType® fonts.
Some fonts cannot display consistently at sizes of 128 points or higher, but TrueType
fonts can accommodate larger font sizes.

n For more information on installing fonts, see your Windows system documentation or your
Macintosh system documentation.

Using Safe Colors with Titles

If you plan to use your title for television broadcast, you can select the Safe Colors
command from the Object menu. This command displays only low saturation colors for use
in text, objects, and background. Colors with low saturation look best when combined with
video. By default, Safe Colors is turned on.

To display only safe colors:

t Select Object > Safe Colors.

Displaying and Snapping to a Grid in the Title Tool

You can display an alignment grid to help you position text and objects. The visible grid is
not part of the title, and the Avid editing application does not store it when you save the title.

The snap grid is an invisible grid that helps position and connect objects. The snap grid has
four lines for each line in the visible grid. Each square in the grid is subdivided by four
invisible vertical and horizontal grid lines. Text and objects can snap to these lines.

To display a grid:
t Select Alignment > Show Alignment Grid.

To snap to a grid:
t Select Alignment > Align to Grid.
When you create or drag an object in the Title tool, the object snaps to the nearest grid
line.

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Using the 16:9 Display Format for Titles

The Title tool supports the 16:9 aspect ratio for display of NTSC and PAL footage. The 16:9
option allows you to display the full-aspect ratio of wide-screen video used in the
high-definition television (HDTV) format.

When your monitors are using the 16:9 aspect ratio, the Title tool increases its maximum
horizontal size, and saved titles appear correctly in the Source and Record monitors set to
16:9.

For more information on HDTV and the 16:9 option, see “Using the 16:9 Display Format”
in the Help.

Creating Rolling and Crawling Titles

You can create title text and graphics that roll up the screen or crawl across the screen. You
create the title in the Title tool and refine the motion during editing.

n Rolling and crawling titles are non-real-time effects. You can step through the effect in a
Source monitor, the Composer monitor, or the Effect Preview monitor, but you must render
the effect to play it.

Rolling titles scroll vertically, moving from top to bottom or from bottom to top. The
following illustration shows an example.

Rolling titles The Long Road Home

scroll from
bottom to top
by default. The Long Road Home

The Long Road Home

Start of roll Middle of roll End of roll

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 Creating Rolling and Crawling Titles

Crawling titles scroll horizontally, moving from right to left or from left to right. The
following illustration shows an example.

Crawling titles
scroll from
right to left by
default.

Start of crawl Middle of crawl End of crawl

n You cannot save a rolling title or a crawling title with a color background even though you
can set the Title tool to display a color background while you create a rolling title or a
crawling title. To place your rolling title or crawling title over a color background, you must
export the background as a PICT file, reimport it (with Ignore Existing Alpha selected in the
Import dialog box), edit it into your sequence, and then edit your title onto a new layer
above the background graphic.

Page Count Limits for Rolling and Crawling Titles

Rolling and crawling titles form pages in the Title tool that are similar to the pages you
create with a word processor. A page in a rolling or crawling title is a unit the size of a PAL,
NTSC, or HD frame. The following table lists the page limits for different projects.

Resolution Type Page limit

HD 1080i and 1080p Rolling 29

Crawling 4

HD 720p Rolling 44

Crawling 6

SD NTSC Rolling 67

Crawling 11

SD PAL Rolling 56

Crawling 11

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Typing more text, increasing the size of the font, or adjusting kerning and leading all affect
the number of pages in the title.
• If you reach the page count limit while you are typing text, the title stops getting bigger
and text entry stops.
• If you attempt to change the text formatting in a way that would make the title exceed
the page count limit, a message box opens. To cancel the operation and keep the title
within the page count limit, click OK.

Using Auto Size Mode for Rolling and Crawling Titles

Auto Size mode causes the Title tool to add or remove pages automatically as you add,
delete, or reformat the text. Auto Size mode is active by default when you click the Rolling
Title button or the Crawling Title button.

You can turn off Auto Size mode if you want to add extra pages before or after the text (for
example, to make room for additional title elements). For more information on adding extra
pages with Auto Size mode turned off, see “Working with Pages in Rolling or Crawling
Titles” on page 385.

To switch Auto Size mode off or on:

t Select Object > Auto Size Mode.
A check mark indicates that Auto Size mode is on. Deselect Auto Size Mode to turn it
off.

Setting Up Text Formatting for Rolling and Crawling Titles

Before creating a rolling or crawling title, set the text formatting defaults for attributes such
as font, point size, leading, and kerning.

n To set the defaults, see “Setting Default Text Attributes” in the Help.

When you type the text for a rolling or crawling title, lines of text wrap within the safe title
area, and the title scrolls down as you type. For rolling titles, this provides you with a sense
of positioning, word wrap, and page count limitations.

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Workflow Options for Creating Crawling Titles

Unlike rolling titles, which scroll in the direction of the roll as you type the text, crawling
titles do not scroll horizontally in the direction of the crawl during typing. When you create
crawling text, consider the following workflow options:
• Type the text first as a rolling title. This allows you to view the text as it scrolls down
during typing, and also provides you with a scroll bar on the right side of the screen for
moving quickly through the text. You can then click the Crawl button in the toolbar to
convert the text to a crawling title before resizing, reformatting, and saving the title.
• Begin typing with a small font size, such as 12 point, to view as much of the text in the
window as possible before changing the font size and resizing the text box in a
horizontal direction.

n To set the defaults, see “Setting Default Text Attributes” in the Help.

• Several options give you control over text and other objects in the Title tool. You can
create objects and move or copy them to specific pages, insert pages, and delete pages.
For more information, see “Working with Pages in Rolling or Crawling Titles” on page
385.

Typing the Text in a Rolling Title or a Crawling Title

To type rolling or crawling title text:
1. Do one of the following:
t Select Clip > New Title.
t Select Tools > Title Tool.
The Title tool opens.
2. Click the Text tool in the toolbar.

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3. Do one of the following:

t Click the Rolling Title button to enter Rolling Title mode.
t Click the Crawling Title button to enter Crawling Title mode.

Crawling Title button

Rolling Title button
Page Number text box

The button changes to green, and a Page Number text box appears in the lower right
corner of the Title tool.

n You cannot create rolling and crawling titles over a color background, although you can
preview them with a color background. For rolling and crawling titles, the Background
Selection tools are set to Video Background and the Video Background button changes to
green.

4. Type the title text.

The text wraps automatically as you type.
5. When you are finished, click the Selection tool in the toolbar to select the new text
object.

Resizing the Width of a Rolling Title or a Crawling Title

You resize titles by manipulating their object selection handles.

To resize a rolling title or a crawling title:

1. Click the Selection tool, and click the title object.
2. Click the object selection handle, and drag to resize the title until it appears as you want.

n You can resize only the width of a rolling title or crawling title. The Title tool determines the
height of your title by the amount of text it contains.

If you resize a crawling title, save it before rendering to ensure the correct rendering result.

Using the Make Crawl Command to Position a Crawling Title

Use the Make Crawl command after you enter and edit your crawling title text. Make Crawl
transforms the title into a single-line text object and positions it on the lower third of the
screen.

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 Creating Rolling and Crawling Titles

To position a crawling title:

t Select Object > Make Crawl.

Scrolling Through a Rolling Title or a Crawling Title

When you create a rolling title or a crawling title, a scroll bar appears along the right side of
the Title tool video background for moving vertically through the rolling title, and at the
bottom for moving horizontally through a crawling title.

To scroll through a rolling title or a crawling title, do one of the following:

t Use standard techniques for scrolling, such as clicking the arrow icons, dragging the
scroll box, or clicking in the scroll bar.
t Press the Home or the End key to go to the beginning or end of the title.
t Press the Page Up or the Page Down key on the keyboard to move through a rolling title
one page at a time.
t (Rolling titles only) Press the Up Arrow or the Down Arrow key to move the pointer
through a rolling title one line at a time.

Working with Pages in Rolling or Crawling Titles

When you first create a rolling title or a crawling title, a Page Number text box appears in the
lower right corner of the Title tool. The Page Number text box reflects your current position
in the title.

You can go to a specific page, add and delete pages, insert blank pages, and copy or move
material to a page.

Page Number
text box

To go to a different page:
1. Click the Page Number text box.
2. Do one of the following:
t Type a page number for a specific page.
t Use the Up Arrow and Down Arrow keys to cycle through the page numbers.
3. Press Enter (Windows) or Return (Macintosh).
The selected page appears.

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To add pages:
1. If Auto Size mode is on (a check mark appears next to Auto Size Mode in the Object
menu), turn it off by choosing Object > Auto Size Mode.

n The Add Page command is not available when Auto Size mode is on.

2. Select Object > Add Page.

The Title tool adds a page to the end of the title. You can select Add Page repeatedly to
continue adding pages up to the maximum page count.

n For more information on maximum page counts, see “Page Count Limits for Rolling and
Crawling Titles” on page 381.

3. Select text or graphic objects in the title and position them within the range of available
pages, or create new elements.

To insert a blank page into a rolling title or crawling title:

1. Select Object > Insert Page.
The Insert Page dialog box opens.
2. Type a page number, and then click OK.
The Title tool inserts a blank page at that page number, and moves all objects after it by
one page.

n The Title tool inserts a page only if the left boundary of an object appears on the page whose
number you typed. For example, you cannot insert a page in the middle of a long crawling
title.

You cannot use the Insert Page command to add a blank page to the end of a roll or crawl.

To delete empty pages from a rolling title or a crawling title:

1. Select Object > Remove Page.
The Remove Page dialog box opens.
2. Type the page number of the page you want to remove, and then click OK.
If the page is empty, the page is removed and all pages after the removed page are
moved by one page.

n If you select Object > Auto Size Mode, the Title tool removes excess pages at the end of the
title.

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 Modifying Box Corners, Lines, and Borders

To copy or move an object to a title page:

1. Create a text block or any other title object.
2. Select the object.
3. Do one of the following:
t Select Object > Copy to Page.
The Copy to Page dialog box opens.
t Select Object > Move to Page.
The Move to Page dialog box opens.
4. Type a page number, and then click OK.
The Title tool copies or moves the object, and automatically adds pages if necessary.

Formatting Rolling and Crawling Titles

You can modify the text attributes of a rolling or crawling title with the same methods used
to format still text elements:
• To adjust font, point size, style, justification, kerning, and leading, see “Formatting
Text” in the Help.
• To create outlines surrounding the text, see “Selecting a Line or Border Width” on page
388.
• To adjust color and transparency, see “Selecting Colors and Setting Transparency” on
page 391.
• To add a drop or depth shadow, see “Adding Shadows to Title Objects” in the Help.

Modifying Box Corners, Lines, and Borders

You can use the line attribute tools to round the corners of a box, adjust the width of lines
and text borders, or add arrowheads to lines. The following illustration shows the line
attribute tools.

Arrowhead button

Box Corner button Border Width button

n If you do not select an object and you select a line attribute, the Title tool makes that
attribute the default for any new objects that you create.

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Rounding Box Corners

To round box corners:
1. Select a box.
2. Click the Box Corner button, and do one of the following:
t Select a standard rounding option.
t Specify a custom corner radius by doing the following:
a. Select the Custom Radius option (the last item on the list).
The Enter New Corner Radius dialog box opens.
b. Type a whole number (in pixels) into the dialog box.
The maximum custom radius is 200.
c. Click OK.

Box Corner button

Custom radius option

Selecting a Line or Border Width

You can use the Border Width button to change the width of lines created with the drawing
tools or to apply a border outline to text or graphic objects.

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 Modifying Box Corners, Lines, and Borders

Border Width button

Remove Border option

Text with borders

Custom Width option

To select a line or border width:

1. Select an object (such as a line, shape, or text object).
2. Click the Border Width button, and do one of the following:
t Select from the standard widths.
t Specify a custom width by doing the following:
a. Select the Custom Width option (the last item on the list).
The Enter New Line Width dialog box opens.
b. Type a whole number (in pixels) into the dialog box.
c. Click OK.
If you selected a line for modification, the width of the line changes. If you selected an
object for modification, the width of the border changes.

To remove a border:
t Click the Border Width button, and select the Remove Border option (the first item on
the list).

Working with Arrowheads

To add arrowheads to a line:
1. Select a line.
2. Click the Arrowhead button, and do one of the following:
t Select a standard arrowhead style.
t Select the Edit Arrowhead option (the last item on the list), and specify a custom
arrowhead as described in the following procedure.

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Arrowhead button

Remove Arrowhead option

Edit Arrowhead option

To change the arrowhead size:

1. Select a line.
2. Click the Arrowhead button.
3. Select the Edit Arrowhead option (the last item on the list).
The Arrowhead Size dialog box opens.

Handle

4. Click the handle on the arrowhead, and drag it vertically or horizontally to resize and
reshape it.

n The shape of the arrowhead is in proportion to the line width.

5. Click OK.
The line changes to show the new arrowhead shape.

To remove an arrowhead:
1. Select a line.
2. Click the Arrowhead button
3. Select the Remove Arrowhead option (the first item on the list).

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 Selecting Colors and Setting Transparency

Selecting Colors and Setting Transparency

You can select the color and transparency for text and graphic objects, for their shadows, and
for their borders. The following illustration shows the boxes associated with color and
transparency.

Color Selection boxes Color and

Transparency Blend
Transparency Level boxes tools

• The Color Selection boxes control fill (Fill), shadow (Shad), and border (Bord) color,
respectively.
• The Transparency Level boxes control fill, shadow, and border transparency,
respectively.
• The Color and Transparency Blend tools appear when you select a Fill or Border Color
Selection box or Transparency Level box.
- If you select a Color Selection box, the top boxes show the two colors that are used
to create the blend. The bottom box shows the blended color and allows you to
control the direction of the blend or transparency.
- If you select a Transparency Level box, the top boxes show the two transparency
values that are used to create the blend. The bottom box allows you to control the
direction of the transparency blend.

Adjusting the Color of a Title or Graphic Object

The Title Tool Color Picker dialog box enables you to do the following:
• Select a color from the Title Tool Color Picker.
• Use an eyedropper to select a color from any open application on your computer.
• Use the Windows Color dialog box or the Macintosh Colors panel to select a color.

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To select a color:
1. Select a text or graphic object. If you do not select an object, the color is applied to the
next object you create.
2. Press and hold the mouse button with the pointer over one of the Color Selection boxes
in the toolbar:
- Fill (Fill) applies the color to the selected object.
- Shadow (Shad) applies the color to the selected object’s shadow.
- Border (Bord) applies the color to the selected object’s outline or border.
The Title Tool Color Picker opens.

Color selection bar

Grayscale selection bar
Eyedropper New Color window

Click to open the Windows Original Color window

Color dialog box or the
Macintosh Colors panel. Shade selection palette

n You can drag the Color Picker from the toolbar to create a floating palette.

3. Select a color:
t To select from the Title Tool Color Picker, drag the pointer along the color selection
bar to the color you want, and then move the pointer down into the shade selection
palette to select a shade. The color is applied when you release the mouse button.
t To use the eyedropper, drag the pointer to the Eyedropper icon and release the
mouse button. The pointer changes to the eyedropper. Click the color you want from
anywhere in the window to apply the color to the selected object.
t To use the Windows Color dialog box or the Macintosh Colors panel, drag the
pointer to the Round Button icon under the eyedropper, and release the mouse
button. The Windows Color dialog box or the Macintosh Colors panel opens. For
more information, see “Adjusting a Color Parameter” on page 76.
t To select a grayscale value, click in the grayscale selection bar.

Blending Two Colors in an Object

The Title tool lets you blend two colors in a text or graphic object or in a border to create a
color gradient. You can also specify the direction of the blend.

n You can blend the fill and border, but you cannot blend a shadow.

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 Selecting Colors and Setting Transparency

To blend two colors:

1. Select text or another object.
2. Click the Color Selection box for either fill or border.
The Color Blend tools appear.

Color Blend Selection boxes

Color Selection boxes Blend Direction box

3. Click one of the Color Blend Selection boxes, and select a color by using either the Title
Tool Color Picker, the eyedropper, the Windows Color dialog box, or the Macintosh
Colors panel.
4. Click the other Color Blend Selection box, and select the second color for your blend.
The Blend Direction box appears below the two Color Blend Selection boxes. This box
displays the blend and allows you to specify the direction of the blend (for example, left
to right).

Color blend
tools apply a
gradient blend
to the selected
object.

5. Click the Blend Direction box, and drag clockwise or counterclockwise to achieve the
effect you want.
As you rotate the pointer, the position of the two colors rotates. The change takes effect
as soon as you release the mouse button.

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Adjusting the Transparency of a Title Object

Once you select a color, you can control the color’s transparency level.

To control transparency level:

1. Click the appropriate Transparency Level box, depending on whether the transparency
will apply to an object or will adjust a shadow or border around the selected object.
The Transparency Level box displays the text “Hi” with a background that changes from
black to white. A completely white background represents a fully transparent object or
portion of an object. A transparency control with a slider opens. The following
illustration shows an example.

Transparency Level boxes Blend Direction box Transparency Blend

Selection boxes

2. In the transparency control that appears, drag the slider until you attain the transparency
you want, and then release the mouse button.
The Title tool immediately applies the transparency to your selection.

n You might find it useful to turn off the shadow and shadow softness for an object while
experimenting with transparency. Set the shadow value to zero in the Shadow Depth text box
and the softness value to zero in the Soft Shadow dialog box, as described in “Adding
Shadows to Title Objects” in the Help and “Setting Shadow Softness” on page 396.

Blending Transparency of Fills and Borders

You can blend the transparency of fills and borders using a technique similar to blending
colors. Use the Transparency Blend Selection boxes to set the blend values. Use the Blend
Direction box to set the direction of the blend.

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 Adjusting Shadows on Title Objects

Transparency blend controls apply a gradient transparency

to the selected object.

n For more information on creating a blend, see “Blending Two Colors in an Object” on page
392.

Adjusting Shadows on Title Objects

You can adjust the color and transparency for a shadow using the same procedures you use
to adjust color and transparency for title objects themselves. For more information, see
“Selecting Colors and Setting Transparency” on page 391.

You can also set a value for the degree of softening or blurring that applies to the shadows
you create in the Title tool. The value that you set applies immediately to any selected title.
The value is also saved as the new default setting and applies to any new title objects you
create in current and future Title tool sessions. To change the degree of softening that applies
to objects in the Title tool, you must set a new value. The following illustration shows a
typical soft shadow.

For information on applying shadows to title objects, see “Adding Shadows to Title Objects”
in the Help.

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Setting Shadow Softness

To set a degree of softening or blurring for shadows:
1. Select Object > Soften Shadow.
The Soft Shadow dialog box opens.
2. Type a number in the Shadow Softness text box to represent the degree of softening you
want.
Shadow softness values must be integer values between 4 and 40. The higher the value,
the more blurred the shadows are. If you set the value to zero, shadows on title objects
have no softening (hard edges).
3. Click OK to close the Soft Shadow dialog box.

Adjusting Shadow Softness On-the-Fly

You can adjust the shadow softness value of a title object on-the-fly either by entering
different values in the Shadow Softness text box or by using the Up Arrow and Down Arrow
keys.

To adjust shadow softness on-the-fly, using the Soft Shadow text box:
1. Select one or more objects in the Title tool.
2. Select Object > Soften Shadow.
3. Type a number in the Shadow Softness text box to represent a degree of softening.
4. Click Apply.
The Title tool applies the softness value to the selected title objects.
5. Repeat steps 3 and 4 until you are satisfied with the effect.
6. Click OK.

To adjust shadow softness on-the-fly, using the Up Arrow and Down Arrow keys:
1. Select one or more objects in the Title tool.
2. While pressing and holding the Shift and Alt keys (Windows) or the Shift and Option
keys (Macintosh), press the Up Arrow and Down Arrow keys to adjust the softness
value incrementally until you are satisfied with the effect.
Each press of the Up Arrow key adds 1 to the shadow softness value. Each press of the
Down Arrow key subtracts 1 from the shadow softness value.

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Viewing Shadow Softness

The current degree of softness is always represented visually on the shadow display of the
Shadow Depth and Direction button. The following illustration shows this representation for
a Shadow Softness setting of 10.

To confirm the current numerical value for shadow softness:

t Select Object > Soften Shadow, and check the number in the Shadow Softness text box.

Creating a Glow Effect

To create a glow or halo around a title object:
1. In the Title tool, set Shadow Depth for the object to zero.
2. Set Shadow Softness for the object to a non-zero value.
The higher the Shadow Softness value, the softer the glow effect. In the following
illustration, Shadow Softness is set to 10.

n To create titles that do not have either softened shadows or glows, you must set the Shadow
Softness to zero.

Manipulating Title Objects

This section describes how to manipulate objects after you have created them. For a
description of how to select objects, see “Using the Selection and Text Tools” in the Help.

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Manipulating Objects Using the Edit Menu

To manipulate objects:
1. Click the Selection tool, and click an object — such as text, a square, a rectangle, a
circle, or an oval.
2. Do one of the following:
t To cut an object and move it to the Clipboard, select Edit > Cut.
t To copy an object to the Clipboard, select Edit > Copy.
t To paste an object from the Clipboard, select Edit > Paste.
t To select all objects, select Edit > Select All.
t To delete selected objects, select Edit > Delete.

n You cannot delete locked objects. Unlock objects you want to delete. For more information,
see “Locking and Unlocking Objects” on page 399.

t To duplicate an object, select Edit > Duplicate.

Layering Text and Objects

You can use commands on the upper portion of the Object menu to layer text and objects to
create complex graphics.

The last object created occupies the top layer, but you can move objects forward or
backward within the screen area.

To adjust the layering of objects in a title:

1. Click the Selection tool, and click an object.
2. Do one of the following:
t To bring an object to the top layer, select Object > Bring To Front.
t To send an object to the bottom layer, select Object > Send To Back.
t To move an object forward one layer, select Object > Bring Forward.
t To move an object back one layer, select Object > Send Backward.

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Grouping and Ungrouping Objects

You can use commands in the Object menu to group objects and treat them as a single
object.

Combining objects into a group means that actions, such as moving or applying color, affect
all objects in the group.

To group objects:
1. Click the Selection tool, and Shift+click multiple objects.
2. Select Object > Group.
The Title tool creates a grouped object from the individual objects. Changes to any
individual object in the group affect all objects in the group.

To ungroup objects:
1. Click the Selection tool, and click a grouped object.
2. Select Object > UnGroup.
Everything in the group becomes an individual object that you can move or change
independently.

Locking and Unlocking Objects

You can use commands in the Object menu to lock objects so that changes to default
settings, such as the font setting or object position, do not affect the locked objects.

You might also want to lock objects so that you do not inadvertently change them while
working on other objects. You can lock an individual object or multiple objects.

To lock objects:
1. Click the Selection tool, and click an object.
2. Select Object > Lock.
The Title tool locks the object. It cannot be changed until you unlock it.
When selected, the object displays hollow selection handles to indicate that it is locked,
as shown in the following illustration.

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To unlock objects:
1. Click the Selection tool, and click a locked object.
2. Select Object > Unlock.
The Title tool unlocks the object. You can now change it.

Aligning Objects
You can use the Alignment menu commands to align text and objects to each other and to the
frame. Aligning to the frame refers to the safe title area. For information about the safe title
area, see “Displaying Safe Title and Safe Action Guidelines” in the Help.

To align objects to the frame:

1. Click the Selection tool, and click an object or Shift+click multiple objects.
2. Do one of the following:
t Select Alignment > Align To Frame Left.
t Select Alignment > Align To Frame Right.
t Select Alignment > Align To Frame Top.
t Select Alignment > Align To Frame Bottom (Shift+Ctrl+Z).
t Select Alignment > Center in Frame Horiz. (Shift+Ctrl+C).
t Select Alignment > Center in Frame Vert.
The objects are aligned within the safe title area.

To align objects to each other:

1. Click the Selection tool, and Shift+click or lasso multiple objects.
2. Do one of the following:
t Select Alignment > Align Objects Left.
t Select Alignment > Align Objects Right.
t Select Alignment > Align Objects Top.
t Select Alignment > Align Objects Bottom.
The last object you selected is used as the reference object to which the others are
aligned.

n For information on aligning objects to a grid, see “Displaying and Snapping to a Grid in the
Title Tool” on page 379.

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Distributing Objects
You can use Alignment menu commands to distribute text and graphic objects evenly. For
information about the safe title area, see “Displaying Safe Title and Safe Action Guidelines”
in the Help.

To distribute objects:
1. Click the Selection tool, and Shift+click at least three objects.
2. Do one of the following:
t Select Alignment > Distribute Left to Right.
The Title tool distributes the objects evenly from left to right.
t Select Alignment > Distribute Top to Bottom.
The Title tool distributes the objects evenly from top to bottom.
t Select Alignment > Distribute First to Last.
The Title tool distributes the objects evenly between the position of the first object
selected and the position of the last object selected.
This command is especially useful for aligning objects diagonally or for roughly
positioning a group of objects and then lining them up without spreading them out
to the edges of the safe title area.

Saving and Recalling Title Styles

As you begin to work with a title, you might set up some basic title parameters you can use
again for other titles. You can save the following style parameters in the form of a title style:
• Font, style, size, justification, kerning, and leading
• Fill color and transparency
• Shadow color, transparency, depth, direction, softness, and type
• Border color, transparency, and width

You can also assign a title style to one of the function keys on your keyboard. You can then
recall that style by pressing the appropriate function key.

Title styles save only the parameters that control the appearance of text or graphic objects in
the Title tool. If you want to save the entire contents and layout of a title, including specific
title objects themselves, use a title template. For more information, see “Creating and Using
Title Templates” on page 406.

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The following illustration shows the location of the two buttons that allow you to select and
define title styles.

Styles button Save Style Parameter

button

See “Title Style Sheet Options” on page 403 for the table of Style sheet components.

Saving a Title Style

To save title parameters to a Style sheet:
1. Click the Selection tool, and click the object that you want to use as a basis for the title
style.
2. Click the Save Style Parameter button.
A menu opens that allows you to select either an existing title style name or Save As.
3. Select Save As.
The Title Style Sheet dialog box opens. The following illustration shows an example.

Close button

Sample window

Function Key text box

Style Name text box

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 Saving and Recalling Title Styles

4. Select the parameters that you want to include in the style using the information in
“Title Style Sheet Options” on page 403.
The Title tool uses the values from the currently selected object or from the current
defaults if no object is selected.
5. (Option) Type a function key number in the Function Key text box to assign the style to
a function key.
For example, typing 5 assigns the style to the F5 function key.
6. Type a name in the Name text box, and click Done when you are ready to exit the dialog
box and save the values.

Title Style Sheet Options

The Title Style Sheet dialog box allows you to create templates for the Title tool. Style
sheets allow you to define and select basic text and drawing parameters that you can use with
the Title tool. The following table describes the components of the Title Style Sheet dialog
box.

Component Description

Check boxes Select the current attributes of the object that you want to include in the style. You can
modify the attributes that are associated with a saved title. Use the check boxes to
specify the attributes to save.

Function Key text box (Option) Allows you to designate a function key that you can use to apply the title
style.

Style Name text box This name appears in the Style list in the Title tool and in the Settings list.

Refresh button Appears after you change an item in the dialog box. Click to display the change in the
sample window.

Select All button Allow you to select all or none of the check boxes.
Select None button

Revert button Returns the settings to those used when the style was last saved.

Done button Closes the dialog box and saves your changes.

Convert to Marquee Converts your title style to Marquee format. For more information, see the Avid
button Marquee Title Tool User’s Guide or the Avid Marquee Title Tool Help.

Close button Acts as a Cancel button. A message box opens, asking whether you want to cancel or
save your changes. If you created a new style from within the Title tool, clicking
Cancel means that the Title tool does not create the new style.

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Recalling a Title Style

After you have saved your title style, you can recall the style and use the attributes as the
defaults in subsequent Title tool sessions. You can recall a title style by using the Title Styles
tear-off menu, by using the Save Style Parameter button, or, if you have assigned the style to
a function key, by pressing the appropriate key.

To recall title style attributes, using the Title Styles tear-off menu:
1. In the Title tool, click the Styles button to display the Title Styles tear-off menu.

The menu contains a scaled visual representation of each style. Arrows on the right and
left allow you to scroll back and forth.
2. Drag the pointer to the selected style, and release the mouse button.
The style attributes appear in the Title tool toolbar.

To recall a title style attribute, using the Save Style Parameter button:
t Click the Save Style Parameter button, and select a style from the menu.

To recall a title style attribute, using a function key:

t Press the appropriate function key.
The style attributes appear in the Title Tool toolbar.

Confirming Function Key Mapping of Title Styles

To verify which function key is assigned to a particular title style, do one of the
following:
t Open the Title Style Sheet dialog box for the style from the Settings list in the Project
window, and then check the function key number in the Function Key text box.
t In the Title tool, click the Styles button to display the Title Styles tear-off menu, and
then position the mouse pointer over the style.
The ToolTip that appears indicates the function key assignment along with the name of
the style.

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Applying Title Styles to Text Objects

To apply a title style directly to text objects:
1. Select one or more text objects.
2. Do one of the following:
t Click the Styles button to display the Title Styles tear-off menu, and then select a
title style.
t If the style is assigned to a function key, press the appropriate function key.

Managing Title Styles

Your Avid editing application lists the available title styles in the Settings tab of the Project
window. The following illustration shows a typical list of title styles.

To delete a style:
1. Select the style in the Project window.
2. Do one of the following:
t Press the Delete key.
t Select Edit > Delete.

To copy a style:
t Select the style in the Project window, and select Edit > Duplicate.

To rename a style, do the following:

t Change the name in the Project window.

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Creating and Using Title Templates

Title templates let you create a standard format for text and graphics that you use regularly.
After you've set up your template, open the template, edit the text, and save the new title.
The template prevents you from changing the position, colors, shadows, or graphics, which
ensures consistency.

n You can use the Moveable Templates option in the Templates menu to change the position of
a template.

You can also use title styles to save and recall only the parameters that control the
appearance of title objects. For more information, see “Saving and Recalling Title Styles” on
page 401.

To create a title template:

1. Open the Title tool by doing one of the following:
t Select Clip > New Title.
t Select Tools > Title Tool.
2. In the Title tool, create the text and graphic elements to include in the template.
3. Click the Templates menu, and select Save Template.
The Save Template dialog box opens.
4. Type a name for the template.
5. Click Save.
By default, the Title tool saves the template in a Title_Templates folder within the
Settings folder for your Avid editing application, but you can save it elsewhere.
6. Close the Title tool, and click Don’t Save in the dialog box.

To use a title template:

1. Open the Title tool by doing one of the following:
t Select Clip > New Title.
t Select Tools > Title Tool.
2. Click the Templates menu, and select Include Template.
The Open dialog box opens.
3. Select the template you want to use, and click Open.
The Title template opens.
4. Make any edits you want to the text.

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5. (Option) If you want to change the position of a template, click the Templates menu, and
select Moveable Templates. Then click the Arrow buttons to move the template within
the Title Tool.
6. Close the Title tool, and click Save in the dialog box.
The Save Title dialog box opens.
7. Type a name for your title, and click Save.
The named title appears in the bin you specify. Now you can edit the title into the
sequence. For more information, see “Editing with Titles” in the Help.

Working with Multiple Title Formats

Although you initially create a title in only one format (the native format in which you are
editing when you create the title), some Avid editing applications allow you to save the title
in multiple aspect ratios. For example, in an NTSC video project, you might create a title at
4:3 and then save it in both the 4:3 and 16:9 aspect ratios.

The following sections explain how these multiformat options affect the creation and
handling of titles.

n Other imported titles and graphics cannot be saved in multiple formats and are resized
along with the video signal when you generate output in a format different from the native
project format. This might affect the finished look of the title or graphic.

Multiple format titles must be unrendered. When you create a digital cut, you can select the
appropriate format. This feature works only for unrendered titles; it does not work for
rendered titles. Rendered titles play in the original rendered format.

n If you need to render effects that play at the same time as the title, render all effects except
the title. Alternatively, create a video mixdown of all tracks except the title.

Creating Multiple Format Titles

When you create a title in a 24p or 25p project, you need to consider the different video
formats and aspect ratios in which your project will be output. In particular, if you create a
title in the 16:9 ratio, you need to use the grid to verify that the title will appear safely within
the limits of the 4:3 viewing area. For more information on using the grid, see
“Understanding the Effect Grid” on page 63.

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Saving Multiple Format Titles

When you save a title, the Save Title dialog box displays a check box for each aspect ratio
(4:3 and 16:9).

The aspect ratio in which you created the title is selected by default and is always saved. If
you need a version of the title in the other aspect ratio, select the appropriate check box.

In 24p and 25p projects, saving a title in a particular aspect ratio allows you to output in that
aspect ratio in both video formats (NTSC and PAL). The conversion from one video format
to the other (for example, from NTSC to PAL) is handled automatically by your Avid Nitris
hardware. For example, if you are working in a 24p NTSC project and you save titles at both
4:3 and 16:9 aspect ratios, you can output to PAL 4:3 and 26:9 as well as to NTSC 4:3 and
16:9. For more information, see “Selecting Output and Timecode Formats for 23.976p, 24p,
and 25p Projects” in the Help.

If you are working with anamorphically downconverted media in an SD project, save the
title as 16:9. After opening the sequence in an HD project, re-create the title media. This
method lets you correctly create titles that fit in the 4:3 center cut or that extend beyond the
center cut.

If you are working with media downconverted to center cut or letterbox, save the title as 4:3.
In this case the titles appear centered, within the 4:3 center cut.

Multiformat options

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 Exporting a Title as a Graphics File

n When you first save a title after starting the application, the application selects only the
native format in the Save Title dialog box. Once you select a combination of formats to save
a title, that combination becomes the default when you reopen the Save Title dialog box
while the application is running.

For more information on 24p or 25p titles, see “Working with Existing Multiple Format
Titles” on page 412 and “Re-creating Title Media With Multiple Formats” on page 416.

Exporting a Title as a Graphics File

To export a title as a PICT graphics file:
1. With the Title tool open, select File > Export Title.
The Export Pict As dialog box opens.
2. Select the location where you want to export the file, type a file name, and click Save.
The Title tool saves the title.

Adjusting Title Effect Parameters

After editing a title into a sequence, you can open the Effect Editor and refine the title with
keyframe control over effect parameters.

n Adjusting parameters might affect the real-time playback capabilities of your titles in
various ways, depending on the particular options available with your Avid editing
application.

To access the effect parameters for a Title effect:

1. If the application is not in Effect mode, enter Effect mode, for example, by selecting
Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
The Effect Editor opens.
2. Click the Title Effect segment in the sequence to select it.
The Effect Editor displays the parameter controls.

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Other Options Title icon

button

3. Do one or more of the following to work with the Title effect parameters:
t Adjust Title effect parameters by using basic techniques described in “Using the
Effect Editor” on page 69.

n For information on specific Title effect parameters, see “Title Effects” on page 635.

t Use multiple keyframes to gradually change keyframeable parameters over time.

For more information, see “Working with Keyframes” in the Help.
t Save effect templates of Title effect parameter adjustments to a bin for use in other
sequences or projects as described in “Working with Effect Templates” in the Help.

Revising a Title in a Sequence

If you want to revise a title after you have edited it into a sequence, you must reopen the title
in the Title tool directly from the sequence rather than revise the Title Effect clip in the bin.

To change a title in a sequence:

1. Click the Title Effect segment in the sequence to select it.
2. If the application is not in Effect mode, enter Effect mode by choosing Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.

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 Revising a Title in a Sequence

3. In the Effect Editor, click the Other Options button.

A dialog box opens, asking if you want to promote the title to Marquee.

n Titles promoted to or created in Marquee cannot be edited with the Title tool. For
information on Marquee titles and the Marquee Title tool, see the Avid Marquee Title Tool
User’s Guide or the Avid Marquee Title Tool Help.

4. Click No.
The Title tool opens.
5. Revise the title by using techniques described elsewhere in this chapter.
6. Save the title by using one of the following procedures.

To save the title with the same name and media parameters:
1. Select File > Save Title.
A message box opens, asking if you want to save the title and exit the Title tool.
2. Click Save.
The Title tool closes. The revised Title Effect clip replaces the previous clip in the
sequence, the bin, and the Source monitor.

To save the title with a new name or parameters:

1. Select File > Save Title as.
A message box opens, asking if you want to save the title and exit the Title tool.
2. Click Save.
The Save Title dialog box opens.

n Multiformat check boxes appear in the Title Formats area only for 24p or 25p projects and
only in some Avid editing applications.

3. Rename the title, or select other options from the Bin, Drive, and Resolution menus.

n You cannot select Fast Save when revising a title in a sequence.

4. (Option) If you are working in a 24p or 25p project and multiformat check boxes appear,
select the title formats you want to save.
For more information, see “Working with Existing Multiple Format Titles” on page 412.
5. Click Save to save the title and exit the Title tool.
The Title tool closes, and the revised Title Effect clip replaces the previous clip in the
sequence. The new clip with its new name also appears in the Source monitor and in the
bin. The previous Title Effect clip is preserved in the bin.

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11 Creating and Editing Titles

Working with Existing Multiple Format Titles

With 24p or 25p projects on Avid editing applications that allow for the creation of multiple
format titles, the following restrictions apply when you move multiple format titles between
projects or edit them into a sequence.
• You cannot move a title created in one video format into a project in the other video
format. For example, you cannot create a title in an NTSC project and then edit it into a
PAL project.
• If you need to revise a title that has been edited into a sequence, you must be working in
the same aspect ratio in which the project was originally created. You cannot, for
example, revise a title at 16:9 if it was created at 4:3. If you are working in an aspect
ratio different from the one used to create the title, a message box alerts you to the
problem and asks you to change the aspect ratio.

n When you revise a title that you have edited into a sequence, the Title tool selects all the
aspect ratio options that already exist in the title as the defaults. If you need to change the
options, select File > Save Title as. You can then create a new title with the aspect ratios you
need, and the title will replace the previous version in the Timeline.

Replacing Fill Tracks in a Title

You can replace the fill track of Title effects with video or graphics. The moving video or
graphic effect then appears inside the title itself, keyed over the background.

To replace the fill track:

1. In the Timeline toolbar, click the Step In button to step into the effect.
2. Load the video you would like to use as replacement filler into the Source monitor.
3. Drag the Source Track button in the Track Selector panel to the Record Track button for
the fill track to patch the new source video to the title fill track.
4. Using standard editing methods, edit the video from the Source monitor onto the fill
track.

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 Rendering Titles

Rendering Titles
Rolling and crawling titles are non-real-time effects that must be rendered before they will
play back in real time. There might be circumstances in which you also need to render static
titles, particularly when they are layered with other titles or other effects, or when the overall
complexity of the sequence limits real-time playback for your system.

For more information on rendering Title effects, see “Basics of Effects Rendering” in
the Help.

Guidelines for Handling Playback Issues with

Rolling Titles
The following limitations apply to rolling titles:
• Rolling titles might jitter slightly at certain speeds. You can adjust the duration by a few
frames to fix the problem.
• Rolling titles cannot play back at a rate greater than one page per second. This situation
occurs when you edit a lengthy title roll into a short segment in the sequence.

If you experience a playback problem with a title, do one or more of the following:
• Render the title or underlying effects.
For more information on rendering Title effects, see “Basics of Effects Rendering” in
the Help.
• For a rolling title, slow the roll by extending the duration of the clip. For more
information, see “Trimming the Duration of Rolling and Crawling Titles” in the Help.
• Separate title clips in the sequence.
• Store title and video media on separate drives, or use faster drives.

Re-creating Title Media

You can use the Re-create Title Media command to:
• Regenerate title media that is offline.
• Generate title media for unrendered (Fast Saved) titles in a bin.
• Change the resolution of a title.
• Generate multiple formats for titles in 24p or 25p projects.

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11 Creating and Editing Titles

If you have batch captured a sequence at a resolution different from the resolution at which
the sequence was originally created, for example, you can use this command to re-create the
titles at the new resolution. This procedure is required when conforming an offline sequence
with titles for online editing and output at uncompressed resolution.

You can re-create title media that is edited into a sequence in the Timeline, or you can create
media for unrendered (Fast Saved) titles in a bin. For more information on Fast Save for
titles, see “Using the Fast Save Option” in the Help.

c The Re-create Title Media command removes any nested edits made inside a title,
replacing the edits with the new title’s graphic and alpha tracks.

Re-creating Title Media from the Timeline

To re-create title media from the Timeline:
1. Load the sequence containing the titles into the Record monitor.
2. Mark IN and OUT points in the sequence surrounding all the titles that you want to
re-create.
3. In the Track Selector panel, select the Record Track button for each track that contains
titles you want to re-create.
4. Select Clip > Re-create Title Media.
The Re-create Title Media dialog box opens.

n Multiformat check boxes appear in the Title Formats area for 24p or 25p projects in some
Avid editing applications.

5. Select a drive on which to store the re-created titles.

6. Select a resolution for the re-created titles.

n The default drive and resolution are defined in the Titles tab of the Media Creation dialog
box. For more information, see “Media Creation Settings: Capture, Titles, Import, and
Mixdown & Transcode Tabs” in the Help.

7. (Option) If you are working in a 24p or 25p project and multiformat check boxes appear,
select the title formats you want to create.
For more information, see “Re-creating Title Media With Multiple Formats” on page
416.
8. Click OK.
Your Avid editing application re-creates the title media file.

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 Re-creating Title Media

Creating Media for Unrendered Titles in a Bin

To create media for unrendered titles in a bin:
1. In the bin, select the titles for which you want to generate media.
To quickly select all the unrendered titles in the active bin, select Bin > Select
Unrendered Titles.
2. Select Clip > Create Unrendered Title Media.
The Create Unrendered Title Media dialog box opens.

n Multiformat check boxes appear in the Title Formats area for 24p or 25p projects in some
Avid editing applications.

3. Select a drive on which to store the title media.

4. Select a resolution for the title media that is compatible with the sequence, such as a
two-field resolution for a sequence containing two-field media.

n The default resolution is the resolution specified at the time the titles were originally saved
with the Fast Save option.

5. (Option) If you are working in a 24p or 25p project and multiformat check boxes appear,
select the title formats you want to create.
For more information, see “Re-creating Title Media With Multiple Formats” on page
416
6. Click OK.
The title media file is generated, and the title clip appears in the bin without the
(unrendered) label in the name field.

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11 Creating and Editing Titles

Re-creating Title Media With Multiple Formats

You can use the Re-create Title Media command to re-create title media with different aspect
ratios just as you can use it to re-create title media at different resolutions. An efficient
workflow for multiple format titles involves creating titles and saving them initially in the
native format, and then using the Re-create Title Media command to generate another aspect
ratio if needed once editing is complete. Re-creating title media for multiple format titles is
subject to the same kinds of restrictions as other editing and saving procedures:
• When you mark titles in a sequence and select Clip > Re-create Title Media, the
Re-create Title Media dialog box displays the same check boxes for aspect ratio choices
as the Save Title dialog box. You can create one or both aspect ratios as necessary.
• You can re-create titles only when the aspect ratio in which you are working is the same
as the one used when the title was created.
• When you use Re-create Title Media to create new formats for a 24p title or a 25p title,
all formats are re-created. The application cannot add a format to an existing multiple
format title file. Even if one of the aspect ratio options has been saved previously, the
application re-creates both formats when you add the second.

n When you first use the Re-create Title Media command to generate media for unrendered
titles in a bin, the application selects the native format as the default. Once you select a
combination of formats in the Create Unrendered Title Media dialog box, that combination
becomes the default when you reopen the Create Unrendered Title Media dialog box while
the application is running.

When you first use the Re-create Title Media command to regenerate titles in the Timeline,
the application selects both formats as the default. Once you select a combination of formats
in the Re-create Title Media dialog box, that combination becomes the default when you
reopen the Re-create Title Media dialog box while the application is running.

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 Troubleshooting Titles

Troubleshooting Titles
The following topics describe errors that might occur when working with Title effects and
includes recommendations for resolving the problems:.
• Guidelines for Handling Title Error Messages
• Handling a Wrong Format Message for a Title
• Using Filtering for HD Titles

Guidelines for Handling Title Error Messages

When you edit with titles or graphics, you might experience an underrun error message
because the graphic key could not be loaded in time.

Possible causes include the following:

• Insufficient drive speed
• Title rolling too fast
• Several graphics too close together

Possible solutions include the following:

• Render the clip and underlying video.
• Slow down the rolling title.
• Store the clip media on a drive other than the drive containing the underlying media.
• Add filler between sequential clips.
• Use faster drives.

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11 Creating and Editing Titles

Handling a Wrong Format Message for a Title

If you see an image in a monitor that says Wrong Format, the resolution of the Title effect is
not compatible with the resolution of the video clips in the sequence. You can determine the
resolution of the video clip, and then regenerate the title at the same resolution as the video
clip.

To determine the resolution of the current video clip:

1. Open the bin containing the sequence.
2. Select Bin > Set Bin Display.
3. Select “Show reference clips.”
The master clips used in the sequence appear in the bin.
4. Check the resolution for any master clips in the Video column in Text view in the bin.
To correct a title’s resolution to match the resolution used in the video clips in the
sequence, use the procedure described in “Re-creating Title Media” on page 413.

Using Filtering for HD Titles

Titles created with the Title Tool or Marquee in an HD project might display undershoots
and overshoots in the SD signal after you downconvert and output a sequence. This problem
might also occur with imported animated graphics that contain an alpha channel (except for
QuickTime imports). You can avoid this problem by using a console command to filter HD
titles and imported graphics.

The HD title filter is disabled by default, and entering this command enables it. Note the
following:
• Enter the command before creating titles or importing animated graphics. The command
does not affect media already created.
• Using the title filter might result in a slight softening of sharp transitions between dark
colors and light colors.

To turn on HD title filtering:

1. Select Tools > Console.
2. Enter HDTitleFilter.
This command works as a toggle, so the filter remains on until you type the command
again.

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12 Working with the SubCap Effect

This chapter provides information on the SubCap™ captioning and subtitling effect, which
allows you to add subtitle or caption text to the video in your sequences.

This chapter contains the following main topics:

• Understanding the SubCap Effect
• How the SubCap Effect Handles Caption Files
• Applying the SubCap Effect
• Entering Caption Text Directly in the Effect Editor
• Importing a Caption File
• Adding Information to a SubCap Effect
• Editing Text in the Master Caption List
• Adjusting SubCap Effect Parameters
• Synchronizing SubCap Effect Parameters and Information
• Exporting SubCap Effect Data to Caption Files
• Working with Unicode Text in the SubCap Effect
• Working with SubCap Effect Stylesheets
• Examples of SubCap Effect Parameter Adjustments
12 Working with the SubCap Effect

Understanding the SubCap Effect

You use the SubCap effect to add text to the video in your sequences, either by entering text
directly or by importing text from files formatted in standard captioning formats.

The SubCap effect works by compositing the text and any background effects such as drop
shadows or background boxes into the video material. The text becomes a permanent part of
the finished video material and is always visible. The text created by the SubCap effect is
therefore a form of open captioning, a common industry term that refers to captioning that is
always visible to the viewer.

n The SubCap effect does not provide closed captioning capabilities. Closed captioning
delivers text information by encoding it into the video signal rather than by compositing it
into the video frames themselves. A viewer can choose whether or not their television or
other decoding equipment decodes this text information and displays it on screen.

The SubCap effect is typically used for two different types of text information:
• Text that provides a translation of the spoken dialogue in a program
This case assumes a viewer who can hear the audio for the program but cannot
understand the language in which it is spoken. (Text items of this kind are usually
known as subtitles in North America.)
• Text that provides a full description of all the audio content in a program
This case assumes a viewer who cannot hear the audio for the program, and who
therefore needs a description not only of the spoken dialog but also of sound effects, the
character of the music, and so on. (Text items of this kind are usually known as captions
in North America.)

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 How the SubCap Effect Handles Caption Files

You might use the SubCap effect to create text that becomes part of the finished program.
Alternatively, you might use the SubCap effect to create text that provides a preview during
your production process but that is replaced in the finished program by closed caption text
that is encoded into the video signal.

The SubCap effect has the following main features:

• Support for the EBU N19 (.stl) and the Avid DS caption file formats, including the
storage of metadata such as contact and program information
• Support for Unicode text entry
• Parameter control over many aspects of text appearance, including fonts, colors, line
length, and line spacing
• Ability to apply parameter changes made on one caption effect clip to all other caption
effect clips on the current track or throughout the sequence
• Ability to save sets of parameter values for any caption effect clip as a stylesheet file that
you can then apply to other caption effect clips in the same or other sequences

How the SubCap Effect Handles Caption Files

Caption files contain a series of caption text items associated with starting and ending
timecode values, and might also contain additional information about the project or about
the formatting of the text. For example, the following sample shows two text items and their
associated timecode in a Avid DS caption file:

00:00:02:00 00:00:03:00
Bob, are you there?

00:00:04:18 00:00:06:13
Yes, Sam.
Just behind the car.

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12 Working with the SubCap Effect

When you import a caption file into a SubCap effect, your Avid editing application
subdivides the effect at the timecode points specified by the file, creating a series of separate
effects, one for each caption. The following illustration shows this process for the file
sample above:

Before importing CaptionRT effect applied to the

entire length of the sequence

Caption track

Video tracks

Time in seconds
0 1 2 3 4 5 6 7 8

After importing First effect — text reads Second effect — text

“Bob, are you there?” begins “Yes, Sam.”

Caption track
subdivided to
create separate 02:00 03:00 04:18 06:13
effects for each
caption

The importing and subdividing process depends on a correspondence between the timecode
values in the caption file and the timecode values for the effect clip. In the preceding
example, importing the caption file successfully subdivides the caption track because the
timecode range of the original effect (00:00:00:00 to 00:08:00:00) includes all of the
specific timecode values in the caption file. If the timecode range of the original effect were
different (for example, if the sequence timecode began at 00:30:00:00), the import could
not take place.

The dialog box from which you choose a caption file to import provides you with
information about the timecode ranges of the file and the effect, and reports what the result
of the import will be. This information allows you to see in advance whether an import will
be successful. For more information on the procedure for importing a caption file, see
“Importing a Caption File” on page 426.

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 Applying the SubCap Effect

The following illustrations show two examples of this information in the “Select a file that
contains caption data” dialog box. In the first case, timecode values correspond and the
import will be successful; in the second case, timecode values are inconsistent and no import
will occur.

Applying the SubCap Effect

The SubCap effect is available from the Caption category in the Effect Palette. You can
apply the effect in any of the standard ways, for example, by dragging the effect icon from
the Effect Palette onto the Timeline. For more information, see “Applying Effects” in the
Help.

You apply the SubCap effect to a video track above all the other video material in your
sequence. In some circumstances (for example, for translations into more than one language)
you might apply different instances of the effect to different tracks, and then turn the tracks
on or off as necessary to create different language outputs.

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12 Working with the SubCap Effect

Depending on how you plan to add text to the effect, you might need to divide the video
track into segments using Add Edits:
• If you are adding text by typing it in directly, you must divide the video track at the
points where you want the text to appear and disappear. To add captions to an entire
sequence in this way, you must divide the video track into a series of segments that
correspond to the points in the video material where you want each caption to begin
and end.
• If you are adding text by importing a caption file, you only need to divide the video
track at the points where you want the captions as a whole to begin and end. If you want
captions to appear for the entire length of the sequence, you do not need to divide it at
all. When you import the caption file, your Avid editing application further subdivides
the segment to which you apply the effect, based on the timecode information for each
text item in the caption file.

To apply a SubCap effect for direct text entry:

1. (Option) If necessary, create a new video track in the Timeline, for example by
right-clicking (Windows) or Ctrl+Shift+clicking (Macintosh) in the Timeline and
selecting New Video Track.
2. Make sure that the video track to which you want to apply the effect is the only
selected track.
3. Move the position indicator to the point in the sequence where you want the caption text
to appear.
4. Click the Add Edit button to add an edit point.
5. Move the position indicator to the point in the sequence where you want the caption text
to disappear.
6. Click the Add Edit button to add an edit point.
7. In the Project window, click the Effect tab, and then select the Caption category.
8. Drag the SubCap effect to the segment in the Timeline created by the two Add Edits.

To apply a SubCap effect for import of a subtitles file:

1. (Option) If necessary, create a new video track in the Timeline, for example by
right-clicking (Windows) or Ctrl+Shift+clicking (Macintosh) in the Timeline and
selecting New Video Track.
2. Make sure that the video track to which you want to apply the effect is the only selected
track.

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 Entering Caption Text Directly in the Effect Editor

3. (Option) If you want captions from the imported file to apply to only part of the
sequence, do the following:
a. Move the position indicator to the point in the sequence where you want captions
defined in the caption file to start.
b. Click the Add Edit button to add an edit point.
c. Move the position indicator to the point in the sequence where you want captions
defined in the caption file to end.
d. Click the Add Edit button to add an edit point.
4. In the Project window, click the Effect tab, and then select the Caption category.
5. Do one of the following:
a. Drag the SubCap effect to the video track to which you want to apply the effect.
b. Drag the SubCap effect to the segment in the Timeline that you created in step 3.

Entering Caption Text Directly in the Effect Editor

You can enter caption text directly in the Effect Editor.

However, there are some limitations to direct text entry in the Effect Editor. You cannot enter
line breaks (carriage returns) in the Effect Editor text box, and you can enter Unicode
characters only as references. You can insert line breaks or enter Unicode characters directly
in the Edit Master Caption List dialog box. For more information, see “Editing Text in the
Master Caption List” on page 428 and “Working with Unicode Text in the SubCap Effect”
on page 433.

To enter caption text directly in the Effect Editor:

1. Move the position indicator to the SubCap effect to which you want to add text, and
make sure that the track containing the effect is selected.
2. If it is not already open, open the Effect Editor, for example, by clicking the Effect
Mode button.
3. In the Caption Text parameter category, enter the text in the text box.

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12 Working with the SubCap Effect

Importing a Caption File

To import a caption file:
1. Follow the second procedure in “Applying the SubCap Effect” on page 423 to create a
SubCap effect that covers the part of the sequence you want to caption.
2. Move the position indicator to the effect you created in step 1, and make sure that the
track containing the effect is selected.
3. If it is not already open, open the Effect Editor, for example, by clicking the Effect
Mode button.
4. In the Caption Files parameter category, click Import Caption Data.
The “Select a file that contains caption data” dialog box opens.

5. Use the Look in menu (Windows) or the From menu (Macintosh), the navigation
buttons, and the list of files and folders to navigate to the location of the caption file you
want to import.

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 Adding Information to a SubCap Effect

6. From the Files of type menu (Windows) or the Enable menu (Macintosh), select the file
type of the caption file you want to import:
- EBU N19
- Avid DS
7. In the list of files, select the caption file you want to import.
At the bottom of the dialog box, the Selected File Start and End boxes display the
timecode range for the captions in the file — the starting timecode for the first caption in
the file and the ending timecode for the last caption in the file. A message below these
boxes indicates how many captions will be spliced into the sequence, or explains why
importing the selected file into the effect will not be successful.
For more information on how the SubCap effect handles timecode ranges in caption
files, see “How the SubCap Effect Handles Caption Files” on page 421.
8. Do one of the following:
t If you want to proceed with the import, click Open.
t If you do not want to proceed with the import, select another file to import, or click
Cancel.
If you click Open, your Avid editing application creates edit points and adds a new
instance of the SubCap effect for each caption in the caption file. For each of these
effects, the appropriate caption text is imported from the caption file.

Adding Information to a SubCap Effect

You can add information to a SubCap effect, including standard information categories such
as program title and editor’s name, as well as custom data that you define.

You can use settings in the Synchronize tab of the Global Properties dialog box to propagate
the information changes you make in one instance of the SubCap effect in a sequence, either
to all instances of the SubCap effect on the current track, or to all instances anywhere in the
sequence. For more information, see “Synchronizing SubCap Effect Parameters and
Information” on page 429.

If you export the caption data from your sequence to the EBU N19 (.stl) format, any
information that you add to SubCap effects is included in the file along with the caption text
and timecode data. For more information, see “Exporting SubCap Effect Data to Caption
Files” on page 431.

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12 Working with the SubCap Effect

To add information to a caption effect:

1. Move the position indicator to the SubCap effect to which you want to add information,
and make sure that the track containing the effect is selected.
2. If it is not already open, open the Effect Editor, for example, by clicking the Effect
Mode button.
3. In the Effect Editor, click Edit Global Properties.
The Global Properties dialog box opens.
4. In the Contacts, Custom, and Program tabs, enter information in the appropriate
categories.
For information on the categories and limitations on the length of text that you can enter,
see “SubCap Effect Global Properties” on page 662.
5. Click OK.

Editing Text in the Master Caption List

You can view a list of all the captions in a sequence in the Master Captions List, and edit any
of the captions from the list.

The Master Captions List also allows you to modify text in the following ways that are not
available in the Caption Text text box in the Effect Editor:
• Enter line breaks (carriage returns) in the text
• Type Unicode characters directly
For more information, see “Working with Unicode Text in the SubCap Effect” on page
433.

To edit text in the Master Caption List:

1. Move the position indicator to any instance of the SubCap effect in the sequence, and
make sure that the track containing the effect is selected.
2. If it is not already open, open the Effect Editor, for example, by clicking the Effect
Mode button.
3. In the Caption Text parameter category, click Edit Master Caption List.
The Edit Master Captions List dialog box opens. The dialog box lists the video track,
timecode range, and caption text for each caption in the sequence.
4. For each caption you want to edit, modify the text in the caption text box.
You can use the Enter (Windows) or Return (Macintosh) key to enter a line break.
5. When you have finished editing all the captions you need to modify, click OK.

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 Adjusting SubCap Effect Parameters

Adjusting SubCap Effect Parameters

The SubCap effect has a full range of parameter controls for adjusting the appearance of the
caption text and its background box.

You can also change the position of the caption text and its background box on the screen by
manipulating an anchor point directly in the Effect Preview monitor.

When you make adjustments to the parameter controls for a single SubCap effect in a
sequence, you might want to have your changes apply to other instances of the SubCap
effect in the same sequence. For more information on how to do this, see “Synchronizing
SubCap Effect Parameters and Information” on page 429.

To adjust a SubCap effect’s parameters in the Effect Editor:

1. Move the position indicator to the SubCap effect in the sequence, and make sure that the
track containing the effect is selected.
2. If it is not already open, open the Effect Editor, for example, by clicking the Effect
Mode button.
3. Adjust one or more of the parameter controls in the Effect Editor.
For general information on working with parameter controls in the Effect Editor, see
“Effect Editor Controls” on page 70.
For reference information on the parameter controls for the SubCap effect, see “SubCap
Effect Parameters” on page 657.

Synchronizing SubCap Effect Parameters and

Information
In most circumstances, you probably want the formatting and the additional information
stored in all the SubCap effect clips in a sequence to be the same. When you change
parameter values or global properties in one SubCap effect clip, you want all the other
instances on that caption track, or all the other instances anywhere in the sequence, to update
automatically.

The SubCap effect refers to such updating as synchronizing. You can customize how
synchronizing operates for each effect parameter in the Effect Editor and for each
information item in the Contacts, Custom, and Program tabs of the Global Properties dialog
box.

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12 Working with the SubCap Effect

To control how SubCap effect parameters and information items synchronize:

1. Move the position indicator to any instance of the SubCap effect in the sequence, and
make sure that the track containing the effect is selected.
2. If it is not already open, open the Effect Editor, for example, by clicking the Effect
Mode button.
3. Click Edit Global Properties.
The Global Properties dialog box opens.
4. Click the Synchronize tab.

5. For each effect parameter or information type in the list, select one of the following:

Option Description

Clip Changes to this item remain unique to the current effect clip and are not copied
to any other SubCap effect clips in the sequence.

Track Changes to this item are copied to any other SubCap effect clips on the track
containing the current clip, but not to those on any other tracks in the sequence.

Sequence Changes to this item are copied to all other SubCap effect clips in the sequence.

6. Click OK.

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 Exporting SubCap Effect Data to Caption Files

Exporting SubCap Effect Data to Caption Files

You can export caption data to a caption file. The caption data is then available for use
outside the current sequence. For example, you might import it into another version of the
sequence, or use it with captioning software other than your Avid editing application. You
can export to either of the file formats supported by the SubCap effect.

If you export to an EBU N19 (.stl) caption file, any additional information that you have
entered in the Contacts, Custom, or Program tabs of the Global Properties dialog box is
exported along with the caption text and timecode information. For more information on
entering additional information, see “Adding Information to a SubCap Effect” on page 427.

If you export to an Avid DS caption file, only the caption text and timecode information is
exported.

When you export caption data to a caption file, all of the caption data in the sequence is
available for export. However, you can select which caption tracks to include in the export,
and you can determine how the export resolves conflicts between captions on different
tracks that overlap in time (a caption file can have only one caption for any given timecode
range).

To export caption data to a caption file:

1. Move the position indicator to any instance of the SubCap effect in the sequence, and
make sure that the track containing the effect is selected.
2. If it is not already open, open the Effect Editor, for example, by clicking the Effect
Mode button.

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12 Working with the SubCap Effect

3. In the Caption Files parameter category, click Export Caption Data.

The “Export caption data to the specified file” dialog box opens.

4. Use the Look in menu (Windows) or the From menu (Macintosh), the navigation
buttons, and the list of files and folders to navigate to the location where you want to
store the exported file.
5. In the File name text box, enter a name for the caption file.
6. From the Files of type menu (Windows) or the Enable menu (Macintosh), select the
caption file format you need, either EBU N19 or Avid DS.
7. In Tracks to Export, select the caption tracks from which you want to export data.
8. In the Conflicts list, select one of the following:

Option Description

Use Higher Track Where captions on multiple tracks overlap, your Avid editing
application ignores the captions on the lower track or tracks and
exports the caption on the higher or highest track.

Use Lower Track Where captions on multiple tracks overlap, your Avid editing
application ignores the captions on the higher track or tracks and
exports the caption on the lower or lowest track.

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 Working with Unicode Text in the SubCap Effect

9. Select Log to Console if you want your Avid editing application to log messages in the
Console about the export process.
10. Click Save.
Your Avid editing application exports the caption data to the caption file.
If you selected Log to Console, information about the export process is written to the
Console. The following is a typical message:
Starting caption export to: ‘C:/Caption Files/test_higher.txt’...
Found caption overlap at 00:00:31:26; ignoring the lower track.
Completed export of 21 captions.

Working with Unicode Text in the SubCap Effect

You can type Unicode text in the SubCap effect, for example, to create text that uses
non-Western characters. To type Unicode text, you must use a font that includes the Unicode
characters you need.

You cannot type Unicode text directly into the Caption Text text box in the Effect Editor.
Instead, you type Unicode text in the Master Captions List, as described in “Editing Text in
the Master Caption List” on page 428.

Unicode text that you have typed in a caption in the Master Captions List displays in the
Effect Editor’s Caption Text text box as references — sequences of hexadecimal characters
preceded by an ampersand. For example, the Japanese Katakana character that transliterates
as Na displays in the Caption Text text box as &30ca. Unless you are very familiar with these
character codes, it is always better to view and edit Unicode text in the Master Captions List.

Working with SubCap Effect Stylesheets

You can save the current parameter values and information items for any SubCap effect clip
as a stylesheet. You can then apply the values from a stylesheet to any SubCap effect clip.
You can also set a stylesheet as the default to use when you create a new SubCap effect
clip— all of the parameter values and information items from the default stylesheet are used
as the initial values for the new effect clip, taking the place of the Avid-defined defaults.

Stylesheets allow you to maintain consistent formatting and metadata across many different
sequences and projects, ensuring, for example, that the caption style is the same for every
episode of a television program or that every caption effect you create starts with the same
look.

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12 Working with the SubCap Effect

n Caption stylesheets are simple XML files and are stored in a folder called Caption Effect
Stylesheets inside the AVX2_Plug-Ins folder in the application folder for your Avid editing
application. If you are comfortable editing XML files, you can edit caption stylesheets
directly in any text editor.

You manage SubCap effect stylesheets in the Stylesheets tab of the Global Properties dialog
box.

To create a new SubCap effect stylesheet:

1. Move the position indicator to the SubCap effect clip in the sequence that contains the
parameter values and information items you want to save, and make sure that the track
containing the effect is selected.
2. If it is not already open, open the Effect Editor, for example, by clicking the Effect
Mode button.
3. Click Edit Global Properties.
4. Click the Stylesheets tab.

5. Click Create.
The Add New Stylesheet dialog box opens.
6. Type a name for the stylesheet in the Stylesheet Name text box, and click OK.
The new stylesheet appears in the list of stylesheets.
7. Click OK.

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 Working with SubCap Effect Stylesheets

To delete a SubCap effect stylesheet:

1. Move the position indicator to any SubCap effect clip in a sequence, and make sure that
the track containing the effect is selected.
2. If it is not already open, open the Effect Editor, for example, by clicking the Effect
Mode button.
3. Click Edit Global Properties.
4. Click the Stylesheets tab.
5. Select the stylesheet you want to delete in the stylesheet list.
6. Click Delete.
The stylesheet is removed from the list.
7. Click OK.

To apply a SubCap effect stylesheet:

1. Move the position indicator to the SubCap effect clip in the sequence to which you want
to apply the stylesheet values, and make sure that the track containing the effect is
selected.
2. If it is not already open, open the Effect Editor, for example, by clicking the Effect
Mode button.
3. Click Edit Global Properties.
4. Click the Stylesheets tab.
5. Select the stylesheet you want to apply in the stylesheet list.
6. Click Apply.
7. Click OK.
The values from the stylesheet are applied to the effect clip and are reflected on the
Effect Editor’s parameter controls and in the Contacts, Custom, and Program tabs in the
Global Properties dialog box.

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12 Working with the SubCap Effect

To set a SubCap effect stylesheet as the default for new SubCap effect clips:
1. Move the position indicator to any SubCap effect clip in a sequence, and make sure that
the track containing the effect is selected.
2. If it is not already open, open the Effect Editor, for example, by clicking the Effect
Mode button.
3. Click Edit Global Properties.
4. Click the Stylesheets tab.
5. Select the stylesheet you want to use as the default in the stylesheet list.
6. Click Set Default.
7. Click OK.
8. Restart the application.
After the restart, the stylesheet you selected becomes the default and its values are used
as the default settings for any new SubCap effect clip.

Examples of SubCap Effect Parameter

Adjustments
This topic provides two examples of caption text formatting. The examples are designed to
illustrate and compare the effect of certain parameter changes on the appearance of caption
text, and are not intended to represent an ideal finished look.

For more information on SubCap effect parameters, see “Adjusting SubCap Effect
Parameters” on page 429 and “Generator Effect Parameters” on page 657.

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 Examples of SubCap Effect Parameter Adjustments

Example 1

This example uses a single box as background for the entire text, a custom shadow, and
keeps the Avid default settings for padding and row spacing. The following are the most
important parameter values that contribute to the look of the example:

Parameter Value

Font Face Arial Black

Font Size 20

Text Shadow Custom (Radius 0.5, Angle 5.5)

Text Alignment Center

Box Color and Opacity R, G, and B all 95, Opacity 0.8

Box Style One Box

Anchor Box to Anchor to Bottom of Text

Box Width Fixed Width (Wrap), Width 590

Padding Vertical 2, Horizontal 3

Row Spacing 0

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12 Working with the SubCap Effect

Example 2

This example uses a separate box for each row of the text, does not use a shadow, and uses
custom values for padding and row spacing that allow the boxes to frame the text more
elegantly than Example 1. The following are the most important parameter values that
contribute to the look of the example:

Parameter Value

Font Face Georgia

Font Size 20

Text Shadow No Shadow

Text Alignment Left

Box Style Separate Boxes for Each Row

Anchor Box to Anchor to Top of Text

Box Width Each Row as Wide as Needed

Padding Vertical 10, Horizontal 20

Row Spacing 15

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13 Intraframe Editing

This chapter provides information on the intraframe editing features of your Avid editing
application. Intraframe editing allows you to perform various paint or animated matte effect
operations within an individual frame or series of frames in a clip. Intraframe editing also
allows you to quickly remove scratches and flaws from your video material, and to obscure
part of an image by distorting the pixels within a defined area.

Intraframe editing is done with the Paint Effect and the AniMatte effect, with the Scratch
Removal effect in the specialized case of scratch removal, or with the Blur and Mosaic
effects in the specialized case of obscuring part of an image.

This chapter includes the following main topics:

• Understanding the Intraframe Effects
• Rendering Intraframe Effects
• Getting Started with the Paint and AniMatte Effects
• Using the Intraframe Drawing Tools
• Working with Vector-Based Objects
• Previsualization Marker Tool for Film Projects
• Manipulating Intraframe Objects
• Layering, Grouping, and Locking Intraframe Objects
• Exporting a Matte Key Created With the AniMatte Effect
• Scratch Removal
• Intraframe Editing Examples
• Working with the Blur Effect and Mosaic Effect
13 Intraframe Editing

Understanding the Intraframe Effects

While many of the tools and parameters are the same for all the Intraframe effects, the result
of applying each effect is different.

When you use the Intraframe Editing tools, the application draws vector-based objects on
the screen. Vector-based objects are composed of mathematically described lines and Bézier
curves. You can edit the lines, curves, and other attributes of vector-based graphics with
greater control and efficiency than you can with bitmapped objects, which are drawn on the
screen as a pattern of dots, or pixels. For more information, see “Working with Vector-Based
Objects” on page 460.

Additionally, any changes you make to an Intraframe effect are not limited to an individual
frame. Instead, any object you paint and any changes you make to it appear for the duration
of the entire segment or clip. In most cases, you can change the parameters of the effect
between keyframes.

You can create multiple paint or matte shapes within a single effect. You can also add
keyframes and apply effects separately to each of the shapes.

Paint Effect

The Paint Effect allows you to draw or paint and apply special effects within individual
frames or across all the frames in a segment. The Paint Effect includes the following
features:
• Customizable paint brushes with preset templates and parameters for adjustable softness
and rotation
• Creation of vector-based objects that you can animate and edit
• A variety of paint modes including Blur, Clone, Colorize, Darken, Emboss, Erase,
Lighten, Mosaic, Scratch Removal, Unsharp Mask, and more
• Object selection with rescale, lock/unlock, and group/ungroup capabilities
• Z-rotation of painted objects
• Outline feathering with bias control
• Magic Mask™ for quick and easy colorization

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 Rendering Intraframe Effects

AniMatte Effect

The AniMatte effect allows you to generate custom matte effects that you can apply to a
segment or transition in a sequence. The AniMatte effect includes the following features:
• Modes for keying in and keying out images
• Keyframeable animation of matte effects
• Creation of mattes as vector-based objects that allow you to move, rescale, and reshape
the mattes during a segment or transition
• Freehand painting ability to create organic matte wipes
• Magic Mask, brush shapes, Z-rotation, feathering, and more
• Export of mattes to create keys in third-party applications

For more information, see Getting Started with the Paint and AniMatte Effects.

Scratch Removal Effect

The Scratch Removal effect allows you to remove scratches or other flaws by replacing them
with clean material from elsewhere in the same frame or from another nearby frame. The
Scratch Removal effect includes the same tools for drawing objects and painting brush
strokes found in the Paint Effect, together with specific controls for selecting clean
replacement material. For more information, see “Scratch Removal” on page 482.

Blur Effect and Mosaic Effect

The Blur effect and Mosaic effect act as intraframe effects. The Blur parameter category for
the Blur effect is the same as the one that appears for the Blur mode of the Paint Effect. The
Mosaic parameter category for the Mosaic effect is the same as the one that appears for the
Mosaic mode of the Paint Effect. For more information, see “Working with the Blur Effect
and Mosaic Effect” on page 509.

Rendering Intraframe Effects

Intraframe effects are not real-time effects. When you have finished painting or drawing a
matte on a segment, you must render the effect to play it in real time. Regardless of how
many objects you add to an individual segment, the effect plays back as a single stream of
video. For more information, see “Basics of Effect Rendering” in the Help.

While working in Effect mode, you can see the object as you step through each frame in the
segment if Render On-the-Fly is selected in the Special menu (or the Clip menu on
NewsCutter systems).

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13 Intraframe Editing

You also can use the Play Preview function to see an off-speed preview of a Paint Effect
while you are working in Effect mode. For more information, see “Effect Editor Controls”
on page 70.

Painted objects are rendered to the screen starting with the bottom layer (closest to the video
background). Remember this as you use different paint modes in combination and layer
painted objects to generate new effects in a sequence. You also can combine the Paint Effect
with the AniMatte effect to create custom effects.

A multitrack AniMatte effect is rendered to the screen starting with the top video track
(farthest from the video background and appearing closest to you in three-dimensional
space). For example, if the video background is on track V1, and you apply the AniMatte
effect to track V2, the effect renders starting with the image on track V2.

However, if you draw multiple mattes in the same segment, these mattes are all objects that
appear in the same foreground space; they interact with each other much like multiple
painted objects do in the same segment. For more information, see “Layering with the Paint
Effect and AniMatte Effect” on page 477.

Remember these concepts as you use different key modes in combination and layer them to
generate new effects in a sequence. You also can combine the AniMatte effect with the Paint
Effect to create custom effects.

Getting Started with the Paint and AniMatte Effects

When you apply the Paint effect or the AniMatte effect to a segment and enter Effect mode,
the Effect Editor opens. The pointer is an arrow when you select tools and options from the
Effect Editor. When you select a paint or editing tool and position the pointer over the Effect
Preview monitor, the pointer changes to a crosshair. The crosshair indicates that you can
begin to paint or draw a matte on the frame.

n After you use the Rectangle, Oval, Polygon, and Curve tools, your Avid editing application
reverts to the Selection tool, and the pointer changes to an arrow. After you use the Brush
tool, it remains the active tool, and the pointer remains a crosshair.

The painting and editing tools enable you to paint shapes or draw mattes, quick masks, and
other vector-based objects on frames in a sequence. When you apply an Intraframe effect to
a segment, the object or matte appears for the duration of the entire segment, not just for an
individual frame.

You can locate defects on individual fields of a frame for correction with the Paint and
AniMatte effects by using the single-field step feature. For information on using single-field
step, see “Stepping Through Field-Based Media” on page 68.

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 Getting Started with the Paint and AniMatte Effects

As you can do with many other effects, you can save a template of a Paint effect or an
AniMatte effect and apply it to other video segments in a sequence at a later time. For more
information on saving and applying an effect template, see “Working with Effect Templates”
in the Help.

Applying the Paint or AniMatte Effect to a Sequence

You can apply an AniMatte effect to segments for multilayered effects or to transitions to
create matte key wipes with your own custom shapes. (For information on creating keys, see
“Creating Key Effects” on page 226.) A Paint Effect is a segment effect only; you cannot
apply a Paint Effect to a transition in a sequence.

The Paint Effect is located in the Image category in the Effect Palette. The AniMatte effect is
in the Key category.

To apply the Paint Effect or AniMatte effect to a sequence:

1. Load a sequence into the Record monitor.
For information, see “Creating and Editing Sequences: Basics” in the Help.
2. Enter Effect mode by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
3. Do one of the following:
t To apply the Paint Effect:
a. In the Effect Palette, click the Image category.
b. Click the Paint Effect icon, drag it to a segment in the sequence, and release the
mouse button.
t To apply the AniMatte Effect:
a. In the Effect Palette, click the Key category.
b. Click the AniMatte Effect icon, drag it to a segment in the sequence, and release the
mouse button.
The Effect Editor displays the default settings for the effect.

n The sliders for a parameter pane don’t appear until you select one of the corresponding
tools from the right side of the Effect Editor.

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13 Intraframe Editing

Effect Editor Reference for the Paint and AniMatte Effects

The following illustration identifies the different components of the Effect Editor that appear
when you apply a Paint Effect to a segment in a video project and enter Effect mode.

Selection tool
Z-Rotation tool
Reshape tool
Effect parameter
categories Bring Forward and
Send Backward buttons
Brush Shape
buttons
Painting tool and
Editing tool buttons

HQ button (dimmed — not

available for the Paint effect)
Brush Preview
window Tracking Tool buttonl
Grid button
Previsualization Marker tool

Render Effect
button
Outline/Path button

The following table briefly describes the components of the Effect Editor for the Paint
Effect.

For basic information on working with the Effect Editor, see “Using the Effect Editor” on
page 69.

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 Getting Started with the Paint and AniMatte Effects

Effect Editor Components for the Paint and AniMatte Effects

Component Description

Effect parameter categories Enable you to change the parameters of an effect.

The categories that are available in the Effect Editor are the same for
both the Paint Effect and the AniMatte effect, with the following
exceptions:
• The AniMatte effect includes a Swap Src (swap sources) button
in the Foreground parameter category that enables you to swap
the foreground and background video images for matte keys
composed of multiple video tracks. When you are building a
single-track wipe, the Swap Src button enables you to swap the
incoming and outgoing segments in the sequence.
• The Magic Mask parameter category functions differently in the
two effects. In the Paint Effect, you use the Magic Mask
parameter category or the Color parameter category to make
color selections. In the AniMatte effect, you use the Magic Mask
parameter category to select a key color when you create a matte.

Brush Preview window Displays the brush head with the parameters you have selected, such
as color and shape. You also can use the window to reshape the brush
head by dragging its control points.

Brush Shape buttons Change the shape of the brush.

Selection tool Selects an object so you can change its parameters, move it, or delete
it. With the Shift key pressed, selects multiple objects.

Z-Rotation button Rotates an object around the Z axis.

Reshape button Reshapes objects by manipulating anchor points at locations where

new curves begin or straight lines intersect. Inserts additional control
points.

Bring Forward button and Bring a painted object one layer forward on the screen or send an
Send Backward button object one layer backward on the screen. With the Alt key
(Windows) or Option key (Macintosh) pressed, bring a painted
object to the front or send an object to the back.

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Effect Editor Components for the Paint and AniMatte Effects (Continued)

Component Description

Painting tool and Editing tool Enable you to paint shapes or draw mattes on frames in a sequence
buttons with freehand capability or with preset shapes.

Tracking Tool button Opens the Tracking Window, allowing you to generate and modify
motion tracking data. For more information, see the chapter “Motion
Tracking and Stabilization” on page 289.

Previsualization Marker tool Available in film projects. See “Previsualization Marker Tool for
Film Projects” on page 470.

Grid button Displays the Effect Grid. See “Understanding the Effect Grid” on
page 63.

Render Effect button Renders effects on selected tracks at the location of the position
indicator in the effect’s Timeline.

Outline/Path button Displays wire-frame representations of the painted object. Illustrates

the movement of an object from the first keyframe through the last
keyframe.

Using the Intraframe Drawing Tools

The Intraframe effects include the following five drawing tools:

Rectangle tool

Oval tool

Polygon tool

Curve tool

Brush tool

You can use these tools for creating preset shapes or for creating freehand, vector-based
objects and mattes with editable lines and Bézier curves. Additionally, the Selection tool
enables you to select painted objects and mattes to move them, rescale them, and change
their parameters.

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 Using the Intraframe Drawing Tools

n The parameter sliders do not appear until you select the corresponding drawing tool.

Your Avid editing application supports the addition of a pen tool and graphics tablet for use
with Intraframe drawing tools. For installation and configuration instructions, see the
documentation that ships with your pen tool and tablet.

Understanding Intraframe Modes

The Paint Effect includes a wide variety of modes that offer many creative and corrective
possibilities. You use the modes to control the nature and appearance of the objects that you
create with the drawing tools. Available modes include Solid (for traditional brush strokes),
Erase, Clone, Colorize, Emboss, and more.

For example, if you create an oval shape with the Solid mode selected, a solid color oval
appears in the frame. (The color is determined by the current selection in the Color
parameter category.) If you create the same oval shape and select the Lighten mode, the oval
is not a solid color that masks part of the image beneath. Instead, it defines an area of the
image that is lightened by an amount you specify.

The AniMatte effect provides two modes, Key In and Key Out. These modes enable you to
key in or key out an image in a sequence.

n For a complete listing of the characteristics of each Paint Effect mode as well as the Key In
and Key Out modes in the AniMatte effect, see “Image: Paint Effect” on page 583 and “Key:
AniMatte” on page 586.

Understanding the Brush Tool

With the Brush tool, you can use the mouse or a pen tool with a tablet to paint objects or
mattes with precision directly on the images in a sequence. You also can change and
customize the brush shape, as well as determine the opacity of the paint or matte, adjust the
outline feathering and softness values, and, for the Paint Effect, define the color.

When you paint an object in a sequence, you paint on the frame displayed in the Effect
Preview monitor. The painted object is superimposed over the video background, appearing
closer to you in three-dimensional space. Each object you paint creates a foreground layer
that you can work with individually or that you can group with other painted objects in the
segment.

Video background

Paint

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13 Intraframe Editing

Selecting a Color for the Brush Tool

You can select the color with which you want to paint by using the eyedropper, the
parameter sliders, the Windows Color dialog box, or the Macintosh Colors panel. You can
select the color before you begin painting or after you have painted an object.

When you use the Brush tool to paint an object, you can select a color quickly from a video
segment.

To select a color from a video segment when using the Brush tool:
1. In the Effect Editor, click the Brush tool to make it the active paint tool.
2. In the Mode category, click the Fast Menu button, and then select Solid.
3. Press and hold the Alt key (Windows) or Option key (Macintosh), and drag the pointer
to the Effect Preview monitor.
The pointer becomes an eyedropper.
4. Position the eyedropper over the color you want to select, and click it.
The color you picked becomes the new default color shown in the Color Preview
window.

Painting with the Brush Tool

To begin painting with the Brush tool:
1. Apply the Paint Effect to a segment in the sequence as described in “Applying the Paint
or AniMatte Effect to a Sequence” on page 443.
2. Click the Brush tool in the Effect Editor.
3. Select a paint mode or key mode and parameters in the Effect Editor.
4. In the Brush parameter category of the Effect Editor, click one of the Brush Shape
buttons.

Brush Shape Brush Shape

buttons buttons

The default shape of the brush head changes to your selection.

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 Using the Intraframe Drawing Tools

5. Position the pointer over the image in the Effect Preview monitor.
The pointer becomes a crosshair.
6. Press and hold the mouse button, and drag to paint freehand style on the video
background.
7. Release the mouse button when you have finished painting the object.

Creating a Custom Brush Head from a Template

You can change the brush head to a custom shape by modifying the brush head in the Brush
Preview window.

To create a custom brush head:

1. Click the Brush tool in the Effect Editor.
2. Click a Brush Shape button to be the basis for your custom brush head.

Brush Shape Brush Shape

buttons buttons

The shape appears as the brush head in the Brush Preview window.
3. In the Brush Preview window, click the brush head.
Control points appear on the brush head where curves merge or straight lines intersect.

n You might need to increase the Size value for the brush head, for example to a value over 20,
in order to see the control points. You can reduce the size of your custom brush head once
you have adjusted its shape.

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4. Click a control point, and drag it to change the shape of the brush head.
5. Repeat step 4 with other anchor points as needed.

n For brush shapes with rounded edges and curves, such as the oval, the ellipse, and the circle,
clicking an anchor point creates direction bars and handles that enable you to edit the
Bézier curve. For information on working with Bézier curves, see “Working with
Vector-Based Objects” on page 460. You can use the direction bars and handles, and you
can drag the object’s control points, but you cannot use the modifier key variations.

To rotate the brush head:

1. Click the Brush tool if the brush is not already active.
2. Click the Brush Shape button for the brush head you want to rotate.

Brush Shape Brush Shape

buttons buttons

The shape appears in the Brush Preview window.

3. Do one of the following:
t Drag the Spin slider to the right (clockwise rotation) or to the left (counterclockwise
rotation) to rotate the brush head to the position you want.
t Click the Spin slider, and use the numeric keypad to type a value from –360 to 360.

Saving and Applying Brush Templates

You can save a template of a custom brush to a bin so that you can reuse the parameters of
the brush with an Intraframe effect.

To save a brush template:

1. In the Brush category, click the Brush Template icon, and then drag it to a bin.
A brush template appears in the bin, and the name of the template defaults to Brush.
2. Click the name of the template in the bin, type a unique name for the template, and press
Enter (Windows) or Return (Macintosh).

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 Using the Intraframe Drawing Tools

To use a brush template:

t Click the template in the bin, drag it to the Brush Preview window, and release the
mouse button.
The brush in the Brush Preview window assumes the same parameters as the brush
template you saved to the bin.

Using the Brush Tool and the Path Parameter to Create a

Signature Effect
The Path parameter slider is useful for creating a “signature” effect with the Paint Effect, in
which a signature gradually appears on the screen as if written with an invisible pen.

To create the signature effect:

1. Apply the Paint Effect to a segment.
2. In the Effect Editor, click the Brush tool.
3. In the Mode category, click the Fast Menu button, and select Solid.
4. Press and hold the mouse button, and drag the pointer in the Effect Preview monitor to
paint a signature or other string of text.
5. Release the mouse button when you are satisfied with the text.
6. Click the first keyframe indicator in the segment to select it.
7. Select the painted object if it is not selected already.
8. Click the Path slider, type 0, and press Enter (Windows) or Return (Macintosh).
9. Click the last keyframe indicator in the segment to select it.
10. Click the Path slider, type 100, and press Enter (Windows) or Return (Macintosh).

n Alternatively, you can add keyframes at different locations in the effect’s Timeline and
change the percentage of the Path parameter at each keyframe to modify how the effect
appears over the course of the segment.

11. Render the Paint Effect to play it back in real time.

For more information, see “Basics of Effects Rendering” in the Help.

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Selecting Intraframe Objects

You use the Selection tool to select a painted object or matte on the screen when you want to
make changes to it. After you select an object, you can move it in the frame, rescale it, and
change its parameters.

When a segment contains multiple objects, you can use buttons to change your selection
from one object to another.

To select an object:
t Click the Selection tool, and click an object.
Selection handles appear around the object.

To select multiple objects, do one of the following:

t Shift+click the additional objects with the Selection tool.
t Press and hold the mouse button, and drag the pointer to draw a lasso around the objects.
When you select multiple objects, one set of selection handles appears around all the
objects, which enables you to move, rescale, or otherwise change the parameters of all
the selected objects simultaneously.

To change the selection from one object to another:

t Click one of the following buttons: Fast Forward, Rewind, Go to Next, or Go to
Previous.
The Fast Forward button and the Rewind button are in the Effect Preview Monitor
toolbar. To use the Go To Next button and the Go To Previous button in Effect mode,
you must map them to your keyboard. For more information, see “The Command
Palette” in the Help.

Creating Rectangular Shapes

With the Rectangle tool, you can paint rectangular shapes or mattes on images in a sequence.
Using the Rectangle tool, you can access all the paint modes and parameters in the Effect
Editor, with the exception of the Brush parameter category.

To paint with the Rectangle tool:

1. In the Effect Editor, click the Rectangle tool.
2. In the Effect Editor, select a paint mode or key mode and parameters.
3. Position the pointer where you want to begin painting in the frame.

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 Using the Intraframe Drawing Tools

4. Press and hold the mouse button, and drag to create the rectangle.
As you drag, you describe the diagonal of the rectangle. The rectangle’s anchor point is
the point at which you start to drag. For example, if you drag to the right and down, the
rectangle is anchored to its upper left corner.

Anchor Anchor

5. Release the mouse button to complete the rectangle.

6. Adjust the object’s parameters if needed.

Creating Oval Shapes

With the Oval tool, you can paint oval shapes or mattes on images in a sequence. Using the
Oval tool, you can access all the paint modes and parameters in the Effect Editor, with the
exception of the Brush parameter category.

To create oval shapes:

1. In the Effect Editor, click the Oval tool.
2. In the Effect Editor, select a paint mode or key mode and parameters.
3. Position the pointer where you want to begin painting in the frame.
4. Press and hold the mouse button, and drag to create an oval.
As you drag, you describe the diagonal of the oval. The oval’s anchor point is the point
at which you start to drag. For example, if you drag to the right and in a downward
fashion, the oval is anchored to its upper left corner.

Anchor Anchor

5. Release the mouse button to complete the oval.

6. Adjust the object’s parameters if needed.

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Understanding the Polygon Tool

With the Polygon tool, you can paint a variety of geometric objects and trace images in a
frame. Using the Polygon tool, you can access all the modes and parameters in the Effect
Editor, with the exception of the Brush parameter category. You can use the Polygon tool to
create objects and mattes composed of straight-line segments, curved segments, or a
combination of both.

To take full advantage of the power of the Polygon tool, you should be familiar with the
concepts behind vector-based graphics. If you are not familiar with these principles, see
“Working with Vector-Based Objects” on page 460.

It might help you to visualize the shape and the position of the polygon within the frame
before you begin painting. By visualizing the object first, you gain more control over the
objects’s attributes when you edit it later.

The general workflow for working with the Polygon tool is:
1. Visualize the object you want to create.
2. Determine a location in the frame to begin painting, and click that location to create the
initial control point.
3. Click additional control points as you continue to define the shape of the object.
4. Double-click to create the final control point, or click the initial control point to create
the closed polygon.

n Try to create the object with as few control points as possible. Fewer control points will
eliminate more work if you need to modify the object later.

Creating Intraframe Objects with Straight-Line Segments

To create a polygon with straight-line segments:
1. In the Effect Editor, click the Polygon tool.
2. Select a paint mode or key mode and parameters in the Effect Editor.
3. Click in the frame where you want to place the initial control point.

n The control points do not appear as tiny rectangles while you are painting the object.

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4. Click in the frame where you want to place the next control point.
A straight-line segment is drawn between the initial control point and the control point
you just created.

Initial segment

Second control point

Initial control point

n Segments appear as wire frames until you finish painting the object.

5. Click in the frame to create additional control points that further define the shape of the
object.

A straight-line segment appears between each pair of adjacent control points.

6. When you are satisfied with the shape of the object, double-click in the frame to create
the final control point or click the initial control point.
The object becomes a closed polygon.

7. (Option) Adjust the parameters of the polygon.

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Creating Intraframe Objects with Curved Segments

To create an object with curved segments:
1. In the Effect Editor, click the Polygon tool.
2. Select a paint mode or key mode and parameters in the Effect Editor.
3. Click in the frame where you want to place the initial control point, and release the
mouse button.

n The control points do not appear as tiny rectangles while you are painting the object.

4. Drag the pointer to the location where you want to place the next control point.
5. Click and hold the mouse button to begin creating the first curved segment.
Direction bars with handles appear as a tangent to the curved segment. The pointer
“leads” the direction handle that you use to determine the direction and height of the
curve.

6. Drag the pointer, which is attached to the direction handle, to adjust the direction and
height of the curved segment.
7. Release the mouse button when you are satisfied with the height and angle of the curved
segment.
8. Drag the pointer to the next location where you want to create a curved segment.
9. Repeat steps 3 to 8 to create additional curves if needed.

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10. When you are satisfied with the shape of the object, double-click in the frame to create
the final control point or click the initial control point.
The object becomes closed.

11. (Option) Adjust the parameters of the object.

Creating a Straight Line Segment Following a Curve in an

Intraframe Object
To create a straight line following a curved segment:
1. Create one or more curved segments as described in “Creating Intraframe Objects with
Curved Segments” on page 456.
2. Drag the pointer to the location where you want to begin painting the straight line.
3. Click and then release the mouse button to create the control point.
4. Drag the pointer to the location where you want the straight-line segment to end.
5. Click and then release the mouse button to create the control point.

6. Continue to create additional lines and curves.

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7. When you are satisfied with the shape of the object, double-click in the frame to create
the final control point or click the initial control point.
The object becomes closed.

8. (Option) Adjust the parameters of the object.

Creating Freehand Curved Objects

With the Curve tool, you can trace curved objects with freehand capability. Using the Curve
tool, you can access all the paint modes and parameters in the Effect Editor, with the
exception of the Brush parameter category.

To paint with the Curve tool:

1. In the Effect Editor, click the Curve tool.
2. Select a paint mode or key mode and parameters in the Effect Editor.
3. Position the pointer where you want to begin painting in the frame.
4. Press and hold the mouse button, and drag the pointer as you paint a freehand curved
shape on the frame.
5. When you are satisfied with the shape of the object, release the mouse button to
complete the curved object.
6. Adjust the object’s parameters if needed.

Changing the Parameters of a Painted Object

You can change the parameters of an object you have already painted. Click the Selection
tool, click the object to select it, and perform any of the following procedures.

To move an object:
t Click anywhere within the object’s outline, and drag the object to a new location.

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To rescale an object, do one of the following:

t Click one of the selection handles and drag.
t Press and hold the Alt key (Windows) or Option key (Macintosh) while you click one of
the selection handles, and drag to rescale the object from its center.

Selection handle

To change the color of an object:

1. Click the triangular opener for the Color parameter category.

2. Adjust the Hue, Sat (saturation), and Lum (luminance) sliders.

To add feathering to an object’s edges:

1. Click the triangular opener for the Feathering parameter category.

2. Adjust the Bias, Hor (horizontal), and Vert (vertical) sliders.

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To delete an object:
1. Click the Selection tool.
2. Click the object you want to delete.
3. Do one of the following:
t Press the Delete key.
t Select Edit > Delete.

To undelete an object:
t Select Edit > Undo.

Working with Vector-Based Objects

The objects that you create with the Intraframe effects are vector-based objects.
Vector-based objects have several advantages over bitmapped objects. For example, you can
create and edit vector-based objects with much greater precision than you can bitmapped
objects. Also, vector-based objects are not subject to problems such as artifacting when you
rescale them.

Before you begin working with the paint and editing tools included in the Intraframe effects,
you must understand the basics of working with vector-based objects and Bézier curves.

The Elements of Vector-Based Objects

The objects you paint, the matte keys you draw, and the brush templates that appear in the
Brush Preview window include a control point at the midpoint of each line or curve, also
known as a join. The portion of the line or curve on each side of the control point is called a
segment. The control point controls the direction of each segment as it passes through the
join.

Control points for a painted object are visible when you select an object with the Selection
tool and then click the Reshape tool. Also, when you click a brush template in the Effect
Editor, the brush head displays visible control points in the Brush Preview window.

Segment

Join

Control point Segment

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A painted object can include three types of joins that describe its shape:
• Straight-edge join
• Smooth join
• Corner join

Straight-edge join Smooth join Corner join

A control point associated with a smooth join or a corner join describes a Bézier curve.
Clicking a control point makes it the active join. Tangents called direction bars appear on
each side of the control point associated with a Bézier curve. At the end of each direction bar
is a direction handle. Dragging a direction handle changes the way the segments pass
through the control point to define the curve.

Anchor point
Direction handle
Direction bar
Active curve join
Anchor point

Control point

When you drag a direction handle, you change the height and angle of the curve. The curve
responds as if you were gently tugging it like a piece of string. The segments remain
anchored to the control points on either side of the active join.

In contrast, straight-edge joins do not display direction bars and handles when you
click them.

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Reshaping an Intraframe Object with Straight Edges

To reshape an object composed of one or more straight edges, do one or more of the
following:
t Click the Selection tool, click the object to select it, click the Reshape tool, and then
drag one or more control points.
For information on control points, see “Moving Control Points” on page 469.
t Convert straight-edge joins to Bézier curves, and then manipulate the curves.
For more information, see the following topics:
- “Experimenting with Bézier Curves and Direction Handles” on page 462
- “Creating a Corner Join on an Intraframe Object” on page 465
- “Reference for Modifying Lines and Curves in Intraframe Objects” on page 466

Experimenting with Bézier Curves and Direction Handles

This topic provides two procedures that you can use to practice using Bézier curves and their
direction handles. In the first procedure, you create a rectangle using the Rectangle tool, and
then transform the rectangle into a circle by converting the straight-edge joins at the corners
of the rectangle to smooth joins. In the second procedure, you alter the curve segments that
comprise the circle by manipulating the Bézier direction handles.

To create a rectangle and transform it into a circle with Bézier curves:

1. Apply the Paint Effect to a segment in a sequence.
2. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
3. In the Effect Editor, click the Rectangle tool.
4. In the Mode parameter category, click the Fast Menu button, and then select Solid.
5. Press and hold the mouse button, and drag in the Effect Preview monitor to paint a
rectangular object.
Do not worry about picking a color or other parameters for this exercise.
6. Click the Selection tool, and click the object you just painted.

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7. Click the Reshape tool, or double-click the object.

Each corner of the rectangle displays a control point.

8. Alt+click (Windows) or Option+click (Macintosh) the control point at the top left corner
of the rectangle.
The straight-edge join becomes a smooth join with direction bars and handles.

9. Working in a counterclockwise direction, Alt+click (Windows) or Option+click

(Macintosh) each control point until they have all been transformed into smooth joins.
The resulting shape is a circle. The control point at the top right of the circle is the active
join and displays direction bars and handles.

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To experiment with the direction handles:

1. Click the bottom direction handle, and drag away from the control point to increase the
length of the direction bar.
Notice how the curve changes. Also, the direction bar and segment on the opposite side
of the control point move in unison with the direction bar you are dragging. The control
points adjacent to the active join serve as anchor points for the segments that compose
the curve.

Anchor point

Active join

Anchor point

2. Drag the direction handle toward the control point to shorten the direction bar.
Notice how the curve changes as you shorten the direction bar.
3. Shift+click the direction handle, and drag it away from the control point.
Notice that the length of the direction bar on the opposite side of the control point does
not change; this prevents the height of its associated segment from changing. However,
the opposite direction bar does move in unison with the direction handle you are
dragging, thereby changing the angle of the segment in unison.

Opposite segment

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4. Shift+click the direction handle to revert the direction bars to their

previous functionality.
5. Click the bottom direction handle, and drag it in a counterclockwise direction.
Notice how the curve changes as you drag the direction bar.

6. When you have finished experimenting, adjust the direction bar so that the object again
resembles a circle.

Creating a Corner Join on an Intraframe Object

The painting tools do not create corner joins by default; you can change an existing smooth
join into a corner join as described in this topic, which assumes you are starting with an
object like the one created by following the procedure in “Experimenting with Bézier
Curves and Direction Handles” on page 462.

n If you want to transform a straight-edge join into a corner join, you must transform the
straight-edge join into a smooth join first. For more information, see “Reference for
Modifying Lines and Curves in Intraframe Objects” on page 466.

To transform a smooth join into a corner join:

1. Alt+click (Windows) or Option+click (Macintosh) the bottom direction handle.
Although you might not notice it immediately, the smooth join is transformed into a
corner join.

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2. Drag the direction handle away from the control point.

Notice how the active segment behaves as you lengthen the direction bar. The direction
bar and segment on the opposite side of the control point do not move in unison with
this direction handle. Also, notice that the active segment remains anchored to the
adjacent control point.

3. Drag the direction handle in a counterclockwise direction.

Notice how the segment changes as you drag the direction bar.

4. When you are finished experimenting, Alt+click (Windows) or Option+click

(Macintosh) the direction handle.
The control point reverts to a smooth join.

Reference for Modifying Lines and Curves in Intraframe Objects

The following table summarizes how you can use the mouse and the modifier keys on the
keyboard to modify lines and Bézier curves (smooth joins or corner joins).

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Methods of Modifying Intraframe Lines and Curves

Illustration Description Action

Direction Smooth join: Drag one direction You do not have to press any
handle handle so that the direction bar on of the modifier keys. Click one
the opposite side of the control of the direction handles, and
point moves and changes length in drag it.
unison.
Direction bar

Active direction handle Smooth join: Drag one direction Shift+click a direction handle.
handle so that the direction bar on
To change it back, Shift+click
the opposite side of the control
the direction handle.
point moves in unison but does not
change in length.

Transform a straight-edge join into Alt+click (Windows) or

a smooth join. Option+click (Macintosh) the
control point.
To change it back to a
straight-edge join,
Straight-edge join Smooth join
Alt+click (Windows) or
Option+click (Macintosh) the
smooth join.

Transform a smooth join into a Alt+click (Windows) or

corner join. Option+click (Macintosh) one
of the direction handles.
To change it back to a smooth
join, Alt+click (Windows) or
Smooth join Corner join Option+click (Macintosh) the
direction handle.

Active direction handle Corner join: Drag one direction You do not have to press any
handle so that the direction bar on of the modifier keys. Click one
the opposite side of the control of the direction handles, and
point moves independently of the drag it.
bar on the opposite side of the
control point.

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Adding and Removing Control Points

Placing more control points on an object enables the object to trace more detailed images.
For example, if a segment of an object does not follow a curved section on a frame as well as
you would like, and adjusting the control points and direction bars does not help, you can
add a new control point.

Avid recommends that you remove a control point if the object does not need the control
point to adequately define its shape. It is better to have fewer control points and to
manipulate the direction bars to gain the same effect because fewer control points mean less
work if you need to modify an object later.

Unnecessary number
of control points to
describe this curve

Minimum number of
control points needed to
describe this curve

To add a control point:

1. Click the Selection tool, and click the object.
2. Do one of the following:
t Click the Reshape tool.
t Double-click the object.
3. Click the selected object where you want to add a new control point.
A new control point appears and is calculated so that the original object, as you drew it,
does not change dramatically in shape. The new control point appears as part of the
object for all keyframes in the segment.
Any changes you make to a control point, such as moving it or changing the angle of the
associated curve, affects the keyframes you have selected in the segment. If you change
a control point at a selected keyframe or add a keyframe to make changes, the changes
are interpolated between the selected keyframe and adjacent keyframes.

To remove a control point:

t Click the control point, and press the Delete key.

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To remove multiple control points:

t Shift+click the control points, and then press the Delete key.
Your Avid editing application attempts to reconstruct the object so that it does not
change. The results you see might vary because of the internal mechanics and geometry
of Bézier curve technology. However, adding and then removing the same control point
should not dramatically change the curve of that section of an object.

Moving to Adjacent Control Points

You can move from a control point to an adjacent control point without having to click the
mouse by using the Fast Forward button and Rewind button in the Effect Preview Monitor
toolbar.

To move to an adjacent control point:

1. Click a control point.
2. Do one of the following:
t Click the Fast Forward button to move in a clockwise fashion to the next control
point.
t Click the Rewind button to move in a counterclockwise fashion to the next control
point.

Moving Control Points

You can move control points manually by simply clicking them and then dragging. You can
move one control point at a time or several control points at once. Before you select control
points for moving, first click the Selection tool, and click the object to display the control
points.

You can also “nudge” selected control points or an entire object in 1-pixel increments using
keys on the keyboard.

c The Effect Preview monitor must be the active window for this feature to work.
Additionally, if your arrow keys are mapped to another function, such as Step Back
and Step Forward, this feature might not function properly.

To move a single control point manually:

t Drag the control point to its new location.
The control point’s direction bars do not change orientation.

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To move multiple control points manually:

t Click one control point, Shift+click or lasso additional control points that you want to
move, and then drag one of the selected control points.
All other selected control points move in unison. To deselect the group, click any
unselected control point.

To move all control points manually:

t Press Ctrl+A (Windows) or Command+A (Macintosh) to select all control points, and
then drag one of the selected control points.
All other control points move in unison. To deselect the group, click outside the object
to deselect it.

To move or “nudge” control points in 1-pixel increments:

1. Click a control point to select it, or Shift+click additional control points to move them as
a group.
2. Nudge the control point or points using one of the following techniques:
t To nudge selected control points to the left, press the Left Arrow key or the Trim
Left key.
t To nudge selected control points to the right, press the Right Arrow key or the Trim
Right key.
t To nudge selected control points up, press the Alt key (Windows) or the Option key
(Macintosh) and the Left Arrow key, or press the Trim Left key.
t (Windows) To nudge selected control points down, press the Alt key (Windows) or
the Option key (Macintosh) and the Right Arrow key, or press the Trim Right key.

Previsualization Marker Tool for Film Projects

The Previsualization Marker tool enables you to place a marker in a segment to represent an
effect that will be processed at an optical facility. This tool is applicable to 24-fps projects
only and appears in the Effect Editor only when you are working in a film project with the
Paint Effect.

When you create an optical list, each marker, along with its position in the segment on a
keyframe-by-keyframe basis, appears as an optical event. The editor at the optical facility
can refer to the event as a cue for creating a visual effect, such as a rotoscoped object.

n You generate optical lists with Avid FilmScribe. For general information on using Avid
FilmScribe, see the Avid FilmScribe User’s Guide.

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For example, the optical editor’s assignment is to create an airplane that flies through the
scene. The optical editor can use keyframe information from the optical list to plot the exact
path of the effect as it moves through the scene. The marker’s position at each keyframe is
described with coordinates derived from the Effect Grid. Position is described in terms of
compass coordinates and X, Y coordinates.

You can add multiple markers to a single scene to represent different effects, and you can use
a unique color for each marker. The resulting optical list will display each marker and its
unique color values to enable the optical editor to distinguish each marker.

Applying a Previsualization Marker Effect

To add a Previsualization Marker effect to a sequence:

1. Enable the Effect Grid and set the appropriate parameters for image scan size, aspect
ratio, and film format.
For more information, see “Displaying the Effect Grid in Effect Mode” on page 64 and
“Grid” on page 649.
2. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
3. In the Effect Editor, click the Previsualization Marker tool.
4. Adjust the sliders in the Color parameter category to determine the color of the marker.
5. Move the pointer to the location in the frame where you want to place the marker, and
click the mouse.
A marker appears in the frame.
6. Use keyframes to move the marker throughout the segment.

To add more markers:

t Repeat steps 2 to 5 in the preceding procedure.

To delete a marker:
t Click the marker to highlight it, and then press the Delete key.

Creating a Cut List with Previsualization Marker Information

To include the Previsualization Marker coordinate information in a cut list:
1. Select Output > FilmScribe to start FilmScribe.
2. Select File > New Cut List.

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3. In the Lists pane, select Optical.

4. In the Options pane, select Key Frames.
The following illustration shows the presentation of Previsualization Marker
information in a cut list.

Grid information

Keyframe number and

reference numbers

Color and coordinate

information for two
separate markers

Manipulating Intraframe Objects

The Intraframe effects include editing tools and additional parameters that enable you to
perform the following operations:
• Move objects individually or in groups
For more information, see “Moving Intraframe Objects” on page 473.
• Reshape objects
For more information, see “Reshaping Intraframe Objects” on page 473 and “Reshaping
Objects Created with the Curve Tool” on page 474.
• Rotate objects
For more information, see “Rotating Intraframe Objects” on page 474.
• Scale objects
• For more information, see “Scaling Intraframe Objects” on page 475.
• Apply keyframed changes over time
For more information, see “Changing Intraframe Object Parameters over Time” on page
476.

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Moving Intraframe Objects

The Selection tool also enables you to drag objects or mattes around the screen and in
relation to the screen when you zoom out from a frame.

To move a painted object or matte:

1. In the Effect Editor, click the Selection tool.
2. Click the object you want to move.
The object outline becomes highlighted, and four selection points appear around the
object.
3. Click the center of the object, and drag it to a new location.
4. Release the mouse button when the object is positioned in the location you want.

Reshaping Intraframe Objects

The Reshape tool enables you to modify the shape of a painted object or matte on the screen
using several different techniques. These procedures require some familiarity with
vector-based graphics. For more information, see “Working with Vector-Based Objects” on
page 460.

n You can use keyframes to change the shape of an intraframe object over time. For more
information, see “Changing Intraframe Object Parameters over Time” on page 476.

To reshape an object:
1. Click the Selection tool, and click an object or matte.
2. Do one of the following:
t Click the Reshape tool.
t Double-click the selected object.
The outline of the object becomes highlighted, and control points appear.

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n If you want to drag the control points only, Alt+click (Windows) or Option+click
(Macintosh) the Reshape tool to hide the direction handles.

3. Edit the shape of the object or matte:

t Click one or more of the object’s control points and drag.
For information on moving control points, see “Moving Control Points” on page
469.
t Edit the object by manipulating the direction bars at one or more control points.
For information on editing straight-line segments and curved segments, see
“Reference for Modifying Lines and Curves in Intraframe Objects” on page 466.

Reshaping Objects Created with the Curve Tool

The default behavior of control points in an object or matte created with the Curve tool
differs slightly from those created with the Polygon tool. When you drag one of the direction
handles, the direction bar on the opposite side of the control point moves in unison but the
length does not change in unison. The dimensions of the curved segments on each side of the
control point are not equal because the Curve tool creates curves with freehand capability,
not with a mathematical formula that describes a Bézier curve in the way that the Polygon
tool does.

You can transform the direction bars at a control point so that their lengths change in unison
when you drag one of the direction handles. To do so, Shift+click one of the direction
handles. For more information, see “Reference for Modifying Lines and Curves in
Intraframe Objects” on page 466.

Rotating Intraframe Objects

With the Z-Rotation tool, you can select an object or matte and rotate it around the Z axis
(clockwise or counterclockwise direction). You also can change the rotation of an object
over time by rotating the object on an individual keyframe basis.

n You can use keyframes to change the rotation of an intraframe object over time. For more
information, see “Changing Intraframe Object Parameters over Time” on page 476.

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To rotate an object or matte around the Z axis:

1. In the Effect Editor, click the Z-Rotation tool.
2. Click the object you want to rotate.
The object outline becomes highlighted, and a rotation handle appears within the object.

Z-Rotation handle

Center of rotation

The X on the rotation handle marks the default center of the Z axis for the object. You
can click the X and drag it anywhere on the screen to change the center of the object’s
rotation.
3. Click the rotation handle and drag the mouse to rotate the object in either a clockwise or
a counterclockwise direction.

Scaling Intraframe Objects

You can rescale any object or matte that you create. Rescaling increases or decreases all
dimensions of the object proportionately.

n You can use keyframes to change the scale of an intraframe object over time. For more
information, see “Changing Intraframe Object Parameters over Time” on page 476.

To rescale an object or matte:

1. In the Effect Editor, click the Selection tool.
2. Click the object you want to rescale.
The object outline becomes highlighted, and four selection points appear around the
object.

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3. Rescale the object using one of the following methods:

t Click any selection point and drag.
Dragging toward the center of the object decreases the overall size, while dragging
away from the center increases the overall size. When you drag a selection point,
the object is anchored by the selection point that is diagonal to the one you are
dragging.

t Alt+click (Windows) or Option+click (Macintosh) any selection point, and drag to

rescale the object, using the center of the object as the anchor.

Changing Intraframe Object Parameters over Time

You can animate an intraframe object by changing parameters on an individual keyframe
basis. The following parameters are keyframeable:

Parameter For more information:

Position of an object on screen See “Moving Intraframe Objects” on page 473.

Shape of an object See “Reshaping Intraframe Objects” on page 473

Z-axis rotation of an object See “Rotating Intraframe Objects” on page 474

Scale or relative size of an object See “Scaling Intraframe Objects” on page 475

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Parameter For more information:

Feathering See “Feathering” in the Help.

Foreground level See “Foreground” in the Help.

Magic Mask See “Magic Mask” in the Help.

For more information on using keyframes with parameters, see “Working with Keyframes”
in the Help.

Layering, Grouping, and Locking

Intraframe Objects
The Intraframe effects include tools for navigating and adjusting layers of intraframe
objects, for grouping objects for performing operations on several objects at once, and for
locking objects to prevent further changes.

Layering with the Paint Effect and AniMatte Effect

When you paint on a frame, the paint appears as an object in the foreground, seeming closer
to you in three-dimensional space than the video frame. You can change the parameters of
each painted object independently, including the object’s orientation in relation to another
object. For example, if you have three painted objects, you can stack or cascade them over
each other to create three separate layers of objects in the foreground.

All compositing of painted objects takes place in the foreground and is not destructive to the
video background. When you composite various Paint Effects on a frame, remember that the
application renders the Paint Effects to the screen beginning with the bottom layer.

Layering with the AniMatte effect works much as it does with the Paint Effect, but the image
that appears in the foreground of an AniMatte effect is the video that you have chosen to key
in or key out. Even though the application renders matte keys starting with the highest track
in a multilayer matte key, compositing of multiple AniMatte effects in the same segment
occurs in the foreground and is not destructive to the video background.

Locating Layered Objects with the Outline/Path Button

You can use the Outline/Path button to locate an object or matte that might be obscured by
others on the screen. The Outline/Path button creates a wire-frame representation of each
object, which enables you to locate, select, and manipulate the object. Clicking the
Outline/Path button switches the Path on or off.

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To locate objects or mattes with the Path function:

1. In the Effect Editor, click the Outline/Path button.
Each object painted on the frame appears as a wire frame.
2. Select an object, and change its location or parameters.
3. Click the Outline/Path button to return to default viewing mode.

Changing the Layer Order of Objects and Mattes

You can use the Bring Forward, Send Backward, Bring to Front, and Send to Back functions
to change the layer order of a single object or matte (making it appear closer to you or
further from you in three-dimensional space).

To change the layer order of an object or matte:

1. Click the Selection tool, and click an object on the screen.
If the object is obscured by other objects, use the Outline/Path feature to locate it as
described in “Locating Layered Objects with the Outline/Path Button” on page 477.
2. Do one of the following:
t To move the object one layer forward, click the Bring Forward button in the Effect
Editor or select Object > Bring Forward.
t To move the object one layer backward, click the Send Backward button in the
Effect Editor or select Object > Send Backward.
t To move the object to the front of the layers (appearing closest to you in
three-dimensional space), Alt+click (Windows) or Option+click (Macintosh) the
Bring Forward button in the Effect Editor or select Object > Bring to Front.
t To move the object to the back of the layers (appearing farthest from you in
three-dimensional space), Alt+click (Windows) or Option+click (Macintosh) the
Send Backward button in the Effect Editor or select Object > Send to Back.

Grouping and Ungrouping Intraframe Objects

Your Avid editing application enables you to group objects or mattes so that they behave as a
single object. You then can move the new group and change its parameters as if it were a
single object. If you want to separate the group and revert to working with the individual
objects, you can do so using the UnGroup function.

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 Layering, Grouping, and Locking Intraframe Objects

To group painted objects or mattes:

1. Click the Selection tool, and click an object.
If the object or matte is obscured by other objects, use the Outline/Path feature to locate
it as described in “Locating Layered Objects with the Outline/Path Button” on page 477.
2. Shift+click any additional objects you want to include in the group.
3. Select Object > Group.
The objects become grouped together, and you can manipulate the group as if it were a
single object.

To ungroup painted objects or mattes:

1. Click the Selection tool, and click an object that is a member of the group.
2. Select Object > UnGroup.
The objects become ungrouped.

n You can also group together groups of objects. If you then click the new group and select
UnGroup, all objects become ungrouped completely.

Locking and Unlocking Intraframe Objects

Using the lock feature, you can lock an object or a group in place on the screen. When you
lock an object, the application prevents you from moving the object accidentally while you
add more effects and make additional edits to your sequence.

To lock a painted object, matte, or group:

1. Click the Selection tool, and click an object or group.
If the object is obscured by other objects, use the Outline/Path feature to locate it as
described in “Locating Layered Objects with the Outline/Path Button” on page 477.
2. Select Object > Lock.

To unlock a painted object, matte, or group:

1. Click the Selection tool, and click an object or group.
2. Select Object > Unlock.

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Exporting a Matte Key Created With the

AniMatte Effect
You can create a matte with the AniMatte effect and export it as a high-contrast matte —
without having to leave Effect mode. The exported image is a high-contrast 32-bit PICT file
that includes an alpha channel.

You can use the exported PICT file in the following ways:
• Import the file back into your Avid editing application to create a real-time Matte Key
clip that you can edit into a sequence. You can use this clip as a garbage matte or
promote the clip to 3D.
• Open the file in a third-party graphics application, edit the file, and import the file back
into your Avid editing application.
• Use the file as a graphic in an application other than your Avid editing application.

When you import the PICT file back into your Avid editing application, the application
creates a Matte Key clip in the bin that you select. You can load the Matte Key clip into the
Source monitor and edit it into a sequence as you can with any other imported matte key.
The Matte Key clip appears as a high-contrast matte with transparent (black) and opaque
(white) components.

When you open the high-contrast PICT file in a third-party application that supports alpha
channels, select the file’s alpha channel to view the high-contrast components of the matte.
However, if you open the PICT file in an application that does not support alpha channels,
the image appears completely white.

To export a matte key created with the AniMatte effect:

1. Use the AniMatte effect to create a matte key.
For more information, see “Applying the Paint or AniMatte Effect to a Sequence” on
page 443.
2. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
3. In the Timeline, move the position indicator to the frame you want to export.
4. Click the Effect Editor.

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 Exporting a Matte Key Created With the AniMatte Effect

5. Select File > Export Matte PICT.

n You must click the Effect Editor before you select File > Export Matte PICT. If not, the
system displays the default File > Export command.

The Export PICT As dialog box opens.

6. Select the location where you want to save the PICT file, and then click Save.
The application saves the PICT file to the location you selected.
7. If necessary, open the PICT file in a third-party application and make changes to the file.

To import the matte key into your project:

1. Select the bin into which you will import the PICT file, and select File > Import.
The Select files to Import dialog box opens.
2. Select Graphic Files from the Files of Type menu.
3. Click Options.
4. In the Alpha area, click one of the following to select an alpha channel option:
- Use Existing
- Invert Existing
- Ignore
Depending on your needs, you might have to select Invert Existing; in a high-contrast
matte key with an alpha channel, the white regions are opaque, and the black regions are
transparent.
For more information on importing a matte key, see “Importing Files” in the Help.
5. When you have finished selecting the options you need, click OK.
6. Select the resolution and video drive for storing the effect clip.
7. Select the files you want to import and click Open.
The PICT file appears as a Matte Key effect clip in the bin you selected.
8. Click the Source/Record Mode button below the Timeline.
9. Load the Matte Key effect clip into the Source monitor.
The clip appears in the Source monitor as a black-and-white, high-contrast image.
10. Edit the matte key into the sequence as described in “Editing with Imported Matte Key
Clips” on page 244.

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Scratch Removal
Your Avid editing application includes tools for fixing flaws such as dropout in video frames
or defects in film-originated footage. You can replace a flaw with clean material from the
same frame or field or from other nearby frames or fields.

When you use Scratch Removal with two-field media, your Avid editing application can use
either frame or field processing to determine the source of the replacement material that
covers the flaw.

Understanding Scratch Removal Options

Before you correct a flaw, you should make some basic decisions about how you want to
make the correction. For more information that can help you decide how to proceed, see the
following topics:
• “Processing by Frame or Field When Using Scratch Removal” on page 482
• “Understanding Frame Processing for Scratch Removal” on page 483
• “Understanding Field Processing for Scratch Removal” on page 484
• “Removing a Flaw Within a Frame” on page 485
• “Removing a Flaw by Using Nearby Frames” on page 485
• “Selecting Material to Use When Correcting Flaws” on page 486

The workflow for removing a flaw involves the following main steps:
1. Isolate the flawed material in a new segment.
2. Apply an Intraframe effect.
3. Use the Intraframe drawing tools and effect parameters to draw a shape that covers the
flaw, and fill the shape with clean replacement material.
4. (Option) If the flaw persists over several frames or fields, you might need to use
keyframes to adjust the covering shape so it continues to cover the flaw as the footage
moves.

Processing by Frame or Field When Using Scratch Removal

When you use Scratch Removal with two-field media, your Avid editing application can use
either frame or field processing to determine the source of the replacement material that
covers the flaw. Frame processing copies replacement material from both fields of a selected
frame to one or more flawed frames. Field processing copies replacement material from one
field to a series of subsequent fields.

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 Scratch Removal

To select frame or field processing when using Scratch Removal:

1. Move the position indicator to the effect’s icon in the Timeline.
2. If the application is not in Effect mode, enter Effect mode by choosing Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
The Effect Editor opens.
3. Open the Mode parameter category of the Paint Effect or the Scratch parameter category
of the Scratch Removal effect, and click the Frame Processing button.

Frame/Field
parameter
slider

Frame Processing button

If the Frame Processing button is selected (pink), your Avid editing application uses
frame processing. The Frame/Field parameter slider is labeled Frame and is calibrated
in one-frame increments from –5 to +5. For more information on frame processing, see
“Understanding Frame Processing for Scratch Removal” on page 483.
If the Frame Processing button is deselected (gray), the application uses field
processing. The Frame/Field parameter slider is labeled Field and is calibrated in
one-field increments from –10 to +10. For more information on field processing, see
“Understanding Field Processing for Scratch Removal” on page 484.

n When you are working with single-field material, the Frame Processing button does not
appear in the Effect Editor.

Understanding Frame Processing for Scratch Removal

When your Avid editing application is using frame processing, replacement material is
copied from both fields of the clean frame to the corresponding fields in the flawed frame.
The application copies replacement material from Field 1 of the clean frame to Field 1 of the
flawed frame and from Field 2 of the clean frame to Field 2 of the flawed frame.

The following illustration shows the frame-processing method for a typical two-frame
correction created by clicking the Scratch Removal button. The correction uses default
parameter settings (Frame: 0; Offset: From Start) that result in material being copied from
the first (clean) frame to the second (flawed) frame.

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n The Scratch Removal button appears by default on the Tool palette. You can also map the
Scratch Removal button from the Command palette to the keyboard or to a button. For more
information, see “Using the Tool Palette” and “The Command Palette” in the Help.

Clean Frame Flawed Frame

Field 1 Field 2 Field 1 Field 2

Arrows indicate how the

application copies
material from each field
of the clean frame to
the corresponding field
in the flawed frame.

Frame processing is the default processing method. It preserves full video resolution and
provides the smoothest correction in most circumstances, particularly when the flaw you are
correcting extends over both fields of a frame. Most flaws that originate in film source
material (for example, a scratch on a single frame of the film) extend across both fields of
the video frame.

Understanding Field Processing for Scratch Removal

When your Avid editing application is using field processing, replacement material is copied
from only one field.

The following illustration shows the field-processing method for a typical two-frame
correction created by clicking the Scratch Removal button. The correction uses default
parameter settings (Frame: 0; Offset: From Start) that result in material being copied from
the first field of the effect segment to all the subsequent fields.

n The Scratch Removal button appears by default on the Tool palette. You can also map the
Scratch Removal button from the Command palette to the keyboard or to a button. For more
information, see “Using the Tool Palette” and “The Command Palette” in the Help.

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 Scratch Removal

Frame 1 Frame 2

Field 1 Field 2 Field 1 Field 2

Arrows indicate how the

application copies
material from the first
field of the effect
segment to all the
subsequent fields.

Field processing results in a better-looking correction under certain circumstances because it

allows you to select your replacement material with field accuracy. For example, in the
previous illustration, changing the Field parameter value to +1 causes the application to copy
material from Field 2 of Frame 1 to both of the fields in Frame 2. A field-based correction
might be a good solution when you want to correct a flaw such as video dropout, which does
not necessarily occur on both fields of one or more frames. However, field processing
always results in at least one instance where material from an odd field is copied to an even
field, or vice versa. Depending on the nature of your video material, this might result in a
slight jitter on playback.

Removing a Flaw Within a Frame

You can often remove a flaw by replacing it with a clean area from the same frame or field.
For example, a flaw on a uniformly colored background such as sky can be replaced by
copying another portion of the sky over the flaw.

When you remove a flaw by using material from the same frame that contains the flaw, you
can see both the flaw and all the available clean material as you work. This can be helpful for
certain kinds of footage, making it easy to select the exact portion of the image that allows
for the best replacement.

Removing a Flaw by Using Nearby Frames

Replacing flaws with material from a nearby frame or field allows you to correct flaws in
more complex footage. For example, a flaw on an image such as a face might be very
difficult to cover using material from the same frame or field — there might be no other area
of the face in that image that shows similar tones, textures, and highlights. In this situation, it
is better to replace the flaw by copying the same part of the face from an earlier or later
frame that does not contain the flaw.

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This method also provides an alternative for dealing with uniform areas such as sky since
you can replace a flaw with the same area from a nearby clean frame.

When you use material from a nearby frame to replace a flaw, you cannot see the whole of
the nearby frame as you work. Instead, you see the replacement area in the shape you draw
to cover the flaw, and you use parameter sliders in the Effect Editor to adjust which portion
of the nearby frame appears.

Selecting Material to Use When Correcting Flaws

When you isolate a flaw as a new segment to correct it, you must also include enough clean
material to make the correction. The Intraframe tools you use for removing flaws cannot
reference frames outside the segment that you isolate.

In some cases, you can take all the clean material you need from the same frames that
contain the flaw. In other situations, you need to include one or more completely clean
frames along with the flawed frames in the segment you isolate.

For example, if a flaw persists across several frames in footage that includes no motion, the
simplest way to correct the flaw is to include one clean frame before or after the flawed
frames and use replacement material from the clean frame to cover the flaw in all the other
frames. For more information on using replacement material from different points in your
footage, see “Examples of Scratch Removal Parameter Settings” on page 495.

Isolating a Flaw
If you need to correct a flaw on a single frame, you can use the Scratch Removal button to
quickly create a two-frame segment and apply the Scratch Removal effect.

n The Scratch Removal button appears by default on the Tool palette. You can also map the
Scratch Removal button from the Command palette to the keyboard or to a button. For more
information, see “The Tool Palette” and “The Command Palette” in the Help.

If a flaw persists over several frames, do one of the following:

• Use the Scratch Removal button to create a two-frame segment, and then use standard
Trim mode methods to extend the segment.
• Insert add edits, and apply a Scratch Removal effect manually.

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 Scratch Removal

n You cannot access frames outside the segment you have marked when you are working with
the Scratch Removal tools. When you isolate a flaw, you must include in the segment both the
flawed frames and sufficient clean material to correct the flaws successfully. For more
information on the relationship between flaws and clean material, see “Understanding
Scratch Removal Options” on page 482 and “Examples of Scratch Removal Parameter
Settings” on page 495.

For information on finding flaws in 24p or 25p material, see “Detecting Video Dropout in
24p or 25p Material” on page 488.

To isolate a flaw by using the Scratch Removal button:

1. Find the frame containing the flaw:
t Use the Step Forward button or the Step Backward button (in the toolbar under the
monitor) to carefully cue the frame containing the flaw.
t (Option) Press and hold the Alt key (Windows) or Option key (Macintosh) while
clicking the Step Forward or the Step Backward button to step through one field at a
time.
2. Move the position indicator to the frame containing the flaw.
3. Make sure that the Record Track button for the track containing the flaw is the highest
selected track button in the Track Selector panel.
4. Click the Scratch Removal button.
The application creates a two-frame segment ending at the frame marked by the position
indicator and applies the Scratch Removal effect to that segment. If an effect is already
present at that point in the sequence, the application auto-nests the Scratch Removal
effect on top of the existing effect.

Scratch Removal effect Add edits isolate the flawed material

applied to new segment and create a new segment.

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To isolate a flaw by using add edits:

1. Find the series of frames or fields containing the flaw:
t Use the Step Forward button or the Step Backward button (in the toolbar under the
monitor) to carefully cue the frames containing the flaw.
t (Option) If you are working with two-field media, press and hold the Alt key
(Windows) or Option key (Macintosh) while clicking the Step Forward button or
the Step Backward button to step through one field at a time if necessary.
2. Isolate the flawed frames, together with sufficient clean material to make your
correction, by placing add edits before and after the frames to create a new segment.
3. Apply one of the following Image effects to the segment:
- Paint Effect
- Scratch Removal effect

n You can use either the Paint Effect or the Scratch Removal effect. The difference is that the
Scratch Removal effect provides only those effect parameters specific to fixing flaws, while
the Paint Effect provides Scratch Removal as one of many available Paint modes.

Detecting Video Dropout in 24p or 25p Material

Because of the way some Avid editing applications handle the display of 24p or 25p
material, you might not be able to see video dropout when you use the default Fast Frame
Display mode.

To ensure that you can see dropout when you are working with 24p or 25p material, turn off
Fast Frame Display mode by selecting Special > Fast Frame Display. (When Fast Frame
Display is deselected, there is no check mark beside it in the menu.) You can then see every
line of the full 24p or 25p frame.

For more information on how your Avid editing application displays 24p or 25p material,
see the chapter “Working in a Film Project” in the Help.

c When you turn off Fast Frame Display, you slow down the application’s display
capabilities. If you turn off Fast Frame Display to check for flaws, you should turn it on
again before you proceed with other editing operations.

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 Scratch Removal

Removing a Flaw By Drawing a Shape

Once you have isolated the flaw and have applied an Intraframe effect to it, you can remove
the flaw by replacing it with a clean area of video. The best way to do this in most
circumstances is to draw a shape that covers the flaw and fill the shape with replacement
material.

An alternative method is to draw a shape over your selected replacement material and then
drag the replacement over the flaw. This works well when you are taking replacement
material from the same frame that contains the flaw. For more information, see “Removing a
Flaw By Dragging Replacement Material” on page 491.

To remove a flaw by drawing a shape over it and filling the shape with replacement
material:
1. Isolate the flaw, and apply the Paint Effect or the Scratch Removal effect by using the
procedures described in “Isolating a Flaw” on page 486.
2. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
3. Select the segment if it is not already selected.
4. (Option) If you are working with the Paint Effect, do the following:
a. Click the triangular opener next to the Mode parameter category.
b. Click the Fast Menu button, and select Scratch Removal.
5. Click the triangular opener next to the Mode parameter category (Paint Effect) or the
Scratch parameter category (Scratch Removal effect).
6. Select a shape tool or a brush in the Effect Editor.
7. Click the image, and drag to create an object that covers the flaw.

n In most circumstances, you should make the object as small as possible while still covering
the flaw completely.

8. Make sure that the Object Visible button is selected (pink) in the Mode parameter
category (Paint Effect) or the Scratch parameter category (Scratch Removal effect) of
the Effect Editor.
9. (Option) Select frame or field processing.
For more information, see “Processing by Frame or Field When Using
Scratch Removal” on page 482.

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10. Use the Horizontal, Vertical, and Frame/Field sliders in the Effect Editor to select an
area of replacement material to fill the object in the image and replace the flaw.
The replacement material appears in the object, replacing the flaw. For more
information on using the Horizontal, Vertical, and Frame or Field parameter sliders, see
“Using the Scratch Removal Positioning Parameters” on page 494.
11. (Option) Use the Feathering parameters to help blend the replacement material into the
surrounding area.

Original flaw: Final effect:

Flaw seen with a shape Clean material from a nearby
drawn around it. frame appears within the shape.

12. (Option) Animate the shape that contains the replacement material using keyframes to
follow movement and changes in the frames of footage.
For example, you can resize, reshape, and reposition the shape over time, or you can use
the Object Visible button to control when the shape is visible.
For more information, see “Intraframe Example: Animating a Matte Key Effect” on
page 505, “Image: Paint Effect” on page 583, and “Key: AniMatte” on page 586.
13. Render the effect to play it back in real time.
For more information, see “Rendering Intraframe Effects” on page 441.

n A standard Intraframe geometric shape such as an oval or a rectangle renders considerably

faster than a series of brush strokes. In most cases of a single small flaw, a brush might be
the easiest correction tool. If you need to correct several flaws that are close together,
however, you save rendering time if you can cover them with a single shape rather than use
several different brush strokes.

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 Scratch Removal

Removing a Flaw By Dragging Replacement Material

This procedure is an alternative to the flaw removal method described in “Removing a Flaw
By Drawing a Shape” on page 489. Consider this method when you are taking replacement
material from the same frame that contains the flaw.

To remove a flaw by selecting replacement material and then dragging it over the flaw:
1. Isolate the flaw, and apply the Paint Effect or Scratch Removal effect by using the
procedures described in “Isolating a Flaw” on page 486.
2. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
3. Select the segment if it is not already selected.
4. (Option) If you are working with the Paint Effect, do the following:
a. Click the triangular opener next to the Mode parameter category.
b. Click the Fast Menu button, and select Scratch Removal.
5. Click the triangular opener next to the Mode parameter category (Paint Effect) or the
Scratch parameter category (Scratch Removal effect).
6. (Option) Select frame or field processing.
For more information, see “Processing by Frame or Field When Using
Scratch Removal” on page 482.
7. Select a shape tool or a brush in the Effect Editor.
8. Click a clean area of the image, and drag to create a selection that is appropriately sized
for covering the flaw.

n In most circumstances, you should make the object as small as possible while still covering
the flaw completely.

9. Drag the replacement selection over the flaw.

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10. (Option) Use the Feathering parameters to help blend the replacement material into the
surrounding area.

Original flaw and selection Selection dragged over flaw Final effect

11. (Option) Animate the shape that contains the replacement material using keyframes to
follow movement and changes in the frames of footage.
For example, you can resize, reshape, and reposition the shape over time, or you can use
the Object Visible button to control when the shape is visible.
For more information, see “Intraframe Example: Animating a Matte Key Effect” on
page 505, “Image: Paint Effect” on page 583, and “Key: AniMatte” on page 586.
12. Render the effect to play it back in real time.
For more information, see “Rendering Intraframe Effects” on page 441.

Using IN and OUT Points with Scratch Removal

You can use IN and OUT points to define multiple frames or fields of video that contain a
scratch and then use the Scratch Removal button to quickly create a Scratch Removal effect
that covers the scratched frames or fields together with the clean frame or field immediately
before them. When you draw a shape to cover the scratch, the application will fill that shape
with clean material in every frame or field of the effect.

This method is useful in any situation where a scratch is repeated across several frames or
fields. In particular, it allows for quick correction of a scratched frame in film-originated
material that has been duplicated by the pulldown process in telecine transfer to video.

To remove a scratch covering more than one frame or field:

1. Mark an IN point at the first scratched frame or field.
2. Mark an OUT point at the last scratched frame or field.
3. Move the position indicator to one of the following locations:
- Between the marked IN and OUT points
- On the frame or field immediately before the marked IN point

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 Scratch Removal

4. Click the Scratch Removal button.

n The Scratch Removal button appears by default on the Tool palette. You can also map the
Scratch Removal button from the Command palette to the keyboard or to a button. For more
information, see “Using the Tool Palette” and “The Command Palette” in the Help.

n The application applies a Scratch Removal effect that covers the scratched frames or fields
and the clean frame or field immediately before them.

The position indicator must be between the marked IN and OUT points or on the frame or
field immediately before the marked IN point. If the position indicator is at any other
location, the application creates the Scratch Removal effect at that location and ignores the
marked IN and OUT points.

5. (Option) Select frame or field processing.

For more information, see “Processing by Frame or Field When Using
Scratch Removal” on page 482.
6. In the Effect Editor, select a shape tool or a brush.
7. Click the image, and drag to create a shape that covers the scratch.
The application replaces the material in the shape with material from the clean frame or
field. The same clean material covers the scratch on every scratched frame or field
within the effect.

n The Scratch Removal positioning parameters are set by default to reference the part of the
clean frame that corresponds to the shape you draw. In most cases, you do not need to make
any adjustments to these parameters to cover the scratch successfully.

8. (Option) Use the Feathering parameters to help blend the replacement material into the
surrounding area.
9. Render the effect to play it back in real time.
For more information, see “Rendering Intraframe Effects” on page 441.
In some unusual circumstances, you might need to animate the shape that contains the
replacement material, using keyframes together with positioning adjustments to follow
movement and changes. For example, if the image is changing rapidly from frame to
frame and the scratch covers several frames, the clean material might not match the later
scratched frames without repositioning.

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Using the Scratch Removal Positioning Parameters

The Hor (horizontal), Vert (vertical), and Frame/Field sliders in the Scratch Removal mode
of the Paint Effect or in the Scratch parameter category of the Scratch Removal effect allow
you to control exactly which material you use from elsewhere in the same frame or in nearby
frames to replace flawed material.

The Hor (horizontal) and Vert (vertical) sliders define the position of the replacement
material relative to the shape you have drawn on the horizontal and vertical axes of the
frame.

The Frame/Field slider defines which nearby frame or field is used as the source of the
replacement material. Values represent an offset from the reference point defined in the
Offset Fast menu.

Offset Fast Menu

button

The following table shows the default settings.

Parameter Default setting

Frame/Field 0

Offset From Start

These settings correctly reference the clean frame or field whenever you use the Scratch
Removal button to apply the Scratch Removal effect. The settings reference the clean frame
when you use the Scratch Removal button without marking IN and OUT points to remove a
scratch on a single frame or field. They also reference the clean frame when you use the
Scratch Removal button with IN and OUT points to remove a scratch or other flaw that
repeats across more than one frame or field.

The Frame Processing button lets you select between frame and field processing. If the
Frame Processing button is selected (pink), your Avid editing application uses frame
processing. The Frame/Field parameter slider is labeled Frame and is calibrated in
one-frame increments from –5 to +5. For more information on frame processing, see
“Understanding Frame Processing for Scratch Removal” on page 483.

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 Scratch Removal

If the Frame Processing button is deselected (gray), the application uses field processing.
The Frame/Field parameter slider is labeled Field and is calibrated in one-field increments
from –10 to +10. For more information on field processing, see “Understanding Field
Processing for Scratch Removal” on page 484.

For more information on these parameters, see “Image: Scratch Removal” on page 585.

n You cannot access frames more than 5 frames (or fields more than 10 fields) from the zero
point as defined by the Offset Fast menu, regardless of the length of the segment.

You cannot access frames or fields outside the segment that contains the effect. If you are
positioned six fields from the end of the segment, and you set the Field slider to 10 and the
Offset to Relative, you reference the last field of the segment (six fields ahead of your
position).

Examples of Scratch Removal Parameter Settings

The following examples illustrate several different settings for the Scratch Removal
positioning parameters.

Example 1: Replacement Material in the Same Frame

Parameter Setting

Vertical –250

Horizontal +250

Frame/Field 0

Offset Relative

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Source of replacement
material (in same frame)
250 pixels

Rectangle covering scratch

250 pixels

In this example, the effect replaces the area of the rectangle covering the scratch with
material from the area of the dotted rectangle in the same frame or field. Each frame or field
in the segment uses replacement material from the same relative position in its own frame or
field.

Example 2: Replacement Material from a Two-Frame Relative Offset

Parameter Setting

Vertical 0

Horizontal 0

Frame/Field +2/+4

Offset Relative

Rectangle covering Source of replacement material in

scratch in frame n frame n+2 — two frames (four
fields) ahead

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 Intraframe Editing Examples

In this example, the area of the rectangle covering the scratch is replaced by the same
coordinate area of the frame two frames (four fields) ahead. Each frame or field in the
segment uses replacement material from two frames (four fields) ahead.

Example 3: Replacement Material from a Single Clean Frame

Parameter Setting

Vertical 0

Horizontal 0

Frame/Field 0

Offset From Start

Frame 1 of segment Frame 2 Frame 3 Frame 4

In every frame, the rectangle covering the scratch is replaced by the material from
the dotted rectangle area in Frame 1.

In this example, the area of the rectangle covering the scratch is replaced by the area of the
dotted rectangle in the first frame of the segment. If the same parameter settings are used
throughout the segment, then every frame in the segment references the first frame of the
segment.

You can select From Start or From End from the Offset Fast menu in this way to cover a flaw
in several frames with clean material from a single frame. In this example, the flaw first
appears in frame 2, and it is replaced in every frame in which it appears by clean material
from frame 1.

Intraframe Editing Examples

The following topics provide examples of basic Intraframe editing techniques — from
simple Paint Effects to animated matte keys.

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Intraframe Example: Colorizing with Magic Mask

You can use the Magic Mask effect to apply effects across a series of frames, using the
chroma and luma values as the criteria for edge detection.

Although you can use Magic Mask in conjunction with any of the paint modes to generate
custom effects, the primary benefit of this feature is localized colorization, which enables
you to create garbage mattes and various chroma effects. For example, Magic Mask can be
used to change the color of a white shirt to another color without having to create a
detailed matte.

In this example, the goal is to colorize the window area through which we see the athletes
walking to the pool. The odd shapes in the window area would normally make this task
extremely time consuming; but because the region is high contrast with a consistent
off-white color, Magic Mask makes the job simple.

To colorize the example image:

1. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
2. In the Effect Palette, click the Image category.
3. Click the Paint Effect icon, and drag it to the segment of footage in the sequence.
4. Select the segment if it is not already selected.
The Paint Effect parameters appear in the Effect Editor.
5. For this example, in the Mode parameter category, click the Fast Menu button, and
select Solid.
In other applications of Magic Mask, you might select another mode such as Lighten,
Darken, or Colorize.

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6. Click the Rectangle tool (or another shape tool) in the Effect Editor, click in the Effect
Preview monitor, and drag to draw a box surrounding the window region.

7. Open the Color category, and, using standard methods, select a color to apply to the
window region.
For more information on selecting a color, see “Adjusting a Color Parameter” on page
76.
8. (Option) Click the Outline/Path button so you have an unobscured view of the object
you want to colorize. Adjust the size and shape of the box as necessary.
9. In the Magic Mask category, click the Enable button.

Enable button

The application activates the Magic Mask.

The default key color for Magic Mask might not match the color in your selection, so
the color is not yet applied to the white area of the window.

Effect applied before

selecting Magic Mask
key color: the color effect
does not appear.

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10. In the Magic Mask parameter category, click in the Color Preview window, drag the
pointer to the colored area of the window in the image, and then release the
mouse button.
The application sets the Magic Mask key color to the color you selected, and applies
the effect.
11. Click the Outline/Path button to switch between viewing the image with or without the
effect.

Effect applied with

key color selected
from the image

12. Adjust the Magic Mask parameters, such as Gain and Soft (softness), to fine-tune the
effect.
The application applies the colorization effect to areas where the rectangle shape
extends beyond the window area in the image. You can quickly convert the rectangle to
a polygon and adjust its shape around the window.

To reshape the rectangle:

1. Click the rectangle to select it.
2. Double-click the rectangle to display its control points.
3. Drag the control points at the corners of the rectangle one at a time to surround the
window area.

New shape restricts

the Magic Mask effect
to the window area.

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Intraframe Example: Applying the Paint Effect to Regions of a Clip

The Paint Effect includes a number of modes for applying special effects to traced regions of
an image. This example describes using keyframes with the Blur mode to gradually blur a
region of the clip. The effect gives the impression that the background is losing focus while
the rest of the image is unaffected.

The background behind the woman is traced with the Paint Effect, and the Blur mode is
gradually applied during the clip.

Blur effect — before Blur effect — after

To apply the blur:

1. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
2. From the Image category, drag the Paint Effect icon to the segment of footage in the
sequence.
3. Select the segment if it is not already selected.
The Paint Effect parameters appear in the Effect Editor.

n The next task is to trace the background region around the woman in the foreground to apply
the effect. Because the woman moves during the clip, you must animate the traced shape by
using keyframes.

4. Press the Home key to go to the beginning of the clip. Make sure both the first and last
keyframes are selected.
5. In the Effect Editor, click the Reduce button to view the image in the Effect Preview
monitor at 75 percent. (This makes it easier to include the outer edges of the footage in
the traced area.)

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6. Click the Curve tool.

7. Click the image, and drag to draw a matte with freehand capability. Trace an outline
around the woman and surrounding the background.
8. When you are satisfied with the shape of the matte, release the mouse button.

Complex polygon shape traced

around woman and background

9. In the Effect Preview monitor, click the last keyframe indicator to select the keyframe.
Check the shape of the traced area around the woman, and adjust control points as
necessary to make an accurate outline.
10. Before creating new keyframes to further animate the traced outline, apply the blur to
the first and last keyframes to ensure a smooth effect across all keyframes:
a. In the Effect Preview monitor, click the first keyframe indicator to select it.
b. In the Mode parameter category, click the Fast Menu button, and select Blur.
c. Drag the Hor (horizontal) and Vert (vertical) sliders all the way to 0.
d. Click the last keyframe indicator to select it.
e. Drag the Hor (horizontal) and Vert (vertical) sliders to 50.
The Blur mode effect is applied.

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11. Click elsewhere in the Effect Preview monitor’s position bar to check the traced outline.
Make adjustments as necessary.

n As you adjust control points, the application automatically creates new keyframes.

12. (Option) To soften the edges of the blurred outline around the woman, adjust the
Feathering parameters.
For more information, see “Feathering” in the Help.
13. Render the effect to play it back in real time.
For more information, see “Rendering Intraframe Effects” on page 441.

Intraframe Example: Creating a Matte Key Effect

When you apply the AniMatte effect and create a matte key, the shape and location of the
matte remain fixed over the course of the segment. The parameters of the matte are the same
at both the first and last keyframes in the segment.

To apply a two-layer matte key:

1. For this two-layer effect, edit the image you want to use as the background onto one
track and the image you want to use as the foreground onto the track above.
For more information, see “Creating and Editing Sequences: Basics” in the Help.
2. Enter Effect mode by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
3. In the Effect Palette, click the Key parameter category.
4. Drag the AniMatte Effect icon from the Effect Palette to the upper track in the Timeline.

In this example,
the background is
on track V1 and
the foreground is
on track V2.

5. Press the Home key to go to the beginning of the clip. Make sure both the first and last
keyframes are selected.
6. In the Effect Editor, click the Reduce button to view the image in the Effect Preview
monitor at 75 percent.
This makes it easier to include the outer edges of the footage in the traced area.

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7. Click the Curve tool.

8. In the Mode parameter category, click the Fast Menu button, and select Key In.
9. Click the image, and drag to draw a matte with freehand capability.
10. When you are satisfied with the shape of the matte, release the mouse button.
The area outside the border of the matte reveals the underlying image on the lower track
(V1 in the example), and the area inside the border of the matte displays the image on
the upper track (V2).

In this example, a series of shapes are drawn to

key out all areas of the foreground image.

11. In the Foreground parameter category, click the Swap Src (swap sources) button to
check the traced outline.

The foreground and background footage are reversed in the key. This allows you to
easily spot areas where the outline encroaches on the foreground image.

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In this example, swapping sources on one of the

shapes reveals edges from the foreground image.

12. Click the Swap Src button to restore your effect to a matte that keys in your selection.
13. Animate the effect as described in the following topic.

Intraframe Example: Animating a Matte Key Effect

This topic is a continuation of the example that is created by following the procedure in
“Intraframe Example: Creating a Matte Key Effect” on page 503.

When you have moving video, you must use animation to change the shape and location of
the matte in order to follow the changes of the video over the course of the segment.

In this example, the matte shape is

animated to follow the movement of
the men in the foreground footage.

Foreground image on upper layer

Composite image

Background image on lower layer

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To animate a Matte Key effect:

1. Under the monitor, click the Step Forward button or the Step Backward button as many
times as necessary to park on a frame in which the matte no longer provides a clean key
due to the motion of the foreground or background image.
2. If the application is not in Effect mode, enter Effect mode by selecting Toolset > Effects
Editing.
For more information, see “Entering Effect Mode” in the Help.
3. Adjust the matte outline as follows:
t Click the Reshape tool, and drag control points to change the shape.
You can also Shift+click multiple control points for repositioning as a group. For
information, see “Adding and Removing Control Points” on page 468.
t Edit the object by manipulating the direction bars at one or more control points.
For information, see “Reference for Modifying Lines and Curves in Intraframe
Objects” on page 466.
t Click the Swap Src button if necessary to swap the view of the foreground and
background images to examine edges.
t Reposition the matte if necessary by selecting the shape and dragging it with the
Selection tool.

n As you adjust control points, the application automatically creates new keyframes.

4. Repeat the procedure as needed to create a matte that keys the images cleanly over the
course of the segment.
5. (Option) To soften the edges of matte key, adjust the Feathering parameters.
For more information, see “Feathering” on page 646.
6. Render the effect to play it back in real time.
For more information, see “Rendering Intraframe Effects” on page 441.

Intraframe Example: Creating a Single-Layer Organic Matte Wipe

You can use the AniMatte effect to create a custom matte wipe. Additionally, you can create
soft edges and other useful variations by adjusting the parameters of the AniMatte wipe.
Multiple video tracks are not necessary. You apply the AniMatte effect to a transition on a
single track of video and then draw the matte wipe as described in this section.

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To create an organic matte wipe:

1. Create a sequence that contains a transition (an incoming and an outgoing segment).
For more information, see “Creating and Editing Sequences: Basics” in the Help.

Outgoing segment Incoming segment

2. Enter Effect mode by selecting Toolset > Effects Editing.

For more information, see “Entering Effect Mode” in the Help.
3. Apply the AniMatte effect to a transition as described in “Applying the Paint or
AniMatte Effect to a Sequence” on page 443.
4. In the Mode parameter category, click the Fast Menu button, and select Key In.
5. In the Effect Preview Monitor toolbar, click the Reduce button three times to reduce the
image to 25 percent of its normal viewing size.
6. Click the first keyframe indicator in the Effect Preview monitor’s position bar.
The first keyframe indicator is highlighted, and the last keyframe is deselected.
7. Click the Curve tool.
8. Press and hold the mouse button, and drag to draw a custom shape to the right of the
image displayed in the Effect Preview monitor.

n Draw a matte that is at least as wide as the frame in the Effect Preview monitor.

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9. When you are satisfied with the shape of the object, release the mouse button to
complete the matte wipe.
10. Click the last keyframe indicator in the Effect Preview monitor’s position bar.
The application highlights the last keyframe indicator, and deselects the first keyframe.
11. Click the matte wipe within its borders and drag it so that it covers the frame in the
Record monitor. Make sure to position the leading edge of the wipe so that it is beyond
the left border of the frame.

12. In the Effect Preview Monitor toolbar, click the Enlarge button three times to restore the
video image to 100 percent.
13. Click in the middle of the Effect Preview monitor’s position bar to view the edge of the
wipe.

14. (Option) To soften the edges of the wipe, adjust the Feathering parameters.
For more information, see “Feathering” on page 646.
15. Render the effect to play it back in real time.
For more information, see “Rendering Intraframe Effects” on page 441.

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Working with the Blur Effect and Mosaic Effect

The Blur effect and Mosaic effect, found in the Image category, allow you to obscure part of
an image by distorting the pixels within a defined area.

The Blur effect and Mosaic effect act as intraframe effects. The Blur parameter category for
the Blur effect is the same as the one that appears for the Blur mode of the Paint Effect. The
Mosaic parameter category for the Mosaic effect is the same as the one that appears for the
Mosaic mode of the Paint Effect.

Other controls that appear in the Blur and Mosaic effects are:
• Feathering parameters
• Z-rotation tool
• Reshape tool
• Bring Forward and Send Backward buttons

n The Blur and Mosaic effects are non-real-time effects. When you have finished creating one
of these effects, you must render the effect to play it in real time.

Effect Editor Reference for the Blur Effect and Mosaic Effect
You control the Blur and Mosaic effects by using the following parameters in the Effect
Editor:

Parameter Description

Acceleration Adjusts the effect’s speed from one keyframe to the next when the Blur or
Mosaic object moves within a segment.

Feathering Adds soft edges to a Blur or Mosaic object. Modifying the outline can
make an object stand out from or blend into the background.

Blur or Mosaic Controls the overall appearance of the object area, allowing for varying
degrees of distortion.

For basic information on working with the Effect Editor, see “Using the Effect Editor” on
page 69.

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The following buttons appear on the right side of the Effect Editor for the Blur and Mosaic
effects.

Button Description

Selection tool Selects an object so you can change its parameters, move it, or
delete it. With the Shift key pressed, selects multiple objects.

Z-rotation tool Rotates an object around the Z axis.

Reshape tool Allows you to reshape objects by manipulating anchor points at

locations where new curves begin or straight lines intersect.
Inserts additional control points.

Bring Forward Brings an object one layer forward on the screen.

Send Backward Sends an object one layer backward on the screen.

Rectangle tool Creates a square or rectangle object. The pointer changes to a

crosshair when clicked.

Oval tool Creates a circle or oval to create an object. The pointer changes
to a crosshair when clicked.

Creating Blur and Mosaic Effects

To create a Blur or a Mosaic effect:
1. Select Toolset > Effects Editing.
2. In the Effect Palette, click the Image category.
3. Drag the Blur Effect icon or the Mosaic Effect icon to a segment in the sequence.
4. Click either the Rectangle tool or the Oval tool.
5. Click in the Effect Preview monitor and drag to create an object.
A wire-frame outline of the object appears, and the default Blur or Mosaic effect
appears in the Effect Preview monitor.
The following illustration shows a Mosaic effect in an oval object.

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Wire frame outlining

mosaic object

Modifying Blur and Mosaic Objects

To modify the attributes of blur and mosaic objects:
1. Click the Selection tool, and click the object you want to change.
2. Use the Feathering parameter category to adjust the appearance of the outline of the
object:

Parameter Description

Hor (horizontal) Adjusts the range of pixels along the X axis to which the effect applies.

Vert (vertical) Adjusts the range of pixels along the Y axis to which the effect applies.

Fixed Aspect Locks the horizontal and vertical sliders so that they move in unison. This
controls how smoothly the effect blends with the background image.

Anti-alias Reduces the jaggedness of the edges of the object.

3. Use the sliders in the Blur or Mosaic parameter category to adjust the appearance of the
blur or mosaic distortion:

Parameter Description

Opac (opacity) Controls how prominently the blur or mosaic appears against the
background image. A value of 0 makes the blur or mosaic transparent;
a value of 100 makes it fully opaque.

Hor (horizontal) and Change the size of each tile within the effect along the X or Y axis,
Vert (vertical) respectively. They control the coarseness of the blur or mosaic.

Blur Visible or Switches the effect on and off in the Effect Preview monitor.
Mosaic Visible

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4. Use the Z-Rotation and Reshape tools to customize the shape of the blur or mosaic
object:

Parameter Description

Z-rotation Allows you to rotate the object around a Z axis by manipulating the
resize handles.

Reshape Allows you to create an irregular object by moving the resize handles
individually.

Bring Forward and Apply when objects overlap. You use the buttons to define which
Send Backward object appears closer to the viewer.

The following illustration shows the handles on an object in a Mosaic effect.

Left resize handle selected

5. Drag the center handle of the object to match the movement of the image in the clip.
Your application automatically adds a keyframe each time you drag the object to a
new position.

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PlasmaWipe effects are real-time plug-in effects that use gradient image bitmaps to create
wipes and segment effects. There are 64 preset effects, and you can create your own by
creating new gradient images.
• Understanding PlasmaWipe Effects
• PlasmaWipe Folder Structure
• Using PlasmaWipe Effects
• Creating PlasmaWipe Effects
• Using PlasmaWipe Frame and Border Effects
• Using PlasmaWipes with HD Projects

Understanding PlasmaWipe Effects

While one of the PlasmaWipe effects plays, the system maintains a value called a threshold
point and changes the value gradually from black to white. All gray tones in the gradient
image that are lighter than the threshold point are replaced by outgoing video. All gray tones
in the image that are darker than the threshold point are replaced by incoming video. As the
threshold point gets closer to white, more of the incoming video appears. The result is a
smooth, custom wipe.

The following illustration shows the black and white gradient image used by the Horiz Twirl
PlasmaWipe effect and the resulting effect, with softness applied. This effect gives the
impression of a curling spiral that reveals the image underneath.
14 Working with PlasmaWipe Effects

Outgoing footage Image used by Horiz Twirl effect Incoming footage

Three sample frames using the Horiz Twirl effect as a transition effect.

PlasmaWipe Folder Structure

The installation program for your Avid editing application automatically installs the
PlasmaWipe effects. Several PlasmaWipe effect categories appear in the Effect Palette, and a
PlasmaWipes folder is created in the SupportingFiles folder of your Avid editing
application. The following shows the default locations for the folder:
• (Windows) drive:\Program Files\Avid\Avid editing application\
SupportingFiles\PlasmaWipes
• (Macintosh) Macintosh HD/Applications/Avid editing applicaton/
Supporting Files/PlasmaWipes

c (Macintosh only) If you create additional folders for your custom PlasmaWipe effects,
back them up before you run the PlasmaWipes installer to replace or update the
PlasmaWipes folder. The installer deletes and replaces the entire PlasmaWipes folder.

There are parallel folders for NTSC (720x486) and PAL (720x576) resolutions. When you
create your own PlasmaWipe effects you create two versions of each effect, one for
each resolution.

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The following illustration shows the default PlasmaWipes folder structure.

Using PlasmaWipe Effects

PlasmaWipe effects are two-stream, real-time effects that you can use as either transition
effects or segment effects. As transition effects, PlasmaWipe effects allow you to create
custom wipes. As segment effects, you can use PlasmaWipe effects as static wipes. For
example, you could design a PlasmaWipe effect that gives the impression of fog on the top
and bottom of the video image or a custom border for an effect similar to a picture-in-picture
effect.

n For information on the effects in the Border category, see “Using PlasmaWipe Frame and
Border Effects” on page 530.

Although PlasmaWipe effects are real-time, they are processor-intensive effects and might
require rendering if you combine them with other effects or multiple video streams.

To use a PlasmaWipe effect:

1. Apply the PlasmaWipe effect to a transition or segment.
2. Click the Effect mode button.

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3. Adjust the parameters and add keyframes (as necessary) in the Effect Editor.
The Level value corresponds to the black and white threshold. As you increase the
value, the threshold moves closer to white and reveals more incoming video. The
following illustration shows how the threshold point changes as the effect plays.

Outgoing footage Image used by Horiz Twirl effect Incoming footage

Changes in the Level (threshold) value and corresponding changes in the gradient image.

Three sample frames using the Horiz Twirl effect as a transition effect.

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Creating PlasmaWipe Effects

You can use three different approaches to create an image for a PlasmaWipe effect:
• Create a black and white gradient image in a graphics tool such as Adobe Photoshop.
• Modify an existing image to create a black and white gradient image.
• Create a wipe by drawing a wide brush stroke that changes smoothly from black to
white. You can use the Pencil tool in Photoshop to create this type of image.

n The images in the PlasmaWipes folders are raw Photoshop images. You can open the images
in Photoshop to get some ideas for new effects.

The following topics describe how to create the gradient images used for PlasmaWipe
effects and the folder structure that you must use to ensure that the Avid editing application
recognizes your new effects.

n This document describes how to create gradient images using Adobe Photoshop. However,
you can use any graphic tool, such as Corel® Paint Shop Pro®, that allows you to create
black and white gradient images and save the image as a raw image file (with a .raw
extension).

For information on the effects in the Border category, see “Using PlasmaWipe Frame and
Border Effects” on page 530.

Creating PAL and NTSC Versions of the Image

Because PAL and NTSC require different resolutions for graphic images you must create
two versions of your image as follows:
• A 720x576 pixel image for PAL
• A 720x486 pixel image for NTSC

It is better to start with a 720x576 image because it is the highest resolution.

Creating a PlasmaWipe from a Custom Image

This sample procedure uses Adobe Photoshop, but you can use any graphic tool that creates
black and white gradient images and allows you to save an image as a raw image file.

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To create a gradient image using Adobe Photoshop:

1. Create a new file with the following characteristics:
- Image size: 720 pixels (width) by 576 pixels (height)
- Resolution: 72 pixels/inch (you can use any resolution)
- Mode: Grayscale
2. Create a black and white graphic.
For example, use the Gradient tool to create a basic pattern with the following settings:
- Foreground: black
- Background: white
- Opacity: 100%
3. (Option) Use distortion filters such as Spherize, Twirl, or Ripple to modify the image.
The following illustration shows a gradient image modified by two separate distortion
operations.

Gradient image Distortion Swirl applied Distortion Ripple applied

4. (Option) Perform image operations to create different effects.

For example, you can copy different gradient images to separate layers and experiment
with blending the layers.

n For information on blending layers, see your Photoshop documentation.

5. Save the image as a raw image file as described in “Saving a PlasmaWipe Image for
PAL and NTSC” on page 527.

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Creating a Wipe Using the Photoshop Pencil Tool

This procedure describes how to create a gradient image similar to the images in the
PlasmaWipes/Avid/Paint folder. The wipe effect simulates uncovering the incoming video
by wiping away the outgoing video with a brush or cloth. The darkest part of the image is
wiped away first. The following illustration shows two examples.

Image used by Paint Strokes 1 Image used by Paint Strokes 4

This sample procedure uses Adobe Photoshop to create the gradient image.

To create a gradient image using the Pencil tool:

1. Select the lower color selection box in the Adobe Photoshop toolbox and change the
background to black.
2. Select the upper color selection box and change the foreground color to white.
3. Create a new file with the following characteristics:
- Image size: 720 pixels (width) by 576 pixels (width)
- Resolution: 72 pixels/inch (you can use any resolution)
- Mode: Grayscale
- Contents: Background color
4. Select the Pencil tool.
The pencil tool is useful for this method because it creates hard edges.
5. Click Other Dynamics in the Brushes palette.
6. In the Opacity Jitter parameter area, click the Control menu and select Fade.
7. Enter a high Step number in the Control text box (for example, 500).
This creates a pencil stroke that fades from white to black (foreground to background
color) in small increments.

n For Photoshop 6.0, select Color > Fade in the Brush Dynamics dialog box.

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8. Click Brush Presets, and select a wide pencil shape, for example 100 pixels or higher.
You can also create a custom brush. For example, in Photoshop 7.0 you can create a
brush that rotates and changes size as you draw.
9. Close the Brushes palette.
10. Set Opacity to 100%.
11. Start anywhere in the image and draw back and forth across the image, covering the
entire image from top to bottom.
This should create a wide pencil mark that changes the color from white to black.
Draw the line as if you are painting the wipe backwards from white to black. When the
wipe plays, the darkest parts of the image are replaced by incoming video first. For
example, to create an effect similar to Paint Strokes 4, start drawing in the upper left
corner and draw concentric rectangles until you reach the center. This wipe starts in the
center and spreads out in concentric rectangles. The image used for Paint Strokes 2
creates a wipe effect with a crisscross pattern.

Image used by Paint Strokes 4 Image used by Paint Strokes 2

12. (Option) Apply filters to the image to change the edges.

For example, select Distortion > Ripple to apply a Ripple effect.
13. Save the image as a raw image file as described in “Saving a PlasmaWipe Image for
PAL and NTSC” on page 527.

n When you resize the image for NTSC, select Resample Image > Nearest Neighbor. This
maintains the sharp edges in the image.

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Creating a PlasmaWipe Effect from an Existing Image

This sample procedure describes how to create a gradient image from an existing image
using Adobe Photoshop. You can use any graphic, but images with rich texture often give the
best results.

Image used by Falling Text Image used by Lava Flow 3

To create a gradient image from an existing image:

1. Open an existing graphics file.
2. Select Image > Image Size.
The Image Size dialog box opens.
3. Change the image size to 720 pixels x 576 pixels.
4. Deselect Constrain Proportions.
5. Click OK.
6. Select Image > Mode > Grayscale.
7. Select Image > Histogram and use the histogram to ensure that the image uses the full
range of gradient values.
For more information on using histograms, see “Tips for Working with Gradient Images
for PlasmaWipe Effects” on page 522.
8. Click OK.
9. Save the image as a raw image file as described in “Saving a PlasmaWipe Image for
PAL and NTSC” on page 527.

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Tips for Working with Gradient Images for PlasmaWipe Effects

The following tips apply to working with gradient images:
• Keep the graphic smooth without too many hard edges. This increases the number of
levels (gradients) and creates a smoother wipe.
• Do not use dithering or antialiasing because they might add artifacts to the wipe. For
example, when a graphics application performs antialiasing, it smooths out the edge of a
line by blending the colors along the edge. These blended colors might force small
portions of the incoming or outgoing video to appear at inappropriate times.
• If you use Photoshop, use the histogram to view the gradient levels of the image. This
allows you to ensure that the image uses all the available gradient values and that the
effect plays smoothly.
For more information, see “Using the Histogram in Photoshop with PlasmaWipe
Images” on page 522.

Using the Histogram in Photoshop with PlasmaWipe Images

To use the Adobe Photoshop histogram:
t Select Image > Histogram.
The Histogram shows the area of coverage as the wipe appears. The following tips apply
to using the histogram:
- The wider the range of gradient values (levels), the smoother the resulting
animation. For example, the following illustrations show two histograms. The one
with the wide range of gradient values creates a smoother animation.

Image does not use all available Image uses all available gradient
gradient values. values.

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- A horizontally smooth histogram results in an animation that doesn’t have abrupt

changes. If the histogram has a wide vertical range, the wipe might come in quickly
and then slow down. The following illustrations show two histograms. The image
with the peak creates an animation that starts quickly, slows down as it gets to the
middle of the effect, and then speeds up again. The image with the smooth
histogram creates an animation with a constant speed.

Image does not use all available Image uses all available gradient
gradient values. values.

Depending on the effect you want to create, the image associated with either type of
histogram can create an acceptable animation as long as it uses the full range of
gradients.

n If you want to change the speed of the wipe, you can use keyframes to control the Level
parameter. You can also use the Acceleration parameter in the Effect Editor to change the
speed.

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14 Working with PlasmaWipe Effects

To use the histogram to change the image:

1. Select Image > Histogram to view the range of gradients (levels) used by the image.
For example, the following histogram shows that the image does not use all of the
available gradient values (the histogram shows no gradient levels on the right side of the
graph).

You can use a command like Equalize, Auto Levels, or Auto Contrast to increase the
range of gradient values.
2. Select Image > Adjustment > Equalize.
The following illustration shows the resulting histogram.

This histogram uses a wider range of gradients but has many gaps. In a short wipe effect
the gaps are not noticeable. In a long effect, the gaps might create doubled frames in the
animation. You can use a blur effect to smooth out the range.

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 Creating PlasmaWipe Effects

3. Select Filter > Blur > Gaussian Blur and enter a value of 2.0.
The following illustration shows the resulting histogram.

This image creates a smooth wipe effect.

You often need to use a combination of blur effects and level or contrast changes to
create a smooth histogram that uses the full range of gradients.

Testing a PlasmaWipe Animation

You can use the following procedure to preview the animation that the system performs on
your graphic. This example uses the Horiz Twirl image from the PlasmaWipes folder.

To test an animation:
1. Select Image > Adjustments > Brightness/Contrast.
The Brightness/Contrast dialog box appears. The following illustration shows the image
and the Brightness/Contrast dialog box.

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14 Working with PlasmaWipe Effects

2. Move the Contrast slider all the way to the right to view the animation with hard edges.

3. To view the animation with some softness applied, move the Contrast slider to the left to
select a lower Contrast number.

4. Move the Brightness slider from left (-100) to right (+100) to view the animation.
The following images show three stages of the animation.

To adjust the image in increments of 10, click the Brightness slider and use Shift+Up
Arrow or Shift+Down Arrow.

n You can also use Image > Adjustments > Threshold to view the animation with hard edges.

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 Creating PlasmaWipe Effects

Saving a PlasmaWipe Image for PAL and NTSC

This sample procedure assumes that you created a PAL version of the image (720x576
pixels) using the steps described in “Creating a PlasmaWipe from a Custom Image” on page
517.

n You can create actions in Adobe Photoshop to automate your save operations. For more
information, see the Adobe Photoshop documentation.

For information on how the name you give to a PlasmaWipe effect affects the default values,
see “Default Values for PlasmaWipe Effects” on page 533.

To save a gradient image:

1. Make a backup copy of the image.
2. If the image has multiple layers, flatten the image.
3. Select File > Save As.
The Save As dialog box appears.
4. Name the file, and select Format > Raw (*.RAW).
The system saves the file as a raw Photoshop image with a .raw extension. This is the
720x576 (PAL) version of the image.

n The name you choose for the image becomes the name of the effect that appears in the Effect
Palette. Make sure you use exactly the same name for the PAL and NTSC versions of the file.

5. Use the following steps to save an NTSC version of the image.

a. Select Image > Image Size.
b. In the Height text box, change the image height to 486 pixels. Keep the image width
at 720 pixels.
c. Deselect Constrain Proportions.
d. Select Resample Image, and then select Resample Image > Bicubic, or, if the image
has hard edges, select Resample Image > Nearest Neighbor.
e. Click OK.
f. Select File > Save As.
The Save As dialog box opens.
g. Name the file as described in Step 4.
6. Store the two images in the PlasmaWipes folder structure.
For more information, see “Storing Images in the PlasmaWipes Folder Structure” on
page 528.

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14 Working with PlasmaWipe Effects

Storing Images in the PlasmaWipes Folder Structure

Once you have saved an NTSC and a PAL version of your new PlasmaWipe images, you
must store them in the correct folders so that your Avid editing application can recognize the
files.

The following illustration shows the default PlasmaWipes folder structure. The
PlasmaWipes folder is located in the SupportingFiles folder of your Avid
editing application.

To store your Plasma Wipe image files:

1. Give your image files unique names so that you can recognize the files if you copy them
to another system.

n The name you choose becomes the name that appears for the effect in the Effect Palette.

2. Create new folders to organize your new effects. Create identical folders within the
720x486 folder and the 720x576 folder.
Do not store your files in the Avid folders because the folder may be overwritten when
you update your Avid software. Create folders within the 720x486 folder and the
720x576 folder at the same level as the Avid folder. You can use any number of nesting
levels for your folders in order to organize your effects. The system displays the full
path as part of the name in the effect category. The following illustration shows the
Effect Palette with the full default path in the effect category.

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 Creating PlasmaWipe Effects

3. Copy your images to the new folders. Make sure the images have identical names in the
720x486 folder and the 720x576 folder.
4. Restart your Avid editing application.
Your new effects appear in the Effect Palette.

n If you move sequences that use your new wipes to another system, you must copy the wipes
to that other system. You must maintain the same folder structure on each system that uses
your effects.

c (Macintosh only) If you create additional folders for your own custom PlasmaWipe
effects, back them up before you run the PlasmaWipes installer to replace or update
the PlasmaWipes folder. The installer deletes and replaces the entire PlasmaWipes
folder.

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Adjusting an Existing PlasmaWipe Effect While the Application is

Running
If you add new effects, you must restart the Avid editing application in order to see the
effects in the Effect Palette. However, you can use the following procedure to adjust a
PlasmaWipe effect that you have previously created. This helps when testing changes to one
of your effects.

To adjust an existing effect while the application is running:

1. Edit the older version of the effect into a sequence.
2. Locate the PlasmaWipes folder and replace the old effect with the new effect in the
appropriate folder.
3. In the Timeline bottom toolbar, click the Video Quality menu button and select a lower
video quality.
4. Click the effect icon in the Timeline and move the position indicator to update the effect
in the Timeline.
5. Click the Video Quality menu button and select a higher video quality.
The system replaces the effect with the new version.

Using PlasmaWipe Frame and Border Effects

PlasmaWipe frame and border effects allow you to add a variety of edge treatments to a clip.
The following illustrations show several examples.

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 Using PlasmaWipe Frame and Border Effects

Stone Frame Medium effect Stone Frame Large effect applied to a

PIP effect, resized, and repositioned

Image with no effects Soft Sky effect

Soft Window effect used as PIP Soft Window used to darken edges

Frame and border effects are in the PlasmaWipe Avid Borders category of the Effect Palette.
There are two groups of these effects:
• Border effects allow you to darken the edges and corners of an image or give a tint or
shadow to the sky as though the image was shot through a lens filter. For example, the
image with no effect in the previous illustration shows a slight darkening of the corners
created during the original filming of the clip. The bottom right image uses Soft
Window to accentuate this effect. Border effects include the following:
- Round Border
- Soft Sky

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14 Working with PlasmaWipe Effects

- Soft Window
- Square Border
• Frame effects allow for textured, colored frames. These effects have the word Frame in
their name. There are three versions of each:
- Large: places a frame around the entire image. These effects are intended for use
with DVE effects such as picture-in-picture (PIP) effects.
- Medium and Small: remain centered in the image and cannot be resized or
repositioned.

n You can achieve effects similar to frame effects if you import a Matte key created in an
application such as Photoshop. Frame effects have the added benefit of allowing you to
adjust the frame color within the Avid editing application.

Applying and Adjusting Frame and Border Effects

Frame effects are segment effects. Border effects like Soft Sky can be used as either segment
effects or transition effects but are intended as segment effects.

n For information on how the system identifies a frame effect from other PlasmaWipe effects,
see “Default Values for PlasmaWipe Effects” on page 533.

To apply a frame effect or border effect:

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

To apply a frame or border effect to an existing DVE such as a PIP effect:

1. Apply the PIP effect to a clip in the Timeline.
2. Double-click the effect’s icon in the Timeline.
The system steps into the effect and displays the nested tracks.
3. Drag the frame or border effect onto the upper track in the nested effect.
For example, the following illustration shows the Stone Frame Large effect applied to
the 1.2 track.

532
 Using PlasmaWipe Frame and Border Effects

4. Double-click the PIP effect icon again to step out of the nested effect.
5. Adjust the parameters for the PIP effect.

n The Frame Large effects are designed to be used with DVEs such as the PIP effects.

To adjust a frame effect or border effect:

1. (Option) If the effect is part of a nested effect, step into the effect.
2. For Frame effects, adjust the Border and Blend color to change the color of the frame.
The color modifies the effect as follows:
- Border adjusts the base color of the frame.
- Blend Color adjusts the highlight color.
3. Adjust the Soft (softness) and Foreground Level parameters as needed.
If you want to adjust a border effect to darken the edges of an image, use the Foreground
Level parameter to expand the border to the edges of the image. Then modify the border
using the Soft, Border color, and Border Blend parameters.

n You usually do not want to keyframe the Foreground Level parameter on a frame effect. The
source graphics for PlasmaWipe frame effects have a sharp transition between black and
white values and you might find that the change from foreground to background video
happens too quickly.

Default Values for PlasmaWipe Effects

Frame effects have different default values from other PlasmaWipes effects. This is because
frame effects usually have crisp edges between the video and the frame graphic. Other
PlasmaWipe effects often blend video clips together and can benefit from some amount of
softness.

In order to determine which default values to use, the PlasmaWipes software looks for the
words border and frame in the pathname to the effect source graphic. If both words appear in
the path, the software applies the frame effect defaults (and only allows the effect to be used
as a segment effect). Otherwise the software applies the defaults used for all other
PlasmaWipes. For example, the following two effects use the frame effect defaults:
• PlasmaWipes/720x486/Avid/Borders/Stone Frame Large
• PlasmaWipes/720x486/MyEffects/MyFrames/Large Stone Border

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14 Working with PlasmaWipe Effects

The following table shows the default parameters for PlasmaWipes effects.

Parameter Default Values for Default Values for all other

Name Frame Effects PlasmaWipe Effects

Border

• Hue 0 0

• Sat 0 0

• Lum 63 255

Blend Color

• Hue 0 0

• Sat 0 0

• Lum 255 255

• Width 63 0

• Softness 0 32

Level 50 50

Creating Custom Border and Frame Effects

For border effects such as Soft Sky or Square Window, you can use the same techniques as
described in “Creating PlasmaWipe Effects” on page 517.

Frame effects have the following unique requirements:

• Use an image with a 4:3 aspect ratio to create the frame graphic. For example, start with
a 720x540 pixel image. After you create the frame graphic, save it as the correct size for
PAL or NTSC as described in “Saving a PlasmaWipe Image for PAL and NTSC” on
page 527.
• For best results, keep distinct boundaries between the black, white, and gray portions of
your image. Do not blend between black and gray or between white and gray areas. For
example, the following illustration shows the image for the Stone Frame Small effect.

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 Using PlasmaWipe Frame and Border Effects

Foreground video displays through the black area and background video displays through
the white area. If you allow the gray area to blend with the black, portions of the frame might
appear within the background video area and portions of the foreground video might appear
within the frame.

A histogram for a frame graphic differs from a histogram from other types of PlasmaWipe
effects. The following illustration shows the Photoshop histogram for the Stone Frame Small
image.

Because a frame graphic does not create an animation, the histogram does not need to
contain a wide range of gradient values. In fact, there will be large portions of the image that
are completely black or white.

To create a custom frame graphic:

1. Create a new file with the following characteristics:
- Image size: 720 pixels (width) by 540 pixels (height)
- Resolution: 72 pixels/inch (you can use any resolution)
- Mode: Grayscale

n The 720x540 size ensures that the original image has a 4:3 aspect ratio.This allows you to
create a frame that fits correctly within the video image.

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14 Working with PlasmaWipe Effects

2. Display the Photoshop grid to allow for precise placement of the frame and interior area.
Use a grid size of one gridline every 36 pixels.
3. Create a frame graphic using the grid lines as a guide.
4. Modify the grayscale image and apply filter effects as necessary.
5. Color the inside of the frame black.
6. If you want background video to appear around the frame, color that area white.
7. Flatten the image to remove extra layers.
8. Make a copy of the image.
9. Save one copy as 720x576 (PAL) and another as 720x486 (NTSC) as described in
“Saving a PlasmaWipe Image for PAL and NTSC” on page 527.

n Select the Nearest Neighbor option to avoid blending between the black, white, and gray
areas of the image.

To create a frame graphic from an existing image:

1. Open an existing image, such as a graphic of a stone slab, piece of wood, or wooden
frame.
2. Select Image > Image Size.
The Image Size dialog box appears.
3. Change the image size to 720 pixels x 540 pixels.
4. Deselect Constrain Proportions.
5. Click OK.
6. Select Image > Mode > Grayscale.
7. Use the Photoshop grid with a grid size of one gridline every 36 pixels to allow for
precise placement of the frame and interior area.
8. Modify the grayscale image and apply filter effects as necessary.
9. Color the inside of the frame black.
10. If you want background video to appear around the frame, color that area white.
11. Flatten the image to remove extra layers.
12. Make a copy of the image.
13. Save one copy as 720x486 (for NTSC) and another as 720x576 (for PAL) as described
in “Saving a PlasmaWipe Image for PAL and NTSC” on page 527.

n Select the Nearest Neighbor option to avoid blending between the black, white, and gray
areas of the image.

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 Using PlasmaWipes with HD Projects

Using PlasmaWipes with HD Projects

The basic set of PlasmaWipes that are shipped with your Avid editing application include
files that are optimized for the following resolutions:
• NTSC resolutions (720x486)
• PAL resolutions (720x576)

HD projects require one of the following resolutions for PlasmaWipes:

• 1080i and 1080p projects require 1920x1080
• 720p projects require 1280x720

Several examples of each resolution are included in the Goodies folder on your Avid editing
application installation disk. You can install these effects on your system and use them to
create custom PlasmaWipe effects for your HD project.

To install the HD versions of the PlasmaWipes effects:

1. Navigate to the HDPlasmaWipes folder in the Goodies folder on your Avid editing
application installation disk.
2. For 1080i and 1080p projects, copy the contents of the 1920x1080 folder to the
following location:
(Windows) C:\Program Files\Avid\Avid editing application\Supporting Files\
Plasma Wipes\1920x1080\Avid\Custom
Macintosh HD/Applications/Avid editing application/Supporting Files/
Plasma Wipes/1920x1080/Avid/Custom
3. For 720p projects, copy the contents of the 1280x720 folder to the following location:
(Windows) C:\Program Files\Avid\Avid editing application\Supporting Files\
Plasma Wipes\1280x720\Avid\Custom
Macintosh HD/Applications/Avid editing application/Supporting Files/
Plasma Wipes/1280x720/Avid/Custom
4. Copy the files in the 720x486 folder to the following folder:
(Windows) C:\Program Files\Avid\Avid editing application\Supporting Files\
Plasma Wipes\720x486\Avid\Custom
Macintosh HD/Applications/Avid editing application/Supporting Files/
Plasma Wipes/720x486/Avid/Custom

n You must copy the 720x486 files. The 1020x1080 and 1280x720 versions require these files.

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5. Restart your Avid editing application and open the Effect palette.
The new HD PlasmaWipe effects appear in the Effect palette under the
PlasmaWipes categories.

To create new HD PlasmaWipes effects:

1. Create a new PlasmaWipe effect file at either 1920x1080 or 1280x720 resolution.
Either copy one of the existing HD PlasmaWipe effect files or create a new file using the
proper resolution. For more information, see “Creating PlasmaWipe Effects” on page
517.
2. Save the effect and store it in the corresponding Custom folder.
For example, if you create a file named MyPlasmaWipe.raw at 1920x1080 resolution,
store it in the following folder:
(Windows) C:\Program Files\Avid\Avid editing application\Supporting Files\
Plasma Wipes\1920x1080\Avid\Custom\MyPlasmaWipe.raw
Macintosh HD/Applications/Avid editing application/Supporting Files/
Plasma Wipes/1920x1080/Avid/Custom/MyPlasmaWipe.raw
3. Create a 720x486 version of the file and store it in the corresponding 720x486 folder by
doing the following:
a. Open the HD version of the image in Adobe Photoshop.
b. Change the Image Size to 720x486.
c. Use File > Save As to save the file to the 720x486 directory, for example:
(Windows) C:\Program Files\Avid\Avid editing application\Supporting Files\
Plasma Wipes\720x486\Avid\Custom\MyPlasmaWipe.raw
Macintosh HD/Applications/Avid editing application/Supporting Files/
Plasma Wipes/720x486/Avid/Custom/MyPlasmaWipe.raw
For more information on creating a 720x486 (NTSC) version, see “Creating PAL
and NTSC Versions of the Image” on page 517.

n You must create the 720x486 version as well as the HD resolution version. Your Avid editing
application does not recognize the HD PlasmaWipe effect until you create the corresponding
720x486 version.

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15 Effects Reference

This chapter provides reference information for all standard effects available for your Avid
editing application.

For information on effects editing, begin with “Working with Effects: Basics” in the Help.
For reference information on parameters for effect adjustment, see “Effects Parameter
Reference” on page 641.

Effects are listed within their effect categories, as follows:

• “Blend Effects” on page 540 • “Peel Effects” on page 597

• “Box Wipes” on page 544 • “PlasmaWipe Effects” on page 602
• “Conceal Effects” on page 549 • “Push Effects” on page 603
• “Edge Wipes” on page 553 • “Reformat Effects” on page 607
• “Film Effects” on page 558 • “Sawtooth Wipes” on page 609
• “Generator Effects” on page 561 • “Shape Wipes” on page 611
• “Illusion FX Effects” on page 563 • “Spin Effects” on page 616
• “Image Effects” on page 578 • “Squeeze Effects” on page 618
• “Key Effects” on page 586 • “Timewarp Effects” on page 626
• “L-Conceal Effects” on page 590 • “Title Effects” on page 635
• “Matrix Wipes” on page 593 • “Xpress 3D Effects” on page 638
• “Motion Effects” on page 596

Reference information includes:

• An illustration of the effect’s icon
• A description of the effect
• Information on where to apply the effect (to transitions, single-layer segments, or
multilayer segments)
• Information on whether the effect is real time or non-real time
For more information, see “Real-Time Effects and Non-Real-Time Effects” in the Help.
15 Effects Reference

• Information on whether you can promote the effect (to advanced keyframes, 3D, or
SpectraMatte)
For more information, see “Promoting Effects to Advanced Keyframes” on page 85 and
“Promoting 2D Effects to 3D Effects” on page 350.
• Information on the processing bit depth capabilities of the effect
Most effects support both 8-bit and 16-bit processing. For more information, see “Using
16-Bit Processing Support for Rendered Effects” on page 139.
• A cross-referenced list of all effect parameters available for that effect
• Where appropriate, an illustration of the effect’s behavior

n If you are reading a printed version of this document, you might find it useful to view the
color images in the online version available from the Online Library for your application.

For illustrations that help you understand the differences between similar types of transition
effects, see “Comparison of Similar Effects” on page 639.

Blend Effects
Blend effects are general two-channel 2D effects, except for 3D Warp.

n Two specialized blend effects are also available for creating a film look. For more
information, see “Film: Film Dissolve” on page 560 and “Film: Film Fade” on page 561.

540
 Blend Effects

Blend: 3D Warp

Description Provides direct access to a full set of parameter categories for making 3D and
other advanced adjustments to effects. For information on using the 3D Warp
effect, see “Applying the 3D Warp Effect” on page 348.

Apply to Transitions, single-layer segments, or multilayer segments, depending on

circumstances

Real-time status Real-time in most circumstances. For more information on real-time playback for
3D effects, see“Real-Time Playback of 3D Effects” on page 352.

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit. 16-bit requires the use of the HQ (Highest Quality) button in the
Effect Editor. For more information, see “Rendering 3D Effects Using the HQ
(Highest Quality) Option” on page 141.

Parameter categories Shape; Corner Pin; Tracking; Crop (3D); Scaling (3D); Axis; Skew; Rotation;
Position (3D); Acceleration (3D); Spline; Perspective; Target; Border (3D);
Highlight; Highlight Color; Lowlight Color; Defocus; Shadow; Trail; Stamp;
Foregnd (Foreground) (3D); Spill Suppression; Erode/Expand; Background
Color; Profile (3D)

Blend: Dip to Color

Description Fades from the outgoing video to black, white, or any color and then fades up to
the incoming video. Color is specified using the Lum, Chroma, and Sat sliders.

Apply to Transitions

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Background; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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15 Effects Reference

Blend: Dissolve

Description Blends images from the outgoing video with the incoming video over time

Apply to Transitions

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Blend: Fade from Color

Description Fades from any color to incoming video

Apply to Transitions

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Background; Acceleration; Grid; Transition Parameters

Illustration

Initial color Middle of effect Incoming footage

542
 Blend Effects

Blend: Fade to Color

Description Fades from the outgoing video to any color

Apply to Transitions

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Background; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Final color

Blend: Picture-in-Picture

Description Creates a picture within a picture. Video on the top layer, where the effect is
applied, appears inside the video on the bottom layer. On a transition, the
incoming video appears inside the outgoing video.

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Scaling; Position; Crop; Grid;
Transition Parameters

Illustration

Bottom track PIP as a segment effect Top track

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15 Effects Reference

Blend: Superimpose

Description Blends the image from the top video track (where the effect is applied) with the
image from the bottom video track over time. The Foreground Level slider
controls the blend percentage over time. When Level=100, only the top image is
visible; when Level=0, only the bottom image is visible.

Apply to Multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Acceleration; Grid

Illustration

Bottom track Superimpose effect Top track

Box Wipes
Box Wipes reveal one video channel on top of another video channel, using predefined
growing rectangular shapes.

n For examples of similar effects, see “Comparison of Similar Effects” on page 639.

544
 Box Wipes

Box Wipe: Bottom Box

Description Incoming video begins as a box in the center of the bottom edge of the screen and
wipes out the outgoing video as the box expands to fill screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Box Wipe: Bottom Left to Top Right

Description Incoming video begins as a box in the bottom left corner of the screen and wipes
out the outgoing video as the box expands to fill the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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15 Effects Reference

Box Wipe: Bottom Right to Top Left

Description Incoming video begins as a box in the bottom right corner of the screen and wipes
out the outgoing video as the box expands to fill the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Box Wipe: Left Box

Description Incoming video begins as a box in the center of the left edge of the screen and
wipes out the outgoing video as the box expands to fill the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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 Box Wipes

Box Wipe: Right Box

Description Incoming video begins as a box in the center of the right edge of the screen and
wipes out the outgoing video as the box expands to fill the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Box Wipe: Top Box

Description Incoming video begins as a box in the center of the top edge of the screen and
wipes out the outgoing video as the box expands to fill the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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15 Effects Reference

Box Wipe: Top Left to Bottom Right

Description Incoming video begins as a box in the top left corner of the screen and wipes out
the outgoing video as the box expands to fill the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Box Wipe: Top Right to Bottom Left

Description Incoming video begins as a box in the top right corner of the screen and wipes out
the outgoing video as the box expands to fill the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

548
 Conceal Effects

Conceal Effects
Conceal effects overlap one video channel over another video channel using a predefined
path.

n For examples of similar effects, see “Comparison of Similar Effects” on page 639.

Conceal: Bottom Left to Top Right

Description Incoming video slides on top of the outgoing video from the bottom left to the top
right of the screen

Apply to Transitions, single-layer segments, or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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15 Effects Reference

Conceal: Bottom Right to Top Left

Description Incoming video slides on top of the outgoing video from the bottom right to the
top left of the screen

Apply to Transitions, single-layer segments, or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Conceal: Bottom to Top

Description Incoming video slides on top of the outgoing video from the bottom to the top of
the screen

Apply to Transitions, single-layer segments, or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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 Conceal Effects

Conceal: Left to Right

Description Incoming video slides on top of the outgoing video from the left edge to the right
edge of the screen

Apply to Transitions, single-layer segments, or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Conceal: Right to Left

Description Incoming video slides on top of the outgoing video from the right edge to the left
edge of the screen

Apply to Transitions, single-layer segments, or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Conceal: Top Left to Bottom Right

Description Incoming video slides on top of the outgoing video from the top left to the bottom
right of the screen

Apply to Transitions, single-layer segments, or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Conceal: Top Right to Bottom Left

Description Incoming video slides on top of the outgoing video from the top right to the
bottom left of the screen

Apply to Transitions, single-layer segments, or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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 Edge Wipes

Conceal: Top to Bottom

Description Incoming video slides on top of the outgoing video from the top to the bottom of
the screen

Apply to Transitions, single-layer segments, or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Edge Wipes
Edge Wipes reveal one video channel on top of another video channel by wiping an edge
across the screen.

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Edge Wipe: Horizontal

Description Incoming video begins at the left edge of the screen and moves to the right edge,
wiping out the outgoing video

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

Edge Wipe: Horizontal Open

Description Incoming video begins as a vertical band in the center of the screen. This band
expands to the left and right edges of the screen, wiping out the outgoing video.

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

554
 Edge Wipes

Edge Wipe: Lower Left Diagonal

Description Incoming video begins in the bottom left corner and wipes out the outgoing video
as a diagonal line moves from the bottom left corner to the top right corner

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Acceleration; Scaling; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

Edge Wipe: Lower Right Diagonal

Description Incoming video begins in the bottom right corner and wipes out the outgoing
video as a diagonal line moves from the bottom right corner to the top left corner

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Acceleration; Scaling; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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Edge Wipe: Upper Left Diagonal

Description Incoming video begins in the top left corner and wipes out the outgoing video as
a diagonal line moves from the top left corner to the bottom right corner

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Acceleration; Scaling; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

Edge Wipe: Upper Right Diagonal

Description Incoming video begins in the top right corner and wipes out the outgoing video as
a diagonal line moves from the top right corner to the bottom left corner

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Acceleration; Scaling; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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 Edge Wipes

Edge Wipe: Vertical Open

Description Incoming video begins as a horizontal band in the center of the screen. This band
expands up and down to fill the screen.

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

Edge Wipe: Vertical

Description Incoming video begins at the top edge of the screen and expands downward to fill
the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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Film Effects
Film effects emulate many of the effects an optical house can produce.

Film: 1.66 Mask

Description Masks out any area of the image that is not inside a centered rectangle. The
centered rectangle is 1.66 times wider than it is tall. The area surrounding the
rectangle is masked by a black background.

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Background; Scaling; Position; Grid

Illustration

Original image Mask effect example

(1:1.66 Mask)

Film: 1.85 Mask

Description Masks out any area of the image that is not inside a centered rectangle. The
centered rectangle is 1.85 times wider than it is tall. The area surrounding the
rectangle is masked by a black background.

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Background; Scaling; Position; Grid

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 Film Effects

Film: 16:9 Mask

Description Masks out any area of the image that is not inside a centered rectangle. The
centered rectangle is 16 units wide by 9 units high. The area surrounding the
rectangle is masked by a black background.

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Background; Scaling; Position; Grid

Film: Anamorphic Mask

Description Masks out any area of the image that is not inside a centered rectangle. The
centered rectangle is 2.35 times wider than it is tall. The area surrounding the
rectangle is masked by a black background.

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Background; Scaling; Position; Grid

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Film: Blowup

Description Modifies the size and portion of the picture that is displayed

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Background; Blowup; Crop; Grid

Illustration

Original image Blowup effect

Film: Film Dissolve

Description Blends the outgoing frame to the incoming frame over time. This dissolve has
preset parameters that emulate film’s response to light when dissolving to another
(nonblack) picture.
The Level parameter is preset to Kodak™ specifications. Avid does not
recommend adjusting the Level parameter. The Level set at 0% shows all of the
outgoing frame; the Level set at 100% shows all of the incoming frame.

Apply to Transitions

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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 Generator Effects

Film: Film Fade

Description Blends the outgoing frame to the incoming frame over time. This dissolve has
preset parameters that emulate film’s response to black material. Use this effect
for fade-ins and fade-outs.
The Level parameter is preset to Kodak™ specifications. Avid does not
recommend adjusting the Level parameter. The Level set at 0% shows all of the
outgoing frame; the Level set at 100% shows all of the incoming frame.

Apply to Transitions

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Acceleration; Grid; Transition Parameters

Film: Mask

Description Masks out any area of the image that is not inside a rectangle defined by the
effect’s Scaling, Fixed Aspect, and Position parameters. The area surrounding the
rectangle is masked by a black background.

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Background; Scaling; Position; Grid

Generator Effects
Generator effects allow you to add subtitle, captioning, timecode, or production comment
text to your video.

The following topics provide reference information for each of the Generator effects:
• Generator: SubCap
• Generator: Timecode Burn-In

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Generator: SubCap

Description Allows you to add caption or subtitle text to the video in your sequences. For
more information, see “Working with the SubCap Effect” on page 419.

Apply to Segments on video tracks above all other video content

Real-time status Real-time

Promotes to As an effect that uses AVX 2.0 plug-in technology, SubCap™ uses the advanced
keyframe interface in the Effect Editor by default. However, SubCap parameters
themselves are not keyframeable. The Subcap effect cannot be promoted to 3D.

Bit depth processing 8-bit and 16-bit

Parameter categories See “SubCap Effect Parameters” on page 657 and “SubCap Effect Global
Properties” on page 662.

Generator: Timecode Burn-In

Description Allows you to add timecode displays that update in real time, or text annotations,
to the video in your sequences.

Apply to Single-layer segments.

A typical use is to apply the effect to an empty video track above all other video
content. You can then turn the track on or off as necessary to display timecode
information or other annotations for some versions of the sequence but not others.

Real-time status Real-time

Promotes to As an effect that uses AVX 2.0 plug-in technology, Timecode Burn-In uses the
advanced keyframe interface in the Effect Editor by default. However, Timecode
Burn-In parameters themselves are not keyframeable. The Timecode Burn-In
effect cannot be promoted to 3D.

Bit depth processing 8-bit only

Parameter categories See “Timecode Burn-In Effect Parameters” on page 663.

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Illusion FX Effects
The Illusion FX category contains AVX plug-ins, which you can use like any other AVX
plug-ins. For more information on AVX plug-ins, see “Working with Plug-In Effects” on
page 151.

Several Illusion FX effects share a Border effect parameter category that has different
controls from the Border parameter category in other effect types. For more information, see
“Border Parameter for Illusion FX Effects” on page 668.

Illusion FX: Color Mix

Description Allows you to blend a solid color with the image

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Grid

Illustration

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Illusion FX: Crystal

Description Uses polygons to create a mosaic effect. You can control the size of the polygons
and the randomness of their shape.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid

Illustration

Illusion FX: Film Grain

Description Adds a grainy texture to a video clip to simulate the imperfections present in
some film footage, such as 16mm stock

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Grid

Illustration

564
 Illusion FX Effects

Illusion FX: Flare

Description Creates a random ring flare. You can control the brightness, size, and center of
the flare.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Grid

Illustration

Illusion FX: FluidBlur

Description Creates a motion blur. The amount of blur is based on the amount of motion in
the clip. Only objects that are moving from one frame to the next are blurred.

n FluidBlur creates a higher quality effect than the Motion Blur effect
because it blurs in the direction of travel. See “Illusion FX: Motion Blur”
on page 569.
You must render this effect to see the result. For more information, see “Basics of
Effects Rendering” in the Help.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid

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Illusion FX: FluidColorMap

Description Creates animation based on the amount of motion in a scene. Motion maps to
color values as follows:
• Direction of movement maps to unique chroma (color) values. A different
color is used for each direction within a 360° circle. The application uses the
Vectorscope layout (used in the Video Input tool) as a compass of color
values.
• Motion magnitude maps to luminance (brightness) and color saturation
values. Motion magnitude is defined as the amount of pixels an object moves
between frames (or fields).

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid

Illusion FX: FluidMorph

Description Allows you to morph between two clips

Apply to Transitions

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Source; Input Parameters; Border; Grid; Transition Parameters

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 Illusion FX Effects

Illusion FX: Iris

Description Wipes the foreground clip away to reveal the background clip, using a circle that
radiates out from the center. You can control the softness of the edge of the circle.

Apply to Transitions

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Grid; Transition ParametersTransition Parameters

Illustration

Illusion FX: Kaleidoscope

Description Creates an animation that resembles a kaleidoscope. You can control the number,
angle, and position of the mirrors as well as the source area for the effect.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Center; Offset; Border; Grid; Transition Parameters

Illustration

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Illusion FX: Lightning

Description Creates a random lightning pattern

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Generation; Core; Glow; Grid; Transition ParametersTransition Parameters

Illustration

Illusion FX: Melt

Description Melts away the foreground clip to reveal the background clip. The foreground
clip “melts” downward off the screen, while being distorted in a random “liquid”
manner along the horizontal lines; the vertical lines are not distorted. You can
control the strength of the distortion.

Apply to Transitions

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid; Transition Parameters

Illustration

568
 Illusion FX Effects

Illusion FX: Motion Blur

Description Allows you to blur the edges of moving objects. See also “Illusion FX:
FluidBlur” on page 565.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Grid

Illustration

Illusion FX: Pagecurl

Description Treats the foreground video channel as though it were a sheet of paper being
rolled over to reveal another page beneath.

n This effect is similar to the Rollup effect. Rollup has more flexibility, but
Pagecurl adds a highlight along the curled edge. For morei nformaiton,
see “Illusion FX: Rollup” on page 574.

Apply to Transitions

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Grid; Transition ParametersTransition Parameters

Illustration

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Illusion FX: Particle Blast

Description Divides the foreground image into circular particles and then blows away the
particles from the center outward

Apply to Transitions

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid; Transition Parameters

Illustration

Illusion FX: Particle Orbit

Description Divides the foreground image into circular particles, which then orbit around
their original position. You can control the size and spacing of the particles.

Apply to Transitions

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid; Transition Parameters

Illustration

570
 Illusion FX Effects

Illusion FX: Particle Wind

Description Divides the foreground image into circular particles and then blows the particles
away directionally

Apply to Transitions

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid; Transition Parameters

Illustration

Illusion FX: Pattern Generator

Description Creates a clip using a solid color, a variety of color bars, or a grid. The frames can
be numbered automatically, and a circle can be animated. This effect is useful for
testing purposes.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Background; Number; Circle; Grid

Illustration

571
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Illusion FX: Pinch

Description Pinches the image in toward, or pushes it out from a user-defined point. You can
control the amount of distortion and the area affected.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid

Illustration

Illusion FX: Radial Blur

Description Blurs the image inward or outward from a user-defined point, and around a
user-defined rotation. You can control the zoom factor.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid

Illustration

572
 Illusion FX Effects

Illusion FX: Random Blend

Description Uses a random pattern to blend the image of the incoming and outgoing video

Apply to Transitions

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Grid; Transition Parameters

Illustration

Illusion FX: Ripple

Description Creates ripples on the image, as if you dropped a stone into a pond. You can
control the number of ripples; their size, speed, and spread; and the color and
direction of the light.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Motion; Generation; Illumination; Border; Grid

Illustration

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Illusion FX: Rollup

Description Rolls up the foreground clip to reveal the background clip. You can control the
size and direction of the rollup.

n This effect is similar to the Pagecurl effect. Rollup has more flexibility, but
Pagecurl adds a highlight along the curled edge. For more information,
see “Illusion FX: Pagecurl” on page 569.

Apply to Transitions

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid

Illustration

Illusion FX: Shear

Description Divides the foreground clip into strips and moves alternate strips away in
opposite directions to reveal the background clip

Apply to Transitions

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid; Transition Parameters

Illustration

574
 Illusion FX Effects

Illusion FX: Sparkler

Description Creates random sparks or fireworks. You can control the number and nature of
the sparks.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Generation; Movement; Glow; Core; Grid

Illustration

Illusion FX: Sphere

Description Creates a spherical distortion in the image. You can control the size and position
of the sphere.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid

Illustration

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Illusion FX: Swirl

Description Distorts the image by swirling the pixels within a circular area. You can control
the size and position of the circle and the amount of swirl.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid

Illustration

576
 Illusion FX Effects

Illusion FX: Timecode

Description Allows you to add burn-in timecode on a clip. The application automatically
increments the timecode on each frame of the clip. This effect works for 30-fps,
24-fps, and 25-fps projects.
This effect works well on a video mixdown or when you apply the effect to a
separate uncut video filler track that plays above all other tracks. Applying the
effect to adjacent clips can be time consuming because it means that you need to
apply the effect, select the appropriate starting timecode, and render the effect for
each clip.

n Feet and frames will be incorrect in a Matchback project.

n The application uses the native timecode for the project. For example, in a
24p project, the application uses 24-fps non-drop-frame timecode.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Start Timecode; Grid

Illustration

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Illusion FX: Twist

Description Distorts the image by twisting the two ends in opposite directions. You can
control the position and the amount of the twist.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid

Illustration

Illusion FX: Wave

Description Distorts the image by applying a user-defined number of waves to it. You can
control the size of the waves.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Input Parameters; Border; Grid

Illustration

Image Effects
Image effects are general effects that apply to a single stream of video or (in the case of
Scratch Removal and Submaster) that modify all the layers of video beneath them.

578
 Image Effects

Image: Avid Pan & Zoom

Description Allows you to import a high-resolution still image, and then pan and zoom over
it. You can preview the movement in real time with no filtering and render the
effect with a wide range of filtering options that provide exceptional image
quality. For more information, see “Using Avid Pan & Zoom” on page 275.

Apply to Single-layer segments

Real-time status Real-time

Bit depth processing 8-bit only

Parameter categories Other Options button; Display; Display Options; Size; Position; Velocity; Path;
Filtering; Background; Advanced; Cache; Render Mode; Grid; Transition
ParametersTransition Parameters

Image: Blur Effect

Description Applies a blur effect to a selected area that you can animate and edit on one frame
or a series of frames. This is useful for distorting or disguising part of an image.

Apply to Single-layer or multilayer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Acceleration; Tracking; Blur; Feathering; Grid

Illustration

579
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Image: Color Correction

Description The Color Correction effect allows you to access the tools available in Color
Correction mode from the Effect Palette. Depending on your Avid editing
application, you might use the Color Correction effect when you need to create a
color correction that can be nested within other effects, when you want to apply
automatic color corrections in a single step, or when you want to apply a color
correction saved as an effect template. For more information, see “Using Color
Correction Effects in the Effect Palette” (Media Composer and NewsCutter) or
“Using the Color Correction Effect” (Symphony) in the Help.

Apply to Single-layer segments

Real-time status Real-time

Bit depth processing 8-bit and 16-bit

Parameter categories Grid (All other parameters and controls appear in the Color Correction tool.)

Image: Color Effect

Description Modifies the luminance, chroma, color style (posterized or solarized), and color
gain of the segment. You can use the Color Effect to perform keyframeable color
corrections.

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Luma Adjust; Luma Range; Luma Clip; Chroma Adjust; Color Style; Color
Gain; Grid

580
 Image Effects

Image: Flip

Description Flips the video image vertically

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Grid

Illustration

Original image Flip effect applied

Image: Flip-Flop

Description Flips the video image both horizontally and vertically

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Grid

Illustration

Original image Flip-flop effect applied

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Image: Flop

Description Flips the video image horizontally, which reverses the camera angle

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Grid

Illustration

Original image Flop effect applied

Image: Mask

Description Masks out any area of the image that is not inside a rectangle defined by the
Scaling, Fixed Aspect, and Position parameters of the effect. The area
surrounding the rectangle is masked by the effect’s background color.

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Background; Scaling; Position; Grid

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 Image Effects

Image: Mosaic Effect

Description Applies a tile effect to a selected area that you can animate and edit on one frame
or a series of frames. This is useful for distorting or disguising part of an image.

Apply to Single-layer or multilayer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Acceleration; Tracking; Mosaic; Feathering; Grid

Illustration

Image: Paint Effect

Description Enhances the creative and corrective powers of the application by allowing you to
create vector-based objects that you can animate and edit with customizable paint
brushes on one frame or a series of frames. For examples of the Paint Effect, see
“Intraframe Editing Examples” on page 497.

Apply to Single-layer or multilayer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Acceleration; Tracking; Mode; Feathering; Magic Mask; Color; Brush; Grid

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Image: Region Stabilize

Description Used to eliminate unwanted motion in a clip. For more information, see “Using
the Region Stabilize Effect” on page 334.
Stabilize, also in the Image category, is a similar but more powerful effect. For
more information, see “Stabilizing an Image” on page 329.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Model; Region of Interest; Options; Grid

Image: Resize

Description Modifies the size and position of the video. The background color displays where
no video is present. Use the H Pos, V Pos, and Size sliders to specify the size and
position of the video. Use the Crop parameters to remove the edges of the picture.

Apply to Single-layer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Background; Scaling; Position; Crop; Grid

Illustration

Original image Resize effect — Resize effect —

reduced image enlarged image

584
 Image Effects

Image: Safe Color Limiter

Description Allows you to limit the color values of video material to a specfic range, for
example, to meet safe color standards set by a broadcaster. For more information,
see “Working with the Safe Color Limiter Effect” in the Help.

Apply to Single-layer segments

Real-time status Real-time

Promotes to Uses advanced keyframes automatically

Bit depth processing 8-bit and 16-bit

Parameter categories 422 Safe; Source Monitor Analysis; Composite/Luma Levels; RGB Levels; Grid

Image: Scratch Removal

Description Allows you to remove scratches and other flaws by drawing an object to cover the
scratch, and then filling the object with clean replacement material. For examples
of the Scratch Removal effect, see “Scratch Removal” on page 482.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Acceleration; Tracking; Scratch; Feathering; Brush; Grid

Image: Stabilize

Description Allows you to eliminate unwanted motion in a video clip, such as motion from an
unstable camera or even more subtle motion such as that introduced during the
telecine process as a result of gate weave. For more information, see “Stabilizing
an Image” on page 329.

Apply to Single-layer segments

Real-time status Non-real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Tracking; Crop; Scaling; Position; Border; Background; Grid; Run Auto-Zoom

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Image: Submaster

Description When rendered, the Submaster effect creates a single media file for all the video
on the layers below the Submaster effect. This allows you to group several effects
that reside on different video layers and render them as one effect, which can
sometimes be quicker than rendering each effect separately.

n The Submaster effect does not render each track separately; you cannot
play each track separately after rendering.

Apply to Top video track under which are the video tracks that will be included in the
Submaster effect

Real-time status Real-time

Bit depth processing 8-bit and 16-bit

Parameter categories Grid

Key Effects
Key effects combine two or more streams of video, using components from one of the
streams.

The Chroma Key and Luma Key effects share a Key parameter category. For more
information, see “Key Effects Key Parameters” on page 733.

Key: AniMatte

Description Enables you to generate custom matte effects that you can apply to a segment or
transition in a sequence. You can use a variety of brushes and painting tools to
create matte effects that you can animate. For examples of the AniMatte Effect,
see “Intraframe Editing Examples” on page 497.

Apply to Transitions or multilayer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Acceleration; Tracking;Foreground; Mode; Feathering; Magic Mask; Brush; Grid

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Key: Chroma Key

Description Replaces one part of the video image with another video image based on color.
The key color in the video on the higher track is replaced with the video from the
lower track number. Chroma Key is used most frequently with a foreground
image shot in front of a highly saturated color screen.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to SpectraMatte

Bit depth processing 8-bit and 16-bit

Parameter categories Key; Secondary Key; Spill Suppression; Profile; Foreground; Acceleration;
Scaling; Position; Crop; Grid; Transition Parameters

Illustration

Background — Key image — Chroma Key effect

video layer 1 video layer 2

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Key: Luma Key

Description Replaces part of the video image with another video image based on luminance

Apply to Multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Key; Profile; Foreground; Acceleration; Scaling; Position; Crop; Grid

Illustration

Key image Background image Luma Key effect

Key: Matte Key

Description A three-layer track effect. The bottom layer is the background image, the middle
layer is the foreground image, and the top layer contains the grayscale matte or
alpha channel.

Apply to Multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Acceleration; Scaling; Position; Crop; Grid

Illustration

Layer 1 — Matte Key effect

Layer 2 —
background Layer 3 — high-contrast
foreground
matte image

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Key: RGB Keyer (AVX Plug-in Effect)

Description Replaces part of the video image with another video image based on color. The
key color in the video on the higher track is replaced with the video from the
lower track. You can also perform post-key color correction with the RGB Keyer.

Apply to Multilayer segments

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Key Color; Chroma Key; Matte Control; Color Correction; Grid

Illustration

Background — Key image — Chroma Key effect

video layer 1 video layer 2

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Key: SpectraMatte Effect

Description Replaces one part of the video image with another video image based on color.
Provides advanced controls and analytical tools for adjusting the key. The key
color in the video on the higher track is replaced with the video from the lower
track number.
SpectraMatte always uses advanced keyframes. Each parameter is individually
keyframeable, except Luma Curve, which uses the advanced keyframe display as
a luminance adjustment curve. For more information, see “SpectraMatte Luma
Control Parameters” on page 747.

Apply to Multilayer segments

Real-time status Real-time

Promotes to 3D. Uses advanced keyframes automatically.

Bit depth processing 8-bit and 16-bit

Parameter categories Bypass; Key Color; Matte Analysis; Chroma Control; Luma Control; Matte
Processing; Spill; Scaling; Position; Crop; Grid

Illustration

Background — Key image — Chroma Key effect

video layer 1 video layer 2

L-Conceal Effects
L-Conceal effects overlap one video channel over another, using a predefined L-shaped path.

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L-Conceal: Bottom Left

Description Incoming video slides up the left half of the screen from bottom to top and then
fills the screen from left to right

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

L-Conceal: Bottom Right

Description Incoming video slides up the right half of the screen from bottom to top and then
fills the screen from right to left

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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L-Conceal: Top Left

Description Incoming video slides down the left half of the screen from top to bottom and
then fills the screen from left to right

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

L-Conceal: Top Right

Description Incoming video slides down the right half of the screen from top to bottom and
then fills the screen from right to left

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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Matrix Wipes
Matrix wipes reveal one video channel on top of another video channel, using blocks or
bands that appear in a predefined position or path.

All Matrix Wipe effects share custom grid parameters, accessible from the Other Options
button. For more information, see “Custom Grid” on page 646.

Matrix Wipe: Grid

Description Incoming video begins as blocks in a grid pattern that wipe out the outgoing
video as the blocks expand to fill the screen. You can customize the grid size by
clicking the Other Options button.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Border; Profile; Foreground; Acceleration;
Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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Matrix Wipe: One-Way Row

Description Incoming video begins as a block in the top left corner of the screen that expands
horizontally, wiping out the outgoing video. When the first band reaches the right
edge, a second band appears on the left edge, just below the first. The process
repeats until the incoming video has filled the screen.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Border; Profile; Foreground; Acceleration;
Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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Matrix Wipe: Speckle

Description Incoming video appears in a random series of blocks that wipe out the outgoing
video until the blocks have filled the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Border; Profile; Foreground; Acceleration;
Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

Matrix Wipe: Spiral

Description Incoming video spirals over and wipes out the outgoing video, using blocks of
screen space, starting in the bottom left corner of the screen, spiraling inward in a
counterclockwise movement

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Border; Profile; Foreground; Acceleration;
Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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Matrix Wipe: Zig-Zag

Description Incoming video begins as a single block in the top left corner of the screen that
wipes out the outgoing video as the band expands horizontally across the screen
from left to right. When the first horizontal band reaches the right edge of the
screen, a second band appears and expands horizontally across the screen from
right to left. Succeeding bands repeat the process until the wipe is completed.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Border; Profile; Foreground; Acceleration;
Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

Motion Effects
Freeze Frame, Variable Speed, and Strobe Motion effects are traditional motion effects that
you create as new clips.

For general information, see “Creating Traditional Motion Effects” on page 167.

For other motion effects, see “Timewarp Effects” on page 626.

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Motion Effect: Freeze Frame

Description Creates a new clip that repeats the current frame in the Source monitor for the
specified duration

Apply to Current frame in the Source monitor

Real-time status Real-time

Parameters Accessible from the Clip menu. For more information, see “Freeze Frame
Parameters” on page 754.

Motion Effect: Variable Speed and Strobe Motion

Description Variable Speed creates a new clip with slow motion, fast motion, or reverse
motion. Strobe Motion creates a new clip with stuttering effect. The Strobe
Motion effect can be used in combination with the Variable Speed effect.

Apply to Clip marked with IN and OUT points in the Source monitor

Real-time status Real-time or non-real-time, dependent on the type of motion being represented.
For more information, see “Playback Capabilities for Traditional Motion Effects”
on page 175.

Parameters Available in the Motion Effect dialog box. For more information, see “Variable
Speed and Strobe Motion Parameters” on page 755.

Peel Effects
Peel effects treat one video channel as though it were a sheet of paper being peeled from the
other video channel.

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Peel: Bottom Left Corner

Description Outgoing video is peeled from incoming video from the bottom left corner to the
top right corner of the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

Peel: Bottom Right Corner

Description Outgoing video is peeled from incoming video from the bottom right corner to
the top left corner of the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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 Peel Effects

Peel: Bottom to Top

Description Outgoing video is peeled from incoming video from the bottom edge to the top
edge of the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

Peel: Left to Right

Description Outgoing video is peeled from incoming video from the left edge to the right
edge of the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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Peel: Right to Left

Description Outgoing video is peeled from incoming video from the right edge to the left
edge of the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

Peel: Top Left Corner

Description Outgoing video is peeled from incoming video from the top left corner to the
bottom right corner of the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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 Peel Effects

Peel: Top Right Corner

Description Outgoing video is peeled from incoming video from the top right corner to the
bottom left corner of the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

Peel: Top to Bottom

Description Outgoing video is peeled from incoming video from the top edge to the bottom
edge of the screen

Apply to Transitions, multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage MIddle of effect Incoming footage

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PlasmaWipe Effects
Description PlasmaWipe effects are real-time plug-in effects that use gradient image bitmaps
to create wipes and segment effects. There are 64 preset effects, and you can
create your own by creating new gradient images. For general information on
using PlasmaWipe effects, see “Working with PlasmaWipe Effects” on page 513.
The preset PlasmaWipe effects are grouped into the following categories:
• Borders — allow you to apply a variety of edge treatments to effects. For
more information, see “Using PlasmaWipe Frame and Border Effects” on
page 530.
• Center — creates a variety of center wipes.
• Horiz — creates a variety of horizontal wipes.
• Lava — creates several shape wipes based on images of lava. These effects
are examples of effects that you can create using existing images. For more
information, see “Creating a PlasmaWipe Effect from an Existing Image” on
page 521.
• Paint — creates several wipes that simulate uncovering the incoming video
by wiping away the outgoing video with a brush or cloth. These effects are
examples of how to create an effect using the Adobe Photoshop Pencil tool.
For more information, see “Creating a Wipe Using the Photoshop Pencil
Tool” on page 519.
• Techno — these are several free form shape wipes and segment effects that
you can create using the techniques described in “Working with PlasmaWipe
Effects” on page 513.
When you experiment with PlasmaWipe effects, keyframe the Level parameter to
see how the effect changes over time

Apply to Transitions, single-layer segments, or multilayer segments, depending on the

specific effect

Real-time status Real-time

Bit depth processing 8-bit only

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

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Push Effects
Push effects move one video channel to fill the screen while the other video channel is
pushed out of the screen.

n For examples of similar effects, see “Comparison of Similar Effects” on page 639.

Push: Bottom Left to Top Right

Description Incoming video pushes out outgoing video from the bottom left corner to the top
right corner of the screen. Border is on incoming video.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Push: Bottom Right to Top Left

Description Incoming video pushes out outgoing video from the bottom right corner to the
top left corner of the screen. Border is on incoming video.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Push: Bottom to Top

Description Incoming video pushes out outgoing video from the bottom to the top of the
screen. Border is on incoming video.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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 Push Effects

Push: Left to Right

Description Incoming video pushes out outgoing video from the left edge to the right edge of
the screen. Border is on incoming video.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Push: Right to Left

Description Incoming video pushes out outgoing video from the right edge to the left edge of
the screen. Border is on incoming video.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Push: Top Left to Bottom Right

Description Incoming video pushes out outgoing video from the top left corner to the bottom
right corner of the screen. Border is on incoming video.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Push: Top Right to Bottom Left

Description Incoming video pushes out outgoing video from the top right corner to the
bottom left corner of the screen. Border is on incoming video.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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 Reformat Effects

Push: Top to Bottom

Description Incoming video pushes out outgoing video from the top to the bottom of the
screen. Border is on incoming video.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Reformat Effects
Reformat effects allow you to reformat media to different aspect ratios, for example, when
you need to reformat a film aspect ratio for television programming. The effects 14:9
Letterbox, 16:9 Letterbox, and 4:3 Sidebar resize the media to conform to the aspect ratio
you select. Pan and Scan allows you to select a portion of the media to reformat.

Reformat: 14:9 Letterbox

Description Reformats media to 14:9 Letterbox aspect ratio by distorting the media. For more
information, see “Understanding the Pan and Scan Effect” on page 261.

Apply to Single-layer or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Background; Acceleration; Position H; Grid

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Reformat: 16:9 Letterbox

Description Reformats media to 16:9 Letterbox aspect ratio by distorting the media. For more
information, see “Understanding the Pan and Scan Effect” on page 261.

Apply to Single-layer or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Background; Grid

Illustration

Original footage After 16:9 Letterbox

effect applied

Reformat: 4:3 Sidebar

Description Reformats media to 4:3 Sidebar aspect ratio by distorting the media. For more
information, see “Understanding the Pan and Scan Effect” on page 261.

Apply to Single-layer or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Background; Grid

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 Sawtooth Wipes

Reformat: Pan and Scan

Description Allows you to reformat media to different aspect ratios, for example, when you
need to reformat a film aspect ratio for television programming. For more
information, see “Working with the Pan and Scan Effect” on page 261.

Apply to Multilayer segments, or single-layer segments in certain circumstances. For more

information, see “Combining the Pan and Scan Effect with Transition Effects” on
page 274.

Real-time status Non-real-time

Bit depth processing 8-bit only

Parameter categories Acceleration; Aspect Ratios; Scaling; Position; Actions; Grid

Sawtooth Wipes
Sawtooth wipes create a transition between shots, using a jagged edge like the teeth of a saw.

All Sawtooth Wipe effects share custom grid parameters, accessible from the Other Options
button. For more information, see “Custom Grid” on page 646.

Sawtooth Wipe: Horizontal Sawtooth

Description Incoming video appears with a sawtooth on the left edge of the screen. The
sawtooth edge moves to the right edge of the screen, revealing the incoming
video.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Profile; Foreground; Acceleration; Grid;
Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Sawtooth Wipe: Horizontal Open Sawtooth

Description Incoming video begins as a vertical sawtooth in the center of the screen. The
sawtooth expands left and right, revealing the incoming video.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Profile; Foreground; Acceleration; Grid;
Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Sawtooth Wipe: Vertical Open Sawtooth

Description Incoming video begins as a horizontal sawtooth in the center of the screen. The
sawtooth expands up and down, revealing the incoming video.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Profile; Foreground; Acceleration; Grid;
Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Sawtooth Wipe: Vertical Sawtooth

Description Incoming video appears with a sawtooth at the top of the screen. The sawtooth
edge moves from the top of the screen down, covering the outgoing video and
displaying the incoming video above the sawtooth.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Profile; Foreground; Acceleration; Grid;
Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Shape Wipes
Shape Wipes reveal one video channel on top of another video channel, using a growing or
moving geometric shape.

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Shape Wipe: 4 Corners

Description Incoming video begins as blocks in four corners of the screen and wipes out the
outgoing video as the blocks expand to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Shape Wipe: Center Box

Description Incoming video begins as a small box in the center of the screen and wipes out
the outgoing video as it expands to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Scaling; Position; Grid; Transition
Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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 Shape Wipes

Shape Wipe: Circle

Description Incoming video begins as a small circle in the center of the screen and wipes out
the outgoing video as it expands to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Scaling; Position; Grid; Transition
Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Shape Wipe: Clock

Description Incoming video appears as a vertical line from the center of the screen to the top
edge. The incoming video replaces the outgoing video in a clockwise motion as if
it were the hand on a clock.

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Shape Wipe: Diamond

Description Incoming video begins as a small diamond in the center of the screen and wipes
out the outgoing video as it expands to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Scaling; Position; Grid; Transition
Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Shape Wipe: Ellipse

Description Incoming video begins as a small ellipse in the center of the screen and wipes out
the outgoing video as it expands to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Scaling; Position; Grid; Transition
Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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 Shape Wipes

Shape Wipe: Horizontal Bands

Description Horizontal bands expand toward the center of the screen to reveal incoming video
between alternate shrinking bands of outgoing video

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Border; Profile; Foreground; Acceleration;
Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Shape Wipe: Horizontal Blinds

Description Incoming video begins as horizontal bands on the screen that wipe out the
outgoing video as the incoming bands expand vertically to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Border; Profile; Foreground; Acceleration;
Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Shape Wipe: Vertical Blinds

Description Incoming video begins as vertical bands on the screen that wipe out the outgoing
video as the incoming bands expand horizontally to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Custom Grid (Other Options button); Border; Profile; Foreground; Acceleration;
Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Spin Effects
Spin effects rotate one or more video channels.

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 Spin Effects

Spin: X Spin

Description Outgoing video is squeezed until it appears as a vertical line. The incoming video
then expands from that vertical line until it fills the screen. Border appears only
on the incoming video.

Apply to Transitions

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Spin: Y Spin

Description Outgoing video is squeezed until it appears as a horizontal line. The incoming
video then expands from that horizontal line until it fills the screen.

Apply to Transitions

Real-time status Real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Spin: Z Spin

Description Incoming video begins as a dot in the center of the screen and then enlarges to
full screen while rotating counterclockwise one full revolution, covering the
outgoing video

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit only

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Incoming footage

Squeeze Effects
Squeeze effects expand a video channel from a single point or line until it fills the screen,
obscuring the second video channel.

n For examples of similar effects, see “Comparison of Similar Effects” on page 639.

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 Squeeze Effects

Squeeze: Bottom Centered

Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the
center bottom of the screen and expanding to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Squeeze: Bottom Left

Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the
bottom left corner of the screen and expanding to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Squeeze: Bottom Right

Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the
bottom right corner of the screen and expanding to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Squeeze: Bottom to Top

Description Incoming video squeezes over the outgoing video, beginning at the bottom of the
screen and filling to the top of the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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 Squeeze Effects

Squeeze: Centered Zoom

Description Incoming video starts as a rectangle in the center of the screen and zooms to fill
the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Squeeze: Horizontal Centered

Description Incoming video starts as a vertical band squeezed in the center of the screen and
expands horizontally to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Squeeze: Left Centered

Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the
center left edge of the screen and expanding to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Squeeze: Left to Right

Description Incoming video squeezes over the outgoing video, beginning at the left edge of
the screen and filling to the right edge of the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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 Squeeze Effects

Squeeze: Right Centered

Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the
center right edge of the screen and expanding to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Squeeze: Right to Left

Description Incoming video squeezes over the outgoing video, beginning at the right edge of
the screen and filling to the left edge of the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Squeeze: Top Centered

Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the
center top edge of the screen and expanding to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Squeeze: Top Left

Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the
top left corner of the screen and expanding to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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 Squeeze Effects

Squeeze: Top Right

Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the
top right corner of the screen and expanding to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Squeeze: Top to Bottom

Description Incoming video squeezes over the outgoing video, beginning at the top edge of
the screen and filling to the bottom edge of the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

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Squeeze: Vertical Centered

Description Incoming video starts as a horizontal band squeezed in the center of the screen
and expands vertically to fill the screen

Apply to Transitions or multilayer segments

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Border; Profile; Foreground; Acceleration; Grid; Transition Parameters

Illustration

Outgoing footage Middle of effect Incoming footage

Timewarp Effects
Timewarp effects are motion effects that you apply directly to segments in a sequence and
customize using the Motion Effect Editor. The Timewarp effect itself is described fully in
“Understanding the Timewarp Effect and FluidMotion” on page 178. The other effects in the
Timewarp effect category are templates with different preset parameters for the Timewarp
effect.

You can use several specialized FluidMotion Edit parameters to correct artifacts in a
Timewarp effect that uses the FluidMotion rendering option. For more information, see
“FluidMotion Edit Parameters for Timewarp Effects” on page 759.

For reference information on traditional motion effects, which create new clips with changed
rates of play, see “Motion Effects” on page 596.

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 Timewarp Effects

Timewarp: 0% To 100%

Description A template for the Timewarp effect that ramps motion in a sequence from 0%
(freeze frame) to 100% (full speed). Apply the effect to a sequence in the Record
monitor, and customize it using the Motion Effect Editor. For more information,
see “Understanding the Timewarp Effect and FluidMotion” on page 178. The
inverse of this effect is “Timewarp: 100% To 0%” on page 628.

Apply to Single-layer segments

Real-time status Real-time

Bit depth processing 8-bit and 16-bit

Parameter categories All parameters and controls appear in the Motion Effect Editor. For more
information, see “Motion Effect Editor Reference” on page 184.

Illustration Speed Graph and Position Graph default settings for 0% To 100%

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Timewarp: 100% To 0%

Description A template for the Timewarp effect that ramps motion in a sequence from 100%
(full speed) down to 0% (freeze frame). Apply the effect to a sequence in the
Record monitor, and customize it using the Motion Effect Editor. For more
information, see “Understanding the Timewarp Effect and FluidMotion” on page
178. The inverse of this effect is “Timewarp: 100% To 0%” on page 628.

Apply to Single-layer segments

Real-time status Real-time

Bit depth processing 8-bit and 16-bit

Parameter categories All parameters and controls appear in the Motion Effect Editor. For more
information, see “Motion Effect Editor Reference” on page 184.

Illustration Speed Graph and Position Graph default settings for 100% To 0%

628
 Timewarp Effects

Timewarp: FluidFilm 2:3 Cadence

Description A template for the Timewarp effect that allows you to create a film look from
interlaced video sources.

n You can also use the templates as a starting point to create a video look
from sources originally shot on film by switching the input and output
format values.
Apply the effect to a sequence in the Record monitor, and customize it using the
Motion Effect Editor. For more information, see “Understanding the Timewarp
Effect and FluidMotion” on page 178.
Use this effect in NTSC projects. For PAL projects, see “Timewarp: FluidFilm
Progressive” on page 629.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit and 16-bit

Parameter categories All parameters and controls appear in the Motion Effect Editor. For more
information, see “Motion Effect Editor Reference” on page 184.

Timewarp: FluidFilm Progressive

Description A template for the Timewarp effect that allows you to create a film look from
interlaced video sources.

n You can also use the templates as a starting point to create a video look
from sources originally shot on film by switching the input and output
format values.
Apply the effect to a sequence in the Record monitor, and customize it using the
Motion Effect Editor. For more information, see “Understanding the Timewarp
Effect and FluidMotion” on page 178.
Use this effect in PAL projects. For NTSC projects, see “Timewarp: FluidFilm
2:3 Cadence” on page 629.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit and 16-bit

Parameter categories All parameters and controls appear in the Motion Effect Editor. For more
information, see “Motion Effect Editor Reference” on page 184.

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Timewarp: Pulldown Insertion

Description A template for the Timewarp effect that inserts 2:3 pulldown into a sequence.
Source material without 2:3 pulldown has the cadence AA BB CC DD, where
each letter represents a field. Pulldown Insertion uses the cadence
AA BB BC CD DD. Using Pulldown Insertion slows the source material to 4/5
(80% speed).
Apply the effect to a sequence in the Record monitor, and customize it using the
Motion Effect Editor. For more information, see “Understanding the Timewarp
Effect and FluidMotion” on page 178.
The inverse of this effect is “Timewarp: Pulldown Removal” on page 631.

Apply to Single-layer segments

Real-time status Real-time

Bit depth processing 8-bit and 16-bit

Parameter categories All parameters and controls appear in the Motion Effect Editor. For more
information, see “Motion Effect Editor Reference” on page 184.

Illustration Speed Graph and Position Graph default settings for Pulldown Insertion

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 Timewarp Effects

Timewarp: Pulldown Removal

Description A template for the Timewarp effect that removes 2:3 pulldown from a sequence.
Source material with 2:3 pulldown has the cadence AA BB BC CD DD, where
each letter represents a field. Pulldown Removal uses the cadence
AA BB CC DD. Using Pulldown Removal speeds up the source material to 5/4
(125%).
Apply the effect to a sequence in the Record monitor, and customize it using the
Motion Effect Editor. For more information, see “Understanding the Timewarp
Effect and FluidMotion” on page 178.
The inverse of this effect is “Timewarp: Pulldown Insertion” on page 630.

Apply to Single-layer segments

Real-time status Real-time

Bit depth processing 8-bit and 16-bit

Parameter categories All parameters and controls appear in the Motion Effect Editor. For more
information, see “Motion Effect Editor Reference” on page 184.

Illustration Speed Graph and Position Graph default settings for Pulldown Removal

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Timewarp: Reverse Motion

Description A template for the Timewarp effect that creates a reverse motion effect at 100%
speed.
Apply the effect to a sequence in the Record monitor, and customize it using the
Motion Effect Editor. For more information, see “Understanding the Timewarp
Effect and FluidMotion” on page 178.

Apply to Single-layer segments

Real-time status Non-real-time

Bit depth processing 8-bit and 16-bit

Parameter categories All parameters and controls appear in the Motion Effect Editor. For more
information, see “Motion Effect Editor Reference” on page 184.

Illustration Speed Graph and Position Graph default settings for Reverse Motion

632
 Timewarp Effects

Timewarp: Speed Boost

Description A template for the Timewarp effect. The effect starts out at half speed, reaches
approximately double speed at the midpoint, and returns to half speed at the end.
Apply the effect to a sequence in the Record monitor, and customize it using the
Motion Effect Editor. For more information, see “Understanding the Timewarp
Effect and FluidMotion” on page 178.
A similar effect is “Timewarp: Speed Bump” on page 634.

Apply to Single-layer segments

Real-time status Real-time

Bit depth processing 8-bit and 16-bit

Parameter categories All parameters and controls appear in the Motion Effect Editor. For more
information, see “Motion Effect Editor Reference” on page 184.

Illustration Speed Graph and Position Graph default settings for Speed Boost

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Timewarp: Speed Bump

Description A template for the Timewarp effect. The effect starts out at full speed, slows to
approximately half speed at the midpoint, and returns to full speed at the end.
Apply the effect to a sequence in the Record monitor, and customize it using the
Motion Effect Editor. For more information, see “Understanding the Timewarp
Effect and FluidMotion” on page 178.
A similar effect is “Timewarp: Speed Boost” on page 633.

Apply to Single-layer segments

Real-time status Real-time

Bit depth processing 8-bit and 16-bit

Parameter categories All parameters and controls appear in the Motion Effect Editor. For more
information, see “Motion Effect Editor Reference” on page 184.

Illustration Speed Graph and Position Graph default settings for Speed Bump

Timewarp: Timewarp

Description Apply the effect to a sequence in the Record monitor, and customize it using the
Motion Effect Editor. For more information, see “Understanding the Timewarp
Effect and FluidMotion” on page 178.

Apply to Single-layer segments

Real-time status Real-time

Bit depth processing 8-bit and 16-bit

Parameter categories All parameters and controls appear in the Motion Effect Editor. For more
information, see “Motion Effect Editor Reference” on page 184.

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 Title Effects

Timewarp: Trim to Fill

Description A preset effect using the Timewarp effect that changes the playback speed to a
constant rate. You can change the rate by trimming the clip.
Apply the effect to a clip in the Timeline. The system displays the current speed
in the Timeline along with the clip name. The default speed is 100%. To change
the speed, enter Trim mode and trim the effect shorter (faster) or longer (slower).
When you perform the trim operation you are trimming the effect, not the clip.
The beginning and ending frames (and the number of source frames) remain the
same.

n You can achieve a similar result using the Fit to Fill checkbox for
Traditional Motion effects or the Fit to Fill button on the Command
palette. However, the Trim to Fill effect allows you to access the higher
quality Blend rendering options available for Timewarp effects.
For more information, see “Understanding the Timewarp Effect
and FluidMotion” on page 178.

Apply to Single-layer segments

Real-time status Real-time

Bit depth processing 8-bit and 16-bit

Parameter categories All parameters and controls appear in the Motion Effect Editor. For more
information, see “Motion Effect Editor Reference” on page 184.

Title Effects
Title effects, created with the Title tool or with Marquee and saved to bins as Title clips, can
incorporate text, graphic objects, imported graphics, and video. Similar to Matte Key effects,
Title clips are edited as segments on one video layer and then are keyed over background
video on the underlying video layers.

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Title Effects: Crawling Title

Description Crawling titles can incorporate text, graphic objects, imported graphics, and
video. By default, crawling titles scroll from right to left on the screen. For more
information, see “Creating Rolling and Crawling Titles” on page 380.

Apply to A segment above other video layers

Real-time status Non-real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Open with Title Tool or Marquee (Other Options button); Profile; Foreground;
Acceleration; Position V; Scroll Position H; Crop; Grid

Illustration

Start of crawl Middle of crawl End of crawl

636
 Title Effects

Title Effects: Rolling Title

Description Rolling titles can incorporate text, graphic objects, imported graphics, and video.
By default, rolling titles scroll from the bottom to the top of the screen. For more
information, see “Creating Rolling and Crawling Titles” on page 380.

Apply to A segment above other video layers

Real-time status Non-real-time

Promotes to Advanced keyframes

Bit depth processing 8-bit and 16-bit

Parameter categories Open with Title Tool or Marquee (Other Options button); Profile; Foreground;
Acceleration; Position H; Scroll Position V; Crop; Grid

Illustration The Long Road Home

The Long Road Home

The Long Road Home

Start of roll Middle of roll End of roll

Title Effects: Title

Description Title effects can incorporate text, graphic objects, imported graphics, and video.
For more information, begin with “Working with Titles: Basics” in the Help.

Apply to A segment above other video layers

Real-time status Real-time

Promotes to Advanced keyframes, 3D

Bit depth processing 8-bit and 16-bit

Parameter categories Open with Title Tool or Marquee (Other Options button); Profile; Foreground;
Acceleration; Scaling; Position; Crop; Grid

Illustration

The Long Road Home

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Xpress 3D Effects
Description Provides a limited set of parameter categories for creating basic 3D effects that
are fully compatible with Avid Xpress editing applications that include a 3D
Ball effects option. Available by applying one of the effects from the Xpress 3D
Effect category in the Effect Palette. Once you have applied one of the effects,
you can switch to another shape by making a selection from the Shape fast
menu, or you can switch to 3D PIP by disabling the Shape parameter category.
PIP Apply to Transitions, single-layer segments, or multilayer segments, depending on
ircumstances

Real-time status 3D PIP is a real-time effect in most circumstances.

Page 3D Ball, 3D Page Fold, and 3D Slats are real-time effects in most circumstances
Fold when used with SD media, but are non-real-time effects when used with HD
media.
For more information on real-time playback for 3D effects, see “Real-Time
Playback of 3D Effects” on page 352.
Slats
Promotes to Advanced keyframes, 3D Warp (for the complete set of 3D parameter
categories)

Bit depth processing 8-bit and 16-bit. 16-bit requires the use of the HQ (Highest Quality) button in
the Effect Editor. For more information, see “Rendering 3D Effects Using the
HQ (Highest Quality) Option” on page 141.

Parameter categories For all Xpress 3D effects: Shape; Target; Border (3D); Foregnd (Foreground)
(3D); Background Color; Profile (3D)
Additionally for 3D PIP, 3D Page Fold, and 3D Slats: Crop (3D)
Additionally for 3D PIP and 3D Ball: Scaling (3D); Position (3D); Spline
Additionally for 3D PIP only: Tracking; Axis; Rotation; Acceleration (3D);
Shadow; Trail

638
 Comparison of Similar Effects

Comparison of Similar Effects

Four effect categories have similar results: Box Wipe, Conceal, Push, and Squeeze.
Examples of these effects are shown here to assist you in using these effects.

Box Wipe —
Top Left to
Bottom Right

Conceal —
Top Left to
Bottom Right

Push —
Top Left to
Bottom Right

Squeeze —
Top Left

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16 Effects Parameter Reference

This chapter provides reference information for all parameters available for adjusting effects
in your Avid editing application.
• Effect parameter categories that are common to multiple 2D effects across at least two
effect categories are listed in “Common 2D Effect Parameters” on page 642.
• Effect parameter categories that are unique to a single 2D effect category are listed by
the effect category, as follows:
- “Film Effects Blowup Parameter” on page 657
- “Generator Effect Parameters” on page 657
- “Illusion FX Effect Parameters” on page 668
- “Image Effect Parameters” on page 701
- “Key Effect Parameters” on page 733
- “Motion Effect Parameters” on page 754
- “Reformat Effect Parameters” on page 757
- “FluidMotion Edit Parameters for Timewarp Effects” on page 759
- “Title Effect Parameters” on page 762
• Effect parameter categories for 3D effects are listed in “3D Effect Parameters” on page
765.

Most effect parameters are keyframeable — that is, they can be set to different values at
different points in an effect’s duration to alter an effect over time. However, some effect
parameters apply to all keyframes and their values cannot change over the duration of an
effect. When an effect parameter is not keyframeable, its description in this chapter indicates
this property of the parameter.

For general information on effects editing, begin with “Working with Effects: Basics” in the
Help. For general information on how to adjust effect parameters, see “Using the Effect
Editor” in the Help. For reference information on effects, see “Effects Reference” on page
539.
16 Effects Parameter Reference

Common 2D Effect Parameters

This section describes, in alphabetical order, 2D effect parameters that are common to
multiple effects across at least two effect categories.

Acceleration
Acceleration adjusts the speed of an effect over time by having the effect ease in and ease
out of every keyframe. This gives the effect a more natural appearance.

c Acceleration is not recommended for rolls or other titles with vertical motion, due to
anti-aliasing effects, which cause flicker.

The overall speed of an effect is determined by the duration of the effect, which is
determined by the length of the clip in the sequence. If you want to slow down or speed up
the movement of an effect, you need to change the length of your effect or use add edits to
limit the portion of the clip affected by the effect.

Drag the slider to control ease in and ease out motion. When the slider is to the left (value of
0), there is no ease in and ease out motion. The effect maintains a constant speed throughout
its path. As the slider moves to the right (toward a maximum value of 100), ease in and ease
out motion increases.This parameter is not keyframeable.

n For information on the 3D equivalent of this parameter category, see “Acceleration (3D)”
on page 767.

Background
The Background parameter sets the color for the background in effects that display a
background. For example, the background parameters determine the color to be used in a
Fade to Color effect, a Fade from Color effect, or a Dip to Color effect.

n For information on the 3D equivalent of this parameter category, see “Background Color”
on page 768.

This parameter is not keyframeable.

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 Common 2D Effect Parameters

The following table describes the Background parameters available in most effects. The
Background parameter categories for the Avid Pan & Zoom effect and for the Illusion FX
Pattern Generator effect have different parameters that are described in “Avid Pan & Zoom
Effect Background Parameters” on page 706 and “Pattern Generator Effect Background
Parameters” on page 685.

Parameter Description

Other Options button Opens the Windows Color dialog box or the Macintosh Colors panel for precise color
selection. For more information, see “Adjusting a Color Parameter” on page 76.

Hue Identifies the background color. The Hue parameter is measured as values on a color
wheel ranging from 0 to 255. The start (0) and ending (255) values are both red.

Sat (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no
chrominance and 255 is a fully saturated color.

Lum (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and 255
is full brightness or white.

Border
Many effects allow you to place a border on the inner or incoming picture in the effect. The
Border parameters allow you to specify the color, softness, and width of the border. Some
effects also include Blend Color parameters for blending border color.

Border without the Blend Color parameters Border with the Blend Color parameters
Other Options button

n For information on the 3D equivalent of this parameter category, see “Border (3D)” on
page 769.

The following table describes the Border parameters available for most effects. The Border
parameter category for Illusion FX effects has different parameters that are described in
“Border Parameter for Illusion FX Effects” on page 668.

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16 Effects Parameter Reference

Parameter Description

Other Options button Opens the Windows Color dialog box or the Macintosh Colors panel for precise color
selection. For more information, see “Adjusting a Color Parameter” on page 76.

Hue Identifies the border or blend color. The Hue parameter is measured as values on a color
wheel ranging from 0 to 255. The start (0) and ending (255) values are both red.

Sat (saturation) Specifies the amount or intensity of the border or blend color. Values range from 0 to 255,
where 0 is no chrominance and 255 is a fully saturated color.

Lum (luminance) Specifies the brightness of the border or blend color. Values range from 0 to 255, where 0
is black and 255 is full brightness or white.

Width Specifies the width of the border. Values range from 0 (no border) to 63 (widest border).
The bar above the Width parameter shows the relative size of the border.

Soft (softness) Blends the border with the background image, giving the border a soft appearance. Values
range from 0 (no softness) to 63 (maximum softness).

Fixed Border Turns off the Blending option. For PlasmaWipe effects, Fixed Border allows you to
specify whether the border can change shape during the effect. For the Frame and Border
PlasmaWipe effects the border is used to create the effect.

Brush
The Brush parameters enable you to define the shape, size, and softness of the brush for
creating brush strokes on an image. Additionally, you can customize the shape and rotate the
head of the Brush tool to create a variety of new effects.

Available in:

• Image: Paint Effect • Key: AniMatte

• Image: Scratch Removal • FluidMotion Edit for Timewarp Effects

644
 Common 2D Effect Parameters

This parameter is not keyframeable.

The following table describes the Brush parameters.

Parameter Description

Path Controls the percentage of paint or the matte that is visible from the initial point of pressure to
the completion of the brush stroke. Path values range from 0 (no paint visible) to 100 (entire
stroke visible).
Unlike other Paint Effect parameters, you can adjust Path only after you finish painting.

Soft (softness) Adjusts the softness of the brush head. Softness ranges from a value of 0 (hard center) to 100
(softest overall head).

Size Adjusts the size of the brush head. Size is measured in terms of pixel width. The widths range
from 0 to 100 pixels.

Shape buttons Clicking one of the Shape buttons changes the brush head to the new shape.

Spin Enables you to rotate the brush head 360 degrees in the clockwise and counterclockwise
directions. The range of clockwise rotation is from 0 to –360 degrees, and the range of
counterclockwise rotation is from 0 to 360 degrees. The default position for the brush head in
the Brush Preview window is 0.

Crop
The Crop parameters remove video from the top, bottom, left, and right edges of the video.

n For information on the 3D equivalent of this parameter category, see “Crop (3D)” on page
771.

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16 Effects Parameter Reference

The following table describes the Crop parameters.

Parameter Description

T (top) Removes video from the top of the inner or incoming video. Values range from 0 to 999; 0 is the
top of the screen, 500 is the middle of the screen, and 999 is the bottom of the screen.

B (bottom) Removes video from the bottom of the inner or incoming video. Values range from –999 to 0; 0 is
the bottom of the screen, –500 is the middle of the screen, and –999 is the top of the screen.

L (left) Removes video from the left side of the inner or incoming video. Values range from 0 to 999; 0 is
the left side, 500 is the middle, and 999 is the right side.

R (right) Removes video from the right side of the inner or incoming video. Values range from –999 to 0;
0 is the right side, –500 is the middle, and –999 is the left side.

Custom Grid
In Matrix Wipe, Sawtooth Wipe, and some Shape Wipe effects, you can use a grid to define
the position or progress of certain effects over time. You define the grid by clicking the
Other Options button to open a dialog box, and then either selecting a standard preset grid or
entering a custom number of rows and columns. The minimum number of rows and columns
is 2 x 2; the default number of rows and columns is 8 x 6.

Feathering
Feathering adds soft edges to a painted object or a matte key. Adding a soft edge can make a
composited object look more natural against the background. The following table describes
the Feathering parameters.

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 Common 2D Effect Parameters

Available in:

• Image: Blur Effect • Key: AniMatte

• Image: Mosaic Effect • FluidMotion Edit for Timewarp Effects
• Image: Paint Effect
• Image: Scratch Removal

The following table describes the Feathering parameters.

Parameter Description

Bias Increases control over the dissipation of pixels around the edges of a painted object or matte.
Adjusting bias is especially effective when you trace an element on the screen with the Paint
Effect.
A Bias setting of 0 feathers pixels starting at the outside edge, a setting of 50 starts
feathering at the center portion of the edge, and a setting of 100 starts feathering at the inner
portion of the edge. The default setting for Bias is 50.

Hor (horizontal) Enables you to select the dominant direction in which feathering of an object or matte
and Vert (vertical) appears.
Increasing the horizontal parameter extends feathering in both the positive and negative
directions along the X axis (right to left and left to right on the screen). The range is 0 pixels
(no feathering) to 63 pixels (maximum feathering).
Increasing the vertical parameter extends feathering in both the positive and negative
directions along the Y axis (upward and downward on the screen). The range is 0 pixels (no
feathering) to 63 pixels (maximum feathering).

Fixed Aspect Gangs the Hor and Vert sliders together. When you drag one of the sliders, the other slider
moves in unison with the first slider. When you enable the Fixed Aspect option, horizontal is
the dominant direction.

Anti-alias Decreases the jagged appearance of a selected object’s edges. Use anti-aliasing in
combination with feathering to improve the appearance of an object’s edges.

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Foreground
The Foreground parameters are used, together with keyframes, to set the relative amount of
the effect to be displayed over time. The additional options included with the Level slider
vary, depending on the type of effect. The following table describes the Foreground
parameters.

n For information on the 3D equivalent of this parameter category, see “Foregnd (Foreground)
(3D)” on page 774.

The following table describes the Foreground parameters.

Parameter Description

Level Controls the opacity of the foreground image. A Level of 0 is 0 percent opacity (the foreground
is transparent), a Level of 50 is 50 percent opacity, and a Level of 100 is 100 percent opacity (no
transparency).
For PlasmaWipe effects, the Level value controls the amount of the effect at any given point. As
you increase the value, the effect reveals more incoming video.

Swap Sources Applies to key effects (such as Chroma Key or Luma Key), 3D effects, and the PIP
(Picture-in-Picture) effect only.
Click Swap Sources to swap the image source for the foreground and background layers of
the effect.

Reverse Available for all effects except the Paint Effect and the AniMatte effect.
Animation
Click Reverse Animation to cause the entire effect to be reversed, including the direction of
movement as well as the incoming and outgoing sources.
This maintains the shot continuity while reversing the movement. For example, instead of the
outgoing shot peeling off from the top left corner, the incoming shot peels on from the bottom
right corner. This option effectively creates a mirror image of the sequence of keyframes for the
effect as they appear in the Effect Preview monitor’s position bar.

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Parameter Description

Invert Key Applies to key effects only (such as Chroma Key or Luma Key). Click Invert Key to reverse the
key.
With a Chroma Key effect (2D or 3D), inverting the key displays the key color regions while
showing the background image source through the foreground image area.
With a Luma Key effect (2D or 3D), inverting the key displays the background image source
through the darker areas rather than the lighter areas of the foreground image source.
With a Matte Key effect, inverting the key effectively reverses the black and white areas of the
alpha channel so that foreground and background are reversed.

Show Alpha Applies to key effects only (such as Chroma Key or Luma Key).
Displays the grayscale alpha channel used to apply the key effect to the foreground and
background source. This allows you to examine problem areas of the key while making
adjustments.

Grid
The Grid parameters are used to define the Effect Grid associated with an effect. Grid
parameters set in the Effect Editor override settings in the Grid Settings dialog box for that
effect only. The following table describes the Grid parameters.

Other Options button Grid Type Fast Menu button

Enable button

Transfer Fast Menu button

This parameter is not keyframeable, and might not be available in all project types.

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The following table describes the Grid parameters

Parameter Description

Other Options Opens the Grid Settings dialog box. For a description of the Grid Settings dialog box, see
button “Grid Settings” in the Help.

Grid Type Fast Click to select one of the following grid types:
menu
• Square
• Standard Film
• Academy
The Academy grid includes a safety margin on the left that is used for adding the
optical sound track.
• Super 35
• Anamorphic

Enable button Turns the local Grid effect on (pink) or off (gray). If you disable the local Grid effect, the
application uses the global settings defined in the Grid Settings dialog box.

Fields Determines the number of tick marks along the grid axes as well as the number of visible
grid points. Values range from 8 to 32. The default value is 12.

Sub (subfields) Determines the snap-to-grid feature between visible grid points. The value determines
how many jumps are in between each visible point. Values range from 0 to 10. Set Sub to
1 to snap only to visible points. A value of 2 provides 1/2-field jumps. A value of 4 (the
default value) provides 1/4-field jumps, and so on. Set Sub to 0 to turn off the snap-to-grid
feature.

Source Scan Size Applies to film projects, where an optical house scans film for the addition of visual
effects. Values range from 720 to 9999 for Horizontal and from 243 to 9999 for Vertical.
The default values are 720 x 486 pixels.

Source Grid Offset The Hor (horizontal) and Vert (vertical) sliders move the grid on the image. The Inset
slider shrinks the grid proportionally. Values are set to approximately 15% of the current
values in the Source Scan Size sliders. These values are intended mainly for film projects.

Transfer Fast menu Click to specify how the film was transferred to video as follows:
• Full Aperture
Transferred everything that is visible in the frame
• Academy
Did not transfer the sound track area that appears on the left side of the film

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Magic Mask
Magic Mask enables you to apply effects across a series of frames, using the chroma and
luma values as the criteria for edge detection. After you use Magic Mask to pick a color with
the eyedropper, you can adjust the Hue, Sat, and Lum sliders to fine-tune the color selection.
The following table describes the Magic Mask parameters.

Available in:

• Image: Paint Effect • Key: AniMatte

n When using the Paint Effect, keep in mind that the Hue, Sat, and Lum sliders in the Magic
Mask parameter category enable you to refine the color you select from the video
background. Use the sliders in the Color parameter category in conjunction with one of the
Paint Effect modes to colorize your selection.

The following table describes the Magic Mask parameters.

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Parameter Description

Hue Affects the tint of the color selection. The tint refers to the name commonly associated with a
color, such as red, green, or blue. The slider values range from 0 to 255.

Sat Affects the purity or intensity of the color selection. The color gray has no saturation at all; a
(saturation) fully saturated color produces the most intense representation of that color. The slider values
range from 0 to 255.

Lum Affects the brightness of the color selection. The color black has 0 brightness. The slider values
(luminance) range from 0 to 255.

Gain When you are using the AniMatte effect, Gain increases or decreases the effect of Magic Mask
on pixels that are contiguous to your color selection within the borders of a matte key. Gain
applies color correction to pixels that fall within the specified color range, or tolerance, of the
color you pick with the eyedropper. The tolerance you adjust with the Gain slider is relative to
the RGB values of the color you picked.
When you are using the Paint Effect, Gain increases or decreases the range of pixels surrounding
the color you pick that Magic Mask enables you to modify in conjunction with your selected
paint mode. Gain includes or excludes pixels surrounding the color you pick that falls within a
specified color range, or tolerance. The tolerance you adjust with the Gain slider is relative to the
RGB values of the color you picked.
Decreasing the Gain value lessens the color range and includes fewer pixels contiguous to the
matte key or color selection. Increasing the gain expands the range and includes more pixels
surrounding the matte key or color selection.
Values range from 0 to 63 pixels.

Soft (softness) Increases or decreases the amount of softness applied to a color selection and contiguous pixels
that fall within a specified tolerance. The tolerance you adjust with the Soft slider is relative to
the RGB values of the color picked in the selection. The range is from 0 to 63.

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Position
Position parameters set horizontal and vertical position.

n For information on the 3D equivalent of this parameter category, see “Position (3D)” on
page 780.

The following table describes the Position parameters available for most effects. The
Position parameters for the Avid Pan & Zoom effect behave somewhat differently, as
described in “Avid Pan & Zoom Effect Position Parameters” on page 703.

Some other effects have position parameter categories that differ from the standard Position
parameter category. These variations are described in the following topics:
• “14:9 Letterbox Position H Parameter” on page 757 (for the 14:9 Letterbox Reformat
effect)
• “Crawling Title Position V Parameter” on page 763 and “Crawling Title Scroll Position
H Parameter” on page 763 (for Crawling Titles)
• “Rolling Title Position H Parameter” on page 764 and “Rolling Title Scroll Position V
Parameter” on page 764 (for Rolling Titles)

The following table describes the Position parameters.

Parameter Description

H Pos Moves the video from side to side. Values range from –999 to 999. Negative values move
(horizontal position) the image to the left. Positive values move the image to the right.

V Pos Moves the video up and down. Values range from –999 to 999. Negative values move the
(vertical position) image to the top. Positive values move the image to the bottom.

Use Tracking The application maps a tracker named Point A to the T1 tracker selector. For more
information, see “Effects and Effect Parameters That Use Tracking Data” in the Help.
Two additional buttons allow you to use the data for a single axis only. For more
information, see “Limiting the Effect of Position Tracking Data to a Single Axis” in the
Help.

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Profile
The Profile window in the Effect Editor is a graphical representation of the foreground level
and acceleration applied to effect keyframes:
• Foreground level affects the opacity of the effect. The greater the opacity, the closer to
the top of the Profile graph the keyframe appears.
To adjust the foreground level, select the appropriate keyframe indicator, then click the
round white keyframe indicator that appears on the Profile graph, and drag it up or down
to increase or decrease the opacity of the foreground image.
• Acceleration affects the rate of movement into and out of keyframes. The greater the
acceleration, the more rounded the lines appear in the Profile window. You can adjust
Acceleration with the Acceleration slider only. For more information, see
“Acceleration” on page 642.

100% level
(foreground opaque) Straight lines indicate
no acceleration.

0% level
(foreground transparent)

n For information on the 3D equivalent of this parameter category, see “Profile (3D)” on page
781.

Scaling
Scaling involves resizing the effect by adjusting height and width. The following table
describes the Scaling parameters.

Scale button

n For information on the 3D equivalent of this parameter category, see “Scaling (3D)” on
page 782.

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The following table describes the Scaling parameters.

Parameter Description

Wid (width) Controls the width of the image when the Fixed Aspect parameter is disabled. Stretches or
compresses the width of the effect. Values range from 0 to 400, where 100 indicates 100%
scaling (normal size).

Hgt (height) Controls the height of the image when the Fixed Aspect parameter is disabled. Stretches or
compresses the height of the effect. Values range from 0 to 400, where 100 indicates 100%
scaling (normal size).

Fixed Aspect Determines which position and size parameters are displayed. When the Fixed Aspect
parameter is enabled, the aspect ratio of the picture cannot be changed. The Wid and Hgt sliders
are ganged and move together.

Use Tracking The application maps two trackers named Point A and Point B to the two tracker selectors. For
more information, see “Effects and Effect Parameters That Use Tracking Data” on page 293.

Tracking
When you enable an individual selector, your Avid editing application maps a tracker to that
selector. Trackers are named Point A, Point B, and so on. For more information, see “Motion
Tracking and Stabilization” on page 289.

n For Intraframe effects, trackers can be enabled only when an Intraframe object is selected.

Transition Parameters
The Transition parameters appear at the bottom of the Effect Editor.

Click the Transition Effect Alignment button

to select a position from the menu.

Transition effect
duration box

Transition effect
alignment menu

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n The Transition Effect Alignment button shows the alignment of the transition effect applied
at the cut point. If the cut point does not have a transition effect, the Transition Effect
Alignment button appears as a vertical bar. If the cut point has an existing transition effect,
the button indicates the alignment of the transition effect.

Transition Effect Alignment

The Transition Effect Alignment parameters specify the start of the transition effect relative
to the cut point in the sequence.

This parameter is not keyframeable.

The following options are available from the menu when you click the Transition Effect
Alignment button

Option Description

Ending at Cut The transition effect starts a number of frames before the cut defined by the
duration, such that the effect completes at the cut point in the video.

Centered on Cut The transition is centered on the cut so that half the effect occurs before the
cut point and half occurs after the cut point in the sequence.

Starting at Cut The transition effect starts immediately after the last frame of the outgoing
video is displayed.

Cutom Start Allows you to specify the number of frames before and after the cut to be
included in the effect.

Transition Effect Duration

The Transition Effect Duration box specifies the length of time that the effect will span the
transition. The duration of a segment effect is determined by the length of the segment. The
Transition Effect Duration format that is displayed (for example, 1:00 is 1 second and 0
frames) is determined by the Transition Effect Duration setting you selected at the top of the
Effect Preview window.

This parameter is not keyframeable.

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Film Effects Blowup Parameter

The following table describes the parameters for the Blowup effect’s Blowup Parameter. The
Blowup effect is available from the Film effect category.

Parameter Description

Field Controls the size of the image. A field of 0 leaves the image size unchanged, and a field of
10 increases the image to the maximum size.

X Pos (X position) Allows you to position the image horizontally on the screen. The X Position varies on a scale
of West 20 to East 20, where 0 is unchanged. This matches the description in the cut list.

Y Pos (Y position) Allows you to position the image vertically on the screen. The Y Position varies on a scale of
North 15 to South 15, where 0 is unchanged. This matches the description in the cut list.

Generator Effect Parameters

This section contains reference summaries for the effect parameters that are unique to the
Generator effect category.

SubCap Effect Parameters

The following table describes the parameter controls available in the SubCap effect.

SubCap effect parameters are not keyframeable.

For illustrated examples of the use of SubCap effect parameters, see “Examples of SubCap
Effect Parameter Adjustments” on page 436.

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SubCap Effect Parameters

Category Control Description

Edit Global Opens the Global Properties dialog box, which allows you to add information
Properties to a caption effect, manage parameter stylesheets, and synchronize effect
parameters and information across all effects on a track or all effects in a
sequence. For more information, see “Adding Information to a SubCap Effect”
on page 427, “SubCap Effect Global Properties” on page 662, “Working with
SubCap Effect Stylesheets” on page 433, and “Synchronizing SubCap Effect
Parameters and Information” on page 429.

Caption Files Import Caption Opens the “Select a file that contains caption data” dialog box, allowing you to
Data import caption data from an EBU N19 or a DS caption file. For more
information, see “Importing a Caption File” on page 426.

Export Caption Opens the “Export caption data to the specified file” dialog box, allowing you
Data to export caption data to an EBU N19 or a DS caption file. For more
information, see “Exporting SubCap Effect Data to Caption Files” on page
431.

Text Color Sets the color of the text.

Appearance
You can:
• Click the Other Options button to open the Windows Color dialog box or
the Macintosh Color panel.
• Use the eyedropper to select a color from the screen
For more information, see “Adjusting a Color Parameter” on page 76.
• Use the Red, Green, and Blue sliders to set the color. Slider values range
from 0 to 255.

Opacity Sets the opacity of the text. Values range from 0 (fully transparent) to 1 (fully
opaque) in 0.1 increments.

Font Face Sets the font used for the text. If you need support for Unicode characters,
select a font that is Unicode-enabled.

Font Size Sets the size of the text font in vertical pixels (scan lines). Values range from 0
to 999.

n If caption objects are very large (for example, if you are working with a
very large font size), you might experience performance limitations, for
example during real-time playback.

Line Weight Controls the thickness of the outline around the text characters, or adds
thickness to the text characters, depending on the selection you make in the
Outline menu.

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Category Control Description

Outline menu Select Basic Outline to add an outline to text characters. Use the Line Weight
thumbwheel above the Outline menu to control the thickness of the outline.
Use the Color control below the Outline menu to set the color of the outline.
Select No Outline, then adjust the Line Weight thumbwheel to add thickness to
text characters without using a differently colored outline.

n Style sheets created in previous releases of Avid editing applications do

not include the properties that control outlines. You must resave existing
style sheets to add outline properties to them.

Color Sets the color of the outline surrounding text characters.

You can:
• Click the Other Options button to open the Windows Color dialog box or
the Macintosh Color panel.
• Use the eyedropper to select a color from the screen
For more information, see “Adjusting a Color Parameter” on page 76.
• Use the Red, Green, and Blue sliders to set the color. Slider values range
from 0 to 255.

Text Shadow Sets the type of shadow used for the text. The options are:
• No Shadow
• Standard Shadow
• Custom Shadow
If you select Standard Shadow, your Avid editing application applies a default
shadow offset and direction. The shadow appears a little below and to the right
of the text.
If you select Custom Shadow, use the Radius and Angle sliders to control the
offset and direction of the shadow:
• Radius controls the shadow offset. Values range from 0 (no offset) to 1
(maximum offset) in 0.1 increments.
• Angle controls the direction of the shadow. Values range from 0 to 6.3 in
0.1 increments, where both 0 and 6.3 place the shadow directly to the right
of the text and 3.1 (the slider’s midpoint) places the shadow directly to the
left of the text.
The shadow color is calculated automatically based on the hue and opacity set
for the text.

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Category Control Description

Text Sets the alignment of the text within its background box. Options are Left,
Alignment Center, and Right.

Box Color Sets the color of the background box.

Appearance
You can:
• Click the Other Options button to open theWindows Color dialog box or
the Macintosh Color panel.
• Use the eyedropper to select a color from the screen
For more information, see “Adjusting a Color Parameter” on page 76.
• Use the Red, Green, and Blue sliders to set the color. Slider values range
from 0 to 255.

Opacity Sets the opacity of the background box. Values range from 0 (fully transparent)
to 1 (fully opaque) in 0.1 increments.

Box Style Sets the style for the background box. The options are:
• One Box — a single box surrounds the entire caption text, even if the text
appears in multiple rows.
• Separate Boxes for Each Row — each row of text has its own background
box.

Anchor Box to Controls the position of the box with respect to the text. The options are:
• Anchor to Bottom of Text — the bottom of the box is anchored to the
bottom of the text. As more text is typed into a multi-row caption, the text
and the box expand up the screen from the anchor position.
• Anchor to Top of Text — the top of the box is anchored to the top of the
text. As more text is typed into a multi-row caption, the text and the box
expand down the screen from the anchor position.

Anchor Controls the location of the anchor for the text and its background box. This
Position anchor point displays in the Effect Preview monitor and can also be positioned
by dragging it directly in the monitor. For more information, see “Adjusting
SubCap Effect Parameters” on page 429.
The X slider controls the horizontal location of the anchor; the Y slider
controls the vertical location of the anchor. Values range from –999 to +999,
where 0 is the center of the screen.

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Category Control Description

Box Width Controls how the width of the background box is determined. The options are:
• Fixed Width (Clip) — the width of the box is fixed at the size set by the
Box Width thumbwheel. Caption text overflows the box and is not visible
when it exceeds the width of the box.
• Fixed Width (Wrap) — the width of the box is fixed at the size set by the
Box Width thumbwheel. Caption text wraps to a new line when it exceeds
the width of the box.
• Each row as wide as widest — the box for each line of text is the width of
the widest line of text.
• Each row as wide as needed — the box for each line of text is as wide as it
needs to be to accommodate that line of text.
Use the Box Width thumbhweel to set a fixed width for the background box.
Values range from 0 to 2000.

Number of Controls how many rows of text are allowed for the caption. The options are:
Rows of Text
• As Many Rows as Needed — allows as many rows as are needed to
accommodate the caption text and observe other settings such as box width.
• Exactly N Rows — sets an exact number of rows. If there is more text for
the caption than can fit in the number of rows, the overflow text is not
visible. If there is not enough text to fill the number of rows, one or more
empty rows display.
• At Most N Rows — sets a maximum number of rows. If there is more text
for the caption than can fit in the number of rows, the overflow text is not
visible. If there is not enough text to require the maximum number of rows,
only the number of rows needed for the text are used.
Use the Row Count thumbwheel to set an exact or a maximum number of rows.
Values range from 1 to 25.

Padding Adds extra pixels of padding between the edges of the background box and the
edges of the text it contains. Use the Vertical slider to add padding to the top
and bottom of the box, and the Horizontal slider to add padding to the sides of
the box. Values range from 0 to 999.

Row Spacing Adjusts the line spacing between rows of text. Values range from –10 to 50,
where 0 represents no change to the default line spacing for the font. Negative
values move rows of text closer together; positive values move rows of text
further apart.

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SubCap Effect Parameters (Continued)

Category Control Description

Caption Text Edit Master Opens the Master Caption List dialog box, allowing you to view and edit all of
Caption List the captions in the current sequence. For more information, see “Editing Text
in the Master Caption List” on page 428.

Caption Displays the caption text and allows you to enter caption text. For more
text box information, see “Entering Caption Text Directly in the Effect Editor” on page
425.

SubCap Effect Global Properties

The following table describes the options available in the SubCap effect’s Global Properties
dialog box.

n The limits on the number of characters allowed in the information categories in the
Contacts, Custom, and Program tabs are imposed by the EBU N19 (.stl) caption file
standard.

SubCap Effect Global Properties

Tab Option Description

Contacts Publisher Enter up to 32 characters of text that describe the publisher of

the content, for example a company name.

Country of Origin Select a country name from the list. (The name is converted to a
standard country code in a .stl file.)

Editor’s Name Enter up to 32 characters of text in each of these text boxes to

Editor’s Contact Details record information about the editor and translator for the
Translator’s Name content. For example, you might enter an e-mail address or
Translator’s Contact Details telephone number in the Contact Details text boxes.

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SubCap Effect Global Properties (Continued)

Tab Option Description

Custom Enter up to 576 characters of text in the text box that records
any custom information that you want to include with the effect.

Program Revision Date Enter dates to track the original creation date and the latest
Creation Date revision date for the content.

Language Select a language from the list. (The language name is

converted to a standard language code in a .stl file.)

Original Program Title Enter up to 32 characters of text in each of these text boxes to
Original Episode Title record information about the titles of the program and episode.
Translated Program Title
Translated Episode Title

Stylesheets Displays a list of caption parameter stylesheets, and allows you

to manage and apply stylesheets. For more information see
“Working with SubCap Effect Stylesheets” on page 433.

Synchronize Displays a list of all SubCap effect parameters and information

categories and allows you to define how changes to these
parameters and categories propogate in a sequence. For more
information, see “Synchronizing SubCap Effect Parameters and
Information” on page 429.

Timecode Burn-In Effect Parameters

The following table describes the parameter controls available in the Timecode Burn-In
effect.

Timecode Burn-In effect parameters are not keyframeable.

Timecode Burn-In Effect Parameters

Category Description

Display 1, Allow you to add up to three timecode displays to the video. Click the Enable button for the
Display 2, category to activate the display.
Display 3
Each Display category contains Reader and Type menus, and Timecode Display and
Appearance subcategories, as described in the following rows of this table.

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Timecode Burn-In Effect Parameters (Continued)

Category Description

Reader menu Selects the basic type of timecode or other information for the display. The following options
are available:
• Timecode
• Source Timecode
The timecode of the source clip at the current location. If there are multiple clips on different
tracks in the timeline, you can use the Source Track menu to select the clip whose timecode
you want to display, as described in the Timecode Display row of this table.
• Edgecode (if available for film-originated material)
• Source Edgecode (if available for film-originated material)
The edgecode of the source clip at the current location. If there are multiple clips on
different tracks in the timeline, you can use the Source Track Number menu to select the clip
whose edgecode you want to display, as described in the Timecode Display row of this table.
• Frames
• Source Clip Name
The name of the source clip at the current location. If there are multiple clips on different
tracks in the timeline, you can use the Source Track menu to select the clip whose name you
want to display, as described in the Timecode Display row of this table.
• Sequence Name
• Source Bin Column, Sequence Bin Column
The information from the bin column you select. Select the bin column name you want to
use from the Column Name menu that appears below the Display Label and Display Fields
buttons. To display a custom, user-defined bin column, select either Custom Property or
Enhancement from the Column Name menu, and then type the name of the custom column
in the text box that appears below the Column Name menu.

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Timecode Burn-In Effect Parameters (Continued)

Category Description

Type menu Selects an option to control how the timecode to display is calculated. These are equivalent to
options available in the Tracking Information menus above the monitors (for more information,
see “Tracking Format Options” in the Help).
Depending on your selection in the Reader menu, options in the Type menu might not be
relevant or might result in an unchanged display. For example, if you select Frames in the
Reader menu, the Start and Absolute options yield the same display.
The following options are available:
• Current
• End
• Duration
• Mark IN
• Mark OUT
• I/O
• Remaining
• Absolute

Display Label If this option is selected, the display begins with a label identifying the timecode format, for
example, Mas TC1 01:00:01:16. If this option is deselected, the display shows only the
timecode itself, for example, 01:00:01:16.

Display Fields If this option is selected, the display shows the field number, for example, 01:00:01:16.2 for
field-based media.

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Timecode Burn-In Effect Parameters (Continued)

Category Description

Timecode Provides additional controls for selecting the format or source of the information that appears in
Display the timecode displays. The controls vary depending on the selection you make in the Reader
menu, as follows:
• If Timecode, Source Timecode, Edgecode, or Source Edgecode is selected in the Reader
menu, a Timecode Format menu appears that allows you to select the timecode format when
multiple timecode formats are available for the material. For more information, see
“Displaying Timecodes in a 24p or 25p Project” in the Help.
• If Edgecode or Source Edgecode is selected in the Reader menu, a Film Controls
subcategory appears, containing a Film Type menu that allows you to select the film type. In
most circumstances you can use the “default film type” option. However, depending on the
information available in your bins and your selection in the Film and 24p Settings dialog box
for a film project, you might have more than one ink number format that you can display.For
more information, see “Film Shoot Specifications” and “Film and 24P Settings” in the Help.
• If Source Timecode, Source Edgecode, or Source Clip Name is selected in the Reader menu,
a menu appears that allows you to select the track in the Timeline that is the source of the
timecode or clip name information. You can select Current Track, which refers to the track
the Timecode effect is on, or any other video or audio by its track name, for example, V3.
• If Frames is selected in the Reader menu, a Local Frame Count button appears below the
Display Label and Display Fields buttons. Select Local Frame Count to display the frame
number for the current clip. Deselect Local Frame Count to display the frame number for the
sequence..
• If Sequence Name is selected in the Reader menu, the Timecode Display category does not
contain any controls.

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Timecode Burn-In Effect Parameters (Continued)

Category Description

Appearance Each Display category and the Notes Track category contain an Appearance subcategory. The
Appearance subcategory in turn contains the following subcategories and controls:
• Position — Use the X and Y sliders to set the position of the display’s anchor point within
the video frame. You can also position the display directly in the monitor by dragging the
anchor point (located at the top left corner of the display).
• Font Size — Use the thumbwheel to set the font size used for the display’s text.
The font size value is in absolute pixels, based on the font’s metrics. The relative size of the
display’s text changes when you switch between SD and HD because HD resolutions have
more vertical pixels than SD resolutions. Text that is relatively large and readable in SD
becomes considerably smaller if, for example, you switch the project type to an HD format.
If you need to switch resolutions and need your timecode display to maintain the same
relative size, render the effect.
• Text — Use the color controls to set the color of the text (you can use the R, G, and B
sliders, or use the Other Options button or the eyedropper to pick a color, as described in
“Adjusting a Color Parameter” on page 76). Use the Text Opacity slider to set the opacity of
the text — values range from 0 (fully transparent) to 1 (fully opaque) in 0.1 increments. Use
the Line Weight thumbwheel to control the width of the black outline around text characters
(when Use Text Outline is selected), or to add thickness to the text characters (when Use
Text Outline is deselected).
• Background — Use the color controls to set the color of the rectangular background for the
display (you can use the R, G, and B sliders, or use the Other Options button or the
eyedropper to pick a color, as described in “Adjusting a Color Parameter” on page 76). Use
the Border Opacity slider to set the opacity of the rectangular background — values range
from 0 (fully transparent) to 1 (fully opaque) in 0.1 increments.

Notes Track Lets you enter a text annotation in the text box, for example, a comment that you want to display
in a review version of a sequence. This category also contains an Appearance subcategory for
controlling the look of the notes track, as described in the previous row of this table.
The anchor point for the notes track is always visible in the monitor. The display itself appears
as soon as you type text in the text box.

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Illusion FX Effect Parameters

This section contains reference summaries for the effect parameters that are unique to the
Illusion FX effect category.

Border Parameter for Illusion FX Effects

Use the Left, Right, Top, and Bottom sliders to prevent black edges of the source clip from
warping into the effect.

Available for:

• Illusion FX: Crystal • Illusion FX: Particle Wind

• Illusion FX: FluidBlur • Illusion FX: Radial Blur
• Illusion FX: FluidColorMap • Illusion FX: Ripple
• Illusion FX: FluidMorph • Illusion FX: Rollup
• Illusion FX: Kaleidoscope • Illusion FX: Shear
• Illusion FX: Melt • Illusion FX: Sphere
• Illusion FX: Particle Blast • Illusion FX: Swirl
• Illusion FX: Particle Orbit • Illusion FX: Twist
• Illusion FX: Particle Wind • Illusion FX: Wave

Color Mix Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Color Mix effect.

Other Options button

Color Preview window

Color

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Parameter Description

Color Level Sets the amount of color to add, from 0 (no color) to 100 (maximum color).

R, G, B (Color) Sets the color to be mixed.

To set the color, use one of the following methods:
• Manipulate the RGB sliders directly, or use the numeric keypad to enter values.

• Click the Other Options button to use the Windows Color dialog box or the Macintosh
Colors panel.
• Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 76.

Crystal Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Crystal effect.

Parameter Description

Size Sets the radius of the polygons in pixels.

Jitter Sets the randomness of the shape of the polygons. A value of 0 creates regular hexagons — the
higher the value, the more random the shapes.

Random Seed Sets the base number upon which all random values are calculated. Each value results in a
different random effect. This parameter is not keyframeable.

Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.

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Film Grain Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Film Grain effect.

Parameter Description

Level Sets the amount of graininess.

Size Sets the size of the individual grain elements.

Color Film footage often contains slight color and luminance imperfections caused by the chemical
processes used to transfer the negative to the film. You can think of these as very small color
smears on the film. The default setting applies a balanced combination of color and luminance
imperfections. Increase the color value to add more color imperfections and fewer luminance
imperfections. Decrease the value to increase the luminance imperfections and decrease the color
imperfections.

Field Mode When selected, the grain pattern updates every field.

Hilite Grain Adds grain to the brighter areas of the image.

Shadow Grain Adds grain to the darker areas of the image.

Flare Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Flare effect.

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Parameter Description

Brightness Sets the brightness of the flare, from 0 (no flare) to 100 (maximum brightness).

Size Sets the diameter of the flare ring.

Width Sets the distance between the inner and outer edges of the flare ring.

Amount Sets the amount of distortion to the flare ring; 0 is no distortion.

Random Seed Sets the base number upon which all random values are calculated. Each value results in a
different random effect. This parameter is not keyframeable.

X, Y Sets the center of the flare ring.

FluidBlur Effect Input Parameters

The following table describes the Input parameters for the Illusion FX FluidBlur effect.

Parameter Description

Blur Amount The level of blur for objects that are moving.
The amount of blur ramps linearly from 0 to the Blur Amount value as the pixel
motion increases from the Lower Motion Threshold value to the Upper Motion
Threshold value. The faster an object moves, the more it is blurred.

Lower Motion Objects moving less than the Lower Motion Threshold number of pixels between
Threshold, frames or fields are not blurred. Objects moving more than the Upper Motion
Upper Motion Threshold Threshold number of pixels between frames or fields are not blurred. Objects whose
movement falls between the two values are blurred by the Blur Amount.

Trail Instructs the application to add an amount from the previous frame’s (or field’s) blur
to the current frame. This produces smooth movement, especially as objects move
along curved paths.

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Parameter Description

Sharpen Leading Edge Allows you to keep the front edge of an object crisp and clear while other portions are
blurred.

Progressive Source Use this option if your footage was captured or converted to progressive footage (that
is, not interlaced). If your sources are progressive, enabling Progressive Source
produces smoother results. This option has no effect in 24p projects because the
application assumes that you are using progressive footage.

FluidColorMap Effect Input Parameters

The following table describes the Input parameters for the Illusion FX FluidColor effect.

Parameter Description

Min Motion Threshold, Objects moving less than the Min Motion Threshold number of pixels between frames
Max Motion Threshold (or fields) will have the minimum saturation and luminance. Objects moving more
than the Max Motion Threshold number of pixels between frames (or fields) receive
the maximum saturation and luminance. The amount of saturation depends on the
Constant Saturation value.
Brightness and color saturation increase as the motion of an object increases from the
minimum threshold value to the maximum threshold value. The faster an object
moves, the brighter and more color saturated it becomes.

Constant Saturation This setting controls how much the Min Motion Threshold and Max Motion
Threshold values affect the color saturation. The minimum and maximum values
always control the luminance (brightness) of the image. However, for a low Constant
Saturation value, the minimum and maximum values strongly affect saturation as well
as luminance. For a high Constant Saturation value, the minimum and maximum
values affect saturation to a lesser degree. If Constant Saturation is set to the
maximum value, motion will have no effect on color saturation.

Progressive Source Use this option if your footage was captured or converted to progressive footage (that
is, not interlaced). If your sources are progressive, enabling Progressive Source
produces smoother results. This option has no effect in 24p projects because the
application assumes that you are using progressive footage.

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FluidMorph Effect Source Parameter

The following table describes the options available when you click the Source Fast Menu
button for the Illusion FX FluidMorph effect.

Option Description

Still Image Your Avid editing application takes snapshots of the first frame of outgoing
video and the last frame of incoming video and creates an output that is a
morph of the two images.

Video Stream Your Avid editing application creates the output by morphing the two clips,
frame by frame.

FluidMorph Effect Input Parameters

The following table describes the Input parameters for the Illusion FX FluidMorph effect.

Parameter Description

Feature Match When selected, the application attempts to match features between the two clips when it
creates the morph for each frame.
When deselected, the application creates the morph based on the brightness of the two
images.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter is not
keyframeable.

Progressive Source Use this option if your footage was captured or converted to progressive footage (that is, not
interlaced). If your sources are progressive, enabling Progressive Source produces smoother
results. This option has no effect in 24p projects because the application assumes that you
are using progressive footage.

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Iris Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Iris effect.

Parameter Description

Amount Sets the proportion of each clip to be displayed. A value of 0 displays all of the foreground clip;
a value of 100 displays all of the background clip. Typical keyframing would be from 0 at the
first keyframe to 100 at the last keyframe.

Softness Sets the size of the area over which the pixels are faded from the foreground clip to the
background clip.

X, Y Sets the center of the iris wipe.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter is not
keyframeable.

Kaleidoscope Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Kaleidoscope effect.

Parameter Description

Symmetry Sets the number of mirrors.

Angle Sets the angle of the mirrors.

Scale Sets the scale of the image.

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Kaleidoscope Effect Center Parameters

The following table describes the Center parameters for the Illusion FX Kaleidoscope effect.

Parameter Description

X Sets the horizontal location of the center of the mirrors.

Y Sets the vertical location of the center of the mirrors.

n You can also set the center of the mirror by clicking and dragging the crosshair marker within the image.

Kaleidoscope Effect Offset Parameters

The following table describes the Offset parameters for the Illusion FX Kaleidoscope effect.

Parameter Description

X, Y Use the X and Y sliders to set the offset from the original source area.

n You can also click the corresponding marker, and drag within the image.

Anti-alias Sets whether or not transformed areas will be smoothed. This parameter is not keyframeable.

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Lightning Effect Generation Parameters

The following table describes the Generation parameters for the Illusion FX Lightning
effect.

Render Mode
Fast menu

Parameter Description

Amount Sets the proportion of the lightning to be displayed. A value of 0 is no lightning; 100
is the complete lightning bolt. Typical keyframing is 0 at the first keyframe to 100 at
the last keyframe.

Branch Probability Sets the likelihood that the lightning will have few or many branches. A value of 0
displays no branches. The higher the value, the more branches are likely.

Random Seed Sets the base number upon which all random values are calculated. Each value results
in a different random effect. This parameter is not keyframeable.

Render Mode Fast menu Click to set the quality of the rendered lightning:
• Quick — to view just the motion of the lightning.
• Standard — to view the full lightning without anti-aliasing while editing the
animation.
• Anti-aliased — to ensure that fine branches do not break up.

Lightning Effect Core Parameters

The following table describes the Core parameters for the Illusion FX Lightning effect.

Other Options button

Color Preview window

Color

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Parameter Description

Width Sets the radius of the core in pixels.

R, G, B (Color) Sets the color of the core.

To set the color of the core, use one of the following methods:
• Manipulate the RGB sliders directly, or use the numeric keypad to enter values.
• Click the Other Options button to use the Windows Color dialog box or the Macintosh
Colors panel.
• Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 76.

Lightning Effect Glow Parameters

The following table describes the Glow parameters for the Illusion FX Lightning effect.

Other Options button

Color Preview window

Color

Parameter Description

Width Sets the radius of the glow in pixels.

R, G, B (Color) Sets the color of the glow.

To set the color of the glow, use one of the following methods:
• Manipulate the RGB sliders directly, or use the numeric keypad to enter values.
• Click the Other Options button to use the Windows Color dialog box or the Macintosh
Colors panel.
• Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 76.

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Melt Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Melt effect.

Parameter Description

Bleed Changes the melt image to a more dramatic effect.

Melt Up Reverses the direction of the melt.

Amount Sets the progression of the effect. A value of 0 has no effect; all of the foreground clip shows.
The higher the value, the more of the foreground clip melts away, and more of the
background clip shows. Typical keyframing would be from 0 at the first keyframe to 100 at
the last keyframe.

Strength Sets the strength of the distortion; the higher the value, the greater the distortion.

Random Seed Sets the base number upon which all random values are calculated. Each value results in a
different random effect. This parameter is not keyframeable.

Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter is not
keyframeable.

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Motion Blur Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Motion Blur effect.

Parameter Description

Amount Sets the length of the blur.

Direction Sets the direction of the blur. A value of 0 degrees is 3 o’clock; positive values move
counterclockwise.

Pagecurl Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Pagecurl effect.

Parameter Description

Turn Left Controls the direction of the page curl. For examples, see the following table. This parameter
is not keyframeable.

Reverse When selected, incoming video peels on. When deselected, outgoing video peels off. For
examples, see the following table. This parameter is not keyframeable.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video. For examples, see the
following table. This parameter is not keyframeable.

The following table describes the possible Pagecurl parameter combinations and shows an
example of the results.

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Pagecurl Parameter Combinations

Turn Left Reverse Swap Sources Result

Off Off Off Outgoing video

peels off

Off Off On Incoming video

peels off

On Off Off Outgoing video

peels off

On Off On Incoming video

peels off

Off On Off Incoming video

peels on

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 Illusion FX Effect Parameters

Pagecurl Parameter Combinations (Continued)

Turn Left Reverse Swap Sources Result

Off On On Outgoing video

peels on

On On Off Incoming video

peels on

On On On Outgoing video
peels on

Particle Blast Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Particle Blast effect.

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Parameter Description

Amount Sets the progression of the effect. The larger the difference in the Amount value between
keyframes, the faster the effect happens.

Size Sets the radius of the particles.

Spacing Sets the space between the center of the original position of the particles. This parameter
is not keyframeable.

Front Speed Controls whether the particles in the center of the blast start to move before the particles at
the outside edges.

Front Randomness Allows particles nearest the center to move at different speeds.

Speed Sets the speed at which particles move apart.

Speed Randomness Allows particles to move at different speeds to give a more natural effect.

Acceleration Controls how quickly a particle reaches the full speed of the blast. The higher the value, the
more quickly the particle reaches full speed.

Bumpiness Adds a shadow to the edge of the particles.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter is not
keyframeable.

Particle Orbit Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Particle Orbit effect.

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Parameter Description

Amount Sets the progression of the effect. The larger the difference in the Amount value between
keyframes, the faster the effect happens.

Size Sets the radius of the particles.

Spacing Sets the space between the center of the original position of the particles. This parameter is
not keyframeable.

Bumpiness Adds a shadow to the edge of the particles.

Speed Sets the speed at which particles orbit.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter is not
keyframeable.

Particle Orbit Effect Parameter Example

When you use this effect as a transition effect, Avid recommends the following parameter
changes:
• At the first keyframe, set initial Amount and Bumpiness values to 0 so the transition
begins smoothly.
• Add a keyframe to increase the Amount value during the transition. For example,
change the value from 0 to 40.
• At the same keyframe, set the Size value. For example, reduce Size from 10 to 0.
• (Option) At the same keyframe, increase Bumpiness. Increasing Bumpiness gives
additional texture to the particles. For example, change the value from 0 to 100.

The following illustration shows four frames from a transition effect using the values in the
example.

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Particle Wind Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Particle Wind effect.

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Parameter Description

Amount Sets the progression of the effect. The larger the difference in the Amount value between
keyframes, the faster the effect happens.

Size Sets the radius of the particles.

Spacing Sets the space between the center of the original position of the particles. This parameter
is not keyframeable.

Front Speed Controls whether the particles near the front edge (where the wind first hits) start to move
before the particles at the outside edge.

Front Randomness Allows particles nearest the front to move at different speeds.

Speed Sets the wind speed.

Speed Randomness Allows particles anywhere within the effect to move at different speeds, giving a more
natural effect.

Acceleration Controls how quickly a particle reaches the full speed of the wind. The higher the value, the
more quickly the particle reaches full speed.

Angle Sets the source direction of the wind. A value of 0 degrees is 3 o’clock; positive values
move counterclockwise.

Bumpiness Adds a shadow to the edge of the particles.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter is
not keyframeable.

Pattern Generator Effect Background Parameters

The following table describes the Background parameters for the Illusion FX Pattern
Generator effect.

Pattern Type Fast menu Other Options button

Axis Fast menu Color Preview window
Base Color

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Parameter Description

Axis Fast menu Click to select whether color bars are drawn horizontally (X axis) or vertically
(Y axis).

Pattern Type Fast menu Click to set the pattern to be used:

• Solid color
• EBU bars (75%)
• Color bars (75%)
• Color bars (100%)
• EIA bars
• SMPTE bars
• Color ramps
• Cross ramp
• Grid
If you select the Grid option, the background color is black if Base Color has 50%
or greater luminance, or white if Base Color has less than 50% luminance.

R, G, B (Base Color) Sets the color of the clip when the Pattern Type is set to Solid Color.
Sets the color of the grid lines when the Pattern Type is set to Grid.
The background color of the grid is black if Base Color has 50% or greater luminance,
or white if Base Color has less than 50% luminance.
To set the Base Color, use one of the following methods:
• Manipulate the RGB sliders directly, or use the numeric keypad to enter values.
• Click the Other Options button to use the Windows Color dialog box or the
Macintosh Colors panel.
• Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 76.

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Pattern Generator Effect Number Parameters

The following table describes the Number parameters for the Illusion FX Pattern Generator
effect.

Other Options button

Color Preview window
Text color

Parameter Description

Number Offset Sets the offset of the number from the current frame number.

Opacity Sets the opacity of the number.

Text Size Sets the size of the number.

Stroke Width Sets the width of the number stroke.

R, G, B (Text color) Sets the color of the number.

To set the color, use one of the following methods:
• Manipulate the RGB sliders directly, or use the numeric keypad to enter values.
• Click the Other Options button to use the Windows Color dialog box or the
Macintosh Colors panel.
• Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 76.

X, Y Sets the position of the center of the number.

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Pattern Generator Effect Circle Parameters

The following table describes the Circle parameters for the Illusion FX Pattern Generator
effect.

Other Options button

Color Preview window

Color

Parameter Description

Size Sets the radius of the circle.

Width Sets the width of the circle outline.

Opacity Sets the opacity of the circle.

R, G, B (Color) Sets the color of the circle.

To set the color of the circle, use one of the following methods:
• Manipulate the RGB sliders directly, or use the numeric keypad to enter values.
• Click the Other Options button to use the Windows Color dialog box or the Macintosh
Colors panel.
• Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 76.

X, Y Sets the position of the center of the circle.

Pinch Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Pinch effect.

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 Illusion FX Effect Parameters

Parameter Description

Amount Sets the progression of the effect. The larger the difference in the Amount value between
keyframes, the faster the effect happens.

Size Sets the diameter of the affected area.

X, Y Sets the center of the effect.

Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.

Radial Blur Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Radial Blur effect.

Render Mode Fast menu

Parameter Description

Zoom Sets the scaling of the blur. Smaller values zoom in and larger values zoom out.

Angle Sets the rotation of the blur.

n This effect can take a long time to render. The greater the angle, the more time the
rendering takes.

X, Y Sets the center of the effect.

Render Mode Click to set whether just the center marker shows, or how the effect is rendered. Locate shows
Fast Menu the center marker. Use it while setting up the center.
button
• Locate
• Render Low Quality
• Render Medium Quality
• Render High Quality

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Random Blend Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Random Blend effect.

Parameter Description

Amount Sets the amount of blend.

Random Scale Sets the amount of randomness. This allows the application to blend different portions
of the image at different rates.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter
is not keyframeable.

Ripple Effect Motion Parameters

The following table describes the Motion parameters for the Illusion FX Ripple effect.

Parameter Description

Amount Sets the progression of the effect. The larger the difference in the time value between
keyframes, the faster the effect happens.

Wave Speed Sets how fast the waves move.

Ripple Spread Sets the width of the ripple from the inner ring to the outer ring.

Reflections When selected, waves reflect off the edges of the image, as though hitting a wall.

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Ripple Effect Generation Parameters

The following table describes the Generation parameters for the Illusion FX Ripple effect.

Parameter Description

Strength Sets the height of the waves.

Length Sets the distance between the wave peaks.

Number of Ripples Sets the number of ripples.

Random Seed Sets the base number upon which all random values are calculated. Each value results in a
different random effect. This parameter is not keyframeable.

Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.

Ripple Effect Illumination Parameters

The following table describes the Illumination parameters for the Illusion FX Ripple effect.

Other Options button

Color Preview window

Color

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Parameter Description

R, G, B (Color) Sets the color of the light.

To set the color, use one of the following methods:
• Manipulate the RGB sliders directly, or use the numeric keypad to enter values.
• Click the Other Options button to use the Windows Color dialog box or the Macintosh
Colors panel.
• Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 76.

Angle Sets the source direction of the light. A value of 0 degrees is 3 o’clock; positive values move
counterclockwise.

Rollup Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Rollup effect.

Parameter Description

Amount Sets the proportion of each clip to be displayed. A value of 0 displays all of the foreground
clip; 100 displays all of the background clip. Typical keyframing is from 0 at the first
keyframe to 100 at the last keyframe.

Curl Size Sets the size of the roll.

Direction Sets the direction of the rollup. A value of 0 degrees is 3 o’clock; positive values move
counterclockwise.

Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter is not
keyframeable.

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Shear Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Shear effect.

Parameter Description

Amount Sets the proportion of each clip to be displayed. A value of 0 displays all of the
foreground clip; 100 displays all of the background clip. Typical keyframing is from 0
at the first keyframe to 100 at the last keyframe.

Min Width, Max Width Sets the minimum and maximum possible width of the slats.

Width Randomness Controls the variety of sizes of slats. The application creates slats of various widths in
between the minimum and maximum width value.

Spread Sets the randomness of when individual strips start moving. A value of 0 causes all
strips to start at the same time.

Angle Sets the direction of the effect. A value of 0 degrees is 3 o’clock; positive values move
counterclockwise.

Random Seed Sets the base number upon which all random values are calculated. Each value results
in a different random effect. This parameter is not keyframeable.

Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not
keyframeable.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video. This parameter
is not keyframeable.

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Sparkler Effect Generation Parameters

The following table describes the Generation parameters for the Illusion FX Sparkler effect.

Parameter Description

Birth Rate Sets the number of sparks generated every frame.

Lifetime Sets (in frames) how long each spark lives.

X, Y Sets the center of the effect.

Link Speed If you keyframe the center of the effect, Link Speed causes the movement of the center to be
added to the movement of the sparks.

Length Sets the cumulative exposure of the sparks. For example, a value of 3 produces an image that
looks as though you left a virtual camera shutter open for the last three frames.

Speed Bias X, Sets the bias to the direction of the sparks. the application adds these values to the initial
Speed Bias Y random directions.

Sparkler Effect Movement Parameters

The following table describes the Movement parameters for the Illusion FX Sparkler effect.

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Parameter Description

Speed Sets the value around which the speed of the sparks is randomized.

Gravity Sets the attraction of the sparks downward or upward. The greater the value, the more the sparks
are attracted downward.

Air Resistance Sets the air resistance. The higher the value, the less the sparks radiate outward.

Wind X, Wind Sets a virtual directional wind, which affects the trajectory of the sparks.

n
Y
Air Resistance must be greater than 0 for Wind to have an effect.

Turbulence Adds randomness to the movement of the sparks.

Sparkler Effect Glow Parameters

The following table describes the Glow parameters for the Illusion FX Sparkler effect.

Other Options button

Color Preview window

Color

Parameter Description

Glow Radiu Sets the radius of the glow in pixels.

R, G, B (Color) Sets the color of the glow.

To set the color of the glow, use one of the following methods:
• Manipulate the RGB sliders directly, or use the numeric keypad to enter values.
• Click the Other Options button to use the Windows Color dialog box or the
Macintosh Colors panel.
• Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 76.

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Sparkler Effect Core Parameters

The following table describes the Core parameters for the Illusion FX Sparkler effect.

Other Options button

Color Preview window

Color

Parameter Description

Core Radius Sets the radius of the core in pixels.

R, G, B (Color) Sets the color of the core.

To set the color of the core, use one of the following methods:
• Manipulate the RGB sliders directly, or use the numeric keypad to enter values.
• Click the Other Options button to use the Windows Color dialog box or the
Macintosh Colors panel.
• Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 76.

Sphere Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Sphere effect.

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Parameter Description

Amount Sets the scale of the distortion. Negative values distort the image inward; positive values distort
it outward.

Size Sets the diameter of the circle as a normalized proportion of the vertical size of the image.

X, Y Sets the center of the effect.

Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.

Swirl Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Swirl effect.

Parameter Description

Amount Sets the scale of swirl. Negative values swirl the image counterclockwise; positive values
swirl it clockwise.

Size Sets the diameter of the circle as a normalized proportion of the vertical size of the image.

X, Y Sets the center of the effect.

Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable.

Timecode Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Timecode effect.

Timecode Color Fast Menu button

Timecode Font and Size Fast Menu button

Timecode Type Fast Menu button

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Parameter Description

Timecode Color Click to select a color and background for the timecode text:
Fast Menu button
• White no background
• Black no background
• White on Black
• Black on White

Timecode Font and Click to select a font and size for the timecode text.
Size Fast Menu button

X, Y Sets the position of the lower left corner of the effect.

n You can also drag the marker in the Effect Preview monitor.

Timecode Type Click to select the timecode type:

Fast Menu button
• Non-drop — Uses a colon (:) as a separator
• Drop frame — Uses a semicolon (;) as a separator (applies only to NTSC projects)
• Feet and Frames — Uses either a plus sign (+) or an ampersand (&) symbol as a
separator. The separator changes from a plus sign to an ampersand between the
values 24 and 25. The plus sign is used for 16mm projects and the ampersand
symbol is used for 35mm projects.
When you select Non-drop or Drop frame, the application uses the starting timecodes
for day, hour, minute, second, and frame that you set in the Start Timecode parameter
category.
When you select Feet and Frames, the application uses Starting feet&frame feet as the
number of feet for the starting timecode, and Starting timecode frame as the number of
frames for the starting timecode.
For more information, see “Timecode Effect Start Timecode Parameters” on page 699.

Frames per Foot Use the slider to specify the number of frames per foot. This option applies when you
select Feet and Frames from the Timecode Type Fast menu.

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Timecode Effect Start Timecode Parameters

The following table describes the Start Timecode parameters for the Illusion FX Timecode
effect.

Parameter Description

n The parameters in the Start Timecode parameter category are not keyframeable.

Starting timecode Sets the day for the starting timecode.

day
When “Starting timecode day” is 0, the value does not appear. You can use a nonzero
starting timecode day to identify items such as spool, reel, and so forth.

Starting timecode When you select Non-drop or Drop frame as the timecode type, sets the hour for the starting
hour timecode.

Starting timecode When you select Non-drop or Drop frame as the timecode type, sets the minute for the
minute starting timecode.

Starting timecode When you select Non-drop or Drop frame as the timecode type, sets the second for the
second starting timecode.

Starting timecode Sets the frame for the starting timecode, for all timecode types.
frame

Starting Sets the feet for the starting timecode when you select Feet and Frames as the timecode
feet&frame feet type.
The application displays the timecode as feet of film, followed by frame number within the
last foot. Use Starting timecode frame to set the starting frame number in the first foot. The
application disregards the starting day, hour, minute, and second.

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Twist Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Twist effect.

Axis Fast menu

Parameter Description

Amount Sets the amount of twist.

X, Y Sets the center of the effect.

Axis Fast Menu button Click to set whether the twist applies horizontally (X axis) or vertically (Y axis).

Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not
keyframeable.

Wave Effect Input Parameters

The following table describes the Input parameters for the Illusion FX Wave effect.

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Parameter Description

Amount Sets the scale of swirl. Negative values swirl the image counterclockwise; positive
values swirl it clockwise.

Minimum Size, Sets the minimum wavelength and the maximum wavelength.
Maximum Size

Horizontal Factor, The amount of horizontal distortion and vertical distortion, where 0 is no distortion
Vertical Factor and 100 is maximum distortion.

Number of Waves Sets the number of waves. Wave effects are superimposed upon each other.

Speed Sets the progress of the effect.

Random Seed Sets the base number upon which all random values are calculated. Each value results
in a different random effect.
This parameter is not keyframeable.

n The effect uses the first keyframe’s Random Seed value.

Anti-alias Sets whether or not transformed areas are smoothed.

This parameter is not keyframeable.

n The effect uses the first keyframe’s Anti-alias value.

Image Effect Parameters

This section contains reference summaries for the effect parameters that are unique to the
Image effect category.

Avid Pan & Zoom Effect Other Options Button

The Other Options button opens a file selection dialog box. Use it to specify the image file
for the Pan & Zoom effect. For more information, see “Using Avid Pan & Zoom” on page
275.

Other Options button

This parameter is not keyframeable.

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16 Effects Parameter Reference

n If you move an image file after you reference it in the effect, the image is no longer
accessible to the effect. The next time you open the effect a dialog box opens asking you to
locate the file.

Avid Pan & Zoom Effect Display Parameter

The Display Fast menu lets you choose how you view the image as you work on it.

This parameter is not keyframeable.

For more information, see “Controlling How You View an Avid Pan & Zoom Image” on
page 278.

The following table describes the Display Fast menu options.

Option Description

Source Shows you the entire image scaled to fit inside the Effect Preview monitor. Use Source
as you draft the effect.

Target Shows you the results of your pan and zoom settings. Use Target for previewing your
moves.

Avid Pan & Zoom Effect Display Options Parameter

Show Action Safe selects or deselects the display of the safe action area. When Show Action
Safe is selected, the safe action area appears as a rectangle superimposed on the field
of view.

This parameter is not keyframeable.

For more information, see “Controlling How You View an Avid Pan & Zoom Image” on
page 278.

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 Image Effect Parameters

Avid Pan & Zoom Effect Size Parameter

The Size parameter category contains the Zoom Factor slider. This slider controls how far
you zoom into or out from the source image.

The Zoom Factor ranges from 0.1 to 20. At 0.1, the application scales down the image to
one-tenth the original. At 1, the application applies no magnification to the source image. At
20, the application scales up the image 20 times — that is, by 2000 percent.

The larger the Zoom Factor, the smaller the field of view rectangle appears when you use
Source mode.

For more information, see “Adjusting the Field of View for an Avid Pan & Zoom Image” on
page 279.

Avid Pan & Zoom Effect Position Parameters

You control pan either by using the X and Y Position parameters or by dragging the field of
view across the source image.

The Position parameters refer to the center of the field of view. A Position of 0, 0 centers the
field of view over the center of the image.

For more information, see “Adjusting the Field of View for an Avid Pan & Zoom Image” on
page 279.

Avid Pan & Zoom Effect Velocity Parameters

The Avid Pan & Zoom effect uses Velocity In and Velocity Out at each keyframe to modify
apparent camera speed as it pans across the image between keyframes. It modifies changes
in the Zoom Factor setting in the same way.

The following table describes the Velocity In and Velocity Out options.

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For more information, see “Modifying Apparent Camera Speed for an Avid Pan & Zoom
Effect” on page 281.

Parameter Description

Velocity In Controls the rate of movement from the selected keyframe to the midpoint between the
selected keyframe and the next keyframe; that is, the first half of the time between keyframes.
• Linear — Makes no modification to the pan and zoom movement. This results in apparent
camera movement that begins immediately with no ease in.
• Constant — Does not use the keyframe’s Position parameters to calculate the speed of the
effect. However, the effect still uses the keyframe’s Position parameters to determine the
path of the effect (the pan) and the keyframe’s Zoom Factor to calculate the zoom between
the selected keyframe and the next keyframe. For more information on using the Constant
option, see “Creating a Path with Constant Velocity for an Avid Pan & Zoom Effect” on
page 283.
When you select Constant for Velocity In, the effect automatically selects Constant for
Velocity Out, and vice versa.
• Ease In — Modifies movement by providing a slight acceleration at the beginning of the
time between the selected keyframe and the next keyframe. To ease in and ease out of the
entire effect, see “Setting Up a Simple Ease In and Ease Out for an
Avid Pan & Zoom Effect” on page 282.

Velocity Out Controls the rate of movement from the midpoint between the selected keyframe and the next
keyframe to the next keyframe; that is, the second half of the time between keyframes.
• Linear — Makes no modification to the pan and zoom movement for the second half of the
time between the selected keyframe and the next keyframe. This results in parameters that
change at a constant rate up to the next keyframe.
• Ease Out — Modifies the pan and zoom movement by providing a slight deceleration into
the next keyframe. To ease in and ease out of the entire effect, see “Setting Up a Simple
Ease In and Ease Out for an Avid Pan & Zoom Effect” on page 282.
• Constant — Does not use the keyframe’s Position parameters to calculate the speed of the
effect. However, the effect still uses the keyframe’s Position parameters in determining the
path of the effect (the pan) and the keyframe’s Zoom Factor to calculate the zoom between
the selected keyframe and the next keyframe. For more information on using the Constant
option, see “Creating a Path with Constant Velocity for an Avid Pan & Zoom Effect” on
page 283.
When you select Constant for Velocity In, the effect automatically selects Constant for
Velocity Out, and vice versa.
• Hold — At the midpoint between the selected keyframe and the next keyframe, the image
freezes (pan and zoom movement stop). Movement resumes at the next keyframe. The
effect disregards the Velocity In value of the next keyframe.
If you have Background set to Video, the background continues to update.

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Avid Pan & Zoom Effect Path Parameter

The Path Fast menu selects the interpolation option for Position parameter changes at
keyframes. For more information, see “Controlling Path Changes at Keyframes for an Avid
Pan & Zoom Effect” on page 283.

This parameter is not keyframeable.

The following table describes the Path Fast menu options.

Option Description

Linear Creates straight-line changes from one keyframe to the next.

Spline Smooths out changes at keyframes to create a more natural movement. The effect
calculates a Spline path so that it is smooth through all points. If you move a point the
effect recalculates the entire path.

n If you combine a Spline path with Constant velocity, when you move a keyframe,
the path recalculation might result in a change to the velocity of the effect. For
more information, see “Avid Pan & Zoom Effect Velocity Parameters” on page
703.

Avid Pan & Zoom Effect Filtering Parameter

Filtering controls the method by which the effect renders, and it determines the quality of the
rendered result. The filtering options allow you to trade off the clarity or sharpness of the
resized image and the speed at which the effect renders.

This parameter is not keyframeable.

The following table describes the Filtering Fast menu options. It ranks the Filtering options
from fastest render and lowest quality image to slowest render and highest quality image.
For more information, see “Setting a Rendering Option for an Avid Pan & Zoom Effect” on
page 285.

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Option Description

Real-Time Renders most quickly but creates a draft-quality image.

n The application uses Real-Time filtering during uncompressed play.

Triangle Creates fairly soft images.

Quadratic Creates slightly sharper images than Triangle filtering.

Cubic Creates sharper images than Quadratic filtering although still fairly soft.

B-Spline Catmull Creates results similar to Cubic filtering when you zoom out (shrink the image)
by a large amount. Creates a sharper image than Cubic filtering when you:
• Stay close to the original size of the image (little zooming in or zooming
out).
• Zoom in past the source image resolution.

Gaussian Creates an image that is relatively soft but sharper than B-Spline Catmull.

Avid High Qual Creates sharp images when you zoom out.

Avid Ultra Qual Creates extremely sharp images when you zoom out, but has the longest
rendering time.

Avid Pan & Zoom Effect Background Parameters

The following table describes the Background parameters.

These parameters are not keyframeable.

Other Options button

Background
Fast menu

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 Image Effect Parameters

Parameter Description

Background Fast Menu Click to select what the effect uses outside the field of view if your image does not fill
button the entire screen.
Color — Select a background color using one of the following methods:
• Manipulate the RGB sliders directly, or use the numeric keypad to enter values.
• Click the Other Options button to use the Windows Color dialog box or the
Macintosh Colors panel.
• Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 76.
Video — Uses the video from the segment upon which you placed the Avid Pan &
Zoom effect.

Avid Pan & Zoom Effect Advanced Parameters

The Advanced parameter category provides controls for the rare case in which an image for
Avid Pan & Zoom comes from a video source.

These parameters are not keyframeable.

The following table describes the Advanced parameters.

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Parameter Description

Source Has Square When selected, the Avid Pan & Zoom effect produces rectangular pixels. This is the default.
Pixels
When deselected, the effect makes no changes to pixel shape.
For more information, see “Adjusting for Source Image Pixel Shape and Color Levels in an
Avid Pan & Zoom Effect” on page 287.

Levels Click the Fast Menu button to select how the effect treats the color levels in the image.
• RGB — Used for images with a black level of 0 and a white level of 255. Most images
you import (except those from a video source) use these values. The effect maps colors
in the source image to video black and white levels, which are 16 and 235 respectively.
This is the default setting.
• 601 — Used for images from a video source, where the black level is 16 and the white
level is 235. 601 refers to the ITU-R-601 standard for video black and white levels.
When selected, the effect makes no adjustment to color levels.

Avid Pan & Zoom Effect Cache Parameter

The Cache Fast menu gives you control over the amount of memory used to store your
images for playback.

This parameter is not keyframeable.

n A full resolution image is always used for rendering.

The following table describes the Cache Fast menu options.

Option or Action Description

Video Resolution Stores the resized source image at 720 x 480 pixels, using about 1 MB per
image. Use if you have many images in your sequence and you need to limit
how much memory they occupy.

Image Resolution Stores the resized source image at its original resolution. The amount of
memory used varies with the size of the image.

Multi-Resolution Stores several versions of the image: original image resolution, half resolution,
quarter resolution, and so on, for eight versions of the image, which results in
higher quality real-time preview and faster rendering. Uses about twice the
memory of Image Resolution.

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 Image Effect Parameters

Option or Action Description

Free Current Cache Frees all memory used for image storage and then reverts to Image Resolution.
Select to free up memory after you have rendered the clip.

Cache All Acts as a global switch that sets the same Cache parameter for all instances of
the effect in a sequence.

Free All Caches Frees the caches for all instances of the plug-in in that sequence.

Avid Pan & Zoom Effect Render Mode Parameter

If you are working in a progressive project, (23.976p, 24p, or 25p), click the Progressive
check box in the Render Mode parameter category. Selecting this option creates a smoother
animation when using progressive frames.

This parameter is not keyframeable.

For more information, see “Setting a Rendering Option for an Avid Pan & Zoom Effect” on
page 285.

Blur Effect Blur Parameters

The Blur parameter category allows you to blur a selected area with horizontal and vertical
controls. This is useful for distorting or disguising part of an image.

You can also create this effect using the Paint Effect by selecting Blur mode in the Mode
parameter category. For more information, see “Paint Effect Mode Parameters” on page 717.

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The following table describes the Blur parameters.

Parameter Description

Opac. (opacity) Controls the relative strength of the blur. 100 is the greatest amount of blur and 0 is the least.

Blur Visible The Blur Visible button enables you to add a keyframe and have the blurred area suddenly
“pop” onto the screen at the position marked by the keyframe. You must have at least three
keyframes to create this effect.

Hor (horizontal) Defines the horizontal and vertical dimensions of the blurred area.
and Vert (vertical)

Color Effect Luma Adjust Parameters

The following table describes the Luma Adjust parameters.

Parameter Description

Bright (brightness) Changes the brightness of the picture. The parameter ranges from –100 to +100, where a
value of 0 indicates no change. A value of –100 darkens the image; a value of +100 brightens
the image.

Original — Brightness 0 Brightness –50 Brightness +50

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Parameter Description

Cont (contrast) Controls the contrast of light and dark areas in the picture. Values range from –100 to +100,
where a value of 0 indicates the image is unchanged. A negative value is less contrast; a
positive value is more contrast.

Original — Contrast 0 Contrast –50 Contrast +50

Invert Reverses the image’s brightness, such that the brightest parts become the darkest and the
darkest parts become the lightest.

Color Effect Luma Range Parameters

Luma Range parameters allow you to adjust the range of brightness from black to white. The
following table describes the Luma Range parameters.

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16 Effects Parameter Reference

Parameter Description

Fast Menu Click to select ranges for mapping video to alpha ranges.
button
• 16 to 235 — The default for video images.
• 0 to 255 — Allows you to map normal video to alpha ranges. This is useful if you have a
high-contrast image that you want to expand to the full dynamic range. For example, use this
value when you want to convert video to alpha for Matte Key effects.

n When you change the Luma Range to 0 to 255, the application attempts to go from 0 to 255
but will be clipped by the Low Clip and High Clip values in the Luma Clip parameter
category. If you want to “open up” the image to the full dynamic range, you need to
change the Low Clip and High Clip values to 0 and 255, respectively.

W Point Allows you to set the white point in the image. All pixels with that value become white, and all
(white point) pixels with higher values are also clipped to white. The default is 235 (the broadcast value for
white).
Raising the black point and lowering the white point values increases the contrast by reducing the
number of shades of gray in an image. The number of shades are reduced because you map some
to extreme black and others to extreme white.

B Point Allows you to set the black point in the image. All pixels with that value become black, and all
(black point) pixels with lower values are also clipped to black.
For example, you could use the eyedropper to select a shadow on the floor and change it from
gray to black, clipping everything below that shade to black. The default is 16 (the broadcast
value for black).
Raising the black point and lowering the white point values increases the contrast by reducing the
number of shades of gray in an image. The number of shades are reduced because you map some
to extreme black and others to extreme white.

n Black point control does not change the Black setup level. To adjust the Black setup level,
use the Video Output tool. For more information, see “Basic Video Output Calibration” in
the Help.

Gamma Allows you to adjust the midtones in an image without affecting the extreme white or black
values. Lowering the value darkens midtones and brings the image closer to black. Raising the
value lightens the midtones and brings the image closer to white.
For example, a person shot in front of a window in daylight might be very dark, almost in
silhouette. You can use gamma correction to increase the midtones without changing the blacks
or whites. Values range from –100 to +100 with 0 being no change.
The number of shades of gray in an image are determined by the W Point, B Point, and Luma
Clip sliders. The Gamma point allows you to move the distribution of the shades closer to black
or closer to white. Negative values move the distribution closer to black. Positive values move the
distribution closer to white.

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Color Effect Luma Clip Parameters

Luma Clip parameters allow you to determine the levels at which the application limits the
brightness or darkness in the picture. The following table describes the Luma Clip
parameters.

Parameter Description

High Provides a simple clip function for brightness values. When you specify a value for High, no pixel
in the image can be brighter than that value. The default is 235 (the broadcast value for white).

Low Provides a simple clip function for darkness values. When you specify a value for Low, no pixel in
the image can be darker than that value. The default is 16 (the broadcast value for black).
When preparing video for broadcast, normally you do not adjust these values. They allow you to
adjust the brightness and contrast (using other controls in the Color Effect) while still maintaining
legal broadcast values for black and white.

Color Effect Chroma Adjust Parameters

The following table describes the Chroma Adjust parameters.

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16 Effects Parameter Reference

Parameter Description

Hue Varies the tint of all colors in the image. The Hue parameter is measured as degrees on a color
wheel from –180 to +180, where 0 does not change the hue. Changing the value of the Hue
causes all colors in the image to rotate around the color spectrum. For example, a Hue setting
of –20 causes skin tones to look more green, while a Hue setting of +20 causes skin tones to
look more red.
The direction of rotation of the color wheel for this parameter was reversed for some previous
versions of Avid DNA-based editing applications, for example, Avid Media Composer
Adrenaline. In those versions, a Hue setting of -20 caused skin tones to look more red, while a
Hue setting of +20 caused skin tones to look more red. The current direction of rotation
matches that used in older Avid Meridien systems and in all Avid Symphony systems.
You can use a console command to reverse the rotation and match the behavior of a previous
version of the editing application that used the opposite direction of rotation. For example, if
you open a sequence created in a previous version, enter this command so that any color
adjustment using the Hue parameter matches that created by the original setting.
To reverse the direction of rotation for the Hue parameter:
1. Select Tools > Console.
2. In the Console command line, type:
ChromaHueReverse
3. Press Enter.
To return to the default setting, type the command again.
If the command is enabled, the following message appears in the console when you start your
Avid editing application: Reversing Software Color Effect Chroma Adjust Hue is
enabled.

Sat (saturation) Varies the amount of all colors in the image. The Saturation parameter has a value of –100 to
+100. Zero is the default. A value of –100 displays as gray tones. Positive values display all
colors with more saturation.

Invert Reverses the colors in both Hue and Saturation such that all colors
display as their complement.

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 Image Effect Parameters

Color Effect Color Style Parameters

The following table describes the Color Style parameters.

Parameter Description

Post (posterization) Posterization allows you to limit the number of colors in the image by controlling the
number of luminance steps that are displayed. This gives the image a graphic appearance.
The range of values is 0 to 25, where 0 displays all colors and 25 displays the least number
of colors.

Original image Posterization 10 Posterization 20

Solar (solarization) Solarization allows you to make the lightest points in the image dark to achieve a partial
inversion of the luminance. Values above the threshold set for the parameter will be
inverted. Solarization can have a value of 0 to 255, where 0 is normal luminance and 255
inverts all luminance values in the picture. Values of 0 to 127 display the lightest points in
the image as dark. Values of 128 to 255 display both the lightest points as dark and the
darkest points as light, which gives the appearance of a film negative.

Original image Solarization 100 Solarization 200

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Color Effect Color Gain Parameters

The Color Gain parameters allow individual control of the Color Gain for each of the three
color components: red, green, and blue. The following table describes the Color Gain
parameters.

Parameter Description

Red Changes the amount of red in the whole image. The parameter value is a percentage of the
range from 0 to 200, where a value of 100 indicates that the color is unchanged.

Green Changes the amount of green in the whole image. The parameter value is a percentage of the
range from 0 to 200, where a value of 100 indicates that the color is unchanged.

Blue Changes the amount of blue in the whole image. The parameter value is a percentage of the
range from 0 to 200, where a value of 100 indicates that the color is unchanged.

Mosaic Effect Mosaic Parameters

Mosaic allows you to create a tiled effect for a selected area with horizontal and vertical
controls. This is useful for distorting or disguising part of an image.

You can also create this effect using the Paint Effect by selecting Mosaic mode in the Mode
parameter category. For more information, see “Paint Effect Mode Parameters” on page 717.

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 Image Effect Parameters

The following table describes the Mosaic parameters.

Parameter Description

Opac. (opacity) Controls the relative strength of the effect. 100 is the greatest amount of distortion and 0 is
the least.

Mosaic Visible The Mosaic Visible button enables you to add a keyframe and have the distorted area
suddenly “pop” onto the screen at the position marked by the keyframe. You must have at
least three keyframes to create this effect.

Hor (horizontal) Defines the horizontal and vertical dimensions of the distorted area.
and Vert (vertical)

Paint Effect Mode Parameters

Central to the Intraframe editing process, Mode parameters and options affect the overall
nature of the Intraframe editing you perform using the Paint Effect.

This parameter is not keyframeable.

n A Mode parameter is also available in FluidMotion Edit and is described in “FluidMotion

Edit Mode Parameters” on page 761.

The following table describes the Mode parameters for the Paint Effect.

Parameter Description

Fast menu The Fast menu provides different mode options for Intraframe editing. For information about
the available modes, see “Paint Effect Modes” on page 718.

Opac. (opacity) Opacity refers to the transparency level of:

• A painted object created with the Paint Effect
• The image within the border of a matte or wipe created with the AniMatte effect
For the Paint Effect, a level of 0 makes a painted object completely transparent while a level of
100 makes an object completely opaque.
For the AniMatte effect, a level of 0 makes a keyed image completely transparent while a level
of 100 makes a keyed image completely opaque.

Object Visible The Object Visible button in the Mode parameter category enables you to add a keyframe to a
segment or transition and have a painted object or matte suddenly “pop” onto the screen at the
position marked by the keyframe. You must have at least three keyframes to create this effect.

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Parameter Description

Hor (horizontal) The Hor slider is available for several of the Paint Effect modes. When used with the Clone
and Scratch Removal modes, the Hor slider controls the horizontal position of the painted
object in the frame relative to its original position. When used with the Mosaic, Blur, and
Unsharp Mask modes, the Hor slider controls the extent of the tiling, blurring, or sharpening
effect in the horizontal direction.

Vert (vertical) The Vert slider is available for several of the Paint Effect modes. When used with the Clone
and Scratch Removal modes, the Vert slider controls the vertical position of the painted object
in the frame relative to its original position. When used with the Mosaic, Blur, and Unsharp
Mask modes, the Vert slider controls the extent of the tiling, blurring, or sharpening effect in
the vertical direction.

Amt (amount) The Amt slider is available for the Darken and Lighten modes. Use the Amt slider to control
the extent of the darkening or lightening effect.

Angle The Angle slider is available for the Gradient and Emboss modes. Use the Angle slider to
control the direction of the gradient or the extrusion effect.

Frame/Field Controls which frame or field is used as the source for clean replacement material when you
are working in Scratch Removal mode. For more information, see “Scratch Removal Effect
Scratch Parameters” on page 730.

Offset Fast Defines the position from which the Frame or Field parameter is measured when you are
menu working in Scratch Removal mode. For more information, see “Scratch Removal Effect
Scratch Parameters” on page 730.

Paint Effect Modes

The Paint Effect provides modes that you can use to paint with a variety of styles. When you
click a painting tool for the first time, the default setting is Solid mode, which enables you to
paint an opaque object on the video background with a brush stroke. The following table
describes the Paint Effect modes.

n The illustrations show the same image in every case. This enables you to compare the
different modes easily but does not necessarily illustrate the most common use of each mode.

If you are reading a hardcopy version of this document, you might find it useful to view the
color images in the Help or in the online version of this document on the online library disk.

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 Image Effect Parameters

Mode Description Illustration

Solid Applies paint as a solid color superimposed on the

video background.
The illustration shows Solid mode with Opacity set to
75%.

Erase Removes paint from a frame. Can also be used to

invert the key in an AniMatte effect.
The illustration shows a rectangular object in Erase
mode that removes paint from the oval object beneath
it.

Outline Creates an outline that is useful for tracing images in a

frame.

Clone Duplicates an area from a frame and applies it to

another area of the frame.
The illustration shows an oval object in Clone mode.
The oval has been moved from higher in the image,
taking an area of the upper part of the image with it.

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16 Effects Parameter Reference

Mode Description Illustration

Colorize Tints the selected area with the color currently

selected in the Color parameter category.

Hue Changes the hue in a selected area to the hue currently

set with the Hue slider in the Color parameter
category without affecting the saturation and
luminance levels.

Saturation Changes the saturation in a selected area to the

saturation level currently set with the Sat slider in the
Color parameter category without affecting the
luminance levels and the hue.

Luminance Changes the luminance in a selected area to the

luminance level currently set with the Lum slider in
the Color parameter category without affecting the
saturation levels and hue.

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 Image Effect Parameters

Mode Description Illustration

Darken Only Reduces the luminance levels in a selected area only if

the result would be darker than the background color.
In the illustration, the light areas have been darkened
in the selected oval while darker areas of the trees
remain unaltered.

Lighten Only Increases the luminance levels in a selected area only

if the result would be lighter than the background
color.
The illustration shows the reverse of the effect seen
for Darken Only. Dark areas in the selected oval have
been lightened while light areas, mainly the dirt roads,
remain unaltered.

Darken Reduces the luminance levels in a selected area by the

amount specified using the Amount slider.
In the illustration, luminance in the selected oval is
reduced by 50.

Lighten Increases the luminance levels in a selected area by

the amount specified using the Amount slider.
In the illustration, luminance in the selected oval is
increased by 50.

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16 Effects Parameter Reference

Mode Description Illustration

Add Adds more of the color value currently selected in the

Color parameter category to the colors in a selected
area.

Subtract Removes the color value currently selected in the

Color parameter category from the color in a selected
area.

Invert Inverts the RGB values of the colors in a selected area.

Mosaic Applies a tile effect to a selected area with horizontal

and vertical controls. This is useful for distorting or
disguising part of an image.

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 Image Effect Parameters

Mode Description Illustration

Blur Blurs a selected area with horizontal and vertical

controls. This is useful for distorting or disguising part
of an image.

Median Takes the nine values surrounding each pixel, ranks

them, and replaces the pixel with the value in the
middle. This results in a slight softening effect.
Median filters are often used to remove noise from an
image.

Unsharp Mask Sharpens a selected area of an image to create more

defined edges with horizontal and vertical controls.

Gradient Dissipates the paint in a gradient. Use the Angle slider

to establish the direction of dissipation; 100% of the
currently selected color appears at one end of the
gradient, 0% at the other end.

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Mode Description Illustration

Emboss Creates a three-dimensional extrusion effect in a

selected area. You can adjust the direction of the
extrusion with the Angle slider.

Scratch Replaces scratched or otherwise flawed areas of a

Removal frame with clean material from a nearby source.
For more information, see “Scratch Removal” on page
482.

Color Adjust Adjusts the brightness, contrast, hue, and saturation of

the selected area. Inverts the chroma and luma values
of the selected area. For more information, see “Color
Effect Luma Adjust Parameters” on page 710 and
“Color Effect Chroma Adjust Parameters” on page
713.

Luma Range Adjusts the range of brightness from black to white

and the position of the midtone point with respect to
the white and black points. For more information, see
“Color Effect Luma Range Parameters” on page 711.

Luma Clip Determines the levels at which the application limits

the brightness or darkness in the selected area. For
more information, see “Color Effect Luma Clip
Parameters” on page 713.

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 Image Effect Parameters

Mode Description Illustration

Color Style Adjusts the selected area to create posterization and

solarization effects. For more information, see “Color
Effect Color Style Parameters” on page 715.

Color Gain Provides individual adjustments of the three color

channels (red, green, and blue). For more information,
see “Color Effect Color Gain Parameters” on page
716.

Color Match This parameter category provides the same Color

Match control that appears in the Color Correction
tool. The Color Match control allows you to adjust the
color automatically in the selected area, based on
selected input and output color values.
Click the Enable Color Match button to activate the
color match for the selected area.
Click the Use NaturalMatch™ button to enable the
NaturalMatch feature.
For more information on the Color Match control and
the NaturalMatch feature, see “Using the Color Match
Control” in the Help.

Paint Effect Color Parameters

Use the sliders in the Color parameter category in conjunction with one of the Paint Effect
modes to colorize your selection.

This parameter is not keyframeable.

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Region Stabilize Effect Model Parameters

Model selects the type of stabilization for the Region Stabilize effect. For more information,
see “Using the Region Stabilize Effect” on page 334.

This parameter is not keyframeable.

The following table describes the Model parameters for the Region Stabilize effect.

Option Description

Translational Keeps the region of interest steady along both the horizontal and the vertical axes.

Horizontal Constrains horizontal motion in the region of interest. Objects in the region of interest
can move vertically but not horizontally.

Vertical Constrains vertical motion in the region of interest. Objects in the region of interest
can move horizontally but not vertically.

Region Stabilize Effect Region of Interest Parameters

Region of Interest defines the area of the image that is to remain stationary for the Region
Stabilize effect. For more information, see “Using the Region Stabilize Effect” on page 334.

The following table describes the Region of Interest parameters for the Region Stabilize
effect.

Control Description

T (top) Sets the corners of the region of interest. Values are relative to the center of the screen.

n
L (left)
You can also change the size and position of the region of interest by dragging
B (bottom)
the wire frame in the Effect Preview monitor.
R (right)

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 Image Effect Parameters

Region Stabilize Effect Options Parameters

The Options parameter category includes the Auto Zoom and Progressive Source
parameter controls.

Stabilization using the Region Stabilize effect exposes black around the edges of the
repositioned frames. Auto Zoom compensates by resizing and, if necessary, repositioning
the clip to remove the exposed edges. For more information, see “Using the Region Stabilize
Effect” on page 334.

Select Progressive Source if your footage was captured or converted to progressive footage
(not interlaced). If your sources are progressive, selecting Progressive Source produces
smoother results.

This parameter is not keyframeable.

n Progressive Source has no effect in 24p projects because the application assumes that you
are using progressive footage.

Safe Color Limiter 422 Safe Parameter

The 422 Safe parameter controls how the effect handles chroma sub-sampling when limiting
colors.

When 422 Safe is not selected (the default value), effect processing is fast. However,
depending on the image, a small number of transient pixel values might exceed your safe
color ranges.

When 422 Safe is selected, effect processing is slower, but every pixel in every frame is
guaranteed to be within your safe color ranges.

422 Safe therefore offers a choice between performance and guaranteed accuracy. In many
situations, you can leave 422 Safe turned off. If you know that every pixel throughout your
material must be guaranteed safe, turn 422 Safe on. Alternatively, you can leave 422 Safe
turned off while you edit and adjust effects, then turn it on before you render or output your
finished sequence to guarantee that every pixel in your output is color safe.

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Safe Color Limiter Source Monitor Analysis Parameters

The Source Monitor Analysis parameter menu determines whether the effect analysis
display appears in the Source monitor. For more information, see “Using the Safe Color
Limiter Analysis Display” in the Help.

The following table describes the Source Monitor Analysis parameters for the Safe Color
Limiter effect.

Control Description

Hghlight Out of Range The effect analysis display appears in the Source monitor and highlights pixels with
Colors out of range color values.

Source Monitoring – Off The effect analysis display does not appear and the Source monitor reverts to the
normal display of Source footage.

Safe Color Limiter Composite/Luma Levels Parameters

The Composite/Luma Levels parameter controls how limits for composite signal and
luminance are measured and set. For more information, see “Understanding the Safe Color
Limiter Effect” in the Help.

Control Description

Enable button When the Enable button is turned on (purple), the effect limits the video so that it is
within the limits for composite or luminance set with the Composite L, Composite H,
Luma L, and Luma H sliders. When the Enable button is turned off (gray), the effect
does not take account of the composite or luminance limits.

Composite L Controls the lower limit for the composite signal. For example, if Composite L is set
to -20 IRE, any pixels with a lower composite value are modified so that their
composite value is no lower than -20.

Composite H Controls the upper limit for the composite signal. For example, if Composite H is set
to 110 IRE, any pixels with a higher composite value are modified so that their
composite value is no higher than 110.

Composite units Controls the unit of measurement used for composite limits:
IRE — Measures in IRE units.
mVolts — Measures in millivolts.

Luma L Controls the lower limit for luminance. For example, if Luma L is set to 7.5 IRE, any
pixels with a lower luminance value are modified so that their luminance value is no
lower than 7.5.

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 Image Effect Parameters

Control Description

Luma H Controls the upper limit for the luminance signal. For example, if Luma H is set to 100
IRE, any pixels with a higher luminance value are modified so that their luminance
value is no higher than 100.

Luminance units Controls the unit of measurement used for luminance limits:
8 Bit — Measures on a scale from 0 to 255.
% — Measures on a percentage scale. Percentage values can be lower than 0 or higher
than 100.
IRE — Measures in IRE units.
mVolts — Measures in millivolts.

Safe Color Limiter RGB Levels Parameters

The RGB Levels parameter controls how limits for RGB color gamut are measured and set.
For more information, see “Understanding the Safe Color Limiter Effect” in the Help.

Control Description

Enable button When the Enable button is turned on (purple), the effect limits the video so that it is
within the limits for RGB color levels set with the RGB Gamut L and RGB Gamut H
sliders. When the Enable button is turned off (gray), the effect does not take account
of the RGB color level limits.

RGB Gamut L Controls the lower limit for RGB color gamut. For example, if RGB Gamut L is set to
16 using 8 Bit units, any pixels with a lower red, green, or blue level are modified so
that their red, green, and blue levels are no lower than 16.

RGB Gamut H Controls the upper limit for RGB color gamut. For example, if RGB Gamut H is set to
235 using 8 Bit units, any pixels with a higher red, green, or blue level are modified so
that their red, green, and blue levels are no higher than 235.

RGB Gamut units Controls the unit of measurement used for RGB gamut limits:
8 Bit — Measures on a scale from 0 to 255.
% — Measures on a percentage scale. Percentage values can be lower than 0 or higher
than 100.
IRE — Measures in IRE units.
mVolts — Measures in millivolts.

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Scratch Removal Effect Scratch Parameters

The Scratch parameters control the position and appearance of replacement material that you
use to cover scratches and other flaws.

Frame/Field
parameter
slider

Frame Processing button

The following table describes the Scratch parameters.

Parameter Description

Opac. (opacity) The Opac. slider controls the opacity of the replacement material used in a Scratch
Removal effect. A value of 0 represents complete transparency. A value of 100 represents
complete opacity.

Object Visible The Object Visible button enables you to add a keyframe to a Scratch Removal effect and
have replacement material suddenly “pop” onto the screen at the position marked by the
keyframe. You must have at least three keyframes to create this effect.

Hor (horizontal) Defines the position of the replacement material relative to the shape you have drawn on
the horizontal axis of the frame. Negative values indicate the number of pixels the
replacement material is to the left of the shape; positive values indicate the number of
pixels to the right. The default value is 0.

Vert (vertical) Defines the position of the replacement material relative to the shape you have drawn on
the vertical axis of the frame. Negative values indicate the number of pixels the
replacement material is above the shape; positive values indicate the number of pixels
below. The default value is 0.

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 Image Effect Parameters

Parameter Description

Frame/Field Defines which nearby frame or field is being used as the source of the replacement
parameter slider material. To select frame or field processing, use the Frame Processing button.
If the Frame Processing button is selected (pink), the Frame/Field parameter slider is
labeled Frame and is calibrated in one-frame increments from –5 to +5. If the Frame
Processing button is deselected (gray), the Frame/Field parameter slider is labeled Field
and is calibrated in one-field increments from –10 to +10.
For more information, see “Understanding Frame Processing for Scratch Removal” on
page 483 and “Understanding Field Processing for Scratch Removal” on page 484.
Values represent an offset from the reference point defined in the Offset Fast menu.
A value of 0 indicates the frame or field that is the reference point; a positive value
indicates a later frame or field than the reference point; a negative value indicates an earlier
frame or field than the reference point. The default value of –1 provides an instant
correction when you are working with the normal two-frame effect created by the Scratch
Removal button.
When you are working with single-field or 24p or 25p material, the slider is Frame and is
calibrated from –5 to +5, with each increment representing one frame. When you are
working with two-field material, the slider is Field and is calibrated from –10 to +10, with
each increment representing one field.

Offset Fast Menu Click to define the reference or zero point for the Frame or Field slider. The following
button three choices are available in the Offset Fast menu:
• Relative — The Frame or Field slider is set relative to the frame containing the shape
that covers the flaw.
• From Start — The Frame or Field slider is set relative to the first frame of the segment.
This is the default.
• From End — The Frame or Field slider is set relative to the last frame of the segment.

Frame Processing Allows you to select frame or field processing. For more information, see “Processing by
button Frame or Field When Using Scratch Removal” on page 482.

n When you are working with single-field material, the Frame Processing button does
not appear in the Effect Editor.

Spot Color Correction Effect Color Match Parameters

(Symphony Only)
The Color Match parameters let you correct color in the area you have isolated using the
drawing tools by replacing the Input color value with the Output color value and adjusting
all the other color values in the area proportionally.

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For example, if you want to match the skin tones in an area of the image isolated using the
drawing tools with skin tones in another area of the image (or in another image), you can use
the Color Match control to pick the two colors and automate the color adjustment.

You can also use the Color Match control within the Paint Effect by selecting Color Match
mode in the Mode parameter category. For more information, see “Paint Effect Mode
Parameters” on page 717.

The following illustration shows the Color Match parameter category.

Output color swatch

Use NaturalMatch button

Input color swatch

The following table describes the Color Match parameters.

Parameter Description

Color Match Input and Use these swatches to define the color values that control the Color Match correction.
Output color swatches Use the Input (left) swatch to define the color that you want to replace, and the Output
(right) swatch to define the good color that you want to use as a replacement.

Use NaturalMatch Enables the NaturalMatch feature, which intelligently replaces color hue in the area of
the image you have isolated using the drawing tools while retaining the saturation and
luminance characteristics of that area.

Stabilize Effect Run Auto-Zoom Option

Stabilization using the Stabilize effect exposes black around the edges of the repositioned
frames. Run Auto-Zoom processes the effect’s tracking data and calculates values for the
Position and Scaling parameters so that exposed edges are removed and the stabilized image
fills the frame . For more information, see “Reviewing and Adjusting a Stabilized Image” on
page 332.

This option creates parameter values for the Position and Scaling parameters. It has no
values of its own and is not keyframeable.

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Key Effect Parameters

This section contains reference summaries for the effect parameters that are unique to the
Key effect category.

Key Effects Key Parameters

Use the Key parameters to select the primary key color to be replaced by video. The
following table describes the Key parameters.

Available for:

• Key: Chroma Key • Key: Luma Key

This parameter is not keyframeable.

The following table describes the Key parameters for the Chroma Key and Luma Key
effects.

Parameter Description

Other Options button Opens the Windows Color dialog box or the Macintosh Colors panel for precise color
selection. For more information, see “Adjusting a Color Parameter” on page 76.

Hue Identifies the key color. The Hue parameter is measured as values on a color wheel
ranging from 0 to 255. The start (0) and ending (255) values are both red.

Sat (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no
chrominance and 255 is a fully saturated color.

Lum (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and
255 is full brightness or white.

Gain Specifies how much of the foreground and the background video will be displayed.
Values range from 0 to 63. A Gain of 0 shows only the foreground. A Gain of 63 replaces
all the foreground video with the background video.

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Parameter Description

Soft (softness) Determines how the bordering colors along the edge of the key are processed in the
effect. Colors that border the luminance or chroma specified for the key are displayed as
a blend of the foreground and the background video. The higher the Softness value, the
more of the background video will be blended in the border colors. Use the Soft slider to
improve the appearance of the edges of the keyed areas.

AniMatte Effect Mode Parameters

Central to the Intraframe editing process, Mode parameters and options affect the overall
nature of the Intraframe editing you perform using the AniMatte effect.

n A Mode parameter is also available in FluidMotion Edit and is described in “FluidMotion

Edit Mode Parameters” on page 761.

The following table describes the Mode parameters for the AniMatte effect.

Parameter Description

Fast menu The Fast menu provides different mode options for Intraframe editing with either the AniMatte
effect or the Paint Effect. For the AniMatte effect, the following two modes are available:
• Key In — Displays the image on the higher track (foreground) within the matte selection
while revealing the image on the lower track (background) outside the matte selection for
two-track video effects; displays the incoming segment within the matte selection for
single-track matte wipes.
• Key Out — Displays the image on the lower track (background) within the matte selection
while revealing the image on the higher track (foreground) outside the matte selection for
two-track video effects; displays the outgoing segment within the matte selection for
single-track matte wipes.

Opac. (opacity) Opacity refers to the transparency level of the image within the border of a matte or wipe
created with the AniMatte effect.
A level of 0 makes a keyed image completely transparent while a level of 100 makes a keyed
image completely opaque.

Object Visible The Object Visible button in the Mode parameter category enables you to add a keyframe to a
segment or transition and have a painted object or matte suddenly “pop” onto the screen at the
position marked by the keyframe. You must have at least three keyframes to create this effect.

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 Key Effect Parameters

Chroma Key Secondary Key Parameters

Use the Secondary Key parameters in the Chroma Key effect to key out a second
background color. For example, the floor in a blue-screen shot or a green-screen shot might
be a shade slightly different from the background. You can select the floor color as your
secondary color and key it out.

This parameter is not keyframeable.

For a description of each parameter, see “Key Effects Key Parameters” on page 733.

Chroma Key Spill Suppression Parameters

The Spill Suppression key neutralizes the selected color for the Chroma Key effect without
affecting the luminance. The key changes the spill color to a grayscale, allowing it to blend
more easily with the foreground image.

Use the Spill Suppression key color to fix the following problems:
• Remove background color spill from the foreground image. Color spill occurs when the
background color is present in the foreground image due to backdrop reflection.
• If the foreground object retains an outline of the chroma key color, you can use Spill
Suppression to reduce the color effect in the outline.

This parameter is not keyframeable.

For a description of each parameter, see “Key Effects Key Parameters” on page 733.

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RGB Keyer Key Color Parameters

Use the Key Color parameters in the RGB Keyer effect to select a color for the chroma key.
The following table describes the Key Color parameters for the RGB Keyer effect.

This parameter is not keyframeable.

The following table describes the Key Color parameters for the RGB Keyer effect.

Parameter Description

H (hue) Specifies the hue or tint measured as values on a color wheel ranging from 0 to 255. The start
(0) and ending (255) values are both red.

S (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no
chrominance and 255 is a fully saturated color.

V (value) Specifies the value of the color.

RGB Keyer Chroma Key Parameters

Use the Chroma Key parameters in the RGB Keyer effect to fine-tune the key effect. The
following table describes the Chroma Key parameters for the RGB Keyer effect.

This parameter is not keyframeable.

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 Key Effect Parameters

The following table describes the Chroma Key parameters for the RGB Keyer effect.

Parameter Description

Gain Adjusts the threshold of the key, with a range from 0 to 100.

Soft (softness) Softens the edge of the key, with a range from 0 to 100.

Show Alpha Displays the grayscale alpha channel used to apply the key effect to the foreground and
background sources. Viewing the alpha channel directly allows you to examine problem areas
of the key while making adjustments.

Spill Suppresses the spill from the key color onto foreground objects that often occurs due to color
reflection in the scene. The range is from 0 to 100.

Level Controls transparency of the foreground elements against the key background.

Reverse Inverts the key.

RGB Keyer Matte Control Parameters

Use Matte Control in the RGB Keyer effect to fine-tune the edges of the matte used in the
chroma key. The following table describes the Matte Control parameters for the RGB Keyer
effect.

This parameter is not keyframeable.

The following table describes the Matte Control parameters for the RGB Keyer effect.

Parameter Description

Blur Uses a box filter to blur the matte for the key. The range is 0 to 100; 0 indicates a blurring of 0
pixels, and 100 indicates a blurring of 10 pixels.

Erode Used with blur, decreases or “erodes” the outer edges of the blurred matte key.

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16 Effects Parameter Reference

RGB Keyer Color Correction Parameters

Use the Color Correction parameters in the RGB Keyer effect for post-key color correction
of the foreground elements in the Chroma Key effect. Because the foreground and
background elements are often shot at different times and locations, post-key color
correction is especially useful for maintaining the key while matching the visual
characteristics of the foreground to the background. The following table describes the Color
Correction parameters for the RGB Keyer effect.

This parameter is not keyframeable.

The following table describes the Matte Control parameters for the RGB Keyer effect.

Parameter Description

Hue Specifies the hue or tint of the foreground elements. The Hue parameter is measured as values on
a color wheel ranging from –180 to +180.

Sat Specifies the amount or intensity of the color. Values range from –100 to +100.
(saturation)

Bright Specifies the brightness level. Values range from –100 to +100.
(brightness)

Cont Controls the contrast of light and dark areas in the picture. Values range from –100 to +100,
(contrast) where a value of 0 indicates the image is unchanged. A negative value is less contrast; a positive
value is more contrast.

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 Key Effect Parameters

SpectraMatte Bypass Parameter

Use Bypass to toggle the SpectraMatte effect on and off. When you select Bypass, you see
the original foreground image in the Effect Preview monitor. When you deselect Bypass,
you see the composite of foreground and background created by the effect. Use Bypass, for
example, when you want to use the eyedropper to select the key color from the blue or green
screen part of the foreground image.

Bypass on Bypass off

SpectraMatte Key Color Parameters

Use Key Color to select the color from the foreground image that you want to replace with
the background image. You can use the eyedropper to select the color from the image, select
the color using the Windows Color dialog box or the Macintosh Colors panel, or select the
color using the red, green, and blue sliders.

The SpectraMatte effect uses the color you select as the basis for defining a range of color
values to use in the key. In the SpectraGraph display, this range appears as a wedge keyed
out of the CbCr swatch. For an explanation of how this wedge is calculated, see “How the
SpectraMatte Effect Calculates Key Color Values” on page 231.

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The following table describes the Key Color parameters for the SpectraMatte effect.

Parameter Description

Other Options Opens the Windows Color dialog box or the Macintosh Colors panel for precise color
button selection. For more information, see “Adjusting a Color Parameter” on page 76.

Color Preview Shows the currently defined key color and allows you to use the eyedropper to select a key
window color value from an image, for example the blue or green screen in your foreground footage. To
use the eyedropper icon, click the Color Preview window, drag the eyedropper to the color you
want to select, and then release the mouse button.

Red Controls the amount of red in the key color. Values range from 0 to 255. In the SpectraGraph
display, an increase in the Red value swings the key color wedge towards the red part of the
swatch, while a decrease in the Red value swings the wedge away from the red part of the
swatch.

Green Controls the amount of green in the key color. Values range from 0 to 255. In the SpectraGraph
display, an increase in the Green value swings the key color wedge towards the green part of
the swatch, while a decrease in the Green value swings the wedge away from the green part of
the swatch.

Blue Controls the amount of blue in the key color. Values range from 0 to 255. In the SpectraGraph
display, an increase in the Blue value swings the key color wedge towards the blue part of the
swatch, while a decrease in the Blue value swings the wedge away from the blue part of the
swatch.

SpectraMatte Matte Analysis Parameters

Use the Matte Analysis controls to display and customize analytical views of the
SpectraMatte effect. The Matte Analysis controls do not have any impact on the finished
look of the effect.

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 Key Effect Parameters

Parameter Description

Show Alpha Shows the alpha matte currently being generated by the effect in the Effect Preview monitor.
This is useful for checking the effect of your parameter adjustments, particular those such as
the Matte Processing parameters that change the edges of the matte. For more information on
the alpha matte display, see “Understanding SpectraMatte Analysis Displays” on page 228.
Show Alpha in the Effect Preview monitor is off by default.

Foreground image Show Alpha display

SpectraGraph Shows the SpectraGraph display, which shows the color values in the foreground image
superimposed on a CbCr color swatch, in the Effect Preview monitor. For more information
on the alpha matte display, see “Understanding SpectraMatte Analysis Displays” on page
228. SpectraGraph display in the Effect Preview monitor is off by default.
If Show Alpha is also selected, SpectraGraph displays an alpha matte for the CbCr color
swatch. This can be useful for viewing the superimposed color data more clearly.

SpectraGraph display SpectraGraph and Show Alpha display

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16 Effects Parameter Reference

Parameter Description

SpectraGraph Controls how effect information displays in the Source monitor.

Source Monitor
• Source Monitoring - Off — the Source monitor does not display an analysis view.
menu
• SpectraGraph in Source Monitor — shows the SpectraGraph display in the Source
monitor. This is the default menu selection.

• Alpha in Source Monitor — Shows the alpha matte display in the Source monitor.

SpectraGraph Controls the brightness of the CbCr color swatch in the SpectraGraph display. Values range
Brightness from 0 to 100. Adjusting the brightness of the swatch can be useful for helping you to see the
superimposed color data more clearly.

SpectraGraph Brightness = 0 SpectraGraph Brightness = 100

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 Key Effect Parameters

SpectraMatte Chroma Control Parameters

Use the Chroma Control parameters to adjust how color values are calculated in the key. In
the SpectraGraph display, adjustments to the Chroma Control parameters affect various
aspects of the shape and edge of the key color wedge.

Parameter Description

Tolerance Controls the range of hues in the key color. In the SpectraGraph display, the Tolerance
value is visible as the width or spread of the key color wedge.
Values range from 0 to 180 and represent the angle between the two sides of the wedge.
The default value is 90.

Tolerance = 45 Tolerance = 135

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Parameter Description

Key Sat (saturation) Controls the saturation level at which keying begins. In the SpectraGraph display, the Key
Line Sat Line value creates a line perpendicular to the center line of the key color wedge that
modifies the shape of the wedge by blunting its point. This has the effect of retaining color
values on the inside of the line in the foreground image — that is, low saturation color
values across the full hue range defined by the key color wedge.
Values range from 0 to 100, where 0 places the line at the location of the Key Saturation
value and 100 places the line at the location of the Key Color. The default value is 0.

Key Sat Line = 50 Key Sat Line = 100

Key Saturation value

Key Color value Key Saturation Line

Key Wedge

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 Key Effect Parameters

Parameter Description

Key Saturation Controls the saturation level at which keying begins. In the SpectraGraph display, the Key
Saturation value is the point of the key color wedge, so higher Key Saturation values move
the wedge out from the center of the CbCr swatch. Unlike the Key Sat Line parameter, Key
Saturation does not change the basic shape of the key wedge, so its effect on the key is
somewhat different.
Values range from 0 to 100, where 0 is zero saturation (the center of the CbCr swatch) and
100 is the same saturation value as the key color. The default value is 0.

Key Saturation = 50 Key Saturation = 99

Key Saturation value

Key Color value

Key Wedge

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16 Effects Parameter Reference

Parameter Description

Inner Softness Controls the extent of the blend gradient by adjusting where the gradient begins to increase
from 0 (full transparency of foreground values). In the SpectraGraph display, this is visible
because this changes where the solid black area of the key color wedge ends and the
blended area begins.
Values range from 0 to 100. The higher the value, the narrower the softness gradient, and
the more color values near the edges of the key color wedge are completely keyed out
rather than blended between foreground and background. When Inner Softness is 0, the
gradient extends inwards from the edges of the wedge all the way to the Key Color value.
The default value is 10. When Inner Softness is 100, the gradient extends only a small
percentage of the way from the edges of the wedge towards the Key Color value.

Inner Softness = 0 Inner Softness = 10 (default) Inner Softness = 100

Outer Softness Controls the extent of the blend gradient by adjusting where the gradient begins to decrease
from 1 (full opacity of foreground values). In the SpectraGraph display, this is visible as a
change in where the solid color area outside the key color wedge ends and the blended area
begins.
Values range from -100 to +100. Setting Outer Softness to -100 increases the range of color
values that are fully opaque in the foreground image and reduces the extent of the blend
gradient. Setting Outer Softness to +100 reduces the range of color values that are fully
opaque in the foreground and increases the extent of the blend gradient.

Outer Softness = -100 Outer Softness = 0 (default) Outer Softness = 100

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 Key Effect Parameters

Parameter Description

Alpha Offset Controls the position of the blend gradient by adding an offset to the blend gradient values.
Unlike Inner Softness and Outer Softness, which alter the extent of the blend gradient by
moving either its inner or outer edge, Alpha Offset shifts the entire gradient. This
effectively expands or contracts the whole key color wedge.
Values range from -100 to +100. Setting Alpha Offset to a negative value expands the key
color wedge, while setting Alpha Offset to a positive value contracts the key color wedge.

Alpha Offset = -50 Alpha Offset = +50

Opacity Controls the overall opacity level of the foreground image. Values range from 0 to 100,
where 0 results in a completely transparent foreground image and 100 (the default value)
results in a completely opaque foreground image.

Opacity = 100 Opacity = 65

SpectraMatte Luma Control Parameters

Use the Luma Control parameters to adjust the key based on the luminance characteristics of
pixels in the foreground image.

Parameter Description

Enable Luma Curve Turns the Luma Curve parameter on or off. When Enable Luma Curve is selected, the
SpectraMatte effect uses the luminance graph in the Luma Curve advanced keyframe
display to adjust the key.

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Parameter Description

Luma Curve Modifies the alpha value of blended pixels by adding an offset based on their luminance.
The offset is calculated from a graph that you create in the advanced keyframe graph area
for the Luma Curve parameter.
For example, you can use this parameter to increase the transparency level of very bright
pixels so that they are more completely keyed out while leaving darker pixels unaffected.
The Luma Curve parameter is only applied to pixels in the foreground image that are
already blended (neither fully opaque nor fully transparent) as a result of the chroma
parameter settings in the effect.
It is important to understand that the parameter works by repurposing the advanced
keyframe graph. The horizontal axis of the advanced keyframe graph becomes a luminance
scale, while the vertical axis represents the alpha offset. By adding and adjusting points on
the graph you create a curve that defines the alpha offset across the luminance range. For
information on working with the advanced keyframe graphs, see “Understanding
Advanced Keyframes” on page 83.
In the following illustration, three points appear on the Luma Curve advanced keyframe
graph. The left and right points represent luminance values of zero luminance and full
brightness respectively, while the center point represents a luminance value roughly
half-way between. The first two points are set to a positive offset of 75, while the third is
set to an offset of 0. The resulting curve interpolates offset values across the full luminance
range. The offset remains at 75 for all pixels darker than the luminance midpoint, then
gradually decreases to 0 across the range of pixels above the luminance midpoint. The
result of this setting is that darker foreground pixels become much less transparent (if they
were already partially transparent), while the brightest pixels are unchanged.

Luminance approximately 128

Alpha Offset = 75
Luminance = 0
Alpha Offset = 75
Luminance = 255
Alpha Offset = 0

n The Luma Curve graph can have as many points as necessary to define the curve
you need. Also, the graph does not need to be a specific width. The outside two
points on the graph always represent the luminance limits, regardless of their exact
horizontal location.
Values range from -100 to +100. Negative values increase the transparency of affected
pixels, while positive values decrease the transparency. A value of -100 makes an almost
fully opaque pixel fully transparent. A value of +100 makes an almost fully transparent
pixel fully opaque.

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 Key Effect Parameters

Parameter Description

Suppress Shadow Allows you to remove shadows cast by foreground subjects onto areas of key color such as
blue or green screens by increasing the saturation value of pixels for the purposes of
calculating the key. The darker the pixel, the more the saturation value is increased. The
change in saturation value is used only while calculating the key and does not affect the
appearance of the image.
Values range from 0 to 100. The higher the value, the more saturation is boosted for the
purposes of calculating the key.
In the SpectraGraph display, the impact of the Suppress Shadow parameter is clearly seen
in the superimposed color data, as shown in the following illustrations. As the Suppress
Shadow value increases, color values move outward into areas of higher saturation, with
darker values moving further than brighter ones.
The following illustration shows the display for a Suppress Shadow setting of 80. Color
values have moved out from the center to areas of higher saturation. Darker pixels have
moved furthest and have “overtaken” lighter pixels.

SpectraMatte Matte Processing Parameters

Use the Matte Processing parameters to adjust the alpha matte that the effect uses to generate
the key by blurring or softening. This is primarily used as a way to improve the look of the
edges of a key.

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16 Effects Parameter Reference

Parameter Description

Matte Blur Controls the amount of blurring that is applied to the matte.
Values range from 0 to 100, where higher values result in a greater degree of blurring. The
default value is 0.
Use the menu to control how the blurring is applied. You have the following options:
• Blur — Adds blurring to both the inside and the outside of the matte edge.
• Erode — Adds blurring to the inside of the matte edge only.
• Dilate — Adds blurring to the outside of the matte edge only.

Alpha Matte before blurring

Blur = 50 Erode = 50 Dilate = 50

Soften Alpha Softens alpha values where edges of the key color wedge meet. In the SpectraGraph display, this
Saturation is visible as a slight rounding off of the point where two edges meet in the key color wedge. The
default value is On. Turning Soften Alpha Saturation off changes the alpha value of a small range
of color values and might improve the look of the edges of some keys.

Soften Alpha Saturation On Soften Alpha Saturation Off

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 Key Effect Parameters

SpectraMatte Spill Parameters

Use the Spill parameters to remove key color that has been reflected onto the foreground
subject from the blue or green screen background.

Spill correction in the SpectraMatte effect works by replacing color values that might be
affected by spill with color values that are unaffected. For example, if green is the key color,
some greenish-blue color values are replaced by blue color values.

You control the range of color values that are affected using the two Spill parameter controls.
For details of the effect of each parameter, see the following table. In combination, the two
parameters establish a zone around the key color wedge where spill correction will take
place. Color values within the zone are replaced by color values on the “safe” side of the
zone (away from the key color wedge), as shown in the following illustration.

Color values inside

the spill correction
zone are replaced
by values from the
edge of the zone
Additional zone
Key Wedge where spill
correction occurs

In most cases, you should make relatively subtle corrections using the Spill parameters. If
you correct too large a range of values, you correct color values that do not need adjustment
and you change the look of the entire foreground image in an undesirable way.

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The following illustration shows examples of the effect of spill correction in the
SpectraGraph display.

No spill correction applied (both Spill parameters set

to 0).

Greenish colors are visible near the edges of the

key color wedge.

(The wedge has been adjusted so that it has no

blend gradient to simplify the image and clarify
these examples.)

Spill correction applied with Spill Saturation set to

100 and Spill Angle Offset set to 0.

The correction is most evident in the blues, where

greenish-blue values near the edge of the key color
wedge have been replaced with bluer values.

Spill correction applied with Spill Saturation set to

100 and Spill Angle Offset set to 30.

The correction is now much more obvious, with all

greenish values completely eliminated.

Although a correction like this certainly eliminates

all spill, it is likely to prove too extreme for many
images, effectively performing a bad color
correction. Here, for instance, pale blue and yellow
color values have also been lost.

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 Key Effect Parameters

The following table describes the Spill parameters for the SpectraMatte effect.

Parameter Description

Spill Saturation Controls the saturation level at which spill correction begins. In the SpectraGraph display, this
parameter defines the point of the spill correction zone that surrounds the key color wedge, as
shown in the following illustration.
Values range from 0 to 100, where 0 is the current Key Saturation parameter value and 100 is 0

;;
saturation (the center point of the CbCr swatch).

Spill Saturation value

(equals approximately
Zone where
50, halfway between
spill correction
the Key Saturation
takes place if
value and the center
Spill Angle
point)
Offset = 0

Key Wedge Key Saturation value

Spill Angle Controls the range of colors that undergo spill correction by changing the spread of the spill
Offset correction zone.
Values range from 0 to 100. The offset is added on either side of the zone. The default spread
of the zone is the same as that of the key color wedge, that is, the value set by the Chroma
Control Tolerance parameter. For example, if Tolerance is set to 90 and Spill Angle Offset is
set to 20, 20 degrees are added on either side of the default angle, and the final angle between
the two sides of the spill correction zone is 130 degrees.

Additional
angle set by
Spill Angle Angle set by Tolerance
Offset parameter
parameter

In most cases, Spill Angle Offset adjustments should be limited to the lower end of the value
range. Larger adjustments usually result in unwanted color correction of the foreground image.

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16 Effects Parameter Reference

Motion Effect Parameters

This section contains reference summaries for effect parameters that are unique to traditional
motion effects.

Freeze Frame Parameters

You access the Freeze Frame parameters from the Clip menu. For more information, see
“Creating a Traditional Freeze Frame Effect” on page 167.

Duration

Custom duration

These parameters are not keyframeable.

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 Motion Effect Parameters

The following table describes the Freeze Frame parameters.

Parameter Description

Duration Specifies the length of the Freeze Frame clip that will be created in the Source monitor.
To enter a custom duration:
1. Select Clip > Freeze Frame > Other
2. In the dialog box, type a custom duration, and then click OK.

Two Field The following commands determine how the effect media is created and displayed when
Freeze Frames working in two-field resolutions (for example, 20:1, 3:1, 2:1, or uncompressed).
• Using Duplicated Field — A single field is displayed in the effect. This option
reduces the vertical resolution of the image by one-half, resulting in a lower quality
image.
• Using Both Fields — Both fields are used to create the effect. This option is
especially useful when there is motion in the footage.
• Using Interpolated Field — A second field is created for the effect by combining
scan line pairs from the first field in the original media. This might result in a
slightly softer look to the freeze frame.

Variable Speed and Strobe Motion Parameters

Variable Speed and Strobe Motion parameters appear in the Motion Effect dialog box. To
open the Motion Effect dialog box, use the procedure in “Creating Traditional Motion
Effects” on page 167.

The following table describes the Variable Speed and Strobe Motion parameters. For more
information, see “Creating a Traditional Variable Speed Effect” on page 169 and “Creating a
Traditional Strobe Motion Effect” on page 173.

These parameters are not keyframeable.

n If a Strobe Motion effect becomes unrendered because it has been trimmed to a longer
duration, the effect does not play and must be rendered again.

To indicate reverse motion at full play rate, slow or fast, enter a negative play rate or a
percent.

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16 Effects Parameter Reference

Parameter Description

Variable Speed • Duration n Frames — The duration of the effect in frames. Doubling the number of
frames causes the frame rate to be half the current rate.
• Rate n FPS — The rate of speed in frames per second (fps) at which the video is
played. Normal speed is 30 fps for NTSC video, 25 fps for PAL video.
• % Speed — The percent of speed at which the video is played. Normal speed
is 100%.
• Fit To Fill — Sets the Variable Speed parameters, so the duration of the motion
effect matches the IN to OUT duration marked in the sequence.

Strobe Motion • Update every n frames — Specifies the update rate in frames for the Strobe Motion
effect. For example, entering a rate of 5 causes every fifth frame to be displayed in
the Strobe Motion effect.

Render 2-Field Motion These options are available for two-field media in interlaced projects only.
Effect Using

Duplicated Field A single field is displayed in the effect. For two-field media, this reduces the
information stored by half because it drops one field of the image, resulting in a lower
quality image. For single-field media, this is usually the best choice because of its speed
(the other options do not improve effect quality for single-field media).
When you select this option, the effects render in the shortest amount of time.

Both Fields Both fields are displayed in the effect. For example, the first two frames of a half-speed
(50%) slow motion effect repeat the original Frame 1 (both fields) twice. This option is
good for shots without inter-field motion and still shots. With footage that includes
inter-field motion, this method might result in minor shifting or bumping of the image
because it disturbs the original order of fields: a Field 1 will appear both before and after
the corresponding Field 2.
The effect renders relatively quickly. For best results, you should use evenly divisible
frame rates with this option.

Interpolated Field A second field is created for the effect by combining scan line pairs from the first field
in the original media. This option calculates the motion effect at the field level rather
than the frame level. Because the application considers all fields and does not disturb the
original order of fields, the smoothest effect results. This method is best for
video-originated material or film-originated material transferred at 24 fps.
The time needed to render effects created using this option is longer than for effects
created using either Duplicated Field or Both Fields, but similar to the time needed for
VTR-Style.

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 Reformat Effect Parameters

Parameter Description

VTR-Style The application creates a second field for the effect by shifting selected video fields of
the original media by a full scan line. This option also creates the motion effect at the
field level rather than the frame level, but because pixels are not filtered, the final image
is sharper than that created by the Interpolated Field option. The image might display
some slight jitter at certain speeds. This technique is similar to that used by high-quality
professional video decks when playing footage at less than normal speed.
The time needed to render effects created using this option is longer than for effects
created using either Duplicated Field or Both Fields, but similar to the time needed for
Interpolated Field.

Ignore If a specific motion effect type is set in the Motion Effects Render Using option of the
Render Setting active Render setting, the application automatically selects that motion effect type,
makes all other motion effect type options unavailable, and displays the Ignore Render
Setting check box. Select the Ignore Render Setting check box to temporarily override
the active Render setting and make all four motion effect type available.

Target Drive Click to select a drive on which to store the rendered effect.

Reformat Effect Parameters

This section contains reference summaries for effect parameters that are unique to the
Reformat effect category.

14:9 Letterbox Position H Parameter

Drag the slider to the left to shift the image to the left; drag the slider to the right to shift the
image to the right.

Pan and Scan Aspect Ratios Parameters

The Aspect Ratios parameter sets the Source and Target aspect ratios for a Pan and Scan
effect or a Reformat effect. For more information, see “Selecting the Source and Target
Aspect Ratios” on page 264.

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16 Effects Parameter Reference

These parameters are not keyframeable.

The following table describes the Aspect Ratios parameters for the Pan and Scan effect.

Parameter Description

Source Fast menu Specifies the aspect ratio of the source media. Supported source aspect ratios are:
• 1.33 (4:3)
• 1.66
• 1.78 (16:9)
• 1.85
• 2.35
• 15:9 anamorphic
• 16:9 anamorphic

Target Fast menu Specifies the aspect ratio to which Pan and Scan will conform the media. Supported
target aspect ratios are:
• 1.33 (4:3)
• 16:9 anamorphic

Pan and Scan Actions Parameters

The Actions parameter category allows you to control certain aspects of the Pan and Scan
effect. The following table describes the Actions parameters.

These parameters are not keyframeable.

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 FluidMotion Edit Parameters for Timewarp Effects

Parameter Description

Establish Origin Saves the current Scaling and Position values as a customized default setting. For more
information, see “Setting an Origin in the Pan and Scan Effect” on page 269.

Subdivide Effect Divides a Pan and Scan effect into a series of segments based on the segment boundaries on
the video tracks below the Pan and Scan track. For more information, see “Subdividing the
Pan and Scan Effect” on page 270.

Reset to Origin Resets the Scaling and Position values to the current customized Origin values. If you have
not established an origin, Reset to Origin resets the values to the default values for the
current Target aspect ratio. For more information, see “Setting an Origin in the Pan and
Scan Effect” on page 269.

FluidMotion Edit Parameters for Timewarp Effects

FluidMotion Edit provides tools to correct artifacts (distorted areas) that might appear in a
Timewarp effect when you select the FluidMotion rendering option. The following
illustration shows the default FluidMotion Edit display in the Effect Editor.

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n The Feathering and Brush parameters function similarly for FluidMotion Edit as they do for
the AniMatte effect and Paint Effect. For more information, see “Feathering” on page 646
and “Brush” on page 644.

For information on adjusting a parameter with a thumbwheel, see “Changing a Parameter

with a Slider” on page 74.

The following topics provide information on specific FluidMotion Edit parameters.

FluidMotion Edit Display Parameters

Display gives you control over how the application represents the motion information for
manipulation. The following table describes the Display parameters.

This parameter is not keyframeable.

Parameter Description

Fast menu Click the Fast Menu button to select which image appears in the Effect Preview
monitor and to select the way in which the application displays motion vectors.
• Color Warp 50% — Displays the image (frame or field) that the application
created halfway between outgoing Image A and incoming Image B as a grayscale
image with a color overlay. Color in the overlay represents the speed (saturation)
and direction (hue) of each pixel’s motion between Image A and Image B.
• Warp 50% — Displays the image (frame or field) that the application created
halfway between outgoing Image A and incoming Image B.
• Image A — Displays outgoing frame or field A.
• Image B — Displays incoming frame or field B.

Show Vectors When selected, the application displays the motion vectors in an overlay. Deselect
Show Vectors to see the underlying image.

Motion Color Threshold Sets the range of motion that appears in the Color Warp display.
• Min (minimum) — Sets the minimum relative speed to display.
• Max (maximum) — Sets the maximum relative speed to display.

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 FluidMotion Edit Parameters for Timewarp Effects

FluidMotion Edit Mask Parameters

Mask defines the width of a border around an image. FluidMotion does not use masked-out
border pixels when creating new images.

Use Mask to eliminate artifacts on the edge of an image caused by the black borders that are
often present around the edges of NTSC and PAL images.

This parameter is not keyframeable.

The following table describes the Mask parameters.

Parameter Description

T (top) Set the edges of the Mask area by using the sliders or by directly entering an offset.
B (bottom) The limits of the Mask appear as a blue frame in the Effect Preview monitor.
L (left)
R (right)

FluidMotion Edit Mode Parameters

The Mode parameter category appears in FluidMotion Edit and in the Intraframe editing
tools. For more information on the Mode parameter category for the Intraframe editing tools,
see “Paint Effect Mode Parameters” on page 717.

This parameter is not keyframeable.

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The following table describes the Mode parameters as part of the FluidMotion Edit
parameters.

Parameter Description

Fast menu Determines how FluidMotion applies Vector X and Vector Y values to motion vectors
in the area you are editing.
• Set Vector — Replaces motion vectors in the area you are editing with Vector X
and Vector Y.
• Add Vector — Uses Vector X and Vector Y as an offset to the values calculated by
FluidMotion, and applies the result in the selected region.
• Erase — Sets the motion vectors in the selected region to 0,0 (no motion).

Opac. (opacity) Appears only in Erase mode. Sets the relative weight given by FluidMotion Edit to the
adjustments you make to motion vectors in Erase mode.
At 0 opacity, FluidMotion Edit does not apply your adjustments. At 100 opacity,
FluidMotion Edit completely replaces its motion vectors with your motion vectors. At
levels between 0 and 100, FluidMotion Edit modifies the original motion vectors by
an amount based on a percentage of the motion vectors you defined.

Object Visible Deselect to remove the display of the object you drew and reveal the effects of your
adjustments to the region. Select to see the object superimposed on the image.

Vector X The Set Vector and Add Vector commands use the Vector X and Vector Y values to
calculate motion vectors.
Vector Y
Set values for Vector X and Vector Y, using one of the following methods:
• Use the eyedropper to sample vectors in an area of the image.
The Color Preview window and the values of Vector X and Vector Y change as
you move the eyedropper over the image.
• Use the thumbwheels to set values for Vector X and Vector Y.

Title Effect Parameters

This section contains reference summaries for effect parameters that are unique to Title
effects.

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 Title Effect Parameters

Crawling Title Position V Parameter

Position V (vertical) is available only for crawling titles.

Use this parameter to move a crawling title up or down in the frame. The number range
refers to the position of the title relative to the middle of the screen. At 0, the middle of the
title is aligned with the middle of the screen. At –999 (the slider at its leftmost position), the
bottom of the title aligns with the top of the screen; that is, the title is completely off screen
above the image. At 999 (the slider at its rightmost position), the top of the title aligns with
the bottom of the screen; that is, the title is completely off screen below the image.

Crawling
title Brought to you

Screen
Brought to you

Position V set to –999 Position V set to –0

Brought to you Position V
set to +999

Crawling Title Scroll Position H Parameter

Scroll Position H (horizontal) is available only for crawling titles.

Use this parameter to move the crawling title left or right in the frame. The number range
refers to the position of the crawling title relative to its overall length, where 0 represents the
point at which the left edge of the crawling title is aligned with the left edge of the screen.
The highest negative number (the slider at its leftmost position) places the left edge of the
crawling title off the right side of the screen. The highest positive number (the slider at its
rightmost position) places the right edge of the crawling title off the left side of the screen.

To reverse the direction of the crawl, click the Reverse button.

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c If you select all keyframes when changing the scroll position on a crawling title, all
keyframes will be set to that position and the title will no longer move. Make sure you
select the appropriate keyframes.

Rolling Title Position H Parameter

Position H (horizontal) is available only for rolling titles.

Use this parameter to move a rolling title left or right in the frame. The number range refers
to the position of the title relative to the middle of the screen. At 0, the middle of the title is
aligned with the middle of the screen. At –999 (the slider at its leftmost position), the right
edge of the title aligns with the left of the screen; that is, the title is completely off screen to
the left. At 999 (the slider at its rightmost position), the left edge of the title aligns with the
right of the screen; that is, the title is completely off screen to the right.

Rolling Title Scroll Position V Parameter

Scroll Position V (vertical) is available only for rolling titles.

Use this parameter to move the rolling title up or down in the frame. The number range
refers to the position of the roll relative to its overall length, where 0 represents the point at
which the top of the roll is aligned with the top of the screen. The highest negative number
(the slider at its leftmost position) places the top of the roll off the bottom of the screen. The
highest positive number (the slider at its rightmost position) places the bottom of the roll off
the top of the screen.

To reverse the direction of the roll, click the Reverse button.

c If you select all keyframes when changing the scroll position on a rolling title, all
keyframes will be set to that position and the title will no longer move. Make sure you
select the appropriate keyframes.

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 3D Effect Parameters

3D Effect Parameters
This section provides a general description of all 3D parameters, in alphabetical order. Each
effect includes a subset of these parameters. Some parameters have corresponding 2D
versions.

Most effect parameters are keyframeable — that is, they can be set to different values at
different points in an effect’s duration to alter an effect over time. However, some effect
parameters apply to all keyframes and their values cannot change over the duration of an
effect. When an effect parameter is not keyframeable, its description in this chapter indicates
this property of the parameter.

This section also describes the hierarchical order in which your Avid editing application
applies 3D parameters. For more information, see “Understanding 3D Parameter Hierarchy”
on page 766.

n Some parameters are not available on all systems.

n For an explanation of how to change a parameter, see “Using the Effect Editor” on page 69.

Effects parameters are grouped in the following categories:

• Acceleration (3D) (also see the 2D version, “Acceleration” on page 642)
• Axis
• Background Color (also see the 2D version, “Background” on page 642)
• Border (3D) (also see the 2D version, “Border” on page 643)
• Corner Pin
• Crop (3D) (also see the 2D version, “Crop” on page 645)
• Defocus
• Erode/Expand
• Foregnd (Foreground) (3D) (also see the 2D version, “Foreground” on page 648)
• Highlight
• Highlight Color
• Lowlight Color
• Perspective
• Position (3D) (also see the 2D version, “Position” on page 653)
• Profile (3D) (also see the 2D version, “Profile” on page 654)
• Rotation

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• Scaling (3D) (also see the 2D version, “Scaling” on page 654)

• Shadow
• Shape
• Skew
• Spill Suppression
• Spline
• Stamp
• Target
• Tracking
• Trail

Understanding 3D Parameter Hierarchy

Your Avid editing application processes 3D effects parameters in a specific order. Knowing
the order can help you understand why something looks a particular way or why an object
behaves the way it does on a motion path.

The hierarchy of 3D effects parameters and the relationships between them are as follows:

Target Higher

Perspective

Position

Rotation

Axis

Scaling

Crop Lower

• Parameters that are lower in the hierarchy, like Crop, are not affected by parameters that
are higher in the hierarchy, such as Rotation. In an effect that has both rotation and
cropping, for example, the same four edges are always cropped the same way no matter
what angle you have selected for the rotation.
• Parameters that are higher in the hierarchy always take into account the parameters
lower in the hierarchy when processing. For example, before an object is rotated, your
Avid editing application looks to see where the object is positioned in the frame to
display the correct 3D point of view with the new angle.

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 3D Effect Parameters

• You always end up with the same effect no matter the order in which you change
parameters. However, building an effect from the bottom of the hierarchy up is easier to
control. If you rotate an object, for example, and then move the axis (a lower parameter),
your object might jump off the screen. It would be better to move the axis first, and then
rotate the object.
• Parameters operate as 2D, 3D, and post-transformation. All these choices affect the 3D
path of the object differently. Two-dimensional (2D) parameters, such as Scaling, are
lower in the hierarchy and do not affect the path through space. Three-dimensional (3D)
parameters, such as Position, directly affect the shape of the motion path.
Post-transformation parameters, such as Target, move the entire path.

Acceleration (3D)
Acceleration changes the speed of movement into and out of keyframes. This is also known
as ease in and ease out. Zero on the slider is no acceleration; 100 is full acceleration.

This parameter is not keyframeable.

n Acceleration applies to every keyframe in the same way. The last time you change this
parameter determines the acceleration for all keyframes in the effect.

You can apply acceleration to a number of 3D effect parameters. For example, you can use
keyframes and acceleration to smooth the motion of a rotating Picture-in-Picture effect.

Acceleration affects the following 3D effect parameters:

• Shape (X and Y position)
• Position (3D) (if Spline is disabled)
• Scaling (3D)
• Rotation
• Axis
• Target
• Perspective

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16 Effects Parameter Reference

• Skew
• Crop (3D)
• Shadow (X and Y position)

For information about the 2D version of this effect, see “Acceleration” on page 642.

Axis
Use Axis to move the center of rotation relative to the image. There is no fixed rotation axis
with an image. The axis is independent of the image and is movable. For example, the
rotation axis can be placed in the center of the image, on the edge, or off the picture.

Axis button

To move the center of rotation off the image, you might find it useful to zoom out and
activate the wire-frame handles. For more information, see “Effect Editor Controls” on page
70.

The following table describes the Axis parameters.

Parameter Description

X Moves the center of rotation along the X axis (right or left). Values range from –999 to
+999, where 0 is the center of the X axis.

Y Moves the center of rotation along the Y axis (up or down). Values range from –999 to
+999, where 0 is the center of the Y axis.

Z Moves the center of rotation along the Z axis. Values range from –999 to +999, where 0 is
the center of the Z axis. Positive values are closer and negative values are farther away.
Adjusting the Z value moves the center of rotation off the plane of the video screen.

Background Color
Use Backgnd (background) Color to replace the bottom video track with a background color.

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 3D Effect Parameters

Use the eyedropper to select a color from the video in a monitor, or use the following color
parameters. To activate the eyedropper, move the mouse to the Color Preview window. For a
description of how to use the eyedropper, see “Adjusting a Color Parameter” on page 76.

You can achieve interesting effects on a two-track sequence by using a background color for
the bottom track and a Luma Key effect on the top track.

For information about the 2D version of this effect, see “Background” on page 642.

The following table describes the Background Color parameters.

Parameter Description

H (hue) Specifies the hue or shade of the color. Values range from 0 to 255.

S (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is
no chrominance and 255 is a fully saturated color.

L (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and
255 is full brightness.

Border (3D)
Use Border to place a border around the image. The default border color is black for Plain
borders and shades of gray for other border types.

The Fast menu allows you

to select a border style.

You can blend the foreground video with the background video if you turn on Border, use a
zero width, and adjust the Soft parameter.

You cannot change the border type and border color between keyframes.

For information about the 2D version of this effect, see “Border” on page 643.

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16 Effects Parameter Reference

The following table describes the Border parameters.

Parameter Description

Fast menu Click to select one of the following border styles.

• Plain
• Metal
• Bevel 1
• Bevel 2
• 3D Frame
• Round
• Video

Width Changes the width of the border. Values range from 0 (no border) to 100, where 50 is
the default.

Soft (softness) Changes the softness of the border edge. Values range from 0 (hard edge) to 255 (a
very soft edge), where 0 is the default. Border softness blends the border with the
background image, giving the border a soft appearance.

Use the eyedropper to select a color from the video in the Record monitor, or use the following color parameters.
To activate the eyedropper, move the mouse to the Color Preview window. For a description of how to use the
eyedropper, see “Adjusting a Color Parameter” on page 76.

H (hue) Specifies the hue or shade of the color. Values range from 0 to 255.

S (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is
no chrominance and 255 is a fully saturated color.

L (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and
255 is full brightness.

Corner Pin
Corner pinning is a way of positioning a 3D effect in a foreground video track over an object
in a background video track. For example, you might want to have the foreground video
appear to be playing on a TV set in the background video.

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The following table describes the Corner Pin parameters.

Parameter Description

Corner Selection Selects the corner to which the X and Y parameters are applied.

X Pins the image along the X axis. Values range from –999 to +999, where 0 is the default.

Y Pins the image along the Y axis. Values range from –999 to +999, where 0 is the default.

Follow Crop Lets you pin the corners of a cropped image rather than the corners of the whole frame.

Crop (3D)
At the bottom of the effects parameters hierarchy is Crop. It always crops the same four
edges of the object regardless of the object’s orientation. Cropping works only in 2D space
so that 3D parameters such as Rotation and Position, which are higher in the hierarchy, take
effect later in the processing. You don’t need to adjust cropping before the other parameters,
but it is difficult to crop edges if they are rotated to the vanishing point. Use Crop to trim an
image’s top, bottom, left, and right edges.

Crop button

For information about the 2D version of this effect, see “Crop” on page 645.

The following table describes the Crop parameters.

Parameter Description

T (top) Crops the top edge of the image. Values range from –999 (bottom) to 999 (top). The
values –999 to 999 are relative to the edges of the image. Zero is the center of the image.

L (left) Crops the left edge of the image. Values range from –999 (left) to 999 (right).

B (bottom) Crops the bottom edge of the image. Values range from –999 (bottom) to 999 (top).

R (right) Crops the right edge of the image. Values range from –999 (left) to 999 (right).

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Defocus
Defocus gives you the ability to blur the image or to blur individual layers of a matte effect
with the Internal, FG Only, Key Only, or FG and Key options.

Menu commands available

for non-Key effects

Menu commands available for

Matte Key and Title effects

Key Only, FG and Key, and KeyBlur are available only on three track effects such as Matte
keys and Titles promoted to 3D.

You can apply the FG Only, Key Only, FG and Key, or KeyBlur on any Avid editing
application, but if your Avid application does not support the feature, there will be no effect
on the image. When you move the project to an application that does support the feature, the
application will make the image adjustments you specified.

You can use Defocus to create an effect in which the incoming media “fades in” to focus.

The KeyBlur command uses alpha channel values as a template for blurring the foreground
image. When you select this option, Defocus blurs the foreground in proportion to the
opacity of the matte. You might use this effect to selectively blur part of a foreground image,
such as a face, by creating a moving matte for the area of the image you want to appear
blurred. You would use the Offset parameter to control how much of a blur Defocus applies
to the face. Alternatively, you could use a KeyBlur matte to create a soft-focus area around a
foreground subject.

When you enable Defocus, the default command is Internal and default values are 10 for
Horz (horizontal) and Vert (vertical). This produces a slight softening effect.

When you select a command, its parameters appear.

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The following table describes the Defocus commands and parameters.

Command Description

Defocus Fast menu Click to select the kind of defocus applied by the application.

Internal Blurs the image.

When you select Internal, the application applies the following parameters:
• Horz (horizontal) — Increases or decreases horizontal blur. Values range from 0 to
15, where 0 represents no change. Defaults to 10.
• Vert (vertical) — Increases or decreases vertical blur. Values range from 0 to 15,
where 0 represents no change. Defaults to 10.

FG (foreground) Only The FG Only, Key Only, and FG and Key options blur the selected components of a
Matte Key effect. When you select one of these options, the application applies the
Key Only
following parameters:
FG (foreground) and
• Horz (horizontal) — Increases or decreases horizontal blur of the selected
Key
components.Values range from 0 to 255, where 0 represents no change. Defaults
to 0.
• Vert (vertical) — Increases or decreases vertical blur of the selected components.
Values range from 0 to 255, where 0 represents no change. Defaults to 0.

KeyBlur Blurs the foreground in proportion to the opacity of the matte. Black matte values
cause no blurring; white matte values cause maximum blurring.
When you select KeyBlur, the application applies the following parameter:
• Offset — Increases or decreases across the whole image the relative amount of
blurring that Defocus applies as a result of the KeyBlur option. Values range from
–100 to 100, representing a percentage of maximum blur (100) or minimum blur
(–100). At 0, Defocus makes no further adjustment to the foreground after it
applies the KeyBlur option.

Erode/Expand
Use Erode/Expand to control the blending of the edges on 3D Warp effects. The following
table describes the Erode/Expand parameters.

This parameter is not keyframeable.

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Parameter Description

Filter Specifies how many pixels on each side of the edge will be smoothed. Values range
from 1 to 7 (1 pixel on each side to 7 pixels on each side).

Center Controls the amount of erosion or expansion applied to the edges. Erosion shrinks the
edges, and expansion enlarges the edges. Values range from 0 to 255, where 0 is
maximum erosion and 255 is maximum expansion.

Soft (softness) Controls the slope of the edges. Values range from 0 to 255, where 0 is a vertical slope
(no softness) and 255 is the maximum slope (maximum softness).

Foregnd (Foreground) (3D)

The Foregnd (foreground) parameter category allows you to choose one of several key types.
The parameter controls that appear in the category vary depending on the key type you
select.

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Parameter Description

Foregnd (Foreground) Select one of the following key types:

Fast menu
• Full Key — Use to create dissolves, using the Opac. (opacity) slider, or to switch
an effect from one video track or segment to another, using the Swap Sources
button. This is the default option.
You cannot rotate the key independently of the image.
• Luma Key — Use to replace portions of the foreground video with the
background video based on brightness or luminance. The Luma Key sliders
allow you to select a brightness value or a range of brightness values in the
foreground video. Your Avid editing application then replaces the corresponding
portions of the foreground video with background video.
For information about the 2D version of this effect, see “Key: Luma Key” on
page 588.
• Chroma Key — Use to replace one part of the video image with another video
image based on color. The key color in the video on the higher track is replaced
with the video from the lower track.
Chroma keys are often used with a foreground image shot in front of a highly
saturated color screen.
For guidance on how to adjust a 3D Chroma Key, see “Suggested Workflow for
Adjusting a Chroma Key” on page 777. For information about the 2D version of
this effect, see “Key: Chroma Key” on page 587.
• SpectraMatte Key — Use this option for a 3D effect promoted to advanced
keyframes to access all the parameters of the SpectraMatte chroma key effect.
This option is only available when the effect has been promoted to advanced
keyframes.
For information on the effect parameters available for the SpectraMatte key
effect, see “Key Effect Parameters” on page 733.
This parameter is not keyframeable.

Opac. (opacity) Modifies the transparency of the foreground image. Values range from 0
(transparent) to 100 (opaque). You can also use the Opac. (opacity) slider to adjust
the foreground opacity. For more information, see “Profile (3D)” on page 781.

Thresh (threshold — Identifies either the brightness threshold for the foreground image or the center of
Luma Key only) the luma range.

Soft (luma softness _ Allows you to soften the edge of the cutoff line. Pixel values slightly above or below
Luma Key only) the threshold are included, depending on the softness value.

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Parameter Description

Hue (Chroma Key only) Identifies the color. The hue color is replaced with video from the lower track. Either
use the slider to select the hue, or use the eyedropper with the Color Preview
window. When you use the eyedropper, the application uses the hue only from the
selected color. It ignores the saturation and luma values.

H Tol. (hue tolerance — Controls how many similar shades of the hue are replaced by the background (the
Chroma Key only) bottom video track). Use this when the ranges of luminance and saturation of the
chroma key color are too wide.

H Soft (hue softness — Allows you to soften edges that are too aliased or sharp.
Chroma Key only)

S Low (low saturation — Allows you to remove low saturation colors by raising the lower limit. For example,
Chroma Key only) sometimes portions of clothing or faces might contain subtle variations of a hue. To
keep these portions of the image visible, you can try adjusting the S Low value.

Lum Range (luminance Turns the Range slider on and off.

range — Luma Key and
Chroma Key only)

Range (for Luma Key) When Lum Range is not active, the Thresh value is a cutoff point. All brightness
values above the Thresh value are displayed (you see the foreground). Values below
the Thresh value are not displayed (you see the background).
When Lum Range is active, Thresh becomes the median point of the range. This
allows you to leave in a specific range of brightness values.

Invert Inverts the key. Portions of the foreground that were visible are now invisible and
vice versa.

Swap Sources Switches the foreground and background sources for the effect.

Reverse Animation Causes the entire effect to be reversed, including the direction of movement as well
as the incoming and outgoing sources.

Show Alpha Displays the grayscale alpha channel used to apply the key effect to the foreground
and the background source. This allows you to examine problem areas of the key
while making adjustments.

n The following parameters are used only for special applications with the Chroma Key key type. These
parameters create a mask rather than a key. They determine a range of values to retain rather than define
a range of values to key out.

L Tol. Specifies a tolerance level — retain everything below the level.

(luminance tolerance —
Chroma Key only)

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Parameter Description

L Soft Softens the key created by L Tol.

(luminance softness —
Chroma Key only)

Range (for Chroma Key) Allow you to retain values within a certain luminance range.

Suggested Workflow for Adjusting a Chroma Key

1. Use the eyedropper to select a hue.
For best results, pick a color that is well within the field of color.
2. Adjust H Tol. (hue tolerance) to replace the hue with the background.
3. If low-saturation grays are keyed out (for example, portions of faces or clothing), try
adjusting S Low (low saturation) to put them back into the foreground.
4. Use L Soft (luminance softness) to fine-tune the edges of the key.
Typically the L Tol. and L Soft settings do not need adjustment.

n You can use the Spill Suppression parameter to correct spill for a Chroma Key. See “Spill
Suppression” on page 790.

Highlight
The Highlight parameters allow you to:
• Enable automatic highlighting for shapes and adjust the intensity of automatic
highlighting.
• Adjust the highlights for manual highlighting and Rev (reverse) manual highlighting.

You can use manual highlights even when a shape is not active. The default manual highlight
creates a blurred disk in the center of the image.

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The following table describes the Highlight parameters.

Parameter Description

Soft (softness) Controls the softness of the highlight’s edge. Softness values range from 0 (hard edge)
to 100 (a very soft edge), where 50 is the default softness.

Inty (intensity) Controls the brightness of the highlight. Values range from 0 to 100, where 50 is the
default intensity.

Rad (radius) Controls the size of the highlight. Values range from 0 to 100, where 50 is the default
radius.

Angle Rotates the highlight. This has an effect only when the aspect ratio is not 0. Values
range from –180 degrees to +180 degrees, where 0 is the default angle.

Aspct (aspect ratio) Changes the shape of the highlight from a perfect circle (0) to an oval or a band.
Values range from –100 to +100, where 0 is the default. The –100 band is at right
angles to the +100 band.

X Moves the center of the highlight from left to right. Values range from –999 to +999,
where 0 is the default. Positive values move the highlight to the right.

Y Moves the center of the highlight from top to bottom. Values range from –999 to
+999, where 0 is the default. Positive values move the highlight up.

Highlight Color
Use Highlight Color to add color to the highlighted portion of a 3D effect. The following
table describes the Highlight Color parameters.

Parameter Description

H (hue) Specifies the hue or shade of the color. Hue refers to the name commonly associated
with a color, such as red, green, or blue. Values range from 0 to 255.

S (saturation) Specifies the purity or intensity of the color. A fully saturated color produces the most
intense representation of that color. Values range from 0 to 255, where 0 is no
chrominance and 255 is a fully saturated color.

L (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and
255 is full brightness.

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Lowlight Color
Use Lowlight Color to add color to the shadowed portion of a 3D effect. The following table
describes the Lowlight Color parameters.

Parameter Description

H (hue) Specifies the hue or shade of the color. Hue refers to the name commonly associated
with a color, such as red, green, or blue. Values range from 0 to 255.

S (saturation) Specifies the purity or intensity of the color. A fully saturated color produces the most
intense representation of that color. Values range from 0 to 255, where 0 is no
chrominance and 255 is a fully saturated color.

L (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and
255 is full brightness.

Perspective
Use Perspective to move the perspective point (where parallel lines appear to converge)
along the screen’s X, Y, and Z axes. This changes the way the image is visually projected
onto the video screen. The following table describes the Perspective parameters.

Parameter Description

X Moves the projected screen image farther to the left or right. Values range from –999
to +999, where 0 is the default.

Y Allows you to view the image from a higher or lower angle. Values range from –999
to +999, where 0 is the default.

Z Moves the perspective point closer to and farther from the observer. Perspective
increases as the point moves inward and decreases as the point moves outward from
the screen. Moving the perspective point in Z changes the amount of foreshortening
on an image that is rotated around the X or Y axis.

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Position (3D)
Use Position to move an image in 3D space.

Tracker Selector
Fast menu

For information about the 2D version of this effect, see “Position” on page 653.

The following table describes the Position parameters.

Parameter Description

X Moves the image along the screen’s X axis (horizontally). Values range from –3000 to +3000,
where 0 is the zero-point of the X axis. Negative values move the image to the left and positive
values move the image to the right.

Y Moves the image along the screen’s Y axis (vertically). Values range from –3000 to +3000,
where 0 is the zero-point of the Y axis. Negative values move the image down and positive
values move the image up.

Z Moves the image closer to or farther from the observer along the Z axis. Values range from
–3000 to +3000, where zero is the zero-point of the Z axis. Negative values move the image
away from the observer and positive values move the image toward the observer.

n For an illustration of the XYZ coordinate system, see “Understanding 3D Geometry and Degrees of
Rotation” on page 353.

Use Tracking The application maps Point Ato the T1 tracker selector. For more information, see “Motion
Tracking and Stabilization” on page 289.
• Tracker Selector Fast menus — Click to map a selector to a tracker. For more information,
see “Creating and Mapping Trackers” on page 305.
• X Only, Y Only — The X Only and Y Only buttons allow you to track using the data for a
single axis only. For more information, see “Limiting the Effect of Position Tracking Data
to a Single Axis” on page 327.

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Profile (3D)
Profile is available for all effects that have the Foreground (level) parameter. The Profile
window in the Effect Editor is a graphical representation of the foreground level and
acceleration applied to effect keyframes:
• Foreground level affects the opacity of the effect. The greater the opacity, the closer to
the top of the Profile graph the keyframe appears.
To adjust the foreground level, select the appropriate keyframe indicator, then click the
round white keyframe indicator that appears on the Profile graph, and drag it up or down
to increase or decrease the opacity of the foreground image.
• Acceleration affects the rate of movement into and out of keyframes. The greater the
acceleration, the more rounded the lines appear in the Profile window. You can adjust
Acceleration with the Acceleration slider only. For more information, see “Acceleration
(3D)” on page 767.

100% level
(foreground opaque) Straight lines indicate
no acceleration.

0% level
(foreground transparent)

For information about the 2D version of this effect, see “Profile” on page 654.

Rotation
Use Rotation to rotate the image around the X, Y, or Z axes. The following table describes
the Rotation parameters.

Tracker Selector
Fast menus

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Parameter Description

Z Rotates the image around the Z axis (clockwise or counterclockwise). Values range
from –720 to +720, where 0 is the default.

X Rotates the image around the X axis. Values range from –720 to +720, where 0 is the
default.

Y Rotates the image around the Y axis. Values range from –720 to +720, where 0 is the
default.

n A value of 720 degrees allows you to spin the image more than once between two keyframes. For more
information, see “Understanding 3D Geometry and Degrees of Rotation” on page 353.

Use Tracking The application maps Point Ato the T1 tracker selector, and Point B to the T2 tracker
selector. For more information, see “Motion Tracking and Stabilization” on page 289.
Click a Tracker Selector Fast Menu button to map a selector to a tracker. For more
information, see “Creating and Mapping Trackers” on page 305.

Scaling (3D)
The Scaling parameters allow you to adjust the size of the image or effect.

Scale button

Tracker Selector
Fast menus

For information about the 2D version of this effect, see “Scaling” on page 654.

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The following table describes the Scaling parameters.

Parameter Description

X Controls the width of the image when the Fixed Aspect parameter is deselected.
Stretches or compresses along the X axis (horizontally). Values range from 0 to 400,
where 100 indicates 100 percent scaling (normal size).

Y Controls the height of the image when the Fixed Aspect parameter is deselected.
Stretches or compresses along the Y axis (vertically). Values range from 0 to 400,
where 100 indicates 100 percent scaling (normal size).

Fixed Aspect When enabled, Fixed Aspect locks the aspect ratio of the image so you cannot move
the X and Y sliders independently. The X and Y sliders are ganged and move together
to maintain the selected aspect ratio.

Use Tracking The application maps Point Ato the T1 tracker selector, and Point B to the T2 tracker
selector. For more information, see the chapter “Motion Tracking and Stabilization”
on page 289.
Click a Tracker Selector Fast Menu button to map a selector to a tracker. For more
information, see “Creating and Mapping Trackers” on page 305.

Shadow
Use Shadow to place a shadow beneath an image, to adjust its offset, and to adjust its
transparency. The following table describes the Shadow parameters.

n Shadow, Trail, and Stamp are mutually exclusive; you can have only one enabled at a time.

Parameter Description

Opac. (opacity) Changes the shadow’s opacity from fully transparent (0) to fully opaque (100), where
50 is the default.

X Changes the shadow’s left/right offset. Values range from –100 to +100, where 50 is
the default.

Y Changes the shadow’s top/bottom offset. Values range from –100 to 0, where –50 is
the default.

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Shape
3D shape effects allow you to map the foreground video channel to various geometric
shapes. You can create either a Page Fold, a Ball or a Slats shape effect. Each shape effect
displays a set of parameters specific to that shape in the Shape category. In addition, you can
use any of the other available 3D effects parameters.

Each shape effect contains a default template that makes use of the standard shape
parameters. For example, when you first apply a Page Fold shape effect, the application
creates a simple page curl. You can adjust the parameters as needed.

For additional information about working with 3D Shape effects, see “Tips and Limitations
for 3D Shape Effects” on page 787.

The following illustration shows the three available shapes and the parameters available in
the Shape parameter category for that shape.

Low Light Highlight

P age Fold Background video

Flap

Foreground video
(Top)

Ball

Highlight

Shadow

Slats

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The following table describes the Shape parameters.

Parameter Description

Shape Fast menu Select one of the following shapes:

• Page Fold — treats the foreground video channel as though it were a page in a
book being turned to reveal another page beneath. You can see the video on either
side when you rotate the image or curl the edges. The portion of the image that
folds over is referred to as the flap.
• Ball — lets you treat the video as a rubbery, rectangular sheet stretched around a
sphere. If the radius of the sphere is very large, the corners of the sheet curve along
the surface like a rubber patch on a ball. If the radius is small, the corners
disappear, wrapping completely around the sphere’s surface.
• Slats — splits the image into alternating bands of video that enter the screen from
opposite directions.
This parameter is not keyframeable.

Curl Controls the distance the page rolls up. It specifies how far the rolling up has
(Page Fold shape only) progressed. Values range from 0 to 100, where 0 represents no rollup.
To take the page from a flat, centered image to one that is completely off the screen,
animate the Curl value from 0 to 100 while keeping the Radius parameter at its default
value.

Radius Controls the tightness of the curl or fold. Values range from 0 to 100, where 15 is the
(for Page Fold shape) default.

Angle Controls the direction of the curl or fold. Values range from –180 degrees to +180
(for Page Fold shape) degrees, where 45 degrees is the default. For illustrations of common angle values, see
“Tips and Limitations for 3D Shape Effects” on page 787.

Radius (for Ball shape) Changes the size of the ball. Values range from 0 to 100.

Curve (Ball shape only) Gives the ball a 3D effect. A value of 0 looks like a flat circle (and can be used as a
Circle Wipe). Higher values give more depth to the ball’s shape. Values range from 0
to 100.

X Pos (X position — Moves the shape to the right or left in relation to the image. The values range from
Ball shape only) –999 to +999, where 0 is the center of the image. Values increase to the right and
decrease to the left.

Y Pos (Y position — Moves the shape up or down in relation to the image. Values range from –999 to +999,
Ball shape only) where 0 is the center of the image. Values increase as you go down and decrease as
you go up.

Aspct (aspect ratio — Changes the shape from perfectly round to a distorted shape. Values range from –100
Ball shape only) to +100, where 0 is a circle.

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Parameter Description

Angle (for Ball shape) Rotates the axis of the shape. This effect is visible only when the aspect ratio is not
zero. Values range from –180 to +180.

Ampl (amplitude — Controls the distance the shape moves. Increase the amplitude to take the effect off the
Slats shape only) screen.

Angle (for Slats shape) Changes the line along which the video pieces move. Values can range from –180 to
+180. Use 0 for horizontal and 90 for vertical.

Freq (frequency — Controls how many copies of the shape appear on the screen.
Slats shape only)

n When experimenting with Slats, start with a Frequency value of 1 and an Amplitude of 0. This makes it
easier to see how changes in these values affect the image. Change the Amplitude slider to make the slats
move in opposite directions.

Offset Repositions the shape on the image.

(Slats shape only)

Sk Amp Weaves the image through the slats. Think of this as weaving a “video cloth” through
(skew amplitude — a loom.
Slats shape only)

Sk Angl (skew angle — Rotates the image through the slats.

Slats shape only)

Tuck and Flap Fast Controls aspects of the appearance of the flap (the portion of the image that folds
menu (Page Fold shape over). Select one of the following:
only)
• Tuck Over — Folds the flap over the top. This is the default option.
• Tuck Under — Folds the flap under the top.
• Show Top Only — Shows the top without the flap.
• Show Bottom Only — Shows the flap (bottom) without the top.

n For additional tips on using this parameter, see “Tips and Limitations for 3D
Shape Effects” on page 787.

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Parameter Description

Highlight Fast menu Controls highlighting. Select one of the following:

• Auto Highlight — Lets the application control the highlighting. You need to
enable highlighting in the Highlight parameter category in order for highlights to
appear. You can also vary the intensity of the highlight in the parameter category.
The application takes care of the positioning automatically. Applies to all shapes
except the Ball shape.
• Manual Highlight — Lets you use the Highlight parameter category to control the
highlighting. In this case, you need to set the angle, aspect ratio, radius, and so
forth. Applies to all shapes, including the Ball shape.
Use the Highlight parameters (located near the bottom of the 3D Warp parameter
list) to control manual highlighting. For more information, see “Highlight” on
page 777.
• Reverse Manual Highlight — Reverses the effect of manual highlighting you set
up. Applies to all shapes, including the Ball shape.

Tips and Limitations for 3D Shape Effects

Shape Effects and the Location of the Position Indicator

When you apply a shape effect, what you see in the Effect Preview monitor depends on
where in the clip the position indicator is located. If the position indicator is at the start or
end of the clip it might look as if the effect is missing.

Softening the Edges of a Page Fold

To soften the edges of a Page Fold effect, enable the Border (3D) parameter and adjust the
Soft slider. You can soften a border of zero width.

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Examples of Page Fold Angle Values

The following illustration shows how your Avid editing application interprets several angle
values for the Page Fold. Experiment with incremental angle values. Also experiment with
changing angle values at different keyframes.

Page Fold Angles

–45 degrees +45 degrees +135 degrees –135 degrees

–90 degrees 0 degrees +180 degrees +90 degrees

–180 degrees

While you are experimenting with angle and offset values, it is useful to scale down the top
video layer. This allows you to see the full effect as the video peels off the screen. For
example, scaling 75 percent in both X and Y axes displays the page fold as a
Picture-in-Picture effect.

Controlling the Image on the Flap of a Page Fold

Use the Show Top Only and Show Bottom Only commands in the Tuck and Flap Fast Menu
when you want to control the image in the flap or top. These are commonly used with two
video channels. One channel shows the top and the other shows the bottom (the flap).

For example, if you want an opaque top and a partially transparent flap, set a transparency
value for the video channel containing Show Bottom Only. Use the Opac. slider in the
Foregnd parameter category to adjust transparency. In this example, you would have to
render one of these effects to see the result.

Show Top Only and Show Bottom Only are also useful when you want to apply an effect
such as Defocus on just the flap or the top.

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Limitations of Ball Shape Effects

The following limitations apply to Ball shapes:

• You cannot apply the Z perspective to a Ball.
• The X and Y direct manipulation handles do not work for a Ball. Use the Rotation
sliders in the Rotation parameter category instead.

Once you use the sliders to rotate a Radial effect in X or Y, no direct manipulation other than
XY position will work. To regain access to the direct manipulation Z handle, reset the X and
Y Rotation sliders to 0.

Rotate around Z Axis Rotate around X Axis Rotate around Y Axis

Direct manipulation in Z Direct manipulation in X and Y does not work for

works for Radial shapes. Radial shapes. Use the Rotation sliders instead.

Skew
Use Skew to move or tilt an image in the X or the Y direction. The following table describes
the Skew parameters.

Parameter Description

X Skews the image along the X axis. The orientation of the top and bottom edges
remains fixed, while the left and right edges are tilted along the X axis into a
parallelogram. Values range from –999 to +999, where 0 represents no change.

Y Skews the image along the Y axis. The orientation of the left and right edges remains
fixed, while the top and bottom edges are tilted along the Y axis into a parallelogram.
Values range from –999 to +999, where 0 represents no change.

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Spill Suppression
Use real-time Spill Suppression to replace one color with another color. You can use
real-time Spill Suppression in conjunction with the Chroma Key to correct spill. In Avid
Symphony, you can also use real-time Spill Suppression for spot color correction.

Color to replace

Replacement color

The following table describes the options for the Spill Suppression parameter category.

Parameter Description

H (hue) Specifies the hue or shade of the color. Hue refers to the name commonly associated
with a color, such as red, green, or blue. Values range from 0 to 255.

S (saturation) Specifies the purity or intensity of the color. A fully saturated color produces the most
intense representation of that color. Values range from 0 to 255, where 0 is no
chrominance and 255 is a fully saturated color.

L (luminance) Specifies the brightness of the color. Values range from 0 to 255, where 0 is black and
255 is full brightness.

Use Key Color Uses the chroma key color as the color to be replaced. The color indicator box shows
gray rather than the key color itself when this option is enabled.

Gain Spill Suppression affects contiguous pixels that fall within the specified color range,
or tolerance, of the color you pick with the eyedropper or color sliders. You adjust the
tolerance with the Gain slider. Values range from 0 to 63.
Decreasing the Gain decreases the color range and includes fewer pixels contiguous to
the color selection. Increasing the Gain expands the range and includes more pixels
surrounding the color selection.

Soft (softness) Determines how colors contiguous to the selected color are processed in the effect.
Colors that border the selected color are displayed as a blend of the original color and
the replacement color. The higher the softness value, the more of the replacement
color is blended with the original color. Use the Soft slider to improve the appearance
of the edges of the keyed areas. Values range from 0 to 63.

790
 3D Effect Parameters

Spline
Spline is the parameter that smooths the position changes between keyframes. It helps to
reproduce the natural motion path of an object through 3D space. Without spline, moving
objects follow the most direct path between keyframed positions, resulting in a
“mechanical” feel.

Outline/Path button

Sometimes you want objects to settle gently into place at each keyframe and other times you
might want objects to move in a swooping arc, connecting the keyframes. Spline helps to
achieve both. It looks ahead and takes into account the motion approaching a keyframe and
the motion immediately after a keyframe and averages the changes for the smoothest
possible transition. Spline is often helpful for putting the finishing touches on a move.

Mathematically speaking, when you add a point to a spline curve, the curve changes shape,
even if the new point is on the curve. Sometimes you want to add a new point on the curve to
change the path. However, sometimes you might simply want to add a new keyframe to
change a parameter such as Rotation or Scaling without affecting the curve. To account for
both cases, your Avid editing application uses the following rule: once you move one of the
points, the application incorporates all the existing keyframes into the curve. You can move
any of the points to readjust the curve.

If you add a keyframe when using the Spline category, your Avid editing application
displays the new point on the curve. However, it does not recalculate the curve until you use
one of the Position parameters to move one of the points.

This parameter is not keyframeable.

n When you are working with Spline, it is a good idea to click the Outline/Path button in the
Effect Editor to display the wire-frame line that represents the path between keyframes.

The following table describes the options for the Spline parameter category. For illustrations
of the differences between these parameters, see “Examples of Spline Parameter
Adjustments” on page 792.

791
16 Effects Parameter Reference

Parameter Description

Tens. (Tension) Tension controls how sharply the curve bends at a keyframe. The default or 0 setting is
the average of the changes before and after the keyframe. Decreasing it to –100
doubles the amount of bending from the original 0 position and creates more slack in
the curve. Increasing it to 100 tightens the curve and makes the change in direction
more severe.

Cont. (Continuity) Continuity controls the amount of direction change between the incoming motion and
outgoing motion around the keyframe. Usually the motion should be as smooth as
possible, reducing sharp, unnatural corners (the default setting of 0). However, when
you want to simulate bouncing or punching, you must turn the Continuity down
(–100) to make the quick, hard direction changes more obvious. Turning it up to 100
forces the motion to begin going in the opposite direction at the previous keyframe,
changing to the new direction for the outgoing motion.

Bias Bias assigns a different weight to either the incoming or the outgoing motion. Set at 0,
it averages both incoming and outgoing motion. When set to –100, it “undershoots”
the keyframe; at 100 it “overshoots” the keyframe. This causes the curve to occur
either before or after the keyframe it passes through.

Examples of Spline Parameter Adjustments

The following illustration shows the effects on a motion path of typical adjustments to the
Tens. (tension) slider.

Tens. –100 Tens. 0 Tens. 100

Cont. 0 Cont. 0 Cont. 0
Bias 0 Bias 0 Bias 0

792
 3D Effect Parameters

The following illustration shows the effects on a motion path of typical adjustments to the
Cont. (continuity) slider.

Tens. 0 Tens. 0 Tens. 0

Cont. –100 Cont. 0 Cont. 100
Bias 0 Bias 0 Bias 0

The following illustration compares the motion path of an object with maximum Tension
and that of an object with minimum Continuity. There appears to be no difference between
the two; however, the motion dynamics of the two moves are quite different. Even though
both motion paths have severe direction changes, Tension causes the object to start slowly,
speed up, slow down, and pause at the keyframe, and then speed up and slow down again at
the next keyframe. This is referred to as an ease in/ease out motion.

Tens. 0 Tens. 100

Cont. –100 Cont. 0
Bias 0 Bias 0

Continuity minimum (-100) Tension maximum (+100)

793
16 Effects Parameter Reference

The following illustration shows the effects on a motion path of typical adjustments to the
Bias slider.

Stamp
Stamp lets you put a video or graphic element into an independent Stamp buffer that allows
the image to remain on screen after the effect’s segment has ended. For more information,
see “Creating a Stamp” on page 369.

Two of the most common uses for Stamp are:

• Real-time title builds: Reveal multiple text, graphic, and video elements and stamp
them over or under the foreground image when they come to rest. Once the image is
stamped, you can add more layers.
• Video montage: Bring in a variety of video images, where each one stays in place as
you continue to add new ones.

n You cannot render Stamp effects; they are real-time effects. Also, the Stamp, Shadow, and
Trail parameters are mutually exclusive; you can have only one enabled at a time.

794
 3D Effect Parameters

The following table describes the options for the Stamp parameter category.

Parameter Description

Opac. (opacity) Changes the stamp’s opacity from fully transparent (0) to fully opaque (100), where
100 is the default.

Foregnd. On Top Switches the image in the Stamp buffer to the background. If Foregnd. On Top is not
(foreground on top) enabled, the Stamp buffer is always in the foreground.

Clear Lets you clear the stamp buffer of everything in it.

Target
Use Target to change the X,Y positioning and the sizing and to maintain the current
perspective.

Target is a post-transformation parameter; that is, it is at the top of the hierarchy and affects
objects after all the other parameters have affected it. If an object has been rotated and has
perspective added to it, Target moves the object without changing the relationship of the
other parameters. Think of it as moving the entire 3D world where point of view does not
change.

Target can be used in many cases as a global parameter. If you have already created an effect
and want the whole effect to move higher across the frame or to appear inside another frame,
such as a television on a set, Target is the way to move it. It is also good for offsetting
another track slightly if you want to use a black graphics image as a drop shadow.

The following table describes the options for the Target parameter category.

Parameter Description

X Moves the image along the screen’s X axis (horizontally). Values range from
–999 to +999, where 0 is the default.

Y Moves the image along the screen’s Y axis (vertically). Values range from –999
to +999, where 0 is the default.

Size Scales the image and maintains the aspect ratio. Values range from 0 to 400,
where 100 is the default scale of 100 percent.

795
16 Effects Parameter Reference

Tracking
When you enable an individual selector, your Avid editing application maps a tracker to that
selector. Trackers are named Point A, Point B, and so on. For more information, see “Motion
Tracking and Stabilization” on page 289.

n This parameter category appears in tracking-enabled 3D Warp effects and Intraframe effects
only. For Intraframe effects, you can enable trackers only when an Intraframe object is
selected. Tracking is also an option under the Position (3D), Rotation, and Scaling (3D)
parameter categories.

Trail
Use Trail to add a trail to an effect as it moves across the screen. The following table
describes the options for the Trail parameter category.

n You do not see the trail when you step through the effect because it is a cumulative effect.
Also, you cannot render a Trail effect.

Parameter Description

Decay Changes the rate of the trail’s decay, or dissipation, during the effect’s motion.
Adjustment ranges from a quick decay (close to 0) to a slower decay (close to 100),
where 75 is the default.

Use Sparkle Instructs the application to paint a trail with sparkles. When Use Sparkle is deselected,
the application paints a trail by using the image itself.

796
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Index

Numerics A
0% to 100% Timewarp effect 627 Acceleration (3D) effect parameter 767
1:66 Mask Film effect 558 Acceleration effect parameter 642
1:85 Mask Film effect 558 Acceleration parameter 509
100% to 0% Timewarp effect 628 Accuracy of motion tracking 291
14:9 Letterbox effect (2D) Actions effect parameters (Pan and Scan effect) 758
described 259 Activating
14:9 Letterbox Reformat effect 607 Render settings 134
16:9 display Adaptive deinterlacing
in the Title tool 380 Timewarp and Motion Adapter effects option 190
16:9 Letterbox effect (2D) Add Edit function
described 259 with Submaster effects 252
16:9 Letterbox Reformat effect 608 Add Keyframe button
16:9 Mask Film effect 559 Effect Preview Monitor toolbar 59
16-bit effects rendering 139 Add Keyframe button (Effect Editor, Effect Preview
2:3 pulldown and FluidFilm effect templates 221 monitor) 95
24p or 25p editing projects Add Keyframe command (Keyframe track shortcut
finding flaws from telecine transfer 488 menu) 95
3D effect parameters Add Keyframes commands (Effect Editor shortcut
overview of reference information 765 menu) 130
3D parameters Add Keyframes to Active Group (Effect Editor
hierarchy of 766 shortcut menu) 100
3D Promote button (Effect Editor) 70 Add Keyframes to Active Parameter(Effect Editor
3D Warp Blend effect 541 shortcut menu) 100
3D Warp effect Add Keyframes to All Parameters (Effect Editor
applying 348 shortcut menu) 100
3rd-party plug-in effects 151 Add Keyframes to Enabled Groups (Effect Editor
4 Corners Shape Wipe effect 612 shortcut menu) 100
4:3 Sidebar effect (2D) Add Keyframes to Open Graphs (Effect Editor
described 259 shortcut menu) 100
4:3 Sidebar Reformat effect 608 Add Keyframes to Open Groups (Delete Keyframe
422 Safe effect parameter (Safe Color Limiter effect) Mode menu) 100
727 Add Page command (Object menu) 385
601 Level setting Add To Active Group command (Add Keyframe
in Avid Pan & Zoom effect 287 Mode menu) 100
601 levels option Add To Active Parameter command (Add Keyframe
Avid Pan & Zoom effect 707 Mode menu) 100
Add To All Parameters command (Add Keyframe
Mode menu) 100
Add To Enabled Groups command (Add Keyframe
Mode menu) 100

797
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Add To Open Graphs command (Add Keyframe Aligning

Mode menu) 100 advanced keyframes 108
Add To Open Groups command (Add Keyframe Alignment
Mode menu) 100 of titles and objects 400
Adding Alpha channel
fades and dissolves 48 in 3D Matte Key effect 351
highlights to 3D effects 777 in Matte Key effects 244
keyframes to keyframe graphs 95 Alpha Matte display
pages to a rolling or crawling title 385 in SpectraMatte effect 228
spline points to paths in 3D effects 791 Anamorphic Mask Film effect 559
Adjusting Anchor Frame
color parameter 76 See Source Anchor Frame
Pan and Scan effect 273 Animation
Render settings 134 editing with imported 243
shadow softness in titles 395 AniMatte effect (2D)
Advanced effect parameters (Avid Pan & Zoom animating 505
effect) 707 applying 443
Advanced keyframes described 440
Add Keyframe Mode menu and Delete Keyframe exporting as PICT file 480
Mode menu 100 matte wipe example 506
adding 95 modes 447
aligning 108 position information for 65
copying and pasting 111, 113 rendering 441
deleting 97 using Magic Mask parameters 498
described 83 AniMatte Key effect 586
Effect Editor shortcut menu 130 Anti-alias option (Blur and Mosaic effects) 511
Effect Editor toolbar controls 126 Anti-aliasing
Effect Preview monitor 93 limitations with rolling titles and Acceleration
extrapolating parameter values 123 effect parameter 642
hiding graph display 86 Aperture
holding parameter values 123 Effect Aperture 41
interpolation options 116 Applying
moving 105 Dissolve effects (2D) 47
nested effects 249 effects for motion tracking 300
opening keyframe graphs and tracks 86 Pan and Scan effect 263
promoting effects to 85 Submaster effects 252
showing graph display 86 title styles 405
slipping 108 Arrowheads in titles 389
trimming effects with 121 Aspect ratio
Advanced parameter adjusting with Pan and Scan effect 261
Avid Pan & Zoom effect 287 controlling in 3D effects 782
After Effects fixed aspect 654
Avid After Effects External Monitor Preview image size 795
plug-in 161 image size control with Target parameters 795
Align Keyframe command (shortcut menu for in Avid Pan & Zoom effect 279
keyframe track) 109 in Reformat effects 259
Align to Frame commands (Alignment menu) 400 selecting within Pan and Scan effect 264

798
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Aspect Ratio effect parameters (Pan and Scan effect) AVX plug-ins
757 assigning multiple tracks in 157
AudioSuite plug-ins blank icons in Timeline 159
described 151 described 151
Auto Size mode (Title tool) 382 installing 153
Auto Size Mode command (Object menu) 382 interfaces and parameters for 158
Auto Zoom effect parameter (Region Stabilize effect) locating AVX_Plug-Ins folder (Macintosh) 153
727 locating AVX_Plug-Ins folder (Windows) 154
Avid memory usage 153, 159
online support 37 messages in Console window 159
training services 38 missing effect categories 159
Avid After Effects External Monitor Preview plug-in missing icons 159
161 plug-in icon 151
Avid DS caption file format 420 problems with rendering 159
Avid Hi Qual resetting parameters to default values 356
Filtering option for Avid Pan & Zoom effect 285 RGB Keyer effect 235
Avid Pan & Zoom effect troubleshooting 159
Advanced parameter 287 upgrading 156
applying 276 vendors 151
aspect ratio 279 versions 152
Background parameter 286 Web site for 151
constant path velocity 283 AVXplug-ins
described 275 promoting AVX 1.x plug-ins to AVX 2.0 156
Ease In and Ease Out 282 Axes in rotation (3D) 353
field of view 279 Axis effect parameters 768
Filtering parameter 285 Axis parameter (3D)
image file format 276 using for a transition 371
importing to 701
Path parameter 283
Position parameters 279
B
progressive frames 285 Background Color effect parameters 768
Show Action Safe button 278 Background effect parameter (Avid Pan & Zoom
Source and Target view 278 effect) 706
Source Has Square Pixels 287 Background effect parameters 642
Velocity parameter 281 Background effect parameters (Illusion FX Pattern
Zoom Factor parameter 279 Generator effect) 685
zooming 703 Background parameter
Avid Pan & Zoom effect parameters 701 Avid Pan & Zoom effect 286
Avid Pan & Zoom Image effect 579 Ball Shape effect 784
Avid Pan and Zoom effect limitations 787
See Avid Pan & Zoom effect Bézier curves
Avid Ultra Qual described 460
Filtering option for Avid Pan & Zoom effect 285 manipulating 460
Avid Unity MediaManager 146 Bézier keyframe interpolation option 116
Avid Unity workgroup environment 146 Bias
AVX (Avid Visual Extensions) setting for Spline 791
defined 151

799
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Black lines Bottom Right Corner Peel effect 598

removing with the Effect Aperture setting 41 Bottom Right L-Conceal effect 591
Blank slider 74 Bottom Right Squeeze effect 620
Blend effects Bottom Right to Top Left Box Wipe effect 546
3D Warp 541 Bottom Right to Top Left Conceal effect 550
Dip to Color 541 Bottom Right to Top Left Push effect 604
Dissolve 542 Bottom to Top Conceal effect 550
Fade from Color 542 Bottom to Top Peel effect 599, 601
Fade to Color 543 Bottom to Top Push effect 604
overview of reference information 540 Bottom to Top Squeeze effect 620
Picture-in-Picture 543 Box Wipe effects
Superimpose 544 Bottom Box 545
Blend effects (3D) Bottom Left to Top Right 545
3D Warp 348 Bottom Right to Top Left 546
Blended Interpolated render settings option 135 Left Box 546
Blended Interpolated rendering option (Timewarp overview of reference information 544
effect) 188 Right Box 547
Blended VTR render settings option 135 Top Box 547
Blended VTR rendering option (Timewarp effect) Top Left to Bottom Right 548
188 Top Right to Bottom Left 548
Blowup effect (2D) Brightness (luminance)
position information for 65 defined 642
Blowup effects parameter 657 Bring Forward button (Effect Editor) 478
Blowup Film effect 560 Bring Forward command (Object menu) 398, 478
Blue dot 39 Bring to Front command (Object menu) 398, 478
with effect icons 39 Brush effect parameters 644
Blur effect (2D) Brush effect parameters (FluidMotion Edit) 759
creating 510 Brush tool
described 440 creating a custom shape for 449
parameters 509 painting with 447
Blur effect parameters 709 saving a template 450
Blur Image effect 579 B-Spline Catmull
Blur mode, Paint Effect example 501 Filtering option for Avid Pan & Zoom effect 285
Blurring images with Defocus parameters 772 Buttons
Border (3D) effect parameters 769 3D Promote (Effect Editor) 70
Border effect parameters 643 Add Keyframe (Effect Editor, Effect Preview
Border effect parameters (Illusion FX) 668 monitor) 95
Both fields render settings option 135 Add Keyframe (Effect Preview Monitor toolbar)
Both Fields rendering option (Timewarp effect) 188 59
Bottom Box Box Wipe effect 545 Bring Forward (Effect Editor) 478
Bottom Centered Squeeze effect 619 Centered on Cut (Quick Transition dialog box) 55
Bottom Left Corner Peel effect 598 Collapse 254, 255
Bottom Left L-Conceal effect 591 Crawling Title (Title tool) 376, 383
Bottom Left Squeeze effect 619 Dual Split (Effect Editor) 70
Bottom Left to Top Right Box Wipe effect 545 Dual Split (Effect Preview Monitor toolbar) 59
Bottom Left to Top Right Conceal effect 549 Enable Tracker (Tracking window) 296
Bottom Left to Top Right Push effect 603 Ending at Cut (Quick Transition dialog box) 55

800
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Enlarge (Effect Editor) 70 Transition Effect Alignment (Effect Editor) 48,

Enlarge (Effect Preview Monitor toolbar) 59 70
Fast Forward (Effect Preview Monitor toolbar) 59 Triangular opener (Effect Editor) 70
Fit to Fill 172 Use Tracking (Effect Editor) 301
Grid 62, 64 X Only (Effect Editor Position parameter) 327
Head Fade 48 Y Only (Effect Editor Position parameter) 327
HQ (Effect Editor) 70, 141 Bypass effect parameter (SpectraMatte effect) 739
in Effect Preview Monitor toolbar 59
mapping in Effect mode 61
Match Frame 169
C
Match Frame (Motion Effect Editor) 184 Cache All
Motion Effect 169 Avid Pan & Zoom effect 288
New Tracker (Tracking window) 296 Cache effect parameters (Avid Pan & Zoom effect)
Other Options (Effect Editor) 70 708
Outline/Path (Effect Editor) 70 Cache parameter
Play (Effect Editor) 70 Avid Pan & Zoom effect 288
Play (Effect Preview Monitor toolbar) 59 Camera effects
Play (Motion Effect Editor) 184 described 259
Play Loop (Effect Editor) 70 Caption file formats 420
Play Loop (Effect Preview Monitor toolbar) 59 Caption files
Play Loop (Motion Effect Editor) 184 exporting from SubCap effect 431
Play Preview (Effect Preview Monitor toolbar) 59 importing into the SubCap effect 426
Position Graph Display (Timewarp effect) 184 Captioning
Reduce (Effect Editor) 70 See SubCap effect
Reduce (Effect Preview Monitor toolbar) 59 Center Box Shape Wipe effect 612
Render Effect (Effect Editor) 70 Center effect parameters (Illusion FX Kaleidoscope
Rewind (Effect Preview Monitor toolbar) 59 effect) 675
Rolling Title (Title tool) 376, 383 Centered on Cut button (Quick Transition dialog box)
Scratch Removal 486 55
Send Backward (Effect Editor) 478 Centered on Cut effect parameter 655
Smooth Selected Points (Tracking window) 296 Centered on Cut option
Source Anchor Frame (Timewarp effect) 194 using 48
Speed Graph Display (Timewarp effect) 184 Centered Zoom Squeeze effect 621
Starting at Cut (Quick Transition dialog box) 55 Changing perspective of 3D effects 779
Step Backward One Field (Effect Preview Chroma Adjust 713
Monitor toolbar) 59, 68 Chroma Adjust effect parameters 713
Step Forward One Field (Effect Preview Monitor Chroma Control effect parameters (SpectraMatte
toolbar) 59 effect) 743
Step In (Timeline) 247 Chroma Key effect (2D)
Step Out (Timeline) 247 compared to other key effects 226
Stretch Points Mode (Tracking window) 296 creating 237
Tail Fade 48 described 235
Timeline View Name (Timeline) 40 post-key color correction for 239
Tracker Close (Tracking window) 296 Chroma Key effect (3D)
Tracking (Tracking window) 296 creating 373
Transition Corner Display 55 described 235

801
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Chroma Key effect parameters (RGB Keyer effect) Composite/Luma Levels effect parameters (Safe
736 Color Limiter effect) 728
Chroma key effects Conceal effects
SpectraMatte 226 Bottom Left to Top Right 549
Chroma Key Key effect 587 Bottom Right to Top Left 550
Chrominance Bottom to Top 550
of Color Effect 713 Left to Right 551
Circle effect parameters (Illusion FX Pattern overview of reference information 549
Generator effect) 688 Right to Left 551
Circle Shape Wipe effect 613 Top Left to Bottom Right 552
Circle Shape Wipe effect (2D) Top Right to Bottom Left 552
as constraining effect in nest 246 Top to Bottom 553
Clearing a stamp 369 Confidence values
Client monitor in Tracker timelines 316
setting up 266 Console window
Clock Shape Wipe effect 613 AVX plug-in messages in 159
Collapse button 254, 255 Constant path velocity
Collapsing layers with Submaster effect 254, 255 with Avid Pan & Zoom effect 283
Color Constant Velocity option
adjusting parameter settings for 76 Avid Pan & Zoom effect 283, 703
blending, in titles 392 Continuity
for Paint Effect 448 setting for Spline 791
safe limits for titles 379 versus Tension in motion path 792
selecting for titles 391 Control points in Intraframe objects
Color coding adding 468
effects 39 deleting 468
Color Correction effect parameters (RGB Keyer described 460
effect) 738 moving 469
Color Correction Image effect 580 removing 468
Color Effect (2D) selecting 469
preparing high-contrast image with 242 Controlling image sharpness with Defocus
Color Effect Image effect 580 parameters 772
Color effect parameters (Paint Effect) 725 Coordinate system for 3D effects 353
Color Gain effect parameters 716 Coordinates
Color levels displaying position 64
in Avid Pan & Zoom effect 287 Copy command
Color Match control for graphic objects 398
in Spot Color Correction effect 731 for title elements (Edit menu) 398
Color Match control in Paint Effect mode 718 Copying
Color Match effect parameters (Spot Color advanced keyframes 111, 113
Correction effect) 731 tracking data 339
Color Mix Illusion FX effect 563 Core effect parameters (Illusion FX Lightning effect)
Color Style effect parameters 715 676
Colors panel (Macintosh) 76 Core effect parameters (Illusion FX Sparkler effect)
Command palette 696
mapping buttons from (Effect Mode) 61 Corner Pin effect parameters 770
Comparison of similar 2D effects 639 Corner pinning an image 367

802
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Crawling Title button (Title tool) 376, 383 Cut command

Crawling Title effect 636 for title elements (Edit menu) 398
Crawling titles Cut list
See also Titles position information in 65
adding pages 385 with Previsualization Marker tool information
adding pages to 385 471
copying or moving objects to 385
creating 380
defined 380
D
deleting pages from 385 Defocus effect parameters 772
formatting text in 387 Delete From Active Group command (Delete
going to a page in 385 Keyframe Mode menu) 100
inserting a blank page into 385 Delete From Active Parameter command (Delete
Make Crawl command 384 Keyframe Mode menu) 100
page count limits for 381 Delete From All Parameters command (Delete
resizing width of 384 Keyframe Mode menu) 100
scrolling through 385 Delete From Enabled Groups command (Delete
setting text formatting for 382 Keyframe Mode menu) 100
typing text for 383 Delete From Open Graphs command (Delete
workflow options for 383 Keyframe Mode menu) 100
Creating Delete From Open Groups command (Delete
motion effects, Timewarp 181, 182 Keyframe Mode menu) 100
motion effects, traditional 167 Delete Keyframe command (Keyframe track shortcut
multiformat titles 407 menu) 97
nested effects 248 Deleting
new Render settings 134 effect media files 149
stamp 369 keyframes from keyframe graphs 97
Timewarp effects 181 motion effect media 149
trackers 304, 305 pages from rolling or crawling titles 385
Creating 3D effects trackers 306
Corner Pin 367 tracking data points 323
cropped foreground 363 Deselect All Keyframes command (shortcut menu for
Page Curl transition 361 keyframe track) 104
Stamp 369 Diamond Shape Wipe effect 614
with Axis as a transition 371 Digidesign AudioSuite plug-ins 151
Crop (3D) effect parameters 771 Dip to Color Blend effect 541
Crop effect parameters 645 Disabling trackers 306
Cropped foreground effect Display effect parameter (Avid Pan & Zoom effect)
3D example 363 702
Crystal Illusion FX effect 564 Display effect parameters (FluidMotion Edit) 760
Cubic Display Options effect parameter (Avid Pan & Zoom
Filtering option for Avid Pan & Zoom effect 285 effect) 702
Curve tool, for Intraframe editing 458 Display parameter
Custom Grid effect parameters 646 Avid Pan & Zoom 278
Custom Start effect parameter 655 Dissolve Blend effect 542
Custom Start option
using 48

803
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Dissolve effects (2D) Editing

adding with Head Fade and Tail Fade buttons 48 segments with tracking data 337
applying 47 Submaster effects 252
Dissolve Icons command (Timeline Fast menu) 40 with imported matte keys 244
Dissolves EDL (edit decision list)
See Dissolve effects (2D) and Submaster effects 252
See Dissolve effects (3D) and video mixdown 256
Distribute Objects commands (Alignment menu) 401 Effect Aperture 41
Distributing titles 401 Effect categories
Drawing environment Blend 540
preparation in Title tool 378 Box Wipe 544
Drawing tools (Title tool) Conceal 549
Arrowhead tool 389 Edge Wipes 553
Border Width 388 Film 558
Box Corner tool 388 Generator 561
Drop shadows Illusion FX 563
3D effects 783 Image 578
Dual Split button (Effect Editor) 70 Key 586
Dual Split button (Effect Preview Monitor toolbar) 59 L-Conceal 590
Duplicate command (Edit menu) Matrix Wipe 593
for title elements 398 Motion effects 596
Duplicated Field rendering option (Timewarp effect) Peel 597
188 PlasmaWipe 602
Duplicated field, render settings option 135 Push 603
Reformat 607
Sawtooth Wipes 609
E Shape Wipe 611
Ease In and Ease Out Spin 616
defined 281 Squeeze 618
with Avid Pan & Zoom effect 281, 282 TimeCode 562
Ease In and Ease Out Velocity options Timewarp effects 626
Avid Pan & Zoom effect 703 Title effects 635
EBU N19 caption file format 420 Xpress 3D 638
Edge Wipe effects Effect Editor
Horizontal 554 Add Keyframe Mode menu and Delete Keyframe
Horizontal Open 554 Mode menu 100
Lower Left Diagonal 555 color parameters in 76
Lower Right Diagonal 555 controlling image updating with keyframe graphs
overview of reference information 553 130
Upper Left Diagonal 556 customizing effects with 69
Upper Right Diagonal 556 displaying thumbwheels with keyframe graphs
Vertical 557 130
Vertical Open 557 Dissolve effects in 48
Edit decision list (EDL) Enable buttons 76
See EDL (edit decision list) enabling and disabling trackers in 306
enabling motion tracking in 301
enlarging text with keyframe graphs 130

804
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

for adjusting titles 409 Background Color 768

for Intraframe editing 444 blank 74
hiding keyframe graph display 86 Blur 709
indenting rows with keyframe graphs 130 Border 643
keyframe graphs and tracks, opening 86 Border (3D) 769
motion tracking controls 295 Border (Illusion FX) 668
movement of position indicator with keyframe Brush 644
graphs 130 Brush (FluidMotion Edit) 759
nested effects 249 Bypass (SpectraMatte effect) 739
parameter sliders in 70 Cache (Avid Pan & Zoom effect) 708
resetting keyframe graph view 92 Center (Illusion FX Kaleidoscope effect) 675
setting default Add Keyframe button behavior, changes at advanced keyframes 116
with keyframe graphs 130 Chroma Adjust 713
shortcut menu 130 Chroma Control (SpectraMatte effect) 743
showing Add Keyframe Mode menu 130 Chroma Key (RGB Keyer effect) 736
showing keyframe graph display 86 Circle (Illusion FX Pattern Generator effect) 688
toolbar controls for advanced keyframes 126 Color (Paint Effect) 725
transition parameters in 48 Color Correction (RGB Keyer effect) 738
Effect Grid Color Gain 716
customizing for a single effect 63 Color Match (Spot Color Correction effect) 731
described 63 Color Style 715
displaying in Effect mode 64 common 2D, overview of reference information
setting options for 44 642
using with Pan and Scan effect 268 compatibility guidelines for, with motion tracking
Effect Icons command (Timeline Fast menu) 40 293
Effect mode Composite/Luma Levels (Safe Color Limiter
mapping buttons in 61 effect) 728
Effect Palette Core (Illusion FX Lightning effect) 676
display of plug-ins in 151 Core (Illusion FX Sparkler effect) 696
Effect parameters Corner Pin 770
3D, overview of reference information 765 Crop 645
422 Safe (Safe Color Limiter effect) 727 Crop (3D) 771
Acceleration 642 Custom Grid 646
Acceleration (3D) 767 Defocus 772
accessing, with Other Options button 76 described 70
Actions (Pan and Scan effect) 758 Display (Avid Pan & Zoom effect) 702
adjusting 74 Display (FluidMotion Edit) 760
adjusting, when motion tracking 300 Display Options (Avid Pan & Zoom effect) 702
Advanced (Avid Pan & Zoom effect) 707 displaying 69
Aspect Ratios (Pan and Scan effect) 757 Enable button 76
Auto Zoom (Region Stabilize effect) 727 Erode/Expand 773
Avid Pan & Zoom effect 701 extrapolating values with advanced keyframes
Axis 768 123
Background 642 Feathering 646
Background (Avid Pan & Zoom effect) 706 Feathering (FluidMotion Edit) 759
Background (Illusion FX Pattern Generator Filtering (Avid Pan & Zoom effect) 705
effect) 685 FluidMotion Edit 759

805
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

for transitions 655 Luma Adjust 710

Foreground 648 Luma Clip 713
Foreground (3D) 774 Luma Control (SpectraMatte effect) 747
Freeze Frame 754 Luma Range 711
Generation (Illusion FX Lightning effect) 676 Magic Mask 651
Generation (Illusion FX Ripple effect) 691 making slider adjustments 74
Generation (Illusion FX Sparkler effect) 694 Mask (FluidMotion Edit) 761
Generator 657 Matte Analysis (SpectraMatte effect) 740
Glow (Illusion FX Lightning effect) 677 Matte Control (RGB Keyer effect) 737
Glow (Illusion FX Sparkler effect) 695 Matte Processing (SpectraMatte effect) 749
Grid 649 Mode (AniMatte effect) 734
Highlight 777 Mode (FluidMotion Edit) 761
Highlight Color 778 Mode (Paint effect) 717
holding values in keyframe graphs 123 Model (Region Stabilize effect) 726
Illumination (Illusion FX Ripple effect) 691 Mosaic 716
Illusion FX 668 Motion 754
Image 701 Motion (Illusion FX Ripple effect) 690
Input (Illusion FX Color Mix effect) 668 Movement (Illusion FX Sparkler effect) 694
Input (Illusion FX Crystal effect) 669 Number (Illusion FX Pattern Generator effect)
Input (Illusion FX Film Grain effect) 670 687
Input (Illusion FX Flare effect) 670 Offset (Illusion FX Kaleidoscope effect) 675
Input (Illusion FX FluidBlur effect) 671 Options (Region Stabilize effect) 727
Input (Illusion FX FluidColor effect) 672 Other Options (Avid Pan & Zoom effect) 701
Input (Illusion FX FluidMorph effect) 673 overview of reference information 641
Input (Illusion FX Iris effect) 674 Path (Avid Pan & Zoom effect) 705
Input (Illusion FX Kaleidoscope effect) 674 Perspective 779
Input (Illusion FX Melt effect) 678 Position 653
Input (Illusion FX Motion Blur effect) 679 Position (3D) 780
Input (Illusion FX Pagecurl effect) 679 Position (Avid Pan & Zoom effect) 703
Input (Illusion FX Particle Blast effect) 681 Position H (14:9 Letterbox Reformat effect) 757
Input (Illusion FX Particle Orbit effect) 682 Position H (Rolling Title effect) 764
Input (Illusion FX Particle Wind effect) 684 Position V (Crawling Title effect) 763
Input (Illusion FX Pinch effect) 688 Profile 654
Input (Illusion FX Radial Blur effect) 689 Profile (3D) 781
Input (Illusion FX Random Blend effect) 690 Progressive Source (Region Stabilize effect) 727
Input (Illusion FX Rollup effect) 692 Reformat 757
Input (Illusion FX Shear effect) 693 Region of Interest (Region Stabilize effect) 726
Input (Illusion FX Sphere effect) 696 Render Mode (Avid Pan & Zoom effect) 709
Input (Illusion FX Swirl effect) 697 RGB Levels (Safe Color Limiter effect) 729
Input (Illusion FX Timecode effect) 697 Rotation 781
Input (Illusion FX Twist effect) 700 Scaling 654
Input (Illusion FX Wave effect) 700 Scaling (3D) 782
Key 733 Scratch (Scratch Removal effect) 730
Key (Chroma Key and Luma Key effects) 733 Scroll Position H (Crawling Title effect) 763
Key Color (RGB Keyer effect) 736 Scroll Position V (Rolling Title effect) 764
Key Color (SpectraMatte effect) 739 Secondary Key (Chroma Key effect) 735
Lowlight Color 779 Shadow 783

806
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Shape 784 applying to multiple transitions using Quick

Size (Avid Pan & Zoom effect) 703 Transition button 50
Skew 789 color coding for 39
Source (Illusion FX FluidMorph effect) 673 field processing 484
Source Monitor Analysis (Safe Color Limiter frame processing 483
effect) 728 in HD projects 44
Spill (SpectraMatte effect) 751 media files, deleting 149
Spill Suppression (3D effects) 790 media files, described 146
Spill Suppression (Chroma Key effect) 735 media files, revealing 147
Spline 791 overview of reference information 539
Stamp 794 PlasmaWipe 513
Start Timecode (Illusion FX Timecode effect) 699 playing effects with tracking data 328
Strobe Motion 755 processing when using Scratch Removal 482
SubCap 657 promoting to advanced keyframes 85
Target 795 Region Stabilize 334
Timecode 663 rendering, general concepts 133
Title 762 replacing existing 57
Tracking 655, 796 SpectraMatte 226
Trail 796 Stabilization 300
using with motion tracking 293 SubCap 419
Variable Speed 755 Timewarp 178
Velocity (Avid Pan & Zoom effect) 703 troubleshooting Region Stabilize effect 336
Effect Preview monitor upgrading 156
advanced keyframes in 93 using motion tracking 293
described 58 using motion tracking, examples 340
displaying safe title/action area in 62 using wire frames with 79
displaying tracking boxes in 306 working with FluidFilm 221
grid display in 63 working with FluidMotion 209
motion tracking controls 295 Effects (2D)
moving enlarged image 67 motion, creating 167
setting up tracking in 306 Pan and Scan 259, 261
toolbar 59 PlasmaWipe 513
tracking data in 316 promoting to 3D 350
zooming in 357 Reformat category 259
Effect template Submaster 252
FluidFilm 221 using Color to prepare high-contrast image 242
for 3D effects 357 Effects (3D)
for Intraframe effects 442 adjustment handles 357
Effects applying 348
See also Effects (2D) applying 3D Warp 348
See also Effects (3D) compatibility between Avid applications 349
16-bit rendering 139 coordinate system for 353
2D, promoting to 3D 350 creating a transition using Axis 371
3D, real-time playback 352 creating Chroma Key 373
applying for motion tracking 300 creating Corner Pin 367
applying Intraframe 443 creating cropped foreground 363
creating Page Curl 361

807
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

creating Stamp 369 F

matte key 351
motion path in 359 Fade effects (2D)
overview 347 adding with Head Fade and Tail Fade buttons 48
parameter adjustments 355 Fade from Color Blend effect 542
promoting from 2D 350 Fade to Color Blend effect 543
real-time playback 352 Fades
resetting parameters to default 356 See Dissolve effects (2D)
templates for 357 See Dissolve effects (3D)
using Spline parameter 365 See Fade effects (2D)
Xpress 3D Effect category 349 Fast Forward button (Effect Preview Monitor toolbar)
Effects parameters 59
Blowup 657 Fast Frame Display command (Special menu) 488
Effects Quality render setting 135 Fast motion effect (2D)
Elastic command (shortcut menu for keyframe track) creating 169
121 reversing 169
Elastic keyframes 121 Feathering
Ellipse Shape Wipe effect 614 for Blur and Mosaic effects 509
Enable button (Effect Editor) 76 for Intraframe effects 458
Enable Tracker button (Tracking window) 296 using 511
Ending at Cut button (Quick Transition dialog box) Feathering effect parameters 646
55 Feathering effect parameters (FluidMotion Edit) 759
Ending at Cut effect parameter 655 Field parameter for Blowup effects 657
Ending at Cut option Field processing 484
using 48 Film Dissolve Film effect 560
Enlarge button (Effect Editor) 70, 79 Film effects
Enlarge button (Effect Preview Monitor toolbar) 59 1:66 Mask 558
Enlarged image 1:85 Mask 558
moving in the Effect Preview monitor 67 16:9 Mask 559
Erode/Expand effect parameters 773 Anamorphic Mask 559
Establish Origin parameter (2D) Blowup 560
for Pan and Scan 269 Film Dissolve 560
Export Title command (File menu) 409 Film Fade 561
Exporting Mask 561
AniMatte effect as a PICT file 480 overview of reference information 558
caption files from SubCap effect 431 Film Fade Film effect 561
matte key as PICT file 480 Film Grain Illusion FX effect 564
titles as graphics files 409 Film look from interlaced video
Extrapolate command (shortcut menu for keyframe FluidFilm effect templates 221
track) 123 Film projects
Extrapolate option obtaining position information in 65
keyframe graph parameter values 123 Filtering effect parameter (Avid Pan & Zoom effect)
Eyedropper 705
adjusting a color with 391 Filtering parameter
selecting a color with 448 Avid Pan & Zoom effect 285
using 76 Finding
tracking data points 322

808
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Fit to Fill button 172 Freeze Frame Motion effect 597

Fixed Aspect effect parameter 654 Freezing a rolling clip 169
Fixed Aspect option Function keys
Blur effect 511 using with title styles 402
Mosaic effect 511
Fixed Aspect parameter
in 3D Target parameters 795
G
Fixed command (shortcut menu for keyframe track) Gain
121 with Color Effect 716
Fixed keyframes 121 with key effects 733
Flare Illusion FX effect 565 Gaussian
Flaws 485 Filtering option for Avid Pan & Zoom effect 285
Flip Image effect 581 Generating
Flip-Flop Image effect 581 tracking data 312
Flop Image effect 582 Generation effect parameters (Illusion FX Lightning
FluidBlur Illusion FX effect 565 effect) 676
FluidColorMap Illusion FX effect 566 Generation effect parameters (Illusion FX Ripple
FluidFilm 2:3 Cadence Timewarp effect 629 effect) 691
FluidFilm effect templates 221 Generation effect parameters (Illusion FX Sparkler
FluidFilm Progressive Timewarp effect 629 effect) 694
FluidMorph Illusion FX effect 566 Generator effect parameters
FluidMotion Edit overview of reference information 657
described 209 Generator effects
entering 211 overview of reference information 561
Timeline display for 209 SubCap 562
FluidMotion Edit effect parameters Global Properties reference for SubCap effect 662
overview of reference information 759 Glow effect for titles 397
FluidMotion rendering option (Timewarp effect) 188, Glow effect parameters (Illusion FX Lightning effect)
209 677
FluidStabilizer 310, 329 Glow effect parameters (Illusion FX Sparkler effect)
Fonts 695
compatibility between systems 378 Graphic images
installing 378 editing with imported 243
substituting 378 Graphics for titles
Foreground (3D) effect parameters 774 displaying grid for 379
Foreground effect parameters 648 Graphics tablet 446
Formatting Green dot 39
rolling or crawling titles 387 with effect icons 39
Frame processing 483 Grid
Free All Caches effect grid 63
Avid Pan & Zoom effect 288 for title alignment 379
Free Current Cache parameters in Effect Editor 63
Avid Pan & Zoom effect 288 snapping to in Title tool 379
Freeze Frame command (Clip menu) 167 Grid button
Freeze Frame effect (2D) for Safe Title/Safe Action 62
creating 167 in Effect mode 64
Freeze Frame effect parameters 754 Grid effect parameters 649

809
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Grid Matrix Wipe effect 593 HQ rendering 141

Group command (Object menu) 399, 478 interrupting 141
Grouping and ungrouping Render Settings dialog box 141
Intraframe objects 478 Hue
objects in titles 399 defined 642

H I
Halo effect for titles 397 Icons
Handles Timeline display of 40
for adjusting 3D effects 357 Illumination effect parameters (Illusion FX Ripple
for resizing foreground image 81 effect) 691
HD projects Illusion FX
PlasmaWipe effects 537 Background effect parameter for Pattern
HD resolutions Generator effect 685
and older AVX plug-ins 152 Border parameters 668
HDTV aspect ratio Center effect parameter for Kaleidoscope effect
in the Title tool 380 675
Head Fade button 48 Circle effect parameter for Pattern Generator
Hiding effect 688
advanced keyframe graph display 86 Core effect parameter for Lightning effect 676
Hierarchy of 3D parameters 766 Core effect parameter for Sparkler effect 696
High-contrast images 242 Generation effect parameter for Lightning effect
Highest Quality (HQ) button 70, 141 676
Highlight Color effect parameters 778 Generation effect parameter for Ripple effect 691
Highlight effect parameters 777 Generation effect parameter for Sparkler effect
Histogram 694
working with PlasmaWipe effects 522 Glow effect parameter for Lightning effect 677
Hold command (shortcut menu for keyframe track) Glow effect parameter for Sparkler effect 695
123 Illumination effect parameter for Ripple effect
Hold option 691
keyframe graph parameter values 123 Input effect parameter for Color Mix effect 668
Hold Velocity option Input effect parameter for Crystal effect 669
Avid Pan & Zoom effect 703 Input effect parameter for Film Grain effect 670
Hollow drag handles, for locked objects 399 Input effect parameter for Flare effect 670
Horizontal Bands Shape Wipe effect 615 Input effect parameter for FluidBlur effect 671
Horizontal Blinds Shape Wipe effect 615 Input effect parameter for FluidColor effect 672
Horizontal Centered Squeeze effect 621 Input effect parameter for FluidMorph effect 673
Horizontal Edge Wipe effect 554 Input effect parameter for Iris effect 674
Horizontal Open Edge Wipe effect 554 Input effect parameter for Kaleidoscope effect
Horizontal Open Sawtooth Sawtooth Wipe effect 610 674
Horizontal Sawtooth Sawtooth Wipe effect 609 Input effect parameter for Melt effect 678
Horizontal zoom slider Input effect parameter for Motion Blur effect 679
keyframe graphs 88 Input effect parameter for Pagecurl effect 679
HQ button (Effect Editor) 70, 141 Input effect parameter for Particle Blast effect 681
Input effect parameter for Particle Orbit effect 682

810
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Input effect parameter for Particle Wind effect Random Blend 573
684 Ripple 573
Input effect parameter for Pinch effect 688 Rollup 574
Input effect parameter for Radial Blur effect 689 Shear 574
Input effect parameter for Random Blend effect Sparkler 575
690 Sphere 575
Input effect parameter for Rollup effect 692 Swirl 576
Input effect parameter for Shear effect 693 Timecode 577
Input effect parameter for Sphere effect 696 Twist 578
Input effect parameter for Swirl effect 697 Wave 578
Input effect parameter for Timecode effect 697 Image effect parameters
Input effect parameter for Twist effect 700 overview of reference information 701
Input effect parameter for Wave effect 700 Image effects
Motion effect parameter for Ripple effect 690 Avid Pan & Zoom 579
Movement effect parameter for Sparkler effect Blur 579
694 Color Correction 580
Number effect parameter for Pattern Generator Color Effect 580
effect 687 Flip 581
Offset effect parameter for Kaleidoscope effect Flip-Flop 581
675 Flop 582
Source effect parameter for FluidMorph effect Mask 582
673 Mosaic 583
Start Timecode effect parameter for Timecode overview of reference information 578
effect 699 Paint 583
Illusion FX effect parameters Region Stabilize 584
overview of reference information 668 Resize 584
Illusion FX effects Safe Color Limiter 585
Color Mix 563 Scratch Removal 585
Crystal 564 Stabilize 585
Film Grain 564 Submaster 586
Flare 565 Image Resolution
FluidBlur 565 Avid Pan & Zoom effect 288
FluidColorMap 566 Imported master clips
FluidMorph 566 editing with 245
Iris 567 Importing
Kaleidoscope 567 caption files into the SubCap effect 426
Lightning 568 to the Avid Pan & Zoom effect 701
Melt 568 Indent Rows command (Effect Editor shortcut menu)
Motion Blur 569 130
overview of reference information 563 Input effect parameters (Illusion FX Color Mix effect)
Pagecurl 569 668
Particle Blast 570 Input effect parameters (Illusion FX Crystal effect)
Particle Orbit 570 669
Particle Wind 571 Input effect parameters (Illusion FX Film Grain
Pattern Generator 571 effect) 670
Pinch 572 Input effect parameters (Illusion FX Flare effect) 670
Radial Blur 572

811
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Input effect parameters (Illusion FX FluidBlur effect) Interpolation options

671 defined 180
Input effect parameters (Illusion FX FluidColor for keyframe graphs 116
effect) 672 Interrupting
Input effect parameters (Illusion FX FluidMorph rendering of effects 138
effect) 673 Intraframe editing
Input effect parameters (Illusion FX Iris effect) 674 Brush tool 447
Input effect parameters (Illusion FX Kaleidoscope changing effect parameters 458
effect) 674 creating polygon shapes 454
Input effect parameters (Illusion FX Melt effect) 678 Curve tool 458
Input effect parameters (Illusion FX Motion Blur customizing Brush shape 449
effect) 679 described 440
Input effect parameters (Illusion FX Pagecurl effect) drawing tools 446
679 examples of 497
Input effect parameters (Illusion FX Particle Blast graphics tablet 446
effect) 681 modes described 447
Input effect parameters (Illusion FX Particle Orbit Oval tool 453
effect) 682 pen tool 446
Input effect parameters (Illusion FX Particle Wind Polygon tool 454
effect) 684 Previsualization Marker tool 470
Input effect parameters (Illusion FX Pinch effect) 688 Rectangle tool 452
Input effect parameters (Illusion FX Radial Blur rendering during 441
effect) 689 saving a brush template 450
Input effect parameters (Illusion FX Random Blend single-field step 442
effect) 690 summary of line and curve modification 466
Input effect parameters (Illusion FX Rollup effect) using control points 468
692 using keyframes 476
Input effect parameters (Illusion FX Shear effect) 693 using Selection tool 452
Input effect parameters (Illusion FX Sphere effect) with Magic Mask 498
696 Intraframe effects
Input effect parameters (Illusion FX Swirl effect) 697 enabling motion tracking with 301
Input effect parameters (Illusion FX Timecode effect) order of operations with motion tracking 300
697 using with motion tracking 300
Input effect parameters (Illusion FX Twist effect) 700 Intraframe objects
Input effect parameters (Illusion FX Wave effect) 700 grouping and ungrouping 478
Input Position 197 layering 477
Installing locking and unlocking 479
AVX plug-ins 153 moving 473
Insufficient Source message 360 reshaping 473
Interface rotating along Z axis 474
for motion tracking 294 scaling 475
Interfaces for AVX plug-ins 158 Invert Key option 648
Interpolated Field rendering option Inverting
Timewarp effect 188 color effects 710
Interpolated field, render settings option 135 Inverting keys
Full 774

812
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Iris Illusion FX effect 567 elastic keyframes 121

Isolating flaws for removal 486 enlarging text in Effect Editor 130
extrapolating parameter values 123
fixed keyframes 121
hiding display 86
J holding parameter values 123
Join horizontal zoom slider 88
in Intraframe objects 460 indenting rows in Effect Editor 130
interpolation options 116
moving keyframes in 105
K opening 86
Kaleidoscope Illusion FX effect 567 panning 92
Key Color effect parameters (RGB Keyer effect) 736 resetting view 92
Key Color effect parameters (SpectraMatte effect) resizing 88
739 scaling 88
Key effect parameters scroll thumbwheel 92
overview of reference information 733 scrolling 92
Key effect parameters (Chroma Key and Luma Key showing display 86
effects) 733 vertical zoom slider 88
Key effects zooming 88
AniMatte 586 Keyframe interpolation
Chroma Key 587 defined 180
Luma Key 588 Keyframe tracks
Matte Key 588 described 83
overview of reference information 586 opening 86
RGB Keyer 589 Keyframes
SpectraMatte 590 See also Keyframes, advanced
Key effects (2D) adding in keyframe graphs 95
creating Chroma Key effect 237 copying and pasting in keyframe graphs 111, 113
creating Luma Key effect 239 deleting from keyframe graphs 97
creating Matte Key effect 240 for adjusting titles 409
creating Spectramatte Key effect 233 with Intraframe effects 476
described 226 Keyframes, advanced
Matte Key effect 244 Add Keyframe Mode menu and Delete Keyframe
Key effects (3D) Mode menu 100
3D matte keys 351 adding 95
Keyframe graphs aligning 108
active highlighting 86 copying and pasting 111, 113
controlling image updating 130 deleting 97
controlling movement of position indicator 130 described 83
copying and pasting keyframes in 111, 113 Effect Editor shortcut menu 130
default Add Keyframe button behavior, setting Effect Editor toolbar controls 126
130 Effect Preview monitor 93
default view 86 extrapolating parameter values 123
described 83, 86 hiding graph display 86
displaying thumbwheels in Effect Editor 130 holding parameter values 123
Effect Editor shortcut menu 130 interpolation options 116

813
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

moving 105 Locked objects

opening keyframe graphs and tracks 86 hollow handles indicating 399
promoting effects to 85 Locking and unlocking
removing redundant 99 Intraframe objects 479
showing graph display 86 objects in titles 399
slipping 108 Lower Left Diagonal Edge Wipe effect 555
trimming effects with 121 Lower Right Diagonal Edge Wipe effect 555
Lowlight Color effect parameters 779
Luma Adjust effect parameters 710
L Luma Clip effect parameters 713
Large Text command (Effect Editor shortcut menu) Luma Control effect parameters (SpectraMatte effect)
130 747
Layering Luma Key effect (2D)
Intraframe objects 477 compared to other key effects 226
titles 398 creating 239
Layers 225 Luma Key Key effect 588
L-Conceal effects Luma Range effect parameters 711
Bottom Left 591 Luminance
Bottom Right 591 defined 642
overview of reference information 590 of color effect 710
Top Left 592
Top Right 592 M
Left Box Box Wipe effect 546
Left Centered Squeeze effect 622 Macintosh Colors panel 76, 391
Left to Right Conceal effect 551 Magic Mask effect parameters 651
Left to Right Peel effect 599 Magic Mask parameters (2D)
Left to Right Push effect 605 colorizing with 498
Left to Right Squeeze effect 622, 623 Magnified image
Letterboxing 259 moving, in Effect Preview monitor 67
Level parameter Make Crawl command
Avid Pan & Zoom 287 for crawling titles 384
Levels effect parameter Mapping
Avid Pan & Zoom effect 707 trackers 304, 305
Lightning Illusion FX effect 568 Marquee Title tool
Limitations converting title styles to 403
motion tracking 291 promoting titles to 410
Linear keyframe interpolation option 116 Mask effect parameters (FluidMotion Edit) 761
Linear Path option Mask Film effect 561
Avid Pan & Zoom effect 705 Mask Image effect 582
Linear Velocity option Match Frame button 169
Avid Pan & Zoom effect 703 Timewarp effect 184
Lines Matrix Wipe effects
attribute options 387 Grid 593
Locating AVX_Plug-Ins folder (Macintosh) 153 One-Way Row 594
Locating AVX_Plug-Ins folder (Windows) 154 overview of reference information 593
Lock command (Object menu) 399, 479 Speckle 595

814
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Spiral 595 Add Keyframes to Open Graphs (Effect Editor

Zig-Zag 596 shortcut menu) 100
Matte Add Keyframes to Open Groups (Delete
preparing for key effects 242 Keyframe Mode menu) 100
Matte Analysis effect parameters (SpectraMatte Add Page (Object menu) 385
effect) 740 Add To Active Group (Add Keyframe Mode
Matte Control effect parameters (RGB Keyer effect) menu) 100
737 Add To Active Parameter (Add Keyframe Mode
Matte key menu) 100
exporting as PICT file 480 Add To All Parameters (Add Keyframe Mode
Matte Key effect (2D) menu) 100
applying 503 Add To Enabled Groups (Add Keyframe Mode
compared to other key effects 226 menu) 100
creating 240 Add To Open Graphs (Add Keyframe Mode
editing with 244 menu) 100
in nested layers 250 Add To Open Groups (Add Keyframe Mode
preparing high-contrast image for 242 menu) 100
promoting to 3D 351 Align Keyframe (shortcut menu for keyframe
Matte Key effect (3D) track) 109
using 351 Align Objects (Alignment menu) 400
Matte Key Key effect 588 Align to Frame (Alignment menu) 400
Matte Processing effect parameters (SpectraMatte Auto Size Mode (Object menu) 382
effect) 749 Bring Forward (Object menu) 398, 478
Media Creation tool Bring to Front (Object menu) 398, 478
16-bit effects rendering 139 Copy (Edit menu) 398
Media files Copy to Page (Object menu) 385
deleting 149 Cut (Edit menu) 398
Media Station Delete From Active Group (Delete Keyframe
rendering effects for 143 Mode menu) 100
Melt Illusion FX effect 568 Delete From Active Parameter (Delete Keyframe
Memory usage Mode menu) 100
AVX plug-ins 153, 159 Delete From All Parameters (Delete Keyframe
in Avid Pan & Zoom effect 288 Mode menu) 100
Menu commands Delete From Enabled Groups (Delete Keyframe
Add Keyframe (Keyframe track shortcut menu) Mode menu) 100
95 Delete From Open Graphs (Delete Keyframe
Add Keyframes commands (Effect Editor shortcut Mode menu) 100
menu) 130 Delete From Open Groups (Delete Keyframe
Add Keyframes to Active Group (Effect Editor Mode menu) 100
shortcut menu) 100 Delete Keyframe (Keyframe track shortcut menu)
Add Keyframes to Active Parameter (Effect 97
Editor shortcut menu) 100 Deselect All Keyframes (shortcut menu for
Add Keyframes to All Parameters (Effect Editor keyframe track) 104
shortcut menu) 100 Dissolve Icons (Timeline Fast menu) 40
Add Keyframes to Enabled Groups (Effect Editor Distribute Objects (Alignment menu) 401
shortcut menu) 100 Duplicate (Edit menu) 398
Effect Icons (Timeline Fast menu) 40

815
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Elastic (shortcut menu for keyframe track) 121 Model effect parameters (Region Stabilize effect) 726
Export Title (File menu) 409 Modes
Extrapolate (shortcut menu for keyframe track) for Intraframe editing 447
123 Modes for Paint Effect 718
Fast Frame Display (Special menu) 488 Modifying
Fixed (shortcut menu for keyframe track) 121 results of Render to Media Station 144
Freeze Frame (Clip menu) 167 rolling or crawling titles 387
Group (Object menu) 399, 478 Monitors
Hold (shortcut menu for keyframe track) 123 Avid After Effects External Monitor Preview
Indent Rows (Effect Editor shortcut menu) 130 plug-in 161
Insert Page (Object menu) 385 setting up for Pan and Scan effect 266
Large Text (Effect Editor shortcut menu) 130 Mosaic effect (2D)
Lock (Object menu) 399, 479 creating 510
Move to Page (Object menu) 385 described 440
Paste (Edit menu) 398 parameters 509
Real-Time Update (Effect Editor shortcut menu) Mosaic effect parameters 716
130 Mosaic Image effect 583
Re-create Titles and Mattes (Clip menu) 414 Motion Adapter effects
Remove Page (Object menu) 385 Adaptive deinterlacing option 190
Remove Redundant Keyframes (Keyframe track Motion Blur Illusion FX effect 569
shortcut menu) 99 Motion Effect button 169
Render Ranges (Timeline Fast menu) 138 Motion Effect Editor
Render to Media Station (Clip menu) 143 active graph toolbar 193
Reset Graph View (shortcut menu for keyframe components described 184
track) 92 control graphs 191
Reveal File (File menu) 147 Fast menu 193
Safe Colors (Object menu) 379 Match Frame 184
Send Backward (Object menu) 398, 478 opening 184
Send to Back (Object menu) 398, 478 Source Anchor Frame 184
Set Bin Display (Bin menu) 147 Speed graph 194
Set Position To Keyframe (Effect Editor shortcut toolbar 184
menu) 130 Trim mode 184
Show Add Keyframe Mode Menu (Effect Editor Motion effect parameters
shortcut menu) 130 overview of reference information 754
Show Alignment Grid (Alignment menu) 379 Motion effect parameters (Illusion FX Ripple effect)
Slip Keyframe (shortcut menu for keyframe track) 690
111 Motion effects
Snap to Grid (Alignment menu) 379 deleting media 149
Soften Shadow (Object menu) 396 Freeze Frame 597
Thumbwheels (Effect Editor shortcut menu) 130 overview of reference information 596
UnGroup (Object menu) 399, 478 rendering options 135
Unlock (Object menu) 399, 479 revealing media 147
Update Position While Playing (Effect Editor reversing 755
shortcut menu) 130 Strobe Motion 597
Mode effect parameters (AniMatte effect) 734 Timewarp 220
Mode effect parameters (FluidMotion Edit) 761 traditional, playback of 596
Mode effect parameters (Paint effect) 717 Variable Speed 597

816
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Motion effects (2D) order of adjustments 300

creating 167 order of operations with Intraframe effects 300
defined 167 playback of effects 328
Freeze Frame, creating 167 preparations for generating tracking data 301
freezing a rolling clip 169 process, described 290
in 24p or 25p projects 178 reusing tracking data 338
rendering existing 176 selecting foreground or background tracking 309
rendering requirements for 175 selecting image areas for 308
Strobe Motion, creating 173 selecting tracking engine 309
Timewarp 178 setting tracker reference frames 319
traditional, playback of 175 setting up, in Effect Preview monitor 306
Variable Speed, creating 169 setting up, in Tracking window 309
Motion path smoothing data 321
defining in Pan and Scan effect 271 smoothing data, overview 320
foreground image movement 79 stopping tracking data generation 312
Motion path editor 359 tracker regions, adding and deleting 314
Motion tracking tracker regions, moving among 315
accuracy of 291 tracking box positioning guidelines 308
adjusting tracking boxes 306 tracking box resizing guidelines 309
applying an effect for 300 tracking engines 310
changing display color 317 tracking perspective motion 304
conforming data from Symphony Meridien tracking skew motion 304
system 340 Tracking window, described 296
controls, in Effect Editor 295 understanding tracker creation and mapping 304
controls, in Effect Preview monitor 295 using Intraframe effects with 300
controls, in Tracking window 296 video layer requirements for 300
copying and pasting tracking data 339 workflow 292
creating and mapping trackers 305 Movement effect parameters (Illusion FX Sparkler
deleting trackers 306 effect) 694
display of tracking data points 316 Moving
displaying tracking boxes 306 advanced keyframes 105
editing segments with tracking data 337 perspective point of 3D effects 779
effect parameter adjustments with 300 tracking boxes 306
enabling and disabling trackers 306 tracking data points 324
enabling in the Effect Editor 301 Multiformat titles
enabling Intraframe effects with 301 creating 407
establishing an effect offset 300 described 407
examples 291, 340 editing into sequences 412
generating data 312 moving between projects 412
interface, described 294 re-creating 416
limitations of 291 saving 408
limiting Position data to one axis 327 with Pan and Scan effect 262
list of available effects and parameters 293 Multilayer effects (3D)
manipulating tracking data points 322 3D Matte Key 351
multiple trackers in Tracking parameter 304 Multiple tracks
offset tracking, overview 313 and AVX plug-ins 157
offset tracking, performing 315

817
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Multi-Resolution Outline/Path button (Effect Editor) 70

Avid Pan & Zoom effect 288 Output Duration
Timewarp effect 184
Output formats
N for Pan and Scan effect 262
Nested effects Output position 197
creating 248 Oval tool for Intraframe editing 453
defined 246
Effect Editor 249 P
expanding in Timeline 248
stepping in and out 247 Page count limits
video layers in 246 for rolling and crawling titles 381
with matte key 250 Page Curl effect (3D)
with the Submaster effect 252 as transition 361
New Tracker button (Tracking window) 296 Page Fold Shape effect 784
Non-real-time effects angle value examples 787
color coding for 39 controlling image on flap 787
Number effect parameters (Illusion FX Pattern softening edges 787
Generator effect) 687 Page number display
in Title tool 385
Pagecurl Illusion FX effect 569
O Paint Effect
Objects modes 718
aligning in the Title tool 400 Paint Effect (2D)
locking and unlocking 399 applying 443
Offset effect parameters (Illusion FX Kaleidoscope creating signature effect 451
effect) 675 described 440
Offset tracking example of Blur mode 501
overview 313 modes 447
performing 315 painting with Brush tool 448
One-Way Row Matrix Wipe effect 594 parameters for 444
Online support 37 position information for 65
Opening rendering 441
keyframe graphs and tracks 86 selecting color 448
Tracking window 296 using Magic Mask parameters 498
Optical list Paint Image effect 583
position information in 65 Pan & Zoom
with Previsualization Marker tool information See Avid Pan & Zoom effect
471 Pan and Scan effect (2D)
Options effect parameters (Region Stabilize effect) adjusting 273
727 and Reformat effects 259
Origin applying 263
setting, in Pan and Scan effect 269 combining with transition effects 274
Other Options (Avid Pan & Zoom effect) 701 defining a motion path 271
Other Options button described 261
Avid Pan & Zoom 276 Establish Origin parameter 269
Other Options button (Effect Editor) 70 output formats for 262

818
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

placing on video track 275 Path

positioning the Pan and Scan track 262 in effect motion 359
Reset to Origin parameter 269 Path effect parameter (Avid Pan & Zoom effect) 705
selecting aspect ratios in 264 Path effect parameter for Intraframe editing 644
setting an origin in 269 Path parameter
setting up monitors for 266 Avid Pan & Zoom effect 283
subdividing 270 Pattern Generator Illusion FX effect 571
using Effect Grid with 268 Peel effects
using multiformat titles with 262 Bottom Left Corner 598
viewing media in 267 Bottom Right Corner 598
wire frame display in 271 Bottom to Top 599, 601
Pan and Scan Reformat effect 609 Left to Right 599
Pan and Zoom reference 597
See Avid Pan & Zoom effect Right to Left 600
Panning Top Left Corner 600
Avid Pan & Zoom effect 703 Top Right Corner 601
keyframe graphs 92 Pen tool for intraframe editing 446
using Avid Pan & Zoom effect 279 Percent Speed text box
Parameters Timewarp effect 194
See also Parameters (2D) Perspective
See also Parameters (3D) using motion tracking for 304
Blur effect 511 Perspective effect parameters 779
for AVX plug-ins 158 Picture-in-Picture Blend effect 543
Mosaic effect 511 Picture-in-Picture effect (2D)
Parameters (2D) foreground image movement 79
Acceleration 509 Pinch Illusion FX effect 572
Blur effect 509 Pixels
Feathering 509, 511 shape in Avid Pan & Zoom effect 287
Mosaic effect 509 PlasmaWipe effects 602
Paint Effect 444 applying 515
Transition 48 creating from a custom image 517
Parameters (3D) creating from an existing image 521
accessing 348 default values 530
adjustment handles 357 folder structure 514, 528
resetting to defaults 356 frame and border effects 530
Target 795 HD project versions 537
Parameters for effects PAL and NTSC versions 517, 527
See Effect parameters testing an animation 525
Partial render 138 threshold point 513, 515
Particle Blast Illusion FX effect 570 tips for adjusting 528, 530
Particle Orbit Illusion FX effect 570 using the Adobe Photoshop histogram 522
Particle Wind Illusion FX effect 571 using the Adobe Photoshop Pencil tool 519
Paste command using the Level value 515
for title elements (Edit menu) 398 working with Adobe Photoshop 517
Pasting working with gradient images 522
advanced keyframes 111, 113 Play button (Effect Editor) 70
Play button (Effect Preview Monitor toolbar) 59

819
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Play button (Motion Effect Editor) 184 Position parameter

Play Loop button (Effect Editor) 70 in Avid Pan & Zoom effect 279
Play Loop button (Effect Preview Monitor toolbar) 59 Position scale bar 192
Play Loop button (Motion Effect Editor) 184 Position scale slider 194, 197
Play Preview button (Effect Preview Monitor toolbar) Position V effect parameter (Crawling Title effect)
59 763
Playback of effects Posterization
Submaster restriction 586 constrained by nested Circle Shape Wipe 246
that use tracking data 328 of Color Effect 715
Playing Post-key color correction 239
3D effects 352 Previsualization Marker tool
Plug-in effects described 470
AVX (Avid Visual Extensions) 151 using 471
Digidesign AudioSuite, using 151 with cut list 471
Point Range menu Profile (3D) effect parameters 781
brief description 296 Profile effect parameter 654
Polygon shape creation 454 Progressive projects
Polygon tool for Intraframe editing 454 Avid Pan & Zoom render options 285
Position Progressive Source effect parameter (Region
Timewarp effect 194 Stabilize effect) 727
Position (3D) effect parameters 780 Project window
Position coordinates managing title styles in 405
displaying 64 Projects
Position display for two-field media 61 moving from Macintosh to Windows 378
Position effect parameter moving from Windows to Macintosh 378
limiting tracking data to one axis 327 Promoting
using with motion tracking 293 2D effects to 3D effects 350
Position effect parameter (Avid Pan & Zoom effect) effects to advanced keyframes 85
703 traditional motion effect to Timewarp 182
Position effect parameters 653 Pulldown Insertion Timewarp effect 630
Position graph Pulldown Removal Timewarp effect 631
activating 191 Push effects
Position graph (Motion Effect Editor) Bottom Left to Top Right 603
components 197 Bottom Right to Top Left 604
described 179 Bottom to Top 604
displaying 184 Left to Right 605
scale bars 192 overview of reference information 603
toolbar 193 Right to Left 605
Position Graph display button (Timewarp effect) 191 Top Left to Bottom Right 606
Position H effect parameter (14:9 Letterbox Reformat Top Right to Bottom Left 606
effect) 757 Top to Bottom 607
Position H effect parameter (Rolling Title effect) 764
Position information
for Blowup effect 65
for Paint and AniMatte effects 65
obtaining in a film project 65

820
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Q overview of reference information 607

Pan and Scan 609
Quadratic Reformat effects (2D)
Filtering option for Avid Pan & Zoom effect 285 aspect ratios 259
Quick Transition dialog box Reformat effects category 259
graphical display in 52 Region of interest
QuickTime adjusting 306
real-time moving mattes 241 Region of Interest effect parameters (Region Stabilize
effect) 726
R Region Stabilize effect (2D)
described 334
Radial Blur Illusion FX effect 572 troubleshooting 336
Random Blend Illusion FX effect 573 types of stabilization 334
Real-Time Region Stabilize Image effect 584
Filtering option for Avid Pan & Zoom effect 285, Remove Redundant Keyframes command (Keyframe
288 track shortcut menu) 99
Real-time effects Removing
color coding for 39 redundant keyframes 99
green dot color coding for 39 Render Effect button (Effect Editor) 70
Real-time moving matte Render Mode effect parameter (Avid Pan & Zoom
editing with 241 effect) 709
imported as a graphics sequence 241 Render Ranges command (Timeline Fast menu) 138
imported with QuickTime 241 Render settings
Real-Time Update command (Effect Editor shortcut 16-bit effects processing 139
menu) 130 activating 134
Recalling adjusting 134
title styles 404 creating new 134
Re-create Titles and Mattes command (Clip menu) described 134
414 Effects Quality Render Using 135, 141
Re-creating HQ rendering 141
multiformat titles 416 options 135
titles 413 Rendered effects
Rectangle tool for Intraframe editing 452 Submaster icon color code 252
Rectangular pixels Rendering
in Avid Pan & Zoom effect 287 16-bit effects processing 139
Reduce button AniMatte effects 441
Effect Editor 79 AVX plug-ins 159
Effect Preview Monitor toolbar 59 displaying render ranges 138
Reduce button (Effect Editor) 70 during Intraframe editing 441
Redundant keyframes HQ effects 141
removing 99 interrupting 138
Reformat effect parameters interrupting, with HQ effects 141
overview of reference information 757 motion effects 135
Reformat effects multiple effects with Submaster 252
14:9 Letterbox 607 Paint Effect 441
16:9 Letterbox 608 saving partially completed renders 138
4:3 Sidebar 608 Submaster restriction 586

821
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Timewarp effect options 181, 184 Right Box Box Wipe effect 547
titles 413 Right Centered Squeeze effect 623
using Render to Media Station 143 Right to Left Conceal effect 551
Rendering on-the-fly Right to Left Peel effect 600
while trimming 41 Right to Left Push effect 605
Replacing Ripple Illusion FX effect 573
existing effects 57 Rolling Title button (Title tool) 376, 383
title fill tracks 412 Rolling Title effect 637
Reset Graph View command (shortcut menu for Rolling titles
keyframe track) 92 adding pages 385
Reset to Origin parameter creating 380
for Pan and Scan effect 269 defined 380
Resetting deleting pages from 385
keyframe graph view 92 formatting text in 387
Reshape tool for Intraframe effects 473 going to a page in 385
Resize Image effect 584 inserting a blank page into 385
Resizing page count limits for 381
foreground image 81 resizing width of 384
keyframe graphs 88 scrolling through 385
rolling or crawling titles 384 setting text formatting for 382
tracking boxes 306 typing text for 383
Reusing Rollup Illusion FX effect 574
tracking data 338 Rotation axes (3D) 353
Reveal File command (File menu) 147 Rotation effect parameter
Revealing using with motion tracking 293
effect media files 147 Rotation effect parameters 781
motion effect media 147
Reverse Animation option 648
Reverse Motion Timewarp effect 632
S
Reversing Safe Action area
fast motion effects 169 Avid Pan & Zoom 278
motion effects 755 Safe Color Limiter Image effect 585
slow motion effects 169 Safe Colors command (Object menu) 379
Revising Safe title/action area
titles in a sequence 410 displaying 62
Rewind button (Effect Preview Monitor toolbar) 59 for aligning objects 400
RGB Keyer effect (AVX Plug-in) Saturation
applying 237 defined 642
described 235 of colors in titles 379
post-key color correction 239 Saving
RGB Keyer Key effect 589 multiformat titles 408
RGB Levels effect parameters (Safe Color Limiter partially completed renders 138
effect) 729 title styles 402
RGB levels option Sawtooth Wipe effects
Avid Pan & Zoom effect 707 Horizontal Open Sawtooth 610
RGB settings Horizontal Sawtooth 609
in Avid Pan & Zoom effect 287 overview of reference information 609

822
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Vertical Open Sawtooth 610 Selecting

Vertical Sawtooth 611 tracking data points 323
Scaling Selection tool
keyframe graphs 88 for grouping objects 399
Scaling (3D) effect parameters 782 for ungrouping objects 399
Scaling effect parameter with Intraframe editing 452
using with motion tracking 293 Send Backward button (Effect Editor) 478
Scaling effect parameters 654 Send Backward command (Object menu) 398, 478
Scaling Intraframe objects 475 Send to Back command (Object menu) 398, 478
Scratch effect parameters (Scratch Removal effect) Sequences
730 removing redundant keyframes 99
Scratch removal Set Bin Display command (Bin menu) 147
finding flaws from telecine transfer 488 Set Position To Keyframe command (Effect Editor
frame or field processing 482 shortcut menu) 130
isolating flaws 486 Settings
parameter setting examples 495 Effect Aperture 41
removing flaws 489, 491 Render 134
selecting clean material 486 Title Styles 405
using effect parameters 494 Shadow effect parameters 783
using IN and OUT points 492 Shadow softness
using nearby frame or field 485 adjusting in titles 395
within single frame or field 485 viewing current setting 397
workflow for 482 Shape effect parameters 784
Scratch Removal button 486 Shape effects
Scratch Removal effect (2D) Ball 784
described 440 effect visibility 787
Scratch Removal Image effect 585 location of position indicator 787
Scroll Position H effect parameter (Crawling Title Page Fold 784
effect) 763 Slats 784
Scroll Position V effect parameter (Rolling Title Shape Wipe effects
effect) 764 4 Corners 612
Scroll thumbwheel Center Box 612
keyframe graphs 92 Circle 613
Scrolling Clock 613
keyframe graphs 92 Diamond 614
through rolling or crawling titles 385 Ellipse 614
Secondary Key effect parameters (Chroma Key Horizontal Bands 615
effect) 735 Horizontal Blinds 615
Segment overview of reference information 611
in Intraframe objects 460 Vertical Blinds 616
Segment effects (2D) Sharpness of focus for 3D effects 772
Chroma Key editing 235 Shear Illusion FX effect 574
Luma Key effect 239 Shelf keyframe interpolation option 116
Submaster 252 Short clips
Segment mode using Submaster effect with 254
editing segments using tracking data 337 Show Action Safe option for Avid Pan & Zoom 702

823
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Show Action Safe parameter Source Has Square Pixels

Avid Pan & Zoom 278 Avid Pan & Zoom effect 287
Show Add Keyframe Mode Menu command (Effect Source Has Square Pixels option
Editor shortcut menu) 130 Avid Pan & Zoom effect 707
Show Alignment Grid command (Alignment menu) Source mode
379 Avid Pan & Zoom 702
Show Alpha option 648 Source Monitor Analysis effect parameters (Safe
Showing Color Limiter effect) 728
advanced keyframe graph display 86 Sparkler Illusion FX effect 575
Single-field step 68 Speckle Matrix Wipe effect 595
using with Intraframe effects 442 SpectraGraph display
Size effect parameter (Avid Pan & Zoom effect) 703 in SpectraMatte effect 228
Size of effect SpectraMatte effect
adjusting 795 Alpha Matte display in 228
foreground image 81 applying 233
Skew creating 233
using motion tracking for 304 SpectraGraph display in 228
Skew effect parameters 789 SpectraMatte Key effect 590
Slats Shape effect 784 Speed Boost Timewarp effect 633
Sliders Speed Bump Timewarp effect 634
adjusting effect parameter 74 Speed graph
blank 74 activating 191
Slip Keyframe command (shortcut menu for Speed graph (Motion Effect Editor)
keyframe track) 111 components 194
Slipping described 179
advanced keyframes 108 displaying 184
Slow motion effect (2D) scale bars 192
creating 169 scale sliders 194
reversing 169 Source Anchor Frame 196
Smooth Selected Points button (Tracking window) toolbar 193
296 Speed Graph display button (Timewarp effect) 191
Smoothing Sphere Illusion FX effect 575
paths in 3D effects 791 Spill effect parameters (SpectraMatte effect) 751
Smoothing tracking data Spill Suppression effect parameters (3D effects) 790
overview 320 Spill Suppression effect parameters (Chroma Key
Snap to Grid command (Alignment menu) 379 effect) 735
Soft shadows Spin effects
adding to titles 395 overview of reference information 616
Soften Shadow command (Object menu) 396 X Spin 617
Softness effect parameter for borders 643 Y Spin 617
Solarization Z Spin 618
of Color Effect 715 Spiral Matrix Wipe effect 595
Source Anchor Frame Spline effect parameters 791
in Motion Effect Editor 184, 194 Spline keyframe interpolation option 116
using 196 Spline parameters (3D)
Source effect parameters (Illusion FX FluidMorph using 365
effect) 673

824
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Spline Path option Step Backward One Field button (Effect Preview
Avid Pan & Zoom effect 705 Monitor toolbar) 59, 68
Spline points Step Forward One Field button (Effect Preview
adding to paths in 3D effects 791 Monitor toolbar) 59
Square pixels Step In button (Timeline) 247
in Avid Pan & Zoom effect 287 Step Out button (Timeline) 247
Squeeze effects Stepping
Bottom Centered 619 through two-field media 68
Bottom Left 619 Stopping
Bottom Right 620 tracking data generation 312
Bottom to Top 620 Stretch Points Mode button (Tracking window) 296
Centered Zoom 621 Stretching
Horizontal Centered 621 tracking data points 325
Left Centered 622 Strobe Motion effect (2D)
Left to Right 622, 623 creating 173
overview of reference information 618 Strobe Motion effect parameters 755
Right Centered 623 Strobe Motion Motion effect 597
Top Centered 624 Stylesheets
Top Left 624 for SubCap effect 433
Top Right 625 SubCap effect
Top to Bottom 625 adding information and custom data 427
Vertical Centered 626 adjusting parameters 429
Stabilization applying 423
brief description 291 described 420
overview 329 editing text in the Master Caption list 428
using multiple trackers with 333 entering text in Effect Editor 425
Stabilize Image effect 585 exporting data to caption files 431
Stabilizing an image global properties 427, 429, 433
See also Region Stabilize effect Global Properties reference 662
using Region Stabilize 334 importing caption files 426
Stabilizing images 329, 334 interaction with caption files 421
Stamp (3D) parameter adjustment examples 436
clearing 369 stylesheets 433
creating 369 synchronizing parameters and information 429
Stamp effect parameters 794 Unicode text support 433
Start Timecode effect parameters (Illusion FX SubCap effect parameters 657, 663
Timecode effect) 699 SubCap Generator effect 562
Starting Subdividing
tracking data generation 312 Pan and Scan effect 270
Starting at Cut button (Quick Transition dialog box) Submaster effects (2D)
55 applying 252
Starting at Cut effect parameter 655 collapsing layers into 254
Starting at Cut option editing 252
using 48 using with EDLs 252
SteadyGlide using with short clips 254
overview 320 Submaster Image effect 586
using to smooth tracking data 321 Substituting fonts 378

825
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Subtitling Timewarp effect 220, 634

See SubCap effect creating 181, 182
Superimpose Blend effect 544 described 178
Swap Sources option 648 displaying Position graph 184
Swapping effect tracks 774 displaying Speed graph 184
Swirl Illusion FX effect 576 FluidMotion Edit 211
Symphony input position 197
conforming tracking data from Meridien systems keyframe interpolation, defined 180
340 Match Frame 184
Motion Effect Editor 184
output duration 184
T output position in Position graph 197
Tail Fade button 48 Position graph 197
Target effect parameters 795 promoting traditional motion effects 182
Target mode rendering 184
Avid Pan & Zoom 702 rendering options 181, 184
Target parameters (3D) 795 selecting control graph 184, 191
Templates Source Anchor Frame 196
for titles 406 Speed graph 194
Tension Trim mode 184
setting for Spline 791 Timewarp effects
versus Continuity in motion path 792 0% to 100% 627
Text formatting 100% to 0% 628
setting for rolling and crawling titles 382 Adaptive deinterlacing option 190
The following table describes the Input parameters for FluidFilm 2:3 Cadence 629
the Illusion FX Tmecode effect. 697 FluidFilm Progressive 629
Third-party plug-in effects 151 FluidMotion Edit effect parameters 759
Threshold point overview of reference information 626
PlasmaWipe effects 513, 515 Pulldown Insertion 630
Thumbwheels Pulldown Removal 631
adjusting effect parameter 74 Reverse Motion 632
Thumbwheels command (Effect Editor shortcut Speed Boost 633
menu) 130 Speed Bump 634
TimeCode effects Timewarp 634
TimeCodeRT 562 Trim to Fill 635
Timecode Illusion FX effect 577 Timewarp Position graph
TimeCodeRT TimeCode effect 562 described 179
Timeline Timewarp Speed graph
adjusting transition effects in 55 described 179
color coding of real-time effects 39 Title effect 637
display changes for FluidMotion Edit 209 Title effect parameters
expanding nested effects in 248 overview of reference information 762
for tracker information 296 Title effects
real-time effects in 252 Crawling Title 636
showing effect icons in 40 overview of reference information 635
tracking data in 316 Rolling Title 637
Timeline View Name button (Timeline) 40 Title 637

826
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Title styles promoting to Marquee 410

applying 405 recalling styles 404
converting to Marquee 403 re-creating 413
defined 401 re-creating multiformat 416
managing in Project window 405 rendering 413
recalling 404 replacing fill tracks 412
saving 402 resizing rolling or crawling width of 384
using function keys with 402 revising in a sequence 410
Title templates rolling or crawling, adding pages 385
creating and using 406 rolling or crawling, deleting pages from 385
Title tool rolling or crawling, going to a page in 385
16:9 display option 380 rolling, defined 380
adjusting transparency in 394 saving multiformat 408
Auto Size mode 382 saving styles 402
blending colors in 392 scrolling through rolling or crawling 385
blending transparency in 394 setting text formatting for rolling or crawling 382
Color Picker 391 soft shadows with 395
Crawling Title button 383 templates for 406
preparing drawing environment 378 troubleshooting 417
Rolling Title button 383 typing rolling or crawling text for 383
setting color in 391 workflow options for crawling 383
setting transparency in 391 Toolbars
toolbar overview 376 Motion Effect Editor, FluidMotion Edit 211
Titles Motion Effect Editor, Position Graph 197
adding pages to 385 Title tool 376
adjusting in Effect Editor 409 Top Box Box Wipe effect 547
adjusting using keyframes 409 Top Centered Squeeze effect 624
aligning 400 Top Left Corner Peel effect 600
applying styles 405 Top Left L-Conceal effect 592
copying or moving objects to 385 Top Left Squeeze effect 624
crawling, defined 380 Top Left to Bottom Right Box Wipe effect 548
creating a glow or halo effect 397 Top Left to Bottom Right Conceal effect 552
creating media for unrendered 415 Top Left to Bottom Right Push effect 606
creating multiformat 407 Top Right Corner Peel effect 601
creating rolling or crawling 380 Top Right L-Conceal effect 592
distributing 401 Top Right Squeeze effect 625
exporting as a graphics file 409 Top Right to Bottom Left Box Wipe effect 548
formatting rolling or crawling 387 Top Right to Bottom Left Conceal effect 552
grouping and ungrouping 399 Top Right to Bottom Left Push effect 606
inserting a blank page into a rolling or crawling Top to Bottom Conceal effect 553
385 Top to Bottom Push effect 607
layering of 398 Top to Bottom Squeeze effect 625
locking and unlocking 399 Tracker Close button (Tracking window) 296
managing fonts for 378 Tracker Color box
managing styles in Project window 405 described 296
multiformat 407, 412
page count limits for rolling or crawling 381

827
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Tracker Name text box Tracking effect parameter

described 296 described 293
using 305 multiple trackers in 304
Tracker regions Tracking effect parameters 655, 796
adding and deleting 314 Tracking engines
moving among 315 described 310
Tracker timelines selecting 309
described 296 Tracking information
understanding display 316 in Effect Preview monitor 61
Trackers Tracking window
defined 290 controls, described 296
deleting 306 described 296
enabling and disabling 306 enabling and disabling trackers in 306
number required for stabilization 333 generating tracking data 312
number required for tracking 290, 304 opening 296
Tracking boxes selecting foreground or background tracking 309
adjusting 306 selecting tracking engine 309
displaying 306 setting up tracking in 309
guidelines, for positioning 308 Tracks of video
guidelines, for resizing 309 gain levels 733
moving or resizing 306 in nested effects 246
Tracking button (Tracking window) 296 swapping 3D effects on 774
Tracking data swapping background and foreground (3D) 360
changing display color 317 Trail effect parameters 796
conforming from Symphony Meridien systems Training services 38
340 Transition Corner Display button 55
copying and pasting 339 Transition Effect Alignment button 48
enabling, in Effect Editor 301 Transition Effect Alignment button (Effect Editor) 70
in Effect Preview monitor 316 Transition Effect Duration box (Effect Editor) 70
in Tracker timeline 316 Transition effect parameters 655
overview 311 Centered on Cut alignment 655
preparing to generate 301 Custom Start alignment 655
reusing 339 Ending at Cut alignment 655
smoothing 321 Starting at Cut alignment 655
starting to generate 312 Transition effects
stopping generation 312 adjusting in Timeline 55
Tracking data points adjusting with graphical display in Quick
deleting 323 Transition dialog box 52
display in Effect Preview monitor 316 Transition effects (2D)
display of flashing points for current frame 316, dissolves 47
317 with Pan and Scan effect 274
locators in tracking boxes 306 Transition effects (3D)
moving 324 using Axis for 371
options for manipulating described 322 with Page Curl (3D) 361
selecting 323 Transition parameters
setting display range 317 using to apply dissolve effects 48
stretching 325

828
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Transparency V
adjusting in titles 394
blending in titles 394 Value scale bar 192
setting for titles 391 Value scale slider 194, 197
Transparency of effects Variable Speed effect parameters 755
controlling with Foreground effect parameter 648 Variable Speed Motion effect 597
Triangle Variable Speed motion effect
Filtering option for Avid Pan & Zoom effect 285 sizing to fit marked duration 172
Triangular opener Vector-based objects
using with keyframe graphs and tracks 86 creating 460
Triangular opener (Effect Editor) 70 described 460
Trim mode Velocity effect parameter (Avid Pan & Zoom effect)
Timewarp effect 184 703
Trim to Fill Timewarp effect 635 Velocity In and Velocity Out 281
Trimming Velocity parameter
rendering on-the-fly 41 Avid Pan & Zoom 281
segments with tracking data 337 Vertical Blinds Shape Wipe effect 616
Troubleshooting 37 Vertical Centered Squeeze effect 626
AVX plug-ins 159 Vertical Edge Wipe effect 557
Region Stabilize effect 334 Vertical Open Edge Wipe effect 557
titles 417 Vertical Open Sawtooth Sawtooth Wipe effect 610
True Type fonts 378 Vertical Sawtooth Sawtooth Wipe effect 611
Twist Illusion FX effect 578 Vertical zoom slider
Typing text for rolling and crawling titles 383 keyframe graphs 88
Video
using as fill for titles and graphics 412
U Video background
UnGroup command (Object menu) 399, 478 Avid Pan & Zoom effect 706
Unicode text Video Display settings
in SubCap effect 433 Effect Aperture 41
Unlock command (Object menu) 399, 479 Video layers
Unrendered titles locating and using with motion tracking 300
creating media for 415 Video mixdown 256
Update Position While Playing command (Effect Video Resolution
Editor shortcut menu) 130 Avid Pan & Zoom effect 288
Update rate of Strobe effect 755 VTR-Style rendering option (Timewarp effect) 188
Upgrading AVX plug-ins and effects 156 VTR-Style, render settings option 135
Upper Left Diagonal Edge Wipe effect 556
Upper Right Diagonal Edge Wipe effect 556 W
Use Tracking button (Effect Editor) 301
User settings Wave Illusion FX effect 578
creating render settings 134 Wide-screen display
in the Title tool 380
Windows Color dialog box 76, 391
Wire frame
in Pan and Scan effect 271
using with effects 79

829
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Wire-frame resize handles 81 Z

Workflows
for Media Station 143 Z Spin Spin effect 618
motion tracking 292 Zig-Zag Matrix Wipe effect 596
options for crawling titles 383 Zoom Factor for Avid Pan & Zoom effect 703
Zoom Factor parameter
Avid Pan & Zoom effect 279
X Zoom in on an effect 79
X Only button (Effect Editor Position parameter) 327 Zoom out of an effect 79
X Spin Spin effect 617 Zoom to Curve Height button (Effect Editor keyframe
X Y Z coordinate system 353 graphs) 90
Xpress 3D effect category 349 Zooming
Xpress 3D effects 638 Avid Pan & Zoom effect 703
in Avid Pan & Zoom 279
in Effect Preview monitor 357
Y keyframe graphs 88
Z-Rotation 511
Y Only button (Effect Editor Position parameter) 327
Z-rotation tool for intraframe effects 474
Y Spin Spin effect 617

830