®

Avid Xpress Pro

Advanced Effects Guide

m a k e m a n a g e m ove | m e d i a ™ Avid ®
 Copyright and Disclaimer
Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology,
Inc.

The software described in this document is furnished under a license agreement. You can obtain a copy of that license by
visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as
the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the
license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license
agreement.

Avid products or portions thereof are protected by one or more of the following United States Patents: 4,746,994; 4,970,663;
5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423;
5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637;
5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,987,501; 6,016,152;
6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,134,607; 6,137,919; 6,141,691;
6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; 6,351,557; 6,353,862; 6,357,047;
6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731;
6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; 6,747,705;
6,763,134; 6,766,063; 6,791,556; 6,810,157; 6,813,622; 6,847,373; 6,871,003; 6,871,161; 6,901,211; D392,269; D396,853;
D398,912. Other patents are pending.

No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including
photocopying and recording, for any purpose without the express written permission of Avid Technology, Inc.

Copyright © 2004–2005 Avid Technology, Inc. and its licensors. All rights reserved.

The following disclaimer is required by Apple Computer, Inc.

APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING
THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY
PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE
ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS.
THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE.

The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library:
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
is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of
the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any
advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon
Graphics.

THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR
OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A
PARTICULAR PURPOSE.

IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT
OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE,
DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF
LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.

The following disclaimer is required by the Independent JPEG Group:

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

The following disclaimer is required by Paradigm Matrix:

Portions of this software licensed from Paradigm Matrix.

The following disclaimer is required by Ray Sauers Associates, Inc.:

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

2
The following disclaimer is required by Videomedia, Inc.:
“Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with
respect to its merchantability or its fitness for any particular purpose.”

“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by
Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use
of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players
and the like.”

The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample
Source Code:
©1993–1998 Altura Software, Inc.

The following disclaimer is required by Ultimatte Corporation:

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

The following disclaimer is required by 3Prong.com Inc.:

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

Attn. Government User(s). Restricted Rights Legend

U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or
“commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf
of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms
of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.

Trademarks
888 I/O, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AirSpeed, AniMatte, AudioSuite, AudioVision, AutoSync, Avid,
Avid DNA, Avid DNxcel, Avid DNxHD, AVIDdrive, AVIDdrive Towers, Avid Mojo, AvidNet, AvidNetwork, AVIDstripe, Avid Unity,
Avid Xpress, AVoption, AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, D-Fi, D-fx, DigiDelivery, Digidesign, Digidesign
Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive, Digital Nonlinear Accelerator, DigiTranslator, DINR,
DNxchange, D-Verb, Equinox, ExpertRender, FieldPak, Film Composer, FilmScribe, FluidMotion, HIIP, HyperSPACE,
HyperSPACE HDCAM, IllusionFX, Image Independence, Intraframe, iS9, iS18, iS23, iS36, LaunchPad, Lo-Fi, Magic Mask,
make manage move | media, Marquee, Matador, Maxim, MCXpress, Media Composer, MediaDock, MediaDock Shuttle,
Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray, MediaShare, Meridien, MetaSync,
MissionControl, NaturalMatch, Nearchive, NetReview, NewsCutter, Nitris, OMF, OMF Interchange, OMM,
Open Media Framework, Open Media Management, ProEncode, Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, Sci-Fi,
Softimage, Sound Designer II, SPACE, SPACEShift, SpectraGraph, SpectraMatte, Symphony, Trilligent, UnityRAID, Vari-Fi,
Video Slave Driver, VideoSPACE, and Xdeck are either registered trademarks or trademarks of Avid Technology, Inc. in the
United States and/or other countries.

iNEWS, iNEWS ControlAir, and Media Browse are trademarks of iNews, LLC.

All other trademarks contained herein are the property of their respective owners.

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

3
 GOT FOOTAGE?

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

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

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

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

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

4
 Contents

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

Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Accessing the Online Library and Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Avid Educational Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Chapter 1 Effect Concepts and Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Effects Creation Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Deconstructing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Video Effects for HD Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Working with Effects in 24p or 25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Understanding Effect Color Coding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Effect Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
What is an Effect Aperture? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Changing the Effect Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Chapter 2 Applying and Customizing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Applying Effects to Multiple Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Additional Methods for Applying Dissolve Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Creating a Dissolve in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Adding Dissolves with the Head Fade Button and the Tail Fade Button . . . . . . 42
Additional Information for the Quick Transition Button . . . . . . . . . . . . . . . . . . . . . . . 43
Using the Quick Transition Button to Apply Effects to Multiple Transitions . . . . 44
Understanding the Graphical Display in the
Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
 Adjusting a Transition Effect by Dragging in the
Quick Transition Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Repositioning a Transition Effect with the
Quick Transition Alignment Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Deleting Effects in a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Deleting a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Deleting Multiple Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Deleting Multiple Segment Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Trimming Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Using the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Understanding the Effect Preview Monitor Toolbar . . . . . . . . . . . . . . . . . . . . . . 52
Understanding Effect Preview Monitor Tracking Information . . . . . . . . . . . . . . 54
Displaying Safe Title and Safe Action Guidelines in the
Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Moving an Enlarged Image in the Effect Preview Monitor. . . . . . . . . . . . . . . . . 55
Changing Position in an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Replacing an Effect in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Using the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Effect Editor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Displaying an Effect’s Parameters in the Effect Editor . . . . . . . . . . . . . . . . . . . 61
Understanding Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Using Parameter Sliders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Using Parameter Enable Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Using Fast Menu Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Using the Other Options Button to Access Parameters . . . . . . . . . . . . . . . . . . 64
Adjusting a Color Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Using the Eyedropper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Using the Windows Color Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Manipulating Effects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Defining Motion Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Moving the Image Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Resizing a Foreground Image by Dragging Handles. . . . . . . . . . . . . . . . . . . . . 69

6
 Using Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Saving an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Displaying Effect Templates in the Effect Palette. . . . . . . . . . . . . . . . . . . . . . . . 72
Applying an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Chapter 3 Working with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Using Standard Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Adding a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Selecting a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Moving a Standard Keyframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Changing a Standard Keyframe’s Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . 77
Copying and Pasting Standard Keyframe Parameters. . . . . . . . . . . . . . . . . . . . 77
Deleting a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Using Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Promoting Effects to Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Opening Keyframe Parameter Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Using Keyframes in the Effect Track and the Parameter Group Track . . . . . . . 81
Effect Editor Controls for Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . 84
Shortcut Menus for Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Adding and Deleting Keyframes in Keyframe Graphs . . . . . . . . . . . . . . . . . . . . 87
Using the Add Keyframe Mode Menu and the
Delete Keyframe Mode Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Working with Keyframes in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . 95
Selecting and Deselecting Advanced Keyframes. . . . . . . . . . . . . . . . . . . . . . . . 96
Deselecting All Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Moving a Keyframe in a Keyframe Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Selecting Multiple Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Moving Keyframes Vertically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Moving a Keyframe Horizontally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Moving a Keyframe in Any Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Moving Multiple Keyframes Horizontally . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Moving Keyframes in a Closed Keyframe Graph . . . . . . . . . . . . . . . . . . . 103
Copying and Pasting Advanced Keyframe Parameters . . . . . . . . . . . . . . . . . . 104
Reverse Keyframes Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

7
 Elastic Keyframes and Fixed Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Parameter Changes at Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Options for Controlling Parameter Changes at Keyframes . . . . . . . . . . . 109
Adjusting Parameter Values with the Bézier Interpolation Option . . . . . . 112
Changing the Adjustment Method for the
Bézier Interpolation Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Align Keyframes and Slip Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Aligning Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Slipping Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Extrapolate and Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Adjusting the View in a Keyframe Graph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Zooming and Scrolling Keyframe Graphs. . . . . . . . . . . . . . . . . . . . . . . . . 122
Resizing Keyframe Graphs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Moving Keyframe Graph Views Up or Down . . . . . . . . . . . . . . . . . . . . . . 124
Resetting Keyframe Graph Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Options for Using Advanced Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Chapter 4 Playing and Rendering Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Previewing Effect Frames with Render On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . 127
Advanced Effects Playback Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Controlling Real-Time Effects Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Playing Real-Time Effects Through a Separate IEEE-1394 Connection. . . . . 129
Real-Time Effects and Effect Icon Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Rendering Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Creating and Using Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Creating a New Render Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Adjusting Render Settings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Activating a Render Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Partial Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Interrupting a Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Customizing Render Ranges Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Rendering a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Rendering Effects at Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Rendering Effects Between IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . 138

8
 16-Bit Processing Support for Rendered Effects . . . . . . . . . . . . . . . . . . . . . . . 139
Rendering HQ (Highest Quality) Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Managing Effect Media Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Understanding Effect Media Files Management . . . . . . . . . . . . . . . . . . . . . . . 142
Revealing Effect Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Deleting Effect Media Files from a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Chapter 5 Working with Third-Party Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . 147
Working with AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Support for AVX 1.x and AVX 2.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
AVX 1.x Plug-ins and Memory Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Installing AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Locating the AVX 1.x Plug-Ins Folder (Windows Only) . . . . . . . . . . . . . . . . . . 150
Upgrading and Promoting AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Displaying AVX Plug-Ins on an External Monitor . . . . . . . . . . . . . . . . . . . . . . . 153
Assigning Multiple Tracks in Plug-in Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Using AVX Plug-in Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Using AVX 1.x Plug-In Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Using AVX 2.0 Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Using the Client Monitor to Preview the Plug-In Effect. . . . . . . . . . . . . . . . . . . 155
Troubleshooting AVX Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Avid After Effects External Monitor Preview Plug-In (Windows Only). . . . . . . . . . . 157
Installing the Avid After Effects EMP Plug-in (Windows Only) . . . . . . . . . . . . . 157
Using the Avid After Effects EMP Plug-in (Windows Only) . . . . . . . . . . . . . . . 158
Tips for Using the Avid After Effects EMP Plug-in (Windows Only) . . . . . . . . . 159
Chapter 6 Creating and Customizing Motion Effects. . . . . . . . . . . . . . . . . . . . . . . 161
Understanding Traditional Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Creating Traditional Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Playing and Rendering Traditional Motion Effects . . . . . . . . . . . . . . . . . . . . . . 162
Rendering Considerations When Creating
Traditional Motion Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Rendering and Rerendering Existing Traditional Motion Effects . . . . . . . . 163
Displaying Information About Motion Effect Type Changes . . . . . . . . . . . 165

9
 Freeze Frame Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Creating a Freeze Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Controlling a Freeze Frame with a Single Button or Key . . . . . . . . . . . . . 167
Creating a Rolling Clip That Freezes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Creating a Variable Speed Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Using the Fit to Fill Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Creating a Strobe Motion Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Considerations for Motion Effects in 24p or 25p Projects . . . . . . . . . . . . . . . . . . . 174
Using Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Using the FluidFilm Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Chapter 7 Creating Layered and Nested Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Creating Key Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Using the Chroma Key Effect and the RGB Keyer Effect . . . . . . . . . . . . . . . . 177
Chroma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
RGB Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Using Post-Key Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Creating a Luma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Creating a Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Using the Color Effect to Prepare a High-Contrast Image. . . . . . . . . . . . . . . . 182
Working with Imported Graphics and Animation . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Editing with Imported Matte Key Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Editing with Imported Master Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Nesting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Expanding Nested Effects in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Stepping Into and Out of Nested Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Creating a Simple Nested Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Changing the Order of Nested Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Nesting a Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Submaster Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Applying the Submaster Effect to a Multilayered Sequence . . . . . . . . . . . . . . 191
Using the Submaster Effect with a Series of Short Clips. . . . . . . . . . . . . . . . . 193
Collapsing Layers into One Submaster Effect. . . . . . . . . . . . . . . . . . . . . . . . . 193
Performing a Video Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

10
Chapter 8 Working with Camera Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Using the Region Stabilize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Stabilizing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Making Adjustments to the Region of Interest . . . . . . . . . . . . . . . . . . . . . . . . . 200
Using Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Working with Image Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Applying the Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Viewing the Image While You Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Adjusting the Field of View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Zooming Into and Out Of the Source Image . . . . . . . . . . . . . . . . . . . . . . . 204
Panning Over the Source Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Using Velocity In and Velocity Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Using Ease In and Ease Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Creating a Path with Constant Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Setting the Path Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Options for Rendering the Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . . . 209
Selecting the Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Advanced Parameter Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Pixel Types in the Source and Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Color Levels for Avid Pan & Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Memory Management with the Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . 211
Chapter 9 Working with 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Using Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Accessing 3D Effects in the Effects Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Promoting 2D Effects to 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Creating a Matte Key for Use with 3D Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Understanding the 3D Effects Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Moving in 3D Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Working with 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Accessing 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Manipulating 3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Using the Default Keyframe Parameter Values. . . . . . . . . . . . . . . . . . . . . 220

11
 Resetting Default Parameter Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Using Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Zooming In or Out on the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . 222
Manipulating 3D Effects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Manipulating 3D Effect Handles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Using the Motion Path Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Applying 3D Effects: Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Creating a Page Fold Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Creating a Cropped Foreground Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Chapter 10 Working with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Workflow for Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Understanding the Title Tool Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Advanced Title Tool Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Installing Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Using Safe Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Using the Alignment and Snap Grids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Bringing the Title Tool to the Foreground . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Advanced Text Formatting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Adjusting Text Kerning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Adjusting Leading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Justifying the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Selecting Line Attributes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Rounding Corners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Selecting a Line or Border Width. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Adding Arrowheads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Changing Arrowhead Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Creating Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Page Count Limits in Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . 240
Using Auto Size Mode for Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . 241
Setting Up Text Formatting for Rolling and Crawling Titles. . . . . . . . . . . . . . . 242
Workflow Options for Creating Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . . 242
Typing the Rolling and Crawling Title Text . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Resizing the Width of Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . . . . 243

12
 Scrolling Through a Rolling or Crawling Title . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Working with Pages in Rolling or Crawling Titles . . . . . . . . . . . . . . . . . . . . . . . 244
Formatting Rolling and Crawling Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Selecting Colors and Setting Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Selecting Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Blending Two Colors in an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Using the Title Tool Color Picker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Setting Transparency Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Blending Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Adjusting Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Adjusting Shadow Color and Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Setting Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Adjusting Shadow Softness On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Viewing Shadow Softness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Creating a Glow Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Manipulating Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Basic Manipulation Operations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Layering Text and Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Grouping and Ungrouping Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Locking and Unlocking Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Aligning Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Distributing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Saving and Recalling Title Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Saving a Title Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Title Style Sheet Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Recalling a Title Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Confirming Function Key Mapping of Title Styles. . . . . . . . . . . . . . . . . . . . . . . 261
Applying Title Styles to Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Managing Title Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Creating and Using Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Creating Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Using Title Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Exporting a Title as a Graphics File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

13
 Workflow for Editing with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Restrictions on Title Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Removing Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Replacing Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Fading a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Adjusting Title Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Revising a Title in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Replacing Fill Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Rendering Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Rendering Fast-Saved Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Re-creating Title Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Promoting a 2D Title to 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Troubleshooting Wrong Title Format Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Chapter 11 Working with PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Understanding PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
PlasmaWipe Folder Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Using PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Creating PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Creating PAL and NTSC Versions of the Image . . . . . . . . . . . . . . . . . . . . . . . 279
Creating a PlasmaWipe from a Custom Image . . . . . . . . . . . . . . . . . . . . . . . . 279
Creating a Wipe Using the Photoshop Pencil Tool . . . . . . . . . . . . . . . . . . . . . 280
Creating a PlasmaWipe Effect from an Existing Image. . . . . . . . . . . . . . . . . . 282
Tips for Working with Gradient Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Testing the Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Saving the Image for PAL and NTSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Storing Images in the PlasmaWipes Folder Structure. . . . . . . . . . . . . . . . . . . 288
Tips for Adjusting an Existing PlasmaWipe Effect While the
Application is Running . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Using PlasmaWipe Frame and Border Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Applying and Adjusting Frame and Border Effects . . . . . . . . . . . . . . . . . . . . . 293
Default Values for PlasmaWipe Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Creating Custom Border and Frame Effects . . . . . . . . . . . . . . . . . . . . . . . . . . 295

14
Chapter 12 2D Effects Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
2D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Global and Keyframeable Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Acceleration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Avid Pan & Zoom Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Other Options button for the Avid Pan & Zoom Effect. . . . . . . . . . . . . . . . 302
Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Display Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Position for the Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Background for the Avid Pan & Zoom Effect . . . . . . . . . . . . . . . . . . . . . . . 307
Advanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Cache . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Render Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Border. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Color Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Luma Adjust. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Luma Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Luma Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Chroma Adjust. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Color Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Color Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Foreground. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Illusion FX Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Border . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

15
 Core . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Generation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Illumination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Color Mix Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Crystal Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Film Grain Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Flare Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
FluidBlur Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
FluidColorMap Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
FluidMorph Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Iris Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Kaleidoscope Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Melt Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Motion Blur Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Page Curl Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Particle Blast Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Particle Orbit Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Particle Wind Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340
Pinch Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Radial Blur Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Random Blend Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Rollup Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Shear Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Sphere Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Swirl Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Timecode Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Twist Input Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Wave Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Movement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Number. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

16
 Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Start Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Key Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Secondary Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Spill Suppression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Key Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Chroma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Matte Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Matrix Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Traditional Motion Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Freeze Frame Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Variable Speed and Strobe Motion Parameters . . . . . . . . . . . . . . . . . . . . 364
PlasmaWipe Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Plug-in Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Scroll Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Region Stabilize Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Region of Interest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Auto Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Progressive Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Transition Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
2D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Blend Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Dip to Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Dissolve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Fade from Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Fade to Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

17
 Picture-in-Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Superimpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Box Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Bottom Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Bottom Left to Top Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381
Bottom Right to Top Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Left Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Right Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Top Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Top Left to Bottom Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Top Right to Bottom Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Bottom Left to Top Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Bottom Right to Top Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390
Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Top Left to Bottom Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Top Right to Bottom Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Edge Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Horizontal Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Lower Left Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Lower Right Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Upper Left Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Upper Right Diagonal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Vertical Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Film Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
1.66 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
1.85 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
16:9 Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

18
 Anamorphic Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Blowup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Film Dissolve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Film Fade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
Illusion FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Color Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Crystal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Film Grain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Flare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
FluidBlur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
FluidColorMap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
FluidMorph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413
Iris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413
Kaleidoscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
Lightning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Melt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Motion Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Page Curl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Particle Blast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Particle Orbit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Particle Wind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420
Pattern Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Pinch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422
Radial Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Random Blend. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Ripple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Rollup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
Shear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
Sparkler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427
Sphere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427
Swirl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

19
 Twist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Wave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Avid Pan & Zoom (AVX Plug-In Effect) . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
Color Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Flip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Flip-Flop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434
Flop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434
Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Region Stabilize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Resize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436
Submaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Chroma Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
Luma Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Matte Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
RGB Keyer (AVX Plug-in Effect) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
L-Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Bottom Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Matrix Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Grid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
One-Way Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Speckle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Spiral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Zig-Zag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Freeze Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Variable Speed and Strobe Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

20
Peel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Bottom Left Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Bottom Right Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454
Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
Top Left Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Top Right Corner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Push Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Bottom Left to Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Bottom Right to Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Top Left to Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
Top Right to Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
Sawtooth Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468
Horizontal Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Horizontal Open Sawtooth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Vertical Open Sawtooth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
Vertical Sawtooth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Shape Wipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
4 Corners. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Center Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
Diamond . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Ellipse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Horizontal Bands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479

21
 Horizontal Blinds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
Vertical Blinds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Spin Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
X Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
Y Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
Squeeze Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484
Bottom Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Bottom Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488
Centered Zoom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
Horizontal Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
Left Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491
Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492
Right Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
Right to Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
Top Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Top Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496
Top Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Top to Bottom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Vertical Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499
Timewarp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Timewarp: 0% To 100% . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501
Timewarp: 100% To 0% . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
Timewarp: 50% Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
Timewarp: FluidFilm 2:3 Cadence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Timewarp: FluidFilm Progressive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Timewarp: Trim to Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504
Timewarp: Reverse Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
Timewarp: Speed Boost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Timewarp: Speed Bump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Title Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
Comparison of Similar Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509

22
Chapter 13 3D Effects Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
3D Effects Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Global Versus Keyframeable Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
The Hierarchy of Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Direct Manipulation of 3D Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Acceleration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Axis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Border. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Foreground. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Spline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
Trail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Xpress 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
3D Ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
3D PIP Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Page Fold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
3D Slats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

23
24
 Using This Guide

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

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

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

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.

t This symbol indicates a single-step procedure.

Multiple arrows in a list indicate that you perform one
of the actions listed.
 Using This Guide

Symbol or Convention Meaning or Action

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

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

indicate variables.

Courier Bold 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,
Ctrl+drag.

If You Need Help

If you are having trouble using this Avid editing application:
1. Retry the action, carefully following the instructions given for that task in this guide. It
is especially important to check each step of your workflow.
2. Check for the latest information that might have become available after the
documentation was published in one of two locations:
- If release notes are available, they ship with your application.
- If ReadMe files are available, they are supplied in your Avid application folder.
ReadMe files are also available from Help.

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

3. Check the documentation that came with your Avid application or your hardware for
maintenance or hardware-related issues.
4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are
available 24 hours per day, 7 days per week. Search this online Knowledge Base to find
answers, to view error messages, to access troubleshooting tips, to download updates,
and to read/join online message-board discussions.

Accessing the Online Library and Tutorial

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

26
 How to Order Documentation

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

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

To access the tutorial and online library from the Online Library CD-ROM:
1. Insert the Avid Xpress Pro Online Library and Tutorial CD-ROM into the CD-ROM
drive.
2. Double-click the Mainmenu file.

To access the online library and tutorial from the Help:

1. Insert the Avid Xpress Pro Online Library and Tutorial CD-ROM into the CD-ROM
drive.
2. In your Avid application, select Help > Online Library & Tutorial.

How to Order Documentation

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

Avid Educational Services

For information on courses/schedules, training centers, certifications, courseware, and
books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-
2843).

27
 Using This Guide

28
Chapter 1
Effect Concepts and Settings

Your Avid editing application offers many effects that you can apply to your sequences. This
chapter provides visual overviews of the effects creation proceess, describes several
advanced concepts you should understand before you begin creating and editing effects into
sequences, as well as settings adjustments that affect how you work with effects.
• Effects Creation Tools
• Deconstructing Effects
• Video Effects for HD Projects
• Working with Effects in 24p or 25p Projects
• Effect Aperture

For basic information on effects, see “Main Topics: Working with Effects: Basics” in the
Help.
Chapter 1 Effect Concepts and Settings

Effects Creation Tools

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

Sources of effects: Motion Effect dialog box Title tool

Effect Palette

Apply transition and

segment effects directly
to tracks.

Title and motion effects appear

first as clips in the bin.

Effects editing in default Edit effect clips into the Timeline.

editing mode:

Effect Editor:
Effects adjustment in Effect mode: Allows you to
adjust effect
Effect Preview monitor: parameters.
Allows you to preview an
effect, manipulate
keyframes, and
manipulate wire-frame
representations of the
effect.

30
 Deconstructing Effects

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

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

Layered background
elements

Layered foreground
elements

Imported title elements

set in motion with a 3D
wipe effect

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

31
Chapter 1 Effect Concepts and Settings

Deconstructing an Effects Sequence

Imported graphic used as a wipe. Title graphics imported as Matte Key effects.
See “Working with Imported Graphics and Animation” See “Working with Imported Graphics and Animation”
on page 183. on page 183.

Effect template applied repeatedly to crop and Keyed titles are faded in and out.
position foreground images on V2. See “Using the Fade Effect Button” in
See “Applying an Effect Template” on page 72. the Help.

Nested segments
add more layers to
the foreground track.
See “Nesting Effects”
on page 185.

Submaster segment, created from collapsed Dissolve sequence forms the foreground on V2.
layers, forms the background on V1. See “Applying Effects to Multiple Transitions” on page 39.
See “Submaster Editing” on page 191.

Various effect parameters are adjusted throughout to soften, distort,

or position images.See “Using the Effect Editor” on page 57.

Video Effects for HD Projects

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

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

Note the following:

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

32
 Working with Effects in 24p or 25p Projects

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

Working with Effects in 24p or 25p Projects

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

Effects with and Without Motion

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

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

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

Motion effects created in 24p or 25p projects, such as Variable Speed effects, might also
look different from motion effects created in interlaced projects. For more information on
24p or 25p motion effects, see “Considerations for Motion Effects in 24p or 25p Projects”
on page 174.

33
Chapter 1 Effect Concepts and Settings

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

Smoothing Effects in 24p and 25p Projects

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

Understanding Effect Color Coding

Effect icons in the Effect Palette and in the Timeline display color-coded dots to help you
determine whether an effect is real-time or non-real-time. After opening the Effect Palette,
you will notice that:
• Real-time effects are preceded by a green dot. Real-time effects might not be playable in
real time due to their position in a sequence or the options available with your Avid
editing application.
• Non-real-time effects have no dot in the Effect Palette. In the Timeline, the effect icon
contains a blue dot until you render the effect.

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

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

34
 Effect Aperture

Green dot indicates a real-

time effect that might not be
playable in real time.

No dot indicates a non-real-time

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

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

n This feature only applies to NTSC projects.

What is an Effect Aperture?

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

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

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

35
Chapter 1 Effect Concepts and Settings

ITU 601 aperture

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

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

DV25 aperture used

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

36
 Effect Aperture

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

Changing the Effect Aperture

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

2. Select one of the following Effect Aperture options:

- DV25: Select this setting when you are using DV media exclusively.
- ITU 601 (default): Select this setting when you are using uncompressed media or
mixed resolutions.

37
Chapter 1 Effect Concepts and Settings

38
 Chapter 2
Applying and Customizing Effects

After you have created an effect and have applied it to a transition or segment in your
sequence, you can adjust its appearance and operation in a variety of ways. This chapter
provides advanced information on applying and customizing effects.
• Applying Effects to Multiple Transitions
• Additional Methods for Applying Dissolve Effects
• Additional Information for the Quick Transition Button
• Deleting Effects in a Sequence
• Trimming Transition Effects
• Using the Effect Preview Monitor
• Replacing an Effect in Effect Mode
• Using the Effect Editor
• Manipulating Effects Directly
• Using Effect Templates

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

Applying Effects to Multiple Transitions

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

To apply an effect to multiple transitions in the Timeline:

1. If there is not already an effect on one of the transitions, add a transition effect.
2. Enter Effect mode, for example, by selecting Toolset > Effects Editing.
For more information, see “Entering Effect Mode” in the Help.
3. Click the existing transition effect to select it.
Chapter 2 Applying and Customizing Effects

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

Selection box

5. Release the mouse button when you have lassoed all the transitions you want.
Your Avid editing application highlights the transitions that you selected, and the
position indicator moves to the first transition.

6. If the transitions where you want to apply the effect are not contiguous, Shift+click any
transition to deselect it.
7. In the Effect Palette, double-click the icon for the effect that you want to apply to the
transitions.
The application applies the effect to the highlighted transitions in the Timeline.

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

40
 Additional Methods for Applying Dissolve Effects

Additional Methods for Applying Dissolve Effects

One of the most common transition effects is a dissolve. You can use the following methods
to apply the Dissolve effect:
• Select the Dissolve effect from the Effect Palette. For more information, see “Applying
Effects from the Effect Palette” in the Help.
• Click the Quick Transition button. For more information, see “Using the Quick
Transition Button” in the Help.
• In Trim mode, use the Transition parameters to create a dissolve. For more information,
see “Creating a Dissolve in Trim Mode” on page 41.
• Use the Head Fade button or the Tail Fade button. For more information, see “Adding
Dissolves with the Head Fade Button and the Tail Fade Button” on page 42.

Creating a Dissolve in Trim Mode

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

To create a Dissolve effect using the Transition parameters:

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

Transition Effect Transition Effect Duration box

Alignment button

Transition Effect
Alignment pop-up menu

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

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

3. Click the Transition Effect Alignment button, and select the effect’s position relative to
the cut point.
For an explanation of the Transition Effect Alignment button selections, see “Transition
Parameters” on page 371.

41
Chapter 2 Applying and Customizing Effects

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

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

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

Before After — Two dissolves of different

lengths are created on the two tracks.

3. Select Tools > Command Palette.

4. Click the FX tab, and then click Active Palette.
5. Click the Head Fade button or the Tail Fade button.
The dissolves appear in the Timeline. If a dissolve begins or ends at the edit point
between two clips, the dissolve crosses between the two clips. Otherwise the dissolve is
a fade from or to black.

42
 Additional Information for the Quick Transition Button

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

Do one of the following:

t Click Size to Fit.
The Avid editing application creates the longest dissolve possible. For more
information on sizing effects to fit available media, see “Sizing the Effect to Fit the
Media” in the Help.
t Click Skip Track.
The Avid editing application does not create a dissolve on the track with insufficient
source material but does create dissolves on any other selected tracks with sufficient
source material.
t Click Cancel.
The Avid editing application does not create any dissolves.

Additional Information for the

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

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

43
Chapter 2 Applying and Customizing Effects

Using the Quick Transition Button to Apply Effects to

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

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

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

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 choose one transition as a
model. For example, you might use the transition with the least amount of handle as a model.
If your effect fits that transition, it should fit all the others you have selected.

4. Click the Quick Transition button.

The Quick Transition dialog box opens.

Apply to All Transitions

check box

44
 Additional Information for the Quick Transition Button

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

For an explanation of individual effects shown in the menu, see “Blend Effects” on
page 373.

n When you save a Dissolve effect template into a bin named Quick Transitions, the effect
template appears in the Add pop-up menu. For more information, see “Using Effect
Templates” on page 70.

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 57.

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

t Type the duration in frames in the Duration text box.
t Click either the left or right edge of the Dissolve Effect icon, and drag it to change
the duration. For more information, see “Adjusting a Transition Effect by Dragging
in the Quick Transition Dialog Box” on page 47.
The graphical display changes — the size of the effect icon gets smaller or larger, and
the numbers in the Duration and Start text boxes change — to reflect the new duration.
For more information, see “Understanding the Graphical Display in the
Quick Transition Dialog Box” on page 46.
7. Adjust the effect’s position relative to the cut point in one of the following ways:
t Click the Position menu, and select an option to have the effect end at the cut point,
center on the cut point, or start at the cut point.

45
Chapter 2 Applying and Customizing Effects

t Click the Position menu, select Custom, and then type a number in the Start text box
to specify how many frames before the cut point you want the effect to begin.

n The Avid editing application automatically selects the Custom option in the Position pop-up
menu when you click in the graphical display.

t Click inside the effect in the graphical display, and drag it to position the effect with
respect to the cut point.
t Click one of the alignment buttons below the graphical display.
For more information on the graphical display options, see “Understanding the
Graphical Display in the Quick Transition Dialog Box” on page 46.
The Avid editing application positions the effect, updates the graphical display to show
the new position of the effect, and updates the value in the Start text box.
8. Click the Target Drive menu, and select a drive on which to store the effect if you choose
to render it.
The Effect Source Drive is the drive where the media on the outgoing shot of a transition
resides.
9. Select Apply to All Transitions (IN -> OUT).
10. (Option) To apply the effects only to transitions that do not already have a transition
effecet applied, select Skip Existing Transtion Effects.
11. Do one of the following:
t To add the effect without rendering it, click Add.
t To add the effect and render it, click Add and Render.
The Avid editing application adds the selected effect to all the transitions between the
marked IN and OUT points on the selected tracks in the sequence.

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 the Effect to Fit the
Media” in the Help.

Understanding the Graphical Display in the

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

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

46
 Additional Information for the Quick Transition Button

Outgoing media Transition effect Handle on outgoing media

Frames of Frames of
incoming media outgoing media
available for the available for the
effect effect

Handle on incoming media Alignment buttons Incoming media

The graphical display shows the following:

• The outgoing (A) and incoming (B) media for the transition to which you are applying
the effect. The amount of handle that is available for each piece of media is clearly
indicated both as a darker area on the graphic itself and as a number of frames.
• The transition effect that you are applying. The display shows the effect icon and
indicates the length and position of the effect in relation to the media.
• Three alignment buttons. These buttons appear when you click the Position button and
select Custom or when you click in the graphical display. They allow you to quickly
reposition the effect so that it either ends at the cut point, is centered on the cut point, or
starts at the cut point.

The Avid editing application draws and scales the graphical display so that it represents the
relative size and position of the transition effect in relation to the media. For example, in the
illustration above, the effect is 30 frames long while the incoming handle is 33 frames long.
The effect is therefore shown slightly shorter than the incoming handle.

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.

47
Chapter 2 Applying and Customizing Effects

Resizing arrow

2. Do one of the following:

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

To adjust the position of the effect:

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

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

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

Repositioning a Transition Effect with the Quick Transition

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

48
 Deleting Effects in a Sequence

Ending at Cut Centered on Cut Starting at Cut

To reposition the effect with an alignment button:

t Click one of the following buttons:
- Ending at Cut, to have the effect end at the cut point
- Centered on Cut, to center the effect on the cut point
- Starting at Cut, to have the effect begin at the cut point

Deleting Effects in a Sequence

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

Deleting a Single Effect

To delete a single effect:
1. Move the position indicator to the Timeline segment containing the effect’s icon.
2. If multiple tracks contain effects at the same position in the Timeline, select only the
track where the effect to be deleted resides.
In this example, only track V3 is selected.

The track containing the effect is selected.

49
Chapter 2 Applying and Customizing Effects

c If you delete a segment effect and the segment contains a transition effect, the
transition effect will be deleted as well, because the transition effect resides “on top of”
the segment effect. If necessary, you will have to reapply the transition effect.

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

t If the Effect Editor is not active, click the Remove Effect button in the Tool palette.
For information on opening the Tool palette, see “Using the Tool Palette” in the
Help.
t When the Effect Editor is active, select the effect and press Delete.
To open the Effect Editor, select Tools > Effect Editor.
t In Trim mode (for transition effects only), either press the Delete key or click the
Remove Effect button.
For information on entering Trim mode, see For information on entering Trim
mode, see “Entering Trim Mode” in the Help.

n When you delete an effect from a sequence, the Avid editing application does not delete the
associated media file. To delete the effect’s media file, you must manually remove it from the
drive. The application operates this way so that you will be able to undo the deletion of an
effect or undo the change you made to an effect. To delete an effect’s media file, see
“Managing Effect Media Files” on page 142.

The effect is removed.

Deleting Multiple Transition Effects

To delete multiple transition effects:
1. Shift+click each transition effect you want to delete.
2. Do one of the following:
t In the Tool palette, click the Remove Effect button.
For information on opening the Tool palette, see “Using the Tool Palette” in the
Help.
t Click the Delete button.

50
 Trimming Transition Effects

Deleting Multiple Segment Effects

To delete multiple segment effects:
1. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below
the Timeline.
2. Shift+click each segment that contains a segment effect you want to delete.
3. Do one of the following:
t In the Tool palette, click the Remove Effect button.
For information on opening the Tool palette, see “Using the Tool Palette” in the
Help.
t Click the Delete button.

Trimming Transition Effects

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

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.

51
Chapter 2 Applying and Customizing Effects

Tracking information Length of Current position

effect in effect

Effect Preview
monitor

Effect’s position
indicator
(blue line)

Pop-up slider for

expanding the
position bar

Effect’s
Effect Preview Monitor position bar
toolbar
Keyframe

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.

Understanding the Effect Preview Monitor Toolbar

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

Effect Preview Monitor Toolbar Buttons

Button Description

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

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

52
 Using the Effect Preview Monitor

Effect Preview Monitor Toolbar Buttons (Continued) (Continued)

Button Description

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

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

Step Backward Moves the position indicator one frame backward.

Step Forward Moves the position indicator one frame forward.

Play Plays the effect from the current position in the effect’s position
bar. Click again or press the space bar to stop play.
Rendered effects play at full speed. Most unrendered effects play
at full speed when Real-Time Effects is enabled. Effects play at
single-frame rate in other circumstances. For more information,
see “Playback of Video Effects” in the Help.

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

Play Loop Plays back the current effect repeatedly in a loop. Click again or
press the space bar to stop play.
Rendered effects play at full speed. Most unrendered effects play
at full speed when Real-Time Effects is enabled. Effects play at
single-frame rate in other circumstances. For more information,
see “Playback of Video Effects” in the Help.

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

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

Enlarge Enlarges the size of the image in the Effect Preview monitor.
You can also Ctrl+click in the Effect Preview monitor to enlarge
the image.

53
Chapter 2 Applying and Customizing Effects

Understanding Effect Preview Monitor Tracking Information

The two boxes above the Effect Preview monitor display the length of the effect in seconds
and frames and the current position in the effect’s position bar. If you are working with two-
field media, the current position display indicates the field that appears in the monitor. The
current position display ends with .1 for the first field of a frame and with .2 for the second
field. These boxes replace the name of the sequence that appears in this position in the
Composer monitor.

Displaying Safe Title and Safe Action Guidelines in the

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

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

To display the Safe Title/Action guidelines in the Effect Preview monitor, do one of the
following:
t In the Tool palette, click the Grid button.
For information on opening the Tool palette, see “Using the Tool Palette” in the
Help.
t In the Effect Editor, click the Grid button.
To open the Effect Editor, select Tools > Effect Editor.

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

54
 Using the Effect Preview Monitor

Safe title area

Safe action area

To display the safe title and safe action areas in a Source pop-up monitor:
t In the Tool palette of the Source pop-up monitor, click the Grid button.

To display the safe title and safe action areas in the Source/Record monitor:
t Click in either the Source or Record monitor and choose the Grid button from the Tool
palette.

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

Moving an Enlarged Image in the Effect Preview Monitor

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

This allows you to view parts of an image in detail or to view parts of effects and effect
controls that extend beyond the limits of the standard-size image. For more information, see
“Effect Editor Controls” on page 58 and “Understanding the Effect Preview Monitor
Toolbar” on page 52.

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

55
Chapter 2 Applying and Customizing Effects

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

To move an enlarged image within the Effect Preview monitor:

1. Click within the boundaries of the Effect Preview monitor.
2. Press and hold Ctrl+Alt.
The pointer changes to a hand.

Zoom ratio

Pointer

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

Changing Position in an Effect

To change your position in an effect, do one of the following:
t Drag the position indicator in the effect’s position bar.
t Type the timecode in the same way you do when you are editing a sequence. For more
information, see “Finding Frames and Clips” in the Help.

The type of timecode you enter (master timecode or absolute timecode) depends on the
tracking information you are displaying. The position information boxes above the Effect
Preview monitor update as you change position.

56
 Replacing an Effect in Effect Mode

Replacing an Effect in Effect Mode

While in Effect mode, you can replace an existing effect.

To replace an effect:
1. Open the Effect Palette by doing one of the following:
t In the Project window, click the Effects tab.
t Select Tools > Effect Palette.
The Effect Palette opens.
2. Click an effect category in the left side of the Effect Palette.
3. Do one of the following:
t Click the icon for the new effect in the right side of the Effect Palette, and drag the
icon to the Timeline. To replace an existing effect, move the new effect’s icon on top
of the existing effect’s icon.
t Click the icon for the new effect in the right side of the Effect Palette, and drag the
icon to the Effect Preview monitor.
t Select the effect in the Timeline, and double-click the new effect’s icon in the Effect
Palette.
4. Set the applicable effect parameters in the Effect Editor.

n Some effects cannot replace other effects. For example, some segment effects, such as the
Mask effect, cannot replace transition effects. In addition, two-layer effects, such as wipes,
cannot replace three-layer effects, such as matte keys.

Using the Effect Editor

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

The Effect Preview Monitor toolbar also contains buttons that you use to adjust and preview
effects. For more information, see “Understanding the Effect Preview Monitor Toolbar” on
page 52.

When you are working with the Picture-in-Picture, 3D PIP, or Resize effect, you can expand
the Effect Editor to display keyframe graphs. You can then create and adjust independent
keyframes for each keyframeable effect parameter. For more information, see “Using
Advanced Keyframes” on page 78.

57
Chapter 2 Applying and Customizing Effects

Effect Editor Controls

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

The following illustration shows the location of controls within the Effect Editor.

Other Options button

Effect name Effect icon

Triangular opener

Parameter
Reduce button
category
Enlarge button
Slider used to Dual Split button
adjust parameters Play Loop button
Play button
Parameter name
Highest Quality Render button

Outline/Path button Grid button

Render Effect button 3D Promote button

Transition Effect Transition Effect Promote to Advanced

Alignment button Duration box Keyframes button

Additional buttons appear in the Effect Editor, depending on which effect you are using. For
example, if you are working with a 3D effect, a set of 3D-specific buttons appears along the
right side of the Effect Editor. For more information on 3D-specific Effect Editor buttons,
see “Understanding the 3D Effects Interface” on page 217.

Additional buttons appear in the bottom toolbar of the Effect Editor when you are working
with advanced keyframes. For more information, see “Effect Editor Controls for Advanced
Keyframes” on page 84. The following table describes each button in detail.

58
 Using the Effect Editor

Effect Editor Controls

Button Location Description

Triangular opener Left side of Click to display or hide the parameter category. A
Effect Editor downward-pointing triangle displays the parameter
category; a right-pointing triangle displays only the
parameter name.

Other Options Inside some Click to access additional parameters for some effects,
parameter including access to the Windows Color dialog box for
categories color selection. For more information, see “Using the
Other Options Button to Access Parameters” on
page 64.

Render Effect Bottom of Click to render the current effect.

Effect Editor

Outline/Path Bottom of Click to display a wire-frame path to illustrate the

Effect Editor movement of an effect from the first keyframe through
the last keyframe.

Transition Effect Bottom of Click to open a pop-up menu with options for selecting
Alignment Effect Editor the alignment of a transition effect relative to the cut
point.

Transition Effect Bottom of Click in this box to type a duration for the transition
Duration box Effect Editor effect other than the duration displayed.

Promote to Bottom of Promotes a Picture-in-Picture, 3D PIP, or Resize effect

Advanced Effect Editor to advanced keyframes. Not available for other effects.
Keyframes button For more information, see “Promoting Effects to
Advanced Keyframes” on page 80.

Reduce Right side of Reduces the size of the image in the Effect Preview
Effect Editor monitor.

Enlarge Right side of Enlarges the size of the image in the Effect Preview
Effect Editor monitor.

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

59
Chapter 2 Applying and Customizing Effects

Effect Editor Controls (Continued)

Button Location Description

Play Loop Right side of Plays back the current effect repeatedly in a loop. Click
Effect Editor again or press the space bar to stop play.
Rendered effects play at full speed. Most unrendered
effects play at full speed when Real-Time Effects is
enabled. Effects play at single-frame rate in other
circumstances. For more information, see “Playback of
Video Effects” in the Help.

Play Right side of Plays the effect from the current position in the effect’s
Effect Editor position bar. Click again or press the space bar to stop
play.
Rendered effects play at full speed. Most unrendered
effects play at full speed when Real-Time Effects is
enabled. Effects play at single-frame rate in other
circumstances. For more information, see “Playback of
Video Effects” in the Help.

HQ Right side of Appears when the effect has an HQ (Highest Quality)

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

Grid Right side of Click to display the Safe Title and Safe Action
Effect Editor guidelines.

3D Promote Bottom right Available for certain effects on systems with 3D effects
corner of Effect capabilities. Click to promote the effect to a 3D effect.
Editor See “Promoting 2D Effects to 3D Effects” on page 215.

The Effect Preview Monitor toolbar also contains buttons that you use to adjust and preview
effects. For more information, see “Understanding the Effect Preview Monitor Toolbar” on
page 52.

60
 Using the Effect Editor

Displaying an Effect’s Parameters in the Effect Editor

To display an effect’s parameters in the Effect Editor:
1. Move the position indicator to the effect’s icon in the Timeline.
2. Make sure that the Record Track button for the track that contains the effect is selected
in the Track Selector panel.
3. (Option) If you are not already in Effect mode, select Tools > Effect Editor.
The Effect Editor opens.
The name of the effect and its icon appear at the top of the Effect Editor and the
parameters that pertain to the effect appear in the Effect Editor.

Other Options button Effect icon

Effect name

Slider used to adjust

parameter

Parameter
category

Triangular opener

Transition parameters

This example shows the Grid effect parameters.

61
Chapter 2 Applying and Customizing Effects

Understanding Effect Parameters

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

Not all effect parameters apply to all effects. Parameters that do not apply to an effect do not
appear in the Effect Editor for that effect. For reference information on the parameters
available in each effect, see “2D Effects Reference” on page 299 and “3D Effects
Reference” on page 511.

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, then the Effect Editor is blank.

Effect parameters are either global or keyframeable. You adjust a global parameter once for
the entire effect; its values cannot change over time. You can adjust keyframeable
parameters once for the entire effect, or you can use the Effect Editor along with keyframes
to adjust the parameter multiple times and change its value over time. For more information,
see “Global and Keyframeable Parameters” on page 300.

For most effects, a keyframe applies to every keyframeable effect parameter in the effect. If
you are working with the Picture-in-Picture effect or 3D PIP effect, however, you can use
keyframe graphs to create independent keyframes for each keyframeable effect parameter.
This greatly increases your control of how the effect changes over time. For more
information, see “Using Advanced Keyframes” on page 78.

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

Several types of parameter controls might appear for a particular effect. For more
information, see the following sections:
• “Using Parameter Sliders” on page 63
• “Using Parameter Enable Buttons” on page 64
• “Using Fast Menu Parameters” on page 64
• “Using the Other Options Button to Access Parameters” on page 64
• “Adjusting a Color Parameter” on page 65

62
 Using the Effect Editor

Using Parameter Sliders

Parameter sliders allow you to adjust effect parameters that have a range of possible values.
For example, use the Level slider in the Foreground parameter category to adjust the degree
of opacity of the foreground material on a scale from 0 to 100.

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

The parameter’s numeric value changes as you move the slider.

Slider Thumbwheel

Parameter’s slider Parameter’s numeric value

Activated thumbwheel Parameter’s numeric value

To activate a parameter that has a slider:

t Click the slider.
When you activate a slider, it changes to pink.

To move from one slider to the next slider:

t Press the Tab key.

To change the value of a parameter that has a slider, click the slider and do one or
more of the following:
t Move the slider with the mouse.
t Type a new value using the numeric keypad.
t Use the Left Arrow or Right Arrow key to change the value by –1 or +1.
t Press the Ctrl key and use the mouse scroll wheel to change the value by increments of
–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.

63
Chapter 2 Applying and Customizing Effects

Using Parameter Enable Buttons

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

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

t Click the Enable button.

Parameter
Enable
button Off On

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

Using Fast Menu Parameters

Some effects have additional parameters that you select from the current parameter’s Fast
menu. For example, border types for 3D effects are on the same Fast menu.

To select an additional parameter:

t In the parameter, click the Fast Menu button, and then select an option.

Fast Menu button

Menu showing other parameters

Using the Other Options Button to Access Parameters

Some effects have additional parameters that control their operation. For example, the Grid
effect has additional parameters in which you set the number of columns and rows in the
wipe. When an effect has additional parameters, the Other Options button appears next to the
effect name or in a parameter category.

64
 Using the Effect Editor

To use an effect’s additional parameters:

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

n You also use the Other Options button to use the parameters for third-party plug-in effects,
for the Windows Color dialog box, to open a title edited into a sequence in the Title tool
(when you want to revise that title), and for other effects that allow you to change color
parameters.

Adjusting a Color Parameter

You can change a color parameter or select a key color using the eyedropper or the Windows
Color dialog box instead of the Hue, Sat (saturation), and Lum (luminance) sliders.

Other Options button

Eyedropper

Color Preview window

Using the Eyedropper

To select a color using the eyedropper:

1. Position the pointer over the Color Preview window to activate the eyedropper.
2. Click the eyedropper, drag it into the Effect Preview monitor, and release the mouse
button on the color you want to select from the video image.
The Avid editing application updates the parameter’s numeric values, and the selected
color appears in the Color Preview window.

Using the Windows Color Dialog Box

The Windows Color dialog box is a standard application that ships with the Windows
operating system.

To open the Windows Color dialog box:

t In a color parameter pane, click the Other Options button.
The Windows Color dialog box opens.

65
Chapter 2 Applying and Customizing Effects

Color|Solid box Color matrix

Color slider

Default
choices

Currently
selected
color
Custom
colors Color
palette selection
text
boxes

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 numerical values for each color component in the color selection text boxes.
The new color is displayed on the left side of the Color|Solid box. The right side of this
box displays the solid color closest to the color you have specified. You can select the
displayed solid color by double-clicking the right side of the box.
3. When you are satisfied with the color, click Add to Custom Colors to add it to the
Custom colors palette.
4. To select a custom color from the Windows Color dialog box, click the color you want.
5. Click OK.
The Windows Color dialog box closes, and the color is applied to the parameter in the
Effect Editor.

66
 Manipulating Effects Directly

Manipulating Effects Directly

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

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

Defining Motion Paths

You can define how the foreground image of a multilayer effect moves across the
background video by building a motion path, or string of keyframes.

You can define a motion path on multilayer video effects, such as Picture-in-Picture effects.
Use the wire-frame preview feature when you want to see the path an image takes on the
screen.

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

To define a motion path for the foreground image, do one of the following:
t Move the image directly and automatically add keyframes.
For more information, see “Moving the Image Directly” on page 67.
t Add keyframes and adjust the parameter sliders.
For more information, see “Working with Keyframes” on page 75.

Moving the Image Directly

To add a motion path to the foreground image by moving the image directly:
1. Create a sequence with two video layers (foreground video on track V2, background
video on track V1).
For information about creating a sequence, see “Setting Up a New Sequence” in the
Help.
2. Apply a multilayer effect (for example, a PIP effect) to the foreground segment on track
V2.
3. Select the foreground effect segment on track V2.

67
Chapter 2 Applying and Customizing Effects

4. Select Tools > Effect Editor.

The Effect Editor opens, and the Composer monitor becomes the Effect Preview
monitor. The foreground image is outlined, and both the starting and ending keyframe
indicators are highlighted (pink) in the effect’s position bar.

Wire frame outlining

foreground image
on track V2

Background image
on track V1

Starting keyframe indicator Effect’s position bar Ending keyframe indicator

By default, the wire frame is active in the Effect Preview monitor. If the wire frame is
not displayed, click the Outline/Path button in the Effect Editor to activate the wire
frame.
5. Drag the wire frame to the start point of the motion path you are creating. The starting
keyframe indicator represents the start point.
6. Click the ending keyframe indicator to select it. Make sure the ending keyframe
indicator is the only indicator selected (pink).
7. Drag the wire frame to the end point of the motion path.
A path line from the center of the starting position to the center of the ending position
appears.

68
 Manipulating Effects Directly

8. Drag the position indicator in the position bar below the Effect Preview monitor to a
new location.
The wire frame moves with the position indicator; notice the path line does not change.
9. Click inside the wire frame, and drag or stretch the wire frame to add a keyframe at the
new location.
A handle appears in the center of the wire frame, indicating the path position of the new
keyframe.
10. Drag the wire frame to change the effect’s path.

Path line

Center
handle
Wire frame

Effect’s position
bar Selected
keyframe
(pink)

11. Repeat steps 8, 9, and 10 to add more variation to the path.

Resizing a Foreground Image by Dragging Handles

To resize the foreground image by dragging wire-frame handles:
1. Create a sequence with two video layers (foreground video on track V2, background
video on track V1).
For information about creating a sequence, see “Setting Up a New Sequence” in the
Help.
2. Apply a multilayer effect to the foreground segment on track V2.

69
Chapter 2 Applying and Customizing Effects

3. Select the foreground effect segment on track V2.

4. Select Tools > Effect Editor.
The Effect Editor opens, and the Composer monitor becomes the Effect Preview
monitor. By default, the wire frame is active in the Effect Preview monitor.

Wire-frame resize
handles

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

Using Effect Templates

The complete set of parameter values for an effect is called the effect template. You can
reuse an effect template in multiple places in a sequence by saving the template in a bin and
later applying the template to other effects or video clips in the sequence.

70
 Using Effect Templates

Saving an Effect Template

You can save the parameters from an effect in the Effect Editor and reuse them for another
effect. You can also save a segment effect with its source media, which is useful when you
want to save an imported PICT file or Matte Key clip for future editing into a sequence.

To save the parameters from an effect as an effect template:

1. Drag the effect icon from the Effect Editor to a bin.

Effect icon

This creates a new effect template in the bin, containing the parameter setting
information for the effect. The new effect template is identified in the bin by its effect
icon.

2. To rename the template, click the template name and type a new name.

To save a segment effect with its source media:

1. Press and hold the Alt key, and then drag the effect icon from the Effect Editor to a bin.
2. To rename the template, click the template name and type a new name.

n The Avid editing application saves title effects with source by default. If you press and hold
the Alt key while dragging the icon, you will get a keyframe-only template. This template
retains the movement of the title without the source.

71
Chapter 2 Applying and Customizing Effects

Displaying Effect Templates in the Effect Palette

Effect templates in open bins display in the Effect Palette. Each open bin that contains effect
templates appears by name at the bottom of the effect category list.

To display effect templates saved to a bin in the Effect Palette:

1. Open the bin containing the effect templates.

2. If the Effect Palette is not already open, in the Project window, click the Effects tab.

Effect templates

Effect
category list

Bin name
containing effect
templates

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

Applying an Effect Template

You can take an effect template that has been saved in a bin and apply the template and its
parameters to other transitions or segments in your sequence. Effect templates saved in open
bins appear in the Effect Palette as well as in the bin itself.

You can also apply specific parameters from the template.

c Do not drag an effect template through the Timeline because this deselects the effect.

72
 Using Effect Templates

To apply an effect template with all its parameters directly to a segment or transition:
t Drag the effect template icon from the bin or from the Effect Palette, and drop it on the
segment or transition in the Timeline.

Effect template example: In this example, a 3D PIP Effect

template was saved and then applied repeatedly to a
series of segments to achieve the same cropping and
positioning of foreground footage.

To apply a specific parameter from an effect template:

1. Select an effect transition or segment in the Timeline.
2. Select Tools > Effect Editor.
3. Open the parameter category you want to change. For example, the following
illustration shows the Position parameter category.

4. Click the effect template icon in the bin or in the Effect Palette, and drag it to the
specific parameter category in the Effect Editor.
The effect template is applied only to the effect parameter category you selected.

New position parameters

73
Chapter 2 Applying and Customizing Effects

74
 Chapter 3
Working with Keyframes

You use keyframes to change the appearance and behavior of an effect over time. A keyframe
is a point in the effect at which you can set parameters. Modifying an effect’s parameters at
various points causes the effect’s appearance to vary as it plays. For example, you can add
keyframes to a Picture-in-Picture effect and change the position parameters for each
keyframe to add movement to the effect.

Standard keyframe indicators appear as triangles in the position bar of the Effect Preview
monitor when you select an effect and the Effect Editor is active. You adjust keyframe
parameters using the Effect Editor. For more information, see “Using Standard Keyframes”
on page 75.

Starting keyframe Add Keyframe button Selected keyframe (pink) Ending keyframe

For many effects, you can increase your control of the way effect parameters change over
time using advanced keyframes. With this capability, each keyframeable effect parameter
has a separate Timeline track — a keyframe track that opens to display a keyframe graph —
where you set and customize keyframes that are independent of other parameters’
keyframes. For more information, see “Using Advanced Keyframes” on page 78.

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.

Using Standard Keyframes

With standard keyframes, the Avid editing application always provides the starting and
ending keyframes of an effect. These keyframes are selected by default, and thus any
parameter changes are constant throughout the effect. Using techniques for adding, deleting,
moving, selecting, and deselecting keyframes, you can begin to change the appearance and
operation of the effect over time by applying parameter changes to specific keyframes.
Chapter 3 Working with Keyframes

Adding a Standard Keyframe

You can create a standard keyframe at any point in the effect’s position bar.

To create a standard keyframe:

1. Click in the position bar below the Effect Preview monitor at the point in the effect
where you want to add the keyframe.
The position indicator moves to that frame.
2. Do one of the following to add a keyframe:
t Either in the Effect Preview Monitor toolbar or in the Tool palette, click the Add
Keyframe button.
For information on opening the Tool palette, see “Using the Tool Palette” in the
Help.
t Manually adjust a parameter in the Effect Preview monitor (segment effects only).
For example, when you click a handle on an effect outline and drag to resize or
reposition it, the Avid editing application automatically creates a new keyframe.

Selecting a Standard Keyframe

You can select a single standard keyframe or multiple standard keyframes at the same time.
A keyframe indicator changes to pink when selected.

To select one keyframe:

t In the position bar below the Effect Preview monitor, click the keyframe indicator.

To select multiple keyframes:

t Shift+click the keyframe indicators that you want in the effect’s position bar.

To select all keyframes in the effect’s position bar, do one of the following:
t Press Ctrl+A.
t Press and hold Ctrl+Alt, and click one keyframe indicator.

n For a quick way to jump to the next or previous keyframe indicator, use the Fast Forward and
Rewind buttons on the Effect Preview Monitor toolbar.

76
 Using Standard Keyframes

Moving a Standard Keyframe

After you have created a standard keyframe, you can move it to another position in the
position bar below the Effect Preview monitor.

n With standard keyframes, you cannot move the starting and ending keyframes.

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

t Alt+click the keyframe indicator, and drag it to its new position.
t Select a keyframe indicator, and click the Trim Left 1 Frame or Trim Right 1 Frame
button or the Trim Left 10 Frames or Trim Right 10 Frames button.

n These buttons are located in the Trim tab of the Command palette. You can map them to
buttons on the tool palette. For more information, see “Mapping User-Selectable Buttons”
in the Help.

Changing a Standard Keyframe’s Parameters

When you work with standard keyframes, with certain parameter categories, such as
Acceleration, you adjust parameters globally (over all keyframes in the effect). You can also
change many parameters for individual standard keyframes. For information on the scope of
adjustments (global or keyframeable) for each parameter category, see “2D Effects
Reference” on page 299 or “3D Effects Reference” on page 511.

To change a standard keyframe’s parameters:

1. In the position bar below the Effect Preview monitor, click the keyframe indicator.
The keyframe indicator changes to pink when selected.
2. Adjust any of the applicable parameters in the Effect Editor.

Copying and Pasting Standard Keyframe Parameters

You can copy and paste parameters from one standard keyframe and apply them to another
standard keyframe. You can also copy keyframe parameters from one effect to another
effect.

To copy and paste standard keyframe parameters:

1. Click one keyframe indicator in the position bar below the Effect Preview monitor
whose parameters you want to copy.
2. Select Edit > Copy.

77
Chapter 3 Working with Keyframes

3. Select one or more standard keyframes:

t To copy the parameters to one keyframe, click the keyframe indicator.
t To copy the parameters to multiple keyframes, Ctrl+click multiple keyframe
indicators.
t To copy the parameters to all keyframes, select Edit > Select All.
4. Select Edit > Paste.
The parameters that you copied from one standard keyframe are pasted to the keyframe,
or frames, you selected.

Deleting a Standard Keyframe

You can delete any standard keyframe you create. You cannot delete the starting and ending
keyframes the Avid editing application creates.

To delete a standard keyframe:

1. In the position bar below the Effect Preview monitor, click the keyframe indicator.
The keyframe indicator changes to pink when selected.
2. Do one of the following:
t Press the Delete key.
t Alt+click the Add Keyframe button.

Using Advanced Keyframes

This section describes how to use advanced keyframes. When you use advanced keyframes,
separate timeline tracks — keyframe tracks — appear in the Effect Editor. These keyframe
tracks allow you to manipulate keyframes in groups or to open a separate keyframe graph for
each individual parameter.

One of the main benefits of using the advanced keyframe model is that it allows you to
modify a parameter’s keyframes independently from other parameters’ keyframes. With
standard keyframes, every keyframe affects every parameter.

The following illustration shows a Center Box effect promoted to advanced keyframes. The
illustration shows the three types of keyframe tracks and an open keyframe graph.

78
 Using Advanced Keyframes

Effect track

Parameter group
tracks

Parameter tracks

Keyframe graph

The following list describes the tracks in the Effect Editor window:
• Effect track — The keyframes in this track correspond to the keyframes in the Effect
Preview monitor. If you select a keyframe in the effect track, the system automatically
selects all of the keyframes at that point in time in the effect (all the keyframes directly
under that keyframe in the Effect Editor window). This makes it easy to move, delete, or
perform other operations on many keyframes at the same time.
• Parameter group track — This track shows all the keyframes in the specific parameter
group. If you select a keyframe in the parameter group track, the system automatically
selects all the corresponding parameter keyframes in the group. Parameter groups can
have subgroups. For example, in the previous illustration, Color and Blend Color are
subgroups of Border.
• Parameter track — This track shows the keyframes for the individual parameter.
Parameter tracks are lighter in color than the parameter group tracks. You can open
individual parameter tracks to fine-tune the parameter values in a keyframe graph.

If you can perform an operation on all three types of tracks, this guide refers to the track as a
keyframe track.

You do not have to use advanced keyframes in the Effect Editor. You can work using
standard keyframes, in which each keyframe affects all parameters. In addition, advanced
keyframe functions are available even when a keyframe graph is closed to show only the
keyframe parameter track.

79
Chapter 3 Working with Keyframes

Promoting Effects to Advanced Keyframes

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

To promote an effect to advanced keyframes:

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

The following are some things to consider when you promote an effect to advanced
keyframes:
• You can choose whether or not a newly promoted effect first appears with no keyframes
or with two keyframes, one at the start and one at the end of each parameter. You set this
option in the Effect Editor entry of the Settings list. For more information, see “Options
for Using Advanced Keyframes” on page 124.
• Once you promote an effect to advanced keyframes, the Acceleration parameter
category no longer appears. You manipulate acceleration (ease-in and ease-out) of the
effect using the spline or Bézier interpolation options, which give you more control than
the standard Acceleration parameter category. See “Parameter Changes at Keyframes”
on page 108.
• Using advanced keyframes, you can change the order of nested effects by manipulating
the Nesting Priority icons that appear in the Effect Editor. See “Changing the Order of
Nested Effects” on page 188.

Opening Keyframe Parameter Tracks

Effects using advanced keyframes appear with keyframe parameter tracks at the right side of
the Effect Editor. Next to each keyframe parameter track is a triangular opener.

Triangular openers for

keyframe graphs

Keyframe graph (open)

Keyframe parameter
track (closed)

80
 Using Advanced Keyframes

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 opener

Start of effect End of effect

Depending on how you have the keyframe graph zoomed and scaled, the lines representing
the keyframe graph boundaries — start and end of effect, maximum and minimum
parameter values — might not be visible. For more information, see “Adjusting the View in
a Keyframe Graph” on page 121.

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

81
Chapter 3 Working with Keyframes

Keyframe in the parameter group track Keyframe in the effect track

New keyframe in the Effect Preview monitor

The keyframe in the effect track corresponds to the keyframe in the Effect Preview monitor.
When you select the keyframe in the effect track or in the Effect Preview monitor, the system
automatically selects all of the keyframes in the column. This allows you to perform actions
on all of the keyframes at that position at the same time.

When you select the keyframe in the parameter group track, all the keyframes in the
associated parameters (and subgroups) are also selected. This allows you to perform actions
on all of the parameters in the group (and any subgroups).

n 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.

82
 Using Advanced Keyframes

If you drag a keyframe for a parameter out of a column containing many keyframes, the
system creates new keyframes on the effect track, on the corresponding parameter group
track, and in the Effect Preview monitor.

For example, the following illustration shows a column of keyframes. Only one of the
Position parameters (H Pos) is selected.

The column of keyframes used in this example

Keyframes in the Effect

Preview monitor before
the drag operation

The following illustration shows what happens when one of the keyframes is dragged out of
the column. New keyframes appear in the effect track, in the corresponding Position
parameter group track, and in the Effect Preview monitor.

83
Chapter 3 Working with Keyframes

New keyframes

Effect Editor Controls for Advanced Keyframes

You use the Effect Editor toolbar and the shortcut menus to create, delete, and customize
advanced keyframes.

Zoom slider Scroll thumbwheel

Effect Editor buttons — see “Effect Scale bar

Editor Controls” on page 58.

The following table describes the components of the Effect Editor toolbar for advanced
keyframes.

84
 Using Advanced Keyframes

Effect Editor Toolbar for Advanced Keyframes

Control Description

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

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

Add Keyframe Creates a keyframe at the current position. Alt+click this button to delete a
keyframe. When you add or delete a keyframe, a pop-up menu gives you
additional selections. See “Adding and Deleting Keyframes in Keyframe
Graphs” on page 87.

Controls how the keyframe graph displays. Use the zoom slider in the scale
bar, and the adjacent scroll thumbwheel, to zoom and scroll the view in the
Zoom slider
Scroll thumbwheel
keyframe graph. See “Adjusting the View in a Keyframe Graph” on
page 121.

3D Promote button Promotes some effects to 3D effects. This option is available for some
effects on Avid editing applications with 3D effects capabilities. Click to
promote the effect to a 3D effect.

In addition to the controls in the preceding table, a Nesting Priority icon appears in line with
the effect name at the top of the Effect Editor. For more information, see “Changing the
Order of Nested Effects” on page 188.

Other controls appear in a pop-up menu when you click the Add Keyframe button, and in the
keyframe track shortcut menu that appears when you right-click in the keyframe track area.

Shortcut Menus for Advanced Keyframes

Advanced keyframes use two shortcut menus. You invoke the keyframe track shortcut menu
from the area of the Effect Editor that displays keyframe graphs. You invoke the Effect
Editor shortcut menu from the part of the Effect Editor that does not display the keyframe
graphs. For more information about the Effect Editor shortcut menu, see “Options for Using
Advanced Keyframes” on page 124.

85
Chapter 3 Working with Keyframes

To display the keyframe track shortcut menu:

t Right-click a keyframe track, a keyframe graph, a parameter group track, or the effect
track.

The following table describes the options available with the keyframe track shortcut menu.

Keyframe Track Shortcut Menu Options

Option Description

Add Keyframe Adds a keyframe at the position indicator. See “Adding and Deleting Keyframes in
Keyframe Graphs” on page 87.

Delete Keyframe Deletes the selected keyframe. See “Adding and Deleting Keyframes in Keyframe
Graphs” on page 87.

Select All Selects all keyframes in the section of the editor where you click to bring up the shortcut
Keyframes menu. See “Selecting and Deselecting Advanced Keyframes” on page 96.

Deselect All Deselects all the keyframes in the currently active track, parameter group, or effect. See
Keyframes “Deselecting All Keyframes” on page 98.

Align Keyframes 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 bring up the shortcut
menu. See “Align Keyframes and Slip Keyframes” on page 114.

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 “Align
Keyframes and Slip Keyframes” on page 114.

Reverse Keyframes Allows you to reverse the keyframes in time for a parameter, a parameter group, or an
entire effect. See “Reverse Keyframes Command” on page 104.

Shelf Set the way parameter changes occur at keyframes. See “Parameter Changes at
Linear Keyframes” on page 108.
Spline
Bézier

Fixed Keyframes Sets how the Avid editing application moves keyframes when an effect is trimmed in or
Elastic Keyframes trimmed out. Elastic keyframes change the time at which they occur when you trim an
effect, in proportion to the new effect length. Fixed keyframes do not change. See “Elastic
Keyframes and Fixed Keyframes” on page 106.

Extrapolate Determines how the Avid editing application sets parameter values before the first
Hold keyframe and after the last keyframe. See “Extrapolate and Hold” on page 118.

Reset Graph View Recenters the graph view. See “Resetting Keyframe Graph Views” on page 124.

86
 Using Advanced Keyframes

Adding and Deleting Keyframes in Keyframe Graphs

You can use the following buttons and commands to add a keyframe:
• The Add Keyframe button on the Effect Editor toolbar
• The Add Keyframe button on the Effect Preview monitor
• The commands in the first panel of the keyframe track shortcut menu

To add a keyframe to the active parameter:

1. Move the position indicator to the point where you want to add a keyframe.
2. Right-click the keyframe graph, keyframe track, parameter group track, or effect track,
and select Add Keyframe.
An active keyframe indicator appears at the position indicator.

n Adding a keyframe to a parameter group track adds the keyframe to all of its parameters.
Adding a keyframe to the effect track adds it to all parameters in the effect. The same applies
to deleting keyframes from the group parameter track or effect track.

To add a keyframe to a keyframe graph using the Add Keyframe button:

1. Move the position indicator to the point where you want to add a keyframe.
2. On the Effect Editor toolbar, click the Add Keyframe button.
The Add Keyframe Mode menu opens.

n If the Add Keyframe Mode menu does not appear, it is deselected on the Effect Editor
shortcut menu. For more information, see “Options for Using Advanced Keyframes” on
page 124.

For more information on the command selections, see “Using the Add Keyframe Mode
Menu and the Delete Keyframe Mode Menu” on page 88.

87
Chapter 3 Working with Keyframes

3. Click the Add Keyframe button a second time to select the command that has a check
mark next to it, or select another command from the Add Keyframe Mode menu.
An active keyframe indicator appears at the position indicator. If you selected a
command that results in multiple keyframes, other keyframe indicators appear at the
proper locations.
If you select a new command from the Add Keyframe Mode menu, the Delete Keyframe
mode also changes.

n You can set a default command using the Effect Editor shortcut menu. For more information,
see “Options for Using Advanced Keyframes” on page 124.

To delete a keyframe from a keyframe graph:

1. Click a keyframe indicator to activate it.
2. (Option) Ctrl+click additional keyframes in the same graph or in other graphs.
3. Do one of the following:
t Press the Delete key.
t Right-click the keyframe graph or keyframe track, and select Delete Keyframe.
t On the Effect Editor toolbar, Alt+click the Add Keyframe button.
The Delete Keyframe Mode menu opens. For more information on the commands,
see “Using the Add Keyframe Mode Menu and the Delete Keyframe Mode Menu”
on page 88.
If you select a new command from the Delete Keyframe Mode menu, the Add
Keyframe mode also changes.

n If the Delete Keyframe Mode menu does not appear, Show Add Keyframe Mode Menu is
deselected on the Effect Editor shortcut menu. For more information, see “Options for Using
Advanced Keyframes” on page 124.

Using the Add Keyframe Mode Menu and the Delete Keyframe Mode
Menu
Before you begin adding keyframes, it is important to understand the terms your Avid
editing application uses to refer to parameters and parameter groups. These terms are on the
menu that appears when you add or delete a keyframe using the Add Keyframe button on the
Effect Editor toolbar.

n If the Add Keyframe Mode menu or the Delete Keyframe Mode menu does not appear, it is
deselected on the Effect Editor shortcut menu. For more information, see “Options for Using
Advanced Keyframes” on page 124.

88
 Using Advanced Keyframes

n You can set a default command using the Effect Editor shortcut menu. For more information,
see “Options for Using Advanced Keyframes” on page 124.

n The selection you make for the Add Keyframe mode is mirrored in the Delete Keyframe Mode
menu, and vice versa. That is, when you change one, you change both.

In the following descriptions, group refers to the parameter category. Each description first
defines the term that appears in the Add Keyframe Mode menu and the Delete Keyframe
Mode menu and then illustrates the result of using that command when adding or deleting a
keyframe.

Parameter
group
(parameter
category)

89
Chapter 3 Working with Keyframes

Active Parameter

The active parameter is the parameter that is currently selected. For example, a slider that
you clicked is pink.
• Add To Active Parameter — The keyframe appears in the keyframe parameter track or
keyframe graph for the active parameter only. Corresponding keyframes appear in the
parameter group track and effect track.
• Delete From Active Parameter — The Avid editing application removes selected
keyframes in the keyframe parameter track or keyframe graph for the active parameter
only.

Active
parameter
(pink)

90
 Using Advanced Keyframes

Active Group

The active group is the group to which the active parameter belongs.
• Add To Active Group — Keyframes appear in the keyframe tracks or keyframe graphs
of all parameters that are in the same group as the active parameter. If the active group is
part of a larger group (for example, Color is a subgroup or subcategory of Border),
keyframes appear only in the active group and not in the larger group. The parameter
group does not have to be enabled.
• Delete From Active Group — The Avid editing application deletes selected keyframes
from the keyframe tracks or keyframe graphs of all parameters that are in the same
group as the active parameter. The parameter group does not have to be enabled.

Active parameter
(pink)

Active group
(contains
active
parameter)

The following illustration is an example of selecting Add To Active Group.

91
Chapter 3 Working with Keyframes

New keyframes

Active
parameter
(pink)

New
keyframes
added to
active group
only

Open Groups

Open groups are those groups that you opened by clicking the triangular opener next to the
group name.
• Add To Open Groups — Keyframes appear in the keyframe tracks or keyframe graphs
of all parameters in groups that are currently open, whether the group is enabled or
disabled.
• Delete From Open Groups — The Avid editing application deletes selected keyframes
from keyframe tracks or keyframe graphs of all parameters in groups that are currently
open, whether the group is enabled or disabled.

92
 Using Advanced Keyframes

Open group

Open group

The following illustration is an example of selecting Add To Open Groups.

93
Chapter 3 Working with Keyframes

Add To Open Groups: New keyframes

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

Open group
and subgroups

Closed group

Open group

Closed groups

Enabled Groups

The Avid editing application does not use enabled groups. It treats all groups as enabled at
all times.
• Add To Enabled Groups — Keyframes appear in all keyframe tracks. This is the same as
Add To All Parameters.
• Delete From Enabled Groups — The Avid editing application deletes selected
keyframes from all keyframe tracks. This is the same as Delete From All Parameters.

Open Graphs

Open graphs are the keyframe tracks that you opened by clicking the triangular opener next
to the keyframe parameter track.
• Add To Open Graphs — Keyframes appear in the keyframe graphs of all parameters
with open graphs.
• Delete From Open Graphs — The Avid editing application deletes selected keyframes
from the keyframe graphs of all parameters with open graphs.

94
 Using Advanced Keyframes

Open graph

Open graph

Open graph

All Parameters

The term “All parameters” includes every parameter represented in the Effect Editor that has
a keyframe track and is, therefore, keyframeable.
• Add To All Parameters — Keyframes appear in all keyframe tracks.
• Delete From All Parameters — The Avid editing application deletes selected keyframes
from all keyframe tracks.

Working with Keyframes in the Effect Preview Monitor

Commands you select in the Effect Editor window apply to the keyframes in the Effect
Preview monitor. For example, if you select “Add Keyframes to Enabled Groups” from the
Effect Editor shortcut menu and then deselect all groups, you cannot add any keyframes to
the Effect Preview monitor. In this case, enable a group in the Effect Editor shortcut menu
before you add keyframes or select another command from the shortcut menu.

When you select a keyframe in the Effect Preview monitor, the system automatically selects
the corresponding keyframe in the effect track and all keyframes directly under that
keyframe. The following illustration shows the result of selecting a keyframe in the Effect
Preview monitor.

95
Chapter 3 Working with Keyframes

Selected keyframe

The system selects the corresponding

keyframes in the Effect Editor

Selecting and Deselecting Advanced Keyframes

A keyframe graph does not have to be open when you select a keyframe. You can select
keyframes in closed keyframe graphs.

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

When you select more than one keyframe in a single keyframe track, the Avid editing
application uses the most recently selected one as the reference keyframe for aligning and
slipping keyframes. In addition, there are special considerations when you align keyframes
in a track with both selected keyframes and deselected keyframes. See “Aligning
Keyframes” on page 115.

96
 Using Advanced Keyframes

To select more than one keyframe in a keyframe track:

1. Click the first keyframe that you want to select.
The keyframe changes to pink (active).
2. Press and hold the Shift key, and click each additional keyframe.
Each keyframe changes to pink (active).

To select keyframes in more than one keyframe track:

1. Click the first keyframe that you want to select.
The keyframe changes to pink (active).
2. In each keyframe track that you want to add to your selection, click the additional
keyframe.
3. (Option) If you want to select multiple keyframes in a keyframe track, Shift+click each
additional keyframe

The following illustration shows the location of various components of keyframe graphs in
the Effect Editor.

Effect track
Parameter group
tracks

Parameter track

Keyframe graph

Parameter tracks

To select all keyframes in a keyframe track:

t Right-click a keyframe track, and select Select All Keyframes.

To select all keyframes in a parameter group:

t Right-click the parameter group track, and select Select All Keyframes.

To select all keyframes in the effect:

t Right-click the effect track, and select Select All Keyframes.

97
Chapter 3 Working with Keyframes

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

Occasionally, you might want to deselect all but one keyframe in a keyframe graph.

To deselect all keyframes but one in a track:

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

Deselecting All Keyframes

To deselect all keyframes in the active keyframe track:
t Select Edit > Deselect All Keyframes.
t Right-click the keyframe track, and select Deselect All Keyframes.

n The Deselect All Keyframes (Ctrl+Shift+A) command, available on the Edit menu, only
applies to the active keyframe track when the active parameter’s slider is enabled. Right-
click the keyframe track and use the keyframe track shortcut menu to deselect keyframes for
a parameter, parameter group, or the entire effect.

To deselect all keyframes in a parameter group:

t Right-click the parameter group track, and select Deselect All Keyframes.

The following illustration deselects all keyframes in the Border parameter group. When you
right-click the parameter group track, the system displays the text “Apply to Group” in the
parameter group track.

98
 Using Advanced Keyframes

keyframe track
shortcut menu

To deselect all keyframes in the effect:

t Right-click the effect track, and select Deselect All Keyframes.

Moving a Keyframe in a Keyframe Graph

Once you create an advanced keyframe, you can move it to another location in the keyframe
graph. The methods described here use the mouse to move a keyframe. You can also use
commands on the keyframe track shortcut menu. For more information, see “Align
Keyframes and Slip Keyframes” on page 114.

Selecting Multiple Keyframes

You can select multiple keyframes within a parameter group as well as keyframes in
different parameter groups.

To select multiple keyframes:

t Click the first keyframe, and then Ctrl+click any additional keyframes.

To select a range of keyframes on a single parameter:

t Click the first keyframe in the range, and then Shift+click the last keyframe in the range.

99
Chapter 3 Working with Keyframes

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.

Moving Keyframes Vertically

To move a keyframe vertically, changing its value:

t With the keyframe graph open, click the keyframe, and drag it to its new position.
The system changes the value but does not change the time at which the keyframe
occurs.

To change the value of multiple keyframes in the same parameter group:

t Ctrl+click the keyframes, and then drag one of the keyframes up or down.

For example, the following illustrations show how to move two X Position parameters.

Select two
keyframes in the
same parameter
group.

Drag one of the

keyframes to move both.

100
 Using Advanced Keyframes

Moving a Keyframe Horizontally

To move a keyframe horizontally, changing its time, do one of the following:

t With the keyframe graph open, Alt+Shift+click the keyframe, and drag it to its new
position.

n When you move a keyframe with the keyframe graph open, the Shift key constrains the
movement to the horizontal (time) axis.

t With the keyframe graph closed, Alt+click the keyframe, and drag it to its new position.

n Alternatively, you can select keyframes and click the Trim Left 1 Frame and Trim Right 1
Frame buttons or the Trim Left 10 Frames and Trim Right 10 Frames buttons.

The keyframe moves to another position in time but its value does not change.

Moving a Keyframe in Any Direction

To move a keyframe in any direction:

t With the keyframe graph open, Alt+click the keyframe, and drag it to its new position.
You can change both the keyframe’s value and the time at which the keyframe occurs.

n You cannot move a keyframe past another keyframe; that is, keyframe movement is bounded
by neighboring keyframes.

You can use these methods to 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 set a keyframe value outside the maximum or minimum value for the parameter.

The following illustration shows an example of moving a keyframe before the beginning of
an effect.

Moving a keyframe outside the time boundaries

Before After

Line representing
maximum
parameter value

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

101
Chapter 3 Working with Keyframes

You can also move keyframes outside the time boundaries by using the Align Keyframes and
Slip Keyframes commands. See “Align Keyframes and Slip Keyframes” on page 114.

Moving Multiple Keyframes Horizontally

To move multiple keyframes horizontally, changing their time:

1. Use Ctrl+click to select multiple keyframes.
2. Press the Alt key and then drag one of the keyframes.

n You can move keyframes in this way with keyframe graphs open or closed.

For example, the following illustrations show the results of moving two keyframes.

In this scenario you change the value and time of the keyframe you are dragging (you can
move the keyframe up, down, or sideways). The rest of the keyframes can only move in
time.

Two keyframes
are selected.

Press the Alt key

and then drag the
top keyframe. The
second keyframe
moves in time.

102
 Using Advanced Keyframes

n You cannot drag a keyframe past another keyframe in the same parameter graph. Keyframe
movement is bounded by neighboring keyframes.

Moving Keyframes in a Closed Keyframe Graph

You can select one or more keyframes in a closed keyframe graph and move them in time.
For example, the following illustrations show how to move one of the keyframes in the
Position Y keyframe graph while the graph is closed.

Before dragging
the Position Y
keyframe

The system creates

new keyframes in the
parameter group
track and effect track

n To move multiple keyframes in time, Ctrl+click the keyframes, press the Alt key, and then
drag the keyframes.

In the preceding illustration, you could close the Position parameter group and move
keyframes while the group is closed. You could also close the effect by clicking the
triangular opener and then moving all the keyframes in the effect at one time. This is useful
when you want to make an effect start a little earlier or later.

103
Chapter 3 Working with Keyframes

n 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.

Copying and Pasting Advanced Keyframe Parameters

You can copy and paste parameters from one advanced keyframe and apply them to another
advanced keyframe. You can also copy advanced keyframe parameters from one effect to
another effect.

To copy and paste advanced keyframe parameters:

1. Click one keyframe in the keyframe graph whose parameters you want to copy.
2. Select Edit > Copy.
3. Select one or more keyframes:
t To copy the parameters to one keyframe, click the new keyframe.
t To copy the parameters to multiple keyframes, Ctrl+click multiple keyframes.
t To copy the parameters to all keyframes in a parameter track, right-click the
keyframe graph or parameter track, and select Select All Keyframes.
4. Select Edit > Paste.
The parameters that you copied from one keyframe are pasted to the keyframes you
selected.

Reverse Keyframes Command

The Reverse Keyframes command is an enhanced version of the Reverse Animation
command found in the standard keyframe interface. You can reverse the keyframes for the
following:
• An entire effect
• A parameter group
• An individual parameter

The following are some important points about the Reverse Keyframes command:
• All keyframes that you reverse are reversed in time.
• Keyframe values are not affected. The command only changes their position in time.
• The Reverse Keyframes command 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.
104
 Using Advanced Keyframes

To reverse the keyframes for an entire effect:

t Right-click the effect track and select Reverse Keyframes. See the following illustration.

Effect track

n The effect track displays the text “Apply to All” when you right-click the track.

The system reverses the entire effect. In this example, the system reverses the direction of
movement. Because this is a transition effect that contains a Swap Sources button, the
system also swaps the incoming and outgoing sources.

To reverse keyframes for a parameter group:

1. Right-click the parameter group track, and select Reverse Keyframes.

n The parameter group track displays the text “Apply to Group” when you right-click the
track.

To reverse keyframes for a single parameter:

t Right-click the parameter track or keyframe graph and select Reverse Keyframes.

You can perform this operation on an open keyframe graph or on a closed keyframe
parameter track.

105
Chapter 3 Working with Keyframes

Elastic Keyframes and Fixed Keyframes

With standard keyframes, all keyframes are elastic. When you trim an effect, the Avid
editing application scales the keyframes to fit the new duration.

Elastic
keyframe
Fixed
keyframe

For example, suppose you want to have a PIP effect appear, be visible for 16 frames, and
then pop off the screen. If the original clip is 2 seconds long and you trim out the clip to 3
seconds, each event takes proportionally longer. After the trim, the PIP effect remains visible
for 24 frames.

2-second clip with elastic keyframes

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

Same clip trimmed out to add 1 second at the head:

time between keyframes stretches.
New material

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

Source Timecode Source Timecode

Event Before Trim After Trim

Start of clip 02:00 01:00

PIP effect on 02:18 01:27

PIP effect off 3:04 2:21

End of clip 3:29 3:29

106
 Using Advanced Keyframes

With fixed keyframes, when you trim out a clip, the Avid editing application extends the first
or last keyframe value by duplicating parameters in the trimmed-out area. When you trim
out a clip, the keyframes remain fixed at their original timecodes. Fixed keyframes allow you
to “pin” a parameter change to a particular timecode. Using the previous example, if before
the trim the PIP appears for 16 frames at 02:18, after the trim the PIP appears for 16 frames
at 02:18.

2-second clip with fixed keyframes

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

Same clip trimmed out to add 1 second at the head:

timing of events does not change.
New material

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

Source Timecode Source Timecode

Event Before Trim After Trim

Start of clip 02:00 01:00

PIP effect on 02:18 02:18

PIP effect off 3:04 3:04

End of clip 3:29 3:29

Effect parameters default to elastic keyframes. You select elastic keyframes or fixed
keyframes from the shortcut menu for a parameter.

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.

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

107
Chapter 3 Working with Keyframes

To select elastic keyframes or fixed keyframes for a parameter:

t Right-click the keyframe graph or keyframe track for the parameter with which you are
working, and select Fixed or Elastic.
The keyframes for the parameter change to the selected keyframe type and the
keyframes for the parameter display the selected keyframe type.
All subsequent keyframes you add to this parameter appear as the selected keyframe
type.

To select elastic keyframes or fixed keyframes for a parameter group:

t Right-click the parameter group track, and select Fixed or Elastic.
The keyframes for all parameters in the parameter group change to the selected
keyframe type. The keyframes display the selected keyframe type.
All subsequent keyframes you add to this parameter group appear as the selected
keyframe type.

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 the keyframe graph or keyframe track for the parameter with which you are
working, and select one of the following:
- Shelf
- Linear
- Spline
- Bézier
Each option is described in the following section.

108
 Using Advanced Keyframes

Options for Controlling Parameter Changes at Keyframes

You can select from the following options for controlling parameter changes at keyframes:
• 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.
• 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.

Effects with standard keyframes 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.

109
Chapter 3 Working with Keyframes

Position
X
Using the Linear interpolation option, the PIP effect
moves across the image for the entire effect.

Position
X

Using the Shelf interpolation option, the PIP effect

“pops” to a new location at each keyframe.

• 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.

110
 Using Advanced Keyframes

• 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.

Active keyframe

Direction handles

Active keyframe detail

Direction bar

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.
Use the Bézier interpolation option (or the Spline interpolation option) for any
parameter for which you want to avoid abrupt changes.

n You can use the Bézier interpolation option to create abrupt changes. “Break” the direction
handles using modifier keys and adjust each side of the curve independently. For more
information, see “Adjusting Parameter Values with the Bézier Interpolation Option” on
page 112.

You can adjust Bézier curves in the following ways:

- Symmetrically
- Asymmetrically
- Independently
The adjustment methods are described in the next section.

111
Chapter 3 Working with Keyframes

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.

Adjusting Bézier curves symmetrically

Before After
Dragging the left handle
up and to the left causes
both sides to rotate and
increase in length.

• 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.

Adjusting Bézier curves asymmetrically

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.

112
 Using Advanced Keyframes

Adjusting Bézier curves independently

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. See “Changing the Adjustment Method for the Bézier Interpolation Option” on
page 114.

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

1. Select the Bézier interpolation option.
For more information, see “Parameter Changes at Keyframes” on page 108.
2. Click a keyframe to activate it.
The keyframe 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.
4. (Option) Alt+click the direction handle to select an adjustment method. Each time you
do, the adjustment method cycles to the next adjustment method: symmetrical,
asymmetrical, or independent.
For more information, see “Changing the Adjustment Method for the Bézier
Interpolation Option” on page 114.

113
Chapter 3 Working with Keyframes

5. Drag the mouse to move the direction handle.

The direction bar and the curve change to show the new interpolation motion.
6. Continue adjusting the direction handles to achieve the effect you want.

n When you make an adjustment to a direction handle, the Avid editing application remembers
which adjustment method you used. If you do not want to change the adjustment method, do
not Alt+click the direction handle before making another adjustment to the same handle.
Instead, just click the direction handle, and drag it to its new location.

Changing the Adjustment Method for the Bézier Interpolation Option

To change the adjustment method for the Bézier interpolation option:

t Alt+click the direction handle.
Each time you do, the adjustment method cycles to the next adjustment method:
symmetrical, asymmetrical, and 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 the direction handle.

Align Keyframes and Slip Keyframes

Align Keyframes and Slip Keyframes give you another way to adjust the position of
advanced keyframes.
• 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 active 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 “Options for Using Advanced Keyframes” on page 124.

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 96.

114
 Using Advanced Keyframes

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. For more information, see
“Aligning Keyframes” on page 115.

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 Keyframes

In each of the procedures 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, in one keyframe track:
t Right-click a keyframe track, and select Align Keyframes.

To align the reference keyframes to the position indicator, in one parameter group:
t Right-click the parameter group track, and select Align Keyframes.
The reference keyframes move to the position indicator.

To align the reference keyframes to the position indicator, in the entire effect:
t Right-click the effect track, and select Align Keyframes.
The reference keyframes of the entire effect move to the position indicator.

n In each keyframe track, Align Keyframes will 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.

115
Chapter 3 Working with Keyframes

Align Keyframes

No intervening keyframe

Before
Active keyframe

After

One intervening keyframe

Before
Active keyframe

After

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.

116
 Using Advanced Keyframes

Align Keyframes — multiple keyframe examples

All keyframes selected

Reference
keyframe Before

After

One deselected keyframe Two deselected keyframes

Reference
keyframe Before

After

Slipping Keyframes

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

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

t Right-click the keyframe 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.

117
Chapter 3 Working with Keyframes

Slip Keyframes

Active keyframe
Before

After

To slip keyframes to the position indicator, in one parameter group:

t Right-click the parameter group track, and select Slip Keyframes.
In the parameter group, in each keyframe track with a reference keyframe, 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 a keyframe track has no selected keyframes, no keyframes move.

To slip keyframes to the position indicator, in the entire effect:

t Right-click the effect track, and select Slip Keyframes.
In the effect, in all keyframe tracks with a reference keyframe, 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.

Extrapolate and Hold

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.

n To keep the Avid editing application from creating starting and ending keyframes when you
promote an effect, deselect Automatic Start and End Keyframes in the Effect Editor entry in
the Settings scroll list.

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.

118
 Using Advanced Keyframes

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

Start of effect before and after the End of effect
bracketing 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 Help or in the online version of this
document on the online library CD-ROM.

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

Start of effect steady before and after End of effect
the bracketing keyframes.

119
Chapter 3 Working with Keyframes

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
Start of effect End of effect

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

Start of effect before the bracketing End of effect
keyframe.

120
 Using Advanced Keyframes

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.

Keyframe graph after Slip Keyframes:

Hold example

Parameter value does not

Start of effect change before the End of effect
bracketing keyframe.

n As a result of slipping the keyframes in the previous examples, the last keyframe has moved
out of the keyframe graph view but is still present and is still the bracketing keyframe. The
keyframe visible at the right edge of the keyframe graph (the third keyframe) 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.

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

To set Extrapolate or Hold for a parameter:

t Right-click the keyframe track, and select Extrapolate or Hold.
The display changes to reflect the new setting.

Adjusting the View in a Keyframe Graph

You adjust the view in a keyframe graph in the following ways:
• Zoom and scroll the view in a keyframe graph using the zoom slider and the scroll
thumbwheel at the bottom of the Effect Editor.
• Resize a keyframe graph by manipulating the size of the Effect Editor and by expanding
or contracting the vertical size of the keyframe graph.

121
Chapter 3 Working with Keyframes

• Scroll the view vertically in a keyframe graph by dragging the view.

• Vertically recenter the keyframes in the keyframe graph. See

Zooming and Scrolling Keyframe Graphs

You zoom and scroll the view in a keyframe graph using the zoom slider and the scroll
thumbwheel at the bottom of the Effect Editor.

Zoom slider Scale bar Scroll thumbwheel

The zoom slider in the scale bar stretches and contracts the view in a keyframe graph
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.

To zoom in on a section of a keyframe graph at the position indicator and then zoom
out:
1. Click the zoom slider, and drag it to the right.
The view in the keyframe graph expands horizontally and shows more detail.

2. Click the zoom slider, and drag it to the left.

The view in the keyframe graph shrinks to its original size.

The scroll thumbwheel scrolls the view in a keyframe graph left or right.

122
 Using Advanced Keyframes

To scroll the view in a keyframe graph left or right:

1. Click the scroll thumbwheel, and drag it to the left.
The view in the keyframe graph scrolls to the right; that is, as part of the view disappears
on the right, more comes into view on the left.

2. Click the scroll thumbwheel, and drag it to the right.

The view in the keyframe graph scrolls to the left; that is, as part of the view disappears
on the left, more comes into view on the right.

Resizing Keyframe Graphs

Resize the keyframe graph by manipulating the size of the Effect Editor and by expanding or
contracting the vertical size of the keyframe graph.

To change the width of a keyframe graph:

t Click a corner of the Effect Editor, and drag it to resize the window.

To change the height of a keyframe graph:

1. Position the pointer over the lower edge 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.

123
Chapter 3 Working with Keyframes

Moving Keyframe Graph Views Up or Down

Scroll the view in a keyframe graph up or down by dragging the view.

n Use the scroll thumbwheel to move the view left or right.

To scroll the view in a keyframe graph up or down:

1. Alt+click the keyframe graph.
The pointer changes to a hand.
2. Drag the hand up or down to reposition the view within the keyframe graph.

Resetting 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 vertically recenter the keyframes in the keyframe graph.

To reset the view vertically in a keyframe graph:

t Right-click the keyframe graph, and select Reset Graph View.
The keyframes appear vertically centered in the keyframe graph.

n Depending on how you have scaled and zoomed your keyframe graph, you might not see any
keyframes even after resetting the graph view. Try scrolling the keyframe graph left or right,
or zoom out until keyframes appear.

Options for Using Advanced Keyframes

The Effect Editor shortcut menu gives 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.

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

To display the Effect Editor shortcut menu:

t Right-click the Effect Editor outside the keyframe track area.
The Effect Editor shortcut menu opens.

The following table describes the shortcut menu options for the Effect Editor.

124
 Using Advanced Keyframes

Effect Editor Options

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

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.

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 “Using Parameter Sliders” on page 63.

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.

125
Chapter 3 Working with Keyframes

Effect Editor Options (Continued)

Option Description

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 “Align Keyframes and Slip Keyframes” on page 114.

Update Position While When selected, the position indicator in the Effect Editor moves while you play the
Playing 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 When this option is selected, the Add Keyframe Mode menu (or the Delete Keyframe
Mode Menu Mode menu) appears when you use the Add Keyframe button to add (or delete)
keyframes. See “Using the Add Keyframe Mode Menu and the Delete Keyframe
Mode Menu” on page 88.
With Show Add Keyframe Mode Menu deselected, using the Add Keyframe button
performs the default command from the list below (Add Keyframe button options),
without displaying the Add Keyframe Mode menu or the Delete Keyframe Mode
menu.

Add Keyframe button Select one as the default command for the Add Keyframe button.
options:
• When you deselect Show Add Keyframe Mode Menu, clicking the Add
• Add Keyframes To Keyframe button once performs the default command.
Active Parameter • When you select Show Add Keyframe Mode Menu, clicking the Add Keyframe
• Add Keyframes To button twice performs the default command. (The first click displays the Add
Active Group Keyframe Mode menu, at which point you can select another command.)
• Add Keyframes To
Open Groups
n The selection you make for the Add Keyframe mode is mirrored in the Delete
Keyframe Mode menu, and vice versa. For example, when you change your
selection to Add Keyframe To Enabled Groups, the Delete Keyframe mode
• Add Keyframes To changes to Delete Keyframe From Enabled Groups.
Enabled Groups
For a description of each command, see “Using the Add Keyframe Mode Menu and
• Add Keyframes To the Delete Keyframe Mode Menu” on page 88.
Open Graphs
• Add Keyframes To
All Parameters

126
 Chapter 4
Playing and Rendering Effects

This chapter provides information on playing and rendering effects that extends the
information provided in “Main Topics: Working with Effects: Basics” in the Help. It also
describes how to manage media effect files on your system.
• Previewing Effect Frames with Render On-the-Fly
• Advanced Effects Playback Information
• Rendering Effects
• Managing Effect Media Files

Previewing Effect Frames with Render On-the-Fly

When you want to preview effects in a sequence, you can use the Render On-the-Fly feature
to control how your Avid editing application displays a monitored frame to which one or
more effects have been applied. When Render On-the-Fly is selected, you can step through
your sequence and preview any frame to check the look of the effects applied to it, regardless
of the type or number of those effects.

When Render On-the-Fly is selected, whenever you change the frame you are monitoring,
the Avid editing application updates to show the image that results from any effects applied
to that frame. Depending on the number and complexity of effects, there might be a
perceptible delay before the image updates in the Composer monitor.

When Render On-the-Fly is deselected, the application shows the monitored frame as if no
effects had been applied to it. You can deselect Render On-the-Fly to avoid delays in image
updating when you are not concerned about the look of effects.

Render On-the-Fly controls how your Avid editing application displays a frame only when
the position indicator is stationary at that frame. During playback (that is, while the position
indicator is in motion), the application’s ability to display effects depends on whether real-
time effects are enabled and on other associated factors. For more information, see
“Advanced Effects Playback Information” on page 128.
Chapter 4 Playing and Rendering Effects

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

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

To display effects immediately during effects editing:

t Select Clip > Render On-the-Fly.

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

t Drag the position indicator in the Timeline.
While you are dragging, the sequence appears in the Composer monitor as it would if
Render On-the-Fly were not selected from the Clip menu.
t If you click in the Timeline and rendering begins, quickly move to another location in
the Timeline. This interrupts the rendering process until you release the mouse button.

Advanced Effects Playback Information

You can playback most video effects available in the Avid editing application in real time.
This allows you to play back sequences to which you have applied effects and to review the
appearance of those effects.

Real-time effects playback has no effect on the methods you use when you apply and modify
the effects themselves.

This section includes advanced information about playback of video effects.For basic
information, see “Playback of Video Effects” in the Help.

Controlling Real-Time Effects Playback

When the Avid editing application is unable to maintain real-time playback of an effects
sequence, there are a number of ways you can attempt to ensure that the sequence plays back
successfully in real time.
• If possible, start playback earlier in the sequence, before the effects that are causing
difficulties begin.
This allows the Avid editing application to begin processing some of the effects frames
before it must display them, decreasing the chance of difficulties with playback.

128
 Advanced Effects Playback Information

• Use the Expert Render command on those parts of the sequence where the Avid editing
application had difficulties during playback.
The Avid editing application marks these parts of the sequence in the Timeline. For
more information, see “Understanding Real-Time Playback Information in the
Timeline” and “ExpertRender” in the Help.
• Use the Video Quality Menu button to select a lower quality for playback.
This increases the Avid editing application’s ability to process effects at the expense of
reducing image quality. For more information, see “Playing Back at Different Video
Qualities” in the Help.
• In the Video Display Settings dialog box, increase the number of seconds of video to
prefill.
This setting instructs the Avid editing application to delay the beginning of playback by
the number of seconds you specify. During this time, the application processes frames in
advance and stores them in memory. When playback begins, the application starts to
display the preprocessed frames while it continues to process new ones. The application
will continue to play back the sequence successfully in real time unless it exhausts its
supply of preprocessed frames. By accepting a delay at the beginning of playback, you
increase the likelihood that the application will play the material successfully. The
maximum delay you can specify is 10 seconds.
The Video Display settings dialog box is available in the Settings scroll list of the
Project window and from the Video Quality button in the Timeline bottom toolbar.

n If the amount of memory available is limited, the Avid editing application might not be able
to prefill the full number of seconds that you specify. As a result, the delay you experience
before playback begins might be less than the number of seconds you specify. It cannot be
more than that number.

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

Use the procedure in this section to playback to a DV device if you have one of the following
configurations:
• A software-only system
• An Avid Mojo system with a separate IEEE-1394 (OHCI) connection on your computer.
This configuration is used for systems that capture, play, and output DV50 and
DVCPRO HD.

n If you have Avid Mojo hardware attached to your system and are using the Avid Mojo
hardware for playback, see “Playing Back at Different Video Qualities” in the Help. If you
have Avid Mojo hardware attached to your system and are using the Avid Mojo hardware for
playback, see “Playing Back at Different Video Qualities” in the Help.

129
Chapter 4 Playing and Rendering Effects

To play real-time effects directly to a DV device connected through the IEEE-1394 card:
1. With a DV device connected to the IEEE-1394 card on your computer, select Special >
Device > IEEE 1394.
2. Right-click the Video Quality menu button, and then select Output to DV Device.
3. Right-click the Video Quality button, and select Format, and then select the compressed
format to be sent to the DV device:
- DV25 411 - enabled in any SD project
- DV25 420 - enabled only in PAL SD projects
- DV50 - enabled in any SD project
- DVCPRO HD - enabled only in HD 720p 59.94, 1080i 50, and 1080i 59.94 projects
4. If you are in an SD project, right-click the Video Quality button, and then select
Realtime Encoding.
- When you select Realtime Encoding, you are in real-time effects mode. The stream
is encoded to the format selected in the Video Quality menu. Enabling Realtime
Encoding is helpful if you have a faster processor because it allows you to bypass
rendering many of your effects to disk.
- When Realtime Encoding is not selected, you are in native play mode. All effects
must be rendered and any media not matching the selected format will be played as
black. The Video Quality menu only allows for Full Quality (green) mode.
Disabling Realtime Encoding is helpful if your machine has a slower processor.

n For existing software-only customers, Realtime Encoding replaces the blue-dot mode feature
on your system.

n Realtime Encoding applies only to playing to a DV device with DV25 and DV50 media.

n For information on playing back SD and HD media, see“Playing Back Footage” in the
Help.

Real-Time Effects and Effect Icon Colors

When real-time effects are disabled, effect icons have no colored dot in the Effect Palette
and display a blue dot in the Timeline, indicating that they must be rendered before they will
play in real time. When real-time effects are enabled, most effect icons have a green dot in
both the Effect Palette and in the Timeline, indicating that they might play in real time,
depending on the complexity of the effects and the sequence.

130
 Rendering Effects

Blend effect category in the Effect Palette with Blend effect category in the Effect Palette with
real-time effects disabled. No dots indicate that real-time effects enabled. Green dots indicate that
the effects will not play in real time. the effects might play in real time.

Effect icons in the Timeline with real-time effects Effect icons in the Timeline with real-time effects
disabled. Blue dots indicate that the effects will enabled. Green dots indicate that the effects
not play in real time. might play in real time.

Rendering Effects
Rendering is the process of calculating and storing video information for the finished look of
an effect so that the effect always plays in real time at full quality. This section provides
advanced information on rendering effects.

For basic information on rendering effects, including a complete discussion of the

ExpertRender feature, see “Basics of Effects Rendering” in the Help.

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.

Creating a New Render Setting

To create a new Render setting:

1. In the Project window, click the Settings tab.
The Settings scroll list opens.
2. Select All Settings from the Project window Fast menu.
3. Click Render.
131
Chapter 4 Playing and Rendering Effects

4. Select Edit > Duplicate.

5. Name the setting:
a. Click the custom name column (in between the setting name and the setting type
identifier).
b. Type a name.
c. Press Enter.
6. Adjust the options for the setting as described in the following procedure.

Adjusting Render Settings Options

To adjust the options in the Render Setting dialog box:

1. In the Settings scroll list 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 the following table and then
click OK.

Render Settings Options

Option Description

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

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

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

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

132
 Rendering Effects

Render Settings Options (Continued)

Option Description

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

• Original Preference Causes effects to be rendered as whatever 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.

• 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.

133
Chapter 4 Playing and Rendering Effects

Render Settings Options (Continued)

Option Description

• 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) First 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.

Effects Quality Render Lets you override the selection you made in the Effect Editor for individual effects.
Using You can change from standard rendering to HQ rendering for your entire sequence,
once you are satisfied with your draft version, by using the Render Settings selection.
You can also choose to set all effect rendering to standard if you want to decrease
rendering time.

• Quality Set in Each Causes effects to be rendered as whatever type they were when originally created.
Effect

• 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.

Show Intermediate Displays the progress of the rendering process on the system monitor.
Results

134
 Rendering Effects

Activating a Render Setting

To activate a Render setting:

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

Partial Render
If you interrupt a render that is not complete, the 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. The Avid editing
application then renders only the part of the effect that has not been rendered previously and
will save 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.

Interrupting a Render

To interrupt a render:
1. Press Ctrl+period 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.

Customizing Render Ranges Display

To customize the display of render ranges in the Timeline:

1. Click the Timeline Fast Menu button, and select Render Ranges.

135
Chapter 4 Playing and Rendering Effects

2. Select one of the following from the submenu:

- 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.

n Render Ranges indicator lines do not display if Show Effect Contents is selected in the
Timeline Settings dialog box.

n The All option of the Render Ranges display provides 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.

n 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.

Rendering a Single Effect

After you have adjusted an effect’s parameters, you can render the effect.

To render a single effect:

1. Move the position indicator to the effect in the Timeline.
Make sure the track containing the effect is selected.
2. Do one of the following:
t In the Tool palette, Effect Editor, or Effect Preview Monitor toolbar, click the
Render Effect button.
t Select Clip > Render at Position.
The Render Effect dialog box opens.

136
 Rendering Effects

n To prevent this dialog box from opening, press and hold the Alt key when you click the
Render Effect button. the Avid editing application will use the last drive selected.

3. Click the Drive button, and select a drive for the rendered media.
The Effect Source Drive is the drive where the media on the outgoing shot of a transition
resides.
4. Click OK.
If there is not enough room on the drive, the Avid editing application displays a message
box that gives you the following choices:
- Stop — Stop the rendering process and return to the Render Effect dialog box, and
then select another drive before continuing.
- Continue — Attempt to render the effect anyway, in case there might be enough
room on the drive.
The effect is rendered, and a precompute master clip is stored on the drive you selected.

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

Rendering Effects at Position

When you have more than one effect at a particular point in the Timeline (for example,
effects on several stacked video tracks), you can render them as a group.

To render multiple effects at position:

1. Move the position indicator to the effects in the Timeline.
2. Select all tracks that contain effects you want to render.
3. Select Clip > Render at Position.
The Render Effects dialog box opens.

137
Chapter 4 Playing and Rendering Effects

4. Click the Drive button, and select a drive on which to store the rendered effects.
The Effect Source Drive is the drive where the media on the outgoing shot of a transition
resides.
5. Click OK.
If there is not enough room on the drive, the Avid editing application displays a message
box that gives you the following choices:
- Stop — Stop the rendering process and return to the Render Effects dialog box, and
then select another drive before continuing.
- Continue — Attempt to render the effects anyway, in case there might be enough
room on the drive.
The Avid editing application renders all effects at the position in the Timeline.

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

Rendering Effects Between IN and OUT Points

When you have multiple effects to render for a whole sequence or a portion of a sequence,
you can render them as a group by marking IN and OUT points.

n Save your sequence before you use this feature. Depending on the number, type, and
complexity of the effects, the batch process can take a long time.

To render multiple effects using IN and OUT points:

1. Select all tracks that contain effects you want to render.
2. Mark an IN point before the start of the first effect to be rendered in your sequence;
mark an OUT point after the last effect to be rendered.
3. Select Clip > Render In/Out.
The Render Effects dialog box opens.

138
 Rendering Effects

4. Click the Drive button, and select a drive on which to store the rendered effect.
The Effect Source Drive is the drive where the media on the outgoing shot of a transition
resides.
5. Click OK.
The Avid editing application renders all effects between the IN and OUT points.

n If the drive is near capacity, a message box opens and warns you that there might not be
enough space to store the rendered effect. You can click Stop to stop the rendering process
and return to the Render Effects dialog box, and then select another drive before continuing.
Alternatively, you can click Continue to attempt to render the effects anyway, in case there
might be enough space on the drive.

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

n Another way to speed up rendering is to use the Submaster effect. See “Submaster Editing”
on page 191.

16-Bit Processing Support for Rendered Effects

You can choose to render 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 with that contains a gradient (such as a wide,
soft border) you would notice a difference if you zoom in on the rendered effect. An effect
rendered at 8-bit would show banding between colors at lower 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.

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.

139
Chapter 4 Playing and Rendering Effects

Some effects do not support 16-bit processing. See the Readme file for a list of effects that
do not support 16-bit processing.

n Rendering times will be slower when using 16-bit processing. Turning on HQ (high quality
render mode) for an effect can add additional rendering time as well. For more information
on HQ, see “Rendering HQ (Highest Quality) Effects” 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.

3. Set the Render FX using bit depth option to one of the following:
- Select 8-bit when rendering time is more important than image quality. Also use
this option if you are mainly working with effects that don’t support 16-bit
precision.
- Select 16-bit 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.
- Select Automatic if you want the media source to determine the effects resolution.
This is the default.

140
 Rendering Effects

Rendering HQ (Highest Quality) Effects

Some 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 it
takes longer than standard rendering.
The HQ button appears in the Effect Editor for effects that have an HQ rendering option.
Use the HQ button to select HQ rendering for an individual effect in your sequence.

n Not all effects have an HQ rendering option.

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 appears in the Effect Editor.
2. Click the HQ button.
The button turns green.

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 Settings 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 Settings 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 131.
141
Chapter 4 Playing and Rendering Effects

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.

Managing Effect Media Files

The 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, the 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.

The 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, the 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” in the Help.

142
 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 then 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 Title Effect clip is selected.

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

143
Chapter 4 Playing and Rendering Effects

3. Select File > Reveal File.

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

4. (Option) 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 information.
t Click Cancel to end the Reveal File operation.

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 then click OK.
Any rendered effect clips appear in the bin.

144
 Managing Effect Media Files

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 example, to delete only effect media files, select “delete n associated media file(s)”
beneath each of the appropriate effect clip types and deselect all other check boxes. Make
sure that you select only those file types you want to delete.

145
Chapter 4 Playing and Rendering Effects

146
 Chapter 5
Working with Third-Party
Plug-In Effects

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

This chapter contains the following main sections:

• Working with AVX Plug-Ins
• Avid After Effects External Monitor Preview Plug-In (Windows Only)

Working with 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 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.

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

www.avid.com/thirdparty/developers/AVX/displayPartners.html

After you install third-party plug-ins, the effects appear in the Effect Palette in their own
category (usually the name of the plug-in vendor). Individual effects all have a plug-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.
Chapter 5 Working with Third-Party Plug-In Effects

n The Avid 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 in order 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 “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 “Upgrading and Promoting AVX Plug-ins” on page 151.

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.

AVX 1.x Plug-ins and Memory Usage

Each time you apply an AVX plug-in to a sequence, the Avid 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 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.
The application closes all open AVX 1.x plug-ins. The AVX plug-ins will automatically
open again as needed.

148
 Working with AVX Plug-Ins

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. Exit the Avid application.

c Do not add or remove plug-ins while the Avid 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 AVX 2.0 plug-ins must be installed in the following folder:
C:\Program Files\Avid\Avid editing application\AVX2_Plug-Ins
where application name is the name of your Avid editing application.
t 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.

c (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, the Avid application will not recognize them.

n If the AVX 1.x AVX_Plug-Ins folders 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 150.

149
Chapter 5 Working with Third-Party Plug-In Effects

3. Restart the Avid application.

4. Select Tools > Effect Palette.
For more information, see “Using 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.

n (Windows only) If the plug-in effects do not appear in the Effect Palette after installation, see
“Troubleshooting AVX Plug-Ins” on page 155.

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. See “Installing AVX Plug-ins” on page 149.

When the Avid 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.

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. You enter commands in the command line.
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

150
 Working with 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 will be
“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.

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, the
Avid application will not recognize them.

Upgrading and Promoting AVX Plug-ins

This section covers:
• Updating a plug-in with a newer version
• Promoting a AVX 1.x plug-in to an AVX 2.0 plug-in

151
Chapter 5 Working with Third-Party Plug-In Effects

Updating a Plug-in to a New Version

This section describes how to update an AVX 1.x plug-in with a newer AVX 1.x plug-in or
update an AVX 2.0 plug-in with a newer AVX 2.0 plug-in.

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 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, the Avid
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. The Avid 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 will not work on a system that has an older version installed.

c 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.

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 will be visible
in the Effect Editor.
4. Click the Promote to Advanced Keyframes button.
The Effect Editor changes to display the advanced keyframe interface.
152
 Working with AVX Plug-Ins

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

Displaying AVX Plug-Ins on an External Monitor

AVX 1.x and AVX 2.0 vendors can incorporate use of an external monitor as part of a
custom interface. The external monitor must be connected to the Avid DNA hardware.
Check your vendor’s documentation to see if this feature is supported.

Assigning Multiple Tracks in Plug-in Effects

Some plug-in effects take an arbitrary number of tracks as input. The Avid 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 pop-up menu, select the number of video inputs, and then
click OK.

For more information on nested effects, see “Nesting Effects” on page 185.

Using AVX Plug-in Controls

This section provides general guidance for controlling and adjusting AVX plug-in effects.
For more information on the adjustments available for a specific effect, see the
documentation for the plug-in.

Using AVX 1.x Plug-In Controls

AVX 1.x 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
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.

153
Chapter 5 Working with Third-Party Plug-In Effects

• Custom dialog box only

In this case, when you enter Effect mode the Effect Editor is empty except for the Other
Options button in the upper left corner. Click the Other Options button to see the
additional dialog box.
• 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.

Accessing an AVX 1.x Custom Interface

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

To access an AVX 1.x plug-in’s custom interface:

t In the Effect Editor, click the Other Options button.
The AVX plug-in’s custom interface appears.

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

Custom AVX Controls in the Effect Editor

This section introduces some of the custom controls that might appear in the Effect Editor
for an AVX 1.x plug-in effect. For more information on using these controls, and other
controls specific to individual effects, see the documentation for the plug-in.

Some plug-in effects allow you to adjust an image by using controls that appear as overlays,
such as handles and wire frames, in the Effect Preview monitor. You access these overlays
by clicking the Outline/Path button at the bottom of the Effect Editor. In some cases, you can
then access 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.

154
 Working with AVX Plug-Ins

Using AVX 2.0 Plug-In Controls

AVX 2.0 Plug-ins can also use a variety of interfaces to give you control over the effects:
• Standard advanced keyframe model buttons and parameter controls
• Custom dialog box only
In this case, the plug-in vendor adds a custom button to the advanced keyframe interface
to access their interface.
• 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.

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 the Avid editing application while you are
working on the effect in the plug-in interface. The effect will 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 section 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.

155
Chapter 5 Working with Third-Party Plug-In Effects

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 150, or for Macintosh systems, see “Installing AVX Plug-ins” on page 149.

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.

The Avid Application Cannot Render the Plug-In

If the application cannot render the plug-in, the plug-in might have expired or the plug-in’s
system application key (dongle) might be missing or damaged.

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:

t 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 the Avid
application.

156
 Avid After Effects External Monitor Preview Plug-In (Windows Only)

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 AVXLibrary. Check the Console
window for a message that states that AVX was disabled.
• If AVX was not disabled, quit the Avid 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/onlinesupport.

The Avid System Is Running Out of Free Memory

Each time you apply an AVX plug-in to a sequence, the Avid 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 “AVX 1.x
Plug-ins and Memory Usage” on page 148.

Avid After Effects External Monitor

Preview Plug-In (Windows Only)
The Avid After Effects EMP (External Monitor Preview) plug-in allows you to use your
Avid DNA 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 the Avid editing
application while you are working on the composition in After Effects.

n This 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 DNA 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 DNA hardware. When you switch to the Avid editing
application, the Avid editing application takes control of the Avid DNA hardware.

157
Chapter 5 Working with Third-Party Plug-In Effects

You install the Avid After Effects EMP plug-in from the Avid 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 XP 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 Products.
4. Click Install 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:
- NTSC - if you have an external NTSC monitor connected to your system
- PAL - if you are using a PAL monitor
- Disable - 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.

158
 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 the
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 won’t be 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 the Avid editing application.

Composition Settings

In order to view the identical image that you will see on the 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 will
still be correct, but the display quality will differ from the image you will see in the Avid
editing application.

159
Chapter 5 Working with Third-Party Plug-In Effects

160
 Chapter 6
Creating and Customizing Motion
Effects

This chapter describes how to create and customize effects that alter motion in a clip. You
use traditional motion effects to change the speed at which the video plays or to create a
strobe motion effect. Creating a traditional motion effect results in a clip that has a uniform
speed from beginning to end. The Timewarp effect category contains effects with which you
can vary the speed during the clip. For example, you can start the clip at 0% (stopped) and
ramp up to 100% (full speed).
• Understanding Traditional Motion Effects
• Creating Traditional Motion Effects
• Considerations for Motion Effects in 24p or 25p Projects
• Using Timewarp Effects
• Using the FluidFilm Templates

Understanding Traditional Motion Effects

You create traditional motion effects 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.

The three main types of motion effects are:

• Freeze Frame — Creates a clip that repeats a single frame from the original clip.
• Variable Speed — Changes the speed at which movement takes place in the clip. 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.
• Strobe Motion — Creates a stuttering effect in the playback of the clip by repeating
certain frames from the original clip several times.

You can also combine Variable Speed and Strobe Motion effects in a single clip.
Chapter 6 Creating and Customizing Motion Effects

Creating Traditional Motion Effects

A traditional motion effect, applied to a clip in the Source monitor, allows you to alter the
playback characteristics of the clip.

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

Playing and Rendering Traditional Motion Effects

Some traditional Motion Effect clips play in real time when edited into a sequence; others
must be rendered before they can be played.

Playback capabilities for traditional motion effects depend on the type of effect, the options
you select when creating the effect, and how you work with the effect after you first create it.

Rendering Considerations When Creating Traditional Motion Effects

When you first create a traditional motion effect that requires rendering, you can render
immediately or create an unrendered version that you can render later in your workflow.

The Avid editing application creates traditional motion effects using one of four different
types — Duplicated Field, Both Fields, Interpolated Field, and VTR-Style. The Duplicated
Field and Both Fields types enable some motion effects to play in real time; the Interpolated
Field and VTR-Style types always require rendering.You select motion effect types based on
the quality you need for the final motion effect, the rendering time that each type requires,
and the media with which you are working (some types are useful only when you are
working with two-field media).

n For more information on motion effect types, including their relative quality and their
compatibility with different types of media, see “Traditional Motion Effect Parameters” on
page 362.

Your Avid editing application allows you to preview some kinds of unrendered traditional
motion effects in real time even if they require rendering for final playback. The application
cannot preview other kinds of unrendered motion effects; these effects will play as filler until
they are rendered. The following table provides a summary of playback capabilities for
traditional motion effects.

162
 Creating Traditional Motion Effects

Playback Capabilities of Traditional Motion Effects

Playback
Effect Capability Preview Capability

Freeze Frame (all types) Real-time Real-time

Variable Speed effects — forward slow motion and forward fast Real-time Real-time
motion. (Use a value of 0 or greater in the % Speed text box of the
Motion Effect dialog box.)

Variable Speed effects — reverse motion (all types). (Use a Non-real-time Play back as filler (black
negative value in the % Speed text box of the Motion Effect dialog image) until rendered
box.)

Strobe Motion effects (all types, including Strobe Motion effects Non-real-time Play back as filler (black
combined with Variable Speed effects) image) until rendered

Rendering and Rerendering Existing Traditional 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 “Rendering Effects” on page 131.

Information about the type and render status of motion effects appears in the Timeline in the
same form as that used for other effects. Each motion effect type has a distinct effect icon, as
shown in the following illustration.

Duplicated Field Motion Effect icon

Both Fields Motion Effect icon

Interpolated Field Motion Effect icon

VTR-Style Motion Effect icon

Color-coded dots appear on Motion Effect icons to indicate whether they require rendering.
The following illustration shows typical examples of Motion Effect icons in the Timeline.

163
Chapter 6 Creating and Customizing Motion Effects

Rendered VTR-Style Unrendered Both Fields Unrendered Interpolated Field

motion effect (no dot) motion effect (green dot — motion effect (blue dot —
plays in real time) plays as a Duplicated Field
motion effect until rendered)

Use ExpertRender to identify motion effects that require rendering.

When you render motion effects, the Avid editing application checks the Motion Effects
Render Using option in the active Render setting. If the Motion Effects Render Using option
is set to Original Preference (the default setting), the application makes no change to the
type of motion effects when it renders them. If the Motion Effects Render Using option is set
to a specific motion effect type, the application changes all motion effects to that type when
it renders them.

Whenever the Avid editing application changes the motion effect type during a rendering
operation, a message appears in the Console window, providing information about the
change. For more information, see “Creating and Using Render Settings” on page 131 and
“Displaying Information About Motion Effect Type Changes” on page 165.

The following is a list of the circumstances in which you might need to render or rerender
motion effects.
• You need to render any motion effect that requires rendering for successful playback if
you did not render that effect at the time you created it. This kind of effect appears with
a blue dot in the Timeline until it is rendered.
• You might need to render a motion effect so that it will play successfully in a complex
sequence even if that effect would not normally require rendering. (Motion effects that
display a green dot in the Timeline might not play back in real time under some
circumstances.) For more information on overall real-time playback capabilities, see
“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 will appear with a blue dot
in the Timeline. 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 “Customizing Render Ranges Display” on page 135.

164
 Creating Traditional Motion Effects

Displaying Information About Motion Effect Type Changes

Whenever motion effects in the Timeline are rendered or rerendered, the Avid editing
application uses the Motion Effects Render Using option in the active Render setting to
define the motion effect type for the new versions of the motion effects.

For example, you might start a project using single-field media and the Duplicated Field
type for motion effects. Later, you might rerecord 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.

n Changes to motion effect types are permanent changes to both the Motion Effect clip and its
associated media. You can return to the old motion effect type only by rerendering. To avoid
unnecessary rerendering, make sure that the Motion Effects Render Using option in the
active Render setting is set to the motion effect type you need.

The Avid editing application writes a message in the Console window whenever it changes
the type of motion effect during rendering. You can check these messages to verify the
changes that the application has made to your motion effects. Motion Effect icons in the
Timeline also change to reflect the new motion effect type.

To display information about motion effect type changes in the Console:

1. Select Tools > Console.
The Console window opens.
2. Render one or more motion effects using one of the procedures described in “Rendering
Effects” on page 131.
For each motion effect whose type is changed by rendering, a message appears in the
Console window.
The following illustration shows a typical message. In this example, the Motion Effects
Render Using option in the active Render settings is set to Interpolated Field.

3. (Option) If the new motion effect type is not the one you want, change the Motion
Effects Render Using option in the active Render settings, and then rerender the motion
effects.
165
Chapter 6 Creating and Customizing Motion Effects

Freeze Frame Effects

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

Creating a Freeze Frame

Creating a freeze frame is a two-step process. First you choose a Two-Field Freeze Frame
option and then you choose a duration for the resulting effect. You perform both steps using
the Clip > Freeze Frame menu.

To create a Freeze Frame effect:

1. Open a clip in the Source monitor.
2. Cue the clip to the frame that you want to freeze.
3. Select Clip > Freeze Frame.
The Freeze Frame submenu opens.

4. Select Two Field Freeze Frames, and then select one of the following:
- Using Duplicated Field — The Avid editing application creates the effect using a
single field. While this reduces the vertical resolution of the image by one-half, it is
often the best option if the source footage contains rapid motion.
- Using Both Fields — The 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.

166
 Creating Traditional Motion Effects

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

n For more information on these options, see “Traditional Motion Effect Parameters” on
page 362.

The selected option becomes the default until you select another option.
5. If you made a Two Field Freeze Frames choice in step 4, select Clip > Freeze Frame
again.
6. Do one of the following:
t Select a preconfigured duration.
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 button, 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.

Controlling a Freeze Frame with a Single Button or Key

You can map the Freeze Frame command to a button or key. The Avid editing application
remembers the duration of the freeze frame and the option for two-field media if appropriate.
After you have mapped the command, you can create a freeze frame of the same type and
duration simply by clicking the button or pressing the key.

167
Chapter 6 Creating and Customizing Motion Effects

To map the Freeze Frame command to a button or key:

1. Select Clip > Freeze Frame > Two Field Freeze Frames, and then select one of the
following:
- Using Duplicated Field — The Avid editing application creates the effect using a
single field. While this reduces the vertical resolution of the image by one-half, it is
often the best option if the source footage contains rapid motion.
- Using Both Fields — The 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 Field — The Avid editing application creates a second field for
the effect by combining scan line pairs from the first field in the original media.
This might result in a slightly softer look to the freeze frame.

n For more information on these options, see “Traditional Motion Effect Parameters” on
page 362.

2. Do one of the following:

t To map to a button, open the Tool palette.
For information on opening the Tool palette, see “Using the Tool Palette” in the
Help.
t To map to a key, open the Keyboard palette by double-clicking Keyboard in the
Settings scroll list of the Project window.
3. Select Tools > Command Palette.
The Command palette opens.
4. Select Menu to Button Reassignment.
5. Do one of the following:
t To map to a button, click a blank button in the Tool palette.
t To map to a key, click a blank key in the Keyboard palette.
6. Select Clip > Freeze Frame.
7. Do one of the following:
t Select a preconfigured duration.
t If you want to type a custom duration when you create a freeze frame using the
button or key, select Other.
The Avid editing application maps the Freeze Frame menu command to the button or
key.
8. Close the Command palette.

168
 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.

To create a rolling clip that freezes:

1. Edit the clip into the sequence.
2. Mark an IN point in the sequence at the frame where you want the freeze frame to occur.
3. Create the Freeze Frame effect from the source footage as described in “Creating a
Freeze Frame” on page 166.
4. In the Tool palette, click either the Splice-in button or the Overwrite button to edit the
freeze frame into the sequence at the previously marked IN point.
For information on opening the Tool palette, see “Using the Tool Palette” in the
Help.

When you play the sequence, the footage plays full-motion and then freezes at the chosen
frame.

Creating a Variable Speed Effect

Variable Speed effects involve changing the rate of playback to achieve fast-motion or slow-
motion effects. The 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.

To create a Variable Speed effect:

1. (Option) If you require a fixed duration for the clip based on a segment in the sequence,
mark the segment in the Timeline with IN and OUT points.
2. (Option) If you want to use only part of the source clip for the motion effect, mark IN
and OUT points in the Source monitor.
3. In the Source monitor, click the Motion Effect button.
The Motion Effect dialog box opens.

169
Chapter 6 Creating and Customizing Motion Effects

Variable Speed
option

4. Select the Variable Speed option.

5. 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.
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 Fit To Fill to automatically set the Variable Speed parameters so that the
duration of the motion effect will match the IN to OUT duration marked in the
Composer monitor.
To create similar effects, see the following:
- The Trim to Fill effect in “Using Timewarp Effects” on page 175.
- “Using the Fit to Fill Button” on page 172
When you set one of these, all values change to reflect the specified play rate.
6. (Option) If Original Preference is set as the Motion Effects Render Using option in the
active Render setting, select one of the following four available options:
- Duplicated Field — The Avid editing application creates the effect using one field.
- Both Fields — The Avid editing application creates the effect using both fields.

170
 Creating Traditional Motion Effects

- Interpolated Field — The 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 — The 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 “Traditional Motion Effect Parameters” on
page 362.

7. (Option) If a specific motion effect type is set as the Motion Effects Render Using
option in the active Render setting, The 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. For example, the following illustration
shows that Both Fields has been selected as the active Render setting.

If you want to override the Render setting, click the Ignore Render Setting check box,
and then select one of the four options.
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 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 bin for the effect.
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.

171
Chapter 6 Creating and Customizing Motion Effects

Using the Fit to Fill Button

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 is located on the Edit tab of the Command palette. This button
performs an overwrite edit and uses a motion effect to fill the marked duration in the
Timeline. When you click the Fit to Fill button, the Avid editing application automatically
creates a motion effect using the clip in the Source monitor. The application 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 Settings 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 when you click the Fit to Fill button.

To create similar effects, see the following:

• The Fit to Fill check box on the Motion Effect dialog box in “Creating a Variable Speed
Effect” on page 169.
• Trim to Fill effect in “Using Timewarp Effects” on page 175.

Creating a Strobe Motion Effect

Strobe motion results in a stuttering effect during playback of a clip. You determine the
degree of the “stutter” when you create the effect.

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 Variable Speed Effect” on
page 169.

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. In the Source monitor, click the Motion Effect button.
The Motion Effect dialog box opens.

172
 Creating Traditional Motion Effects

Strobe Motion option

3. Select the Strobe Motion option.

4. Specify the update rate in frames for the Strobe Motion effect. For example, a rate of 5
causes every fifth frame to be held for five frames before updating in the Strobe Motion
effect.
5. (Option) If Original Preference is set as the Motion Effects Render Using option in the
active Render setting, select one of the following four available options:
- Duplicated Field — The Avid editing application creates the effect using one field.
- Both Fields — The Avid editing application creates the effect using both fields.
- Interpolated Field — The 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 — The 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 “Traditional Motion Effect Parameters” on
page 362.

173
Chapter 6 Creating and Customizing Motion Effects

6. (Option) If a specific motion effect type is set as the Motion Effects Render Using
option in the active Render setting, the 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, click the Ignore Render Setting check box, and then select one of the four
options described in step 5.
7. Complete the effect by doing one of the following:
t Click Create to create the new clip and close the dialog box. Another dialog box
asks you to select the 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 bin for the effect.

n You must render a Strobe Motion effect to play it back in real time. If you do not render a
Strobe Motion effect when you first create it, the effect will play back as filler until you
render it.

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.

Considerations for Motion Effects in 24p or

25p Projects
Motion effects created in 24p or 25p 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 24p or 25p projects.
• The application always uses complete progressive frames to create 24p or 25p motion
effects since there are no fields in 24p or 25p material. There are no two-field rendering
options available in the Motion Effect dialog box when you are working in a 24p or 25p
project.

174
 Using Timewarp Effects

• The application creates motion effects by duplicating or eliminating frames to speed up

or slow down the motion. Since 24p or 25p motion effects use only 24 frames per
second, 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%).
• 24p or 25p motion effects might look slightly different from interlaced motion effects
because of the way the application handles 24p or 25p material. For more information,
see “Working with Effects in 24p or 25p Projects” on page 33.

Using Timewarp Effects

The Timewarp effect category contains preset effects with which you can vary the speed
during the clip. The following effects are available:
• 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 will be the last frame of the motion effect.
• 50 % Speed — plays at a constant 50% speed.
• FluidFilm 2:3 Cadence— allow you to create a film look from interlaced video sources.
This effect takes interlaced sources and creates the look of progressive frames with 2:3
pulldown.
• FluidFilm Progressive — allow you to create a film look from interlaced video sources.
This effect takes interlaced sources and creates the look of progressive frames.
For more information on using the FluidFilm templates, see “Using the FluidFilm
Templates” on page 176.
• Trim to Fill — plays at a constant speed. You can adjust the speed by entering Trim
mode and trimming the effect.
• Reverse Motion — creates a reverse motion effect at 100% speed.
• Speed Boost — starts out at half speed, reaches approximately double speed at the
midpoint, and returns to half speed at the end
• Speed Bump — starts out at full speed, slows to approximately half speed at the
midpoint, and returns to full speed at the end

Unlike traditional motion effects, you can apply these effects directly to the clips in a
sequence. The effects in the Timewarp category are built from the Timewarp effects used by
Media Composer® Adrenaline™.

175
Chapter 6 Creating and Customizing Motion Effects

You cannot modify these effects but you can change the way that the system renders the
effect by selecting options in the Render Settings dialog box. The Blended Interpolated and
Blended VTR rendering options create a smoother effect than the traditional motion effects.
See “Creating and Using Render Settings” on page 131.

n The FluidFilm preset effects use rendering software that is optimized for the effect. They do
not use the rendering options that are set in the Render Setting dialog box.

For reference information on each of the effects, see “Timewarp” on page 500.

Using the FluidFilm Templates

This section covers two common uses of the templates.

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, apply the FluidMotion effect to the clips
individually. 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.

176
 Chapter 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 the following
sections — build on the procedures for creating single-layer effects. For more information
on creating single-layer effects, start with “Applying Effects” in the Help.
• Creating Key Effects
• Working with Imported Graphics and Animation
• Nesting Effects
• Submaster Editing
• Performing a Video Mixdown

Creating Key Effects

Your Avid editing application supports the following key effects:
• Chroma Key and RGB Keyer — Replaces one part of the video image with another
video image based on color
• Luma Key — Replaces one part of the video image with another video image based on
luminance (brightness)
• Matte Key — 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

Using the Chroma Key Effect and the RGB Keyer Effect
This section describes how to use the two chroma key effects available in your Avid editing
application, the Chroma Key effect and the RGB Keyer effect.
Chapter 7 Creating Layered and Nested Effects

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 parameters.

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

Before After

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.

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.

To create a Chroma Key effect or an RGB Keyer effect:

1. Create a sequence with two video layers.
2. Edit the background image onto track V1.
3. Edit the foreground image onto track V2.
4. Open the Effect Palette by doing one of the following:
t In the Project window, click the Effects tab.
t Select Tools > Effect Palette.
5. Click the Key category.
178
 Creating Key Effects

6. Drag either the Chroma Key Effect icon or the RGBKeyer 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

The Avid editing application adds the effect to the Timeline. Ultimatte ® blue is the
default key color.
7. Move the position indicator to the segment containing the effect in the Timeline, and
select Tools > Effect Editor.
The Effect Editor opens and displays parameters for adjusting the effect.
8. Open the Key parameter category (Chroma Key effect) or the Key Color parameter
category (RGB Keyer).
Ultimatte blue is the default key color. 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) In the Key parameter category or Key Color parameter category, click the
Color Preview window to display the eyedropper icon, and then drag the eyedropper to a
representative region of the background screen in the Composer monitor.

Color Preview window

The Avid editing application keys off the primary key color, and the key takes effect.
10. Fine-tune the key by enabling additional parameter categories and adjusting sliders as
necessary:
- For more information, including descriptions of Secondary Key and Spill
Suppression parameters, see “Key Parameters” on page 356.
- For more information on using post-key correction with the RGB Keyer, see “Using
Post-Key Color Correction” on page 180.

179
Chapter 7 Creating Layered and Nested Effects

Using Post-Key Color Correction

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 “RGB Keyer Effect” on
page 178.
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 “Color Correction” on page 361.

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 on creating and editing a sequence, see “First Edits” and “Using the
Timeline” in the Help.
2. Edit the background image onto track V1.
3. Edit the foreground image onto track V2.
4. Open the Effect Palette by doing one of the following:
t In the Project window, click the Effects tab.
t Select Tools > Effect Palette.
5. Click the Key category.
6. Drag the Luma Key Effect icon from the Effect Palette to the segment on track V2.
7. Use the eyedropper or the Luma Key sliders to select a brightness value in the
foreground video.
The Avid editing application replaces the corresponding portions of the foreground
video with background video. For an example, see “Luma Key” in the Help.

180
 Creating Key Effects

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 material you use as the matte might be an imported graphic, or it might be a clip from
available footage that you have adjusted with the Color Effect to maximize contrast. For
more information, see “Using the Color Effect to Prepare a High-Contrast Image” on
page 182.

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 on creating and editing a sequence, see “First Edits: Baasics” and
“Using the Timeline: 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 Avid
editing application.

n If the image does not have an alpha channel for keying the graphic over video, use the
procedure described in “Editing with Imported Master Clips” on page 184 to edit the image
onto track V3.

n If the image is not high enough in contrast, you can adjust the contrast by applying the Color
Effect and adjusting its parameters in Effect mode. For more information, see “Using the
Color Effect to Prepare a High-Contrast Image” on page 182.

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

t In the Project window, click the Effects tab.
t Select Tools > Effect Palette.
6. Click the Key category.

181
Chapter 7 Creating Layered and Nested Effects

7. 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 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.
8. 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.
9. Move the position indicator to the Matte Key effect, and render the effect.

n For an example of a Matte Key effect, see “Matte Key” on page 440.

Using the Color Effect to Prepare a High-Contrast Image

This section describes how to enhance high-contrast images for use in creating Matte Key
effects.

To create a high-contrast image from available footage:

1. Apply the Color Effect to the clip, and open the Effect Editor.
The Color Effect is in the Image category in the Effect Palette.
2. Drag the Clip slider under Luma Adjust to 255.
3. Drag the Sat (saturation) slider under Chroma Adjust to –100 to remove all color
saturation from the image.
4. Adjust the Cont (contrast) and Bright (brightness) sliders under Luma Adjust until you
achieve the right degree of contrast.
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 181.

Black portions of the high-contrast image will be transparent, and white portions will be
opaque. To switch the order, click Invert Key in the Foreground parameter category of the
Matte Key effect. For more information, see “Foreground” on page 317.

n 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 183.

182
 Working with Imported Graphics and Animation

Working with Imported Graphics and Animation

This section describes two different approaches to editing with imported graphic images,
depending upon whether:
• The image was imported as a Matte Key clip with an alpha channel (a keyable graphic
element for video overlay).
• The image was imported as a master clip with no alpha channel (an opaque graphic
element).

Matte Key clip with

alpha channel

Graphic master clip

with no alpha channel

These alternatives apply to both single-frame graphic images and animation. In addition,
you can edit imported images into sequences using Avid effects.

n 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, start with “Importing Files: Basics” in the Help.

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.

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.

183
Chapter 7 Creating Layered and Nested Effects

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.
5. Drag the Matte Key clip from the Source monitor onto the upper track (V3 in this
example).
The Avid editing application keys the graphic over the video on the lower tracks.
In the following example, the graphic appears on track V3 above the main video
sequence edited onto tracks V1 and V2.

Matte Key graphic keyed over video

6. Adjust effect parameters in the Effect Editor, if necessary, using procedures described in
“Using the Effect Editor” on page 57.

n If the keyed portions of the images are the reverse of the intended effect, click Invert Key in
the Foreground parameter category. For more information, see “Foreground” on page 317.
Use the standard effect editing procedures to preview, render, or play the Matte Key clip.

n Make sure the Record Track Monitor button for the topmost track is selected in the Track
Selector panel to see the complete effect.

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
section.

To edit an imported master clip into the sequence:

1. Double-click the graphic clip icon to open a Source monitor.
2. Create a sequence in the Timeline.
3. 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.

184
 Nesting Effects

4. In the Composer monitor, mark an IN point where you want to edit the graphic clip into
the sequence.
5. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below
the Timeline.
6. Drag the clip to the Timeline 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.
7. Play the clip, using the standard playback procedures.

Nesting Effects
You can use the Avid editing application to 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, perform a series of editing
operations, and then 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

You can edit up to 24 video track layers, depending on your Avid editing application. Into
each layer of video, you can nest (stack inside) up to four additional video tracks. You can
also step into each video track indefinitely, constrained only by your system’s memory.

n Nested effects must be rendered in order to play back correctly.

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.
Also, nesting effects are not applicable to audio tracks.

n Some effects do not work well with each other when nesting. 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.

185
Chapter 7 Creating Layered and Nested Effects

Another use of nesting is to constrain one effect using another effect. For example, you can
use the Circle Wipe effect to constrain an image posterization inside a region.

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.

To expand a nested effect, do one of the following:

t Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below
the Timeline, and then double-click the nested effect to expand the effect within the
Timeline.
t With the Effect Editor open, 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.

Stepping Into and Out of Nested Effects

You can step into an existing nested effect for editing. When you step into the effect, the
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 186.

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 toolbar, and are also
available in the Command palette. For more information, see “Customizing Timeline Views”
and “Using the Command Palette” in the Help.

186
 Nesting Effects

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.

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

187
Chapter 7 Creating Layered and Nested Effects

Changing the Order of Nested Effects

When you use advanced keyframes with nested effects, you can change the order of nested
effects by manipulating the Nesting Priority icons that appear in the Effect Editor.

If the effect you are editing has nested tracks, the effect icon and name of each nested effect
appears in the Effect Editor. A Nesting Priority icon appears in line with each effect name.
Click this icon, and drag it to a new position to reorder the effects.

Nesting Priority icon

To change the order of nested effects:

1. Click the Nesting Priority icon of the effect you want to move.
The pointer changes to a hand, and a white outline appears around the selected effect.

2. Drag the outline above the effect you want to have nested inside the selected effect, or
below the effect inside which you want the selected effect to nest.

188
 Nesting Effects

3. Release the mouse button.

The effects move to their new locations, and the Effect Editor display changes to reflect
the new nesting.

Note the following considerations about the display and manipulation of nested effects:
• You can change the nesting order only when the nested effects have the same number of
internal tracks.
• The Effect Editor does not display layered components of a nested effect.
• If there is no effect on the foreground track (V1.2, for example), then the Effect Editor
looks for a nested effect on the next track stepping in (V1.3, V1.4, and so forth). The
Effect Editor identifies the first track with an effect as the foreground track. Effects on
subsequent tracks are identified as part of the nested effect.
• The Effect Editor does not display nested effects when the foreground track has an add
edit.

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.
2. Load a high-contrast image into the Source monitor, and edit it onto track V2 as
described in “Editing with Imported Master Clips” on page 184.
For an example of a high-contrast image, see “Matte Key” on page 440.

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

t In the Project window, click the Effects tab.
t Select Tools > Effect Palette.
4. Click the Key category.

189
Chapter 7 Creating Layered and Nested Effects

5. Drag the Matte Key Effect icon from the Effect Palette to the segment on track V2.
6. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below
the Timeline.
7. 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).

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.
8. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) again to
leave Segment mode.
You can now edit the nested tracks.
9. Edit the foreground image onto nested track 1.1.
10. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below
the Timeline, and then double-click track V2 to collapse the nested tracks.
11. 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 an example of a Matte Key effect, see “Matte Key” on page 440.

190
 Submaster Editing

Submaster Editing
The Submaster effect is in the Image category of the Effect Palette. When you render this
effect, the 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, 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 four tracks inside a Submaster effect.

n An edit decision list (EDL) for a sequence that contains a Submaster effect represents the
contents of the Submaster as a single cut. To work around this, you can create a new
sequence with the contents of the Submaster 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. The Avid editing
application renders the composite result of all tracks into the top track.

n 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.

n 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, you cannot delete or
modify a track below a Submaster effect or it becomes unrendered.

191
Chapter 7 Creating Layered and Nested Effects

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), use the Add Edit button in the Tool palette
to create one add edit before and another after the group of clips to be submastered.

Add edit marks on new track V5; bracket clips on track V4

For information on opening the Tool palette, see “Using the Tool Palette” in the Help.
3. Open the Effect Palette by doing one of the following:
t In the Project window, click the Effects tab.
t Select Tools > Effect Palette.
4. Click the Image category.
5. Drag the Submaster Effect icon to the space between the add edits you added on the new
track (V5 in this example).
The Avid editing application applies the effect above the layers.

Submaster effect on track V5

6. Render the Submaster effect, as described in “Rendering Effects” on page 131.

192
 Submaster Editing

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, use the Add Edit button in the Tool palette to create one add edit
before and another after the group of clips.
For information on opening the Tool palette, see “Using the Tool Palette” in the Help.
3. Open the Effect Palette by doing one of the following:
t In the Project window, click the Effects tab.
t Select Tools > Effect Palette.
4. Click the Image category.
5. Drag the Submaster Effect icon to the space between the add edits you added on the new
track.
6. Render the Submaster effect, as described in “Rendering Effects” on page 131.

n If you alter or move either the Submaster segment or the clips below it, the effect becomes
unrendered. You must render it again.

Collapsing Layers into One Submaster Effect

You can use the Collapse feature to build a multilayer effect and then nest the effect within a
single Submaster effect in one step.

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.

193
Chapter 7 Creating Layered and Nested Effects

After the tracks are collapsed into a Submaster effect, the Avid editing application
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 over another background.

To collapse multiple layers into one Submaster effect:

1. Select all the tracks you want to collapse. The tracks must be adjacent.

Selected tracks

2. Mark an IN point and an OUT point around the area to be collapsed.

3. In the Tool palette, click the Collapse button.
For information on opening the Tool palette, see “Using the Tool Palette” in the Help.
The Avid editing application collapses the tracks into a Submaster effect on a single
track.

194
 Performing a Video Mixdown

To open the nested tracks again:

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

To collapse a sequence (alternative procedure):

1. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below
the Timeline.
2. Select the segments you want to collapse.
3. Click the Collapse button.

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). It can be useful for a
complex sequence you need to use repeatedly or if you want to add a motion effect to an
entire sequence.

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 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 step into the
sequence or separate the tracks to work on them.

195
Chapter 7 Creating Layered and Nested Effects

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.
2. Mark an IN point and an OUT point around the area to mix down.
3. Select Clip > Video Mixdown.
The Video Mixdown dialog box opens.

4. Select a target bin and a target drive for storing the new master clip, and then click OK.
A progress indicator appears, showing the progress of the video mixdown. When the
video mixdown is completed, a new clip appears in the bin along with the sequence, and
a new media file is created on the target drive.

196
 Chapter 8
Working with Camera Effects

This chapter describes two effects with which you can control apparent camera movement.
You use the Region Stabilize effect to stabilize a clip that exhibits unwanted motion, such as
motion from an unstable camera. You use the Avid Pan and Zoom effect on an imported
graphic image to simulate a camera’s motion (pan) and magnification (zoom) over the field
of view.
• Using the Region Stabilize Effect
• Using Avid Pan & Zoom

Using the Region Stabilize Effect

The Region Stabilize effect eliminates unwanted motion in a video clip, such as motion from
an unstable camera.

Region Stabilize allows you to select an area of the image that you want to remain stationary
and then uses the information to reposition each frame in the clip to keep the region steady.

Stabilization exposes black around the edges of the repositioned frames. You can resize
(and, if necessary, reposition) the rendered clip to remove the exposed edges. Auto Zoom, in
the Options parameter category, does this automatically.

Stabilizing an Image
The following illustration shows the Region Stabilize parameters.
Chapter 8 Working with Camera Effects

To stabilize a segment:
1. Open the Effect Palette by doing one of the following:
t In the Project window, click the Effects tab.
t Select Tools > Effect Palette.
2. Click the Image category.
3. Drag the Region Stabilize Effect icon to the segment you want to stabilize.
4. Select Tools > Effect Editor.
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.

198
 Using the Region Stabilize Effect

6. Click the Model Fast Menu button, and select the type of stabilization:
- Translational keeps the region of interest steady along both the horizontal and the
vertical axis.
- 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.
7. (Option) To turn on Auto Zoom, open the Options parameter category and click the
Auto Zoom button.
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) If your footage was captured as or converted to progressive footage (is not
interlaced), open the Options parameter category and click the Progressive Source
button.
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.

n 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 of Interest” on page 200.
10. (Option) Add keyframes to further refine the motion of the stabilized clip.
For more information, see “Working with Keyframes” on page 75.
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.

199
Chapter 8 Working with Camera Effects

Making Adjustments to the 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. Something 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.

When you encounter unexpected results in a rendered Region Stabilize effect clip,
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.

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, create a segment as a placeholder for your image, apply the effect to the
placeholder segment, and then from within the Effect Editor import the image into the
segment.

n You import the image for the Avid Pan & Zoom effect after you apply the effect to a
placeholder segment in your sequence.

200
 Using Avid Pan & Zoom

The following sections describe how to apply the Avid Pan & Zoom effect and how to
customize the effect using the Avid Pan & Zoom parameters.
• Working with Image Files
• Applying the Avid Pan & Zoom Effect
• Viewing the Image While You Work
• Adjusting the Field of View
• Using Velocity In and Velocity Out
• Setting the Path Parameter
• Options for Rendering the Avid Pan & Zoom Effect
• Selecting the Background
• Advanced Parameter Category
• Memory Management with the Avid Pan & Zoom Effect

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.

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 “Advanced
Parameter Category” on page 210.

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.
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” on page 210.

n You cannot use filler in the placeholder segment.

201
Chapter 8 Working with Camera Effects

2. Enter Effect mode by selecting Toolset > Effects Editing.

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. Click the Other Options button.

A file selection dialog box opens.
6. Navigate to the file containing your image, and click OK.
The 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 201.

202
 Using Avid Pan & Zoom

n 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
sections:
- “Viewing the Image While You Work” on page 203
- “Adjusting the Field of View” on page 204
- “Using Velocity In and Velocity Out” on page 205
- “Setting the Path Parameter” on page 207
- “Options for Rendering the Avid Pan & Zoom Effect” on page 209
- “Selecting the Background” on page 210
- “Advanced Parameter Category” on page 210

Viewing the Image While You Work

The Display Fast menu lets you select how you view the image as you work on it.

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 “Options for Rendering the Avid Pan & Zoom Effect” on
page 209.

The Show Action Safe button in the Display Options parameter category controls the display
of the Safe Action area. If your material will be viewed on screens with limited viewing
areas, such as standard televisions, you can use the Show Action Safe option to provide a
visual guideline in the Effect Preview monitor that replicates the actual viewable area on a
standard television screen.

203
Chapter 8 Working with Camera Effects

Adjusting the Field of View

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. You control zoom with the Zoom Factor slider in the Size parameter category. You
control pan by either dragging the crosshair across the image or using the X and Y Position
parameters.

Field of view rectangle

Safe Action area

Crosshair

For information on the Safe Action area, see “Viewing the Image While You Work” on
page 203.

Zooming Into and Out Of the Source Image

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 effect scales down the image to one-tenth the original. At 1, the effect applies no
magnification to the source 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.

204
 Using Avid Pan & Zoom

Scaled image using Source Display mode Scaled image using Target Display mode
Field of view rectangle

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.

Panning Over the Source Image

You can use click-and-drag techniques to easily create a rough path, and refine it with the X
and Y Position parameters.

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.

Using Velocity In and Velocity Out

You control the rate of change for apparent camera movement at each keyframe using the
Velocity parameter category.

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

205
Chapter 8 Working with Camera Effects

the first and last keyframes respectively. Velocity is a keyframeable parameter and it gives
you more options than does Acceleration. For a description of all the Velocity parameter
options, see “Velocity” on page 304.

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)

Procedures for setting a simple ease in and ease out, and for setting a constant speed for an
effect, are described in the following sections.

Using Ease In and Ease Out

With the Avid Pan & Zoom effect, most of the time you probably want to ease in only on the
first keyframe and to 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.

206
 Using Avid Pan & Zoom

Creating a Path with Constant Velocity

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 “Setting the Path Parameter” on page 207.

To create a path with constant velocity:

1. Create an Avid Pan & Zoom effect using the procedure in “Applying the Avid Pan &
Zoom Effect” on page 201.
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.

Setting the Path Parameter

The Path parameter controls how the Avid Pan & Zoom effect interpolates Position
parameter changes at keyframes.

207
Chapter 8 Working with Camera Effects

• Linear interpolation creates straight-line changes from one keyframe to the next.

Linear interpolation
8

The line represents the path of

the effect over time. The numbers
7
3 at each angle represent
1 keyframes, numbered 1 through
5 8, indicating where the direction
of the path changes.
2
Note how the path changes
direction abruptly at each
keyframe.
6

• Spline interpolation smooths out changes at keyframes to create a more natural

movement.

Spline interpolation
8

The line represents the path of

the effect over time. The numbers
7
3 at each angle represent
1 keyframes, numbered 1 through
5 8, indicating where the direction
of the path changes.
2
Note how the path smooths out at
each keyframe.

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.

208
 Using Avid Pan & Zoom

Options for Rendering the Avid Pan & Zoom Effect

The rendering option you choose for the Avid Pan & Zoom effect determines the quality of
the rendered result.

n The image quality of the effect in the final output is dependent 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.

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.

The following list ranks the Filtering options from fastest render and lowest quality image to
slowest render and highest quality image:
• 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 has slightly sharper images than Triangle filtering.
• Cubic results in sharper images than Quadratic filtering although they are still fairly
soft.
• B-Spline Catmull. When you use this option and shrink an image (zoom out) by a large
amount, the result is similar to that produced by Cubic filtering. 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).
- 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).

If you are working in a progressive project, (23.976p, 24p, 25p), click the Progressive check
box in the Render Mode parameter category. Selecting this option creates a smoother
animation when using progressive frames.
209
Chapter 8 Working with Camera Effects

Selecting the Background

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.

To set the background:

1. Click the Background Fast Menu button, and select Color or Video.
- 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, set the background color using one of the following
methods:
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.
t Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 65.

Advanced Parameter Category

The Advanced parameter category provides controls to compensate for differences in pixel
shape between source and output, and to select input color levels.

Pixel Types in the Source and 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.

Source Has Square Pixels is enabled by default. The Avid Pan & Zoom effect makes the
calculations necessary to produce results compatible with rectangular pixels.

When you deselect Source Has Square Pixels, the Avid Pan & Zoom effect makes no
changes to the pixel shape but does apply the aspect ratio in effect for the project.

210
 Using Avid Pan & Zoom

Color Levels for Avid Pan & Zoom

The Level setting tells the effect how to treat the color levels in the image.
• RGB is for images with a black level of 0 and a white level of 255. Most images you
import into the Avid Pan & Zoom effect (except those from a video source) use RGB
values. The effect maps colors to video black and white levels, which are 16 and 235
respectively. RGB is the default Level setting.
• 601 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.

Memory Management 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 the 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.
• 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 — The Cache All settings are shortcuts for setting the same parameter for all
instances of the effect in a sequence. The descriptions are the same as above.
• Free All Caches — Frees the caches for all instances of the plug-in in that sequence.

211
Chapter 8 Working with Camera Effects

212
 Chapter 9
Working with 3D Effects

This chapter describes procedures for creating and manipulating 3D effects.

• Using Xpress 3D Effects
• Accessing 3D Effects in the Effects Palette
• Promoting 2D Effects to 3D Effects
• Creating a Matte Key for Use with 3D Effects
• Understanding the 3D Effects Interface
• Applying 3D Effects: Examples

Using Xpress 3D Effects

You use the Xpress 3D Effects category to create 3D effects. Xpress 3D effects provide a fast
way to apply basic 3D effects to your sequence, without having to make custom adjustments.
For example, the 3D Page Fold effect automatically creates a page fold effect when you
apply it. You can further adjust Xpress 3D effects in the Effect Editor.

n You can also create 3D effects by promoting some kinds of 2D effects, including matte keys.
For more information, see “Promoting 2D Effects to 3D Effects” on page 215.

The Xpress 3D Effect category contains the following effects:

• 3D Ball
• 3D PIP
• 3D Page Fold
• 3D Slats

The Xpress 3D effects are completely compatible with other Avid editing applications that
are equipped with the 3D Effects option. As a result, you can move sequences containing
Xpress 3D effects between Avid applications.
Chapter 9 Working with 3D Effects

n If you plan to move sequences between other Avid editing applications (such as Avid Media
Composer Adrenaline) and Avid Xpress Pro, don’t use another editing application to
promote Xpress 3D effects to 3D Warp effects. 3D Warp effects are not recognized on Avid
Xpress Pro systems.

Accessing 3D Effects in the Effects Palette

You can access the 3D Effects features through the Xpress 3D Effect category in the Effect
Palette as shown in the following illustration.

3D Effect icons

3D Effect category

To apply an Xpress 3D effect from the Effect Palette:

1. On left side of the Effect Palette, click the Xpress 3D Effect category.
2. Select the effect you want from the list in the right side of the Effect Palette.
3. Apply the effect by double-clicking the effect icon or dragging the effect icon to the
Timeline as you would any other effect.
For more information, see “Applying Effects From the Effect Palette” in the Help.

214
 Promoting 2D Effects to 3D Effects

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

With some Avid editing applications, you can use 2D effects as building blocks for 3D
effects. For example, if you have a 2D Picture-in-Picture effect, you can add 3D features like
3D borders, drop shadow, page curls, smooth curve movement, and rotation. You can also
promote a Title effect created with the Title tool to a 3D effect. For informaton on creating a
2D Title effect, start with “Main Topics: Working with Titles: Basics” in the Help.

The following rules and restrictions apply to promoting effects to 3D:

• Some software-based effects cannot be promoted to 3D.
• You cannot demote a 3D effect to a 2D effect. If you play a 3D effect on a system that
does not have 3D hardware, the effect plays as a cut (unless the effect was rendered on
the 3D system). However, you can reapply the 2D effect.
• All effects that were real-time in 2D are still real-time when you promote to 3D.

You can promote the following 2D effects to 3D effects:

• Titles
• Picture-in-Picture effects
• Imported matte keys

To promote a 2D effect or title to a 3D effect:

1. Select Tools > Effect Editor.
The Effect Editor opens.
2. Click the effect icon in the sequence to select it.
3. In the Effect Editor, click the 3D Promote button.

215
Chapter 9 Working with 3D Effects

Creating a Matte Key for Use with 3D Effects

A matte key is an effect made up of three components:
• High-contrast image or matte
• 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)

n For more information on Matte Key clips, see “Creating a Matte Key Effect” on page 181.

You can promote real-time 2D Matte Key effects (graphics imported with an alpha channel)
to 3D effects 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.
The 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®.
2. Edit the Matte Key clip into your sequence as an overlay.

2D Matte Key title import

3. Ensure that Render On-the-Fly is enabled (displays a check mark in the Clip menu) so
you can see the matte key as you are working with it.
4. Promote the Matte Key clip to a 3D effect as explained in “Promoting 2D Effects to 3D
Effects” on page 215.
5. Select Tools > Effect Editor to open the Effect Editor, and apply changes to additional
parameters to achieve the effect you want.
In this example, the 3D Slats effect was selected and adjusted in the Shape category to
make the top and bottom elements of the title slide across in opposite directions.

216
 Understanding the 3D Effects Interface

Final 3D Matte Key title

graphic: 3D Slats in the
Shape category was used to
make the top and bottom
titles slide across in opposite
directions.

Understanding the 3D Effects Interface

This section provides basic information for using the 3D effects parameters and the Effect
Preview monitor and controls.

Moving in 3D Space
You do not need to use a lot of math to create most 3D effects, but you do need some basic
understanding of degrees of motion and geometry, as described in this section.

n Moving objects in 3D space requires an understanding of each of the 3D effect parameters

and their correct order in the effects parameters hierarchy. For more information, see
“Working with 3D Effects Parameters” on page 219.

The 3D Coordinate System

In sections that discuss 3D effects, 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.

217
Chapter 9 Working with 3D Effects

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

Rotation Axes

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.

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

218
 Understanding the 3D Effects Interface

The following illustration shows several rotation examples.

0 degrees

+45 degrees

A
A

–45 degrees

A
A

+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.

Working with 3D Effects Parameters

The following sections 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 “3D Effects
Reference” on page 511.

n Manipulating 3D effects parameters requires a basic understanding of degrees of motion

and the system of geometry used in your Avid editing application’s 3D effects interface. For
more information, see “Moving in 3D Space” on page 217.

Accessing 3D Effects Parameters

To access the 3D effects parameters:

1. Drag the effect icon onto a clip in the Timeline.
For more information, see “Applying Effects From the Effect Palette” in the Help.
2. Move the position indicator to the 3D effect’s icon in the Timeline.

219
Chapter 9 Working with 3D Effects

3. Select Tools > Effect Editor.

The Effect Editor opens and displays the parameters for the 3D effect you applied.

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

Manipulating 3D Effects Parameters

As in 2D effects, 3D effects parameters are grouped in collapsible panes. Each parameter

pane represents a specific type of manipulation, called a category, that you can apply to an
image. You can apply category adjustments either individually or in combination.

Parameter
categories

Basic manipulation of the parameter panes, sliders, and buttons is identical to that of 2D
effects parameters. For more information, see “Using the Effect Editor” on page 57.

Using the Default Keyframe Parameter Values

All 3D effects, except for the 3D PIP effect, contain default values for the first and last
keyframes. These values consist of commonly used values for the effect.

220
 Understanding the 3D Effects Interface

To use the effect’s default keyframe values:

1. Apply the 3D effect to a clip in the Timeline.
2. Select Tools > Effect Editor.
The Effect Editor opens.
3. Play the effect and experiment with changing the parameter values.

Use the default examples either as segment effects or as transition effects. For example:
1. Create a video sequence with two layers.
2. Apply the 3D Page Fold effect to the top layer.
3. Experiment with the parameters.
4. Add additional keyframes and use different values at different keyframes.
For more information, see “Working with Keyframes” on page 75.

Resetting Default Parameter Values

To reset the parameters for a category to their default values:

t Alt+click the Enable button.

Enable button

This operation affects only selected keyframes.

n This method works only for 3D effects and AVX plug-in effects.

Using Effect Templates

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 pane 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” on page 72.

221
Chapter 9 Working with 3D Effects

Zooming In or Out on the Effect Preview Monitor

Because you can move the edges of a 3D effect outside the enclosing frame, the 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 In the Effect Editor, use the Enlarge and Reduce buttons.

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” on page 67.

Manipulating 3D Effect Handles

Various 3D effect handle buttons appear along the right side of the Effect Editor, depending
upon the type of 3D effect that you apply to the sequence. The 3D PIP effect displays all the
buttons, allowing you the greatest degree of manipulation. You determine the direction and
type of manipulation performed in the Effect Preview monitor by selecting one of the image
manipulation buttons on the Effect Editor.

For more information on these 3D manipulations, see “3D Effects Parameters” on page 511.

Crop
Scale
Axis

Z Rotation
X Rotation
Y Rotation
XY Position

222
 Understanding the 3D Effects Interface

To manipulate a 3D effect handle in the Effect Preview monitor:

1. Click one of the image manipulation buttons on the Effect Editor to activate the specific
handles.
2. Click the handles, and drag them to manipulate the image.
3. Click the image manipulation button a second time to turn off the handles.
The following illustration shows 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

Using the Motion Path Editor

You can display the motion path that a moving effect takes (for example, the path for a
Picture-in-Picture effect as described in “Manipulating Effects Directly” on page 67). The
motion path editor displays the path between keyframes as either a straight line or a smooth
curve.

To see the path an image takes on the screen:

t Click the Outline/Path button.

To switch between a straight line and smooth curve:

t In the Spline category, click the Enable button.
For more information, see “Spline” on page 525.

223
Chapter 9 Working with 3D Effects

Applying 3D Effects: Examples

This section provides two examples of basic 3D effects editing: the first example involves
applying a simple 3D Page Curl effect; the second example describes more advanced
procedures for customizing a 3D PIP effect.

If you need more information while you are trying to complete the examples shown here,
refer to the following sources:
• ”Applying Effects” in the Help, for basic information on effects editing.
• “Understanding the 3D Effects Interface” on page 217 for information on the 3D
interface and moving in 3D space
• “3D Effects Reference” on page 511, for reference information on all 3D effects
parameters and controls
• ”Main Topics: First Edits: Basics” in the Help, for basic information on editing.

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. Examples
of the default shapes are provided in “3D Effects Reference” on page 511.

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 to reveal another page beneath.

The following illustrations show the effect created in this example.

Outgoing video

Page Fold

Incoming video

224
 Applying 3D Effects: Examples

To create the Page Fold effect:

1. Create a sequence with two clips: the outgoing video followed by the incoming video.
2. Open the Effect Palette by doing one of the following:
t In the Project window, click the Effects tab.
t Select Tools > Effect Palette.
3. Click the 3D Effect category, and drag the 3D Page Fold effect to the transition between
the two clips.
4. (Option) Adjust the default parameters for the curl by entering Effect mode and
adjusting the Curl, Radius, and Angle sliders in the Effect Editor. You can also click in
the Transition Effect Duration box in the bottom of the Effect Editor, and type a new
duration.

n This example assumes that you are creating a transition effect centered on the cut between
the incoming and outgoing video. Make sure you leave enough material for the overlapping
portions of the transition when you mark the source material. If you receive an Insufficient
Source message when you apply an effect to the transition, you did not leave enough source
material to create the transition.

Creating a Cropped Foreground Effect

This example shows how to adjust 3D PIP 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.

Top video track (V2) Bottom video track (V1)

Settings for the 3D PIP effect are saved as a

template and then applied to all segments on the
top video track for consistency throughout the
dissolve sequence.

225
Chapter 9 Working with 3D Effects

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 PIP effect to one segment of the top video track.
3. Open the Effect Editor, and then click the segment to display the parameters for the 3D
PIP effect in the Effect Editor.
4. 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

L (left): –999
B (bottom): –600
R (right): 999

Scaling X: 110
Y: 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 65.
Width: 40
Soft: 100

n For a different look, use a drop shadow instead of a

border.

Leave all other categories deselected.

5. Save the parameters as a template by dragging the effect icon from the Effect Editor to a
bin.
6. Apply the template from the bin to the remaining segments on the top track.
7. Render the effects.
8. Click the Play Loop or Play button to preview the effect. The foreground segments play
through smoothly with the same scale, border, and cropping effect against the
background.

226
Chapter 10
Working with Titles

The Title tool enables you to create titles that incorporate text, graphic objects, imported
graphics, and video. This chapter provides advanced information for working with titles,
including graphic objects. Throughout this chapter, the term “title” refers to both text and
graphics.

For basic information on working with titles, see “Main Topics: Working with Titles:
Basics” in the Help.

Your Avid editing application might also include the Marquee® Title tool. You can promote
titles created using the Title tool to Marquee titles. Titles promoted to or created in Marquee
cannot be edited with the Title tool. For information on Marquee titles and the Marquee Title
tool, start with “Using Marquee” in the Help.
• Workflow for Titles
• Understanding the Title Tool Toolbar
• Advanced Title Tool Setup
• Advanced Text Formatting
• Selecting Line Attributes
• Creating Rolling and Crawling Titles
• Selecting Colors and Setting Transparency
• Adjusting Shadows
• Manipulating Objects
• Saving and Recalling Title Styles
• Creating and Using Title Templates
• Exporting a Title as a Graphics File
• Workflow for Editing with Titles
• Restrictions on Title Playback
• Removing Titles
• Replacing Titles
Chapter 10 Working with Titles

• Fading a Title
• Adjusting Title Effect Parameters
• Revising a Title in a Sequence
• Replacing Fill Tracks
• Rendering Titles
• Rendering Fast-Saved Titles
• Re-creating Title Media
• Promoting a 2D Title to 3D
• Troubleshooting Wrong Title Format Errors

Workflow for Titles

The following is an overview of the tasks you perform to create a title and incorporate it into
a sequence:
• Set up the drawing environment. After you open the Title tool, you choose whether to
display a color background or a frame of video from your sequence. You can also use
safe colors or safe title and action guidelines or apply a grid for the placement of
objects.
• Create a new title with the Title tool. You create the title by working with text and
graphic objects and then applying and adjusting borders, colors, transparency, and
shadows.
• Save the title, exit the Title tool, and edit the title into your sequence. When you save
a new title, you select a target drive and a target bin for the title media. You can also save
just the styles for the title for future use. When you close the Title tool, the new title
appears in the bin and in the Source monitor, ready for editing into your sequence.

These basic procedures are described throughout “Working with Titles: Basics” in the Help,
and this chapter.

Understanding the Title Tool Toolbar

At the bottom of the Title tool are tools and pop-up menus you can use for creating and
editing text and objects. They work much like similar tools in other draw and paint
programs.

For a general introduction to the layout of the Title tool, see “Understanding the Title Tool”
in the Help.

228
 Understanding the Title Tool Toolbar

Selection tool
Video Placement tool Color and Transparency Shadow tools
Blend tools
Text tool Drawing tools Text formatting tools

Line attribute Templates

Background Color Selection Transparency Selection
tools button
Selection tools boxes boxes
Styles button and Rolling and Crawling
Save Style Parameter button Title buttons

The following table briefly describes each section of the toolbar and provides links to more
detailed information.

Title Toolbar Elements

Tool 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 in the
Help.

Video Changes the pointer to a hand and allows you to pan around the
Placement tool 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 260.

Save Style Displays the Title Style sheet and allows you to modify it and save
Parameter the changes. For more information, see “Saving a Title Style” on
button page 258.

229
Chapter 10 Working with Titles

Title Toolbar Elements (Continued)

Tool Description

Templates Allows you to create a standard format for text and graphics that you
pop-up menu 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 262.

Line attribute Allow you to change the corners of boxes, line and border thickness,
tools and arrowhead styles. For more information, see “Selecting Line
Attributes” on page 236.

Background Allow you to switch between a video and opaque background and
Selection tools change the color of opaque backgrounds. For more information, see
“Selecting a Background for Titles” in the Help.

Text formatting Allow you to set various text attributes such as font, font size,
tools kerning, and leading. For more information, see “Basic Text
Formatting” in the Help and “Advanced Text Formatting” on
page 233.

Color Selection Allow you to change the color of text and objects. For more
boxes information, see “Selecting Colors and Setting Transparency” on
page 246.

Transparency Allow you to change the transparency levels of text and objects. For
Level boxes more information, see “Setting Transparency Levels” on page 250.

Color and Allow you to create a blend between two colors or two transparency
Transparency values. For more information, see “Blending Two Colors in an
Blend tools Object” on page 247.

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 and “Adjusting Shadows” on page 251.

230
 Advanced Title Tool Setup

Title Toolbar Elements (Continued)

Tool Description

Rolling Title Allows you to create rolling titles. For more information, see
button “Creating Rolling and Crawling Titles” on page 239.

Crawling Title Allows you to create crawling titles. For more information, see
button “Creating Rolling and Crawling Titles” on page 239.

Advanced Title Tool Setup

This section describes some advanced aspects of the Title tool that you can use to set up your
titling or drawing session.

You can make the following basic adjustments:

• Turn anti-aliasing for title display on or off.
For more information, see “Previewing Titles with Anti-Aliasing” in the Help.
• Display Safe Title and Safe Action guidelines.
For more information, see “Displaying Safe Title and Safe Action Guidelines” in the
Help.
• Select a background type for your title.
For more information, see “Selecting a Background for Titles” in the Help.

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 will appear each time a particular user opens the Title
tool.

Installing Fonts
You can apply any font that is installed on your system when creating titles in the Title tool.
For more information on installing fonts, see your system documentation.

When installing and using fonts, consider the following:

• If you want to apply a special font that is not currently on your system, you must install
the font first before creating titles.

231
Chapter 10 Working with 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 your system does not
recognize a font contained in a title, the Font Replacement dialog box opens to enable
you to substitute an alternate font.
• If you are bringing a project from a system on one platform (Windows or Macintosh) to
another on a different platform, you might need to substitute a new font for an existing
font in the project. Windows and Macintosh fonts sometimes differ even when they have
the same name. If your system does not recognize a font contained in a title, the Font
Replacement dialog box opens to enable you to substitute an alternate font.
• If you intend to create titles with font sizes of 128 points or larger, use TrueType® fonts.
Some non-TrueType fonts cannot display consistently at sizes of 128 points or higher.

Using Safe Colors

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 on.

To display only safe colors:

t Select Object > Safe Colors.

Using the Alignment and Snap Grids

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.

You can also snap text and objects to the snap grid. 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.

232
 Advanced Text Formatting

Bringing the Title Tool to the Foreground

If the Title tool becomes obscured by another window, you can instruct your Avid editing
application to redisplay the tool.

To bring the Title tool to the foreground:

t Select Windows > Title Tool.

Advanced Text Formatting

The text formatting tools control the appearance of text.

Text formatting tools

This section provides advanced information on the spacing and justification of text.

You can also make more basic formatting adjustments that affect font, font size, and font
style. For more information, see “Basic Text Formatting” in the Help.

You can also modify the following attributes, which apply to any title objects, whether text
or graphic:
• Color
For more information, see “Selecting Colors” on page 247
• Transparency
For more information, see “Setting Transparency Levels” on page 250
• Drop and depth shadows
For more information, see “Adding Shadows to Title Objects” in the Help, and
“Adjusting Shadows” on page 251.
• Outlines (borders)
For more information, see “Selecting a Line or Border Width” on page 237.

While you type text, only the text color is apparent. Shadows, outlines, and other color
attributes appear when you finish typing the text and click the Selection tool.

233
Chapter 10 Working with Titles

n If you want to create text elements in the title with different appearances, create a separate
text object for each set of attributes.

Adjusting Text Kerning

Kerning improves the appearance of titles by controlling the amount of space between
characters. You can expand or condense the character spacing to make text more readable or
to create special effects, such as dramatically expanded spacing in a title.

The text kerning controls are located beneath the text justification buttons.

Kerning text box and Kerning selection button

You can kern the text for an entire text object, or you can manually kern individual character
pairs or character strings. For example, if you mix italic and plain versions of a font in a title,
you might want to adjust the spacing between characters.

n You can adjust kerning for individual characters or selected groups of characters using the
arrow keys only.

Loose kerning

Normal kerning

Tight kerning

You can use the menu options to select predefined kerning options or specify your own
custom kerning value. Positive numbers increase the spacing; negative numbers decrease the
spacing. You can also use the arrow keys to make incremental adjustments.

n You can select the kerning value before you type text.

234
 Advanced Text Formatting

To adjust kerning manually with the arrow keys:

1. Click the Text tool.
2. Click between a character pair, or select a group of characters to be kerned.
3. Press and hold the Alt key, and use the Left Arrow or Right Arrow key to increase or
decrease the kerning.

To adjust kerning with the predefined sizes in the menu:

1. Select the text.
2. (Option) Click the Kerning selection button, and select Pair Kerning to eliminate
excessive space between some character pairs. Note that pair kerning works only on
fonts that support kerning tables (for example, Palatino).
3. Click the Kerning selection button, and select a kerning option:
- Loose adds space between letters.
- Normal leaves spacing unchanged.
- Tight closes up the spacing between letters.
The Title tool applies the kerning to the entire text object.

To adjust kerning with the text box, do one of the following:

t Click in the Kerning text box, and type a positive or negative numerical value. Values
are a percentage of the point size.
t Click in the Kerning text box, and use the Up Arrow and Down Arrow keys to change
the value incrementally.
The Title tool applies the kerning to the entire text object.

Adjusting Leading
Use leading to adjust the line spacing between lines in a title object.

Leading is measured in points, from baseline to baseline of the lines of text. The Title tool
uses the leading that is built into the font as the default. Positive leading values add space;
negative values decrease space. You might want to add leading for sans serif, tall, or
boldface fonts, and for fonts with a strong vertical emphasis.

Leading text box

235
Chapter 10 Working with Titles

To set leading:
1. Click in the Leading text box.
2. Type the number of points by which to increase (positive) or decrease (negative) the
font’s default leading.
The Title tool adjusts leading immediately.

Justifying the Text

Below the Font Selection menu are the buttons for text justification. Text justification
controls the alignment of text in an existing text object and also when you type text in a new
text object.

Text justification buttons

To justify the text, do one of the following:

t Click the left button to left justify the text.
t Click the center button to center the text.
t Click the right button to right justify the text.

Selecting Line Attributes

Use the line attribute tools to round the corners of a box, select the width of lines and
borders, and add arrowheads to line endpoints.

Line attribute tools

If you do not select an object and you select a line attribute, the Avid editing application
makes that the default for any new objects that you create.

236
 Selecting Line Attributes

Rounding Corners
To round box corners:
1. Select a box.
2. Click the Box Corner button, and do one of the following:
t Select a rounding option.
t Select the custom radius option (the last item on the menu) to open a dialog box and
enter a custom radius.
If you select the Custom Radius option, in the dialog box type a whole number (in
pixels) to specify a custom corner radius and click OK. The maximum radius is 200.

Custom radius option

Selecting a Line or Border Width

You can use the Border Width tool to change the width of lines created with the drawing
tools or to apply a border outline to text or graphic objects.

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 width selections.
t To turn off the border, select the top option on the menu.
t To open a dialog box and enter a custom width, select the Custom Width option (the
last item on the menu).
If you select the Custom Width option, in the dialog box type a whole number (in pixels)
to specify a custom width and click OK. Use a width of 1 or greater for lines and 0 or
greater for object outlines. The maximum width is 200.

237
Chapter 10 Working with Titles

Turns off border

Custom Width option

If you selected a line for modification, the width of the line changes. If you selected an
object for modification, the width of the outline changes.

Text with border

Adding Arrowheads
To add arrowheads to a line:
1. Select a line.
2. Click the Arrowhead button, and do one of the following:
t Select an arrowhead style
t Select the Edit Arrowhead option as described in the following section.

Removes arrowhead

Edit Arrowhead option

238
 Creating Rolling and Crawling Titles

Changing Arrowhead Size

To change the arrowhead size:
1. Select a line.
2. Click the Arrowhead button, and select Edit Arrowhead.
The Arrowhead Size dialog box opens.

Handle

3. 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 scale with the line width.

4. Click OK.
The line changes to show the arrowhead.

Creating Rolling and Crawling Titles

You can create title text or 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 must render the effect to play it.

Rolling titles scroll vertically, moving from bottom to top or top to bottom, as shown in the
following example.

239
Chapter 10 Working with Titles

Rolling titles scroll

from bottom to top
by default.

Crawling titles scroll horizontally, moving from right to left or left to right, as shown in the
following example.

Crawling titles
scroll from right to
left by default.

n You cannot save a rolling or crawling title with a color background even though you can set
the Title tool to display a color background while you create a rolling or crawling title. To
place a rolling 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 the title onto a new layer above the background graphic.

Page Count Limits in 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.

240
 Creating Rolling and Crawling Titles

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

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 end of the page limitation while you are typing text, the object stops
getting bigger and text entry stops.
• If you attempt to make changes to the text formatting that cause the text to exceed the
page limit, a message box opens, stating that the operation will exceed the limit. Click
OK to abort the operation and keep the title within the limit.

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. You can disable Auto Size mode, for example, if you want to add
extra pages before or after the text to make room for additional title elements.

Auto Size mode is active by default in Rolling and Crawling Title mode.

For more information on adding extra pages with Auto Size mode disabled, see “Working
with Pages in Rolling or Crawling Titles” on page 244.

To switch Auto Size mode off or on:

t Select Object > Auto Size Mode.
A check mark indicates that Auto Size mode is enabled.

241
Chapter 10 Working with Titles

Setting Up Text Formatting for Rolling and Crawling Titles

Before creating a rolling or crawling title, consider setting up the text formatting defaults for
such things as font, point size, leading, and kerning. To set up the defaults, see ”Setting
Default Text Attributes” in the Help.

When you type the text for a rolling title, lines of text wrap appropriately within the safe title
area, and the title scrolls down as you type, providing a realistic sense of positioning, word
wrap, and page count limitations.

When you type text for a crawling title, you can use the workflow options suggested in
“Workflow Options for Creating Crawling Titles” on page 242 to help control your text.

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:
• 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 font size and point size attributes, see ”Setting Default Text Attributes” in the
Help.

• 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.
• 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 244.

242
 Creating Rolling and Crawling Titles

Typing the Rolling and Crawling Title Text

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.
3. Do one of the following:
t Click the Rolling Title button to activate Rolling Title mode.
t Click the Crawling Title button to activate Crawling Title mode.

Crawling Title button

Rolling Title button

Page Number text box

The button changes to green, and a Page Number text box opens in the bottom 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 automatically 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 to select the new text object.

Resizing the Width of Rolling and Crawling Titles

n You must resize a crawling title before you save it.

To resize a rolling or 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.
3. (Option) To resize crawling titles, you can select Object > Make Crawl instead of
dragging the title to resize it.

243
Chapter 10 Working with Titles

n You can resize only the width of a text object. The height of a text object is automatically
determined by the amount of text.

Scrolling Through a Rolling or Crawling Title

When you create a rolling or crawling title, a scroll bar appears along the right side of the
Title tool video background for moving vertically through the title, and at the bottom for
moving horizontally through a crawling title.

To scroll through a rolling or crawling title, do one or more 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 End key to go to the beginning or end of the title.
t (Rolling titles only) Press the Page Up or Page Down key on the keyboard to move
through the title one page at a time.
t (Rolling titles only) Press the Up Arrow or Down Arrow key to move the pointer
through the title one line at a time.

Working with Pages in Rolling or Crawling Titles

When you first create a rolling or 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 in the Page Number text box.
2. Type a page number for a specific page, or use the Up Arrow and Down Arrow keys to
cycle through the page numbers.
3. Press Enter.
The selected page opens.

244
 Creating Rolling and Crawling Titles

To add pages:
1. If Auto Size Mode is on (a check mark appears next to Auto Size Mode on the Object
menu), turn it off by selecting Object > Auto Size Mode.

n The Add Page command is not available when Auto Size mode is on.

2. Select Object > Add Page to add a page. 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 in Rolling and
Crawling Titles” on page 240.

3. Select text or graphic objects within the title and position them within the range of
available pages, or create new elements.

To insert a blank page into a rolling or crawling title:

1. Select Object > Insert Page.
The Insert Page dialog box opens.
2. Type a page number, and then click OK.
A blank page is inserted and all objects after that page are moved by one page.

n A page is inserted 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.

n 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 or 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 Auto Size Mode from the Object menu, the Title tool removes excess pages at the
end of the title.

To copy or move an object to a title page:

1. Create a text block or any other title object.
2. Select the object.

245
Chapter 10 Working with Titles

3. Select Object > Copy to Page or Object > Move to Page.

The Copy to Page or Move to Page dialog box opens.
4. Type a page number, and then click OK.
The object is copied or moved, and the Title tool 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:
• For information on adjusting font, point size, style, justification, kerning, and leading,
see “Basic Text Formatting” in the Help and “Advanced Text Formatting” on page 233.
• To create outlines surrounding the text, see “Selecting a Line or Border Width” on
page 237.
• For information on adjusting color and transparency, see “Selecting Colors and Setting
Transparency” on page 246.
• To add a drop or depth shadow, see “Adding Shadows to Title Objects” in the Help.

Selecting Colors and Setting Transparency

You can select the color and transparency for text and graphic objects, their shadows and
borders.

The color and transparency boxes are organized in three columns to the right of the center of
the Title tool toolbar.

The following illustration shows the boxes associated with color and transparency.

Color and Transparency Blend tools

Color Selection boxes Transparency Level boxes

• The Color Selection boxes (first column) control fill (Fill), shadow (Shad), and border
(Bord) color, respectively.
• The Transparency Level boxes (second column) control fill, shadow, and border
transparency, respectively.
246
 Selecting Colors and Setting Transparency

• The Color and Transparency Blend tools appear in the third column 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.

Selecting Colors
You can select a color to fill text or a graphic object, a color for the shadow of an object, or a
color for the border of an object.

To select a color:
1. Click the Selection tool, and click a text or graphic object. If you do not select an object,
the color will be applied to the next object you create.
2. Click and hold 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.
3. Select a color using one of the controls in the Title Tool Color Picker. For more
information, see “Using the Title Tool Color Picker” on page 249.

Blending Two Colors in an Object

The Title tool lets you blend two colors in a text or graphic object or in a border. You can
also specify the direction of the blend.

n You can blend the fill and border, but you cannot blend a shadow.

To blend two colors:

1. Select text or another object.
2. Click the Color Selection box for either fill or border.
The Color Blend Selection boxes appear.

247
Chapter 10 Working with Titles

Color Blend Selection boxes

Color Selection boxes Blend Direction box

3. Click and hold one of the Color Blend Selection boxes.

The Title Tool Color Picker opens.
4. Select a color using one of the controls in the Title Tool Color Picker. For more
information, see “Using the Title Tool Color Picker” on page 249.
The Blend Direction box opens. This box displays the blend and allows you to specify
the direction of the blend (for example, left to right).
5. Click the other Color Blend Selection box, and select the second color for your blend.

Color blend tools apply a gradient blend to the selected object.

6. Click the Blend Direction box, and drag clockwise or counterclockwise to define the
blend direction that you want.
As you rotate the pointer, the position of the two colors rotates. Release the mouse
button to apply the blend to your selection.

248
 Selecting Colors and Setting Transparency

Using the Title Tool Color Picker

The Title Tool Color Picker opens when you click one of the Color Selection boxes or Color
Blend Selection boxes. You can select a color using controls in the Title Tool Color Picker or
you can use it to access a color selection eyedropper or the Windows Color dialog box.

n You can drag the Color Picker from the toolbar to create a floating palette.

Grayscale selection bar Color selection bar

Eyedropper New Color window

Original Color window

Click to open the Windows Color dialog box. Shade selection palette

To select from the Title Tool Color Picker:

1. Drag the pointer along the color selection bar to the color you want. To select a
grayscale value, click in the grayscale selection bar, located to the left of the eyedropper.
2. While continuing to press and hold the mouse button, move the pointer down into the
shade selection palette to select a shade.
3. Release the mouse button to apply the color.

To use the eyedropper:

1. Drag the pointer to the eyedropper icon, and release the mouse button.
The pointer changes to the eyedropper.
2. Move the eyedropper to the color you want anywhere in the window, and then click the
mouse button to apply the color to the selected object.

To use the Windows Color dialog box:

t Drag the pointer to the round button icon under the eyedropper, and release the mouse
button.
The Windows Color dialog box opens. For more information, see “Using the Windows
Color Dialog Box” on page 65.

249
Chapter 10 Working with Titles

Setting Transparency Levels

After you select a color, you can set the color transparency level.

To select the color transparency:

1. Click and hold the appropriate Transparency Level box, depending on whether the
transparency will apply to the fill color of an object (Fill) or will adjust a shadow (Shad)
or border (Bord) around the selected object.
2. In the pop-up control that appears, drag the slider to change the transparency value.
The number in the Transparency Value box updates as you drag. Values range from 0
(fully opaque) to 100 (fully transparent).
The Transparency Level box and the pop-up control both display the text “Hi” with a
background that changes from black to white. This allows you to see the effect of your
transparency adjustments as you work. A completely white background represents a
fully transparent object or portion of an object. The following illustration shows an
example.

Transparency Level boxes Blend Direction box

Transparency Blend Selection boxes Transparency Value box

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 0 in the Shadow Depth text box
and the softness value to 0 in the Soft Shadow dialog box, as described in “Adjusting
Shadows” on page 251.

Blending Transparency
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.

250
 Adjusting Shadows

Transparency blend tools 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 247.

Adjusting Shadows
You can add drop shadows or depth shadows to text and objects using the procedure
described in “Adding Shadows to Title Objects” in the Help.

Once you have a shadow applied, you can adjust the color, transparency level, or softeness of
the shadow. You can also create a glow effect around text or objects using the shadow tools.

Adjusting Shadow Color and Transparency

You can adjust the color and transparency properties of a shadow using the procedures
described in “Selecting Colors and Setting Transparency” on page 246.

Setting Shadow Softness

You can 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
Title tool saves the value as the new default setting and applies it to any new title objects you
create. 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 title shadow with a Shadow Softness setting of 15.

251
Chapter 10 Working with Titles

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 fall between 4 and 40. The higher the value, the more
blurred the shadows will be. If you set the value to zero, shadows on title objects will
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 Soft Shadow dialog box or by using the Up Arrow and Down Arrow
keys.

To adjust shadow softness on-the-fly using the Soft Shadow dialog 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 object.
5. Repeat steps 3 and 4 until you are satisfied with the effect.
6. Click OK.

252
 Adjusting Shadows

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, 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.

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 numerical value you have currently set for shadow softness:
t Select Object > Soften Shadow, and check the number in the text box.

Creating a Glow Effect

You can use the shadow tools to create a glow or halo effect around a title object.

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.

253
Chapter 10 Working with Titles

Manipulating 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.

Basic Manipulation Operations

You can use commands from the Edit menu to manipulate objects.

To perform basic operations:

1. Click the Selection tool, and click an object.
2. Do one of the following:
t Select Edit > Cut to cut an object and move it to the Clipboard.
t Select Edit > Copy to copy an object to the Clipboard.
t Select Edit > Paste to paste an object from the Clipboard.
t Select Edit > Select All to select all objects.
t Select Edit > Delete to delete selected objects.

n You cannot delete locked objects. Unlock objects you want to delete.

t Select Edit > Duplicate to duplicate an object.

Layering Text and Objects

You can use the following commands on the upper portion of the Object menu to layer text
and objects to create complex graphics:
• Bring To Front
• Send To Back
• Bring Forward
• Send Backward

The last object created occupies the top layer, but you can move objects forward or
backward within the screen area.

254
 Manipulating Objects

To adjust the layering of objects in a title:

1. Click the Selection tool, and click an object.
2. Select one of the following commands:
t Object > Bring to Front to bring an object to the top layer.
t Object > Send to Back to send an object to the bottom layer.
t Object > Bring Forward to move an object forward one layer.
t Object > Send Backward to move an object back one layer.

Grouping and Ungrouping Objects

After creating a number of text and graphic objects, you can use commands on the Object
menu to group the objects and treat them as a single object.

Combining the 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 selected objects are grouped together. 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
separately.

Locking and Unlocking Objects

You can lock objects using commands on the Object menu 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.

255
Chapter 10 Working with Titles

To lock objects:
1. Click the Selection tool, and click an object.
2. Select Object > Lock.
The Title tool locks the object, and you cannot change it until you unlock it. When you
select a locked object, hollow selection handles indicate that it is locked.

Locked object with

hollow selection handles

To unlock objects:
1. Click the Selection tool, and click a locked object.
2. Select Object > Unlock.
The Title tool unlocks the object, and you can 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. Select a frame alignment direction from the upper portion of the Alignment menu:
- Align To Frame Left
- Align To Frame Right
- Align To Frame Top
- Align To Frame Bottom (Shift+Ctrl+Z)
- Center In Frame Horiz. (Shift+Ctrl+C)
- Center In Frame Vert.
The Title tool aligns the objects within the safe title area.

256
 Manipulating Objects

To align objects to each other:

1. Click the Selection tool, and Shift+click or lasso multiple objects.
2. From the Alignment menu, select an object alignment direction:
- Align Objects Left
- Align Objects Right
- Align Objects Top
- Align Objects Bottom

n For information on aligning objects to a grid, see “Using the Alignment and Snap Grids” on
page 232.

Distributing Objects
You can use Alignment menu commands to distribute text and graphic objects evenly across
the safe title area. 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. From the Alignment menu, select a distribute command:
t Select Distribute Left to Right to distribute the objects evenly from left to right
across the safe title area.
t Select Distribute Top to Bottom to distribute the objects evenly from top to bottom
across the safe title area.
t Select Distribute First to Last to distribute the objects evenly between the position
of the first object selected and the position of the last object selected. This option 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.

257
Chapter 10 Working with Titles

Saving and Recalling Title Styles

As you begin to work with a title, you can set up some basic title parameters you will use
again for other titles. You can then save these parameters in the form of a title style.

You can save the following parameters as part 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 simply 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 262.

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

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.

258
 Saving and Recalling Title Styles

Name text box

4. Select the parameters that you want to include in the style. The Title tool uses the values
from the currently selected object or from the current defaults if no object is selected.
For more information, see “Title Style Sheet Options” on page 259.
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.

259
Chapter 10 Working with Titles

Title Style Sheet Dialog Box Components

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 scroll 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. See the Avid Marquee Title Tool User’s
button 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 will not create the new style.

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 using the Title Styles
tear-off menu or, if you have assigned the style to a function key, by pressing the appropriate
key.

260
 Saving and Recalling Title Styles

To recall title style attributes using the Title Styles tear-off menu:
1. Click the Styles button to display the Title Styles tear-off menu.

Arrows on the right

and left allow you to
scroll back and forth.

The menu contains a scaled visual representation of each style.

2. Drag the pointer to the selected style, and release the mouse button.
The style attributes appear in the Title tool toolbar and the Project window Settings
scroll list.

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 scroll 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, drag it
to another location, and then position the pointer over the style.
The ToolTip that appears indicates the function key assignment along with the name of
the style.

Applying Title Styles to Text Objects

To apply a title style directly to text objects:
1. Click the Selection tool, and click 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.

261
Chapter 10 Working with Titles

Managing Title Styles

The Avid editing application lists the available title styles in the Project window.

To manage title styles in the Project window:

1. In the Project window, click the Settings tab.
The Settings scroll list opens.

Sample title
styles

2. Delete, duplicate, or rename styles as follows:

t To delete a style, select the style in the Project window and press the Delete key or
select Edit > Delete.
t To copy a style, select the style in the Project window and select Edit > Duplicate.
t To rename a style, either change the name in the Project window or perform a Save
As operation as described in “Saving a Title Style” on page 258 and change the
name in the Style Sheet text box.

Creating and Using Title Templates

Title templates let you create a standard format for text and graphics that you use regularly.
After you have 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 pop-up 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 258.

262
 Creating and Using Title Templates

Creating Title Templates

To create a title template:
1. Do one of the following:
t Select Clip > New Title.
t Select Tools > Title Tool.
The Title tool opens.
2. In the Title tool, create the text and graphic elements to include in the template.
3. Click the Templates button, and select Save Template.
The Save Template As dialog box opens.
4. Type a name for the template.
5. Click Save.
The default folder is the Title_Templates folder, but you can save it elsewhere if you
prefer.
6. Close the Title tool, and click Don’t Save in the dialog box.

Using Title Templates

To use a title template:
1. Do one of the following:
t Select Clip > New Title.
t Select Tools > Title Tool.
The Title tool opens.
2. Click the Templates button, 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.
5. (Optional) If you want to change the position of a template, click the Templates pop-up
menu, and select Moveable Templates. Then click the Arrow button and move the
template within the Title Tool.

263
Chapter 10 Working with Titles

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.

Exporting a Title as a Graphics File

You can export a title as a PICT graphics file.

For more information on exporting from your Avid editing application, start with “Main
Topics: Exporting and Exchanging Material: Basics” in the Help.

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. Navigate to the location where you want to export the file.
3. Type a name for the file in the “File name” text box, and click Save.
The Avid editing application saves the title.

Workflow for Editing with Titles

The following is an overview of the tasks you perform to edit a title in a sequence:
• Edit the title into the sequence. You can load a title into the Source monitor or drag the
Title Effect icon from the bin to a segment in the Timeline. For more information, see
“Editing a Title into a Sequence” in the Help.
• Adjust the title’s parameters. With a title edited into a sequence, you can use the
Effect Editor to alter the appearance or position of the title. You can also open the title
again in the Title tool at any time to revise the title elements. For more information, see
“Adjusting Title Effect Parameters” on page 266.
• Revise the title. After editing the title and adjusting parameters, you can revise
elements of the title in the Title tool or replace fill tracks to create various effects. For
more information, see “Revising a Title in a Bin” in the Help, “Revising a Title in a
Sequence” on page 268, and “Replacing Fill Tracks” on page 269.

264
 Restrictions on Title Playback

Restrictions on Title Playback

Depending on the complexity of the title and the video over which you key it, not all titles
can be played in real time.

When you attempt to play too complex a title, the following conditions might occur:
• Background video might jitter.
• Title might flash.
• Title might display a gray slide.
• Video might shift left or right.
• Video might display a gray slide.
• Video underrun error might occur.
• Audio underrun error might occur.

If you encounter any of these conditions, try one or both of the following:
• Render the title or underlying effects.
For more information, start with “Basics of Effects Rendering” in the Help.
• Simplify the title by removing text or drop shadows or by selecting different colors.

Removing Titles
When you have edited a title into a sequence, you can remove the entire title segment, or you
can remove the title alone, leaving the alpha channel media file in place.

To remove a title segment:

1. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below
the Timeline.
2. Select the title segment, and press the Delete key once to delete the title.
3. Select the title segment again, and press the Delete key to delete its alpha channel media
file.

265
Chapter 10 Working with Titles

To remove only the title:

1. Click the Record Track button in the Track Selector panel for the track on which the title
appears.
2. Move the position indicator to the title in the Timeline.
3. In the Tool palette, click the Remove Effect button.
The Avid editing application removes the title from the segment. The alpha channel
media file remains.

n The title remains in the bin. To remove the title from the bin, click the Title Effect icon for the
clip in the bin and press the Delete key.

Replacing Titles
You can quickly replace one title segment in a sequence with another title from the bin.

To replace a title in a sequence:

1. Click the Lift/Overwrite Segment Mode button below the Timeline.
2. Click the title segment currently in the sequence to select it.
3. Click the Mark Clip button to mark an IN point at the beginning of the title segment and
an OUT point at the end of the segment.
4. Drag the new title clip from the bin to the marked segment.
The new title replaces the old title.

Fading a Title
You can use the Fade Effect button to fade a title. A dialog box opens that allows you to
enter the number of frames to fade up and fade down without opening the Effect Editor.

Rather than adding Dissolve effects that require rendering, you can use the Fade Effect
button to quickly create keyframes in the title with the proper level settings for playback in
real time. You can change the keyframes in the Effect Editor. For more information, see
“Using the Fade Effect Button” in the Help.

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.

266
 Adjusting Title Effect Parameters

To display the effect parameters for a title:

1. Select Tools > Effect Editor.
The Effect Editor opens.
2. Click the title segment in the sequence to select it.
The Effect Editor displays the parameter controls.

Other Options button Title Effect icon

You can do the following when you work with Title effect parameters:
• Adjust Title effect parameters using basic techniques described in “Using the Effect
Editor” on page 57.
• Use multiple keyframes to gradually change keyframeable parameters over time. For
more information, see “Working with Keyframes” on page 75.
• Save effect templates of Title effect parameter adjustments to a bin for use in other
sequences or projects as described in “Using Effect Templates” on page 70.

n For information on specific Title effect parameters, see “2D Effects Reference” on page 299.

267
Chapter 10 Working with Titles

Revising a Title in a Sequence

If you want to revise a title after you have edited it into a sequence and have adjusted
parameters with the Effect Editor, you can reopen the title in the Title tool directly from the
sequence.

c If you have already edited a title into a sequence or have made adjustments to the effect
parameters for that title, you must revise the title in the sequence (not the title clip in
the bin).

To change a title in a sequence:

1. Select Tools > Effect Editor.
The Effect Editor opens.
2. Click the title segment in the sequence to select it.
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 Marquee Title Tool Help.

4. Click No.
The Title tool opens.
5. Revise the title, using techniques described in “Main Topics: Working with Titles:
Basics” in the Help and elsewhere in this chapter.
6. Save the title, using one of the following options:
t Save Title: To save the title with the same name (numbered incrementally) and
media parameters (bin and drive):
a. Select File > Save Title.
A message box opens.
b. Click Save.
The Title tool closes, and the revised title clip replaces the previous clip in the
sequence. The new clip also appears in the bin and the Source monitor, with the
name of the previous clip plus a two-digit extension that adds incremental
numbering for each revised title. The previous title clip remains unchanged in the
bin.

268
 Replacing Fill Tracks

t Save Title as: To rename the title or change any of the media parameters (bin and
drive):
a. Select File > Save Title as.
A message box opens.
b. Click Save.
The Save Title dialog box opens.

c. Rename the title, or select other options from the Bin and Drive pop-up menus.
d. Click Save to save the title and exit the Title tool.
The Title tool closes, and the revised title clip replaces the previous clip in the
sequence. The new clip also appears in the bin and the Source monitor with the new
name. The previous title clip remains unchanged in the bin.

n You cannot select Fast Save when revising a title in a sequence.

Replacing Fill Tracks

You can replace the fill track of titles with video or graphics. The video or graphic effect
then appears inside the title itself, keyed over the background.

269
Chapter 10 Working with Titles

To replace the fill track:

1. Click either of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below
the Timeline, and then double-click the title segment to step into the effect.

Fill track

2. Load the video you want to use as replacement filler into the Source monitor.
3. Drag the Source Track button to the Record Track button in the Track Selector panel to
patch the new source video to the title fill track.

Source Track button

Record Track button for fill track

270
 Rendering Titles

4. Using standard editing methods, edit the video from the Source monitor onto the fill
track.

Fill track replaced with video

Rendering Titles
If you play a complex layered effect and encounter a message about audio or video
underrun, you need to render any included titles. For more information on rendering
Title effects, start with “Basics of Effects Rendering” in the Help.

Rendering Fast-Saved Titles

When you save titles, you have the option of using the Fast Save option. If you use this
option, you must render your fast-saved titles at a later point in your workflow. For morei
nformation on using Fast Save for titles, see “Using the Fast Save Option” in the Help.

To render fast-saved titles:

1. Open the bin containing the unrendered fast-saved titles.
2. Select Bin > Select Unrendered Titles to select only the unrendered titles, or press
Ctrl+A to select all items in the bin.
3. Select Clip > Create Unrendered Title Media to create media for the unrendered Title
effects only. (The Avid editing application ignores any clips in the selection that do not
need rendering.)
The Create Unrendered Title Media dialog box opens.
4. Click the Drive button, and select a drive on which to store the title media.
5. Click OK.
After generating the title media, the Avid editing application deletes the unrendered
versions from the bin and replaces them with the newly rendered titles.

271
Chapter 10 Working with Titles

Re-creating Title Media

You can use the Re-create Title Media command to regenerate offline media.

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.

To re-create title media:

1. Load the sequence containing the titles into the Composer monitor.
2. Mark the IN and OUT points in the sequence surrounding all the titles that you want to
re-create.
3. Select the tracks where the title or titles are located.
4. Select Clip > Re-create Title Media.
The Re-create Title Media dialog box opens.

n If you are re-creating title media that uses fonts not recognized by your system, a dialog box
opens that allows you to substitute the font in the title for one that is installed on your
system. This might happen when you transfer titles between systems, especially when moving
between Macintosh-based and Windows-based systems.

5. Select a drive for the re-created title media.

n The default drive is defined in the Titles tab of the Media Creation dialog box. For more
information, see “Media Creation Settings” in the Help.

6. Click OK to continue regenerating the title media files.

The title media file is regenerated, and a precompute master clip appears in the bin.

272
 Promoting a 2D Title to 3D

Promoting a 2D Title to 3D
If your Avid editing application is equipped with 3D effect capabilities, you can promote a
title to 3D to create additional effects with the title. Titles promoted to 3D are no longer DSK
but remain real-time effects.

For more information, see “Promoting 2D Effects to 3D Effects” on page 215.

Troubleshooting Wrong Title Format Errors

If you see an image in a monitor that says Wrong Format, it means that the resolution of the
title is not compatible with the resolution of the video clips used in the sequence. You will
have to determine the resolution of the video clip. Then, you must 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.
The Set Bin Display dialog box opens.
3. Select “Show reference clips.”
The master clips used in the sequence appear in the bin.
4. Check the resolution for any of the master clips in the Video column when viewing the
bin in Text view.

273
Chapter 10 Working with Titles

274
 Chapter 11
Working with PlasmaWipe Effects

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

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.
Chapter 11 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:
• drive:\Program Files\Avid\Avid editing application\
SupportingFiles\PlasmaWipes

The following illustration shows the default PlasmaWipes folder structure.

276
 Using PlasmaWipe Effects

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.

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 291.

n 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.
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.

277
Chapter 11 Working with PlasmaWipe Effects

Outgoing footage Image used by Horiz Twirl effect Incoming footage

Changes in the Level (threshold) value and corresponding changes in the gradient image.

Corresponding changes in the image.

Creating PlasmaWipe Effects

This section describes three approaches that you can use 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.

278
 Creating PlasmaWipe Effects

The following sections 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 Jasc® 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).

n For information on the effects in the Border category, see “Using PlasmaWipe Frame and
Border Effects” on page 291.

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.

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%

279
Chapter 11 Working with PlasmaWipe Effects

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 the Image for PAL and
NTSC” on page 287.

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.

280
 Creating PlasmaWipe Effects

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 pop-up 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.

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.

281
Chapter 11 Working with PlasmaWipe Effects

Image used by Paint Strokes 4 Image used by Paint Strokes 2

12. (Optional) 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 the Image for PAL and
NTSC” on page 287.

n When you resize the image for NTSC, select Nearest Neighbor in the Resample Image menu.
This maintains the sharp edges in the image.

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 appears.
3. Change the image size to 720 pixels x 576 pixels.
4. Deselect Constrain Proportions.
5. Click OK.
6. Select Image > Mode > Grayscale.
282
 Creating PlasmaWipe Effects

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” on page 283.
8. Click OK.
9. Save the image as a raw image file as described in “Saving the Image for PAL and
NTSC” on page 287.

Tips for Working with Gradient Images

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.

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 will create a smoother animation.

Image does not use all available Image uses all available gradient
gradient values. values.

283
Chapter 11 Working with PlasmaWipe Effects

• 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 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.

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.

284
 Creating PlasmaWipe Effects

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.
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 the 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.

285
Chapter 11 Working with PlasmaWipe Effects

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.

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.

286
 Creating PlasmaWipe Effects

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.

Saving the 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 279.

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 Raw(*.RAW) from the Format menu.
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 will become 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.

287
Chapter 11 Working with PlasmaWipe Effects

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 select Bicubic from the Resample Image menu.

n If the image has hard edges, select Nearest Neighbor from the Resample Image menu. This
avoids extra blending. If you have smooth edges, select Bicubic.

e. Click OK.
f. Select File > Save As.
The Save As dialog box appears.
g. Name the file as described in Step 4.
6. Store the two images in the PlasmaWipes folder structure. See “Storing Images in the
PlasmaWipes Folder Structure” on page 288.

n You can create actions in Adobe Photoshop to automate these save operations. For more
information, see the Adobe Photoshop documentation.

n For information on how the name you give to a PlasmaWipe effect affects the default values,
see “Default Values for PlasmaWipe Effects” on page 294.

Storing Images in the PlasmaWipes Folder Structure

You now have an NTSC and a PAL version of your new PlasmaWipe images. In order for the
Avid editing application to recognize the files, you must store them in the correct folders.

The following illustration shows the default PlasmaWipes folder structure. The
PlasmaWipes folder is located in the SupportingFiles folder of your Avid editing
application.

288
 Creating PlasmaWipe Effects

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 will become 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.

289
Chapter 11 Working with 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 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.

290
 Using PlasmaWipe Frame and Border Effects

Tips for 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.

291
Chapter 11 Working with PlasmaWipe 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

292
 Using PlasmaWipe Frame and Border 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 294.

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.

293
Chapter 11 Working with PlasmaWipe 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:

n If the effect is part of a nested effect, step into the effect to modify the frame effect or the
border effect.

1. 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.
2. 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

The following table shows the default parameters for PlasmaWipes effects.

294
 Using PlasmaWipe Frame and Border 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 278.

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 the Image for PAL and NTSC” on page 287.
• 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.

295
Chapter 11 Working with PlasmaWipe 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 will have a 4:3 aspect ratio.This allows
you to create a frame that fits correctly within the video image.

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.

296
 Using PlasmaWipe Frame and Border Effects

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 the Image for PAL and NTSC” on page 287.

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. Turn on the Photoshop grid to allow for precise placement of the frame and interior area.
Use a grid size of one gridline every 36 pixels.
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 the Image for PAL and NTSC” on page 287.

n Select the Nearest Neighbor option to avoid blending between the black, white, and gray
areas of the image.

297
Chapter 11 Working with PlasmaWipe Effects

298
 Chapter 12
2D Effects Reference

This chapter describes all 2D effects parameters and then summarizes all 2D effects in
alphabetical order within each effect category.
• 2D Effects Parameters
• 2D Effects
• Comparison of Similar Effects

For information on effects editing, start with “Main Topics: Working with Effects: Basics”
in” in the effects guide or the Help.

2D Effects Parameters
This section provides a general description of all 2D parameters, in alphabetical order. Some
parameters apply to a wide range of effects; others are specific to a small group of effects,
such as keys or motion effects.

Effect parameters are grouped in the following categories:

• Acceleration
• Avid Pan & Zoom Parameters
• Background
• Border
• Color Effect Parameters
• Crop
• Foreground
• Illusion FX Parameters
Chapter 12 2D Effects Reference

• Key Parameters
• Matrix Parameters
• Traditional Motion Effect Parameters
• PlasmaWipe Parameters
• Plug-in Effect Parameters
• Position
• Profile
• Region Stabilize Parameters
• Scaling
• Transition Parameters

For an explanation of how to change a parameter, see “Using the Effect Editor” on page 57.

Global and Keyframeable Parameters

The effects parameters are divided into two types:
• Global
Changes apply to all keyframes. When you change a global parameter, the system
automatically sets the value for all keyframes in the effect.
• Keyframeable
Changes can be applied to individual keyframes. You can use keyframe parameters to
alter an effect over time.

This distinction is noted for each parameter throughout the topics that describe the
parameters.

300
 2D Effects Parameters

Acceleration

Parameter Type Global

Description Adjusts the effect’s speed over time by having the effect ease in and ease out of every
keyframe. This gives the effect a more natural appearance. 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 will
need to change the length of your effect or use add edits to limit the portion of the clip
affected by the effect.

Use of Control 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.

n For information on the Acceleration parameter for 3D effects, see “Acceleration” on

page 514.

301
Chapter 12 2D Effects Reference

Avid Pan & Zoom Parameters

This section describes the parameter categories available for the Avid Pan & Zoom AVX
plug-in effect.

Other Options button

Other Options button for the Avid Pan & Zoom Effect

Parameter type: Global

The Other Options button opens a file selection dialog box. Use it to specify the image file
for the Avid Pan & Zoom effect.

n If you move the image file after importing it into the Avid Pan & Zoom effect, the effect will
not be able to locate the file and you must reimport the image.

302
 2D Effects Parameters

Display

Parameter type: Global

The Display Fast menu lets you choose how you view the image as you work on it.
• 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.

For more information, see “Viewing the Image While You Work” on page 203.

Display Options

Parameter type: Global

Show Action Safe in the Display Options parameter category 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.

Size

Parameter type: Keyframeable

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 .1 to 20. At .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 2,000%.

The larger the Zoom Factor, the smaller the field of view rectangle appears when you use
Source mode.

303
Chapter 12 2D Effects Reference

Position for the Avid Pan & Zoom Effect

Parameter type: Keyframeable

You control pan by either using the X and Y Position parameters or 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 “Panning Over the Source Image” on page 205.

Velocity

Parameter type: Keyframeable

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 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.

Velocity Parameter Options

Parameter Option Description

Velocity In Linear For the first half of the time between the selected keyframe and the next keyframe
(starting at the selected keyframe and ending at the midpoint between keyframes),
the effect makes no modification to the pan and zoom movement. This results in
apparent camera movement that begins immediately with no ease in.

304
 2D Effects Parameters

Velocity Parameter Options (Continued)

Parameter Option Description

Constant The effect 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” on page 207.
When you select Constant for Velocity In, the effect automatically selects
Constant for Velocity Out, and vice versa.

Ease In For the first half of the time between the selected keyframe and the next keyframe
(starting at the selected keyframe and ending at the midpoint between keyframes),
the effect modifies the pan and zoom movement by providing a slight acceleration.
To ease in and ease out of the entire effect, see. “Using Ease In and Ease Out” on
page 206.

Velocity Out Linear For the second half of the time between the selected keyframe and the next
keyframe (starting at the midpoint and ending at the next keyframe), the effect
makes no modification to the pan and zoom movement. This results in parameters
that change at a constant rate up to the next keyframe.

Ease Out For the second half of the time between the selected keyframe and the next
keyframe (starting at the midpoint and ending at the next keyframe), the effect
modifies the pan and zoom movement by providing a slight deceleration. To ease
in and ease out of the entire effect, see. “Using Ease In and Ease Out” on
page 206.

Constant The effect 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” on page 207.
When you select Constant for Velocity Out, the effect automatically selects
Constant for Velocity In, and vice versa.

Hold At the midpoint between the selected keyframe and the next keyframe, the image
freezes (pan and zoom movement stops). 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.

305
Chapter 12 2D Effects Reference

Path

Parameter type: Global

The Path parameter controls how the Avid Pan & Zoom effect interpolates Position
parameter changes between keyframes.
• Linear interpolation creates straight-line changes from one keyframe to the next.
• Spline interpolation smooths out changes between keyframes to create a more natural
movement.
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.

Filtering

Parameter type: Global

Filtering controls the method by which the Avid Pan & Zoom effect renders and determines
the quality of the rendered result. The various filtering methods allow you to trade off the
clarity or sharpness of the resized image and the speed at which the effect renders.

The following illustration ranks the Filtering options from fastest render time and lowest
quality image to longest render time and highest quality image. For more information, see
“Options for Rendering the Avid Pan & Zoom Effect” on page 209.

306
 2D Effects Parameters

Longest Render Avid Ultra Qual

Time
Avid Hi Qual
Gaussian
B-Spline Catmull
Cubic
Quadratic
Triangle
Real Time
Shortest Render
Time Lowest Image Quality Highest Image Quality

Background for the Avid Pan & Zoom Effect

Parameter type: Global

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.
• Color lets you select a background color using one of the following methods:
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.
t Click the Color Preview window, and use the eyedropper.
For more information, see “Adjusting a Color Parameter” on page 65.
• Video uses the video from the segment upon which you placed the Avid Pan & Zoom
effect.

307
Chapter 12 2D Effects Reference

Advanced

Parameter type: Global

The Advanced parameter category provides controls to compensate for differences in pixel
shape between source and output, and to select input color levels.
• Source Has Square Pixels is enabled by default. The Avid Pan & Zoom effect makes
the calculations necessary to produce results compatible with rectangular pixels.
When you deselect Source Has Square Pixels, the Avid Pan & Zoom effect makes no
changes to the pixel shape.
• The Level setting tells the effect how to treat the color levels in the image.
- RGB is for images with a black level of 0 and a white level of 255. Most images
you import into the Avid Pan & Zoom effect (except those from a video source) use
RGB values. The effect maps colors to video black and white levels, which are 16
and 235 respectively. RGB is the default Level setting.
- 601 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.

Cache

Parameter type: Global

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.
• 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 the resized 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 8 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.

308
 2D Effects Parameters

• 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 — The Cache All settings are shortcuts for setting the same parameter for all
instances of the effect in a sequence. The descriptions are the same as above.
• Free All Caches — Frees the caches for all instances of the plug-in in that sequence.

Render Mode

Parameter type: Global

If you are working in a progressive project, (23.976p, 24p, 25p), click the Progressive check
box in the Render Mode parameter category. Selecting this option creates a smoother
animation when using progressive frames.

Background

Parameter Type Global

Description 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, Fade from
Color, or Dip to Color effect.

Use of Controls Other Options Opens the Windows Color dialog box for precise color
button selection. For more information, see

H (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.

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 or white.

309
Chapter 12 2D Effects Reference

Border

Border without the Blend Color parameters Border with the Blend Color parameters
Other Options button

Parameter Type Keyframeable

Description 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.

Use of Controls Other Options Opens the Windows Color dialog box for precise color
button selection. For more information, see

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 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.

Width Specifies the width of the border. Values range from 0 (no
border) to 63 (widest border).

Soft (softness) Blends the border with the background image. Values range
from 0 (no softness) to 63 (maximum softness).

Fixed Border Turns off the Blending options.

310
 2D Effects Parameters

Color Effect Parameters

The Color Effect parameters, which apply to the Color Effect only, allow you to perform
color correction or to create certain colorization effects such as posterization or solarization.

Luma Adjust

Parameter Type Keyframeable

Description Allows you to adjust the luminance characteristics of the image.

Use of Controls Bright Changes the brightness of the image. The parameter ranges from –100
(brightness) to +100, where a value of 0 indicates no change. A value of –100
darkens the image; a value of +100 brightens the image.

Cont (contrast) Controls the contrast of light and dark areas in the image. 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.

Invert Reverses the image’s brightness, such that the brightest parts become
the darkest and the darkest parts become the lightest.

Brightness Example

Original – Brightness 0 Brightness –50 Brightness +50

311
Chapter 12 2D Effects Reference

Contrast Example

Original – Contrast 0 Contrast –50 Contrast +50

Luma Range

Parameter Type Keyframeable

Description Allows you to adjust the range of brightness of the image.

Use of Controls Fast menu: The default for video images.

16 to 235

Fast menu: Allows you to map normal video to alpha ranges. This is useful if you
0 to 255 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 system

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 it
is your intent 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
(white point) value become white, and all 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 increase
the contrast by reducing the number of shades of gray in an image. The
number of shades is reduced because you map some to extreme black
and others to extreme white.

312
 2D Effects Parameters

B Point Allows you to set the black point in the image. All pixels with that
(black point) value become black, and all 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 increase
the contrast by reducing the number of shades of gray in an image. The
number of shades is 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.

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 may 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 W Point, B Point, and Luma Clip sliders determine the number of
shades of gray. 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.

313
Chapter 12 2D Effects Reference

Luma Clip

Parameter Type Global

Description Allows you to determine the levels at which the effect limits the luminance in the picture.

Use of Controls 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.

Chroma Adjust

Parameter Type Keyframeable

Description Allows you to adjust the chrominance characteristics of the entire image.

Use of Controls Invert Invert reverses the colors in both Hue and Saturation such that all
colors display as their complement.

Hue 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 red, while a Hue
setting of +20 causes skin tones to look more green.

Sat (saturation) 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.

314
 2D Effects Parameters

Color Style

Parameter Type Keyframeable

Description Allows you to create effects by limiting or inverting the color values of the image.

Use of Controls Post Posterization allows you to limit the number of colors in the image by
(posterization) 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.

Solar Solarization allows you to make the lightest points in the image dark to
(solarization) 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.

Posterization Example

Original image Posterization 10 Posterization 20

315
Chapter 12 2D Effects Reference

Solarization Example

Original image Solarization 100 Solarization 200

Color Gain

Parameter Type Keyframeable

Description Allows individual control of the Color Gain for each of the three color components: red,
green, and blue.

Use of Controls 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.

316
 2D Effects Parameters

Crop

Parameter Type Keyframeable

Description Removes material from the top, bottom, left, and right edges of the video.

Use of Controls 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 of the screen, 500 is the
middle of the screen, and 999 is the right side of the screen.

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 of the screen, –500 is
the middle of the screen, and –999 is the left side of the screen.

n For information on the Crop parameter for 3D effects, see “Crop” on page 518.

Foreground

Parameter Type Keyframeable

Description 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 effect.

317
Chapter 12 2D Effects Reference

Use of Controls 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).

Swap Sources This option applies to key effects (such as Chroma Key or Luma Key)
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 This option is available for all effects.

Animation
Click the Reverse Animation button 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.

Invert Key This option applies to key effects only (such as Chroma Key or Luma
Key). Select Invert Key to reverse the key.
In the case of a Chroma Key effect, inverting the key displays the key
color regions while showing the background image source through the
foreground image area.
In the case of a Luma Key effect, inverting the key displays the
background image source through the darker areas rather than the
lighter areas of the foreground image source.
In the case of 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 This option 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 the
problem areas of the key while making adjustments.

318
 2D Effects Parameters

Illusion FX Parameters
This section describes the parameter categories available for the Illusion FX AVX plug-in
effects.

Background

Pattern Type Fast menu

Axis Fast menu
Base Color

Parameter Type Keyframeable

Description The Background parameter category is available only for the Pattern Generator effect. For
more information, see “Pattern Generator” on page 421.

Use of Controls Axis Fast menu Selects whether color bars are drawn horizontally (X axis) or vertically
(Y axis).
• X axis
• Y axis

Pattern Type Fast Sets the pattern to be used.

menu
If you select the Grid option, the background color is black if Base
• Solid color Color has 50% or greater luminance, or white if Base Color has less
than 50% luminance.
• EBU bars
(75%)
• Color bars
(75%)
• Color bars
(100%)
• EIA bars
• SMPTE bars
• Color ramps
• Cross ramp
• Grid

319
Chapter 12 2D Effects Reference

R, G, B Sets the color of the clip when the Pattern Type is set to Solid Color
(Base Color)
Sets the color of the grid lines when the Pattern Type is set to Grid.
Select the color by doing one of the following:
t Directly manipulate the RGB sliders.
t Use the Windows Color dialog box.
t Use the eyedropper.
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.

Border

Parameter Type Keyframeable

Description Use the Left, Right, Top, and Bottom sliders to prevent black edges of the source clip
from warping into the effect.The Border parameter category is available for the following
Illusion FX effects:
Crystal, FluidBlur, FluidColorMap, FluidMorph, Kaleidoscope, Melt, Particle Blast,
Particle Orbit, Particle Wind, Pinch, Radial Blur, Ripple, Rollup, Shear, Sphere, Swirl,
Twist, Wave

Use of Controls Left, Right, Remove between 0 and 20 pixels from the edge of the image.
Top, Bottom

320
 2D Effects Parameters

Center

Parameter Type Keyframeable

Description Sets the center of the Kaleidoscope effect. The Center parameter category is available
only for the Kaleidoscope effect. For more information, see “Kaleidoscope” on page 414.

Use of Controls X, Y The X and Y values range from –999 to +999, where 0, 0 is the center
of the screen. Use the sliders, or click the corresponding marker and
drag within the image, to set the center of the mirrors.

Circle

Color

Parameter Type Keyframeable

Description The Circle parameter category is available only for the Pattern Generator effect. For more
information, see “Pattern Generator” on page 421.

Use of Controls 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. Select the color by doing one of the
following:
t Directly manipulate the RGB sliders.
t Use the Windows Color dialog box.
t Use the eyedropper.

321
Chapter 12 2D Effects Reference

Core

Lightning Sparkler

Color Color

Parameter Type Keyframeable

Description The Core parameter category is available for the Lightning effect and the Sparkler effect.
For more information, see “Lightning” on page 415 and “Sparkler” on page 427.

Use of Controls Core Radius, Sets the radius of the core in pixels.
Width

R, G, B (Color) Sets the color of the core. Select the color by doing one of the
following:
t Directly manipulate the RGB sliders.
t Use the Windows Color dialog box.
t Use the eyedropper.

Generation

Lightning effect Ripple effect Sparkler effect

Render Mode Fast menu

Parameter Type Keyframeable

Description The Generation parameter category is available for the Lightning, Ripple, and Sparkler
effects. For more information, see “Lightning” on page 415, “Ripple” on page 424, and
“Sparkler” on page 427.

322
 2D Effects Parameters

Use of Controls Parameter Effect Description

Amount Lightning 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.

Anti-alias Ripple Sets whether or not transformed areas are smoothed.

n This parameter is not keyframeable.

Birth Rate Sparkler Sets the number of sparks generated every frame.

Branch Lightning Sets the likelihood that the lightning will have few or
Probability many branches. A value of 0 displays no branches. The
higher the value, the more branches are likely.

Length Ripple Sets the distance between the wave peaks.

Length Sparkler 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.

Lifetime Sparkler Sets (in frames) how long each spark lives.

Link Speed Sparkler 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.

Number of Ripple Sets the number of ripples.

Ripples

Random Seed Lightning, Sets the base number upon which all random values are
Ripple calculated. Each value will result in a different random
effect.

n This parameter is not keyframeable.

Render Mode Lightning Sets the quality of the rendered lightning:

Fast menu
• Quick to view just the motion of the lightning.
• Quick
• Standard to view the full lightning without anti-
• Standard aliasing while editing the animation.
• Anti-aliased • Anti-aliased to ensure that fine branches do not break
up.

Speed Bias X, Sparkler Sets the bias to the direction of the sparks. The system
Speed Bias Y adds these values to the initial random directions.

323
Chapter 12 2D Effects Reference

Strength Ripple Sets the height of the waves.

X, Y Sparkler Sets the center of the effect. The X and Y values range
from –999 to +999, where 0, 0 is the center of the screen.

Glow

Lightning effect Sparkler effect

Color Color

Parameter Type Keyframeable

Description The Glow parameter category is available for the Lightning effect and the Sparkler effect.
Use it to control the effect’s glow. For more information, see “Lightning” on page 415 and
“Sparkler” on page 427.

Use of Controls Parameter Effect Description

Glow Radius Sparkler Sets the radius of the glow in pixels.

R, G, B (Color) Lightning, Sets the color of the glow. Select the color by doing one
Sparkler of the following:
t Directly manipulate the RGB sliders.
t Use the Windows Color dialog box.
t Use the eyedropper.

Width Lightning Sets the radius of the glow in pixels.

324
 2D Effects Parameters

Illumination

Color

Parameter Type Keyframeable

Description The Illumination parameter category is available only for the Ripple effect. Use it to
highlight the ripples in the effect. For more information, see “Ripple” on page 424.

Use of Controls Angle Sets the source direction of the light. A value of 0 degrees is three
o’clock; positive values move counterclockwise.

R, G, B (Color) Sets the color of the light. Select the color by doing one of the
following:
t Directly manipulate the RGB sliders.
t Use the Windows Color dialog box.
t Use the eyedropper.

Input

The set of Input parameters varies between Illusion FX effects. :Each set of parameters is
listed in its own section:
• Color Mix Input Parameters
• Crystal Input Parameters
• Film Grain Input Parameters
• Flare Input Parameters
• FluidBlur Input Parameters
• FluidColorMap Input Parameters
• FluidMorph Input Parameters
• Iris Input Parameters
• Kaleidoscope Input Parameters
• Melt Input Parameters
• Motion Blur Input Parameters
• Page Curl Input Parameters

325
Chapter 12 2D Effects Reference

• Particle Blast Input Parameters

• Particle Orbit Input Parameters
• Particle Wind Input Parameters
• Pinch Input Parameters
• Radial Blur Input Parameters
• Random Blend Input Parameters
• Rollup Input Parameters
• Shear Input Parameters
• Sphere Input Parameters
• Swirl Input Parameters
• Timecode Input Parameters
• Twist Input Parameters
• Wave Input Parameters

Color Mix Input Parameters

Color

Parameter Type Keyframeable

Description The Input parameters for the Color Mix effect control the color and the color level. For
more information, see “Color Mix” on page 410.

Use of Controls Color Level Sets the amount of color to add, from 0 (no color) to 100 (maximum
color).

R, G, B (Color) Sets the color. Select the color by doing one of the following:
t Directly manipulate the RGB sliders.
t Use the Windows Color dialog box.
t Use the eyedropper.

326
 2D Effects Parameters

Crystal Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Crystal effect control the size and randomness of the
polygons. For more information, see “Crystal” on page 410.

Use of Controls 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 will result in a different random effect. This parameter is
not keyframeable.

Anti-alias Sets whether or not transformed areas are smoothed.

n This parameter is not keyframeable.

327
Chapter 12 2D Effects Reference

Film Grain Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Film Grain effect add a grainy texture to a video clip to
simulate the imperfections present in some film footage. For more information, see “Film
Grain” on page 411.

Use of Controls 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.

328
 2D Effects Parameters

Flare Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Flare effect create a random flare ring. For more information,
see “Flare” on page 411.

Use of Controls 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 will result in a different random effect.

n This parameter is not keyframeable.

X, Y Sets the center of the flare ring.

329
Chapter 12 2D Effects Reference

FluidBlur Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the FluidBlur effect create a motion blur. For more information,
see “FluidBlur” on page 412.

Use of Controls Blur Amount The level of blur for objects that are moving.
The amount of blur ramps linearly from 0 to Blur Amount as the pixel
motion increases from the Lower Motion Threshold value to the Upper
Motion Threshold value. This means that the faster an object moves,
the more it is blurred.

Lower Motion Objects moving less than the Lower Motion Threshold number of
Threshold, pixels between frames or fields are not blurred. Objects moving more
Upper Motion than the Upper Motion Threshold number of pixels between frames or
Threshold fields are not blurred. Objects whose movement falls between the two
values are blurred by the Blur Amount.

Trail Instructs the system 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.

Sharpen Leading Allows you to keep the front edge of an object crisp and clear while
Edge other portions are blurred.

Progressive Use this option if your footage was captured or converted to

Source progressive footage (i.e., not interlaced). If your sources are
progressive, enabling Progressive Source produces smoother results.
This option has no effect in 24p projects because the system assumes
that you are using progressive footage.

330
 2D Effects Parameters

FluidColorMap Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the FluidColorMap effect create a color representation of motion
in a scene. For more information, see “FluidColorMap” on page 412.

Use of Controls Min Motion Objects moving less than the Min Motion Threshold number of pixels
Threshold, Max between frames (or fields) will have the minimum saturation and
Motion luminance. Objects moving more than the Max Motion Threshold
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 This setting controls how much the Min Motion Threshold and Max
Saturation 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 Use this option if your footage was captured or converted to

Source progressive footage (i.e., not interlaced). If your sources are
progressive, enabling Progressive Source produces smoother results.
This option has no effect in 24p projects because the system assumes
that you are using progressive footage.

331
Chapter 12 2D Effects Reference

FluidMorph Input Parameters

Parameter Type Global

Description The Input parameters for the FluidMorph effect control morphing between two clips. For
more information, see “FluidMorph” on page 413.

Use of Controls Feature Match When selected, the system attempts to match features between the two
clips when it creates the morph for each frame.
When deselected, the system creates the morph based on the brightness
of the two images.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video.

Progressive Use this option if your footage was captured or converted to

Source progressive footage (i.e., not interlaced). If your sources are
progressive, enabling Progressive Source produces smoother results.
This option has no effect in 24p projects because the system assumes
that you are using progressive footage.

332
 2D Effects Parameters

Iris Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Iris effect create a wipe transition. For more information, see
“Iris” on page 413.

Use of Controls 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.

n This parameter is not keyframeable.

333
Chapter 12 2D Effects Reference

Kaleidoscope Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Kaleidoscope effect create an image resembling a
kaleidoscope using the input video. For more information, see “Kaleidoscope” on
page 414.

Use of Controls Symmetry Sets the number of mirrors.

Angle Sets the angle of the mirrors.

Scale Sets the scale of the image.

Melt Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Melt effect control a transition effect that “melts” the
foreground image away to reveal the background image. For more information, see
“Melt” on page 416.

Use of Controls 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 is 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.

334
 2D Effects Parameters

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.

n This parameter is not keyframeable.

Anti-alias Sets whether or not transformed areas are smoothed.

n This parameter is not keyframeable.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video.

n This parameter is not keyframeable.

Motion Blur Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Motion Blur effect allow you to blur the edges of moving
objects. For more information, see “Motion Blur” on page 416.

Use of Controls Amount Sets the length of the blur.

Direction Sets the direction of the blur. A value of 0 degrees is three o’clock;
positive values move counterclockwise.

335
Chapter 12 2D Effects Reference

Page Curl Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Page Curl effect create a transition effect that peels the
foreground video off the background video. For more information, see “Page Curl” on
page 417. For examples of the Page Curl parameter combinations, see the following table.

Use of Controls Turn Left Controls the direction of the page curl.

Reverse When selected, incoming video peels on. When deselected, outgoing
video peels off.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video.

n This parameter is not keyframeable.

The following table describes the possible combinations of the three parameters and shows
an example of the results.

Page Curl Parameter Combinations

Turn Left Reverse Swap Sources Result

Off Off Off

Outgoing video
peels off

Off Off On
Incoming video
peels off

336
 2D Effects Parameters

Page Curl Parameter Combinations (Continued)

Turn Left Reverse Swap Sources Result

On Off Off
Outgoing video
peels off

On Off On
Incoming video
peels off

Off On Off Incoming video

peels on

Off On On Outgoing video

peels on

337
Chapter 12 2D Effects Reference

Page Curl Parameter Combinations (Continued)

Turn Left Reverse Swap Sources Result

On On Off
Incoming video
peels on

On On On
Outgoing video
peels on

Particle Blast Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Particle Blast effect create a transition effect that turns the
foreground video into particles that blow off to reveal the background video. For more
information, see “Particle Blast” on page 418.

Use of Controls Amount Sets the progression of the effect. The larger the difference in the
Amount value between keyframes, the faster the effect happens.

338
 2D Effects Parameters

Size Sets the radius of the particles.

Spacing Sets the space between the center of the original position of the
particles.

n 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 Allows particles nearest the center to move at different speeds.

Randomness

Speed Sets the speed at which particles move apart.

Speed Allows particles to move at different speeds to give a more natural

Randomness 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.

n This parameter is not keyframeable.

Particle Orbit Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Particle Orbit effect create a transition effect that turns the
foreground video into circular particles that orbit around their original position. For more
information, see “Particle Orbit” on page 418.

339
Chapter 12 2D Effects Reference

Use of Controls 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.

n 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.

n This parameter is not keyframeable.

Particle Wind Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Particle Wind effect create a transition effect that turns the
foreground video into circular particles that blow off to reveal the background video. For
more information, see “Particle Wind” on page 420.

340
 2D Effects Parameters

Use of Controls 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.

n 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 Allows particles nearest the front to move at different speeds.

Randomness

Speed Sets the wind speed.

Speed Allows particles anywhere within the effect to move at different

Randomness 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 three
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.

n This parameter is not keyframeable.

341
Chapter 12 2D Effects Reference

Pinch Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Pinch effect create an effect that pinches the image in toward
or pushes it out from a user-defined point. For more information, see “Pinch” on
page 422.

Use of Controls 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.

n This parameter is not keyframeable.

342
 2D Effects Parameters

Radial Blur Input Parameters

Render Mode
Fast menu

Parameter Type Keyframeable

Description The Input parameters for the Radial Blur effect create an effect that blurs the image
inward or outward from a user-defined point. For more information, see “Radial Blur” on
page 423.

Use of Controls 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 Sets whether only the center marker shows, or how the effect is
Fast menu rendered.
• Locate Select Locate to show the center marker. Use it while setting up the
center.
• Render Low
Quality
• Render
Medium
Quality
• Render High
Quality

343
Chapter 12 2D Effects Reference

Random Blend Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Random Blend effect control a random pattern to blend
incoming and outgoing video. For more information, see “Random Blend” on page 423.

Use of Controls Amount Sets the amount of blend.

Random Scale Sets the amount of randomness. This allows the system to blend
different portions of the image at different rates.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video.

n This parameter is not keyframeable

.

344
 2D Effects Parameters

Rollup Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Rollup effect control a transition effect that rolls up the
foreground video to reveal the background video. For more information, see “Rollup” on
page 425.

Use of Controls 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 roll. A value of 0 degrees is three o’clock;
positive values move counterclockwise.

Anti-alias Sets whether or not transformed areas are smoothed.

n This parameter is not keyframeable.’

Swap Sources Specifies whether to apply the effect to incoming or outgoing video.

n This parameter is not keyframeable.

345
Chapter 12 2D Effects Reference

Shear Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Shear effect control a transition effect that divides the
foreground video into strips and slides them away in opposite directions to reveal the
background video. For more information, see “Shear” on page 426.

Use of Controls 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 Sets the minimum and maximum possible width of the slats.
Width

Width Controls the variety of sizes of slats. The system creates slats of
Randomness 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 three 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.

n This parameter is not keyframeable.

346
 2D Effects Parameters

Anti-alias Sets whether or not transformed areas are smoothed.

n This parameter is not keyframeable.

Swap Sources Specifies whether to apply the effect to incoming or outgoing video.

n This parameter is not keyframeable.

Sphere Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Sphere effect control a spherical distortion in the image. For
more information, see “Sphere” on page 427.

Use of Controls 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.

n This parameter is not keyframeable.

347
Chapter 12 2D Effects Reference

Swirl Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Swirl effect control a distortion in the image where pixels
swirl within a circular area. For more information, see “Swirl” on page 428.

Use of Controls 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.

n This parameter is not keyframeable.

348
 2D Effects Parameters

Timecode Input Parameters

Timecode Color Fast menu

Timecode Font and Size Fast menu

Timecode Type Fast menu

Parameter Type Keyframeable

Description The Input parameters for the Timecode effect control burn-in timecode. For more
information, see “Timecode” on page 429.

Use of Controls Timecode Color Select a color and background for the timecode text.
Fast menu

• White no background
• Black no background
• White on Black
• Black on White

Timecode Font Select a font and size for the timecode text.
and Size Fast
menu

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 Selects the timecode type:

Fast menu
• 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 + to & between the values 24 and 25. The
+ sign is used for 16mm projects and the & symbol is used for 35mm
projects.

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.

349
Chapter 12 2D Effects Reference

Twist Input Parameters

Axis Fast menu

Parameter Type Keyframeable

Description The Input parameters for the Twist effect create an effect that distorts the image by
twisting the two ends in opposite directions. For more information, see “Twist” on
page 430.

Use of Controls Amount Sets the amount of twist.

X, Y Sets the center of the effect.

Axis Fast menu Sets whether the twist applies horizontally (X axis) or vertically
(Y axis).
• X axis
• Y axis

Anti-alias Sets whether or not transformed areas are smoothed.

n This parameter is not keyframeable.

350
 2D Effects Parameters

Wave Input Parameters

Parameter Type Keyframeable

Description The Input parameters for the Wave effect create an effect that distorts the image by
applying waves to it. For more information, see “Wave” on page 430.

Use of Controls 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 The amount of horizontal distortion and vertical distortion, where 0 is

Factor, Vertical no distortion and 100 is maximum distortion.
Factor

Number of Sets the number of waves. Wave effects are superimposed upon each
Waves 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.

n This parameter is not keyframeable.

Anti-alias Sets whether or not transformed areas are smoothed.

n This parameter is not keyframeable.

351
Chapter 12 2D Effects Reference

Motion

Parameter Type Keyframeable

Description The Motion parameter category is available only for the Ripple effect. Use it to control the
ripples in the effect. For more information, see “Ripple” on page 424.

Use of Controls Amount Sets the progression of the effect. The larger the difference in the time
value between keyframes, the faster the effect will happen.

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.

352
 2D Effects Parameters

Movement

Parameter Type Keyframeable

Description The Movement parameter category is available only for the Sparkler effect. Use it to
control the movement of the sparkler in the effect. For more information, see “Sparkler”
on page 427.

Use of Controls 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 Y Sets a virtual directional wind, which affects the trajectory of the
sparks.

n Air Resistance must be greater than 0 for Wind to have an effect.

Turbulence Adds randomness to the movement of the sparks.

353
Chapter 12 2D Effects Reference

Number

Text color

Parameter Type Keyframeable

Description The Number parameter category is available only for the Pattern Generator effect. For
more information, see “Pattern Generator” on page 421.

Use of Controls 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 Sets the color of the number. Select the color by doing one of the
(Text color) following:
t Directly manipulate the RGB sliders.
t Use the Windows Color dialog box.
t Use the eyedropper.

354
 2D Effects Parameters

Offset

Parameter Type Keyframeable

Description The Offset parameter category is available only for the Kaleidoscope effect. For more
information, see “Kaleidoscope” on page 414.

Use of Controls 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.

n This parameter is not keyframeable.

Source

Parameter Type Keyframeable

Description The Source parameter category is available only for the FluidMorph effect. Select the
morphing method from the Source Fast menu. For more information, see “FluidMorph”
on page 413.

Use of Controls Source Fast menu Select the morphing method from the Source Fast menu:

• Still Image — The system 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 — The system creates the output by morphing the two clips, frame by
frame.

355
Chapter 12 2D Effects Reference

Start Timecode

Parameter Type Keyframeable

Description The Start Timecode parameter category is available only for the Timecode effect. For
more information, see “Timecode” on page 429.

Use of Controls 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 non-zero Starting timecode day to identify items such as spool,
reel, and so forth.

Starting timecode Sets the hour for the starting timecode.

hour

Starting timecode Sets the minute for the starting timecode.

minute

Starting timecode Sets the second for the starting timecode.

second

Starting timecode Sets the frame for the starting timecode.

frame

Starting timecode When you select Feet and Frames as the Timecode Type, you can
feet specify the starting feet. For morei nformation, see “Timecode Input
Parameters” on page 349.

Key Parameters
Key parameters appear only in the Chroma Key, Luma Key, and RGB Keyer effects. These
parameters control the key color and allow you to fine-tune the edges of key effects and the
appearance of the foreground elements.

For information on the workflow for applying key effects, see “Creating Key Effects” on
page 177.

356
 2D Effects Parameters

Key

Available in Chroma Key and Luma Key effects

Parameter Type Global

Description Selects the primary key color to be replaced by video. Available in both Chroma Key and
Luma Key.

Use of Controls Other Options Opens the Windows Color dialog box for precise color selection.
button For more information, see

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 is
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.

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. Values range from 0 to 63. The higher the
Softness value, the more of the background video is blended in the
border colors. Use the Soft slider to improve the appearance of the
edges of the keyed areas.

357
Chapter 12 2D Effects Reference

Secondary Key

Available in Chroma Key effect only

Parameter Type Global

Description Selects a secondary background color to key out. For example, the floor in a blue screen
or green screen shot might be a slightly different shade from the background. You can
select the floor color as your secondary color and key it out. Available for the Chroma Key
effect only.

Use of Controls See “Key” on page 357.

Spill Suppression

Available in Chroma Key effect only

Parameter Type Global

Description Neutralizes the selected color for the Chroma Key effect without affecting the luminance.
The effect 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.

Use of Controls See “Key” on page 357.

358
 2D Effects Parameters

Key Color

Available in RGB Keyer effect only

Parameter Type Global

Description Use the Key Color parameters in the RGB Keyer effect to select a color for the chroma
key.

Use of Controls 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.

See “RGB Keyer (AVX Plug-in Effect)” on page 441.

Chroma Key

Available in RGB Keyer effect only

Parameter Type Global

Description Use the Chroma Key parameters in the RGB Keyer effect to fine-tune the key effect.

Use of Controls Gain Softens the edge of the key, with a range from 0 to 100.

Soft (softness) 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.

359
Chapter 12 2D Effects Reference

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.

See “RGB Keyer (AVX Plug-in Effect)” on page 441.

Matte Control

Available in RGB Keyer effect only

Parameter Type Global

Description Use Matte Control in the RGB Keyer effect to fine-tune the edges of the matte used in the
chroma key.

Use of Controls 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.

See “RGB Keyer (AVX Plug-in Effect)” on page 441.

360
 2D Effects Parameters

Color Correction

Available in RGB Keyer effect only

Parameter Type Global

Description 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.

Use of Controls 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.

Bright (brightness) Specifies the brightness level. Values range from 0 to 255, where 0
is black and 255 is full brightness or white.

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.

See “RGB Keyer (AVX Plug-in Effect)” on page 441.

361
Chapter 12 2D Effects Reference

Matrix Parameters

Parameter Type Global

Description Allows you to customize the grid used to define the position or progress of the Matrix
effect over time. For example, the grid defines the number of squares used for the Grid
and Speckle effects, or the number of horizontal bars used for the One-Way Row
effect. Available for Matrix Wipe Effects, Sawtooth Wipe Effects, and some Shape
Wipe Effects.

Use of Controls Other Options Click to open the Matrix Effect dialog box.
button

Columns Rows
Graphical representation
of the grid

Select a standard grid size or enter a custom number of rows

and columns, and then click OK. The minimum number of
rows and columns is 2 x 2. A graphical representation of the
grid you select appears on the right side of the dialog box.

Traditional Motion Effect Parameters

Traditional motion effect parameters apply to Freeze Frame, Variable Speed, and Strobe
Motion effects. For information about applying and editing various motion effects, see
“Creating Traditional Motion Effects” on page 162.

For reference information on Timewarp motion effect, see “Timewarp” on page 500.

362
 2D Effects Parameters

Freeze Frame Parameters

Duration

Custom duration

Parameter Type Global

Description Allows you to create and customize a freeze frame clip based on the image currently
displayed in the Source pop-up monitor.

Use of Menu Freeze frame parameters are menu commands in the Clip menu. To create a freeze
Commands frame and access freeze frame parameters, select Clip > Freeze Frame, and then select
the appropriate submenu commands.

• Duration commands Specifies the length of the freeze frame clip that the Avid editing application creates in
(in seconds or the Source pop-up monitor. You can either select a duration from the Freeze Frame
minutes) submenu or select Other to enter a custom duration.

• Other Opens a dialog box that allows you to specify a custom duration for the freeze frame
clip.

• Two Field Freeze Opens a submenu with commands that allow you to determine how the system creates
Frames and displays the effect media when working with two fields.

• Using Duplicated The system uses a single field to create the effect. This option reduces the vertical
Field resolution of the image by one-half, resulting in a lower quality image.

363
Chapter 12 2D Effects Reference

• Using Both Fields The system uses both fields to create the effect. This option is especially useful when
there is motion in the footage.

• Using Interpolated The system creates a second field for the effect by combining scan line pairs from the
Field 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
effect

Strobe Motion
effect

Parameter type Global

Description Allows you to create and customize variable speed or strobe motion clips based on all
or part of the clip currently displayed in the Source pop-up monitor.

Use of controls Variable Speed and Strobe Motion parameters are available in the Motion Effect
dialog box. To open the Motion Effect dialog box, click the Motion Effect button in
the Source pop-up monitor.

Variable Speed

• Duration The duration of the effect in frames. Doubling the number of frames causes the frame
rate to be half the current rate.

• Rate The rate of speed in frames per second (fps) at which the video will be played. Normal
speed is 30 fps for NTSC, 25 fps for PAL.

364
 2D Effects Parameters

• % Speed The percent of speed at which the video will be played. Normal speed is 100%.

n To indicate reverse motion at full play rate, slow or fast, enter a negative play
rate or a percent.

• Fit To Fill Sets the Variable Speed parameters, so the duration of the motion effect will match the
IN to OUT duration marked in the sequence.

Strobe Motion

• Update every n Specifies the update rate in frames for the Strobe Motion effect. For example, entering
frames a rate of 5 causes every fifth frame to be displayed in the Strobe Motion effect.

n If a Strobe Motion effect becomes unrendered because it has been trimmed to a

longer duration, the effect will not play and must be rendered again.

Render 2-field Motion

Effect Using

• Duplicated Field The Avid editing application uses a single field to create 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).
Effects render in the shortest amount of time using this option.

• Both Fields The Avid editing application uses both fields to create 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.
Effects render relatively quickly. For best results, use evenly divisible frame rates with
this option.

• Interpolated Field The Avid editing application 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.
This method is best for video-originated material or film-originated material
transferred at 24 fps. Effects created using this option take the longest amount of time
to render.

365
Chapter 12 2D Effects Reference

• VTR-Style The 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.
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.

• Ignore Render If a specific motion effect type is set in the Motion Effects Render Using option of the
Setting active Render setting, the Avid editing application automatically selects that motion
effect type, makes all other motion effect type options unavailable, and displays the
Ignore Render Setting check box. Click the Ignore Render Setting check box to
temporarily override the active Render setting and make all four motion effect types
available.

PlasmaWipe Parameters

All of the PlasmaWipe effects use the same set of parameters. For information on using
PlasmaWipe effects, see “Working with PlasmaWipe Effects” on page 275.

366
 2D Effects Parameters

The following table describes the PlasmaWipe parameters.

PlasmaWipe Parameters

Parameter Description

Border The Border parameters allow you to specify the color, softness, and width of the
border. Blend Color parameters allow you to blend the border color. For more
information, see “Border” on page 310.
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.

Profile The Profile window in the Effect Editor is a graphical representation of the foreground
level and acceleration applied to effect keyframes. For more information, see “Profile”
on page 368.

Foreground Level The Level value controls the amount of the effect at any given point. As you increase
the value, the effect reveals more incoming video.

Acceleration Acceleration adjusts the effect’s speed over time by having the effect ease in and ease
out of every keyframe. For more information, see “Acceleration” on page 301.

Plug-in Effect Parameters

If you install third-party plug-in effects, these effects usually come with their own
documentation. For information on installing and using third-party plug-in effects, see.
“Working with Third-Party Plug-In Effects” on page 147.

Position

Parameter Type Keyframeable

Description Sets the horizontal and vertical position of the effect.

Use of Controls H Pos (horizontal Moves the video from side to side. Values range from –999 to +999.
position) Negative values move the image to the left. Positive values move the
image to the right.

V Pos (vertical Moves the video up and down. Values range from –999 to +999.
position) Negative values move the image to the top. Positive values move the
image to the bottom.

367
Chapter 12 2D Effects Reference

Scroll Position

Parameter Type Keyframeable.

Description Moves a rolling title up or down in the frame (Scroll Position V) or moves a crawling title
left or right in the frame (Scroll Position H). Available for rolling and crawling titles only.

Use of Controls Move the slider to adjust the position of the roll or crawl. The number range refers to the
position of the roll or crawl relative to its overall length, where 0 represents the point at
which the top of the roll is aligned with the top or left of the screen. The highest negative
number (the slider at its leftmost position) places the top or left of the title off the bottom
or right of the screen. The highest positive number (the slider at its rightmost position)
places the bottom or right of the title off the top or left of the screen.

Reverse Click to reverse the direction of the roll or crawl.

c If you select all keyframes when changing the scroll position on a rolling or crawling
title, all keyframes will be set to that position and the title will no longer move. Make
sure you select the appropriate keyframes.

Profile
Parameter type: Keyframeable

100% level (foreground opaque)

Straight lines indicate no acceleration.

0% level (foreground transparent)

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.

368
 2D Effects Parameters

To adjust foreground level within the Profile window:

1. In the effect’s Timeline, select the appropriate keyframe indicator.
2. 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 301.

Region Stabilize Parameters

Region Stabilize parameters appear only in the Region Stabilize effect. They allow you to
establish the type of stabilization and the area of the image that is to remain stationary. For
more information, see “Using the Region Stabilize Effect” on page 197.

Model

Parameter Type Global

Description Selects the type of stabilization. Available for the Region Stabilize effect only. For more
information, see “Using the Region Stabilize Effect” on page 197.

Options Translational Keeps the region of interest steady along both the horizontal and the
vertical axis.

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.

369
Chapter 12 2D Effects Reference

Region of Interest

Parameter Type Keyframeable

Description Defines the area of the image that is to remain stationary. Available for the Region
Stabilize effect only. For more information, see “Using the Region Stabilize Effect” on
page 197.

Use of Controls T (top) Sets the corners of the region of interest. Values are relative to the
L (left) center of the screen.

n
B (bottom)
You can also change the size and position of the Region of
R (right)
Interest by dragging the wire frame in the Effect Preview
monitor. For more information, see “Manipulating Effects
Directly” on page 67.

Auto Zoom

Parameter Type Global

Description 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. Available for the Region Stabilize effect only. For more information, see “Using
the Region Stabilize Effect” on page 197.

Progressive Source

Parameter Type Global

Description Produces smoother results for the effect when your footage was captured or converted to
progressive footage (not interlaced).

370
 2D Effects Parameters

Scaling

Parameter Type Keyframeable

Description Resizes the effect by adjusting height and width.

Use of Controls Wid (width) Controls the width of the image when the Fixed Aspect parameter is
disabled. Values range from 0 to 400.

Hgt (height) Controls the height of the image when the Fixed Aspect parameter is
disabled. Values range from 0 to 400.

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.

n For information on the Scaling parameter for 3D effects, see “Scaling” on page 522.

Transition Parameters

Click the Transition Transition Effect Duration box

Effect Alignment
button to select a
position from the pop-
up menu.

Parameter Type Global

Description Transition parameters allow you to specify the starting point of a transition relative
to the cut point and the length of a transition. Transition parameters appear at the
bottom of the Effect Editor. For more information about using transition effects,
start with “Applying Effects From the Effect Palette” in the Help.

371
Chapter 12 2D Effects Reference

Use of Controls Transition Effect Click the Transition Effect Alignment button to open a
Alignment button pop-up menu, and then select a position option.
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.
Custom Start — Allows you to specify the number of
frames before and after the cut to be included in the
effect.

Transition Effect
Duration box

Click in the box, and type a value to specify the length

of time that the effect will span the transition. The
Transition Effect Duration format that the effect
displays (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 monitor.

2D Effects
This section summarizes each 2D effect in alphabetical order within each effect category
listed below. Parameters for each effect are listed here and are described in “2D Effects
Parameters” on page 299.
• Blend Effects
• Box Wipe Effects
• Conceal Effects
• Edge Wipe Effects
• Film Effects
• Illusion FX
• Image Effects
• Key Effects
• L-Conceal Effects

372
 2D Effects

• Matrix Wipe Effects

• Motion Effects
• Peel Effects
• PlasmaWipe Effects
• Push Effects
• Sawtooth Wipe Effects
• Shape Wipe Effects
• Spin Effects
• Squeeze Effects
• Timewarp
• Title Effects

Blend Effects
Blend effects are general two-channel effects used for transitions or multilayer segments.
Blend effects include the following:
• Dip to Color
• Dissolve
• Fade from Color
• Fade to Color
• Picture-in-Picture
• Superimpose

Also see “Film Dissolve” on page 407 and “Film Fade” on page 408.

373
Chapter 12 2D Effects Reference

Dip to Color

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Blend

Apply to Transitions

Parameters Foreground – level, reverse animation

Background – hue, saturation, luminance
Acceleration
Transition Parameters – transition effect alignment and duration

Description Fades from the outgoing video to black, white, or any color and then fades up to the
incoming video.

374
 2D Effects

Dissolve

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Blend

Apply to Transitions

Parameters Foreground – level, reverse animation

Acceleration
Transition Parameters – transition effect alignment and duration

Description Blends images from the outgoing video with the incoming video over time.

375
Chapter 12 2D Effects Reference

Fade from Color

Beginning color Middle of effect Incoming footage

Effect Icon

Effect Category Blend

Apply to Transitions

Parameters Foreground – level, reverse animation

Background – hue, saturation, luminance
Acceleration
Transition Parameters – transition effect alignment and duration

Description Fades from any color to the incoming video.

376
 2D Effects

Fade to Color

Outgoing footage Middle of effect Final color

Effect Icon

Effect Category Blend

Apply to Transitions

Parameters Foreground – level, reverse animation

Background – hue, saturation, luminance
Acceleration
Transition Parameters – transition effect alignment and duration

Description Fades from the outgoing video to any color.

377
Chapter 12 2D Effects Reference

Picture-in-Picture

Bottom track PIP as a segment effect Top track

Effect Icon

Effect Category Blend

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, swap sources, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration
Scaling – height, width, fixed aspect
Position – horizontal position, vertical position
Crop – top, bottom, left, right

n You can promote Picture-in-Picture to advanced keyframes. For more information,

see “Using Advanced Keyframes” on page 78.

Description Creates a picture within a picture. Video from the higher layer, where the effect is applied,
is displayed inside the video on the lower layer. When used on a transition, the incoming
video appears inside the outgoing video.
You can promote a Picture in Picture effect to 3D or you can start off with a 3D PIP effect
from the Xpress 3D Effects category. For information on 3D effect parameters, see “3D
Effects Parameters” on page 511.

378
 2D Effects

Superimpose

Bottom track Superimpose effect Top track

Effect Icon

Effect Category Blend

Apply to Multilayer segments

Parameters Foreground – level, reverse animation

Acceleration

Description Blends the image from the upper video track (where the effect is applied) with the image
from the lower video track over time. Level set at 100 percent shows only the video image
from the upper track where the effect is applied. Level set at 0 percent shows only the
video image from the lower video track.

Box Wipe Effects

Box Wipe effects reveal one video channel on top of another video channel, using
predefined growing rectangular shapes. Box Wipe effects include the following:
• Bottom Box
• Bottom Left to Top Right
• Bottom Right to Top Left
• Left Box
• Right Box
• Top Box
• Top Left to Bottom Right
• Top Right to Bottom Left

n For examples of similar effects, see “Comparison of Similar Effects” on page 509.

379
Chapter 12 2D Effects Reference

Bottom Box

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Box Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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 the screen.

380
 2D Effects

Bottom Left to Top Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Box Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

381
Chapter 12 2D Effects Reference

Bottom Right to Top Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Box Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

382
 2D Effects

Left Box

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Box Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

383
Chapter 12 2D Effects Reference

Right Box

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Box Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

384
 2D Effects

Top Box

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Box Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

385
Chapter 12 2D Effects Reference

Top Left to Bottom Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Box Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

386
 2D Effects

Top Right to Bottom Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Box Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

Conceal Effects
Conceal effects overlap one video channel over another video channel, using a predefined
path. Conceal effects include the following:
• Bottom Left to Top Right
• Bottom Right to Top Left
• Bottom to Top
• Left to Right
• Right to Left
• Top Left to Bottom Right
• Top Right to Bottom Left
• Top to Bottom
387
Chapter 12 2D Effects Reference

n For examples of similar effects, see “Comparison of Similar Effects” on page 509.

Bottom Left to Top Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Conceal

Apply to Transitions, single-layer and multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides on top of the outgoing video from the bottom left to the top right of
the screen.

388
 2D Effects

Bottom Right to Top Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Conceal

Apply to Transitions, single-layer and multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides on top of the outgoing video from the bottom right to the top left of
the screen.

389
Chapter 12 2D Effects Reference

Bottom to Top

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Conceal

Apply to Transitions, single-layer and multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides on top of the outgoing video from the bottom to the top of the
screen.

390
 2D Effects

Left to Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Conceal

Apply to Transitions, single-layer and multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides on top of the outgoing video from the left edge to the right edge of
the screen.

391
Chapter 12 2D Effects Reference

Right to Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Conceal

Apply to Transitions, single-layer and multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides on top of the outgoing video from the right edge to the left edge of
the screen.

392
 2D Effects

Top Left to Bottom Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Conceal

Apply to Transitions, single-layer and multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides on top of the outgoing video from the top left to the bottom right of
the screen.

393
Chapter 12 2D Effects Reference

Top Right to Bottom Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Conceal

Apply to Transitions, single-layer and multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides on top of the outgoing video from the top right to the bottom left of
the screen.

394
 2D Effects

Top to Bottom

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Conceal

Apply to Transitions, single-layer and multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides on top of the outgoing video from the top to the bottom of the
screen.

Edge Wipe Effects

Edge Wipe effects reveal one video channel on top of another video channel by wiping an
edge across the screen. Edge Wipe effects include the following:
• Horizontal
• Horizontal Open
• Lower Left Diagonal
• Lower Right Diagonal
• Upper Left Diagonal
• Upper Right Diagonal
• Vertical
• Vertical Open

395
Chapter 12 2D Effects Reference

Horizontal

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Edge Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video begins at the left edge of the screen and moves to the right edge, wiping
out the outgoing video.

396
 2D Effects

Horizontal Open

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Edge Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

397
Chapter 12 2D Effects Reference

Lower Left Diagonal

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Edge Wipe

Apply to Transitions, multilayer segments

Parameters Foreground – level, reverse animation

Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video begins in the bottom left corner of the screen and wipes out the outgoing
video as a diagonal line moves from the bottom left corner to the top right corner of the
screen.

398
 2D Effects

Lower Right Diagonal

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Edge Wipe

Apply to Transitions, multilayer segments

Parameters Foreground – level, reverse animation

Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video begins in the bottom right corner of the screen and wipes out the outgoing
video as a diagonal line moves from the bottom right corner to the top left corner of the
screen.

399
Chapter 12 2D Effects Reference

Upper Left Diagonal

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Edge Wipe

Apply to Transitions, multilayer segments

Parameters Foreground – level, reverse animation

Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video begins in the top left corner of the screen and wipes out the outgoing
video as a diagonal line moves from the top left corner to the bottom right corner of the
screen.

400
 2D Effects

Upper Right Diagonal

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Edge Wipe

Apply to Transitions, multilayer segments

Parameters Foreground – level, reverse animation

Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video begins in the top right corner of the screen and wipes out the outgoing
video as a diagonal line moves from the top right corner to the bottom left corner of the
screen.

401
Chapter 12 2D Effects Reference

Vertical

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Edge Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video begins at the top edge of the screen and expands downward to fill the
screen.

402
 2D Effects

Vertical Open

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Edge Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video begins as a horizontal band in the center of the screen. This band expands
up and down to fill the screen.

Film Effects
Film effects, an option on some systems, emulate many of the effects an optical house can
produce. Film effects include the following:
• 1.66 Mask
• 1.85 Mask
• 16:9 Mask
• Anamorphic Mask
• Blowup
• Film Dissolve
• Film Fade
• Mask
403
Chapter 12 2D Effects Reference

1.66 Mask

Original image 1:1.66 Mask effect

Effect Icon

Effect Category Film

Apply to Single-layer segments

Parameters Background – hue, saturation, luminance

Scaling – height, width, fixed aspect
Position – horizontal position, vertical position

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.

1.85 Mask

Effect Icon

Effect Category Film

Apply to Single-layer segments

Parameters Background – hue, saturation, luminance

Scaling – height, width, fixed aspect
Position – horizontal position, vertical position

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.

404
 2D Effects

16:9 Mask

Effect Icon

Effect Category Film

Apply to Single-layer segments

Parameters Background – hue, saturation, luminance

Scaling – height, width, fixed aspect
Position – horizontal position, vertical position

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.

Anamorphic Mask

Effect Icon

Effect Category Film

Apply to Single-layer segments

Parameters Background – hue, saturation, luminance

Scaling – height, width, fixed aspect
Position – horizontal position, vertical position

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.

405
Chapter 12 2D Effects Reference

Blowup

Original image Blowup effect

Effect Icon

Effect Category Film

Apply to Single-layer segments

Parameters Background – hue, saturation, luminance

Scaling – height, width, fixed aspect
Position – horizontal position, vertical position
Crop – top, bottom, left, right

Description Blowup modifies the size and portion of the picture that is displayed.

406
 2D Effects

Film Dissolve

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Film

Apply to Transitions

Parameters Foreground – level, reverse animation

Acceleration
Transition Parameters – transition effect alignment and duration

Description Blends the outgoing frame to the incoming frame over time. The Level parameter has
been preset according to Kodak™ specifications. Avid does not recommend adjusting the
Level parameter on this effect.
The Level set at 0% shows all of the outgoing frame. The Level set at 100% shows all of
the incoming frame.
This dissolve has preset parameters that emulate film’s response to light when dissolving
to another (nonblack) picture.

407
Chapter 12 2D Effects Reference

Film Fade

Effect Icon

Effect Category Film

Apply to Transitions

Parameters Foreground – level, reverse animation

Acceleration

Description Blends the outgoing pictures to the incoming pictures over time. The Level parameter has
been preset according to Kodak specifications. Avid does not recommend adjusting the
Level parameter on this effect.
The Level set at 0% shows all of the outgoing frame. The Level set at 100% shows all of
the incoming frame.
This dissolve has preset parameters that emulate film’s response to black material. Use
this effect for fade ins and fade outs.

Mask

Effect Icon

Effect Category Film

Apply to Single-layer segments

Parameters Background – hue, saturation, luminance

Scaling – height, width, fixed aspect
Position – horizontal position, vertical position

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 effect’s background color masks the area surrounding the rectangle.

408
 2D Effects

Illusion FX
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 AVX Plug-Ins” on
page 147. Illusion FX effects include the following:
• Color Mix
• Crystal
• Film Grain
• Flare
• FluidBlur
• FluidColorMap
• FluidMorph
• Iris
• Kaleidoscope
• Lightning
• Melt
• Motion Blur
• Page Curl
• Particle Blast
• Particle Orbit
• Particle Wind
• Pattern Generator
• Pinch
• Radial Blur
• Random Blend
• Ripple
• Rollup
• Shear
• Sparkler
• Sphere
• Swirl
• Timecode

409
Chapter 12 2D Effects Reference

• Twist
• Wave

Color Mix

Apply to Segments

Effect Category Illusion FX

Parameters Color Mix Input Parameters — color level, color

Description Allows you to keyframe a color effect.

Crystal

Apply to Segments

Effect Category Illusion FX

Parameters Crystal Input Parameters — size, jitter, random seed, anti-alias

Border — left, right, top, bottom

Description Creates a mosaic effect using polygons. The size of the polygons and the randomness of
their shape can be controlled.

410
 2D Effects

Film Grain

Apply to Segments

Effect Category Illusion FX

Parameters Film Grain Input Parameters — level, size, color, field mode, hilite grain, shadow grain

Description Adds a grainy texture to a video clip to simulate the imperfections present in some film
footage, such as 16mm stock.

Flare

Apply to Segments

Effect Category Illusion FX

Parameters Flare Input Parameters — brightness, size, width, amount, random seed, X, Y

Description Creates a random ring flare. The brightness, size, and center of the flare can be controlled.

411
Chapter 12 2D Effects Reference

FluidBlur

Apply to Segments

Effect Category Illusion FX

Parameters FluidBlur Input Parameters — blur amount, lower motion threshold, upper motion
threshold, trail, sharpen leading edge, progressive source
Border — left, right, top, bottom

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 will be blurred.

n FluidBlur creates a higher quality effect than the Motion Blur effect because it
blurs in the direction of travel. See “Motion Blur” on page 12-416. You must
render this effect to see the result.

FluidColorMap

Apply to Segments

Effect Category Illusion FX

Parameters FluidColorMap Input Parameters — min motion threshold, max motion threshold,
brightness, constant saturation, progressive source
Border — left, right, top, bottom

Description Creates an animation based on the amount of motion in a scene. The effect maps motion
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 degree circle. The system 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).

412
 2D Effects

FluidMorph

Apply to Transitions

Effect Category Illusion FX

Parameters Source — still image, video stream

FluidMorph Input Parameters — feature match, swap sources, progressive source
Border — left, right, top, bottom

Description Allows you to morph between two clips.

Iris

Apply to Transitions

Effect Category Illusion FX

Parameters Iris Input Parameters — amount, softness, X, Y, swap sources

Description Wipes the foreground clip away to reveal the background clip using a circle that radiates
out from the center. The softness of the edge of the circle can be controlled.

413
Chapter 12 2D Effects Reference

Kaleidoscope

Apply to Segments

Effect Category Illusion FX

Parameters Kaleidoscope Input Parameters — symmetry, angle, scale

Center — X, Y
Offset — X, Y, anti-alias
Border — left, right, top, bottom

Description Creates an animation that resembles a kaleidoscope. The number, angle, and position of
the mirrors can be controlled, as can the source area for the effect.

414
 2D Effects

Lightning

Apply to Segments

Effect Category Illusion FX

Parameters Generation — amount, branch probability, random seed, render mode

Core — width, color
Glow — width, color

Description Creates a random lightning pattern.

415
Chapter 12 2D Effects Reference

Melt

Apply to Transitions

Effect Category Illusion FX

Parameters Melt Input Parameters — bleed, melt up, amount, strength, random seed, anti-alias, swap
sources
Border — left, right, top, bottom

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. The strength of the distortion can be
controlled.

Motion Blur

Apply to Segments

Effect Category Illusion FX

Parameters Motion Blur Input Parameters — amount, direction

Description Allows you to blur the edges of moving objects. See also “FluidBlur” on page 412.

416
 2D Effects

Page Curl

Apply to Transitions

Effect Category Illusion FX

Parameters Page Curl Input Parameters — turn left, reverse, swap sources

n This effect is similar to the Rollup effect. Rollup has more flexibility, but Page Curl
adds a highlight along the curled edge. For more information, see “Rollup” on
page 425.

Description Treats the foreground video channel as though it were a sheet of paper being rolled over to
reveal another page beneath.

417
Chapter 12 2D Effects Reference

Particle Blast

Apply to Transitions

Effect Category Illusion FX

Parameters Particle Blast Input Parameters — amount, size, spacing, front speed, front randomness,
speed, speed randomness, acceleration, bumpiness, swap sources
Border — left, right, top, bottom

Description Divides the foreground image into circular particles and then blows away the particles
from the center outward.

Particle Orbit

Apply to Transitions

Effect Category Illusion FX

Parameters Particle Orbit Input Parameters — amount, size, spacing, bumpiness, speed, swap sources
Border — left, right, top, bottom

Description Divides the foreground image into circular particles, which then orbit around their
original position. The size and spacing of the particles can be controlled.

418
 2D Effects

Particle Orbit Example

When using this effect as a transition effect, the following parameter changes are
recommended:
• At the first keyframe, set initial Amount and Bumpiness values to 0 so the transition will
begin 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.

419
Chapter 12 2D Effects Reference

Particle Wind

Apply to Transitions

Effect Category Illusion FX

Parameters Particle Wind Input Parameters — amount, size, spacing, front speed, front randomness,
speed, speed randomness, acceleration, angle, bumpiness, swap sources
Border — left, right, top, bottom

Description Divides the foreground image into circular particles and then blows the particles away
directionally.

420
 2D Effects

Pattern Generator

Apply to Segments

Effect Category Illusion FX

Parameters Background — pattern type, axis, base color

Number — number offset, opacity, text size, stroke width, text color, X, Y
Circle — size, width, opacity, color, X, Y

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.

421
Chapter 12 2D Effects Reference

Pinch

Apply to Segments

Effect Category Illusion FX

Parameters Pinch Input Parameters — amount, size, X, Y, anti-alias

Border — left, right, top, bottom

Description Pinches the image in toward, or pushes it out from a user-defined point. The amount of
distortion and the area affected can be controlled.

422
 2D Effects

Radial Blur

Apply to Segments

Effect Category Illusion FX

Input Parameters Radial Blur Input Parameters — zoom, angle, X, Y, render mode

n This effect can take a long time to render. The greater the angle, the more time it
will take to render the effect.
Border — left, right, top, bottom

Description Blurs the image inward or outward from a user-defined point, and around a user-defined
rotation. The zoom factor can be controlled.

Random Blend

Apply to Transitions

Effect Category Illusion FX

Parameters Random Blend Input Parameters — amount, random scale, swap sources

Description Uses a random pattern to blend the image of the incoming and outgoing video.

423
Chapter 12 2D Effects Reference

Ripple

Apply to Segments

Effect Category Illusion FX

Parameters Motion — amount, wave speed, ripple spread, reflections

Generation — strength, length, number of ripples, random seed, anti-alias
Illumination — color, angle
Border — left, right, top, bottom

Description Creates ripples on the image, as if you dropped a stone into a pond. The number of
ripples; their size, speed, and spread; and the color and direction of the light can be
controlled.

424
 2D Effects

Rollup

Apply to Transitions

Effect Category Illusion FX

Parameters Rollup Input Parameters — amount, curl size, direction, anti-alias, swap sources
Border — left, right, top, bottom

Description Rolls up the foreground clip to reveal the background clip. The size and direction of the
rollup can be controlled.

n This effect is similar to the Page Curl effect. Rollup has more flexibility, but Page
Curl adds a highlight along the curled edge. For more information, see “Page
Curl” on page 417.

425
Chapter 12 2D Effects Reference

Shear

Apply to Transitions

Effect Category Illusion FX

Parameters Shear Input Parameters — amount, min width, max width, width randomness, spread,
angle, random seed, anti-alias, swap sources
Border — left, right, top, bottom

Description Divides the foreground clip into strips and moves alternate strips away in opposite
directions to reveal the background clip.

426
 2D Effects

Sparkler

Apply to Segments

Effect Category Illusion FX

Generation Generation — birth rate, lifetime, X, Y, link speed, length, speed bias X, speed bias Y
Parameters
Movement — speed, gravity, air resistance, wind X, wind Y, turbulence
Glow — glow radius, color
Core — core radius, color

Description Creates random sparks or fireworks. The number and nature of the sparks can be
controlled.

Sphere

Apply to Segments

Effect Category Illusion FX

Parameters Sphere Input Parameters — amount, size, X, Y, anti-alias

Border — left, right, top, bottom

Description Creates a spherical distortion in the image. The size and position of the sphere can be
controlled.

427
Chapter 12 2D Effects Reference

Swirl

Apply to Segments

Effect Category Illusion FX

Parameters Swirl Input Parameters — amount, size, X, Y, anti-alias

Border — left, right, top, bottom

Description Distorts the image by swirling the pixels within a circular area. The size and position of
the circle and the amount of swirl can be controlled.

428
 2D Effects

Timecode

Apply to Segments

Effect Category Illusion FX

Parameters Timecode Input Parameters — timecode color, timecode font and size, X, Y,
timecode type, frames per foot
Start Timecode — starting day, starting hour, starting minute, starting second, starting
frame

Description Allows you to add burn-in timecode on a clip. The system 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 system uses the native timecode for the project. For example, in a 24p
project, the system uses 24-fps non-drop-frame timecode.

429
Chapter 12 2D Effects Reference

Twist

Apply to Segments

Effect Category Illusion FX

Parameters Twist Input Parameters — amount, X, Y, axis, anti-alias

Border — left, right, top, bottom

Description Distorts the image by twisting the two ends in opposite directions. The position and the
amount of the twist can be controlled.

Wave

Apply to Segments

Effect Category Illusion FX

Parameters Wave Input Parameters — amount, minimum size, maximum size, horizontal factor,
vertical factor, number of waves, speed, random seed, anti-alias
Border — left, right, top, bottom

Description Distorts the image by applying a user-defined number of waves to it. The size of the waves
can be controlled.

430
 2D Effects

Image Effects
Image effects are general effects that apply to a single stream of video. Image effects include
the following:
• Avid Pan & Zoom (AVX Plug-In Effect)
• Color Correction
• Color Effect
• Flip
• Flip-Flop
• Flop
• Mask
• Region Stabilize
• Resize
• Submaster

431
Chapter 12 2D Effects Reference

Avid Pan & Zoom (AVX Plug-In Effect)

Effect Icon

Effect Category Image

Apply to Single-layer segments

Parameters Other Options button for the Avid Pan & Zoom Effect
Display
Display Options
Size
Position for the Avid Pan & Zoom Effect
Velocity
Path
Filtering
Background for the Avid Pan & Zoom Effect
Advanced
Cache
Transition Parameters — transition effect alignment and duration

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 200.

Color Correction

Effect Icon

Effect Category Image

Apply to Single-layer segments

Parameters All parameters and controls appear in the Color Correction tool.

Description The Color Correction effect allows you to access the tools available in Color Correction
mode when you need to create a color correction that can be rendered. For more
information, see “Using Color Correction Effects in the Effect Palette” in the Help.

432
 2D Effects

Color Effect

Effect Icon

Effect Category Image

Apply to Single-layer segments

Parameters Luma Adjust – brightness, contrast, invert

Luma Range – luma range Fast menu, white point, black point, gamma
Luma Clip – high, low
Chroma Adjust – hue, saturation, invert
Color Style – posterization, solarization
Color Gain – red, green, blue

Description The Color Effect modifies the luminance, chroma, style (posterized or solarized), and
color gain of the segment.

n For examples of the Color Effect, see “Color Effect Parameters” on page 311.

Flip

Original image Flip effect applied

Effect Icon

Effect Category Image

Apply to Single-layer segments

Parameters None

Description Video image is flipped vertically.

433
Chapter 12 2D Effects Reference

Flip-Flop

Original image Flip-Flop effect applied

Effect Icon

Effect Category Image

Apply to Single-layer segments

Parameters None

Description Video image is flipped both horizontally and vertically.

Flop

Original image Flop effect applied

Effect Icon

Effect Category Image

Apply to Single-layer segments

Parameters None

Description Video image is flipped horizontally, which reverses the camera angle.

434
 2D Effects

Mask

Effect Icon

Effect Category Image

Apply to Single-layer segments

Parameters Background – hue, saturation, luminance

Scaling – height, width, fixed aspect
Position – horizontal position, vertical position

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 effect’s background color masks
the area surrounding the rectangle.

Region Stabilize

Effect Icon

Effect Category Image

Apply to Single-layer segments

Parameters Region Stabilize Parameters – Model, Region of Interest, Auto Zoom

Description The Region Stabilize effect defines and tracks an area of an image to eliminate unwanted
motion in a clip, such as motion from an unstable camera. For more information, see
“Using the Region Stabilize Effect” on page 197 and “Region Stabilize Parameters” on
page 369.

n The Region Stabilize effect is available with Avid Xpress Pro.

435
Chapter 12 2D Effects Reference

Resize

Original image Resize effect – reduced image Resize effect – enlarged image

Effect Icon

Effect Category Image

Apply to Single-layer segments

Parameters Background – hue, saturation, luminance

n The background color remains black unless you promote the effect to 3D and select
another color, using the 3D Background parameters.
Scaling – height, width, fixed aspect
Position – horizontal position, vertical position
Crop – top, bottom, left, right

n You can promote Resize to advanced keyframes. For more information, see. “Using
Advanced Keyframes” on page 78.

Description Resize 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.

436
 2D Effects

Submaster

Effect Icon

Effect Category Image

Apply to The top video track under which are the video tracks that will be included in the
Submaster effect

Parameters None

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; this is quicker than rendering each
effect separately.
For more information, see “Submaster Editing” on page 191.

n The Submaster effect does not render each track separately; you cannot play each
track separately after rendering.

Key Effects
Key effects combine two streams of video using components from one of the streams. Key
effects include the following:
• Chroma Key
• Luma Key
• Matte Key
• RGB Keyer (AVX Plug-in Effect)

437
Chapter 12 2D Effects Reference

Chroma Key

Background – video layer 1 Key image – video layer 2 Chroma Key effect

Effect Icon

Effect Category Key

Apply to Transitions, multilayer segments

Parameters Key – hue, saturation, luminance, gain, softness

Secondary Key – hue, saturation, luminance, gain, softness
Spill Suppression – hue, saturation, luminance, gain, softness
Foreground – level, swap sources, reverse animation, invert key, show alpha
Acceleration
Scaling – height, width, fixed aspect
Position – horizontal position, vertical position
Crop – top, bottom, left, right
Transition Parameters – transition effect alignment and duration

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.

438
 2D Effects

Luma Key

Key image Background image Luma Key effect

Effect Icon

Effect Category Key

Apply to Transitions, multilayer segments

Parameters Key – hue, saturation, luminance, gain, softness

Foreground – level, swap sources, reverse animation, invert key, show alpha
Acceleration
Scaling – height, width, fixed aspect
Position – horizontal position, vertical position
Crop – top, bottom, left, right
Transition Parameters – transition effect alignment and duration

Description Replaces one part of the video image with another video image based on luminance.

439
Chapter 12 2D Effects Reference

Matte Key

Video layer 1 — background Video layer 2 — foreground Video layer 3 — high-contrast Matte Key effect
matte image

Effect Icon

Effect Category Key

Apply to Multilayer segments

Parameters Foreground – level, swap sources, reverse animation, invert key, show alpha
Acceleration
Scaling – height, width, fixed aspect
Position – horizontal position, vertical position
Crop – top, bottom, left, right
Transition Parameters – transition effect alignment and duration

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.

440
 2D Effects

RGB Keyer (AVX Plug-in Effect)

Background — video layer 1 Key image — video layer 2 Chroma Key effect

Effect Icon

Apply to Multilayer segments

Parameters Key Color — hue, saturation, value

Chroma Key — gain, softness, show alpha, spill suppression, level, reverse
Matte Control — blur, erode
Color Correction — hue, saturation, brightness, contrast
Grid

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. You can also perform post-key color correction with the RGB Keyer effect.

L-Conceal Effects
L-Conceal effects overlap one video channel with another using a predefined L-shaped path.
L-Conceal effects include the following:
• Bottom Left
• Bottom Right
• Top Left
• Top Right

441
Chapter 12 2D Effects Reference

Bottom Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category L-Conceal

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides up the left half of the screen from bottom to top and then fills the
screen from left to right.

442
 2D Effects

Bottom Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category L-Conceal

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides up the right half of the screen from bottom to top and then fills the
screen from right to left.

443
Chapter 12 2D Effects Reference

Top Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category L-Conceal

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides down the left half of the screen from top to bottom and then fills the
screen from left to right.

444
 2D Effects

Top Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category L-Conceal

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video slides down the right half of the screen from top to bottom and then fills
the screen from right to left.

Matrix Wipe Effects

Matrix Wipes reveal one video channel on top of another video channel, using blocks or
bands that appear in a predefined position or path. Matrix Wipe effects include the
following:
• Grid
• One-Way Row
• Speckle
• Spiral
• Zig-Zag

445
Chapter 12 2D Effects Reference

Grid

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Matrix Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Matrix Parameters (access through Other Options button) – matrix columns and rows
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video begins as blocks in a grid pattern that wipe out the outgoing video as the
blocks expand to fill the screen. Change the size of the grid by clicking the Other Options
button.

446
 2D Effects

One-Way Row

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Matrix Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Matrix Parameters (access through Other Options button) – matrix columns and rows
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video begins as a 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 on the
left edge of the screen, just below the first band, and repeats the process until the incoming
video has wiped out all the outgoing video.

447
Chapter 12 2D Effects Reference

Speckle

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Matrix Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Matrix Parameters (access through Other Options button) – matrix columns and rows
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video appears in a random series of blocks that wipe out the outgoing video
until the blocks have filled the screen.

448
 2D Effects

Spiral

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Matrix Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Matrix Parameters (access through Other Options button) – matrix columns and rows
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

449
Chapter 12 2D Effects Reference

Zig-Zag

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Matrix Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Matrix Parameters (access through Other Options button) – matrix columns and rows
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

Motion Effects
A motion effect is applied to a clip in the Source pop-up monitor and controls the rate at
which the video channel is played. Motion effects include the following:
• Freeze Frame
• Variable Speed and Strobe Motion

See also “Timewarp” on page 500.

450
 2D Effects

Freeze Frame

Effect Category Motion

Apply to Current frame in the Source pop-up monitor

Parameters Traditional Motion Effect Parameters – duration, two-field media

Description This effect repeats the current frame in the Source pop-up monitor for the specified
duration.

Variable Speed and Strobe Motion

Effect Category Motion

Apply to The clip marked by the IN and OUT points in the Source pop-up monitor

Parameters Traditional Motion Effect Parameters – variable speed, strobe motion, two-field media

Description Variable Speed creates slow motion, fast motion, or reverse motion. Strobe Motion creates
a stuttering effect. The Strobe Motion effect can be used in combination with the Variable
Speed effect.

Peel Effects
Peel effects treat one video channel as though it were a sheet of paper being peeled from the
other video channel. Peel effects include the following:
• Bottom Left Corner
• Bottom Right Corner
• Bottom to Top
• Left to Right
• Right to Left
• Top Left Corner
• Top Right Corner
• Top to Bottom

451
Chapter 12 2D Effects Reference

Bottom Left Corner

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Peel

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Outgoing video is peeled from the incoming video from the bottom left corner to the top
right corner of the screen.

452
 2D Effects

Bottom Right Corner

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Peel

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Outgoing video is peeled from the incoming video from the bottom right corner to the top
left corner of the screen.

453
Chapter 12 2D Effects Reference

Bottom to Top

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Peel

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Outgoing video is peeled from the incoming video from the bottom edge to the top edge
of the screen.

454
 2D Effects

Left to Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Peel

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Outgoing video is peeled from the incoming video from the left edge to the right edge of
the screen.

455
Chapter 12 2D Effects Reference

Right to Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Peel

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Outgoing video is peeled from the incoming video from the right edge to the left edge of
the screen.

456
 2D Effects

Top Left Corner

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Peel

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Outgoing video is peeled from the incoming video from the top left corner to the bottom
right corner of the screen.

457
Chapter 12 2D Effects Reference

Top Right Corner

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Peel

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Outgoing video is peeled from the incoming video from the top right corner to the bottom
left corner of the screen.

458
 2D Effects

Top to Bottom

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Peel

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video is peeled from the outgoing video from the top to the bottom of the
screen.

PlasmaWipe Effects
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.

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 291.
• Center — create a variety of center wipes
• Horiz — create a variety of horizontal wipes
• Lava — create 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 282.
459
Chapter 12 2D Effects Reference

• Paint — create 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” in the Help..
• 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 275.

n When you experiment with PlasmaWipe effects, keyframe the Level parameter to see how the
effect changes over time.

For a description of the PlasmaWipe effect parameters, see “PlasmaWipe Parameters” on

page 366.

For information on using PlasmaWipe effects, see “Working with PlasmaWipe Effects” on
page 275.

Push Effects
Push effects move one video channel to fill the screen while the other video channel is
pushed out of the screen. Push effects include the following:
• Bottom Left to Top Right
• Bottom Right to Top Left
• Bottom to Top
• Left to Right
• Right to Left
• Top Left to Bottom Right
• Top Right to Bottom Left
• Top to Bottom

n For examples of similar effects, see “Comparison of Similar Effects” on page 509.

460
 2D Effects

Bottom Left to Top Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Push

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video pushes out the outgoing video from the bottom left corner to the top right
corner of the screen. Border is on the incoming video.

461
Chapter 12 2D Effects Reference

Bottom Right to Top Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Push

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video pushes out the outgoing video from the bottom right corner to the top left
corner of the screen. Border is on the incoming video.

462
 2D Effects

Bottom to Top

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Push

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video pushes out the outgoing video from the bottom to the top of the screen.
Border is on the incoming video.

463
Chapter 12 2D Effects Reference

Left to Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Push

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video pushes out the outgoing video from the left edge to the right edge of the
screen. Border is on the incoming video.

464
 2D Effects

Right to Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Push

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video pushes out the outgoing video from the right edge to the left edge of the
screen. Border is on the incoming video.

465
Chapter 12 2D Effects Reference

Top Left to Bottom Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Push

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video pushes out the outgoing video from the top left corner to the bottom right
corner of screen. Border is on the incoming video.

466
 2D Effects

Top Right to Bottom Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Push

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video pushes out the outgoing video from the top right corner to the bottom left
corner of the screen. Border is on the incoming video.

467
Chapter 12 2D Effects Reference

Top to Bottom

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Push

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video pushes out the outgoing video from the top to the bottom of the screen.
Border is on the incoming video.

Sawtooth Wipe Effects

Sawtooth Wipes reveal one video channel on top of another video channel, using moving
sawtooth shapes. Sawtooth Wipe effects include the following:
• Horizontal Sawtooth
• Horizontal Open Sawtooth
• Vertical Open Sawtooth
• Vertical Sawtooth

468
 2D Effects

Horizontal Sawtooth

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Sawtooth Wipe

Apply to Transitions, multilayer segments

Parameters Foreground – level, reverse animation

Matrix Parameters (access through Other Options button) – matrix columns and rows
Acceleration
Transition Parameters – transition effect alignment and duration

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.

469
Chapter 12 2D Effects Reference

Horizontal Open Sawtooth

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Sawtooth Wipe

Apply to Transitions, multilayer segments

Parameters Foreground – level, reverse animation

Matrix Parameters (access through Other Options button) – matrix columns and rows
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video begins as a vertical sawtooth in the center of the screen. The sawtooth
then expands outward to the left and right edges of the screen to display the incoming
video in the center while covering the outgoing video.

470
 2D Effects

Vertical Open Sawtooth

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Sawtooth Wipe

Apply to Transitions, multilayer segments

Parameters Foreground – level, reverse animation

Matrix Parameters (access through Other Options button) – matrix columns and rows
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video begins as a horizontal sawtooth in the center of the screen. The sawtooth
expands up and down, revealing the incoming video.

471
Chapter 12 2D Effects Reference

Vertical Sawtooth

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Sawtooth Wipe

Apply to Transitions, multilayer segments

Parameters Foreground – level, reverse animation

Matrix Parameters (access through Other Options button) – matrix columns and rows
Acceleration
Transition Parameters – transition effect alignment and duration

Description The sawtooth edge moves from the top of the screen down, covering the outgoing video
and displaying the incoming video above the sawtooth.

Shape Wipe Effects

Shape Wipes reveal one video channel on top of another video channel, using a growing or
moving geometric shape. Shape Wipe effects include the following:
• 4 Corners
• Center Box
• Circle
• Clock
• Diamond
• Ellipse
• Horizontal Bands
• Horizontal Blinds
• Vertical Blinds
472
 2D Effects

4 Corners

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Shape Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

473
Chapter 12 2D Effects Reference

Center Box

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Shape Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Scaling – height, width, fixed aspect
Position – horizontal position, vertical position
Transition Parameters – transition effect alignment and duration

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.

474
 2D Effects

Circle

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Shape Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Foreground – level, reverse animation
Acceleration
Scaling – height, width, fixed aspect
Position – horizontal position, vertical position
Transition Parameters – transition effect alignment and duration

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.

475
Chapter 12 2D Effects Reference

Clock

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Shape Wipe

Apply to Transitions, multilayer segments

Parameters Foreground – level, reverse animation

Acceleration
Transition Parameters – transition effect alignment and durations

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.

476
 2D Effects

Diamond

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Shape Wipe

Apply to Transitions, multilayer segments

Parameters Foreground – level, reverse animation

Acceleration
Scaling – height, width, fixed aspect
Position – horizontal position, vertical position
Transition Parameters – transition effect alignment and duration

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.

477
Chapter 12 2D Effects Reference

Ellipse

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Shape Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, and softness

Foreground – level, reverse animation
Acceleration
Scaling – height, width, fixed aspect
Position – horizontal position, vertical position
Transition Parameters – transition effect alignment and duration

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.

478
 2D Effects

Horizontal Bands

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Shape Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Matrix Parameters (access through Other Options button) – matrix columns and rows
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Reversible Yes

Description Horizontal bands expand toward the center of the screen to reveal the incoming video
between alternate shrinking bands of the outgoing video.

479
Chapter 12 2D Effects Reference

Horizontal Blinds

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Shape Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Matrix Parameters (access through Other Options button) – matrix columns and rows
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

480
 2D Effects

Vertical Blinds

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Shape Wipe

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Matrix Parameters (access through Other Options button) – matrix columns and rows
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

Spin Effects
Spin effects rotate one or more video channels. Spin effects include the following:
• X Spin
• Y Spin

481
Chapter 12 2D Effects Reference

X Spin

Outgoing footage

Middle of effect

Incoming footage

Effect Icon

Effect Category Spin

Apply to Transitions

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Outgoing video is squeezed until it appears as a vertical line. Incoming video expands the
line until it fills the screen. Border appears only on incoming video.

482
 2D Effects

Y Spin

Outgoing footage

Middle of effect

Incoming footage

Effect Icon

Effect Category Spin

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

483
Chapter 12 2D Effects Reference

Squeeze Effects
Squeeze effects expand a video channel from a single point or line until it fills the screen,
obscuring the second video channel. Squeeze effects include the following:
• Bottom Centered
• Bottom Left
• Bottom Right
• Bottom to Top
• Centered Zoom
• Horizontal Centered
• Left Centered
• Left to Right
• Right Centered
• Right to Left
• Top Centered
• Top Left
• Top Right
• Top to Bottom
• Vertical Centered

n For examples of similar effects, see “Comparison of Similar Effects” on page 509.

484
 2D Effects

Bottom Centered

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

485
Chapter 12 2D Effects Reference

Bottom Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

486
 2D Effects

Bottom Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

487
Chapter 12 2D Effects Reference

Bottom to Top

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video squeezes over the outgoing video, beginning at the bottom of the screen
and filling to the top of the screen.

488
 2D Effects

Centered Zoom

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment

Description Incoming video starts as a rectangle in the center of the screen and zooms to fill the
screen.

489
Chapter 12 2D Effects Reference

Horizontal Centered

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video starts as a vertical band squeezed in the center of the screen and expands
horizontally to fill the screen.

490
 2D Effects

Left Centered

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

491
Chapter 12 2D Effects Reference

Left to Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

492
 2D Effects

Right Centered

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

493
Chapter 12 2D Effects Reference

Right to Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video squeezes over the outgoing video, beginning at the right edge of the
screen and filling to the left edge of screen.

494
 2D Effects

Top Centered

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

495
Chapter 12 2D Effects Reference

Top Left

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

496
 2D Effects

Top Right

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

497
Chapter 12 2D Effects Reference

Top to Bottom

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

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.

498
 2D Effects

Vertical Centered

Outgoing footage Middle of effect Incoming footage

Effect Icon

Effect Category Squeeze

Apply to Transitions, multilayer segments

Parameters Border – hue, saturation, luminance, width, softness

Blend Color – hue, saturation, luminance
Foreground – level, reverse animation
Acceleration
Transition Parameters – transition effect alignment and duration

Description Incoming video starts as a horizontal band squeezed in the center of the screen and
expands vertically to fill the screen.

499
Chapter 12 2D Effects Reference

Timewarp
Timewarp effects modify the rate of play of a clip. Timewarp effects include the following:
• Timewarp: 0% To 100%
• Timewarp: 100% To 0%
• Timewarp: 50% Speed
• Timewarp: FluidFilm 2:3 Cadence
• Timewarp: FluidFilm Progressive
• Timewarp: Reverse Motion
• Timewarp: Speed Boost
• Timewarp: Speed Bump
• Timewarp: Trim to Fill

Timewarp effects are preset effects that are based on the Timewarp effect used by Avid
Media Composer Adrenaline.

You cannot modify these effects but you can change the way that the system renders the
effect by selecting options in the Render Settings dialog box, available in the Settings scroll
list of the Project window. The Blended Interpolated and Blended VTR rendering options
create a smoother effect than the traditional motion effects. For more information, see
“Creating and Using Render Settings” on page 131.

n The FluidFilm preset effects use rendering software that is optimized for the effect. They do
not use the rendering options that are set in the Render Setting dialog box.

n You can use Trim mode to change the speed of the Trim to Fill effect.

For reference information on traditional motion effects, which create new clips with changed
rates of play, see “Motion Effects” on page 450.

500
 2D Effects

Timewarp: 0% To 100%

Effect Icon

Apply to Single-layer segments

Parameters You cannot modify the parameters for this effect.

Description A preset effect using the Timewarp effect that ramps motion in a sequence from 0%
(freeze frame) to 100% (full speed). Apply the effect to a clip in the Timeline. For more
information, see “Using Timewarp Effects” on page 175. The inverse of this effect is
“Timewarp: 100% To 0%” on page 502.

Speed Graph and Position Graph illustrating 0% To 100% Timewarp effect

501
Chapter 12 2D Effects Reference

Timewarp: 100% To 0%

Effect Icon

Apply to Single-layer segments

Parameters You cannot modify the parameters for this effect.

Description A preset effect using the Timewarp effect that ramps motion in a sequence from 100%
(full speed) down to 0% (freeze frame). The last frame of the clip will be the last frame of
the motion effect.
Apply the effect to a clip in the Timeline.. For more information, see “Using Timewarp
Effects” on page 175. The inverse of this effect is “Timewarp: 0% To 100%” on page 501.

Speed Graph and Position Graph illustrating 100% To 0% Timewarp effect

Timewarp: 50% Speed

Effect Icon

Apply to Single-layer segments

Parameters You cannot modify the parameters for this effect.

Description A preset effect using the Timewarp effect that changes the playback speed to 1/2 speed.
Apply the effect to a clip in the Timeline.. For more information, see “Using Timewarp
Effects” on page 175.

502
 2D Effects

Timewarp: FluidFilm 2:3 Cadence

Effect Icon

Apply to Single-layer segments

Parameters You cannot modify the parameters for this effect.

Description A preset effect using the Timewarp effect that allows you to create a film look from
interlaced NTSC video sources. Create the look of progressive fottage with 2:3 pulldown.
For best results, view the rendered effect on a client monitor.
Apply the effect to a sequence in the Record monitor. For more information, see “Using
Timewarp Effects” on page 175 and “Using the FluidFilm Templates” on page 176.
Use this effect in NTSC projects. For PAL projects, see “Timewarp: FluidFilm
Progressive” on page 503.

n The FluidFilm preset effects use rendering software that is optimized for the effect.
They do not use the rendering options that are set in the Render Setting dialog box.

Timewarp: FluidFilm Progressive

Effect Icon

Apply to Single-layer segments

Parameters You cannot modify the parameters for this effect.

Description A preset effect using the Timewarp effect that allows you to create a film look from
interlaced PAL video sources. Creates the look of progressive footage.
For best results, view the resndered effect on a client monitor.
Apply the effect to a sequence in the Record monitor. For more information, see “Using
Timewarp Effects” on page 175 and “Using the FluidFilm Templates” on page 176.
Use this effect in PAL projects. For NTSC projects, see “Timewarp: FluidFilm 2:3
Cadence” on page 503.

n The FluidFilm preset effects use rendering software that is optimized for the effect.
They do not use the rendering options that are set in the Render Setting dialog box.

503
Chapter 12 2D Effects Reference

Timewarp: Trim to Fill

Effect Icon

Apply to Single-layer segments

Parameters You cannot modify the parameters for this effect.

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 “Using Timewarp Effects” on page 175.

504
 2D Effects

Timewarp: Reverse Motion

Effect Icon

Apply to Single-layer segments

Parameters You cannot modify the parameters for this effect.

Description A preset effect using the Timewarp effect that creates a reverse motion effect at 100%
speed. This effect plays a black filler until you render it. Apply the effect to a clip in the
Timeline. For more information, see “Using Timewarp Effects” on page 175.

Speed Graph and Position Graph illustrating Reverse Motion Timewarp effect

505
Chapter 12 2D Effects Reference

Timewarp: Speed Boost

Effect Icon

Apply to Single-layer segments

Parameters You cannot modify the parameters for this effect.

Description A preset effect using 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, as shown
in the following illustration.
Apply the effect to a clip in the Timeline. For more information, see “Using Timewarp
Effects” on page 175.
A similar effect is “Timewarp: Speed Bump” on page 507.

Speed Graph and Position Graph illustrating Speed Boost Timewarp effect

506
 2D Effects

Timewarp: Speed Bump

Effect Icon

Apply to Single-layer segments

Parameters You cannot modify the parameters for this effect.

Description A preset effect using 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, as shown in
the following illustration.
Apply the effect to a clip in the Timeline. For more information, see “Using Timewarp
Effects” on page 175.
A similar effect is “Timewarp: Speed Boost” on page 506.

Speed Graph and Position Graph illustrating Speed Bump Timewarp effect

507
Chapter 12 2D Effects Reference

Title Effects

Effect Icon

Effect Category Title effects

Apply to Multilayer segments

Static Title Foreground – level, reverse animation

Parameters
Acceleration

Rolling Title Foreground – level, reverse animation

Parameters
Acceleration
Scroll Position V
Reverse

Crawling Title Foreground – level, reverse animation

Parameters
Acceleration
Position – vertical position only
Scroll Position H
Reverse

Description Title effects are created in the Title tool and can incorporate text, graphic objects,
imported graphics, and video. Similar to Matte Key effects, Title effects are placed on
segments in one video layer and then keyed over background video on the underlying
video layers.

508
 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

509
Chapter 12 2D Effects Reference

510
 Chapter 13
3D Effects Reference

This chapter provides reference information on parameters and effect shape options that
appear in the Effect Editor when you apply an Xpress 3D effect to a transition or
segment.For information on applying and editing 3D effects, see “Working with 3D Effects”
on page 213.
• 3D Effects Parameters
• Xpress 3D Effects

The following illustration shows the Xpress 3D effects in the Effect Palette.

3D Effects Parameters
This section provides general information about 3D effect parameters and descriptions of all
3D parameters, in alphabetical order. Each effect includes a subset of these parameters.

Some parameters have corresponding 2D versions, described in “2D Effects Parameters” on

page 299.
Chapter 13 3D Effects Reference

This section includes the following general information topics relating to 3D effect
parameters:
• Global Versus Keyframeable Parameters
• The Hierarchy of Parameters
• Direct Manipulation of 3D Effect Parameters

Effects parameters are grouped in the following categories:

• Acceleration (see also the 2D version: “Acceleration” on page 301)
• Axis
• Background (see also the 2D version: “Background” on page 309)
• Border (see also the 2D version: “Border” on page 310)
• Crop (see also the 2D version: “Crop” on page 317)
• Foreground (see also the 2D version: “Foreground” on page 317)
• Position (see also the 2D version: “Position” on page 367)
• Rotation
• Scaling (see also the 2D version: “Scaling” on page 371)
• Shadow
• Shape
• Spline
• Target
• Trail

n For more information on working with parameters, see “Using the Effect Editor” on
page 57 and “Working with 3D Effects Parameters” on page 219.

Global Versus Keyframeable Parameters

Parameters for 3D effects are divided into two logical groups:
• Global parameters cannot change between keyframes. When you change one of these
parameters, the Avid system automatically sets the value for all keyframes.
• Keyframeable parameters are adjustable on an individual keyframe basis, so that the
parameters can change over time.

The type of parameter is indicated throughout this section.

512
 3D Effects Parameters

The Hierarchy of Parameters

The Avid editing application processes 3D effects parameters in a specific order. Knowing
the order will 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

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 will always take into account the parameters
lower in the hierarchy when processing. For example, before an object is rotated, the
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.
• 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 will be
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 and 3D. All these choices affect the 3D path of the object
differently. Two-dimensional (2D) parameters, such as Scaling, are lowest 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.

513
Chapter 13 3D Effects Reference

Direct Manipulation of 3D Effect Parameters

Some 3D effect parameters that affect the size, position, or movement of an image can be
adjusted in two ways. You can adjust the parameter using the controls in the Effect Editor, or
you can click the button for the parameter on the right of the Effect Editor and use the on-
screen handles to make direct adjustments. The individual parameter descriptions in this
chapter show the parameter button as well as the parameter controls for those parameters
that provide this option. For more information, see “Manipulating 3D Effects Directly” on
page 222.

Acceleration

Parameter Type Global

Description Adjusts the effect’s speed over time by having the effect ease in and ease out of every
keyframe. This gives the effect a more natural appearance. 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 will
need to change the length of your effect or use add edits to limit the portion of the clip
affected by the effect.
Acceleration affects the following 3D effects parameters:
• Shape (X and Y position)
• Position (if Spline is disabled)
• Scaling
• Rotation
• Axis
• Crop
• Shadow (X and Y position)

Use of Control 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.

n For information about the 2D version of this effect, see “Acceleration” on

page 301.

514
 3D Effects Parameters

Axis

Parameter Type Keyframeable

Description Moves 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.
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 58.

Use of Controls Axis button Click the Axis button on the right of the Effect Editor to adjust the
center of rotation directly in the Effect Preview monitor. For more
information, see “Manipulating 3D Effects Directly” on page 222.

Enable Click the Enable button to turn the Axis parameter category on or
button off. The button is pink when the parameter category is on and gray
when it is off. Alt+click the Enable button to reset the Axis
parameter controls to their default values.

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 can 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.

515
Chapter 13 3D Effects Reference

Background

Parameter Type Global

Description Replaces the bottom video track with a background color.

You can achieve interesting effects on a two-track sequence using a background color for
the bottom track and a Luma Key effect on the top track.

n For information on the 2D version of this effect, see “Background” on page 309.

Use of Controls Other Options Opens the Windows Color dialog box for precise color
button selection. For more information, see “Using the Windows
Color Dialog Box” on page 65.

Color Preview Move the mouse to the Color Preview window to activate the
window eyedropper, and then use the eyedropper to select a color from
the video in the monitor. For a description of how to use the
eyedropper, see “Using the Eyedropper” on page 65.

Enable button Click the Enable button to turn the Background parameter
category on or off. The button is pink when the parameter
category is on and gray when it is off. Alt+click the Enable
button to reset the Background parameter controls to their
default values (black).

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.

516
 3D Effects Parameters

Border

Parameter Type Keyframeable

Description Places a border around the image.

The default border color is black for Plain borders and shades of gray for other border
types.
You can blend the foreground video with the background video if you turn on Border, use
a zero width, and adjust the Soft parameter.

n For information about the 2D version of this effect, see “Border” on page 310.

Use of Controls Fast Menu Click this button and select a border type from the pop-up menu.
button

Color Preview Move the mouse to the Color Preview window to activate the
window eyedropper, and then use the eyedropper to select a color from
the video in the monitor. For a description of how to use the
eyedropper, see “Using the Eyedropper” on page 65.

Enable button Click the Enable button to turn the Border parameter category
on or off. The button is pink when the parameter category is on
and gray when it is off. Alt+click the Enable button to reset the
Border parameter controls to their default values (black).

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. 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.

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.

517
Chapter 13 3D Effects Reference

Crop

Parameter Type Keyframeable

Description Trims the top, bottom, left, and right edges of an image.
Crop is at the bottom of the effects parameters hierarchy. It always crops the same four
edges of the object no matter what orientation the object has. 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.
For more information, see “The Hierarchy of Parameters” on page 513.

n For information about the 2D version of this effect, see “Crop” on page 317.

Use of Controls Crop button Click the Crop button on the right of the Effect Editor to crop the
image directly in the Effect Preview monitor. For more
information, see “Manipulating 3D Effects Directly” on page 222.

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.

B (bottom) Crops the bottom edge of the image. Values range from –999
(bottom) to +999 (top).

L (left) Crops the left edge of the image. Values range from –999 (left) to
+999 (right).

R (right) Crops the right edge of the image. Values range from –999 (left)
to +999 (right).

518
 3D Effects Parameters

Foreground

Parameter Type Global

Description Adjusts the transparency of the foreground image. Swaps the foreground and background
footage. Use foreground to do the following:
• Create dissolves, using the Opac. (opacity) slider.
• Switch an effect from one video track or segment to another, using the Swap Sources
button.

n For information about the 2D version of this effect, see “Foreground” on page 317.

Use of Controls Enable button Click the Enable button to turn the Foreground parameter
category on or off. The button is pink when the parameter
category is on and gray when it is off. Alt+click the Enable
button to reset the Foreground parameter controls to their default
values.

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” on page 368.

Invert Inverts the key. This setting is most noticeable for effects that
scale the foreground video, such as a Picture-in-Picture effect.
The bottom track shows through the Picture-in-Picture effect key
unscaled. The area outside the Picture-in-Picture effect key is
black.

Swap Sources Switches the foreground and background sources for the effect.

Reverse Causes the entire effect to be reversed, including the direction of

Animation 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.

519
Chapter 13 3D Effects Reference

Position

Parameter Type Keyframeable

Description Moves an image in 3D space.

n For information about the 2D version of this effect, see “Position” on page 367. For
an illustration of the XYZ coordinate system, see “The 3D Coordinate System” on
page 217.

Use of Controls Enable Click the Enable button to turn the Position parameter category on or
button off. The button is pink when the category is on and gray when it is
off. Alt+click the Enable button to reset the Position parameter
controls to their default values.

XY Position Click the XY Position button on the right side of the Effect Editor to
button move the image directly on the X and Y axes in the Effect Preview
monitor. For more information, see “Manipulating 3D Effects
Directly” on page 222.

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 –749 to +249, 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.

520
 3D Effects Parameters

Rotation

Parameter Type Keyframeable

Description Rotates the image around the X, Y, or Z axis.

Since parameter values range between –720 and +720 degrees, you can spin the image
more than once between two keyframes. For an explanation of rotation angles, see
“Moving in 3D Space” on page 217.

Use of Controls Rotation Click the appropriate Rotation button on the right side of the
Z
buttons Effect Editor to adjust the rotation directly in the Effect
X Preview monitor.
Y

Enable Click the Enable button to turn the Rotation parameter category
button on or off. The button is pink when the parameter category is on
and gray when it is off. Alt+click the Enable button to reset the
Rotation parameter controls to their default values.

Z Moves the center of rotation along the Z axis (clockwise or

counterclockwise). Values range from –720 to +720, where 0 is
the center of the Z axis.

X Moves the center of rotation along the X axis (right or left).

Values range from –720 to +720, 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 –720 to +720, where 0 is the center of the Y
axis.

521
Chapter 13 3D Effects Reference

Scaling

Parameter Type Keyframeable

Description Adjusts the size of the image or effect.

n For information about the 2D version of this effect, see “Scaling” on page 371.

Use of Controls Scale button Click the Scale button on the right side of the Effect Editor to
adjust the image size directly in the Effect Preview monitor. For
more information, see “Manipulating 3D Effects Directly” on
page 222.

Enable button Click the Enable button to turn the Scaling parameter category on
or off. The button is pink when the parameter category is on and
gray when it is off. Alt+click the Enable button to reset the
Scaling parameter controls to their default values.

X Stretches or compresses along the X axis (horizontally). Values

range from 0 to 400, where 100 indicates 100 percent scaling
(normal size).

Y 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.

522
 3D Effects Parameters

Shadow

Parameter Type Keyframeable

Description Places a shadow beneath an image and adjusts the shadow’s offset or transparency.

n Shadow and Trail (described in “Trail” on page 526) are mutually exclusive; you
can have only one enabled at a time.

Use of Controls Enable button Click the Enable button to turn the Shadow parameter category
on or off. The button is pink when the parameter category is on
and gray when it is off. Alt+click the Enable button to reset the
Shadow parameter controls to their default values.

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.

523
Chapter 13 3D Effects Reference

Shape

Parameter Type Global

Description Allows you to select and adjust a 3D Shape effect. For more information, see “Xpress 3D
Effects” on page 527.

Use of Controls Fast Menu Click this button and select a 3D Shape type from the pop-up
button menu. Each Shape type has its own set of parameter controls. For
information on the controls for each Shape type, see “Xpress 3D
Effects” on page 527.
The Fast Menu button is available in the Shape parameter
category only when you begin by applying the 3D PIP effect
from the Effect Palette. If you select a specific Shape type —
such as 3D Ball — directly from the Effect Palette, you cannot
switch to another Shape type within the Effect Editor.

Enable button Click the Enable button to turn the Shape parameter category on
or off. The button is pink when the parameter category is on and
gray when it is off. Alt+click the Enable button to reset the Shape
parameter controls to their default values.

Effect Name and Icon Doesn’t Change When Switching Between

3D Effects in the Effect Editor

You can use the Shape menu in the Effect Editor to switch between the 3D Shapes but the
name of the effect 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 continues to be 3D Ball. This limitation applies
to all the effects in the Xpress 3D Effect category.

524
 3D Effects Parameters

Spline

Parameter Type Global

Description Smooths the position changes between keyframes. Spline helps to reproduce the natural
motion path of an object through 3D space. When you enable the Spline parameter and
click the Outline/Path button in the Effect Editor, the wire-frame line that represents the
path between keyframes appears as a smoothly curved line. Without Spline, moving
objects follow the most direct path between keyframed positions, resulting in a
“mechanical” feel.

Use of Controls Enable button Click the Enable button to turn the Spline parameter category on
or off. The button is pink when the parameter category is on and
gray when it is off.

Outline/Path Click the Outline/Path button at the bottom of the Effect Editor to
button view the effect’s outline and path as a wire frame. You can then
adjust keyframe positions directly in the Effect Preview monitor.
If Spline is enabled, the effect’s path will be smoothly curved.

Target

Parameter Type Keyframeable

Description Changes the X Y positioning and the sizing of the effect while maintaining other
parameter relationships.
Target is a post-transformation parameter. It is at the top of the hierarchy and affects
objects after all the other parameters have affected it. If an object has other parameters
applied, 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. For more information, see “The Hierarchy of Parameters” on page 513.
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, 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.

525
Chapter 13 3D Effects Reference

Use of Controls Enable button Click the Enable button to turn the Target parameter category on
or off. The button is pink when the parameter category is on and
gray when it is off. Alt+click the Enable button to reset the Target
parameter controls to their default values.

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.

Trail

Parameter Type Keyframeable

Description Adds a trail to an effect as it moves across the screen.

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.

n Trail and Shadow (described in “Shadow” on page 523) are mutually exclusive;
you can have only one enabled at a time.

Use of Controls Enable button Click the Enable button to turn the Trail parameter category on or
off. The button is pink when the parameter category is on and
gray when it is off. Alt+click the Enable button to reset the Trail
parameter controls to their default values.

Decay Move the slider to change 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 Click the Use Sparkle button to paint the trail with sparkles.
When Use Sparkle is not selected, the effect paints a trail using
the image itself. The button is pink when Use Sparkle is on and
gray when it is off.

526
 Xpress 3D Effects

Xpress 3D Effects
With Xpress 3D effects, you can map the foreground video channel to various geometric
shapes to create transitions or special effects. You can apply various effects from the Xpress
3D Effect category in the Effect Palette.

Each shape effect displays a set of parameters that are specific to that shape in the Shape
category. In addition, you can use other 3D effects parameters, such as Border, Scaling,
Position, and Trail.

This section describes the following Xpress 3D effects:

• 3D Ball
• 3D PIP Effect
• Page Fold
• 3D Slats

3D Ball

Parameter Type Keyframeable

Description 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.
The effects use a 2D effect coordinate system that has its origin in the center of the image.
X increases as you move to the right, and Y increases as you move down.
You can apply the 3D Ball effect directly from the Effect Palette, or you can apply the 3D
PIP effect and then select 3D Ball from the Fast menu in the Shape parameter category.

527
Chapter 13 3D Effects Reference

Use of Controls Fast Menu See “Shape” on page 524.

button
Enable button

Radius Changes the size of the ball. Values range from 0 to 100.

Curve 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 Moves the shape to the right or left in relation to the image. The values
(X position) range from –999 to +999, where 0 is the center of the image. Values
increase to the right and decrease to the left.

Y Pos Moves the shape up or down in relation to the image. Values range from
(Y position) –999 to +999, where 0 is the center of the image. Values increase as you
go down and decrease as you go up.

Aspct (aspect Changes the shape from perfectly round to a distorted shape. Values
ratio) range from –100 to +100, where 0 is a circle.

Angle Rotates the axis of the shape. This effect is visible only when the aspect
ratio is not zero. Values range from –180 to +180.

LImitations on 3D Ball Effects

The following limitations apply to 3D Ball effects:

• You cannot apply the Z perspective to a 3D Ball effect.
• The X and Y direct manipulation handles do not work for a 3D Ball effect. Use the
Rotation (X, Y, Z) sliders in the Rotation parameter category instead.

n Once you rotate a 3D Ball effect in X or Y using the sliders, 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.

528
 Xpress 3D Effects

3D PIP Effect
You can promote a 2D Picture in Picture effect to 3D or you can start off with a 3D PIP
effect. For general information on Picture-in-Picture effects, see “Picture-in-Picture” on
page 378.

Page Fold
Page Fold

Top

Flap

Parameter Type Keyframeable

Description Creates an illusion similar to turning a page in a book. The top image curls over and then
becomes flat. 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.

Use of Controls Fast Menu See “Shape” on page 524.

button
Enable button

Curl Controls the distance the page rolls up. The control specifies how far the
fold has progressed. Values range from 0 to 100, where 0 represents no
fold.

Radius Controls the tightness of the fold. Values range from 0 to 100, where 15 is
the default.

Angle Controls the direction of the fold. Values range from –180 degrees to
+180 degrees, where 45 degrees is the default.

529
Chapter 13 3D Effects Reference

Tips for Page Fold Creation

To take the page from a flat, centered image to one that is completely off the screen:
t Vary the Curl value from 0 to 100 while keeping the radius at its default value.

To soften the edges of a Page Fold effect:

t Enable the Border parameter and adjust the Soft slider. You can soften a border of zero
width.
For more information, see “Border” on page 517.

n Also refer to the Illusion FX Page Curl and Rollup effects. See “Page Curl” on page 417 and
“Rollup” on page 425.

3D Slats

Parameter Type Keyframeable

Description Slats split the image into alternating bands of video that enter the screen from opposite
directions. Change the Amplitude to make the slats move in opposite directions. You can
apply the Slat effect directly from the Effect Palette, or you can apply the 3D PIP effect
and then, in the Shape parameter category, click the Fast menu button and select the Slat
type. For more information, see “Shape” on page 524.

n When experimenting with these shapes, 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.

530
 Xpress 3D Effects

Use of Controls Fast Menu See “Shape” on page 524.

button,
Enable button

Ampl Move the slider to control the distance the shape moves. Values range
(amplitude) from –100 to +100. For transition effects, increase the amplitude to take
the effect off the screen.

Angle Move the slider to control the slider to change the line along which the
video pieces move. Values can range from –180 to +180. Use 0 for
horizontal and 90 for vertical.

Freq Move the slider to control how many copies of the offset shape appear on
(frequency) the screen. Values range from 0 to 100.

Offset Move the slider to reposition the shape on the image. Values range from
–100 to +100.

531
Chapter 13 3D Effects Reference

532
 ABCDEFGHIJKLMNOPQRSTUVWXYZ

Index

Numerics Accessing
3D effects in Effect Palette 214
0% To 100% motion effect (2D) 501 Activating
1:1.66 Mask effect 404 Render settings 135
1:1.85 Mask effect 404 Active group
100% To 0% motion effect (2D) 502 defined 91
16:9 Mask effect 405 Add Edit button (Tool palette) 192
16-bit effects rendering 139 Add Edit function
2D effect parameters with Submaster effects 192
See Effect parameters Add Keyframe button (Effect Preview Monitor
2D effects toolbar) 53, 76
See Effects Add Keyframe command (Keyframe Track shortcut
2D titles 227 menu) 87
3D Ball effect Add Keyframes commands (Effect Editor shortcut
described 527 menu) 126
limitations on 528 Add Page command (Object menu) 245
3D coordinate system 217 Add To Active Group command (Add Keyframe
3D effect parameters Mode menu) 91
See Effect parameters Add To Active Parameter command (Add Keyframe
3D effects Mode menu) 90
See Effects Add To All Parameters command (Add Keyframe
3D Page Fold effect 529 Mode menu) 95
3D PIP effect 527 Add To Enabled Groups command (Add Keyframe
3D Promote button (Effect Editor) 60, 85 Mode menu) 94
3D shape effects 527 Add To Open Graphs command (Add Keyframe
3D Slats effect 530 Mode menu) 94
3rd-Party plug-in effects 147 Add To Open Groups command (Add Keyframe
4 Corners Shape Wipe effect 473 Mode menu) 92
50% Speed motion effect 502 Adding
601 Level setting keyframes in keyframe graphs 87
in Avid Pan & Zoom effect 211, 308 pages to a rolling or crawling title 244
Adjusting
A Render settings 132
title parameters 266
Acceleration (2D) effect parameter 301 Advanced keyframes
Acceleration (3D) effect parameter 514 See also Keyframe graphs
Align Keyframe 114
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

described 75 AudioSuite plug-ins

deselecting all keyframes 98 described 148
interaction with Composer window 95 Auto Size mode (Title tool) 241
scaling 121 Auto Size Mode command (Object menu) 241
selecting multiple keyframes 99 Auto Zoom effect parameter 370
Slip Keyframes 114 AVI files
Advanced parameter limitations on import 183
Avid Pan & Zoom effect 210 Avid After Effects External Monitor Preview plug-in
After Effects 157
Avid After Effects External Monitor Preview Avid Hi Qual
plug-in 157 Filtering option for Avid Pan & Zoom effect 209
Align Keyframe Avid Pan & Zoom effect
advanced keyframes 114 Advanced parameter 210
Align Keyframe command (Keyframe Track shortcut applying 201
menu) 115 aspect ratio 205
Align Objects commands (Alignment menu) 257 Background parameter 210
Align to Frame commands (Alignment menu) 256 constant path velocity 207
Aligning described 200
keyframes 115 Ease In and Ease Out 206
title text 236 field of view 204
titles 256 Filtering parameter 209
Alignment buttons image file format 201
in Quick Transition dialog box 47 parameters 432
Alignment grid Path parameter 207
for titles 232 Position parameters 205
Alpha channel progressive frames 209
AVI file import limitations 183 rendering options 209
in 3D Matte Key effect 216 Source and Target Display modes 203
Matte Key effect editing 183 Source Has Square Pixels 210
Anamorphic Mask effect 405 Velocity parameter 205
Angles of rotation 218 Zoom Factor parameter 204
Animation sequences Avid Pan and Zoom
types of 183 See Avid Pan & Zoom effect
Aperture Avid Ultra Qual
Effect Aperture 35 Filtering option for Avid Pan & Zoom effect 209
Applying Avid Visual Extensions (AVX)
Dissolve effect 41 defined 147
Dissolve effect, in Trim mode 41 AVX (Avid Visual Extensions)
effect templates 72 defined 147
fades and dissolves with Head Fade and Tail Fade AVX 2.0 Plug-ins
buttons 42 described 148
Submaster effect 192 promoting AVX 1.x plug-ins 152
title styles to title objects 261 AVX Plug-ins
Arrowhead tool (Title tool) 238 Color Mix 410
Aspect ratio Crystal 410
See Fixed Aspect option Film Grain 411
in Avid Pan & Zoom effect 205 Flare 411

534
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

FluidBlur 412 B
FluidColorMap 412
FluidMorph 413 Background (2D) effect parameters 309
Iris 413 Background (3D) effect parameters 516
Kaleidoscope 414 Background parameter
Lightning 415 Avid Pan & Zoom effect 210
Melt 416 Background parameters 319
Motion Blur 416 Ball, 3D
Page Curl 417 described 527
Particle Blast 418 limitations on 528
Particle Orbit 418 Bézier keyframe interpolation option
Particle Wind 420 asymmetrical adjustment 112
Pattern Generator 421 described 111
Pinch 422 independent adjustment 112
Radial Blur 423 symmetrical adjustment 112
Random Blend 423 Bins
RGB Keyer 441 effect templates in 71
Ripple 424 Black lines
Rollup 425 Removing with the Effect Aperture 35
Shear 426 Black point
Sparkler 427 adjusting with Color Effect 313
Sphere 427 Blend Direction box (Title tool) 248
Swirl 428 Blend effects
Timecode 429 Dip to Color 374
Twist 430 Dissolve 375
Wave 430 Fade from Color 376
AVX plug-ins Fade to Color 377
assigning multiple tracks in 153 Picture-in-Picture 378
blank icons in Timeline 156 Superimpose 379
described 148 Blended Interpolated, render settings option 134
installing 149 Blended VTR, render settings option 134
interfaces and parameters for 154 Blowup effect 406
locating AVX_Plug-Ins folder (Windows) 150 Blue dot
memory usage 148, 157 with effect icons 34, 130
messages in Console window 156 Border (2D) effect parameters 310
missing effect categories 157 Border (3D) effect parameters 517
missing icons 156 Border parameters (Illusion FX) 320
plug-in icon 147 Border Width tool (Title tool) 237
problems with rendering 156 Borders
troubleshooting 155 changing width 237
upgrading 152 Both Fields option (Motion effects) 365
vendors 147 Both fields, render settings option 133
Web site for 147 Bottom Box Wipe effect 380
Axes in rotation (3D) 218 Bottom Centered Squeeze effect 485
Axis button (Effect Editor) 222 Bottom Left Corner Peel effect 452
Axis effect parameters 515 Bottom Left L-Conceal effect 442
Bottom Left Squeeze effect 486

535
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ
Bottom Left to Top Right Box Wipe effect 381
Bottom Left to Top Right Conceal effect 388
Bottom Left to Top Right Push effect 461
Bottom Right Corner Peel effect 453
Bottom Right L-Conceal effect 443
Bottom Right Squeeze effect 487
Bottom Right to Top Left Box Wipe effect 382
Bottom Right to Top Left Conceal effect 389
Bottom Right to Top Left Push effect 462
Bottom to Top Conceal effect 390
Bottom to Top Peel effect 454
Bottom to Top Push effect 463
Bottom to Top Squeeze effect 488
Box Corner tool (Title tool) 237
Box Wipe effects
Bottom Box 380
Bottom Left to Top Right 381
Bottom Right to Top Left 382
Left Box 383
Right Box 384
Top Box 385
Top Left to Bottom Right 386
Top Right to Bottom Left 387
Brightness
See Luminance
Bring Forward command (Object menu) 255
Bring to Front command (Object menu) 255
B-Spline Catmull
Filtering option for Avid Pan & Zoom effect 209
Buttons
3D Promote (Effect Editor) 60, 85
Add Edit (Tool palette) 192
Add Keyframe (Effect Preview Monitor toolbar)
53, 76
Axis (Effect Editor) 222
Centered on Cut (Quick Transition dialog box) 49
Collapse (Tool palette) 194
Crawling Title (Title tool) 231
Crop (Effect Editor) 222
Dual Split (Effect Preview Monitor toolbar) 53, 59
Ending at Cut (Quick Transition dialog box) 49
Enlarge (Effect Editor) 59
Enlarge (Effect Preview Monitor toolbar) 53
Fade Effect (Tool palette) 266
Fast Forward (Effect Preview Monitor toolbar) 52
Fit to Fill (Command palette) 172
Grid (Effect Editor and Tool palette) 54, 60
536
Head Fade (Command palette) 42
HQ (Effect Editor) 60, 141
in Effect Editor 58
in Effect Preview Monitor toolbar 52
Justification (Title tool) 236
Kerning selection (Title tool) 235
Motion Effect (Source monitor) 169
Other Options (Effect Editor) 64
Outline/Path (Effect Editor) 59, 223
Overwrite (Tool palette 169
Play (Effect Editor) 60
Play (Effect Preview Monitor toolbar) 53
Play Loop (Effect Editor) 60
Play Loop (Effect Preview Monitor toolbar) 53
Play Preview (Effect Preview Monitor toolbar) 53
Promote to Advanced Keyframes (Effect Editor)
59
Quick Transition (Tool palette) 43
Reduce (Effect Editor) 59
Reduce (Effect Preview Monitor toolbar) 53
Remove Effect (Tool palette) 50
Render Effect (Effect Editor) 59
Render Effect (Tool palette) 136
Rewind (Effect Preview Monitor toolbar) 52
Rolling Title (Title tool) 231
Save Style Parameter (Title tool) 229
Scale (Effect Editor) 222
Splice-in (Tool palette) 169
Starting at Cut (Quick Transition dialog box) 49
Step Backward (Effect Preview Monitor toolbar)
53
Step Forward (Effect Preview Monitor toolbar) 53
Step In (Timeline) 186
Step Out (Timeline) 186
Styles (Title tool) 229
Tail Fade (Command palette) 42
Templates (Title tool) 230
Transition Effect Alignment (Effect Editor) 41, 59
Trim Left 1 Frame (Command palette) 77
Trim Left 10 Frames (Command palette) 77
Trim Right 1 Frame (Command palette) 77
Trim Right 10 Frames (Command palette) 77
X Rotation (Effect Editor) 222
XY Position (Effect Editor) 222
Y Rotation (Effect Editor) 222
Z Rotation (Effect Editor) 222
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

C adjusting saturation 314

adjusting white point 312
Cache All enhancing high-contrast image with 182
Avid Pan & Zoom effect 211 inverting chrominance 314
Cache parameter inverting luminance 311
Avid Pan & Zoom effect 211 parameters 311, 432, 433
Center Box Shape Wipe effect 474 posterizing images 315
Center parameters (Illusion FX) 321 solarizing images 315
Centered on Cut button (Quick Transition dialog box) Color effects
49 Color Correction 432
Centered on Cut option 41, 372 Color Correction (RGB Keyer) 361
Centered Zoom Squeeze effect 489 Color Effect 433
Changing Color Mix effect (Illusion FX) 410
nested effect order with advanced keyframes 188 Dip to Color 374
position in effects 56 Fade from Color 376
Chroma Adjust effect parameters 314 Fade to Color 377
Chroma Key effect FluidColorMap (Illustion FX) 412
2D parameters for 359 Color Gain effect parameters 316
parameter reference 438 Color levels
post-key color correction for 180 in Avid Pan & Zoom effect 211
Circle parameters (Illusion FX) 321 Color Mix effect 410
Circle Shape Wipe effect 475 Color Mix effect (Illusion FX) 410
Clock Shape Wipe effect 476 Color Mix parameters (Illusion FX) 326
Collapse button (Tool palette) 194 Color Picker
Collapsing layers 193 Title tool 249
Color Color Selection boxes (Title tool) 246
adjusting for shadows in titles 251 Color Style effect parameters 315
blending in Title tool 247 Commands
parameters 65 See Menu commands
selecting with eyedropper for titles 249 Comparison of similar effects 509
setting in Title tool 247 Conceal effects
Color and Transparency Blend tools (Title tool) 247 Bottom Left to Top Right 388
Color coding Bottom Right to Top Left 389
effects 34, 130 Bottom to Top 390
motion effects 163 Left to Right 391
Submaster effect 191 Right to Left 392
Color Correction effect 432 Top Left to Bottom Right 393
Color Correction parameters (2D) 361 Top Right to Bottom Left 394
Color dialog box (Windows) 65 Top to Bottom 395
Color Effect Console window
adjusting black point 313 AVX plug-in messages in 156
adjusting chrominance 314 motion effect type change messages in 165
adjusting hue 314 Constant path velocity
adjusting luma clip 314 with Avid Pan & Zoom effect 207
adjusting luma range 312 Constant Velocity option
adjusting luminance 311 Avid Pan & Zoom effect 207
adjusting midtones 313

537
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Controlling D
real-time effects preview 128
Coordinate system for 3D effects 217 Delete From Active Group command (Delete
Copy to Page command (Object menu) 245 Keyframe Mode menu) 91
Copying Delete From Active Parameter command (Delete
keyframes 77 Keyframe Mode menu) 90
Core parameters (Illusion FX) 322 Delete From All Parameters command (Delete
Crawling Title button (Title tool) 231 Keyframe Mode menu) 95
Crawling titles Delete From Enabled Groups command (Delete
adding pages 244 Keyframe Mode menu) 94
automatic sizing 241 Delete From Open Graphs command (Delete
defined 240 Keyframe Mode menu) 94
deleting pages 245 Delete From Open Groups command (Delete
formatting text 246 Keyframe Mode menu) 92
going to a page 244 Delete Keyframe command (Keyframe Track
inserting a blank page 245 shortcut menu) 88
page, defined 240 Deleting
resizing width of 243 crawling title pages 245
scrolling 244 effect media files 144
setting text formatting 242 effects 49
typing text 243 keyframes in keyframe graphs 87
workflow options 242 motion effect media 144
Create Unrendered Title Media command (Clip rolling title pages 245
menu) 271 standard keyframes 78
Creating Deselecting keyframes 98
cropped foreground 3D effect 225 Diamond Shape Wipe effect 477
matte key for 3D effects 216 Digidesign AudioSuite plug-ins 148
nested effects 187 Dip to Color effect
new Render settings 131 parameter reference 374
title templates 263 Display parameter
Crop (2D) effect parameters 317 Avid Pan & Zoom 203
Crop (3D) effect parameters 518 Displaying
Crop button (Effect Editor) 222 estimated render time 137
Cropped foreground effect keyframe graphs 80
3D example 225 motion effect type change information 165
Crystal effect (Illusion FX) 410 safe title/action area 54
Crystal parameters (Illusion FX) 327 Dissolve effect
Cubic adding with Head Fade and Tail Fade buttons 42
Filtering option for Avid Pan & Zoom effect 209 applying 41
Current position display applying, in Trim mode 41
field indicator in 54 described 375
Custom Start option 41, 372 Distribute commands (Alignment menu) 257
Distributing
title objects 257
Drawing
rounded box corners in titles 237
setting up environment 231

538
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Drop shadow for 3D effects 523 keyframe tracks, opening 80

Dual Split button (Effect Preview Monitor toolbar) movement of position indicator with keyframe
53, 59 graphs 126
Duplicated Field option (Motion effects) 365 Other Options button 64
Duplicated field, render settings option 133 resetting keyframe graph view 124
scroll thumbwheel 123
setting default Add Keyframe button behavior,
E with keyframe graphs 126
Ease In and Ease Out shortcut menu 124
with Avid Pan & Zoom effect 205, 206 showing Add Keyframe Mode menu 126
Edge Wipe effects sliders 63
Horizontal 396 Effect icons
Horizontal Open 397 display of real-time status 130
Lower Left Diagonal 398 Effect Palette
Lower Right Diagonal 399 accessing 3D effects 214
Upper Left Diagonal 400 display of plug-ins in 147
Upper Right Diagonal 401 Effect parameters
Vertical 402 2D, overview 299
Vertical Open 403 3D, described 511
Edit decision list 3D, overview 219
See EDL Acceleration (2D) 301
Editing Acceleration (3D) 514
imported master clips 184 accessing additional 64
Submaster effect 191 adjusting color 65
titles in sequences 268 Auto Zoom 370
titles, overview 264 Axis 515
with imported matte keys 183 Background (2D) 309
EDL (edit decision list) Background (3D) 516
with Submaster effect 191 Border (2D) 310
Effect Aperture 35 Border (3D) 517
Effect Editor Border (Illusion FX) 320
adjusting titles 266 Center (Illusion FX) 321
color parameters in 65 changing for individual keyframes 77
controlling image updating with keyframe graphs Chroma Adjust 314
125 Chroma Key 357
controls in 58 Circle (Illusion FX) 321
displaying parameters 61 Color Effect 311
displaying thumbwheels with keyframe graphs Color Gain 316
125 Color Mix 326
effect parameters in 62 Color Style 315
Enable buttons 64 Core (Illusion FX) 322
enlarging text with keyframe graphs 125 Crop (2D) 317
Fast Menu button 64 Crop (3D) 518
indenting rows with keyframe graphs 125 Crystal 327
keyframe graphs, Add Keyframe Mode menu and described 62
Delete Keyframe Mode menu 88 direct manipulation of 514
keyframe graphs, toolbar controls 84 displaying 61

539
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Enable button 64 Kaleidoscope (Illusion FX) 321, 355

extrapolating values with advanced keyframes Key 357
121 Lightning (Illusion FX) 322, 324
eyedropper 65 Luma Adjust 311
Film Grain 328 Luma Clip 314
Flare 329 Luma Key 357
FluidBlur 330 Luma Range 312
FluidColorMap 331 Matrix 362
FluidMorph 332 Model 369
FluidMorph (Illusion FX) 355 Motion 362
Foreground (2D) 317 Motion (Illusion FX) 352
Foreground (3D) 519 Motion Blur 335
Freeze Frame 363 Movement (Illusion FX) 353
Generation (Illusion FX) 322 Number (Illusion FX) 354
global versus keyframeable 62, 300, 512 Offset (Illusion FX) 355
Glow (Illusion FX) 324 Page Curl 336
hierarchy of 3D 513 Particle Blast 338
holding values in keyframe graphs 121 Particle Orbit 339
Illumination (Illusion FX) 325 Particle Wind 340
in keyframe graphs, changes at keyframes 108 Pattern Generator 319
Input (Color Mix) 326 Pattern Generator (Illusion FX) 319, 321, 354
Input (Crystal) 327 Pinch 342
Input (Film Grain) 328 Position (2D) 367
Input (Flare) 329 Position (3D) 520
Input (FluidBlur) 330 Radial Blur 343, 344
Input (FluidColorMap) 331 Region of Interest 370
Input (FluidMorph) 332 Region Stabilize 369
Input (Iris) 333 Ripple (Illusion FX) 322, 325, 352
Input (Kaleidoscope) 334 Rollup 345
Input (Melt) 334 Rotation 521
Input (Motion Blur) 335 Scaling (2D) 371
Input (Page Curl) 336 Scaling (3D) 522
Input (Particle Blast) 338 Scroll Position 368
Input (Particle Orbit) 339 Secondary Key 358
Input (Particle Wind) 340 selecting using Fast menu 64
Input (Pinch) 342 Shadow 523
Input (Radial Blur) 343 Shape 524
Input (Random Blend) 344 Shear 346
Input (Rollup) 345 sliders 63
Input (Shear) 346 Source (Illusion FX) 355
Input (Sphere) 347 Sparkler (Illusion FX) 322, 324, 353
Input (Swirl) 348 Sphere 347
Input (Timecode) 349 Spill Suppression 358
Input (Twist) 350 Spline 525
Input (Wave) 351 Start Timecode (Illusion FX) 356
Iris 333 Strobe Motion 364
Kaleidoscope 334 Swirl 348

540
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Target 525 creating 3D Page Fold 224

Timecode 349 creating cropped foreground (3D PIP) 225
Timecode (Illusion FX) 356 deconstructing 31
title, adjusting 266 deleting 49
Trail 526 Dissolve, applying 41
transition 371 Dissolve, applying in Trim mode 41
Twist 350 Edge Wipe 395
Variable Speed 364 examples of 31
Wave 351 Film 403
Effect Preview monitor Freeze Frame 166
described 51 handles for adjusting 3D 222
displaying safe title/action area 54 Illusion FX 409
field indicator 54 Image 431
moving enlarged image 55 in HD projects 32
toolbar 52 Key 437
tracking information in 54 keys 361
zooming in 222 L-Conceal 441
Effect templates Matrix Wipe 445
3D effects 221 media files, deleting 144
applying 72 media files, described 142
defined 70 media files, revealing 143
in bins 71 Motion 450
saving 71 motion 161
Effects Peel 451
16-bit rendering 139 PlasmaWipe 275, 459
2D parameters, overview 299 promoting 2D to 3D 215
3D Ball 527 promoting to advanced keyframes 80
3D coordinate (X Y Z) system 217 Push 460
3D matte key 216 Quick Transition button 43
3D Page Fold 529 real-time preview 128
3D Slats 530 real-time preview, delaying start 129
3D, keyframes for 220 Region Stabilize 435
3D, parameters for 219, 512 rendering at position 137
3D, Rotation axes for 218 rendering between IN and OUT points 138
accessing 3D in Effect Palette 214 rendering one 136
applying Dissolve 41 replacing existing 57
applying Dissolve, in Trim mode 41 RGB Keyer effect 441
applying to multiple transitions using Quick saving templates 71
Transition button 44 Sawtooth Wipe 468
Blend 373 Shape Wipe 472
Box Wipe 379 Spin 481
changing position in 56 Squeeze 484
color coding for 34, 130 Strobe Motion 172
Color, using to enhance high-contrast image 182 summary of creation tools 30
comparison of similar 509 templates in bins 71
Conceal 387 Timewarp 500
controlling real-time preview 128 Title 508

541
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

upgrading 152 Fast menus

Variable Speed 169 selecting effect parameters with 64
Xpress 3D Effect category 511 Fast-motion effects
Effects (2D) creating 169
PlasmaWipe 275, 459 reversing 170
Effects (3D) Field indicator in current position display 54
compatibility between Avid applications 213 Fill track in titles 269
Elastic command (Keyframe Track shortcut menu) Film Dissolve effect 407
108 Film effects
Elastic keyframes 106 1:1.66 Mask 404
Ellipse Shape Wipe effect 478 1:1.85 Mask 404
Enable button (Effect Editor) 64 16:9 Mask 405
Enabled group Anamorphic Mask 405
defined 94 Blowup 406
Ending at Cut button (Quick Transition dialog box) 49 Film Dissolve 407
Ending at Cut option 41, 372 Film Fade 408
Enlarge button (Effect Editor) 59 Mask 408
Enlarge button (Effect Preview Monitor toolbar) 53 Film Fade effect 408
Enlarged image Film Grain effect (Illusion FX) 411
moving in the Effect Preview monitor 55 Film Grain parameters (Illusion FX) 328
Error messages Film negative
Insufficient Source 225 simulating look with solarization 315
Expanding Filtering parameter
nested effects 186 Avid Pan & Zoom effect 209
Export Title command (File menu) 264 Fit to Fill
Exporting motion effects 365
titles as graphics files 264 Fit to Fill button (Command palette) 172
Extrapolate command (Keyframe Track shortcut Fixed Aspect option (Scaling (2D) effect parameters)
menu) 121 371, 522
Extrapolate option Fixed command (Keyframe Track shortcut menu) 108
keyframe graph parameter values 119 Fixed keyframes 107
Eyedropper Flap, in Page Fold effect 529
selecting colors in titles 249 Flare effect (Illusion FX) 411
using 65 Flare parameters (Illusion FX) 329
Flip effect 433
Flip-Flop effect 434
F Flop effect 434
Fade Effect button (Tool palette) 266 FluidBlur effect (Illusion FX) 412
Fade from Color effect FluidBlur parameters (Illusion FX) 330
parameter reference 376 FluidColorMap effect (Illusion FX) 412
Fade to Color effect FluidColorMap parameters (Illusion FX) 331
parameter reference 377 FluidFilm effect template 175
Fading using 176
effects using Head Fade and Tail Fade buttons 42 FluidFilm NTSC motion effect (2D) 503
titles 266 FluidFilm PAL motion effect (2D) 503
Fast Forward button (Effect Preview Monitor toolbar) FluidMorph parameters (Illusion FX) 332, 355
52

542
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Fonts line or border width 237

compatibility between systems 231 rounding box corners 237
installing 231 Graphs
substituting 232 See Keyframe graphs
Foreground (2D) effect parameters 317 Green dot
Foreground (3D) effect parameters 519 with effect icons 34, 130
Formatting Grid
crawling titles 246 for title alignment 232
rolling and crawling title text 242 Grid button (Effect Editor and Tool palette) 54, 60
rolling titles 246 Grid Matrix Wipe effect 446
title text 233 Group command (Object menu) 255
Four Corners Shape Wipe effect 473 Grouping
Free Current Cache title objects 255
Avid Pan & Zoom effect 211 Groups
Freeze Frame command (Clip menu) 166 See Parameter groups
Freeze Frame effect
controlling with a single button or key 167
creating 166
H
parameter reference 363, 451 Halo effect for titles 253
using after rolling clip 169 Handles
Function keys for adjusting 3D effects 222
confirming mapping of title styles 261 for resizing foreground image 69
mapping title styles to 259 hollow, for locked objects 256
in Quick Transition dialog box 47
G on arrowheads 239
HD projects
Gain with key effects 357 using effects in 32
Gamma HD resolutions
adjusting with Color Effect 313 and older AVX plug-ins 148
Gaussian Head Fade button (Command palette) 42
Filtering option for Avid Pan & Zoom effect 209 Hierarchy of 3D effect parameters 513
Generation parameters (Illusion FX) 322 High-contrast image
Global effect parameters 300, 512 enhancing with Color Effect 182
Glow effect for titles 253 with Matte Key 181, 216
Glow parameters (Illusion FX) 324 Highest Quality (HQ) button 60, 141
Graphic images Histogram
types of 183 working with PlasmaWipe effects 283
with alpha channel 183 Hold command (Keyframe Track shortcut menu) 121
without alpha channel 184 Hold option
Graphical display in Quick Transition dialog box 46 keyframe graph parameter values 118
Graphics for titles Horizontal Bands Shape Wipe effect 479
adding arrowheads to lines 238 Horizontal Blinds Shape Wipe effect 480
aligning 256 Horizontal Centered Squeeze effect 490
changing arrowhead size 239 Horizontal Edge Wipe effect 396
displaying grid for 232 Horizontal Open Edge Wipe effect 397
distributing evenly 257 Horizontal Open Sawtooth Wipe effect 470
layering of 254 Horizontal Sawtooth Wipe effect 469

543
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

HQ button (Effect Editor) 60, 141 Page Curl 417

HQ rendering 141 Page Curl parameters 336
interrupting 142 Particle Blast 418
Render Settings dialog box 141 Particle Blast parameters 338
Hue Particle Orbit 418
adjusting with Color Effect 314 Particle Orbit parameters 339
defined 309 Particle Wind 420
Particle Wind parameters 340
Pattern Generator 319, 421
I Pattern Generator parameters 319, 321, 354
Illumination parameters (Illusion FX) 325 Pinch 422
Illusion FX Pinch parameters 342
Border parameters 320 Radial Blur 423
Center parameters 321 Radial Blur parameters 343, 344
Circle parameters 321 Random Blend 423
Color Mix 410 Random Blend parameters 344
Color Mix parameters 326 Ripple 424
Core parameters 322 Ripple parameters 322, 325, 352
Crystal 410 Rollup 425
Crystal parameters 327 Rollup parameters 345
Film Grain 411 Shear 426
Film Grain parameters 328 Shear parameters 346
Flare 411 Source parameters 355
Flare parameters 329 Sparkler 427
FluidBlur 412 Sparkler parameters 322, 324, 353
FluidBlur parameters 330 Sphere 427
FluidColorMap 412 Sphere parameters 347
FluidColorMap parameters 331 Start Timecode parameters 356
FluidMorph 413 Swirl 428
FluidMorph parameters 332, 355 Swirl parameters 348
Generation parameters 322 Timecode 429
Glow parameters 324 Timecode parameters 349, 356
Illumination parameters 325 Twist 430
Iris 413 Twist parameters 350
Iris parameters 333 Wave 430
Kaleidoscope 414 Wave parameters 351
Kaleidoscope parameters 321, 334, 355 Image effects
Lightning 415 Avid Pan & Zoom Effect 432
Lightning parameters 322, 324 Color Effect 432, 433
Melt 416 Flip 433
Melt parameters 334 Flip-Flop 434
Motion Blur 416 Flop 434
Motion Blur parameters 335 Mask 435
Motion parameters 352 Region Stabilize 435
Movement parameters 353 Resize 436
Number parameters 354 Submaster 437
Offset parameters 355

544
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Image Resolution Interrupting

Avid Pan & Zoom effect 211 render on-the-fly 128
Images rendering of effects 135
graphic, types of 183 Invert Key option (Foreground effect parameter) 318
with alpha channel 183 Inverting chrominance
without alpha channel 184 with Color Effect 314
Importing Inverting keys
AVI files 183 Full 519
Indent Rows command (Effect Editor shortcut menu) Iris effect (Illusion FX) 413
125 Iris parameters (Illusion FX) 333
Independent keyframes
See Keyframes, Keyframe graphs
Input parameters
J
Color Mix 326 Justification buttons (Title tool) 236
Crystal 327 Justifying
Film Grain 328 title text 236
Flare 329
FluidBlur 330
FluidColorMap 331 K
FluidMorph 332 Kaleidoscope effect (Illusion FX) 414
Iris 333 Kaleidoscope parameters (Illusion FX) 321, 334,
Kaleidoscope 334 355
Melt 334 Kerning of title text 234
Motion Blur 335 Kerning selection button and text box (Title tool) 235
Page Curl 336 Key Color parameter (2D) 359
Particle Blast 338 Key effect parameters 357
Particle Orbit 339 Key effects
Particle Wind 340 Chroma Key 438
Pinch 342 described 177
Radial Blur 343 editing with Matte Key 183
Random Blend 344 Luma Key 180, 439
Rollup 345 Matte Key 181, 440
Shear 346 Matte, in nested layers 189
Sphere 347 RGB Keyer effect (AVX Plug-in effect) 441
Swirl 348 Keyframe graphs
Timecode 349 aligning keyframes 115
Twist 350 Bézier interpolation option 111
Wave 351 controlling image updating 125
Insert Page command (Object menu) 245 controlling movement of position indicator 126
Installing copying and pasting keyframes in 104
AVX plug-ins 149 default Add Keyframe button behavior, setting
Insufficient Source message 225 126
Interfaces for AVX plug-ins 154 described 75, 78
Interpolated Field option (Motion effects) 365 displaying 80
Interpolated field, render settings option 133 displaying thumbwheels in Effect Editor 125
Interpolation options Effect Editor shortcut menu 124
for keyframe graphs 108 Effect Editor toolbar controls 84

545
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

elastic keyframes 106 advanced, using Add Keyframe button 87

enlarging text in Effect Editor 125 changing parameters 77
extrapolating parameter values 121 copying and pasting 77
fixed keyframes 107 copying and pasting in keyframe graphs 104
holding parameter values 121 creating standard 76
indenting rows in Effect Editor 125 defined 75
interpolation options 108 deleting standard 78
Linear interpolation option 109 in keyframe graphs, adding and deleting 87
moving keyframes in 99 moving 77
open graph 94 selecting 76
resetting view 124
resizing 123
scale bar 122
L
scrolling left to right 123 Large Text command (Effect Editor shortcut menu)
scrolling up or down 124 125
Shelf interpolation option 109 Layering
slipping keyframes 117 title objects 254
Spline interpolation option 110 L-Conceal effects
zoom slider 122 Bottom Left 442
zooming 122 Bottom Right 443
Keyframe tracks Top Left 444
described 78 Top Right 445
opening 80 Leading of title text 235
Keyframeable effect parameters 300, 512 Leading text box (Title tool) 236
Keyframes Left Box Wipe effect 383
3D effects 220 Left Centered Squeeze effect 491
3D parameters with 512 Left to Right Conceal effect 391
adjusting titles 267 Left to Right Peel effect 455
advanced, Add Keyframe Mode menu 88 Left to Right Push effect 464
advanced, aligning 115 Left to Right Squeeze effect 492
advanced, Bézier interpolation option 111 Level parameter
advanced, changing order of nested effects 188 Avid Pan & Zoom 211
advanced, Delete Keyframe Mode menu 88 Lightning effect (Illusion FX) 415
advanced, described 78 Lightning parameters (Illusion FX) 322, 324
advanced, displaying keyframe graphs 80 Linear keyframe interpolation option 109
advanced, effects supported 80 Lines
advanced, elastic 106 attribute options 236
advanced, extrapolating parameter values 121 changing width 237
advanced, fixed 107 Locating AVX_Plug-Ins folder (Windows) 150
advanced, Linear interpolation option 109 Lock command (Object menu) 256
advanced, moving in keyframe graphs 99 Locked objects
advanced, opening keyframe tracks 80 hollow handles 256
advanced, parameter groups 89 Locking
advanced, promoting effects to 80 title objects 255
advanced, Shelf interpolation option 109 Lower Left Diagonal Edge Wipe effect 398
advanced, slipping 117 Lower Right Diagonal Edge Wipe effect 399
advanced, Spline interpolation option 110 Luma Adjust effect parameters 311

546
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Luma Clip effect parameters 314 Memory management

Luma Key effect 180, 439 in Avid Pan & Zoom 211
Luma Range effect parameters 312 Memory usage
Luminance AVX plug-ins 148, 157
adjusting with Color Effect 311 Menu commands
defined 309 Add Keyframe (Keyframe Track shortcut menu)
inverting with Color Effect 311 87
Add Keyframes commands (Effect Editor shortcut
menu) 126
M Add Page (Object menu) 245
Make Crawl command (Object menu) 243 Add To Active Group (Add Keyframe Mode
Managing menu) 91
title styles in Project window 262 Add To Active Parameter (Add Keyframe Mode
Manipulating menu) 90
title objects 254 Add To All Parameters (Add Keyframe Mode
Manipulation of 3D Effect parameters 514 menu) 95
Mapping Add To Enabled Groups (Add Keyframe Mode
title styles to function keys 259 menu) 94
Marquee Title tool Add To Open Graphs (Add Keyframe Mode
converting title styles to 260 menu) 94
described 227 Add To Open Groups (Add Keyframe Mode
promoting titles to 268 menu) 92
Mask effect 408, 435 Align Keyframe (Keyframe Track shortcut menu)
Mask effects for film 404 115
Master clips Align Objects (Alignment menu) 257
editing with imported 184 Align to Frame (Alignment menu) 256
Matching title and project resolutions 273 Auto Size Mode (Object menu) 241
Matrix effect parameters 362 Bring Forward (Object menu) 255
Matrix Wipe effects Bring to Front (Object menu) 255
Grid 446 Copy to Page (Object menu) 245
One-Way Row 447 Create Unrendered Title Media (Clip menu) 271
Speckle 448 Delete From Active Group (Delete Keyframe
Spiral 449 Mode menu) 91
Zig-Zag 450 Delete From Active Parameter (Delete Keyframe
Matte Control parameters (2D) 360 Mode menu) 90
Matte Key effect Delete From All Parameters (Delete Keyframe
3D version 216 Mode menu) 95
creating 181 Delete From Enabled Groups (Delete Keyframe
described 440 Mode menu) 94
editing with 183 Delete From Open Graphs (Delete Keyframe
in nested layers 189 Mode menu) 94
Media Creation tool Delete From Open Groups (Delete Keyframe
16-bit effects rendering 140 Mode menu) 92
Media files Delete Keyframe (Keyframe Track shortcut
deleting 144 menu) 88
Melt effect (Illusion FX) 416 Distribute (Alignment menu) 257
Elastic (Keyframe Track shortcut menu) 108

547
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Export Title (File menu) 264 Model effect parameter 369

Extrapolate (Keyframe Track shortcut menu) 121 Modifying
Fixed (Keyframe Track shortcut menu) 108 crawling titles 246
Freeze Frame (Clip menu) 166 rolling titles 246
Group (Object menu) 255 Monitors
Hold (Keyframe Track shortcut menu) 121 Avid After Effects External Monitor Preview
Indent Rows (Effect Editor shortcut menu) 125 plug-in 157
Insert Page (Object menu) 245 Motion Blur effect (Illusion FX) 416
Large Text (Effect Editor shortcut menu) 125 Motion Blur parameters (Illusion FX) 335
Lock (Object menu) 256 Motion Effect button (Source monitor) 169
Make Crawl (Object menu) 243 Motion Effect parameters 362
Move to Page (Object menu) 245 Motion effects
New Video Track (Clip menu) 183 0% To 100% 501
Real-Time Update (Effect Editor shortcut menu) 100% To 0% 502
125 50% Speed 502
Re-create Title Media (Clip menu) 272 color coding for 163
Remove Page (Object menu) 245 controlling Freeze Frame with a single button or
Render at Position (Clip menu) 137 key 167
Render In/Out (Clip menu) 138 deleting media 144
Render On-the-Fly (Clip menu) 127 described 161
Render Ranges (Timeline Fast menu) 135 displaying type change information 165
Reset Graph View (Keyframe Track shortcut Freeze Frame 166, 451
menu) 124 icons 163
Reveal File (File menu) 144 playback capabilities for traditional 162
Safe Colors (Object menu) 232 rendering existing 163
Send Backward (Object menu) 255 rendering options 133
Send to Back (Object menu) 255 rendering requirements for 162
Set Bin Display (Bin menu) 143 rendering requirements for traditional 162
Set Position To Keyframe (Effect Editor shortcut revealing media 143
menu) 126 Reverse Motion 505
Show Add Keyframe Mode Menu (Effect Editor reversing 365
shortcut menu) 126 Speed Boost 506
Show Alignment Grid (Alignment menu) 232 Speed Bump 507
Slip Keyframe (Keyframe Track shortcut menu) Strobe Motion 172, 451
117 Timewarp 175
Soften Shadow (Object menu) 252 Trim to Fill 504
Thumbwheels (Effect Editor shortcut menu) 125 type change messages in Console 165
Title Tool (Windows menu) 233 using Freeze Frame after rolling clip 169
UnGroup (Object menu) 255 Variable Speed 169, 451
Unlock (Object menu) 256 Motion effects (2D)
Update Position While Playing (Effect Editor FluidFilm NTSC effect 503
shortcut menu) 126 FluidFilm PAL effect 503
Video Mixdown (Clip menu) 196 in 24p or 25p projects 174
Midtones Motion parameters (Illusion FX) 352
adjusting with Color Effect 313 Motion path 67
Mixing down Motion path editor 223
video 195 Move to Page command (Object menu) 245

548
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Movement parameters (Illusion FX) 353 Open group

Moving defined 92
keyframes in keyframe graphs 99 Opening
Multilayer effects keyframe tracks 80
See also specific effect categories, for example, Other Options button (Effect Editor) 64
Blend effects Outline/Path button (Effect Editor) 59, 223
3D Matte Key 216 Overwrite button (Tool palette) 169
creating with nesting 185
deleting 51
keys 177
P
Multiple tracks Page Curl effect (Illusion FX) 417
and AVX plug-ins 153 Page Curl parameters (Illusion FX) 336
Multi-Resolution Page Fold (3D)
Avid Pan & Zoom effect 211 as transition 224
Page Fold effect
N creation tips 530
described 529
Nested effects Page Number text box (Title tool) 244
changing order of, with advanced keyframes 188 Pages
creating 187 in rolling and crawling titles 240
described 185 Pan & Zoom
expanding 186 See Avid Pan & Zoom
re-creating title media 272 Pan & Zoom effect 432
stepping in and out 186 Pan and Zoom
video layers in 185 See Avid Pan & Zoom
with matte key 189 Parameter groups
with Submaster effect 191 active, defined 91
New Video Track command (Clip menu) 183 defined 89
Non-real-time effects enabled, defined 94
color coding for 34 open, defined 92
enabling and disabling 130 Parameters
Number parameters (Illusion FX) 354 for AVX plug-ins 154
See Effect parameters
Partial render 135
O Particle Blast effect (Illusion FX) 418
Objects in titles Particle Blast parameters (Illusion FX) 338
aligning 256 Particle Orbit effect (Illusion FX) 418
distributing evenly 257 Particle Orbit parameters (Illusion FX) 339
grouping and ungrouping 255 Particle Wind effect (Illusion FX) 420
layering 254 Particle Wind parameters (Illusion FX) 340
locking and unlocking 255 Path of effect on screen 223
manipulating 254 Path parameter
Offset parameters (Illusion FX) 355 Avid Pan & Zoom effect 207
One-Way Row Matrix Wipe effect 447 Pattern Generator effect (Illusion FX) 421
Open graph Pattern Generator effect parameters 319
defined 94

549
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Pattern Generator parameters (Illusion FX) 319, 321, Playback

354 individual tracks, restriction with Submaster
Peel effects effect 437
Bottom Left Corner 452 titles, limitations 265
Bottom Right Corner 453 video effects, real-time 128
Bottom to Top 454 Plug-in effects
Left to Right 455 AVX (Avid Visual Extensions) 147
Right to Left 456 Digidesign AudioSuite, using 147
Top Left Corner 457 Position (2D) effect parameters 367
Top Right Corner 458 Position (3D) effect parameters 520
Top to Bottom 459 Position parameter
Picture-in-Picture effect in Avid Pan & Zoom effect 205
3D PIP effect 529 Posterization
foreground image movement 67 adjusting with Color Effect 315
promoting to advanced keyframes 80 Post-key color correction 180
reference 378 Preview
Pinch effect (Illusion FX) 422 video effects, real-time 128
Pinch parameters (Illusion FX) 342 Profile parameter (2D) 368
PIP Project window
See Picture-in-Picture effect managing title styles 262
Pixels Promote to Advanced Keyframes button (Effect
shape in Avid Pan & Zoom effect 210 Editor) 59
PlasmaWipe effects Promoting
applying 277 2D effects to 3D 215
creating from a custom image 278 effects to advanced keyframes 80
creating from an existing image 282 titles to 3D 273
default values 291 Push effects
folder structure 276, 288 Bottom Left to Top Right 461
frame and border effects 291 Bottom Right to Top Left 462
PAL and NTSC versions 279, 287 Bottom to Top 463
testing an animation 285 Left to Right 464
threshold point 275, 277 Right to Left 465
tips for adjusting 288, 291 Top Left to Bottom Right 466
using the Adobe Photoshop histogram 283 Top Right to Bottom Left 467
using the Adobe Photoshop Pencil tool 280 Top to Bottom 468
using the Level value 277
working with Adobe Photoshop 278
working with gradient images 283
Q
PlasmaWipe parameters 366 Quadratic
Play button (Effect Editor) 60 Filtering option for Avid Pan & Zoom effect 209
Play button (Effect Preview Monitor toolbar) 53 Quick Transition button (Tool palette) 43
Play Loop button (Effect Editor) 60 Quick Transition dialog box
Play Loop button (Effect Preview Monitor toolbar) 53 graphical display in 46
Play Preview button (Effect Preview Monitor toolbar)
53

550
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

R HQ rendering 141
options 132
Radial Blur effect (Illusion FX) 423 Rendered effects
Radial Blur parameters (Illusion FX) 343, 344 color coding for 191
Random Blend effect (Illusion FX) 423 Rendering
Real-time 16-bit effects processing 139
Filtering option for Avid Pan & Zoom effect 209 AVX plug-ins 156
preview of video effects 128 displaying estimated time 137
Real-time effects displaying render ranges 135
green dot color coding for 34 effects at position 137
Real-Time Update command (Effect Editor shortcut effects between IN and OUT points 138
menu) 125 fast saved titles 271
Recalling HQ effects 141
title styles 260 interrupting 135
Re-create Title Media command (Clip menu) 272 interrupting, with HQ effects 142
Re-creating title media 272 motion effects 133
Rectangular pixels multiple effects 138
in Avid Pan & Zoom effect 210 multiple effects with Submaster 191
Reduce button (Effect Editor) 59 saving partially completed renders 135
Reduce button (Effect Preview Monitor toolbar) 53 single effect 136
Region of Interest effect parameters 370 Submaster restriction 437
Region Stabilize effect titles 271
Auto Zoom parameter 370 Replacing
described 435 existing effects 57
Model parameter 369 fill track in titles 269
parameter reference 369 titles in sequences 266
reference 435 Reset Graph View command (Keyframe Track
Region of Interest parameters 370 shortcut menu) 124
troubleshooting 200 Resetting
types 199 keyframe graph view 124
Remove Effect button (Tool palette) 50 Resize effect 436
Removing Resizing
titles from sequences 265 foreground image 69
Render at Position command (Clip menu) 137 keyframe graphs 123
Render Effect button (Effect Editor) 59 rolling or crawling titles 243
Render Effect button (Tool palette) 136 Resolution
Render In/Out command (Clip menu) 138 compatibility in titles 273
Render On-the-Fly command (Clip menu) 127 Reveal File command (File menu) 144
Render Ranges command (Timeline Fast menu) 135 Revealing
Render settings effect media files 143
16-bit effects processing 139 motion effect media 143
activating 135 Reverse Animation option (Foreground effect
adjusting 132 parameter) 318
creating new 131 Reverse Motion effect (2D) 505
described 131
Effects Quality Render Using 141

551
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Reversing S
fast-motion effects 170
motion effects 365 Safe Action area
slow-motion effects 170 Avid Pan & Zoom 203
Revising Safe Colors command (Object menu) 232
titles in sequences 268 Safe title/action area
Rewind button (Effect Preview Monitor toolbar) 52 displaying 54, 60
RGB Keyer effect (AVX Plug-in) 441 for aligning objects 256
applying 179 Saturation
described 178 adjusting with Color Effect 314
post-key color correction 180 of colors in titles 232
RGB settings Save Style Parameter button (Title tool) 229
in Avid Pan & Zoom effect 211, 308 Saving
Right Box Wipe effect 384 partially completed renders 135
Right Centered Squeeze effect 493 title styles 258
Right to Left Conceal effect 392 Sawtooth Wipe effects
Right to Left Peel effect 456 Horizontal 469
Right to Left Push effect 465 Horizontal Open 470
Right to Left Squeeze effect 494 Vertical 472
Ripple effect (Illusion FX) 424 Vertical Open 471
Ripple parameters (Illusion FX) 322, 325, 352 Scale bar
Rolling clip advanced keyframes 121
using Freeze Frame after 169 keyframe graphs 122
Rolling Title button (Title tool) 231 Scale button (Effect Editor) 222
Rolling titles Scaling (2D) effect parameters 371
adding pages 244 Scaling (3D) effect parameters 522
automatic sizing 241 Scroll Position effect parameters 368
copying or moving objects 245 Scroll thumbwheel in Effect Editor 123
defined 239 Scrolling
deleting pages 245 keyframe graphs, left to right 123
formatting text 246 keyframe graphs, up or down 124
going to a page 244 rolling or crawling titles 244
inserting a blank page 245 Secondary Key effect parameters 358
page, defined 240 Segment effects
resizing width 243 See specific effect categories, for example, Image
scrolling 244 effects
setting text formatting 242 deleting 51
typing text 243 Luma Key 180
Rollup effect (Illusion FX) 425 Matte Key 181
Rollup parameters (Illusion FX) 345 saving with media 71
Rotation axes (3D) 218 Submaster 191
Rotation buttons 521 title editing 266
Rotation effect parameters 521 Segment effects (2D)
FluidFilm NTSC motion effect 503
FluidFilm PAL motion effect 503
Selecting
keyframes 76

552
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Selection tool (Title tool) Show Alpha option (Foreground effect parameter)
described 229 318
viewing attributes with 233 Size of effect
Send Backward command (Object menu) 255 adjusting 525
Send to Back command (Object menu) 255 foreground image 69
Sequences Slats, 3D effect 530
applying Submaster effect to 191 Sliders
deleting effects from 49 in Effect Editor 63
editing titles 268 Slip Keyframe command (Keyframe Track shortcut
removing titles 265 menu) 117
replacing titles 266 Slip Keyframes
Set Bin Display command (Bin menu) 143 advanced keyframes 114
Set Position To Keyframe command (Effect Editor Slipping
shortcut menu) 126 keyframes 117
Settings Slow-motion effects
Effect Aperture 35 creating 169
Render 131 reversing 170
User 231 Snap grid
Shadows for titles 232
adjusting softness on-the-fly 252 Soft shadows
confirming current softness 253 adjusting on-the-fly 252
depth 251 confirming current value 253
drop 251 creating 251
for 3D effects, parameter reference 523 Soften Shadow command (Object menu) 252
for titles, adjusting color and transparency 251 Solarization
for titles, described 251 adjusting with Color Effect 315
softness 251 Source Has Square Pixels
Shape effect parameters 524 Avid Pan & Zoom effect 210
Shape Wipe effects Source parameters (Illusion FX) 355
4 Corners 473 Sparkler effect (Illusion FX) 427
Center Box 474 Sparkler parameters (Illusion FX) 322, 324, 353
Circle 475 Speckle Matrix Wipe effect 448
Clock 476 Speed Boost effect (2D) 506
Diamond 477 Speed Bump effect (2D) 507
Ellipse 478 Sphere effect (Illusion FX) 427
Horizontal Bands 479 Sphere parameters (Illusion FX) 347
Horizontal Blinds 480 Spill Suppression effect parameters 358
Vertical Blinds 481 Spin effects
Shear effect (Illusion FX) 426 X Spin 482
Shear parameters (Illusion FX) 346 Y Spin 483
Shelf keyframe interpolation option 109 Spiral Matrix Wipe effect 449
Show Action Safe parameter Splice-in button (Tool palette) 169
Avid Pan & Zoom 203 Spline effect parameter
Show Add Keyframe Mode Menu command (Effect changing Path curve 223
Editor shortcut menu) 126 reference 525
Show Alignment Grid command (Alignment menu) Spline keyframe interpolation option 110
232

553
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

Square pixels described 191, 437

in Avid Pan & Zoom effect 210 using with short clips 193
Squeeze effects Substituting fonts 232
Bottom Centered 485 Superimpose effect 379
Bottom Left 486 Swap Sources option (Foreground effect parameter)
Bottom Right 487 318
Bottom to Top 488 Swapping effect tracks 519
Centered Zoom 489 Swirl effect (Illusion FX) 428
Horizontal Centered 490 Swirl parameters (Illusion FX) 348
Left Centered 491
Left to Right 492
Right Centered 493
T
Right to Left 494 Tail Fade button (Command palette) 42
Top Centered 495 Target effect parameters 525
Top Left 496 Templates button (Title tool) 230
Top Right 497 Text for titles
Top to Bottom 498 aligning 256
Vertical Centered 499 color 247
Stabilize effect crawling 240
See Region Stabilize effect distributing evenly 257
Stabilizing an image formatting 233
Region Stabilize parameters 369 justifying 236
using Region Stabilize 435 kerning 234
Start Timecode parameters (Illusion FX) 356 layering of 254
Starting at Cut button (Quick Transition dialog box) leading 235
49 rolling 239
Starting at Cut option 41, 372 rolling or crawling, setting formatting 242
Step Backward button (Effect Preview Monitor rolling or crawling, typing 243
toolbar) 53 Text tool (Title tool)
Step Forward button (Effect Preview Monitor described 229
toolbar) 53 Third-party plug-in effects 147
Step In button (Timeline) 186 Threshold point
Step Out button (Timeline) 186 PlasmaWipe effects 275, 277
Stepping Thumbwheel
in and out of nested effects 186 Effect Editor 63
Strobe Motion effect Thumbwheels command (Effect Editor shortcut
creating 172 menu) 125
parameter reference 364, 451 Timecode effect (Illusion FX) 429
Styles Timecode parameters (Illusion FX) 349, 356
See Title styles Timeline
Styles button (Title tool) 229 color coding for effects 34, 130
Submaster effect expanding nested effects in 186
applying 192 rendered effects in 191
applying to multilayered sequence 191 toolbar 186
color coding for 191 Timewarp effects 175
creating EDL for 191 0% to 100% 501
100% to 0% 502

554
 ABCDEFGHIJKLMNOPQRSTUVWXYZ
50% Speed 502
FluidFilm 2:3 Cadence 503
FluidFilm Progressive 503
Reverse motion 505
Speed boost 506
Speed bump 507
Trim to Fill 504
Title styles
applying to title objects 261
confirming function key mapping 261
converting to Marquee 260
managing in Project window 262
mapping to function keys 259
recalling 260
saving 258
Title templates
creating 263
defined 262
using 263
Title tool
adding arrowheads to lines 238
adjusting shadow color 251
adjusting shadow softness on-the-fly 252
adjusting shadow transparency 251
Auto Size mode 241
Blend Direction box 248
blending colors 247
blending transparency 250
bringing to foreground 233
changing arrowhead size 239
color 247
Color and Transparency Blend tools 247
Color Picker 249
Color Selection boxes 246
confirming current shadow softness 253
crawling titles, defined 240
installing fonts 231
justifying text 236
kerning 234
leading 235
line or border width 237
lines, attributes for 236
overview 228
Page Number text box 244
rolling titles, defined 239
rounding box corners 237
setting up environment 231
Index
shadow softness 251
toolbar 228
transparency 250
Transparency Level boxes 246
Transparency Value box 250
User settings 231
Title Tool command (Windows menu) 233
Titles
adjusting parameters in Effect Editor 266
aligning 256
alignment grid 232
applying styles to objects 261
color saturation 232
compatible resolutions with 273
copying or moving objects 245
crawling, defined 240
crawling, deleting pages 245
crawling, formatting 246
crawling, inserting a blank page 245
creating a glow or halo effect 253
creating templates 263
distributing objects 257
editing in sequences 268
editing, overview 264
effect parameter reference 508
exporting as a graphics file 264
fading 266
formatting text in 233
grouping objects 255
layering objects 254
locking objects 255
main topics 227
manipulating objects 254
overview 228
playback limitations 265
promoting to 3D 273
promoting to Marquee 268
recalling styles 260
re-creating media for 272
removing from sequences 265
rendering 271
rendering fast saves 271
replacing fill track 269
replacing in sequences 266
rolling and crawling, defined 239
rolling and crawling, deleting pages 245
rolling and crawling, formatting 246
555
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

rolling and crawling, inserting a blank page 245 Transition effects

rolling or crawling, adding pages 244 See also specific effect categories, for example,
rolling or crawling, going to a page 244 Blend effects
rolling or crawling, resizing width 243 adjusting with graphical display in Quick
rolling or crawling, scrolling 244 Transition dialog box 46
rolling or crawling, setting text formatting 242 alignment 371
selecting colors with eyedropper 249 alignment options 41
shadows, described 251 deleting 50
snap grid 232 dissolves 41
templates, defined 262 parameter reference 371
templates, using 263 trimming 51
typing rolling or crawling text 243 with Page Fold (3D) 224
ungrouping objects 255 Transparency
unlocking objects 255 adjusting for shadows in titles 251
workflow options for crawling 242 blending in Title tool 250
Wrong Format image 273 setting in Title tool 250
Toolbars Transparency Level boxes (Title tool) 246
Effect Preview monitor 52 Transparency Value box (Title tool) 250
Timeline 186 Triangle
Title tool 228 Filtering option for Avid Pan & Zoom effect 209
Top Box Wipe effect 385 Triangular opener
Top Centered Squeeze effect 495 using with keyframe tracks 80
Top Left Corner Peel effect 457 Trim Left 1 Frame button 77
Top Left L-Conceal effect 444 Trim Left 10 Frames button (Command palette) 77
Top Left Squeeze effect 496 Trim mode
Top Left to Bottom Right Box Wipe effect 386 applying Dissolve effect 41
Top Left to Bottom Right Conceal effect 393 trimming transitions in 51
Top Left to Bottom Right Push effect 466 Trim Right 1 Frame button 77
Top Right Corner Peel effect 458 Trim Right 10 Frames button (Command palette) 77
Top Right L-Conceal effect 445 Trim to Fill effect template 175
Top Right Squeeze effect 497 Trim to Fill motion effect 504
Top Right to Bottom Left Box Wipe effect 387 Troubleshooting
Top Right to Bottom Left Conceal effect 394 AVX plug-ins 155
Top Right to Bottom Left Push effect 467 Twist effect (Illusion FX) 430
Top to Bottom Conceal effect 395 Twist parameters (Illusion FX) 350
Top to Bottom Peel effect 459 Typing
Top to Bottom Push effect 468 text for rolling and crawling titles 243
Top to Bottom Squeeze effect 498
Tracking information in Effect Preview monitor 54
Tracks of video
U
gain levels 357 UnGroup command (Object menu) 255
in nested effects 185 Ungrouping
swapping effects on (3D) 519 title objects 255
Trail effect parameters 526 Unlock command (Object menu) 256
Transition Effect Alignment button (Effect Editor) Unlocking
41, 59 title objects 255
Transition Effect Duration box (Effect Editor) 59

556
 ABCDEFGHIJKLMNOPQRSTUVWXYZ Index

Update Position While Playing command (Effect Sawtooth Wipes 468

Editor shortcut menu) 126 Shape Wipes 472
Upgrading AVX plug-ins and effects 152 Wire-frame preview of effects 67
Upper Left Diagonal Edge Wipe effect 400 Wire-frame resize handles 69
Upper Right Diagonal Edge Wipe effect 401 Workflow
User settings crawling titles 242
controlling Title tool with 231 Wrong Format image
creating render settings 131 titles 273

V X
Variable Speed motion effect X Rotation button (Effect Editor) 222
creating 169 X Spin effect 482
parameter reference 364, 451 X Y Z coordinate system 217
sizing to fit marked duration 172 Xpress 3D effects
Velocity parameter 3D Ball 527
in Avid Pan & Zoom effect 205 3D Page fold 529
Vertical Blinds Shape Wipe effect 481 3D PIP 529
Vertical Centered Squeeze effect 499 3D Slats 530
Vertical Edge Wipe effect 402 XY Position button (Effect Editor) 222
Vertical Open Edge Wipe effect 403
Vertical Open Sawtooth Wipe effect 471
Vertical Sawtooth Wipe effect 472
Y
Video Display settings Y Rotation button (Effect Editor) 222
Effect Aperture 35 Y Spin effect 483
Video effects
real-time preview 128
Video mixdown 195 Z
Video Mixdown command (Clip menu) 196 Z Rotation button (Effect Editor) 222
Video Placement tool (Title tool) 229 Zig-Zag Matrix Wipe effect 450
Video Quality Menu button 130 Zoom Factor parameter
Video Resolution Avid Pan & Zoom effect 204
Avid Pan & Zoom effect 211 Zoom slider
VTR-Style option (Motion effects) 366 keyframe graphs 122
VTR-Style, render settings option 133 Zooming
in Avid Pan & Zoom 204
W in Effect Preview monitor 222
keyframe graphs 122
Wave effect (Illusion FX) 430 on an effect 67
Wave parameters (Illusion FX) 351
White point
adjusting with Color Effect 312
Windows Color dialog box 65
Wipe effects
Box Wipe 379
Edge Wipe 395
Matrix Wipes 445

557
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ

558