4.

Compositing & Effects Guide

The Avid|DS Compositing & Effects Guide was designed by Frances McGill and
Liven Tam; edited by Liven Tam; and written by Patrick Bayne, James Duff,
Frances McGill, Jamal Rahal, Marianne Rodrigues, and Athena Soupliotis.
Formatting, layout, and illustrations by Luc Langevin.
Supplementary reference information is available in the Avid|DS online help,
which was designed and developed by Frances McGill.
© 1999–2000 Avid Technology, Inc. All rights reserved.
Avid, SOFTIMAGE, and the Avid|DS logo are registered trademarks and XSI
is a trademark of Avid Technology, Inc. mental ray and mental images are
registered trademarks of mental images GmbH & Co. KG in the U.S.A. and/or
other countries. QuickTime is a trademark of Apple Computer, Inc. VST is a
trademark of Steinberg Soft-und Hardware GmbH.
All other trademarks contained herein are the property of their respective owners.
The Avid|DS application uses JScript and Visual Basic Scripting Edition from
Microsoft Corporation.
This document is protected under copyright law. The contents of this
document may not be copied or duplicated in any form, in whole or in part,
without the express written permission of Avid Technology, Inc. This
document is supplied as a guide for the Avid|DS product.
Reasonable care has been taken in preparing the information contained in this
document. However, this document may contain omissions, technical
inaccuracies, or typographical errors. Avid Technology, Inc. does not accept
responsibility of any kind for customers' losses due to the use of this
document. Product specifications are subject to change without notice.
Document no. 0130-04730-01 1100
Printed in Canada.
 Contents

Contents
Before You Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Where to Find Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Using the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Document Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Avid|DS Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Licensing Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Training Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Hotline Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
E-mail Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Avid|DS Mailing List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Web Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Chapter 1 Preparing to Work With Effects . . . . . . . . . . . . . . . . . . . . . . . . . . .19

The Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Real-time Performance in Avid|DS . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Frames Versus Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Interlacing Versus Progressive Scanning . . . . . . . . . . . . . . . . . . . . . .24
Field Dominance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Applying Effects to Frames or Fields . . . . . . . . . . . . . . . . . . . . . . . . .26
Spatial Filtering Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Chapter 2 Using Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Workflow: Applying Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
Using the Toolbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Applying Effects to Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Applying Effects to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Applying Effects to Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Applying Audio Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Applying Multiple Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Using the Effects Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Applying an Effects Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Adding Effects to Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Connecting and Disconnecting Nodes. . . . . . . . . . . . . . . . . . . . . . . .49
Viewing and Bypassing Nodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Other Effects Tree Editing Tasks . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Creating an Effects Tree toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Saving and Loading Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Using the Effects Tree Property Editor . . . . . . . . . . . . . . . . . . . . . . .58
Editing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Adjusting Effect Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Moving Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Compositing & Effects Guide • 3

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Copying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Reordering Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Bypassing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Trimming Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Adjusting Effect Lengths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Loading Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Saving Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Replacing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Deleting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Animating Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Working with Real-time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Playing Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Using Multiple Real-time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Real-time Effect Conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Real-time Output to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Chapter 3 Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Workflow: Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
How are Images Composited? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Choosing a Compositing Method . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Adding Effects to Composite Layers . . . . . . . . . . . . . . . . . . . . . . . . . 82
Simple Overlay Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Creating Layers with Overlay Tracks . . . . . . . . . . . . . . . . . . . . . . . . . 85
Creating a Matte on the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Viewing a Track or Alpha Channel . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Applying Digital Video Effects (DVEs) on the Timeline . . . . . . . . . . 88
Processing Layered Clips on the Timeline . . . . . . . . . . . . . . . . . . . . . 88
Building a Composite in a Container Clip . . . . . . . . . . . . . . . . . . . . . . 90
Creating a Container Clip for Compositing . . . . . . . . . . . . . . . . . . . 92
Forming Layers in a Container Clip . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Creating Mattes on Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Compositing Clips Over a Black Background . . . . . . . . . . . . . . . . . . 97
Viewing the Results of Composited Layers . . . . . . . . . . . . . . . . . . . . 98
Applying Effects to Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Animating Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Processing Layered Clips in a Container Clip . . . . . . . . . . . . . . . . . 101
Working with Premultiplied Images. . . . . . . . . . . . . . . . . . . . . . . . . . 103
Determining the Premultiplication State . . . . . . . . . . . . . . . . . . . . 104
Changing the Premultiplication Setting . . . . . . . . . . . . . . . . . . . . . 104
Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

4 • Avid|DS
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Chapter 4 Processing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
When is Processing Needed? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
Workflow: Processing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Selecting the Processing Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
Processing on the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
Processing in a Property Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Processing Real-time Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
Setting the Processing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
Processing Your Caches Remotely . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Cache Management in Avid|DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132
Processing Media at Different Qualities . . . . . . . . . . . . . . . . . . . . .133
Interactive Caches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Raster Mode Caches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Levels of Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Creating Caches at Any Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Order of Processing for Individual Objects . . . . . . . . . . . . . . . . . . .141
About Processing Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Processing Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148

Chapter 5 Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155
2D and 3D Titling Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
3D DVE Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
3D Warp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Applying 3D Warp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Generating a 3D Warp Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164
Using the 3D Warp Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164
Loading a New 3D Warp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Creating 3D Warp Effects in SOFTIMAGE|3D . . . . . . . . . . . . . . . . .168
AVX Host Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176
Blur Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Bubble Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Channel Switcher Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180
Color Correction Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182
Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
Monochromes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
Selective Color Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . .186
Color Space Adjustment Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191
Crop Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193
Custom Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .194
Deflicker Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200
Depth of Field Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202
Drop Shadow Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
Edge Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208

Compositing & Effects Guide • 5

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Emboss Image Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Fade Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Film Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Fog Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Frame Average Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Gradient Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Graphics Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Creating Rolls and Crawls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Creating a Fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Graphics Session Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Impressionist Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Matte Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Motion Blur Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Negative Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Optical Glow Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Outsource Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Painterly Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Posterize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Premultiplication Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Radial Blur Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Reticulation Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
RGB-YUV Dither Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Ripple Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Sharpen Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Solarize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Special Filter Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Source Generator Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Spill Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Stamp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Threshold Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Warp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Creating Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Joining Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Creating Barrier Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Animating Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Tracking Warped Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Setting the Rendering Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Chapter 6 Tree Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Tree Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Composite Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Applying Matte and Blend Operations . . . . . . . . . . . . . . . . . . . . . . 269
Flicker Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Key Combiner Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Matte Composite Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Tracker Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

6 • Avid|DS
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Chapter 7 Image Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .283

Image Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .285
Dissolve Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286
DVE Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .289
Morph Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .290
Applying a Morph Transition Effect . . . . . . . . . . . . . . . . . . . . . . . .292
Creating Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .292
Joining Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .296
Creating Barrier Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .298
Warping the Morph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
Animating Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .300
Tracking Morphed Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301
Setting the Rendering Options . . . . . . . . . . . . . . . . . . . . . . . . . . . .302
Wipe Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .305

Chapter 8 Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309

Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311
3:2 Contract Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .313
3:2 Expand Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314
Deinterlace Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315
Interlace Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .317
Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318
Audio Timewarp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318
Video Timewarp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .320

Chapter 9 Keyer Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .331

Keyer Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .333
Blue-Green Keyer Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .334
Using the Blue-Green Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .334
Chroma Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .341
Using the Chroma Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .341
Difference Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .346
Using the Difference Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .346
HLS Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .353
Using the HLS Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .353
Linear Luma Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .357
Using the Linear Luma Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .357
Luma Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .361
Using the Luma Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .361

Compositing & Effects Guide • 7

Contents

C ha p t e r 10 2D Digital Video Effects (DVEs) . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Digital Video Effects (DVEs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Transforming Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Creating DVEs on Individual Layers. . . . . . . . . . . . . . . . . . . . . . . . . 369
Creating Global DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Viewing DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Selecting DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Locking DVEs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Centering an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Translating an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Scaling an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Rotating an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Cropping an Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Corner Pinning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Animating DVE Transformations. . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Creating a Motion Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

C ha p t e r 11 Paint Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Paint Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Artistic Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Clone Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Color Blend Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Setting the Opacity of a Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Defining Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Loading and Saving a Color Palette . . . . . . . . . . . . . . . . . . . . . . . . 399
Cutout Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Using the Cutout Effect in a Stack . . . . . . . . . . . . . . . . . . . . . . . . . 403
Comparing the Cutout and Clone Effects . . . . . . . . . . . . . . . . . . . . 404
Noise Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Paper Grain Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Stack Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Reveal Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

C ha p t e r 12 Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Motion Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Choosing a Tracking Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422
Using the Trackers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Selecting a Suitable Reference Point for Tracking . . . . . . . . . . . . . 425
Tracking Composited Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427
Using the DVE Tracker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
Using a Tracker Tree Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Positioning the Reference Tracker . . . . . . . . . . . . . . . . . . . . . . . . . 432
Positioning the Layer Tracker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Starting the Tracking Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436
Cropping Unwanted Parts of Images . . . . . . . . . . . . . . . . . . . . . . . 438

8 • Avid|DS
 Contents

Creating Motion Paths with the Tracker . . . . . . . . . . . . . . . . . . . . . .439

Applying a Motion Path to Another Clip . . . . . . . . . . . . . . . . . . . .440
Modifying a Tracker’s Motion Path . . . . . . . . . . . . . . . . . . . . . . . . .441
Combining Tracking with Other DVEs . . . . . . . . . . . . . . . . . . . . . . . .442
Tracking Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .443
Using the Shape Tracker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .443
Stabilizing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .449
Using a Stabilizer Effects Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . .450
Using a DVE Stabilizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .452
4-Point Corner Pinning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .455
Tracking Difficult Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .456
Offsetting the Tracker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .457
Correcting Tracker Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .459
Deinterlacing Clips for Motion Tracking . . . . . . . . . . . . . . . . . . . . .460

C ha p t e r 13 Audio Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .461

Audio Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .463
Crossfade Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .464
Dynamics Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .465
Using the Dynamics Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .465
Equalizer (EQ) Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .466
Using the 3 Band Tone Control . . . . . . . . . . . . . . . . . . . . . . . . . . . .466
Using the 4 Band Parametric EQ . . . . . . . . . . . . . . . . . . . . . . . . . . .467
Using the 10 Band Graphic EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . .467
Fade Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .468
Gain Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .469
Reverb Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .469
VST Host Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .470

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .471

Compositing & Effects Guide • 9

Contents

10 • Avid|DS
Before You Start

Compositing & Effects Guide • 11

Before You Start

Where to Find Information

The Avid®|DS package includes a comprehensive set of learning materials. With this
Roadmap, you’ll know where to find the information you need to get up and running
quickly and effectively.

Start with the Site Preparation Guide to prepare your site for Avid|DS. Then proceed with
the Setup and Installation & Administration Guides to install and license all components.

Refer to the Release Notes for feature limitations and workarounds.

If you’re new to Avid|DS, work through the Tutorial to learn how to use the features in the context
of a basic production. This full-color tutorial shows you step-by-step how to create a two-minute spot.
Or if you prefer, get hands-on training by attending the DS-101 course.
For details, visit http://avid.com/education.

If you’re already familiar with Avid|DS, follow the New Features Tour. This set of
QuickTime™ clips provides visual overviews of some of the new features in version 4.0.
The tour is available from the Online Library CD or, if it was installed on your system,
you can start it from the Help menu in Avid|DS.
As a complement to the tour, the New Features Guide briefly describes all the new
features in version 4.0.

Avid|DS Discussion Group

You can join the worldwide network of Avid|DS users exchanging ideas and techniques
by e-mail. To subscribe, send an e-mail to [email protected] with the
following text in the body of your message: subscribe ds.

12 • Avid|DS
 Where to Find Information

At Avid|DS Authorized Training Centers (ATCs) around the world, you can further
your Avid|DS education by attending the DS-201: Essentials and DS-301: Compositing
& Graphics courses. These multi-day courses teach you about the interface and
workflow while producing short projects. For details, visit http://avid.com/
education.

The User’s Guide contains

comprehensive information on
how to perform basic and
advanced post-production tasks.

The Online Library CD

contains the New Features
Tour and all the Avid|DS
documentation in electronic
form (PDF format). See next The Compositing & Effects
page for how to use. Guide contains information and
visual examples on how to use
effects in Avid|DS, and shows
® you how to perform
compositing and tracking.

The online help contains on-screen reference

The New Features Guide briefly information on interface elements,
describes the many new features commands, and parameters. There are two
you’ll encounter in version 4.0. ways to access it:
When you see this icon , it means • Click the ? icon or Help button in any
there’s a corresponding multimedia property editor or dialog box.
demo in the New Features Tour. • Choose Help > Contents and Index
from the main menu bar in Avid|DS.

Comments? Pin up the Quick Reference Card and

We’d appreciate any comments or you’ll always have the editing tips handy.
suggestions you may have about this Detach the perforated card and slide the
book or any other piece of our keyboard shortcuts under the top sheet of
documentation. Just send them to: your graphic tablet. You’ll find it helps you
[email protected]. quickly become familiar with the shortcuts!

Compositing & Effects Guide • 13

Before You Start

Using the The Online Library contains the New Features Tour, as well as all the Avid|DS
Online Library documentation in PDF format. If you do not have Acrobat Reader installed,
you can install it from the Online Library CD. Simply follow the instructions
in the readme file on the CD.

To access the Online Library

1. Insert the Online Library CD in your CD-ROM drive.
2. Open the following document: mainmenu.pdf

Document This guide uses the following symbols and conventions:

Conventions
Bold Bold is used for menu commands, dialog box and property
editor options, and file/folder names.

Italics Italics place emphasis on certain words.

> The greater than (>) sign indicates menu commands (and
subcommands) in the order that you choose them. For example,
File > Import means to open the File menu and then choose the
Import command. This applies to menus from the main menu bar
and pop-up menus that appear when you right-click on the
interface.

Notes are reminders or contain important information.

Tips are useful bits of information, workarounds, and shortcuts that

you may find helpful in a particular situation.

Warnings are used when you can lose or damage information or

equipment, such as deleting data, or not being able to easily undo an
action. Warnings always appear before you attempt a task!
Mouse, Pen and Keyboard
In Avid|DS, you can use a two-button mouse (with wheel) or a pen and tablet.
The left and right mouse buttons perform different operations. Unless
otherwise stated, use the left mouse button.
The mouse and pen operate slightly differently. All the procedures in this
guide are documented for the mouse. You can, however, easily use a pen or
the keyboard. The following table shows the terms relating to the mouse, pen,
and keyboard.

14 • Avid|DS
 Where to Find Information

This term Means this with a mouse Means this with a pen

Click Quickly press and release the left Tap the tablet once with the
mouse button. Always use the tip of the pen, or touch the
left mouse button unless pen to the tablet with enough
otherwise stated. pressure to click.

Double-click Click the left mouse button Quickly tap the tablet twice in
twice rapidly. the same screen pixel or press
the F5 key to go from single to
double-click.

Right-click Quickly press and release the Press the top portion of the
right mouse button. switch on the side of the pen
or press the F6 key to go from
left to right-click.

Shift-click Hold down the Shift key while Hold down the Shift key while
you click the left mouse button. you click the pen.

Ctrl-click Hold down the Ctrl key while Hold down the Ctrl key while
you click the left mouse button. you click the pen.

Drag Hold down the left mouse Press the pen to the tablet
button or the wheel while you while moving the pen.
move the mouse.

Roll Rotate the wheel.

Alt+key, Hold down the first key while Hold down the first key while
Ctrl+key, you press the second key. For you press the second key. For
Shift+key, example, “Press Alt+F1” means example, “Press Alt+F1”
etc. to hold down the Alt key while means to hold down the Alt
you press the F1 key. key while you press the F1 key.

Customizing the Pen or Mouse

By customizing the pen, you can adjust the click pressure, switch functions,
and other features. For information on customizing the pen, refer to the
WACOM ArtZII documentation provided with your Avid|DS system.
You can also customize the mouse. For example, you can select left-handed
configuration or change the double-click speed. For information on
customizing the mouse, refer to the Windows NT online help.

Compositing & Effects Guide • 15

Before You Start

Avid|DS Support
Technical support for Avid|DS is provided by your Avid reseller working
together with Avid|DS Customer Service. Immediate assistance for any technical
issue is available through our hotline, e-mail, and web support services.

Licensing Support You must contact your reseller to request a license for your Avid|DS system.
You can do this directly or through the license request form provided at
http://avid.com/support/ds_licensing.

Training Support If you’re interested in Avid|DS training, you’ll find a complete overview of courses,
education centers, and training programs at http://avid.com/education.

Hotline Support Avid resellers provide first line support for Avid|DS according to their specific
geographical area and time zone. Working as an extension of Avid|DS Customer
Service, these fully trained agents provide the most efficient and effective support
possible to all our customers. Contact information for your Avid reseller is
available through the Avid Reseller Locator at http://avid.com/cgi/locator.
You can also reach Avid|DS Customer Service at the following hours and
telephone numbers:
North America
Avid|DS Customer Service
3510 St-Laurent Boulevard
Montreal (Quebec) Canada
H2X 2V2
Hours
9:00 am to 9:00 pm (Eastern)
2:00 pm to 2:00 am (GMT)
Hotline assistance is also available 24 hours a day, 7 days a week for an
additional fee.
U.K. and International
Avid|DS Customer Service Europe
Pinewood Studios
Pinewood Road
Iver Heath, Buckinghamshire SL0 0NH
Hours
9:00 am to 6:00 pm (GMT)
4:00 am to 1:00 pm (Eastern)

16 • Avid|DS
 Avid|DS Support

Support Telephone and Fax Numbers

Worldwide
Tel: 514 845 2199
Fax: 514 845 8252
North America
Tel: 800 387 2559
Fax: 514 845 8252
U.K. and International
Tel: + 44 1 753 650 670
Fax: + 44 1 753 658 503

E-mail Support You can contact Avid|DS Customer Service at any time by sending e-mail to
[email protected].

Avid|DS Mailing List If you have an e-mail account, you can join the worldwide network of Avid|DS
users exchanging ideas. The mailing list has proven to be quite useful for
users, with a constant stream of new subscribers.
To subscribe, send an e-mail to [email protected] with the
following text in the body of your message: subscribe ds. You can get further
information on using the automated list server by e-mailing
[email protected] with “help” as your message.
The discussion group is provided for technical exchanges between customers.
Although Avid|DS Customer Service is not provided through these
discussions, we do contribute.

Web Support The Avid|DS Support and Download sections at http://avid.com/support/

ds_support provide quick access to a wide range of resources from the
Avid|DS teams and user community. Downloads, including presets, drivers,
and Quick Fix Engineering (QFE), provide the latest solutions for using with
your Avid|DS system. Online documentation, tutorials, and Knowledge Base
articles ensure you get the most out of your work with Avid|DS. It's like
having a dedicated Avid|DS Customer Service engineer sitting at your desk!

Compositing & Effects Guide • 17

Before You Start

18 • Avid|DS
Chapter 1 Preparing to Work With Effects

Compositing & Effects Guide • 19

Chapter 1 • Preparing to Work With Effects

In This Chapter...
The Effects Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Real-time Performance in Avid|DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Frames Versus Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

20 • Avid|DS
 The Effects Library

The Effects Library

Avid|DS includes many different types of effects that you can apply to your
media. The term effect refers to a range of filters, DVEs, and keyers. Each effect
has several properties that allow for unlimited variations. For each effect, you
can save custom property settings as presets, and use them on other projects
and media.
The types of effects available is based on what you select. For example, when
you apply a clip or track effect on the timeline, the Image Effects folder is
displayed. However, if you apply a clip effect on an audio clip, the Audio
Effects folder is displayed.
Effects are divided into the following categories:
• 2D DVE effects are either a transition from one clip to another clip, or a
3D transformation between layers in a composite. You can apply these
effects to clips, tracks, layers, or in an Effects Tree—see 2D Digital Video
Effects (DVEs) on page 365.
• 3D DVE effects let you create 3D DVEs, as well as 2D and 3D titles. You
can apply 3D DVE effects to clips or tracks, or in an Effects Tree—see 2D
and 3D Titling Effects on page 160 and 3D DVE Effect on page 162.
• Audio effects let you adjust the output signal of your audio clip. You can
apply these effects to audio clips, tracks, or mixer strips—see Audio Effects
on page 463.
• Image effects encompass a wide variety of effects that you can apply to
video clips, tracks, or in an Effects Tree. These include blur, fade-in, fade-
out, and noise, to name a few—see Image Effects on page 153.
• Image transition effects let you change from one clip to the next using
dissolve, wipe, fade, DVE, and crossfade effects. You can apply image
transition effects to clips or in an Effects Tree—see Image Transition Effects
on page 283.
• Keyer effects let you create a matte based on a specific color or luminance.
You can apply keyer effects to clips, tracks, layers, or in an Effects Tree—
see Keyer Effects on page 331.
• Motion tracking lets you follow the motion of up to four points in an
image sequence. The resulting motion path can be used to paste one
object onto another moving object, or stabilize a sequence with camera
shake or other undesired motion—see Tracking on page 419.

Compositing & Effects Guide • 21

Chapter 1 • Preparing to Work With Effects

• Paint effects let you apply effects to the strokes in your graphics session.
You can apply paint effects through the graphics property tree. Paint
effects respect the direction and pressure of paint strokes—see Paint
Effects on page 387.
• Source generator effects let you create new clips based on the region or
track you’ve selected. You can apply source generator effects to a region of
a track or in an Effects Tree—see Source Generator Effects on page 244.
• Time effects let you modify a clip’s playback rate and can only be applied
to the whole clip. Once you apply a time effect to a clip, Avid|DS creates a
container clip to preserve the properties of the original clip. Time effects
include the 3:2 Contract, 3:2 Expand, Deinterlace, Interlace, and
Timewarp effects—see Time Effects on page 309.
• Tree effects are effects that you apply within an Effects Tree. You can apply
effects that require single inputs such as a blur effect, or effects that
require multiple inputs such as a transition or the Composite effect—see
Tree Effects on page 263.

22 • Avid|DS
 Real-time Performance in Avid|DS

Real-time Performance in Avid|DS

Avid|DS is built upon a software-based processing architecture, which means
its performance comes from the underlying processor and bandwidth
capabilities of the system. This software-based approach makes it optimal for
graphics and effects-centric productions that require high levels of
computational power for multi-layer composites, motion tracking, color
correction, and complex keying operations.
Many effects applied in Avid|DS require processing to generate a new media
file with the resulting image. However, with the increasing computational
power of the Avid|DS workstations, it is possible to play more and more
effects in real time. Effects that are processed while a sequence is playing are
referred to as real-time effects. When the processing of these effects can be
completed on the fly during playback, the effect potentially needs no further
processing to disk before final mastering.
Current Avid|DS configurations support real-time effects with two streams of
video or graphics. You can, for example:
• Dissolve between two tracks
• Use a key to overlay a track
• Use a dissolve and add color correction
• Add a real-time title to a clip
In some circumstances, workstation configurations, timeline configurations,
and effect properties can demand processing loads that exceed the system’s
ability to complete processing during playback. This means that a real-time
effect with advanced settings, or a stack of multiple real-time effects may
require processing before the final output.
For more information on the different types of real-time effects and the
special conditions under which they may cease to be playable in real-time, see
Working with Real-time Effects on page 71.

Compositing & Effects Guide • 23

Chapter 1 • Preparing to Work With Effects

Frames Versus Fields

When working with material from various sources, it’s important to
understand how frame-based material differs from field-based material.
Knowing how your source material was created will play a role in determining
how to process your effects. If processed incorrectly, you may notice unwanted
jittering or unusual artifacts.

Interlacing Versus Each frame of video is composed of a number of scan lines. The number will
Progressive Scanning differ depending on the video format you are using. For example, NTSC has
525 lines and PAL has 625 lines. The method with which these scan lines are
displayed can also differ. If the scan lines are displayed one after the other to
produce one frame, the method is called progressive scanning. Examples of
progressive scanned or frame-based material include: image sequences from
file, high-resolution images, and telecined film footage without a 3:2
pulldown (PAL).
If every other scan line is displayed to produce half a frame and the remaining
lines are displayed to produce the other half frame, the method is called
interlacing. Each of these half frames is called a field—these fields are combined
to form one frame. Examples of interlaced material include video camera
footage and film footage that has been passed through a 3:2 pulldown (NTSC).

Even fields Odd fields

Fields are interlaced

to form one frame

Frames

24 • Avid|DS
 Frames Versus Fields

One of the most important things to remember about interlacing is that one
frame of video contains pixels from two different instances of time. When the
objects in your clip are moving fast, two fields within the same frame can
contain slightly different images. Problems can occur if you try to apply effects
on a frame-by-frame basis. To work around this, you can view the fields
separately and then apply and process an effect on each field separately.

Field 1 of frame 1 displayed Fields 1 and 2 of frame 1 displayed

in the viewer in the viewer

Field 2 of frame 1 displayed

in the viewer
Different pixels in field 1 and field 2 of frame 1

Field Dominance The order in which odd and even fields occur over time is referred to as field
order or field dominance. With even field dominance, even fields come first. In
odd field dominance, odd fields come first. With NTSC, the first field contains
all the even-numbered scan lines and the second field contains all the odd. PAL
is the opposite of NTSC in terms of field dominance. That is, field 1 contains all
the odd-numbered scan lines and field 2 contains all the even lines.
When you need to invert your fields, you can deinterlace your material, then
reinterlace and invert the field dominance. For more information, see
Deinterlace Effect on page 315 and Interlace Effect on page 317.

Compositing & Effects Guide • 25

Chapter 1 • Preparing to Work With Effects

Applying Effects to When applying effects, you must decide whether to apply the effect to each
Frames or Fields frame or each field. The method you choose usually depends on the type of
source material you’re using.

To apply an effect to frame-based material

1. Apply an effect to the frame-based material—see Applying Effects on page 33.
2. On the Options property page, select the Frame option from the Source
Material box.
The effect does not deinterlace the clip to apply it to both fields.
3. Process the effect with the Granularity set to Frames, unless you are
outputting to field-based video, in which case you should process the
effect with the Granularity set to Fields.

When you process effects, set the Granularity to match the format of
the final output. If the final output is field-based, then you should
process in fields. If the final output, is frame-based, then you should
process in frames.
To apply an effect to field-based material
1. Apply an effect to the field-based material—see Applying Effects on page 33.
2. In the effect property editor, click the Options property page.
3. In the Source Material box, select the Same as Processing option.
4. Process your effect with the Granularity set to Fields.

Certain types of effects, such as spatial filtering effects, require

special consideration.

Spatial Filtering Spatial filtering effects, also known as neighborhood effects, are effects that
Effects modify every pixel in an image based on a calculation that involves adjacent
pixels. Because of this type of calculation, Avid|DS needs to know to what type
of image the effects are being applied. The distinction is important because
field-based images may contain radically dissimilar adjacent pixels inside one
frame (because of motion in the image). If the effect treats all these pixels as
part of the same image, the result is likely to contain artifacts.
Keep in mind that a frame of video material actually contains two half-images
taken at 1/60th of a second apart (1/50th in PAL). Any effect that involves
adjacent pixels in the computation must therefore process both half-images
separately. The spatial filtering effects perform this by deinterlacing the clip
before applying the effect on both fields. The two processed fields are then
reinterlaced to produce the resulting image. The deinterlacing/reinterlacing
process is transparent to you.

26 • Avid|DS
 Frames Versus Fields

The following are spatial filtering effects in Avid|DS:

Effect type Effect

DVE effects 2D, 3D

Image effects Blur (all), Custom, Drop Shadow, Edge, Impressionist (all),
Matte, Noise (noise removal only), Optical Glow, Painterly
(all), Ripple, Sharpen, Special, and Warp.

Keyer effects All (when Pre/Post-blur or Grow/Shrink parameters are

used)

Transition effects Morph

Example
The following example shows how applying a spatial filtering effect, such as a
DVE, to frame-based material differs from applying it to field-based material.
Case A: Apply a DVE to field-based image (pure video)
1. Apply a DVE to your clip.
2. In the DVE property editor, adjust the parameters as necessary.
3. On the Options property page, select the Same as Processing option from
the Source Material box.
The effect deinterlaces the clip and applies it to each field.
4. Process your effect with the Granularity set to Fields.
This gives you a smooth, field-based motion.
Case B: Apply a DVE to a frame-based image (still image)
1. Apply a DVE to your clip.
2. In the DVE property editor, adjust the parameters as necessary.
3. On the Options property page, select the Frame option from the Source
Material box.
The effect does not deinterlace the clip to apply it to both fields.
4. Process your effect with the Granularity set to Fields.
This gives you a smooth, field-based motion.

Compositing & Effects Guide • 27

Chapter 1 • Preparing to Work With Effects

28 • Avid|DS
Chapter 2 Using Effects

Compositing & Effects Guide • 29

Chapter 2 • Using Effects

In This Chapter...
Workflow: Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Using the Effects Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Animating Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Working with Real-time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

30 • Avid|DS
 Workflow: Applying Effects

Workflow: Applying Effects

Avid|DS provides tools for applying a variety of image and audio effects. The
following illustration shows you how effects are typically applied.

1 Select area on which

to apply the effect

Timeline effect track

Title in timeline effect
track applied to all
overlay and video tracks

Clip
Blue-Green Keyer
effect applied to
entire clip

Track
Optical Glow effect
applied to clips on
video track

Mixer effect
Gain effect applied to
mixer strip
Layer effect
DVE effect applied
to a layer

Effects Tree
Multiple effects applied to a layer

Compositing & Effects Guide • 31

Chapter 2 • Using Effects

2 Edit and animate any 3 Process the Note: Processing is explained in

of the effects effects Chapter 4 of this guide.

Animate effect’s
parameters

Edit parameters

32 • Avid|DS
 Applying Effects

Applying Effects
Any effects that you apply on the timeline are based on what you have
currently selected. You can apply video and audio effects to individual clips or
tracks, or to a selected region of a clip or track.
Effects applied to clips are called clip effects and effects applied to a track are
called track effects. Clip effects are effects that are attached to a clip and move
with it on the timeline. Clip effects affect only the clips on which you’ve
applied them.Track effects can be placed on audio tracks, video tracks, overlay
tracks, and the timeline effect track. Track effects modify only the clips on the
track on which the effect is applied.
Multiple clip
Marker ribbon Area to be processed effects Track effects

Overview area

Process indicator

Timeline effect track

Overlay track

Video track

Audio track

Clip and track effects on the timeline

In some cases, you must process an effect to play it in real time. When the
Process indicator turns red, it means that one or more effects on a section of
the timeline requires processing. The region that requires processing is also
highlighted on the marker ribbon. For more information, see Working with
Real-time Effects on page 71 and Processing Effects on page 111.

Compositing & Effects Guide • 33

Chapter 2 • Using Effects

Using the Toolbars Using the Image Tools, NLE Tools, and Audio Tools toolbars is a quick way to
apply effects.

To apply an effect from a toolbar

1. In the Editing layout, do one of the following:
• Select a clip.
• Select an entire track or region of a track.
2. If you selected a video clip, track, or region, click the Image Tools toolbar
icon. If you chose an audio clip/track, click the Audio Tools toolbar icon.

Image Tools Audio Tools

3. Click an effect from any one of the following toolbars.

The effect is applied to your selection.

For more information, refer to Toolbars in the online help.

34 • Avid|DS
 Applying Effects

Applying Effects to When you apply effects to clips, an effect bar is attached to the top of the clip.
Clips When the clip moves, the clip effect moves with it. For example, you can apply
a color correction (as a clip effect) to an actor as he walks outdoors to match
the colors between the shots.

Clip effect bar

An effect applied to a clip

You can apply an unlimited number of effects to a clip. As you add more
effects, the effect bars are placed on top of one another. The effect at the
bottom is processed first, followed by each effect directly above it. You can
build complex effects by editing and stacking simple effects.

As you add multiple effects, you can insert a cache bar at any point.
This lets you process all effects below the cache bar so you don’t have
to reprocess them as you add more effects. For more information,
see Creating Caches at Any Level on page 138.
You can apply clip effects to individual clips or to several clips at the same time.

To apply a clip effect

1. From the timeline, select a clip.
2. Do one of the following:
• From the Image Tools toolbar, click on an effect.
• From the Image Tools toolbar, click the Apply Effect button, and then
choose an effect from the menu.
• Right-click on the clip and choose Add Clip Effect from the menu.
• Press the apostrophe (’) key.
The Load Preset dialog box is displayed.
3. Browse through the folders and select an effect.
The effect is applied to the clip and an effect bar appears above the clip
you selected. The effect’s property editor is displayed for you to make
any adjustments.

Compositing & Effects Guide • 35

Chapter 2 • Using Effects

To apply a clip effect to a region

1. On the timeline, drag to select a region above the clip on which the effect
will be applied.
2. From the Image Tools toolbar, click on an effect.
The effect is applied to the clip for the duration of the region you selected
and an effect bar is displayed above the clip. The effect’s property editor is
displayed for you to make any adjustments.

Section highlighted Clip effect added to

for clip effect highlighted section

Clip effect applied to a region

To apply a clip effect to multiple clips

1. Hold down the Ctrl key and select the clips to receive the effect.
2. From the Image Tools toolbar, click on an effect.
The effect is applied to each clip and an effect bar is displayed over the
entire length of each clip. The effect’s property editor is displayed for you
to make any adjustments.

Applying Transition Effects

A transition is a change from one clip to the next, such as a dissolve, wipe,
fade, DVE, or simply a cut to another clip. For more information, see Image
Transition Effects on page 285.

Applying Effects to You can apply effects to tracks on the video, audio, overlay, or timeline effect
Tracks track. When you apply an effect to a track, an effect bar appears over the track.

Track effect bar

Upper area of track

You can apply an unlimited number of track effects to a track. As effects are
added, effect bars are placed on top of one another. The effect at the bottom is
processed first, followed by each effect directly above it. This lets you build
complex effects by editing and stacking simple effects.

36 • Avid|DS
 Applying Effects

As you add multiple effects, you can insert a cache bar at any point.
This lets you process all effects below the cache bar so you don’t have
to reprocess them as you add more effects. For more information,
see Creating Caches at Any Level on page 138.
You can apply track effects to one or more tracks or to a selected region that
contains clips.

To apply a track effect to a region

1. On a track, drag to select a region. The region can be empty or contain
clips on which you want to apply effects.
2. Do one of the following:
• From the Image Tools toolbar, click on an effect.
• Right-click on the upper area of the track and choose Add Track Effect
from the menu.

Upper area
of track

• Press the apostrophe (’) key.

The Load Preset dialog box is displayed.
3. Browse through the folders and select an effect.
The effect is applied to the selected region. The effect’s property editor is
displayed for you to make any adjustments.

Track effect bar over a selected area of a

track that contains clips

Track effect applied to a region

To apply a track effect to one or more entire tracks

1. From the track control area of the timeline, hold down the Ctrl key and
click the track icon(s) of the tracks that are to receive the effect.

Track icon

Compositing & Effects Guide • 37

Chapter 2 • Using Effects

One or more tracks are selected.

2. Do one of the following:
• From the Image Tools toolbar, click on an effect.
• Press the apostrophe (’) key.
3. Browse through the folders and select an effect.
The effect is applied to the selected track(s). The effect’s property editor is
displayed for you to make any adjustments.

Applying Effects to the Timeline Effect Track

The timeline effect track is a special track on which you can only apply track
effects. When you apply an effect to the timeline effect track, it modifies the
clips on all the tracks below it. This lets you, for example, place a graphics
effect (such as a title) on the timeline effect track so that it will be displayed
over the resulting video sequence.
Placing graphic effects on the timeline effect track also lets you apply graphics
without having to first create a graphics container clip. This is useful when
creating titles.

To apply a timeline effect

1. On the timeline effect track, drag to select a region.
Region highlighted for effect
Timeline effect track

2. Do one of the following:

• From the Image Tools toolbar, click on an effect.
• Right-click on the timeline track, and choose Add Timeline Effect from
the menu.
• Press the apostrophe (’) key.
The Load Preset dialog box is displayed.
3. Browse through the folders and select an effect.

38 • Avid|DS
 Applying Effects

The effect is applied to the selected region. The effect’s property editor is
displayed for you to make any adjustments.

Timeline effect bar

If you want the effect to move with the clips below it, simply activate
the Ripple button on the timeline effect track. For more
information, refer to Rippling Clips on page 264 of the Avid|DS
User’s Guide.
Creating Clips With Effects
Avid|DS lets you create new clips based on a selected region of a track. When
you create a new clip, you can choose from a list of effects, called source
generator effects, such as the Solid Color or Wood Grain effect to use as the
background. These types of clip are useful as the background for a
compositing session or to create a fade-to-color transition. You can also add
source generators effects in an Effects Tree. For more information, see Source
Generator Effects on page 244 and Using the Effects Tree on page 43.

To create a clip
1. On a track, drag to select a region.
2. Do one of the following:
• From the Image Tools toolbar, click Generate Clip.
• Press the apostrophe (’) key.
3. Browse through the folders and select an effect.
A clip is created on the track and given the name of the effect, which is
appended with the term “Generated”. The effect’s property editor is
displayed for you to make any adjustments.

A clip is created using the Marble effect

Compositing & Effects Guide • 39

Chapter 2 • Using Effects

To create a clip in an Effects Tree

1. Right-click on an empty area of the Effects Tree view and choose
Add Effect from the menu.
The Load Preset dialog box is displayed.
2. From the Source Generators folder, select a preset.
A new input node is added to the Effects Tree.

Applying Effects to When you composite clips together in the Layers view, you can apply effects to
Layers individual layers. You can apply one of the four standard effects on each
layer—including Color Correction, DVE, Graphics, and Keyer.
When you apply an effect to a layer, it is also applied to the duration of all
material on its corresponding timeline track. You can bypass an effect to view
the composite either with or without the effect.
For more information, refer to Layers View in the online help.

To apply an effect to a layer

1. Position the play cursor over the clip that you want to use in the composite.
2. Do one of the following:
• From the taskbar, click the Compositing layout icon.
• From the taskbar, click the Create Container Clip icon.
• Right-click on the clip and choose Create Graphics Container from the menu.
A graphics container clip is opened and the Compositing layout is
displayed. The selected clip is automatically placed in a layer in the Layers
view. If the Layers view is not displayed, click the Layers icon from the
view switcher to display the layers in your composite.
3. In a layer, click one of the following buttons to apply the effect to the layer:
• CC (color correction)
The Color Correction property editor is displayed.
• DVE (digital video effect)
A green bounding box appears in the viewer and the DVE property editor
is displayed.
• Gfx (graphics)
The Graphics layout is displayed.
• Key (keyer)

40 • Avid|DS
 Applying Effects

The Blue-Green keyer property editor is displayed.

Effect buttons

A check mark appears next to the effect you selected and the
corresponding property editor is displayed.

Applying Audio Effects You can apply audio effects on clips or tracks on the timeline, or on the mixer
input strips. The results of any effects applied to the audio clips on the
timeline are fed into the mixer strips where you can add additional effects on
the input strips before the signals are mixed for output. For more
information, see Applying Effects to Clips on page 35 and Applying Effects to
Tracks on page 36.

Applying a Strip Effect

When you add an effect to a mixer input strip, the effect is applied to an entire
audio track.

Effects box

To add an effect to a mixer input strip

1. From the view switcher, click the Mixer icon.
2. On a mixer input strip, right-click on the effects box and choose Add
Effect from the menu.
The Load Preset dialog box is displayed.
3. Browse through the folders and select an effect.
The effect is applied to the strip and displayed in the effects box. The
effect’s property editor is displayed for you to make any adjustments.

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Chapter 2 • Using Effects

Applying Multiple You can place multiple effects on top of each other creating a vertical stack.
Effects For example, you can apply a keyer effect and create a matte for a clip, then
color correct it, and then apply a blur effect on top of the other effects. You
can use multiple effects on clips or tracks or in an Effects Tree. Effects in a
stack are processed from the bottom of the stack to the top. You can also use
multiple effects while you’re working in a graphics session. For more
information, see Stack Effects on page 412.

When you want to change an effect within a stack, be sure to bypass

the effects above the effect on which you want to work. This will
ensure that the changes are added before the other effects are applied.
To apply multiple effects to a clip
1. On the timeline, select a clip.
2. Apply a clip effect—see Applying Effects to Clips on page 35.
3. Repeat steps 1 and 2 to add additional effects to the clip.

To apply multiple effects on a track

1. On the timeline, drag to select a region.
2. Apply a track effect—see Applying Effects to Tracks on page 36.
3. Repeat steps 1 and 2 to add additional effects to the track.

As you add multiple effects, you can insert a cache bar at any point.
This lets you process all effects below the cache bar so you don’t have
to reprocess them as you add more effects. For more information,
see Creating Caches at Any Level on page 138.

42 • Avid|DS
 Using the Effects Tree

Using the Effects Tree

The Effects Tree is a powerful tool that lets you composite multiple clips and
apply any number of effects. You can apply Effects Trees to clips, tracks, or
layers, or as a transition. For more information, see Applying Effects on page 33.
Effects Trees have the benefit of letting you view the results of your work as
you add or modify effects. With container clips you must close them to view
the results.
An Effects Tree is made up of nodes: the graphical representation of the
Effects Tree’s inputs, effects, and output. Nodes are joined by connectors.
There are three different types of nodes:
• Input nodes represent the source image from either a track in the
Compositing layer, or from a clip and its effects on the timeline.
• Effects nodes represent each effect that you apply to the Effects Tree.
• Output nodes represent the output of the Effects Tree.

Input node

Output node

Effects nodes

Each node reads an input image, processes the image, and gives a specific
output image as a result. In turn, the output image is used as the input to
another node, and so on. The result of all the nodes is fed to the output node
which displays the result in the viewer.
In the Effects Tree, you can add unlimited effects, switch one input for
another, delete effects, collapse nodes, copy trees, and save a tree as a preset.
When you apply an Effects Tree to a layer, the tree acts as an input to other
effects on a layer. For example, if you create an Effects Tree and also use the
Color Correction effect on the layer itself, then the Effects Tree acts as the
input to the Color Correction effect and so on, working upwards through the
effects on the layer.

Once you create an effect in the tree, you can only replace it with an
effect that has the same number of inputs. If you already have a two-
input effect, such as the Difference Keyer, in the Effects Tree and
want to replace it with a single-input effect, such as the Blue-Green
Keyer, then you'll have to create a new node for it.

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Chapter 2 • Using Effects

Applying an Effects You can apply an Effects Tree to a clip, track, layer, or as a transition. Each
Tree method has its advantages.

When you apply an Effects Tree to a clip or track, or as a transition,

it is displayed in a floating window. When you apply it to a layer, it is
displayed as a view in the Compositing layout.
• Clip or track Effects Trees let you add an unlimited number of effects to a
clip or track. Since the input to an Effects Tree is from the clip or track, it
is considered a single-input Effects Tree.

Effects Tree in
floating window

Effects applied
in tree

Effects Tree
applied to clip

Input from clip and any other

effects applied to the clip

• Transition Effects Trees let you apply a transition between two clips and
then add additional effects to each input or both.
Effects Tree in
Effect applied floating window
only to input 1
Effect applied to both inputs

Transition effect

Transition
Effects Tree

44 • Avid|DS
 Using the Effects Tree

• Layer Effects Trees let you composite multiple inputs on one layer, and
add an unlimited number of effects to the inputs. You can create your
composite on one layer, or use several layers with multiple Effects Trees.

Green icon indicates an

Effects Tree on a layer

Tracks input into

Effects Tree

Effects Tree in view

To apply an Effects Tree to a clip or track

1. Apply a clip or track effect to a clip or track—see Applying Effects to Clips
on page 35 or Applying Effects to Tracks on page 36.
2. From the Load Preset dialog box, select Effects Tree.
An Effects Tree is applied to the clip or track, and the Effects Tree property
editor is displayed.

When you apply an Effects Tree to a clip or track, or as a transition,

it is displayed in a floating window. When you apply it to a layer, it is
displayed as a view in the Compositing layout.

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Chapter 2 • Using Effects

3. From the Effects Tree property editor, click Expand.

The Effects Tree view is displayed. Add effects to the tree by right-clicking
on an empty area and choosing Add Effect from the menu.

Each time you apply an Effects Tree to a clip or track, a new Effects
Tree view is used in which you can add more effects.

To apply an Effects Tree as a transition

1. On the timeline, select an edit point between two overlapping clips.
2. Apply a transition, such as a dissolve or wipe—see Image Transition Effects
on page 285.
3. From the transition’s property editor, click the Load Preset icon.
The Load Preset dialog box is displayed.
4. From the Image Transitions folder, select Effects Tree Transition.
An Effects Tree is applied as a transition and the Effects Tree property
editor is displayed.
5. From the Effects Tree property editor, click Expand.
The Effects Tree view is displayed.
6. Add effects to the tree by right-clicking on an empty area of the view and
choosing Add Effect from the menu.

To apply an Effects Tree to a layer

1. In the Compositing layout, do one of the following:
• Right-click on an empty area of a layer and choose Effects Tree (layer)
from the menu.
• Select a layer and click the Effects Tree icon on the view switcher.
The Effects Tree view is displayed. You can switch back to the Layers view
by clicking its icon in the view switcher.

Each layer has its own Effects Tree view. To switch to an Effects Tree
on another layer, click on the layer. You can also right-click on a
layer and choose Effects Tree (layer) from the menu.
An input node with red text indicates that there is no material being
fed to the input.

46 • Avid|DS
 Using the Effects Tree

Adding Effects to Trees In an Effects Tree, you can add numerous effects and composite multiple
inputs together. You can also apply effects that require multiple inputs, such as
a composite effect or transition, as well as use mattes from other clips in
almost all effects.

If your Effects Tree starts getting large, it’s a good idea to add a cache
node between some of the effects and process them. This will save
you time in the long run and let you play the effects up to the cache
node in real time. For more information, see Creating Caches at Any
Level on page 138.
To add an effect
• Do one of the following:
- Right-click on an empty area of the Effects Tree view, and choose Add
Effect from the menu. In the Load Preset dialog box, select an effect.
The effect is added to the Effects Tree view. You can now connect the effect
to another node.

When you add a Graphics effect to an Effects Tree, you must switch
to the Graphics layout to create the graphics. If you apply several
Graphics effects to an Effects Tree, you’ll have to switch back and
forth between the Effects Tree and the Graphics layout to create or
edit the graphics. To avoid switching between the Graphics and
Compositing layouts, you can add an Effects Tree view to the
Graphics layout and then access the graphics effects directly in the
Graphics layout. For more information, refer to Customizing the
Layouts on page 26 of the Avid|DS User Guide.
- From a toolbar, drag a preset and place it in an Effects Tree view.
- From the browser, navigate to the DSPresets folder. Seledct one or more
presets and drag them to an Effects Tree view.

To see both the Layers view and the browser at the same time, you’ll
need to either modify your layout, or open a floating browser. For
more information, refer to Customizing the Layouts on page 26 and
Using Floating Views on page 31 of the Avid|DS User’s Guide.
The effects are placed in the tree in the order in which you selected them.
- Copy an effect from one Effects Tree and paste it onto another Effects
Tree view.

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To select nodes
• Do one of the following:
- Click on a node’s title bar.
The selected node becomes highlighted.
- Right-click on an empty area of the view and choose Select All from
the menu.
- Press the Ctrl+A keys.
All the nodes are highlighted. You can now move, delete, or copy all the
nodes at the same time.
• Hold down the Ctrl key and click on nodes.
Each node you select becomes highlighted. If a node was already selected,
it becomes deselected.
• Drag a selection around several nodes.
All the nodes within the selection rectangle become highlighted.

To reset the Effects Tree

Right-click on an empty area of the view and choose Reset All from the menu.
All nodes and effects are removed except for the input and output nodes.

Although you can drag an empty track to the Effects Tree view, the
input node is displayed in red. You can replace an empty input node
by dragging a track with material over the empty input node.

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Connecting and Like other tasks in Avid|DS, there is more than one way in which to connect
Disconnecting Nodes and disconnect nodes in an Effects Tree. This provides you with the
opportunity to choose which way you prefer to work. When you want to
connect nodes, you can use kissing, twanging, sticky connection, or dragging
from an output icon. To disconnect nodes, rip, click on a connector, click and
drag a connector from an input icon, or drag the input icon.
You can also add multiple inputs to the tree, and easily switch one input
for another.

To connect nodes
• Do one of the following:
- Kissing: Drag a node’s input icon over the output icon of another node
so it “kisses” the edge of the second node.

Starting position Icons turn blue when connected

You need to hold the node over the second node’s output icon
for a fraction of a second. You can adjust how long it takes to
make the connection by adjusting your user preferences. For
more information, refer to Setting Effects Tree Preferences on
page 60 of the Avid|DS User’s Guide.
While holding the mouse button down, you can then drag the newly
connected node to another node and connected it to that one as well.

“Kissing” second node Final result

- Twanging: Drag a node over an existing connector.

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The existing connector snaps or “twangs” to the input and output icons of
the node.

If you don’t release the mouse button, you can move the node away
from the connector and no connection will take place. Even though
you haven’t made a permanent connection, the results are displayed
in the viewer. This is handy to quickly see how an effect may affect
your tree. If the node has multiple inputs, you can drag the node
through the connector until it connects to the input that you want.
- Sticky Connection: Click on a node’s output icon and release the mouse
button. The connector becomes “stuck” to the pointer. You can then
move the pointer over another node’s input icon and click on it to make
the connection.

Click node’s output icon Release mouse button and move Click node’s input icon
away from node. The connector is
“stuck” to the pointer.

- Dragging from an Output Icon: Drag a node’s output icon towards the
input icon of another node.
A connector is displayed from the output icon, and it turns blue to indicate
the output is connected. As you get close to the input node, the connector
snaps to it. If it doesn’t, it’s probably because the input node is invalid.

Click on output icon Drag to input icon

50 • Avid|DS
 Using the Effects Tree

To disconnect nodes
• Do one of the following:
- Ripping: Click on a node and “shake” or “rip” it away from the other
nodes, or press the spacebar.
The selected node is placed where you release the mouse button. If there
were other nodes connected to the selected node, then the connector will
be joined between the two.
- Click anywhere on a connector.
The selected connector turns white. When you release the mouse button,
the connector is removed.

- Click and drag connector: Click on the connector attached to the input
icon and drag it away from the node.
The connector is removed.
- Dragging input icon: Drag the word “Input” away from the node.
If you release the mouse button, the node connector is removed. However,
you can continue dragging it to another input.

Viewing and Bypassing When your Effects Tree grows, it is handy to view or bypass certain nodes in
Nodes the tree. For example, you may want to view the output of your tree without a
certain effect. In this case, you can bypass the node you don’t want to see.
Another example is when you apply several effects and you want to see how
the tree looks up to a certain point. In this case, you can view a node previous
to that point.

To view a node
1. Select the effect you want to view.
2. Do one of the following:
• Right-click on a node and choose View from the menu.

When you want to change an effect and you’ve added more effects
after it, be sure to view the effect so that the changes are added
before the other effects are applied.

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• Press the V key.

Viewed node

The output of the selected node is displayed in the viewer and the effect’s
output icon turns green.
For example, if your tree contains an input node, several effect nodes, and
an output node, you can view the input or effect nodes independently in
the viewer. By setting one of the effect nodes to view, the output changes to
display only the input, effects between the input node and selected effect,
and the selected effect in the viewer. If you set the input node to view, then
only the source is displayed in the viewer without any of the effects.

You can only view one node at a time. If several nodes are selected,
the V key and the toolbar button are not available.

To bypass a node
1. Select the effects that you want to bypass.
2. Do one of the following:
• Right-click on an effect and choose Bypass from the menu.
• Press the B key.

Bypassed node

The viewer updates to display the tree without the effect that you bypassed. This is
useful if you want to compare the results of a tree with or without certain effects.

52 • Avid|DS
 Using the Effects Tree

When you bypass nodes, they will not be processed with the layer.

Other Effects Tree As in other areas of Avid|DS, you can perfom standard tasks such as copying,
Editing Tasks cutting, pasting, and renaming nodes, as well as adding inputs, switching
inputs, or collapsing and expanding nodes.

To copy a node
• Do one of the following:
- Right-click on a node, and choose Copy from the menu or press the
Ctrl+C keys.
- Select several nodes and then right-click on an empty area of the view,
and choose Copy from the menu or press the Ctrl+C keys.

To cut a node
• Do one of the following:
- Right-click on a node, and choose Cut from the menu or press the
Ctrl+X keys.
- Select several nodes and then right-click on an empty area of the view,
and choose Cut from the menu or press the Ctrl+X keys.

To paste a node
• Right-click on an empty area of the view, and choose Paste from the menu
or press the Ctrl+V keys.
The node(s) are pasted onto the Effects Tree without any connections. If
more than one connected nodes are cut, a paste operation will restore all
nodes and any connections between them.

To delete a node
• Do one of the following:
- Right-click on a node, and choose Delete from the menu or press the
Delete key on the keyboard.
- Select several nodes and then right-click on an empty area of the view,
and choose Delete from the menu or press the Delete key on the
keyboard.
The node(s) are removed from the Effects Tree. Any connections to other
nodes are also deleted.

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If you apply an Effects Tree as an effect on the timeline or as a node in

another Effects Tree, you can’t delete the input nodes. However, if you
are working in an Effects Tree on a layer, you can delete input nodes.
You also can not delete a primary input node (usually input 1).
To rename a node
• Right-click on a node and choose Rename from the menu.

You cannot rename input or output nodes. However, since the

second part of an input node’s name in a layer Effects Tree is derived
from a track, you can rename the track, which will propagate to the
Input node. For example, if the current name is Input1:Man, and
you change the track’s name to Woman, the resulting name will be
Input1:Woman.
To add an input node
• Do one of the following:
- From the browser, select a clip(s) and drag it to the Effects Tree view.
New inputs are added to the Effects Tree, and new tracks are added to
the timeline.
- In the Compositing layout, drag a track to the Effects Tree view.
The new input is added to the Effects Tree view. Although you can add
multiple inputs to the Effects Tree, they won’t be visible in the viewer until
you connect them to the output node, or use them as inputs to other
nodes which are connected to the output node.

To switch one input for another

• Do one of the following:
- Disconnect the current input node and connect the new input node to
the effect.
- Click on a track icon and drag it over an input node.
If the image contributes to the composition, the viewer and layer
thumbnails are updated.

You can not switch the primary input.

To collapse a node
• Right-click on a node and choose Collapse from the menu.
The selected node is collapsed. This is useful when a node contains several
inputs and you want hide them to maintain as much space as possible in
the view.

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 Using the Effects Tree

To expand a node
• Right-click on a node and choose Collapse from the menu.
The selected node is expanded.

Creating an Effects Toolbars are a quick and efficient way of performing tasks in Avid|DS. By
Tree toolbar creating an Effects Tree toolbar you can access common tasks that you’ll
perform in an Effects Tree, such as bypassing or viewing effects, and adding a
cache node to name a few.

To add an Effects Tree toolbar

1. Create a toolbar—refer to Using the Toolbars on page 34 of the Avid|DS
User’s Guide.
2. From the Category list, choose Effects Tree.
The following tools are displayed: Add Cache Node, Add to Cache List,
Bypass, Expose, Frame All, Frame Selected, New Effect, Reset All, Tree
Properties, and View.
3. Drag the selected tools to the toolbar.

You can also add commands, such as Cut, Copy, Paste, and so on, by
selecting them from the Global list.

Depending on what is currently selected, some tools may not be available.

Selection Reaction

No effect nodes Bypass and Expose are not available.

One node (any type) View is enabled depending on the

node’s current state.

Effects Tree nodes Expose is not available.

Saving and Loading Once you create a complex tree, you can save it as a preset and reuse it in an
Trees existing tree or apply it as a clip or track effect. You can also add an Effects
Tree preset to an existing tree or replace the tree with a preset. When you save
a tree, all the nodes that comprise the tree including the source (input),
effects, and output are saved with the tree.

If you want to apply an Effects Tree preset to a clip or track, it can

only have one input.

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To save an Effects Tree as a preset

1. Do one of the following:
• On a clip, track, or transition, double-click on the Effects Tree effect bar.
• In an Effects Tree view, right-click on an empty area and choose
Properties from the list.
The Effects Tree property editor is displayed.
2. On the Effects Tree property editor, click the Save icon.
3. In the Save Preset dialog box, select a folder, enter a name and description
for your preset, and click OK.
The preset is saved in the folder you selected.

If you try to save an Effects Tree from an effect’s property editor,

only the effect will be saved as a preset. Make sure you select General
from the Effect list before you save the Effects Tree.
To load an Effects Tree
1. Right-click on an empty area in an Effects Tree view and choose Add
Effect from the menu.
The Load Preset dialog box is displayed.
2. Locate the folder in which you saved your preset and select it.
The Effects Tree preset is added to the current Effects Tree view. It looks
like any other effect node.
3. Connect the preset node to the tree.
Effects Tree preset

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 Using the Effects Tree

To view an Effects Tree preset

1. Double-click the Effects Tree preset node.
The Effects Tree Preset property editor is displayed.

2. On the property editor, click Expand.

The Effects Tree view is displayed in a floating window.

To replace an Effects Tree with another Effects Tree on a layer

1. Right-click on an empty area of an Effects Tree view and choose
Properties from the menu.
The Effects Tree property editor is displayed.
2. Click the Load Preset icon.
The Load Preset dialog box is displayed.
3. Select the preset you want to load.
The selected Effects Tree replaces the current Effects Tree in the view.

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Using the Effects Tree When you open an effect’s property editor from an Effects Tree, you can edit
Property Editor the selected effect or another effect. If you have multiple effects in your Effects
Tree, you can choose which effect property editors are available from each
property editor.

Selected effect

To edit an effect
• Double-click on an effect.
The effect’s property editor is displayed. You can now edit the effect using
the parameters in the property editor.
Click the Help icon for detailed information on the property pages.

Effect list

58 • Avid|DS
 Using the Effects Tree

To select an effect to edit

• In the effect’s property editor, select another effect from the Effect list.
The property editor displays the selected effect’s properties.

Other Effects Trees are not displayed in the Effects list. However,
once you expand the Effects Tree view you can see them in the tree.

To add an effect to the Effect list

• Right-click on an effect and choose Expose from menu.
The effect is displayed in the Effect list. This option is useful if you build a
complex tree, but don’t want to expose its properties in the Effect list. If
you don’t want to expose the properties, deselect this option.

Effects Trees within an Effects Tree do not have an Expose command

in their pop-up menu.

To display the Effects Tree’s properties

• From the Effects list, select General.
The General property page is displayed. On this property page you can
bypass all effects in the tree or ensure that Crop Curves is applied to them.
You can also load another Effects Tree from this property page.

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Editing Effects
Once you apply an effect to a clip or track, you can manipulate it in many
ways. You can copy, move, delete, and trim effects. You can also edit the
properties of an effect, save the property settings as a preset or load another
effect preset through the effect’s property editor.

Adjusting Effect After you’ve applied an effect to a clip or track on the timeline, or on the input
Properties strips in the mixer, you can adjust its properties using the effect’s property
editor. For more information, refer to Using Property Editors on page 44 of the
Avid|DS User’s Guide.

To display your changes in the viewer while you edit an effect, select
the Frame option from an effect’s property editor. For more
information, see Setting the Processing Options on page 121.
To edit the properties of a clip, track, or strip effect
1. Do one of the following:
• On the timeline, double-click on the effect bar of a clip or track.
• On the mixer strip, double-click on an effect in the effects box.
The effect’s property editor is displayed.
2. Adjust the property values as necessary.
The adjustments you make are immediately applied to the effect.
Click the Help icon for detailed information on the property pages.

To edit the properties of a generated clip

• Right-click on a generated clip and choose one of the following from the menu:
- Clip Properties to get information on the clip. You can also change the
name of the clip, adjust the level of detail, and add comments.

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- <name of effect> Properties to adjust the properties of the effect.

Click the Help icon for detailed information on the Clip and effect property pages.

Moving Effects You can easily move effect bars to another location on the same clip or track.
However, when you move a clip effect, the movement is restricted to the
length of the clip.

To move an effect on the timeline

1. On the timeline, select a clip or track effect bar.
2. When you see the double-headed arrow cursor, drag left or right along
the track.
Double-headed arrow cursor

Copying Effects If you like a certain effect and want to replicate it, you can copy and paste it to
any track or clip on the timeline.

To copy an effect to another clip or track on the timeline

1. On the timeline, select an effect bar and press the Ctrl+C keys.
The effect is copied to the Clipboard.
2. Do one of the following:
• Select a clip to paste the effect on the entire clip (clip effect).
• Select a track to paste the effect at the current play cursor position (track effect).
• Select a region to paste the effect on the selected region (track effect).
3. Press the Ctrl+V keys.
The effect is pasted on the clip or at the selected point on the track.

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To copy an effect to a section of track

1. On the timeline, select an effect bar and press the Ctrl+C keys.
The effect is copied to the Clipboard.
2. On the timeline, drag to select a region.
The selected region is highlighted.
3. Press the Ctrl+V keys.
The effect is pasted into the region you selected on the track.

When you paste an animated effect into a region that is shorter or

longer than the original effect, the animation is either cropped or
scaled depending on the Crop Curves option in the effect’s property
editor. For more information, refer to Trimming Animation on
page 527 of the Avid|DS User’s Guide.

Reordering Effects As you add effects, effect bars are placed on top of one another. You can
rearrange the stacking order of clip, track, or timeline effects by using the
commands from the pop-up menu of the effect. The effect at the bottom of
the stack is processed first. If you want to change the order in which they are
processed, you can reorder the effects.

You can also reorder effects by using the cut (Ctrl+X) and paste
commands (Ctrl+V).

To change the order of an effect

1. Right-click on a clip or track effect bar, or an effect in the effects box of the
mixer input strip.
2. From the menu, choose one of the following:
• Bring to Top to move the selected effect to the top of the stack.
• Raise to move the selected effect up one position in the stack.
• Lower to move the selected effect one position lower in the stack.
• Send to Bottom to move the selected effect to the bottom of the stack.

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Bypassing Effects At times, you may want to see what your clips look or sound like without
some of the effects you’ve applied to it. By turning off or bypassing some of
your effects, you can fine-tune your sequence. Bypassed effects are still
processed and output.

To bypass a clip or track effect

• On the timeline, right-click on a clip or track effect bar, and choose
Bypass from the menu.
The effect bar turns orange, and the effect is ignored when you play the track.

To bypass a layer effect

• In the Layers view, deselect the Effect Bypass button beside the effect that
you want to bypass.
Effect Bypass button

The effect is ignored when you play the track.

To bypass a strip effect

• In the mixer, right-click on an effect in the effects box of the mixer input
strip, and choose Bypass from the menu.

Effects box

The effect is ignored when you play the track.

You can also select the Bypass option from the effect’s property editor.

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Trimming Effects You can trim clip and track effects interactively using the effect bars or
timecodes. When there is animation associated with an effect, you can crop or
rescale the animation. You can also interactively trim effects in much the same
way as you trim clips.

To trim an effect using the trim handles

1. On the timeline, select an effect bar and position the pointer at its left or
right edge.

Trim in and trim out handles of a clip

The pointer changes to the trim in or trim out handle.

2. Drag the trim in or trim out handle left or right, respectively, to trim the effect.

If you are trimming a clip effect, you cannot trim out past the length
of the clip.

Trimming Effects Using Timecodes

You can change the duration of any effect on the timeline by entering new
values directly in the timecode boxes on the status bar. This is useful when you
know the exact position on the timeline where you want an effect to start or
how long you want it to extend.
Start End Duration Position In Out Duration

Status bar

To trim an effect using timecodes

1. Select the effect bar that you want to trim.
2. From the status bar, do one of the following in the timecode boxes:
• Enter the new timecode in the S (start) or E (end) timecode box.
The effect is trimmed according to the new timecodes.
• Enter the number of frames that you want to trim, followed by a plus (+)
or minus (-) sign. For example, if want to trim 10 frames from the start of
an effect, then you can type 10+ in the S timecode box and the start of the
effect bar will move forward 10 frames.

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 Editing Effects

Trimming an Animated Effect

When you trim an animated effect, you can either rescale the function curves
of the effect or crop them. For more information, refer to Animating
Properties on page 505 of the Avid|DS User’s Guide.

To specify how the animation is trimmed

1. Open the property editor of the effect that you want to trim.
2. In the property editor, do one of the following:
• Deselect the Crop Curves option to rescale the function curves.
When you trim the effect on the timeline, the function curves are rescaled
in the animation editor.
• Select the Crop Curves option.

When you trim the effect bar on the timeline, the function curves are
cropped in the animation editor. On the animation graph, the highlighted
area of the function curve shows the new length of the animated effect.

In an Effects Tree, you can crop the curves of all effects

simultaneously using the Crop Curves option on the Effects Tree
property editor. Right-click on an empty area of an Effects Tree, and
choose Properties from the menu to display the Effects Tree
property editor.

Adjusting Effect You can resize an effect from its beginning or end. This is useful when you
Lengths want to adjust the length of a fade-out from the end of the effect instead of
the beginning.

To adjust an effect from the beginning

1. From the timeline, select an effect bar.
2. On the status bar, click in the D (duration) box, and enter the value to
which you want to resize the effect.

To adjust an effect from the end

1. From the timeline, select an effect bar.
2. On the status bar, click in the D (duration) box.
3. Press the minus (-) key and enter the value to which you want to resize
the effect.

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Loading Effects When you first apply an effect, you can choose to apply a default or a preset
effect. A preset is a customized set of properties for an effect, transition,
graphics tool, or attribute. Presets are useful so you don’t have to repeatedly
create the same effects or transitions. You can also share presets with your
collegues or even e-mail them to someone.
Using the effect’s property editor, you can modify any of its properties, and
save it as a new preset.
After you’ve applied an effect, you can load a default or preset effect from the
effect’s property editor. For example, when you apply an image effect to your
clip, such as a blur, its property editor is displayed. From the property editor,
you can load a custom blur effect.

To load a preset from an effect’s property editor

1. On the timeline, apply a clip or track effect to your media.
2. From the property editor, click the Load Preset icon.
The Load Preset dialog box is displayed.
3. Browse through the folders and select an effect or preset.
The effect is applied to your media, and property editor displays the
settings of the effect.

Saving Effects You can customize the default settings of any Avid|DS effect and save it as your
own effect. For example, if you apply a blur effect to a clip, you can change any
of the effect’s properties such as the radius or amount, and then save the new
settings. You can save effects in a property editor or to a toolbar.

To save an effect
1. On the timeline, apply a clip or track effect to your media.
2. From the property editor, click the Save Preset icon.
The Save Preset dialog box is displayed.
3. Scroll the left side of the dialog box to select the folder in which to store
this effect.

You can store the effect in the existing folder or create a folder for
your effects.

4. In the File name text box, enter a name for your effect and click OK.
The new effect is added to the folder.

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 Editing Effects

Saving Effects to a Toolbar

Saving an effect to a toolbar lets you quickly access any effects you use
frequently. For more information, refer to The Toolbars on page 33 of the
Avid|DS User’s Guide.

To save an effect to a toolbar

1. On the timeline, double-click an effect bar.
The effect’s property editor is displayed.
2. Drag the effect’s thumbnail to a toolbar.

Effect’s
thumbnail is
dragged to a
toolbar

3. In the Save Preset As box, enter a preset name and description in the
corresponding text boxes.
A toolbar button that represents your preset is created in the toolbar.

Replacing Effects Replacing or substituting one effect for another lets you experiment with
effects until you’re satisfied with the look of an effect. You can replace effects
through an effect’s property editor or, if you’re working on a graphics session,
through the graphics property tree.

If the thumbnail of an audio effect is dissimilar to the one you’re

replacing it with, then the audio effect cannot be replaced. You must
delete the effect and apply another one.

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Replacing Effects Using the Property Editor

You can replace effects through the property editor. For example, if you’ve
applied the Blur effect to a clip, you can replace it by loading the Negative
effect in its place. You can also replace an existing generated clip with another
type of generated clip. For example, you can replace a generated color
gradient clip with a marble clip.

To replace an effect through its property editor

1. On the timeline, double-click on an effect bar to display its property editor.
2. From the property editor, click the Load Preset icon.
3. From the Load a Preset dialog box, select a different effect.
The effect is replaced by the selected effect. The new effect’s property
editor is displayed.

Replacing Effects Using the Graphics Property Tree

When working in the Graphics layout, you can replace the following effects in
the graphics property tree:

Object Replaceable effects

Shapes Brush, Brush Fx, Fill Fx

Titles Titling Style: Face Fx, Edge Fx, Shadow Fx

Titling Format: Layout, Paragraph, Font

For more information, refer to Graphics Property Tree in the online help.

To replace an effect in the graphics property tree

1. In the Graphics layout, right-click on one of the following property icons
in the graphics property tree:
• Shapes: Brush, Brush Fx, or Fill Fx

Replaceable effects

68 • Avid|DS
 Editing Effects

• Titles: Face Fx, Edge Fx, Shadow Fx, Layout, Paragraph, or Font

Replaceable effects

2. From the menu, do one of the following:

• Choose an effect.
• Choose Load, browse through the folders, and select an effect.
The effect you selected replaces the previous effect.

Deleting Effects When you no longer need an effect, you can delete it from the timeline. You
can also delete audio strip effects from the effects box of the mixer input strip.

Although you can’t delete layer effects, you can bypass them by
deselecting the Effect Bypass button next to the effect button. For
more information, see Bypassing Effects on page 63.
To delete an effect on the timeline
• On the timeline, do one of the following:
- Right-click on an effect bar and choose Delete Effect from the menu.
- Select an effect bar and press the Delete key.

Effects The effect bar is removed from the timeline.

box
To delete an input strip effect
• In the Mixer view, right-click on an effect in the effects box, and choose
Delete Effect from the menu.
The effect is removed from the mixer input strip.

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Animating Effects
The ability to animate the properties of an effect lets you control how the
properties change over time. From an effect’s property editor, the Animation
Key icon lets you animate an effect, which in turn let you access the animation
editor. It provides you with precise controls for modifying any animation you
create. It also displays an animation graph from which you can add, delete, or
modify the function curves of animated properties.
Once the animation is created, you can process the clip to view the animated
frames in real time. You can adjust the animated properties or remove the
animation at any time. For more information, refer to Animating Properties
on page 505 of the Avid|DS User’s Guide.

To animate an effect
1. Use the transport controls to advance the clip to a frame where you want
the animation to begin.
2. In the effect’s property editor, adjust the properties to obtain the desired effect.
3. Click the Animation Key icon to set a keyframe.
4. Advance the clip to the next frame, make some more adjustments to the
effect’s property editor, and set another keyframe.

Depending on the accuracy you need, you can choose to move frame
by frame, or set larger intervals between animated points.

5. Continue adding as many keyframes as you need.

6. Right-click on the Animation Key icon to display and/or modify the
animation function curves.
A function curve is displayed for each of the effect’s animated properties.

70 • Avid|DS
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Working with Real-time Effects

Effects that are processed while a sequence is playing are referred to as real-
time effects. The multi-stream Avid|DS workstation can process these effects
on the fly, using the full CPU power, system architecture, and disk throughput
of the system. When the processing of these effects can be completed on the
fly during playback, the effect potentially needs no further processing to disk
before final mastering.
These are the seven categories of effects that you can play in real time:

Effect type Effect

Audio effects • All except Timewarp

Image effects • Color Correction

• Crop
• Fade
• Wipe
• Timecode

Image transition effects • Dissolve

• Wipe

Layer effects • Blue-Green Keyer

(applied on Layers view in • Chroma Keyer
Compositing layout) • Color Correction
• Graphics
• Linear Luma Keyer

Overlay effects • Blue-Green Keyer

(applied on overlay track) • Chroma Keyer
• Linear Luma Keyer
• Wipe

Paint effects • Airbrush

• Color Blend
• Cutout
• Rolls or crawls

Source generator effects • Solid Color

• Timecode

The performance of these real-time effects depends on your system

configuration. Certain effect properties, and hardware or timeline
configurations, can demand processing loads that exceed the system’s ability
to complete processing on the fly. This means that a real-time software effect
or combination of multiple real-time effects may require processing before
the final output.

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Chapter 2 • Using Effects

Examples
• A single color correction will play in real time, but five color corrections may
play slower than real time. This still gives you a good preview of the results.
• An advanced color correction using nonlinear curve corrections will play
slower than real time, but provide a great preview. Simplifying the settings
will allow you to play the effect in real time, and get very smooth
interactive control and responsiveness.
• Wipe transitions with low softness settings will play in real time, but high
softness values can exceed the available processing capacity of your
workstation and play slower than real time.
For a list of criteria that allow an effect to be real-time playable, see Using
Multiple Real-time Effects on page 74 and Real-time Effect Conditions on page 75.

72 • Avid|DS
 Working with Real-time Effects

Playing Real-Time When you apply a real-time effect to a clip, track, or layer, areas of the marker
Effects ribbon on the timeline turn yellow to indicate that the results of the effect(s)
you applied can be played without processing.

Yellow areas on
marker ribbon
indicate effects
that can be played
in real time.

Some effects require high levels of computation which may exceed the
processing capabilities of the system. Avid|DS processes the entire effect or
transition, but in cases where advanced calculations are required, play back of
some frames may be delayed.
The system will always try to play back effects in real time. When it reaches a
point where a frame cannot be computed before display time, the system will
repeat the previous frame to maintain progression along the timeline. As a
result, the Skipped Frames indicator appears on the transport controls to
indicate that frames have been skipped to maintain the playback in real time.

Skipped Frames
indicator

Always use the Play button or the L key for playback, and not the Up
Arrow which is a 100% varispeed that can cause frames to skip (and
hence, any corresponding audio to fall out of sync.)
Although playback is sometimes slower than real time, you’ll still get high-
performance, interactive, contextual previews as you work. Both real-time
effects and other effects in the system will automatically create previews as you
scrub or advance frame-by-frame through a sequence. By doing this, Avid|DS
generates previews much quicker than other effects because of the processing
efficiency of real-time effects.
Before mastering, or at any point in your production, you can process real-
time effects to a cache so Avid|DS can refer to this cache file when playing
back the effects. By creating a cache, normal playback can take place and
guarantee smooth output of your sequence. In general, it is good practice to
process real-time effects before mastering. For more information, see
Processing Real-time Effects on page 120.

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Chapter 2 • Using Effects

Using Multiple You can use multiple real-time effects by placing them one on top of another.
Real-time Effects However, stacking too many effects will eventually cause the real-time
playback to slow down, as indicated by the Skipped Frames indicator on the
transport controls. To avoid this, you can process some of the effects, so that
the remaining real-time effects can be played in real time.
The following sequence shows how you can use multiple color correction
effects and a dissolve, and still play them in real time (indicated by the yellow
areas on the marker ribbon). When a Radial Gradient effect (not a real-time
effect) is added, the section can’t be played in real time. Once you process this
section of the timeline, you can play it in real time.
Yellow Yellow Red Yellow

Color
Correction
effect

Color Correction effect Dissolve effect Radial Gradient effect

In general, these are the circumstances when stacked effects, that you can
usually play, become unplayable:
• Adding a non-real-time effect to a stack of real-time effects
• Stacking a new effect over an effect that has already been processed, thereby
invalidating the existing cache file. To work around this, you can either
apply the effect to a track or add a cache bar between the processed effect
and the real-time effect. Both of these methods results in real-time playback.

74 • Avid|DS
 Working with Real-time Effects

Real-time Effect The following table lists the effects that you can play in real time. If any of the
Conditions following conditions are not met, you cannot play the effect in real time, and
areas of the marker ribbon will turn red to indicate where processing is needed.

Effects Required conditions

All • Avid|DS is running on a hardware platform capable of and

properly configured for playing effects in real time.
• The sequence/media is in Uncompressed mode.
• Source material resolution matches the sequence’s preferences.
• The effect uses a maximum of two video streams.
• The effect cannot use the alpha channel of its source media
as a matte.

Graphics effects • The paint effects involved are “background independent”.

That is, they do not require pixel computation with the
background image, such as the Color Blend effect.
• The alpha channel is not used as a matte.
• All objects span the full duration of the graphics session.
• Objects are not animated, except for transformations along
either the X axis only or the Y axis only.
• There are no inverted fill graphics objects.

Layer effects Whenever there is more than one unmuted layer:

(applied on the • All layers, except the bottom one, must have:
Layers view in the
Compositing - The Keyer as the top effect (enabled).
layout) - The Premultiplication option set to Auto.
- The RGB and Alpha operations set to the Over operation.
- The source media of the keyer has no alpha channel.
- The opacity of the layers must be 100% with no animation.
• Mute background on the Layers view is enabled.
• The keyer effect on the bottom layer is turned off.

Overlay effects • There is only one overlay track with active material where
(applied on the the effect is applied.
overlay track)
• The real-time overlay effect is the topmost one.
• The source media has no alpha channel.

In addition, some settings will cause a real-time effect to exceed your real-time
processing resources. Again, the effects will still provide excellent previews,
and can always be processed to cache if required. Note that in some cases, the
parameter settings that cause an effect to exceed processing resources depends
on the context and other effects used in combination. For example, a wipe can
contain more edge softness than a wipe combined with two color corrections.

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Chapter 2 • Using Effects

These are the settings that will slow down playback:

Effect Settings

Blue-Green Keyer Using these parameters will make the keyer slow down
playback:
• Key: Pre-blur
• Matte: Blur and Size

Color Correction If any of the advanced parameter settings (Curves and Mask
property pages) are used, color correction cannot be
performed without slowing down playback.

Graphics Large graphics will slow down playback.

Wipe Use the softness setting with care. A high softness setting will
slow down playback, even more so if the wipe is combined
with other effects.

Real-time Output to If you are satisfied with the sequence preview in the output monitor and
Tape Avid|DS can successfully play effects on the timeline without skipping frames,
then you can output your sequence to tape without processing.
Skipped frames will occur when a real-time effect sequence is very close to
surpassing the processing resources of your workstation. This is because
machine control during an output-to-tape operation requires extra resources
which may result in insufficient bandwidth during playback. When this
happens, the Skipped Frames indicator appears on the transport controls.
Avid|DS will attempt to output again, starting immediately before the skipped
frames occurred.

If your system is equipped with an Open G/L card, Avid|DS may

stop updating the software viewer to transfer bandwidth resources
to the output monitor and prevent frames from skipping.
If the output-to-tape operation fails after several attempts, you will be
prompted to stop the operation. At that point, you must process that section
of the sequence before restarting the output to tape. This operation is very fast
due to the performance of the processor.

Be careful with sequences that contain audio. Retrying an output-to-

tape operation does not guarantee that the audio will be perfectly
synchronized. In this case, you should process your sequence or
output the audio to tape in a separate pass.

76 • Avid|DS
Chapter 3 Compositing

Compositing & Effects Guide • 77

Chapter 3 • Compositing

In This Chapter...
Workflow: Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Simple Overlay Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Building a Composite in a Container Clip . . . . . . . . . . . . . . . . . . . . . . 90

Working with Premultiplied Images . . . . . . . . . . . . . . . . . . . . . . . . . . 103

78 • Avid|DS
 Workflow: Compositing

Workflow: Compositing
Avid|DS lets you layer clips together and apply effects easily and quickly. The
following illustration shows how to composite images in Avid|DS:

1 Choose a compositing 2 Apply effects 3 Process results to

method generate final composite

Composite on overlay tracks Apply clip effects

Apply layer effects

Composite in a container clip

Apply effects to inputs

Composite in an Effects Tree

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Chapter 3 • Compositing

Compositing
Compositing is the layering of two or more images together to create a single
new image. In Avid|DS you composite foreground images over a background
image using a matte from the foreground image’s alpha channel.
Foreground image

+ =

Background image Foreground image composited

over background

Foreground image’s alpha channel

produced with a keyer effect

How are Images As you layer clips in your composite, the underlying layers are only visible if
Composited? your clips have mattes. A matte is a grayscale image that defines the
transparency of an image when it is composited over another. An image can
have a matte in its alpha channel (internal matte) or use a matte derived from
another image (external matte).

It’s important to understand that when you capture images in

Avid|DS (PAL and NTSC) they are captured with an alpha channel;
they are all RGBA images. If the image you captured had a matte, you
can preserve it. Otherwise the image will be captured with full alpha.
The information in each pixel of an image is comprised of four channels (or
components)–R, G, B, and A. The alpha channel (A) is one of these four
channels and it specifies the transparency of each pixel, allowing portions of
the foreground image to reveal or block out the background image when two
images are overlaid.

Red channel Green channel Blue channel Alpha channel

80 • Avid|DS
 Compositing

You can import a matte by preserving the alpha channel when capturing a
clip. If your clip does not have a matte, you can create one with a keyer, matte,
or graphics effect. Keying is the process of creating a matte from a foreground
clip to composite it over a background clip. You can key out a matte based on
RGB, HLS, or YUV color values, or draw a matte using the graphics tools.

There are different types of keyers available in Avid|DS. Your choice

of keyer will depend on the type of image you have to key. For more
information, see Keyer Effects on page 333.
When you composite one image over another, Avid|DS applies a
mathematical equation to the images. The following equation is the basic
formula used to create a composite (the alpha in the equation is the
foreground’s alpha): Foreground × α + (1 - α) × Background

Foreground clip’s alpha channel

+ =

Background image Composited image

Foreground image

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Chapter 3 • Compositing

Choosing a In Avid|DS, there are three methods in which you can create a composite. The
Compositing Method method you choose depends on how complicated your composite will be:
• Simple compositing in overlay tracks lets you apply a title or composite a
single image over clips on video tracks—see Simple Overlay Compositing
on page 84.
• Layers in a graphics container clip let you create more complex
composites that require techniques, such as tracking, external mattes,
animation, and difference keying—see Building a Composite in a
Container Clip on page 90.
• Effects Trees are useful when you want to composite multiple inputs and
create very complex effects on a layer. This lets you combine multiple
images on one layer which serves as an input to the layer above it—see
Using the Effects Tree on page 43.

When you apply an Effects Tree to clips or tracks, they use only one
input: from the clip or track. If you want to create a multi-input
effect, apply an Effects Tree on a layer.

Adding Effects to The layering process is often complemented by other tasks, such as matte
Composite Layers extraction, color corrections, spatial manipulation (DVE), and other image
effects. This extra work is needed because images from different sources will
rarely blend together seamlessly without some adjustments.
The way in which you apply these effects depends on where and when these
effects need to be applied, and to some extent, the complexity of your
composite. Depending on the situation, some methods of applying effects are
more efficient than others.

82 • Avid|DS
 Compositing

You can apply effects using the following methods:

• As a clip or track effect on the timeline.
• Using the effect tools on a layer.
• Using an Effects Tree on a clip, track, or layer.
For more information, see Applying Effects on page 33.
Based on where you apply effects, they become inputs to other effects. For
example, when you apply a clip or track effect on the timeline in the
Compositing layout, the result is input to a layer. Next you can apply an
Effects Tree which provides an input to the effects tools on the layer.

Green icon 4 All layers, effects, and 3 Effects tools are

indicates an Effects Trees produce applied to a layer
Effects Tree is final composite
applied to a layer

2 Effects Tree on a layer is input

to the layer and effect tools

Effects Tree view

Layers view

1 Clips and effects are

input to layer

Timeline

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Chapter 3 • Compositing

Simple Overlay Compositing

Using the overlay tracks in the Editing layout, you can create quick, simple
composites. You create layers by placing clips on overlay tracks. You can add
an unlimited number of overlay tracks to create numerous layers.
There are three ways in which you can composite clips on an overlay track:
• Using clips that have mattes
When you import material, you can preserve the clip’s matte in the alpha
channel, and immediately composite the clip on an overlay track.

Clip with matte in alpha channel

Overlay track

• Creating a matte for a clip using a keyer

When you import material into Avid|DS, it contains an alpha channel.
However, if there is no matte in the alpha channel, then you can’t
composite it over another clip. To composite the clips together, you need
to create a matte using a keyer, matte or graphics effect.

Clip with keyer effect

Overlay track

84 • Avid|DS
 Simple Overlay Compositing

• Using a DVE effect

When you apply a DVE effect to a clip, a matte is automatically created
using the parameters you specify in the DVE property editor.

Clip with DVE effect

Overlay track

Once you create your composite, you can enhance it by adding effects, such as
color correction, blurs, graphics, and so on.

On overlay tracks, you cannot apply Boolean operations with external

mattes, nor can you adjust the transparency or animate the order of the
layers. If you need to perform any of these tasks, you should build your
composite within a graphics container clip. For more information, see
Building a Composite in a Container Clip on page 90.

Creating Layers with You can create as many layers as you want by adding more overlay tracks to
Overlay Tracks the timeline. These tracks are composited in the order in which they appear.
The topmost overlay track is the top layer in the composite. You can add,
remove, or reorder overlay tracks. You can also hide one or more tracks to see
the impact of each overlay track independently.

To create a layer on the timeline

1. On the top timeline of the Editing layout, right-click on the overview area
and choose Insert Overlay Track from the menu.
An overlay track appears on the timeline above all the other tracks.
2. Place the clips on the overlay track.
Clips on this track are composited on top of any clips that fall within the
same time span in the tracks below.

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Chapter 3 • Compositing

3. Continue to add overlay tracks for as many clips as you want to layer.
As you layer clips, the results are displayed in the viewer. The overlaid clip
must contain a matte in its alpha channel for the composite to display in
the viewer.

If you have a clip on an overlay track and no clips on the video tracks
below it, you can force the overlay to use the matte of the clip so it is
composited over black. To do this, select Force Overlay Key in the
Sequence Preferences dialog box. This behavior is similar to the
Mute Background command on a layer.

Creating a Matte on If you want to composite an image on an overlay track and it doesn’t have a matte
the Timeline in its alpha channel, you can create one using a keyer, matte, or graphics effect.

To key out a matte for a clip on the timeline

1. Right-click on a clip and choose Add Clip Effect from the menu.

86 • Avid|DS
 Simple Overlay Compositing

2. From the Load Preset dialog box, select a keyer, the Matte effect, or the
Graphics effect.
• Keyer effects such as the Luminance or Chroma keyers extract the alpha
component based on the luminance or color thresholds in an image—see
Keyer Effects on page 333Avid|DS.
• The Matte effect lets you touch up an existing matte, or create one
from scratch.
• The Graphics effect lets you draw your own matte—see Applying Graphics
on page 321 of the Avid|DS Users Guide.
3. To view the matte that you have created, right-click on the viewer and
choose Alpha Component > Matte from the menu.
The layer’s matte is displayed as a grayscale image.

Viewing a Track or By default, the viewer displays the resulting composite of all overlay and video
Alpha Channel tracks. You can, however, view each track independently of other tracks in the
composite. You can also set the viewer to display the matte that is present in
the alpha channel of a clip.

To view the results of a composite

1. On the timeline, position the play cursor over the appropriate frame of a clip.
2. Do one of the following:
• On the track that you want to view, click Solo. You can only solo one track
at a time.
• On the tracks that you want to hide, click Mute.

You can also view the resulting matte of each layer

independently of other layers in the composite by using the Solo
or Mute buttons on each layer. You can only mute tracks in the
Compositing layout.
To view the alpha channels
• Right-click on the viewer and choose Alpha Component > Matte from
the menu.
The matte is displayed as a grayscale image.
By default, the viewer displays the matte at 100% for the entire composite.
You can choose the percentage of matte opacity: 25%, 50%, 75%, or
100%. The matte is displayed as a red overlay of varying opacity.

You can also use the tools from the Viewer toolbar to view the mattes
at different percentages.

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Chapter 3 • Compositing

Applying Digital Video A Digital Video Effect (DVE) is used to transform the size, position, and
Effects (DVEs) on the shape of images in three-dimensional space.
Timeline
To apply a DVE effect on the timeline
1. Right-click on a clip and choose Add Clip Effect from the menu.
2. From the Load Preset dialog box, select the DVE effect.
An effect bar appears over the selected clip.
3. In the DVE property editor, enter the values for the transformation.

You can also apply DVEs as transitions. This lets you produce effects
such as a “fly-away”.

Processing Layered Clips that use internal mattes and overlay each other on the timeline must be
Clips on the Timeline processed before you can play them. You can process all or part of the timeline.
If you use a keyer effect to layer clips, then you don’t need to process it.

You can preview the resulting composite before processing all frames
in the sequence. To view the sequence frame by frame, press the Ctrl
key and click Play in the transport controls.
To process the composite
1. Select an object or specific time span on the timeline.
2. In the timeline controls, click the Process indicator.

Process indicator

Highlighted areas of
marker ribbon indicate
unprocessed section of
the sequence

88 • Avid|DS
 Simple Overlay Compositing

3. Select the appropriate options from the Processing Options dialog box.

4. Click OK to begin processing.

A progress indicator appears at the bottom of your desktop to show the
status of the process.

5. Click Cancel to stop the process at any time.

Click Help for detailed information on the processing options or see
Processing on page 113.

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Chapter 3 • Compositing

Building a Composite in a Container Clip

Compositing in a graphics container clip is as simple as switching to the
Compositing layout. A graphics container clip can contain a number of video
clips and is used primarily for compositing clips; the result of which is
displayed as a single clip on the top timeline. In a graphics container clip, you
can layer video clips and apply graphic, color correction, keyer, and DVE
effects to each layer. If you want to create multi-input effects, and composite
clips on individual layers, you can also apply an Effects Tree to a layer.
Compositing in a graphics container clip also lets you apply external mattes to
layers and perform Boolean operations between layers and mattes. The
following example shows how you can create a composite in a graphics
container clip.

1 Create a graphics container clip by switching to

the Compositing layout

2 Create layers

Add clips to the timeline in

the order in which they will
be composited

Layers are automatically created

on the Layers view

3 Key a matte
Create a matte by applying a
keyer effect to a layer Resulting
matte

90 • Avid|DS
 Building a Composite in a Container Clip

4 Apply effects

Create a picture-in-picture effect by

scaling an image using a DVE layer effect.
This image also uses an external matte.

Since the scaled image is on a higher

layer, it composites over any images on
5 Process the composite
the layers below it
Process the layers in
the container clip

Resulting composite

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Chapter 3 • Compositing

Creating a Container When you create a container clip, its contents are based on where the play
Clip for Compositing cursor is on the timeline when you create it. If the play cursor is positioned
over an existing clip on the timeline, the clip becomes the first layer when you
create the graphics container clip. If the play cursor is positioned over a
transition, both clips become part of the composite.

To create a graphics container clip

1. In the Editing layout, do one of the following:
• Position the play cursor over the video clip that you want to use in
the composite.
• Position the play cursor at the timecode where you want the composite
to begin.
2. From the taskbar, click the Compositing layout icon.
A graphics container clip is created and the Compositing layout is
displayed. If you created this container clip from existing clips, they
automatically form layers in the Layers view. The layer has the same name
as the clip on the track at the current play cursor position.

You can also create a container clip from multiple clips selected on
the timeline. Hold down the Ctrl key and click the clips to select
them. Then click the Create Container Clip icon on the taskbar and
choose Create Graphics Container Clip from the menu.
To close the container clip
• From the taskbar, click a timeline icon at a higher level in the hierarchy.
Timeline icon
The current container clip is closed and the parent or top timeline is displayed.
Current Container Clip icon
All composited clips are represented as a single container clip on the
Create Container Clip icon parent timeline. To make any changes to the composite, you must reopen
the container clip.

To reopen the container clip

• Do one of the following:
- Click the container clip icon.
- Double-click on the container clip to open it.
Container clip icon
- Position the play cursor over the container clip and click the
Compositing layout icon on the taskbar.
The container clip opens and the Compositing layout displays the
contents of the container clip.

92 • Avid|DS
 Building a Composite in a Container Clip

Forming Layers in a To build a composite, you layer images on top of one another. But, before you
Container Clip can do this, you must place the clips on tracks on the timeline.
When working in the Compositing layout, you can apply effects to clips on
tracks before you add them to a layer. You can, for example, create a matte for
a clip before you add it to a layer. All the clips and effects on a track serve as an
input to each layer.

Since the inputs to a layer are from tracks, and not the clips on the tracks,
there is no Ripple button on the timeline in the Compositing layout.

You can also choose not to use a clip’s RGB channels. Instead, you can use the
matte from the clip on this track. This is useful if you want to apply an
external matte to a layer.

Video tracks form layers in the Layers view

Each layer has controls that let you determine its order and appearance in the
composite. You can add keyer, DVE, color correction, or graphics effects. One
or more external mattes can be applied to individual layers, and various
compositing and blend operations are possible between the RGB and alpha
components of adjacent layers.

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Chapter 3 • Compositing

Keep in mind that as you add layers, they are always composited on top of
a black layer, which is under the bottommost layer. This is helpful when
you want to composite one layer over black. For more information, see
Compositing Clips Over a Black Background on page 97.
To form a layer
1. Do one of the following:
• Drag a clip from the browser to the Layers view.
The clip is placed on a new layer on the Layers view and a new track is
created for the clip on the timeline.
• Drag a clip from the browser to the marker ribbon of the timeline. When
you see a shadow over the marker ribbon, release the clip.
The clip is automatically placed on a new track on the timeline. The track
forms a new layer in the composite. Any other clips that you add to this
track on the timeline are also part of that layer.

If you do not want to add a clip to a layer, right-click while dragging

a clip from the browser to the marker ribbon. This creates a track on
the timeline only.
2. Move the clips to the appropriate timecodes on the tracks, so that they
align correctly for the composite.
As you add layers, the composited image is updated in the viewer and in
the result area, at the top of the Layers view. You can also add multiple
inputs to each layer using an Effects Tree. For more information, see Using
the Effects Tree on page 43.

If you notice unexpected results with your composited images, such

as dark areas around the edges, it may be due to the
premultiplication state. For more information, see Working with
Premultiplied Images on page 103.

Creating Mattes on Every image must have a matte in order to composite them. A matte is a
Layers grayscale image that defines the transparency of an image when it is
composited over another. A matte can be part of the image itself (alpha
channel) or derived from another image (external matte).
When you import images into Avid|DS, each clip has an alpha channel. If the
image you import also has a matte in its alpha channel, you can choose to
keep the matte. Clips that don’t have a matte have a full (white) alpha channel.
If your clip does not have a matte, you can create one using a keyer, matte, or
graphics effect, or by using an external matte.
The mattes on each layer are combined to produce a final composite using
layer and matte operations.

94 • Avid|DS
 Building a Composite in a Container Clip

To create a matte on a layer

1. On a layer in the Layers view, click Key.
The Blue-Green Keyer property editor is displayed by default.
2. To load a different keyer, click the Load Preset icon.
3. In the Load Preset dialog box, select a different keyer from the Keyer folder.
4. Create your matte by keying out specific luminance or chrominance values.
The matte is displayed in the Layer Alpha thumbnail.

Layer Alpha thumbnail

A checkmark beside the Key button indicates that the key is activated.
When the key is deselected, it is not used in the overall composite until
you select it again.
5. To view the matte, do one of the following:
• Right-click on the viewer and choose Alpha Component > Matte from
the menu.
• On the Key property page, select the Output Matte option.
The layer’s matte is displayed as a grayscale image.

You can also combine mattes and change how layers are composited
using matte and blend operations. For more information, see
Applying Matte and Blend Operations on page 269.
Using External Mattes on Layers
An external matte is a matte taken from one clip and applied to another. You
can apply one or more external mattes to each layer in the composite. These
mattes are combined in the order in which they appear using various logic
(Boolean) operations. You can also apply external mattes to nodes in an
Effects Tree. For more information, see Motion Blur Effect on page 224.

You can also apply an external matte using a Key Combiner effect in
an Effects Tree. For more information, see Key Combiner Effect on
page 277.
External mattes may already exist with a clip or you can create one. Create a
matte by adding a keyer effect on the clip on the timeline, or use the alpha or
RGB component of an external clip as the external matte.

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To add an external matte to a layer

1. Right-click on a clip in the browser and drag it to the marker ribbon of the
timeline. When you see a shadow over the marker ribbon, release the clip.
The clip is automatically placed on a new track on the timeline, but does
not form a layer in the Layers view.
2. Drag a track’s icon to the Layer Alpha thumbnail.

The clip’s matte is added to the right of the layer’s existing matte. The two
mattes are combined with the default Boolean operation (And), and the
results displayed in the Layer Alpha thumbnail.
Matte Expand Matte control

Layer Alpha Original Alpha External matte

A layer with external mattes

96 • Avid|DS
 Building a Composite in a Container Clip

3. To change the Boolean operation between the mattes, right-click on the

Matte control and choose an operator from the menu. For more
information, see Applying Matte and Blend Operations on page 269.

If the mattes are partially obscured by the viewer, use the horizontal
scroll bar at the bottom of the Layers view to see the external mattes.

4. Right-click on the External Matte thumbnail (of this newly added matte)
and choose one of the following from the menu:
• Alpha to use the external clip’s alpha component as a matte.
• RGB to create a matte based on the RGB components of the external clip.

Compositing Clips You can composite a single layer or several layers over a black background.
Over a Black Whether you are using one or several layers, the bottommost layer will always
Background be composited over black. Avid|DS provides a simple method in which you
can achieve this without having to first create a black background clip.

To composite clips over a black background

1. From the timeline, select a clip.
2. From the taskbar, click the Compositing layout icon.
A graphics container clip is created and the Compositing layout is
displayed. A layer is also created from the clip.
3. Add more clips and layers to your composite, and apply any keys or DVEs
to them.
4. Right-click on an empty area of the Layers view and deselect Mute
Background from the menu.
The bottommost layer is composited over a black background.

Mute Background is selected Mute Background is deselected

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Viewing the Results of By default, the viewer displays the resulting composite of all the layers. You
Composited Layers can, however, view each layer independently of other layers in the composite.
You can also set the viewer to display the matte that is present in the alpha
channel of a layer.
The Result Alpha thumbnail shows the composited alpha channel(s) from
your layers. If it displays the message “Alpha Not Exported”, you must export
the alpha channel from the layers to see the resulting matte.
When you view the top timeline, the container clip will have an alpha channel.
If it’s on an overlay track it will be composited on top of any clips below it.
When you deselect this option, a 100% white alpha is exported to the top timeline.

To see the composited results of a container clip in the top timeline,

make sure that the alpha channels are exported.

To export the alpha channels

• In the result area of the Layers view, click the Result Alpha thumbnail.

Result Alpha

Result area

The thumbnail updates to show the resulting matte. You can turn off the
thumbnail by clicking it again.

To view the results of composited RGB or alpha channels

1. Use the transport controls to display the appropriate frame in the viewer.
2. Do one of the following:
• To view a single layer, click the layer to select it.
• To view the results of more than one layer at a time, use the Mute button
to hide the layers that you do not want to see.

If you notice unexpected results with your composited images, such

as dark areas around the edges, it may be due to the
premultiplication state. For more details, see Working with
Premultiplied Images on page 103.
3. To view the alpha channel, right-click on the viewer and choose
Alpha Component > Matte from the menu.

98 • Avid|DS
 Building a Composite in a Container Clip

The matte is displayed as a grayscale image. By default, the viewer displays

the matte at 100% for the entire composite. You can choose the percentage
of matte opacity: 25%, 50%, 75%, or 100%. The matte will then be
displayed as a red overlay of varying opacity.

Applying Effects to On each layer, you can apply several standard effects - a color corrector, DVE,
Layers graphics, or keyer. You can also load a new effect through the keyer effect, or
apply an Effects Tree for multi-input effects.

To apply an effect
1. In the Layers view, click CC, DVE, Gfx, or Key on the layer that you want
to apply an effect.
If, for example, you apply the Graphics effect, the Graphics layout is
displayed giving you access to all the paint and titling tools.
After you have completed the graphics session, click the Compositing
layout icon in the taskbar to return to your composite.
The graphics that you applied appear in the final composite. A checkmark
beside the Gfx button indicates that the effect is activated.
2. Adjust the properties in the property editor (for effects other than Gfx).
The changes are immediately visible in the viewer. A checkmark beside the
effect indicates that the effect is activated.

To load an effect through the keyer effect

1. In the Layers view, click Key on the layer that you want to load a new effect.
The Blue-Green Keyer property editor is displayed.
2. In the property editor, click the Load preset icon.
The Load Preset dialog box is displayed.
3. Browse through the folders and select an effect.
The new effect is applied.

Animating Layers When compositing clips in a container clip, you can animate the order of the
layers in the composite, as well as the transparency of each layer. Once the
animation is created, you can process the clip to view the animated frames in
real time. You can adjust the animated properties or remove the animation at
any time. For more information, see Editing Animation on page 511 of the
Avid|DS User’s Guide.

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Animating the Order of Layers

The Animation Key icon at the bottom of the Layers view lets you change the
order of the layers over time. When the layer ordering has been animated, this
button turns red.

To animate the order or appearance of the layers

1. Use the transport controls to advance the clip to a frame where you want
the animation to begin.
2. Reorder your layers by dragging the track icon of a layer to a new position.
3. Click the Animation Key icon to set a keyframe.
When a keyframe is set, the Animation Key icon turns red. If the play cursor
is positioned on a frame that is not a keyframe, the button turns green.
4. Advance to the next frame where the layer order has to change and change
the layer’s order.
Once an initial keyframe has been set, you no longer need to click the
Animation Key icon as keyframes are created automatically when you
change the layer’s order (simulating Autokey behavior).
5. Continue adding as many keyframes as you need.

You can animate these actions automatically using the Autokey

button. For more information, see Setting Keyframes Automatically
on page 508 of the Avid|DS User’s Guide.
Animating the Transparency of a Layer
The Animation Key icon on a layer lets you animate the transparency levels of
a matte over time. When a layer has been animated, this button turns red.

To animate the transparency of a layer

1. Use the transport controls to advance the clip to a frame where you want
the animation to begin.
2. Click the Animation Key icon to set a keyframe.
When a keyframe is set, the Animation Key icon turns red. If the play cursor
is positioned on a frame that is not a keyframe, the button turns green.
3. Adjust the opacity control on one or more of the layers by moving the
slider or entering an appropriate value in the Opacity text box.
4. Click the Animation Key icon again.
Depending on the accuracy you need, you can move frame by frame or set
larger intervals between animated points.

100 • Avid|DS
 Building a Composite in a Container Clip

Animate these actions automatically using the Autokey button. For

more information, refer to Setting Keyframes Automatically on
page 508 of the Avid|DS User’s Guide.

Processing Layered Any composites or effects that you apply must be processed for you to see the
Clips in a Container results during a real-time playback. Avid|DS processes each layer
Clip independently. It then combines the results from all layers to process the final
composited image for each frame in your sequence. You can process the
container clip while it is open or closed.
In Avid|DS, processing is done by selection. You can process the entire sequence
or a specific object in the sequence. Processing can also occur at different stages
in your sequence. When you process a sequence with complex effects, Avid|DS
creates caches at incremental levels. This allows you to make changes to your
effects at any level without having to reprocess the entire sequence.
The operations on the layers are processed in the following order:

1 An effect applied to a clip 2 External Mattes are processed from right to left
within the container clip

3 Effects Tree applied

on a layer

4 Layer effects are processed

from bottom to top

5 Composite and blend

operations are processed
between layers from
bottom to top and the
opacity of the matte is
factored into the process

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To process the composite

1. In the overview area of the compositing timeline, click the Process indicator.
2. Select the appropriate options from the Processing Options dialog box.

3. Click OK to begin processing.

A progress indicator appears on the bottom of your desktop to show the
status of the process.

You can Cancel the process at any time, or press the spacebar on
your keyboard.
For more information, see Processing on page 113 or click Help for detailed
information on the processing options.

102 • Avid|DS
 Working with Premultiplied Images

Working with Premultiplied Images

Premultiplication is a mathematical process where the RGB channels of an
image are multiplied with their corresponding alpha channel values.
When using computer-generated images or sequences in your composites, it’s
important to know whether an image has been premultiplied or not. If you
don’t use the proper setting, Avid|DS may attempt to multiply the channels
again giving you unexpected results in your composite.
How can you tell if an image has already been premultiplied? Unfortunately,
it’s not easy to do this until after it is composited with another. If the
premultiplication setting is incorrect, undesirable results, such as a halo or
black outline, may appear in your composite.
In the example below, a circle has been created with a matte that has softness
around the edges, as well as some transparency.

The alpha channel of the circle If premultiplication state of the If premultiplication state is set
imported circle is set incorrectly, dark correctly, there is no dark halo
areas appear around the edges of
the circle when composited over a
background image

If the resulting composite does not produce the results you expect, then you
can do one of the following:
• Change the premultiplication state of the clip being used in the
composite—see Changing the Premultiplication Setting on page 104.
• Reimport the clip and set the premultiplication state accordingly—refer to
Importing Material from File on page 139 in the Avid|DS User’s Guide.

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Determining the By comparing the image’s RGB and alpha channels, you can easily determine if
Premultiplication State an image is premultiplied or not. If both the RGB and alpha channels contain
black in the same areas, it’s a good indication that the image is premultiplied.

Antialiased edge Antialiased edge

RGB channels Alpha channel

Same
(both are black)
Premultiplied image

If the black areas of the alpha channel and the same areas of the RGB channel
are different, then the image is not premultiplied.

Different
RGB channels Alpha channel
Non-premultiplied image

Changing the If you notice some unexpected results after compositing an imported image,
Premultiplication such as a halo or black outline, it may be because the premultiplication state
Setting is incorrect.
Since most graphical applications already multiply the RGB values with the
alpha values of an image, Avid|DS does not have to do it during compositing.
Such an example is a rendered 3D model.
However, some applications, such as Adobe Photoshop, create the alpha
channel as a separate layer. This means that the RGB channel information is
not multiplied with the alpha channel. Avid|DS would have to perform the
premultiplication when compositing this image with another.

104 • Avid|DS
 Working with Premultiplied Images

Incorrect composite Correct composite

The alpha channel of the circle If set to Premultiplied, dark areas If set to Not premultiplied, the dark
appear around the edges of the halo disappears
composited image

To change the premultiplication setting

1. If you are compositing in the Layers view, right-click on the layer that
contains the image whose premultiplication state you want to change.
By default Auto is selected. This indicates that the material will be
composited according to the premultiplication state set at import. For
more information, refer to Importing Material from File on page 139 in
Chapter 3 of the Avid|DS User’s Guide.
2. Choose Premultiplied or Not Premultiplied from the menu.

If you are not using the Layers view for compositing, you can apply
the Premultiplication effect on the clip to change its state. For more
information, see Premultiplication Effect on page 236.

You should know that Avid|DS also automatically changes a layer or

clip’s premultiplication state to Not Premultiplied when you apply:
• An external matte in the Layers view.
• An effect to a clip that modifies the alpha channel only. For
example, when you select the Process Alpha option and deselect
the Process RGB options in the Masking property page of an effect.
• A Graphics effect to a clip or layer, and apply strokes only to the
alpha or only to the RGB channels.

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If you’re interested in the details of premultiplication, the following table

shows the results of composited images that have been set to the correct and
incorrect premultiplication state:

Type of
Set to Result Description
material

Premultiplied Premultiplied (Foreground × α) + (1 -α) × Background Correct result.

Premultiplied Not premultiplied (Foreground × α) × α + (1 - α) × Background Incorrect result.

These results may cause a black
line to appear around the edge
of your image where it should
be transparent and antialiased.

Not Not premultiplied (Foreground) × α + (1 - α) × Background Correct result.

premultiplied Since you informed Avid|DS
that the RGB channel has not
been multiplied with the alpha
channel, the formula will
perform this operation.

Not Premultiplied (Foreground) + (1 - α) × Background Incorrect result.

premultiplied These results can cause
transparent areas of the
foreground to be displayed
much brighter instead of being
composited correctly.
This happens because you
informed Avid|DS that the
image is already premultiplied
when in fact it is not, causing
the entire foreground to be
added to the background
rather than just areas specified
by the alpha channel.

Examples This section shows you examples of how you can visually determine if the
correct results are being produced by the composite.
The following examples show you the results when you:
• Combine premultiplied and not premultiplied material in the same image.
• Composite a non-premultiplied image used as an external matte—see
Applying an RGB Image as an External Matte on page 108.
• Composite a premultiplied image—see Compositing a Premultiplied image
on page 109.
• Composite a non-premultiplied image—see Compositing a Premultiplied
image on page 109.

106 • Avid|DS
 Working with Premultiplied Images

Combining Premultiplied and Non-Premultiplied Images

When you create images to be used in a composite, make sure you don’t
combine premultiplied and non-premultiplied images in the same image, as a
correct composite will never be possible. This is because premultiplication
affects the entire image, not just portions of the image.
In the following example, the rectangle is an image that contains a solid stroke
in the RGB channel and a gradation in the alpha channel. Since the gradation
is only in the alpha channel, this section of the image is not premultiplied. The
circles have the same paint strokes applied to both the RGB and alpha
channels, and are therefore premultiplied.
Whether you captured the image as premultiplied or not, the composited
result will never be correct for both cases.

Alpha image

+
Not premultiplied

Background image
Premultiplied
RGB image

Incorrect Correct

Correct Incorrect
(dark edges)

Set to Premultiplied Set to Not premultiplied

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Applying an RGB Image as an External Matte

When you apply an RGB image as an external matte, Avid|DS automatically
sets the layer’s premultiplication state to Not Premultiplied. Therefore in most
cases, you’ll see the result you expect. For example, when you apply an
external matte to a layer, the matte’s shape is filled with the RGB image.
However, in specific cases, like if you use an RGB image as an external matte
for itself (such as smoke that was shot against a black background), the
automatic state change may not produce the results you expect. In this case,
you must manually change the premultiplication state to premultiplied, so the
image is composited correctly.
The following example shows the correct and incorrect results:

+
Alpha image
Background image
RGB image

Set to Not Premultiplied (incorrect). Set to Premultiplied (correct).

Note the dark areas. Composition is better.

In the left illustration, the layer is set to Not Premultiplied, producing incorrect
results even though the image is not premultiplied. This occurs because the
RGB channel is multiplied with the alpha channel when it shouldn’t be.
The illustration on the right shows the corrected result. To keep the RGB
channel from being multiplied with the alpha channel, you must change the
layer’s state to Premultiplied. This tells Avid|DS to equate the composite as
though the RGB and alpha have already been multiplied.

108 • Avid|DS
 Working with Premultiplied Images

Compositing a Premultiplied image

If you are compositing a premultiplied image, the correct results are produced
when the layer is set to Premultiplied.

+
Background image
Premultiplied RGBA image

Edge correctly composited

Set to Premultiplied (correct)

However, if the layer is set to Not Premultiplied, areas of semitransparency

appear much darker than they should be. This occurs because you have told
Avid|DS that the image hasn’t been multiplied with its alpha channel when in
fact it has been. Avid|DS will do the multiplication again when compositing.

Dark edge

Set to Not Premultiplied (incorrect)

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Compositing Non-premultiplied Images

If you are compositing an image (RGBA) that is not premultiplied, the correct
results are produced when the layer is set to Not Premultiplied. Since the
alpha is between 0 and 1, the multiplication process lowers the foreground
color’s intensity when the alpha is less than 1.

+
Background image
Not Premultiplied RGBA image

Set to Not premultiplied (correct) Set to Premultiplied (incorrect)

However, if the layer is set to Premultiplied, semitransparent areas appear

much brighter than they should be. This occurs because the foreground was
not multiplied by the alpha.

110 • Avid|DS
Chapter 4 Processing Effects

Compositing & Effects Guide • 111

Chapter 4 • Processing Effects

In This Chapter...
Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Workflow: Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Selecting the Processing Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Setting the Processing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Processing Your Caches Remotely. . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Cache Management in Avid|DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

112 • Avid|DS
 Processing

Processing
Avid|DS is built upon a software-based processing architecture, which
computes effects using the processor, memory, and disk throughput of your
system. When you apply special effects to your video clips, the results aren’t
immediately shown upon playback because it takes time and system resources
to process effects on images.
Processing is the creation of a final image or sequence of images after a special
effect has been applied. Most of the effects, transitions, composites, or
container clips in your sequence must be processed so that you can see the
resulting images during playback. The results are stored in a new media file,
called a cache, so that your source media remains unaltered.
If you have the appropriate real-time, multi-stream workstation, many effects
can be computed in real time, allowing you to view the results during
playback. Other more complex effects, however, must be processed before the
results can be viewed.
Processing effects to a cache guarantees perfect playback and output of your
sequence. However, processing can be demanding on your system resources in
terms of both time and storage space. To make the most efficient use of your time
and resources, it is important for you to understand the Avid|DS cache tracking
system. For more information, see Cache Management in Avid|DS on page 132.

When is Processing Processing is usually needed for effects applied on video images and graphics.
Needed? All audio effects and transitions are also applied in real time, with the
exception of the timewarp effects, and do not require processing.

Some image effects can potentially be viewed in real-time without

processing. For more information on these effects, see Working with
Real-time Effects on page 71.
When you apply an effect to a clip, track, or layer, or in an Effects Tree, the
Process indicator and marker ribbon turn red if processing is required. When
you play over an unprocessed region in the sequence, the message “Needs
Processing” is displayed in the viewer.

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Chapter 4 • Processing Effects

Process indicator Marker ribbon indicates sections Viewer does not show the
turns red or yellow that may require processing resulting image

Avid|DS will automatically process the effects on the frame where

your play cursor is currently positioned. This allows you to see the
results on one frame before processing all the rest. These results are
stored on disk and are known as interactive caches. The results are
only kept temporarily to improve your interaction time when
viewing the results of effects on a frame-by-frame basis.
Avid|DS can play some effects in real time. The multi-stream workstation
processes these effects on the fly, using the full CPU power, system architecture,
and disk throughput of the system. Once you apply a real-time effect, you can
immediately view the results without having to first process the effect.

Boosting some parameter settings or stacking multiple real-time

effects may require more bandwidth than your system can handle.
Avid|DS may skip frames during playback, but you will still get a
good preview of your clip.
If you apply a real-time effect to a clip, the marker ribbon becomes
highlighted in yellow where the effect was applied to indicate that processing
is not required for you to view the results.

The real-time effect is shown in yellow

Marker ribbon indicates sections

that may require processing

Red indicates that the effect

needs to be processed

Notice that when a second

effect is applied over the real-
time effect, that portion of
the clip requires processing

114 • Avid|DS
 Workflow: Processing

Workflow: Processing
During processing, Avid|DS steps through each clip frame by frame,
calculating the various paint strokes, compositing layers, transitions, and
other effects that you created, and writes the results to a cache file.
When you play back the processed frames, Avid|DS points to this cache
instead of the clips’ source media when you play your sequence. This support
for non-destructive editing lets you continuously make changes and reprocess
your clips without affecting your source media.
The following illustration shows how to process effects to a cache:

1 Select an area or object to process

Process the entire sequence, a region on the timeline, a selected clip, track, layer, effect, or transition bar.

Click Process Click all... button from within an

or
indicator effect’s property editor

2 Set the processing options

Caches saved
on disk array

3 Process media
for real-time
playback

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Chapter 4 • Processing Effects

Selecting the Processing Area

In Avid|DS, you can process a specific effect or the entire sequence. To work
even more efficiently, you can process your more complex effects at different
stages in your sequence. For example, if you have effects nested within a
container clip, you can open the container and process the individual effect
instead of processing the entire container clip.
There are three main ways of starting the processing engine—directly from
the timeline, from the Cache Bar menu, or within an effect’s property editor.
For information on processing from the cache bar menu, see Creating Caches
at Any Level on page 138.

Processing on the When a section of the timeline requires processing, the Process indicator turns
Timeline red or yellow. Red means that the section must be processed, while yellow means
that processing can be handled by Avid|DS during playback, but you can still
choose to process it.
Processing on the timeline is based on selection. You can process a selected object
or region, or all the clips on the current timeline. If you have nested (container
clips) or stacked effects on the timeline, Avid|DS processes the effects at all levels.

Process indicator Corresponding red or yellow highlights on marker

turns red or yellow ribbon indicates sections that may require processing

Objects

Portions of the clip that will be processed to generate new media.

The Process indicator turns red or yellow even if the effect is nested
within a container clip.

To process the entire sequence

1. On the timeline, click the Process indicator.
2. In the Processing Options dialog box, select the Current Timeline option.
Process 3. Click OK to begin processing.
indicator
After processing is complete, the marker ribbon becomes clear and you
can play and view the results.
Click the Help button for detailed information on the Processing options or
see Setting the Processing Options on page 121.

116 • Avid|DS
 Selecting the Processing Area

To process a specific object or section of the timeline

1. Select a clip, effect bar, transition bar, or highlight a region on the
timeline, and click the Process indicator.

To process a selected region using a cache bar, see Creating Caches at

Any Level on page 138.

2. In the Processing Options dialog box, select one of the following options:
• Duration of Selection or Selected Object, if you have selected a particular
object or region for processing.
• Include Real-time Effects if you have real-time effects that you would like
to process. This option forces processing and creates a cache on disk for
the real-time effects.
3. Click OK to begin processing.
After processing is complete, the marker ribbon becomes clear and you
can play and view the results.
Click the Help button for detailed information on the Processing options or
see Setting the Processing Options on page 121.

You can commit processed results to a master clip and use the cache
media as source material in future sequences using the Timeline to
Clip button. For more information, refer to Extracting Parts of a
Sequence on page 260 of the Avid|DS User’s Guide.

Processing in a There are many options available when processing an effect from within its
Property Editor property editor. You can process the results on a single frame, a subregion of a
frame, or all the frames in the clip on which you applied the effect.

To process from the property editor

1. Double-click on the effect or transition bar on the timeline.

For time-based effects, right-click on the clip and choose Properties.

Then select the effect from the menu.

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Chapter 4 • Processing Effects

The property editor of the effect is displayed.

Process buttons

2. Select one of the following:

Use this To
Process the current frame.

Enable the auto-process mode. Each time you adjust a property value,
the frame is automatically processed and updated in the viewer.
Note: Results may take time to display while Avid|DS processes the
effects.
Process all frames where this effect was applied. This option
displays the Processing Options dialog box.
Process the region selected in the viewer.

3. In the Processing Options dialog box, click OK to begin processing.

After processing is complete, the marker ribbon becomes clear and you
can play and view the results.
Click Help for detailed information on the Processing options or see Setting
the Processing Options on page 121.

118 • Avid|DS
 Selecting the Processing Area

Subregion Processing
If you want to apply an effect on just part of the image, you can process only
the region of the frame where the effect is applied. You can also use subregion
processing to test an effect on part of the image before processing the effect on
all frames.

To process the effect on a region of the current frame

1. In the property editor, select the Subregion option.
2. In the viewer, drag diagonally across the image to form a selection box.
3. In the Process box of the property editor, click Frame.
4. Click OK to begin processing.
After processing is complete, the effect is computed and displayed within
the selected area.

If you are just using the Subregion option for testing, make sure you
deselect it after you’ve seen the results. Otherwise, when you process
all the frames, only the selected region will be processed.
Previewing Effects
After you’ve processed your effect, you can quickly view the results from its
property editor.

To preview the results of the processed effect

• In the property editor, click Preview.
Loop markers are placed at the beginning and end of the effect. They
include the number of pre-roll and post-roll frames that were set in the
User Preferences dialog box. The selected area is played continuously
between the marked region until you click Stop.

To preview the results without processing to cache, see Interactive

Caches on page 134.

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Processing Real-time With the multi-stream workstation, many effects in Avid|DS are now real-
Effects time effects. This means that when you apply a real-time effect to a clip, track,
layer, or in an Effects Tree, you can play the results immediately without
having to process the effect.

Avid|DS only supports real-time effects for SDI formats. For HD

formats, such as 1080i or 720p, all effects must be processed before
they can be played back in real time.
When you play the processed frames, Avid|DS points to this cache instead of
the clips’ source media so you can see the results in real time. This method of
non-destructive editing allows you to continuously make changes and
reprocess your sequence without affecting the source media.
Dissolves, wipes, color correction, blue-green (chroma) keyer, titles, and
audio effects (except Timewarp) can often be played in real time. In some
circumstances, however, effect properties can demand processing loads that
exceed the system’s ability to complete processing on the fly.
Even in such cases, Avid|DS still gives you a good preview of your clip. If you
are using complex real-time effects, the calculated frame might be delivered to
the video output late—as a result, Avid|DS skips to the next frame to keep in
synchronization with corresponding audio clips. The yellow Skipped Frames
indicator will appear on the transport controls as soon as a frame can’t be
delivered in time. This means that a real-time effect with advanced settings, or
a stack of multiple real-time effects may require processing to a cache file
before the final output.

Skipped Frames
indicator

To get the best results, you should process all effects before mastering, or at any
point in your production. During processing, Avid|DS steps through each clip
frame by frame, calculating the various paint strokes, compositing layers,
transitions, or other effects that you created. The results of the computation are
written to a cache file. This ensures that the results can then be played back in
real time. For more information, see Working with Real-time Effects on page 71.

To process real-time effects

• In the Processing Options dialog box, select the Include Real-Time Effects
option from the Process box.

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Setting the Processing Options

When you composite clips or apply special effects to your video clips, Avid|DS
does not automatically process the results. This is because it takes time and system
resources to process images. You can reduce your processing time significantly by
choosing the options that best suit the task you’re currently performing.
The Processing Options dialog box lets you set various options that affect how
processing will be performed.

For helpful information on options that you can choose to improve

the processing time, see Processing Tips on page 148.

To access the processing options

1. Do one of the following:
• On the timeline, click the Process indicator.
• On the Processing toolbar, click Process.
• In a property editor, click the all.. button.
• Right-click on a cache bar and choose Process.

Processing Options dialog box

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2. In the Processing Options dialog box, select one of the following options:
• Current Timeline to process all the clips on the current timeline.
• Duration of Selection to process a selected region on the timeline.
• Selected Object to process just the objects that you have selected.
• Cache List to process the effects, composites, and/or transitions below the
cache bar.
To use the last three options, you must first select a region, object, or
cache bar on the timeline.

Region

Object

3. Select the processing options for your media.

Click the Help button, for detailed information on the Processing options.
Remember, effects applied to clips give two possible color indicators in the
marker ribbon:

Color Description

Red Cannot be played in real time.

You must process the highlighted section to play it in real time.

Yellow Can be played in real time.

You don’t have to process the highlighted section to play it in real time,
however, processing is recommended before final output.
Note: Boosting some parameter settings or using multiple real-time
effects may require more bandwidth than your system can handle.
Avid|DS may skip frames during playback, but you will still get a good
preview of your clip.
Select the Include Real-time Effects option to force processing on
real-time effects that are too complex for your hardware to process and
play back in real time without skipping frames. Processing creates a
cache on disk for the processed real-time effects so that you can view
them upon playback. For more information, see Processing Real-time
Effects on page 120 and Working with Real-time Effects on page 71.

4. To make processing more efficient, select the Minimal or Complete

option, depending on your particular scenario—see About Processing
Modes on page 144.
5. From the Location box, specify whether you want to process your caches
to a local or remote storage device.
The audio and video storage devices are where your processed media is to be
stored. These storage devices were configured when Avid|DS was installed.

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The Time Available field indicates the time remaining on the storage
devices for processing and saving video and/or audio caches based on the
processing options you selected.
For more information on processing your caches on a remote system, see
Processing Your Caches Remotely on page 124.
6. To decrease processing time or to save on storage space, you may want to
modify the resolution at which the caches are created. The lower the
resolution, the faster the processing times and the less storage space used.
You have the following options:
• Full
• VGA (640×480)
• Half VGA (320×240)

If you use a lower resolution for processing, your sequence

preferences are automatically set to that resolution so that you can
view the results. To change the resolution of the sequence back to
Full, open the Sequence Preferences dialog box and set the
resolution to Full. If you do process using a lower resolution, you
will have to process the effects again at full resolution before
outputting the final sequence.
7. If you have sufficient space on the storage device, click OK to begin processing.
A progress bar appears at the bottom of the desktop to show the status of
the process. The progress bar shows the number of passes, frames, and the
estimated time that Avid|DS will take to process your selection. These
passes are based on the number of container clips and the levels of
processing required within the selected region.

Progress bar

Here’s the information that is displayed on the progress bar during processing:
Information field Description

Processing (Minimal) The type of processing mode that was selected: Minimal or
Complete—see About Processing Modes on page 144.

1/4 A running count of the number of passes required to

process the selected area

Frame: 84/531 A running count of the number of frames to be processed

for the current pass

Total 84/1625 A running count of the total number of frames to be processed

Total time estimate: The total time (min:secs) required for processing the selection
19 min.

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Processing Your Caches Remotely

Avid|DS lets you process caches on your local machine or on a specially
designated “processing” machine, running the Avid|DS Remote Processing
Server (RPS). The processing software can be installed on any number of
machines on your network and you can send out processing jobs to any of
those machines. For information on setting up your remote processing
station, refer to the Avid|DS Installation and Administration Guide.
Instead of waiting for Avid|DS to process your effects, you can send a
processing job to a remote machine and continue working on your sequence.
Avid|DS RPS notifies you when the job is complete, and all you have to do is
reimport the caches into the current project. You can specify where the caches
will be stored, either on a shared storage device or on your local machine.
Avid|DS uses a mail-type system to communicate with the remote processing
machine. The Outbox contains all the jobs that you sent out for processing,
and the Inbox contains all the jobs that have returned. When a job returns
from the processing machine, Avid|DS receives a mail notifying it that the job
is complete. By opening or executing the mail, the cache files are reimported
back into your current project.

Avid|DS RPS only supports uncompressed media. You can, however,

process your caches remotely using lower resolutions.

You can define two separate areas for remote processing: the entire timeline or
a specific area of the timeline. When you want to process only a specific area
on the timeline, you must first mark off the area with a cache bar and then
add it to the list in the Cache List view. For more information, see Creating
Caches at Any Level on page 138.

Before sending a processing job to a remote processing server, you

must first start the Avid|DS RPS on that machine.

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 Processing Your Caches Remotely

To process the current timeline on a remote machine

1. On the timeline, click the Process indicator.

2. In the Processing Options dialog box, select the Current Timeline option
to process all the clips on your timeline.

The Duration of Selection and Selected Object options are not

available when processing remotely.
All real-time effects are processed by the Avid|DS RPS regardless of
the Include Real-Time Effects setting.
3. To make processing more efficient, select the Minimal or Complete
option, depending on your particular scenario—see About Processing
Modes on page 144.
4. From the Location box, select the Process Remotely option.
5. Type in the machine name in the Use Machine text box to specify the
machine that will do the processing.

You have to type in a machine name the first time you use it for
remote processing. Every time after, the name of the machine will
appear in the Use Machine list.

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6. From the Process Video To list, select a storage device. This specifies which
storage device on the remote machine will store the processed video caches.
7. From the Process Audio To list, select a storage device. This specifies
which storage device on the remote machine will store the processed
audio caches.

The audio and video storage devices available from the list were
configured when Avid|DS was installed.
For more information on configuring your machines in a
workgroup environment, refer to the Avid|DS Installation and
Administration Guide.
The Time Available fields only show the amount of time remaining
on your local storage devices.
8. To decrease processing time or save on storage space, you may want to
modify the resolution at which the caches are created. The lower the
resolution, the faster the processing times and the less storage space used.
You have the following options:
• Full
• VGA (640×480)
• Half VGA (320×240)

If you use a lower resolution for processing, your sequence

preferences are automatically set to that resolution so that you can
view the results. To change the resolution of the sequence back to
full, open the Sequence Preferences dialog box and set the resolution
to Full.
9. If you have sufficient space on the storage device, click OK to begin processing.
The processing job is sent to the remote machine for processing. If the
machine is already working on another job, it will be added to the
process queue.
You can continue with other work while the other machine is processing
your caches.

If you change certain effects or composites in your sequence that

were sent to a remote machine for processing, the caches for those
effects or composites will be invalidated when you import back into
your project. If you know that the caches are no longer valid, you
don’t have to import them back into your project.
When the job is complete, the Mail icon in the status bar appears,
notifying you that you have “new mail”.
Mail icon notifying you
that you have new mail 10. Double-click on the Mail icon to view your mail.

126 • Avid|DS
 Processing Your Caches Remotely

The Inbox is displayed with the new message, stating that the job has
returned from the processing machine.

11. Double-click on an item in the list or select the items, and click Execute.
The caches are imported back into your project and you can now play
your sequence in real time.

To select more than one item in the Inbox, hold down the Ctrl key
and click the items you want.

To process a selected area of the timeline on a remote machine

1. Do one of the following:
• Right-click on a clip and choose Add Cache and Process from the menu.
• Highlight an area on the timeline, right-click on the area, and choose Add
Cache and Process.
A cache bar is added to the clip or track.

Cache bars added to

selected clips

You can add a cache bar to a clip, track, or to the timeline effect
track. If you want to add a cache bar to several clips, you can’t multi-
select the clips and then add a cache bar. You must do each one
separately. For more information, see Creating Caches at Any Level
on page 138.

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The cache bar is added to the Cache List view.

The Processing Options dialog box is displayed.

2. In the Processing Options dialog box, select the Cache List option to
process only the areas marked by the cache bars.

The Duration of Selection and Selected Object options are not

available when processing remotely.

3. To make processing more efficient, select the Minimal or Complete

option, depending on your particular scenario—see About Processing
Modes on page 144.
4. From the Location box, select the Process Remotely option.
5. Type in the machine name in the Use Machine text box to specify the
machine that will do the processing.

You have to type in a machine name the first time you use it for
remote processing. Every time after, the name of the machine will
appear in the Use Machine list.
6. From the Process Video To list, select a storage device. This specifies which
storage device on the remote machine will store the processed video caches.
7. From the Process Audio To list, select a storage device. This specifies
which storage device on the remote machine will store the processed
audio caches.

The audio and video storage devices available from the drop down
list are configured when Avid|DS is installed.
For more information on configuring your machines in a
workgroup environment, refer to the Avid|DS Installation and
Administration Guide.
The Time Available fields only show the amount of time remaining
on your local storage devices.
8. To speed up processing time or to save on storage space, you may want to
modify the resolution at which the caches are created. The lower the
resolution, the faster the processing times and the less storage space used.
You have the following options:

128 • Avid|DS
 Processing Your Caches Remotely

• Full
• VGA (640×480)
• Half VGA (320×240)

If you use a lower resolution for processing, your sequence

preferences are automatically set to that resolution so that you can
view the results. To change the resolution of the sequence back to
Full, open the Sequence Preferences dialog box and set the
resolution to Full.
9. If you have sufficient space on the storage device, click OK to begin processing.
The processing job is sent to the remote machine for processing. If the
machine is already working on another job, it will be added to the process
queue. The cache bars will turn blue to let you know that they have been
sent to a remote machine for processing.
You can continue with other work while the other machine is processing
your caches. When the job is complete, the Mail icon on the status bar
Mail icon notifying you appears, notifying you that you have “new mail”.
that you have new mail
10. Double-click on the Mail icon to view your mail.
The Inbox is displayed with the new message, stating that the job has
returned from the processing machine.
11. Double-click on the item in the list or select the items, and click Execute.
The caches are imported back into your project and the cache bar turns
green to indicate that the area of the timeline marked off by the cache
bar(s) is now entirely playable in real time.

To select more than one item in the Inbox, hold down the Ctrl key
and click the items you want.

To process part of an Effects Tree on a remote machine

1. Right-click on a connector between two nodes and choose Add Cache and
Process from the menu.
A cache node is added to the tree.

Cache node added in

Effects Tree

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The cache node is also added to the Cache List view.

The Processing Options dialog box is displayed.

2. In the Processing Options dialog box, select the Cache List option to
process all effects up to the position of the cache node.

The Duration of Selection and Selected Object options are not

available when processing remotely.

3. To make processing more efficient, select the Minimal or Complete

option, depending on your particular scenario—see About Processing
Modes on page 144.
4. From the Location box, select the Process Remotely option.
5. Type in the machine name in the Use Machine text box to specify the
machine that will do the processing.

You have to type in a machine name the first time you use it for
remote processing. Every time after, the name of the machine will
appear in the Use Machine list.
6. From the Process Video To list, select a storage device. This specifies which
storage device on the remote machine will store the processed video caches.

The video storage devices available from the list were configured
when Avid|DS was installed.
For more information on configuring your machines in a
workgroup environment, refer to the Avid|DS Installation and
Administration Guide.
The Time Available fields only show the amount of time remaining
on your local storage devices.

130 • Avid|DS
 Processing Your Caches Remotely

7. To speed up processing time or to save on storage space, you may want to

modify the resolution at which the caches are created. The lower the
resolution, the faster the processing times and the less storage space used.
You have the following options:
• Full
• VGA (640×480)
• Half VGA (320×240)

If you use a lower resolution for processing, your sequence preferences

are automatically set to that resolution so that you can view the
results. To change the resolution of the sequence back to full, open the
Sequence Preferences dialog box and set the resolution to Full.
8. If you have sufficient space on the storage device, click OK to begin processing.
The processing job is sent to the remote machine for processing. If the
machine is already working on another job, it will be added to the process
queue. The cache node will turn blue to let you know that it has been sent
to a remote machine for processing.
You can continue with other work while the other machine is processing
your caches. When the job is complete, the Mail icon in the Status bar
Mail icon notifying you appears, notifying you that you have “new mail”.
that you have new mail
9. Double-click on the Mail icon to view your mail.
The Inbox is displayed with the new message, stating that the job has
returned from the processing machine.
10. Double-click on the item in the list or select the items, and click Execute.
The caches are imported back into your project and the cache node turns
green to indicate that all the effects in the tree up to the cache node are
now entirely playable in real time.

To select more than one item in the Inbox, hold down the Ctrl key
and click the items you want.

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Cache Management in Avid|DS

Media in Avid|DS exists in one of two forms: source media or caches.
Media is the digitized form of source material after it has been captured or
imported from tape or file into Avid|DS.
A cache is a media file that is generated when you process an effect, transition,
or composite created in your sequence. During playback, Avid|DS refers to
this cache file instead of the source media.
Both source media and cache media are stored on high-performance disk
arrays. The following illustration shows the relationship between source and
cache media.
Master clips in the browser Effect applied to a clip in the timeline

Source media Cache media

Source media is the material Cache media is created when effects and
that you capture from tape transitions applied to your clips are
or file. It is stored on the processed. It is also stored on the disk array.
disk array and referenced by When Avid|DS encounters processed effects
master clips in the browser. during playback, it points to the cache
media instead of the original source media.

Disk array

Like captured media, you can process your clips at different resolutions and
compression ratios. Each time you change your working qualities (resolution
or compression ratio), and process your clips, a separate cache file is created.

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 Cache Management in Avid|DS

To keep track of different media qualities and avoid data redundancy, the time,
quality, and channel information is used to store the coordinates of the media.
Time: The source timecode or timeline timecode of your media.
Quality: The quality aspects of an image (resolution, compression, format).
Channel: The number of video and/or audio components in the media file.
To handle caches even more efficiently, the Cache Tracking System (CTS),
uses a combination of media and effects placed on that media to create unique
references to the corresponding caches. If this same clip and effect are reused
anywhere else in your sequence or project, then CTS reuses the same cache.
This allows you to automatically view the results of an effect as soon as it is
placed on the timeline. For this same reason, however, you may notice that
purging caches does not necessarily free up storage space. If a cache is used by
another part of the sequence/project, it will not be purged.
Changing the duration of the clip, or its properties, or stacking another effect
on the clip, will require a new cache. However, CTS still tries to use any
existing caches for the parts of the clip that have not changed.
CTS also manages the creation of caches at different stages in your sequence to
ease the reprocessing and purging of caches. For more information, see Levels
of Processing on page 134.

Processing Media at Since Avid|DS is resolution-independent, you can process your clips at low
Different Qualities resolution or in compressed form during the rough cuts of your work, and
then reprocess at full resolution in uncompressed form before outputting to
tape. Working with high-quality media increases processing time, so initially,
you should process your clips at lower resolution to obtain quicker results.
When you’re ready to output the final production, you can switch back to the
higher quality media.
When you set your working preferences to a lower resolution, the clip in the
browser (or on the timeline) references the high-quality media on disk, but
produces a cache file at lower quality on your workstation. You can change
your working preferences at any time to reprocess the clip at a better quality.
The clip maintains pointers to all these media files, so you can view the
processed media at different qualities. Once you’ve completed your edits, you
can purge the clip to clear out this redundant media.
Each time you change your working qualities (resolution or compression
ratio), a separate cache file is created when you process your work. Cache files
can sometimes be very large, so you may want to delete them if you don’t need
them. This will save some of your disk space.

Avid|DS has a purge utility that lets you quickly delete unwanted
media of a specific quality. For more information, refer to Purging
Media on page 107 of the Avid|DS User’s Guide.

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Interactive Caches When you place the play cursor at a specific frame, Avid|DS automatically
processes all effects applied at this frame. This may not happen instantly as the
number and complexity of the effects may require additional computation
time. When the computation is complete, however, you can see the results on
one frame before processing all the rest. These results are stored temporarily
on disk and are known as interactive caches or memory caches.
These results are only kept temporarily to improve your interaction time
when viewing the results of effects on a frame-by-frame basis. This way, there
is no need for Avid|DS to recompute an effect when a frame is revisited.
By default, Avid|DS stores up to 200 previously visited frames on disk. As
soon as this buffer is filled, the older frames are replaced.

To view an effect on a series of frames

• Hold down the Ctrl key and click Play on the transport controls.
Avid|DS steps through each frame, creating interactive caches for each one.

Raster Mode Caches When working with paint in raster mode, the finished or burned, frames are
placed in a cache and any vector-based paint strokes or graphics objects are
“flattened” and saved with the image.
These caches are saved with your project on the disk array, and Avid|DS refers
to these caches when playing back your clips.

When working in raster mode, you cannot undo an operation once a

frame has been burned. You can, however, delete its cache file, but
this will also delete any paint strokes that you created on that frame.
For more information, refer to Working in Raster Mode on page 375 of the
Avid|DS User’s Guide.

Levels of Processing You can create complex effects by applying basic effects, transitions, and
container clips to your media. Since image effects often take time and system
resources to process, Avid|DS lets you work more efficiently by processing
your media in stages.
When you process a sequence with complex effects, you can create caches at
incremental levels. This lets you make changes to your effects at any level
without having to reprocess the entire sequence.

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 Cache Management in Avid|DS

These are the levels at which processing takes place in a sequence—clip,

audio/video track, container clip, overlay track, timeline effect track within a
container clip, layers, and top timeline.

Top timeline cache

Overlay cache created
after all overlay tracks
are composited

Clip cache

Track cache

Levels at which caches are created on the timeline

The CTS creates caches at each of these levels. This lets you move any objects
to a different position on the timeline, while ensuring real-time playback. It
also lets you process an effect and view the results without having to reprocess
any other effects on the levels below it.

There may be multiple effects applied on each of the levels. For more
information see Order of Processing for Individual Objects on page 141.

1. Clip: All clip effects are processed and their caches saved with the clip.

Multiple clip effects are

processed from bottom
to top

A source generator effect and Effects Trees applied to clips are also
considered to be a clip effects.

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2. Audio or video track: Any “same-track” transitions or track effects are

processed and their caches saved with the track. Multi-track transitions
are cached at the track level.

Stacked track effects

are processed from
bottom to top

Transition

3. Container clip: All effects and transitions applied to clips within a container
clip are processed, and their caches saved with the container clip.
With video container clips, the cache is created above any timeline effects.

Container cache saved

above timeline effect

4. Overlay track: Clips placed on overlay tracks are composited over images
on the video tracks below them. Each track has its own cache and the
overlay cache is created after all overlay tracks have been composited.
Overlay tracks are processed from bottom to top.

Overlay cache created

after all overlay tracks
are composited

5. Timeline effect track within a container clip: Effects placed on the

timeline effect track within a container clip affect all video tracks below it.
The timeline effect cache is created after all other effects on the current
timeline are processed.

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6. Layer: When you add effects in the Layers view, caches are also created for
each layer. The cache is created after all layers are composited. Layers are
processed from bottom to top. This includes Effects Trees applied to layers.

Layer cache created after

all layers are composited

7. Top timeline: Effects placed on the timeline effect track of the top timeline
are applied to all overlay and video tracks on the timeline. These effects
are processed last as they are at the top of the processing hierarchy. The
cache is created at the top timeline level.

Top timeline cache

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Creating Caches at Any You may want to create a cache file at a certain point in your clip effect stack
Level or effects hierarchy. Avid|DS lets you do this by adding a cache bar directly in
the timeline or a cache node in an Effects Tree. The cache bars and cache
nodes are “markers” that indicate where caches will be created.
Some scenarios where this might be useful are:
• Caching the results part way up a clip effect stack. For example, you can
insert the cache bar between a generated clip and a color corrector in a clip
effect stack. After processing in Complete mode, the results of the
generated clip will be available in the cache. The color corrector
parameters can now be changed without losing the intermediate cache.

The cache bar is placed between the generated clip

and a color correction effect. The cache bar is yellow,
indicating that the generated clip needs processing to
be played back in real time.

When you process in Complete mode, the cache bar

turns green and the area on the marker ribbon
disappears.

If you modify the color correction properties, the red

bar returns in the marker ribbon, but the cache bar
remains green. This means that the generated clip is
still real-time playable and that only the modifications
to the color correction effect need to be processed.

• Caching the results at any point in an Effects Tree. You can connect the
cache node to the output of any effect node in the tree, or insert it between
two nodes. After processing in Complete mode, you can view the cache
and playback its output in real time.

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 Cache Management in Avid|DS

The cache node is added to the Effects Tree and then inserted at the
point where you want to create a cache. The cache node is yellow,
which indicates that processing is required.

Once you’ve processed the effect(s) up to the cache node, it turns green. This
indicates that a cache has been created and any effects applied to your clip
below that cache can be viewed in real time.

• To avoid unnecessary processing, you should create caches after the effects
that have longer processing times.

Using the Cache Bar in the Timeline

If you have a stack of effects in the timeline, you can create caches at any point
by adding a cache bar. Cache bars, like effect bars, can be applied to a clip, track,
or timeline. You can also resize them and move them along the timeline.
Cache bars have different colors depending on whether or not the cache bar
has playable media for its entire time span. They are yellow, if any part of the
time span below the cache bar is unprocessed and they are green if a cache, or
playable media, exists for the entire time span. Even though Avid|DS may be
able to play back an effect or several effects in real time, caches bars will still be
yellow if the effects have not been processed. The cache bar remains yellow
because complex real-time effects are not always 100% real-time playable.
Once you process your real-time effects, the cache bar will turn green
ensuring playback without any frames being skipped.

Cache nodes can also be blue. They turn blue when they are sent to a
remote machine for processing. For more information, see
Processing Your Caches Remotely on page 124.
You can process the effects, composites, or transitions below the cache bar,
which creates a separate cache file. You can also purge the contents of the
cache bar or any redundant cache files below the cache bar. For more
information, see Purging Caches on page 112.

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To apply a cache bar

1. Do one of the following:
• Select a clip.
• Select a region on a track.
• Select a region on the timeline effect track.
2. Right-click on the clip or area selected and choose Add Cache from the
menu.
A cache bar is created over the clip or region you selected. The cache bar
will be green if the time span covered by the cache bar is playable in real
time. It will be yellow if processing is required.

To process a cache bar

1. Do one of the following:
• Select the cache bar and click the Process indicator in the timeline controls.
• Right-click on the cache bar and choose Process from the menu.
The Processing Options dialog box is displayed.

You can add a cache bar and process it in one step by right-clicking
on the selected clip or track and choosing Add Cache and Process
from the menu.
2. In the Process box, select the Include Real-Time Effects option.
You must select this option to ensure real-time playback for the entire time
span covered by the cache bar. If you don’t’, the cache bar will remain yellow.
3. Select the appropriate settings for the other options and click OK.
Avid|DS processes the effects below the cache bar and it turns green to
indicate that playable media exists for the entire time span covered by the
cache bar.

You can also create a clip in the browser from the cache you created.
Simply right-click on the cache bar and choose Cache to Clip from
the menu.
Using the Cache Node in the Effects Tree
If you have a complex Effects Tree, you may want to create caches at key points
throughout the tree. By adding cache nodes, you can view the result of an
effect or a combination of effects at any point in time. You can also save
overall processing time. Cache nodes work like other nodes in the tree. The
only difference is that the cache node does not contain any properties like
other effect nodes, but is simply a marker, which indicates that a cache file
exists up to that point in the tree.

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Cache nodes are either yellow or green. They are yellow if any part of the
hierarchy up to the node is unprocessed. They are green if a cache exists,
which means that they are playable in real time.

Cache nodes turn blue when they are sent to a remote machine for
processing. For more information, see Processing Your Caches
Remotely on page 124.
You can process the effects, composites, or transitions below the cache node,
which creates a separate cache file. You can also purge the contents of the
cache node or any redundant cache files below the cache node.

To apply a cache node to an effects tree

1. Open an Effects Tree.
2. Right-click in the Effects Tree view and choose Add Cache from the menu.
The cache node is displayed in the tree view.
3. Insert the cache node at the point where you want to create a cache file.

To view the results of the Effects Tree only up to the cache node,
right-click on the cache node and choose View. The cached image is
displayed in the viewer.
To process a cache node
1. Right-click on a cache node in your tree and choose Process.
2. In the Processing Options dialog box, select the appropriate settings and
click OK.
When the processing is complete, the cache node turns green and is
playable in real time.

Order of Processing for When multiple effects are applied at each level, there is a certain order in
Individual Objects which each of these effects are processed, depending on whether the effects are
on video tracks, audio tracks/mixer strips, or on layers for compositing. For
more information, see Levels of Processing on page 134.

Processing Order on Video Tracks

Before the video images are displayed (or fed into the Layers view for
compositing), this is the order in which the effects are processed:
1. Video clip effects: If they are stacked, they are processed from bottom to top.

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Chapter 4 • Processing Effects

2. Video track effects: If they are stacked, they are processed from bottom to top.

Stacked clip effects

are processed from
bottom to top

Stacked track effects

are processed from
bottom to top

Processing Order on Audio Tracks/Mixer Input Strips

Before the audio signal(s) are fed into the mixer, this is the order in which the
effects are processed:
1. Audio clip effects: If they are stacked, they are processed from bottom to top.

Stacked track effects

are processed from
bottom to top

Stacked clip effects

are processed from
bottom to top

2. Audio track effects. If they are stacked, they are processed from bottom to
top. Once all the effects on the timeline are processed, the signal from each
audio track is passed to the corresponding mixer input strip.
3. Volume, pan, and mute settings (or animation of these settings) on the
mixer input strip.
Strip effects on the mixer input strip are processed from top to bottom. When
you apply an effect to an input strip, the effect name is displayed in the strip’s
effects box. These effects are processed from top to bottom.

Stacked mixer strip

effects are processed
from top to bottom

142 • Avid|DS
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Processing Order on Layered Clips

The operations on the Layers view are processed in the following order:
1. An effect applied to a clip within the container clip.
2. An Effects Tree applied on a layer.
3. Mattes on each layer are combined to produce the resulting matte for the
layer. External mattes are processed from right to left.
4. Layer effects (keyer, graphics, DVEs, color correction effects) are
processed from top to bottom.
5. The opacity of the layer.
6. After each layer is processed, the composite and blend operations are
processed between layers from bottom to top and the opacity of the matte
is factored into the process.

1 An effect applied to a clip within the container clip

2 Effects Tree applied on a layer

3 Mattes are processed from right to left

4 Layer effects are processed

from bottom to top

5 Opacity levels for each layer

6 Composite and blend

operations are processed
between layers from
bottom to top and the
opacity of the matte is
factored into the process

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Chapter 4 • Processing Effects

About Processing There are two modes of processing in Avid|DS—Minimal and Complete. In
Modes both modes, Avid|DS processes effects down to the deepest level necessary for
playback of the current timeline. It also only reprocesses the effects properties
that have changed since the last time the clips were processed. For more
information, see Levels of Processing on page 134.

Minimal Processing
The Minimal processing mode is the most efficient when you’re in the initial
stages of editing. Minimal processing is faster since it processes just the effects,
transitions, or layers that are necessary to ensure playback at the current level.
It also creates only one cache which is saved at the level where the last effect
was processed. The only drawback to this option is that if you make changes at
a higher level, you must reprocess all the lower levels to regenerate the cache.

Complete Processing
The Complete processing mode processes all effects, transitions, or layers that
are necessary for playback at the current level. It generates caches at each level
of the timeline. Although this mode uses more disk space, subsequent
processing is more efficient since it only regenerates caches for the changed
effects or layers.
When processing in Complete mode, caches are created in this order: clip,
track, overlay track, timeline effect track. In cases where you have nested
container clips, the containers are processed starting from the deepest nested
container clip and working upwards.
This is the order in which caches are created on the timeline:

Top timeline
4 Timeline effect track
Overlay tracks
3
2 Overlay track 1
Overlay track 2
Video tracks
3 Video track 1
2
1 Video clip + effects
Video/graphics container clip
Video track 2
Audio tracks
3 Audio track 1
2
1 Audio container clip
Audio track 2

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Example: Minimal versus Complete Processing

The following example is a scenario in which a section of the timeline needs
processing. The dissolve to be processed includes part of a container clip that
has two effects. Within the container is a clip that also has an effect on it.
Top timeline

Dissolve between
clip and container
clip
Container clip
with two effects
on top of it

Inside container clip

Example: Processing a region of a container clip

In Case A, we will perform Minimal processing, and in Case B, we’ll use

Complete processing.

During processing, Avid|DS works frame by frame. It starts with the

source image on the first frame, and dynamically computes the
effects on that frame at each level of the timeline. This continues for
each frame in the sequence where an effect is applied.

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Chapter 4 • Processing Effects

Case A: Minimal Processing

Since the region to be processed includes part of a container clip, Avid|DS first
processes the effect inside the container clip. Next, the stack of clip effects
above the container clip is processed, and subsequently, the dissolve between
the two clips. The results of processing all the effects is saved in one cache at
the top timeline level.
Therefore, when you open the container clip and play its contents, you will
not be able to view the results of the effect because the cache was saved at the
top timeline.
Top timeline Region to be
Generate one and processed
only cache for all
effects at this level
1
When changes
are made here,
cache must be
Process effect stack added for all
from bottom to top levels

Process transition
inside container clip

Process clip effect

Inside container clip

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Case B: Complete Processing

With the Complete processing mode, Avid|DS creates caches at each cache
level of the timeline where an effect is processed. Avid|DS first processes the
clip effect in the container clip. It generates a cache for this clip effect. Since
there are no additional track or timeline effects applied, the track and
container caches are left empty.
The clip effects above the container clip are then processed from the bottom
of the stack to the top and stored as a clip cache.
If you later make changes to the effects on the top timeline, Avid|DS only
needs to reprocess the cache at that level. The effect inside the container clip
below it does not require processing as its cache is still valid.

Top timeline
Generate cache # 3 for Region to be
this level and add caches processed
for all other levels where
effects are applied 3
When changes
made here, cache
is simply added to
Process effect stack from 2 existing caches at
bottom to top and other levels (takes
generate cache #2 much less time)

Process transition
inside container

1
Process clip effect and
generate cache # 1

Inside container clip

Case B: Complete processing

By processing caches at different levels, you can easily purge and reprocess
effects without having to reprocess effects created at other levels. Quite often,
however, you may wonder why certain effects need to be reprocessed despite
the fact that you processed in Complete mode.

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Chapter 4 • Processing Effects

Processing Tips Avid|DS tries to avoid processing any redundant information. When it comes
across an effect, it evaluates whether or not the information is redundant on a
frame by frame basis. In most cases, processing will be required, but in some
specific circumstances, the information will be redundant, which means that
you will not have to process the effect or certain parts of the effect.
When some effects are first applied to a clip, track, or in an Effects Tree, their
properties do not modify the image and therefore should not need processing.
The same holds true if the properties of an effect are only modified over a
certain time span of the effect. In this case, only that time span that has been
modified needs to be processed.
Two general rules apply when determining which frames need to be
processed:
1. For animated effects, only the first frame needs to be processed for the
time span where property animation and the underlying clip are static.
2. For any time span of an effect where the effect properties do not change
the underlying clip in any way, no processing is needed.

Example
The following examples show you when processing is needed and when it is
not for both cases.
Case A:

Animated titles over Animated titles over

first 30 frames Static titles and last 30 frames
background

Titles are created over a generated black clip. Using a DVE, the titles fly in
over 30 frames, then remain static for three seconds, and then fly out over
30 frames. The 30 frames at the beginning and end of the clip need to be
processed, because each frame contains “new” or “different” information.
For the middle three seconds, however, only the first frame needs to
processed because the titles and background are static.
Avid|DS skips over the redundant frames because they don’t need to be
processed. Although the marker ribbon is red for the entire length of the
clip, you will notice that when you process the effect, it speeds through the
middle section since this information is redundant.

148 • Avid|DS
 Cache Management in Avid|DS

Case B:
A blur effect applied to a clip with
the radius set to 0.1. Notice that no
processing is required.

The same blur effect is applied to

the clip, but the radius is larger than
0.1. Avid|DS can no longer “pass-
through” the effect, so processing is
required

In this case, the properties have

been animated to blur in and out of
the clip. Since the properties have
only been modified at the
beginning and end of the clip,
Avid|DS can pass-through the effect
in the middle. This means that you
only have to process the parts at the
beginning and end.

Under certain conditions, the following effects do not require processing:

Effect Conditions for Pass-through

2D DVE Scaling: 100%

Rotation: 0%
Translation: 0%
Cropping: None
Border: None
Motion Blur: None
Output Frame: Off
Note: In the case of a DVE on a layer, no global DVE or
stabilizer can be applied to the layer.

Blur Radius: Less than or equal to 0.1 in both X and Y

Color Corrector Default Values

Composite Node Mute Background: On

Export Alpha: Off
Note: In a two-layer composite, with the foreground
opacity=0, results in the background being passed
through.

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Chapter 4 • Processing Effects

Effect Conditions for Pass-through

Crop Top: 0
Bottom: 0
Left: 0
Right: 0
Output Frame Size: Off

Deflicker Reference Frame: Deselected

Apply: Off
Amount and Brightness: 0
Note: Only one of these conditions must be met for either
the White or Black, but not necessarily both.

Dissolve First Input: 0

Second Input: 100
Process: R, G, B, A

Fade Amount: 100

Flicker Reference Frame: not selected

Apply: Off
Amount and Brightness: 0
Note: Only one of these conditions must be met for either
the White or Black, but not necessarily both

Frame Average Previous: 0

Next: 0

Matte Effect Output Matte: Off

Invert Matte: Off
Size: Off or Shrink/Grow is 0
Blur: Off or Amount is 0
Shapes: None or not selected
Keep Original Alpha: On

Wipe (Effect) Amount: 0

Wipe (Transition) First Input: 0

Second Input: 100
Process: R, G, B, A

For most effects, the Output Frame size option must be deselected to
avoid processing.
For multiple input effects, including transitions, the following must
be true:
• There is no pixel masking, and
• All of the channels, red, green, blue, and alpha, must be selected
for processing.

150 • Avid|DS
 Cache Management in Avid|DS

Here are some other tips you can use to make processing as efficient as possible:
• If you place one effect on top of another on a clip or track, then one cache
is created for the entire stack. If you add another effect on top of the stack,
delete one of the effects, or change the parameters of any of the effects,
they all need to be reprocessed in the time span where the change took
place—see Levels of Processing on page 134.
• Deletions or changes cannot be helped, but if you simply want to add
another effect, you can add it at the level above. For example:
You process a bubble gradient effect on a clip. Your reasoning is that since
you already have a cache, adding a real-time effect should still be real-time
playable. Remember, the cache sits on top of the effect stack.
Adding the real-time effect now “invalidates” the cache. To preserve the
cache, you should add the real-time effect as a track effect to create a cache
for it at the track level. Alternatively, you could also have made an original
gradient effect within a container. This would have created a new level.
Then adding the real-time effect over the container would make it
playable in real time.
General rule: If you do anything at a given level, the level is invalidated. To
preserve a given level, you must act at a higher level.
When you need to quickly see the results of an effect without using too much
time and storage, Avid|DS has several processing options that you can set:
• From the File menu, choose Sequence Preferences. In the Sequence
Preferences dialog box, set your Working Video Settings Resolution to
Half or Quarter VGA.
• Create cache files at key points in your Effect Trees and stack of effects
using the cache nodes and cache bars.
• In the Processing Options dialog box:
- Deselect the Update Viewer While Processing option.
- Set the Processing Mode to Minimal during first draft stages.
- Set the Granularity to Frames.
- As you get to the fine-tuning stage, or if you have a composite with
many layers at incremental levels, such as at each layer and each effect,
use Complete processing so that it creates caches at each level. This will
take longer initially but subsequent processing will be much faster as not
all caches will need to be regenerated—see About Processing Modes on
page 144.

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Chapter 4 • Processing Effects

Note that, caches are media files, and like the source media that was originally
captured, can quickly use up your system storage space. It is good practice to
delete unused caches as often as possible.
Since the CTS shares caches within a project, you may notice that purging
your caches does not necessarily free up storage space on your disk. When you
select the Purge All Cache command, you can purge all caches in the project
or keep media used in other clips or sequences.

Due to the file locking mechanism of the Windows NT operating

system, any caches that have been deleted in the current sequence
will not be deleted until you close the sequence.
For more information, refer to Purging Media on page 107 of the Avid|DS
User’s Guide.

152 • Avid|DS
Chapter 5 Image Effects

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Chapter 5 • Image Effects

In This Chapter...
Image Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
2D and 3D Titling Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
3D DVE Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
3D Warp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
AVX Host Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Blur Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Bubble Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Channel Switcher Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Color Correction Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Color Space Adjustment Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Crop Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Custom Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Deflicker Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Depth of Field Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Drop Shadow Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Edge Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Emboss Image Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Fade Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Film Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Fog Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Frame Average Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Gradient Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Graphics Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Graphics Session Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Impressionist Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Matte Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Motion Blur Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Negative Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Optical Glow Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Outsource Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Painterly Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Posterize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Premultiplication Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Radial Blur Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Reticulation Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
RGB-YUV Dither Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Ripple Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Sharpen Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Solarize Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Special Filter Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Source Generator Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Spill Correction Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Stamp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Threshold Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Warp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

154 • Avid|DS
 Image Effects

Image Effects
An image effect is a type of effect that you can apply to video clips, tracks, or
Effects Trees. Image effects also include the Impressionist, Painterly, and
source generator effects.
\Image Effects folder
These are the effects that you’ll find in the \Image Effects folder:

Effect name and location Topic

2D Titling 2D and 3D Titling Effects on page 160
\Image Effects folder

3D DVE 3D DVE Effect on page 162

\Image Effects folder

3D Titling 2D and 3D Titling Effects on page 160

\Image Effects folder

3D Warp 3D Warp Effects on page 163

\Image Effects, \Image Transitions and \Source Generators folders

Alpha Fade Fade Effects on page 209

\Image Effects folder

AVX Host AVX Host Effect on page 176

\Image Effects, \Image Transitions and \Tree Effects

Blue-Green Keyer Blue-Green Keyer Effect on page 334

\Image Effects and \Keyers folders

Blur Blur Effects on page 195

\Image Effects folder

Bubble Bubble Effect on page 179

\Image Effects folder

Channel Switcher Channel Switcher Effect on page 180

\Image Effects folder

Chroma Keyer Chroma Keyer Effect on page 341

\Image Effects folder

Color Correction Color Correction Effects on page 182

\Image Effects, \Paint\Effects and \Image Effects\Color Corrections folders

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Chapter 5 • Image Effects

Effect name and location Topic

Color Gradient Gradient Effects on page 214
\Image Effects folder

Color Space Adjustment Color Space Adjustment Effect on

page 191
\Image Effects folder

Corner Pin 4-Point Corner Pinning on page 455

\Image Effects folder

Crop Crop Effects on page 193

\Image Effects and \Image Effects\Crops folders

Custom Filter Custom Effects on page 194

\Image Effects and \Image Effects\Custom folder

Deflicker Deflicker Effect on page 200

\Image Effects folder

Depth of Field Depth of Field Effect on page 202

\Image Effects folder

Drop Shadow Drop Shadow Effect on page 205

\Image Effects folder

DVE Digital Video Effects (DVEs) on page 367

\Image Effects, \DVE and \Image Transitions folders

Edge Edge Effect on page 208

\Image Effects folder

Effects Tree Using the Effects Tree on page 43

\Image Effects folder

Emboss Image Emboss Image Effect on page 208

\Image Effects folder

Fade Fade Effects on page 209

\Image Effects and \Image Effects\Fades folders

Fade In Fade Effects on page 209

\Image Effects folder

Fade Out Fade Effects on page 209

\Image Effects folder

156 • Avid|DS
 Image Effects

Effect name and location Topic

Film Film Effect on page 210
\Image Effects folder

Fog Fog Effect on page 211

\Image Effects folder

Fractal Noise Source Generator Effects on page 244

\Image Effects folder and \Source Generators folders

Frame Average Frame Average Effect on page 213

\Image Effects folder

Gradients Gradient Effects on page 214

\Image Effects, \Image Effects\Gradients and \Source Generators folders

Graphics Graphics Effect on page 215

\Image Effects folder

Graphics Sessions Graphics Session Effects on

page 218
\Image Effects folder

HLS Keyer HLS Keyer Effect on page 353

\Image Effects or \Paint\Effects folders

Impressionist Effects Impressionist Effects on page 220

\Image Effects\Impressionist Effects folder

Linear Gradient Gradient Effects on page 214

\Image Effects, \Image Effects\Gradients,
\Source Generators and \Paint\Effects\Artistic folders
Linear Luma Keyer Linear Luma Keyer Effect on page 357
\Image Effects and \Keyers folders

Luma Keyer Luma Keyer Effect on page 361

\Image Effects and \Keyers folders

Matte Effect Matte Effect on page 224

\Image Effects and \Keyer folders

Matte Composite Effect Matte Composite Effect on page 279

\Multi-Input Effects and \Tree Effects folders

Motion Blur Motion Blur Effect on page 224

\Image Effects folder

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Chapter 5 • Image Effects

Effect name and location Topic

Negative Negative Effect on page 225
\Image Effects folder

Noise Noise Effect on page 405

\Image Effects folder

Optical Glow Optical Glow Effect on page 226

\Image Effects folder

Outsource Outsource Effect on page 228

\Image Effects folder

Painterly Effects Painterly Effects on page 231

\Image Effects\Painterly Effects folder

Posterize Posterize Effect on page 235

\Image Effects folder

Premultiplication Premultiplication Effect on page 236

\Image Effects\Custom Effects folder

Radial Blur Radial Blur Effect on page 238

\Image Effects folder

Radial Gradient Gradient Effects on page 214

\Image Effects, \Image Effects\Gradients and \Source Generators folders

Reticulation Reticulation Effect on page 239

\Image Effects folder

RGB-YUV Dither RGB-YUV Dither Effect on page 240

\Image Effects folder

Ripple Ripple Effect on page 240

\Image Effects folder

Selective Color Correction Selective Color Correction Effect on

page 186
\Image Effects and \Color Corrections folders
Sharpen Sharpen Effect on page 241
\Image Effects folder

Solarize Solarize Effect on page 242

\Image Effects folder

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Effect name and location Topic

Source Generator Source Generator Effects on page 244
\Source Generators and \Image Effects folder

Special Filter Special Filter Effect on page 243

\Image Effects folder

Spill Correction Spill Correction Effect on page 247

\Image Effects folder

Stamp Stamp Effect on page 247

\Image Effects folder

Threshold Threshold Effect on page 248

\Image Effects folder

Timecode Source Generator Effects on page 244

\Image Effects and \Source Generators folders

Warp Warp Effect on page 249

\Image Effects folder

Wipe Image Transition Effects on page 285

\Image Effects and \Image Transitions folders

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2D and 3D Titling Effects

The 2D and 3D Titling effects let you create titles using the selected clip or the
clips on the selected region of the track as a background. You can apply the 2D
and 3D Titling effects to clips and tracks.
\Image Effects folder

To apply the 2D or 3D Titling effect

1. Apply the 2D or 3D Titling effect to clips, tracks, or in an Effects Tree.
The selected clip or the clips on the selected region of the track is used as
the background for your title and the 3D DVE layout is displayed.
2. Using the Text tool, do one of the following:
• Click on the viewer. If the text cursor is active in an existing text object,
click away from the text object.

You cannot create a new text object while you’re editing the text in
an existing text object.

• Drag a box defining the text box.

The cursor or insertion point (a vertical bar) appears in the upper-left

corner of the text box.

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3. Type in the new text box.

By default, text aligns along the left edge of the text box and uses the
current text properties in the Text property editor.
In a 2D layer, the new text object becomes the frontmost object in the
scene. Clicking outside the text box or clicking another tool finishes the
creation of the text object and allows you to modify the text object or the
characters within it.
4. Type in your title.
5. In the Text property editor, adjust the properties of your title.
Click the Help icon for detailed information on the Text properties.
For more information, refer to Working with Text on page 414 of the Avid|DS
User’s Guide.

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3D DVE Effect
The 3D DVE effect lets you create 3D DVEs, such as rotating text and objects.
You can apply the 3D DVE effect to clips, tracks, or in an Effects Tree.
\Image Effects folder

To apply the 3D DVE effect

1. Apply the 3D DVE effect to a clip.
The clip is used as the texture on a DVE object, and the 3D DVE layout
and 3D DVE property editor are displayed.
2. From the Effect list, select a type of 3D DVE to use.
3. Adjust the properties in the 3D DVE property editor.
For more information, refer to Working with 3D DVEs on page 449 of the
Avid|DS User’s Guide.

Original image 3D DVE (sphere) effect

Click the Help icon for detailed information on the 3D DVE properties.

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3D Warp Effects
The 3D Warp effect lets you create your own 3D scenes in SOFTIMAGE|3D
and load them into Avid|DS. You can apply the 3D Warp effect to clips, tracks,
transitions, as a source generator, or in an Effects Tree.
\Image Effects, \Image Transitions, and \Source Generators folders.
Avid|DS provides a set of 3D animated scenes, such as page turns and a melting
screen. Depending on how you created your 3D scene in SOFTIMAGE|3D, you
can adjust some scene properties from within Avid|DS. Adjustable parameters
are displayed on the Generic property page of the 3D Warp effect.
When you process the 3D Warp effect in Avid|DS, you create the final aspect of
the 3D scene’s material definition by processing objects’ surfaces with respect
to the light source. This creates a visible surface that is shaded according to the
parameters set for material and texture attributes.

Applying 3D Warp Applying a 3D Warp effect to clips or tracks lets you composite clips together,
Effects so that you can display an image over a specified duration using a warp effect,
such as a shatter or folding sphere. If you are creating a simple composite, you
can create the 3D Warp effect on an overlay track in the Editing layout.
Applying a 3D Warp effect as a transition lets you change from one clip to
another using a warp effect, such as a page turn.

To apply a 3D Warp clip or track effect

1. On the timeline, apply a clip or track effect.
The Load Preset dialog box is displayed.
2. Select the 3D Warp effect from the Image Effects folder.
The 3D Warp property editor is displayed and an effect bar appears over
the selected clip or track on the timeline.
Click the Help icon for detailed information on the 3D Warp properties.

To apply a 3D Warp transition

1. Select the edit point between two video clips.
The selected edit point turns red.
2. From the Image Tools toolbar, do one of the following:
• Click Apply Effect and choose 3D Warp from the menu
• Click DVE. In the property editor, click the Load Preset icon. In the Load
Preset dialog box, select the 3D Warp effect from the Image Transitions folder.

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The effect’s property editor is displayed and the transition area appears as
a gradient on the activeness bar.

Transition area

The 3D Warp effect is applied as a transition between the two video clips.
Click the Help icon for detailed information on the 3D Warp properties.

Generating a You can generate a clip with a 3D scene using the 3D Warp effect.
3D Warp Clip
To generate a clip with the 3D Warp effect
1. On the timeline, select an area on which to generate a clip.
2. From the Image Tools toolbar, click Generate Clip.
The Load Preset dialog box is displayed.
3. From the Source Generators folder, select the 3D Warp effect.
A 3D Warp clip is generated on the timeline and the 3D Warp property
editor is displayed.
4. On the General property page, click New to load a 3D scene as a source
generator.
5. Load a new 3D Warp effect.

Using the 3D Warp Depending on how you apply the 3D Warp effect, its property editor will
Effect display several property pages from which you can adjust parameters to create
the effect you want.
When you apply the 3D Warp effect, the General, Timing, Generic, Masking,
and Options property pages are available. These property pages let you select
the type of 3D scene to be applied, adjust the dissolve in and out times of the
effect, adjust some 3D scene properties, choose the channels on which the
effect is applied, and speficy whether your material is frame or field-based.
When you apply the 3D Warp effect as a transition or in an Effects Tree, the
Source property page is also available from which you can adjust the effect’s
direction and opacity.

To increase performance, work in a lower resolution.

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To use the 3D Warp effect

1. Apply the 3D Warp effect to a clip or track, in an Effects Tree, as a
transition, or generate a clip using this effect.
2. On the General property page, select an effect from the Select Effect list.

Source property page

is displayed when 3D
Warp applied as a
transition or in an
Effects Tree

3. In the Rendering Switches box, select a rendering switch.

The rendering switches provide a quick method to turn on/off the global
parameters used in your 3D scene.
4. In the Preview Mode box, select the following options:
• Active while scrubbing to see the results in the viewer as you scrub the
play cursor on the timeline.
• Wireframe to view the outline of the 3D Warp effect.
• Shaded to see the shaded view of the 3D Warp effect.
5. If you applied the effect as a transition, set the edit point to the Start, End, or
Center of the transition at the top of the property editor. You can also specify
the exact number of frames for the Dur (duration) of the transition.

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6. On the Timing property page, adjust the In and Out values.

On occasion, the rendered 3D scene may not have the same quality as the
original image in Avid|DS. This can be due to different lighting, antialiasing,
etc., applied to the 3D scene in SOFTIMAGE|3D. To compensate for the
quality change, you can dissolve the first and last frames of the original
image into the 3D scene in Avid|DS over a duration of frames. You can use
the In and Out controls. This creates a smoother transition between the
original image and the 3D scene.
Adjusting the In and Out values modifies the value in the Amount box,
as well as the function curve.
7. On the Generic property page, adjust the 3D scene properties as required.

8. If you applied the 3D Warp effect as a transition, select the Source

property page and do the following:
• Use the Opacity controls to adjust the opacity of the effect. Lower values
create a transparent effect and higher values create an opaque effect.
• From the Source box, select one of the following options:
- To to apply the effect to the clip in which the transition is coming from.
For example, if you apply the Shatter effect as a transition, the clip that
you are coming from will shatter into the clip that you are going to,
leaving the clip that you are going to at the end of the effect.

Effect applied
to this clip

Results in viewer

- From to apply the effect to the clip to which the transition is going.

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The clip that you are going will shatter into the clip that you are coming
from, leaving the clip that you are coming from at the end of the effect.

Effect applied to this clip Results in viewer

Loading a New 3D Once you apply the 3D Warp effect, you can load a new 3D scene that was
Warp Effect created in SOFTIMAGE|3D to be used as a 3D Warp effect.

To load a 3D scene
1. In the 3D Warp property editor, select the General property page.
2. Click New.
The New Effect dialog box is displayed.
3. Select an Effect Category. You can select Transition, Effect, Source, or all three
categories, depending on how the 3D scene was created in SOFTIMAGE|3D.
Selecting multiple categories will add the effect as multiple entries in the
warpnames.lst file in the \Program Files\Avid\DS_v4.0\DSSystem\effectsfiles
folder. This folder is on the drive on which you installed Avid|DS.
For example, if you selected Transition and Effect, you can load the new
effect from the Select Effect list when you apply the 3D Warp effect as a
transition or effect. However, the new effect name will not appear in the
Select Effect list if you apply the 3D Warp effect as a source generator
because this option was not selected.
4. Click Browse.
5. In the Open dialog box, locate the folder that contains the 3D scene and
select it.
6. Click Open.
The Path Name and Scene Name fields in the New Effect dialog box are
updated to reflect your selection.
7. Enter a name in the Effect Name box.
8. In the New Effect dialog box, click OK.
The new 3D Warp effect is applied. The next time you apply a 3D Warp
effect, this new effect will be available in the Select Effect list.

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Creating 3D Warp You can create your own 3D warp effects in SOFTIMAGE|3D and load them
Effects in into Avid|DS to be used as a clip/track effect, source generator, or transition.
SOFTIMAGE|3D Two scene templates, template-grid.1-0.dsc and template-lights.1-0.dsc, are
included on the Avid|DS CD that form the basis of most of your 3D warp
effects. A third template, tutorial-grid.1-0.dsc, demonstrates how to create
expressions that control an object’s size from within Avid|DS.
While you don’t have to use these templates together, you will always use the
grid template, as this is the starting point for your 3D scene. With these
templates, you can easily adjust parameters to create your own effects.

Template-grid.1-0.dsc
As its name implies, this is a grid template that you use to create a 3D scene. It
was created using very specific parameters to correctly match the 3D scene to
the image in Avid|DS.

Using this template, you can create three kinds of effects for Avid|DS:
• Clip or track effects
These types of effects only require one video input in Avid|DS. The 3D
scene is keyed over the clip that is used as the background. When you create
the 3D scene for these types of effects, use one grid with a texture.

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 3D Warp Effects

• Source generators
This type of effect requires no video input in Avid|DS, as the clip you
generate is considered the video input. When you create the 3D scene for
this type of effect, use one grid with a texture. However, if you simply
want to import a 3D scene into Avid|DS, you don’t need a grid or a
texture.
• Transition effects
This type of effect requires two video inputs in Avid|DS: the foreground
and background. When you create the 3D scene for this type of effect,
make sure you copy the grid and apply two individual textures, one to
each grid. Both the foreground and background planes are rendered in
SOFTIMAGE|3D.

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To preserve the alignment at the start of the effect between the 3D scene and
the image in Avid|DS, you should not adjust the following:
• Camera
• Grid size or position
• Animation applied to the ambient and diffuse properties of the first frame

Template-lights.1-0.dsc
The template-lights.1-0.dsc template shows you how to expose parameters
used in SOFTIMAGE|3D from within Avid|DS. You don’t have to use this
template, but it provides a good example of how to expose light position
parameters in Avid|DS.
You can use the template to position key and fill lights for your scene, and to see
how the expressions were created. Each expression you create provides access to
those parameters in Avid|DS. You can add your own expressions to control
anything in SOFTIMAGE|3D that can be controlled by an expression.

Tutorial-grid.1-0.dsc
The tutorial-grid.1-0.dsc template provides a simple example of how to
expose controls in Avid|DS that control an object’s size. You can explore how
local variables in an expression interact with the model note.

Linking the Database

In order to work with the scenes included with the Avid|DS CD, you should
link to the database in the \Profiles\Avid\DS_v4.0\DSSystem\SoftDB folder
(on the drive on which Avid|DS is installed). Before linking the database, you
must share the database from your Avid|DS system. This will prevent
potential problems which may arise in SOFTIMAGE|3D because of spaces in
the names of the SoftDB parent directories.

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 3D Warp Effects

To link to the SoftDB database

1. Locate the SoftDB database in the
\Profiles\Avid\DS_v4.0\DSSystem\SoftDB folder and share it.
2. In SOFTIMAGE|3D, open DB Manager.
3. Click Link DB.
The Set Database dialog box is displayed.
4. Click Path Browser and navigate to the SoftDB database on your
Avid|DS system.
5. Click OK to return to the Set Database dialog box.
The path of the database is displayed in the Path text box and the name
“SoftDB” is displayed in the name box.
6. Click Link.
You can now open the scene in SOFTIMAGE|3D and create your own 3D
Warp effects.

Using the Grid Template

Since the grid template was designed to be used as a transition, animation has
been applied to the grid texture’s ambient and diffuse properties on the first
frame. This creates the effect of a 3D transition into another clip, without
requiring animation on the last frame. If you want to use this scene as a clip or
track effect, add animation to the last frame.

To create a 3D scene for a warp effect

1. In SOFTIMAGE|3D, select Get > Scene and open template-grid.1-0.dsc.
This scene sets the proper size, lighting, and material for the effect. The
grid also consists of a single texture that has been animated as a fade.

You can only use the standard SOFTIMAGE|3D renderer to process

the animated grid.

2. If you are creating a scene that requires two video inputs in Avid|DS, such
as a transition, copy the grid.
The grid is duplicated and DSTexture1 is applied to the grid.
3. Open the Texture Editor.
4. Replace DSTexture1 with DSTexture2.
5. Create your 3D scene.

Do not adjust the camera settings as they’ve already been set so the 3D
scene and the image in Avid|DS align correctly.

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6. The grid’s texture has been animated as a fade. If you are creating the 3D
scene for use as a clip or track effect, copy the animation on the first frame
and apply it, reversed, to the last frame.
The grid’s texture properties change the way that the texture is displayed.
It starts as a flat 2D image and changes to one with 3D highlights. You can
extend this animation to create different effects.
These are the current settings:

Flat (before) 3D shiny (after)

Texture’s animation

Texture’s animation

Grid texture

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 3D Warp Effects

Using the Light Template

The light template contains four main objects:
• An input light source (input4light).
• Two nulls with expressions (Key Light and Fill Light).
You can interactively reposition the lights in the Z axis, but you must edit
the expression controlling the lights to edit their position in the X or Y
axis. The current position is simply a starting point for you. Each null
contains an expression that defines properties that you can control from
within Avid|DS.
• A null that has a model note (WARP_PROPERTIES).
The model note lets you define the properties you can change from within
Avid|DS. The main purpose of this template is to show you how to create a
model note.

To use the light template

1. Open a 3D scene.
2. Select Get > Scene and open template-lights.1-0.dsc.
3. Edit or add your own expressions.
For more information on editing and creating expressions, refer to the
SOFTIMAGE|3D documentation.

Expression Editor

4. Edit the model note.

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Each time you create a new WARP_PROPERTIES null, be sure to

add a unique prefix. If you try to save a second null with the same
name, SOFTIMAGE|3D adds “_1” to the end of the name. If the
name has been appended, then the variables will not be accessible
from within Avid|DS.
Editing the Model Note
The WARP_PROPERTIES null holds the properties that Avid|DS will expose
to the user. As you add expressions to your scene, you need to add its
corresponding text string in the model note file. Each text string you create
will be exposed as a control in Avid|DS.

It is imperative that you do not change the name of the model note.
When Avid|DS loads the scene, it looks for a model note on an
object named “WARP_PROPERTIES”. You should, however, add a
descriptive prefix to the name, such as “LIGHTS”.
To open the model note
• Select Model > Info > Model Note, and left-click on the null
WARP_PROPERTIES.
The model note text file is displayed. The file can contain many text strings,
depending on the type of expressions you create. Each string must begin with
WARP_PROPERTY and end with END_PROPERTY. Everything in
between are variables that depend on the type of expression you create.
For example, the model note for the light template only required one
string to expose the lighting position control in Avid|DS:
WARP_PROPERTY,"LIGHTPOSITION",INPUT4,LIGHT,ETRNX,A,
FLOAT,1,9,END_PROPERTY

When editing and appending the model note, make sure you don’t
inadvertently add spaces where there should not be any. Otherwise
the variables will not be accessible from within Avid|DS.
The following table describes each parameter of the string above:

Variable Description

WARP_PROPERTY Each text string must begin with this tag.

LIGHTPOSITION The name of the scene variable as it appears in Avid|DS.

INPUT4 Prefix name of the object being affected by the expression.

LIGHT Name of the object being affected.

ETRNX The variable being affected.

A Local variable in the expression.

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 3D Warp Effects

Variable Description

FLOAT, BOOL, INT Lets you define the type of numbering that will control
the variable.
FLOAT: Defines a range from 1 to 9 including decimals. In
the light template, these numbers correspond to the
numeric keypad on your keyboard. Each number defines a
new position for the light source.
BOOL: Defines an on or off type of variable (1 or 0).
INT: Defines an integer range from 1 to 9 excluding decimals.

1 The lowest number that controls the variable.

9 The highest number that controls the variable.

END_PROPERTY Each text string must end with this tag.

You can also open the tutorial-grid.1-0.dsc file and view the model note for
this scene. It contains text strings for two controls that will be accessible from
Avid|DS (scaling for X and scaling for Y).

Avid|DS can only access the local variables of an expression (A, B, C, or

D). Therefore, only the variables that you want the Avid|DS user to have
control over must be controlled by the local variables in the expression.
Saving Your 3D Scene
Once you complete your 3D scene, be sure to save it in the SoftDB database
installed with your Avid|DS system.

Before you save the scene in the database, you should simplify it by
removing shaders and unnecessary objects to improve performance
in Avid|DS.
You should also plot the animation (trajectory, rotation, shade, and
other properties) from the Motion module, and then remove any
Persistent effects developed with the Softimage Advanced API for
Relations and Elements (SAAPHIRE) such as Ambulate, Multiped,
Kaboom, as well as any other custom effects.
To save a 3D scene into the Avid|DS database
1. Choose Save > Scene.
2. In the Save Scene dialog box, click DB List.
3. Navigate to the database on your Avid|DS system.
4. Name the scene (use a different name than that of the scene template).
Be sure to rename both the prefix and the scene name.
5. Click Save.
The scene is saved in the SoftDB database.

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Chapter 5 • Image Effects

AVX Host Effect

The AVX Host effect lets you load AVX plug-in effects and adjust the effect’s
parameters. Depending on the type of plug-in effect, you can also choose to
animate various parameters.
You can apply an AVX Host effect to clips or tracks, in an Effects Tree, or as a
transition. Depending on how you apply it, only certain effects may be
available. For example, if you apply the AVX Host effect as a transition, only
transition effects are available.
If you haven’t installed any AVX plug-in effects, then the Group/Category and
Effect lists on the Generic property page are blank.
\Image Effects, \Image Transitions, and \Tree Effects folders

Consult the vendor’s documentation on how to install and uninstall

an AVX plug-in effect. Be sure to uninstall all AVX plug-ins before
you uninstall Avid|DS.
To apply an AVX plug-in effect
1. Apply the AVX Host effect as a clip, track, or transition effect, or in an
Effects Tree.
The AVX Host property editor is displayed.
2. On the Generic property page, choose a Group/Category and an Effect.

The Group/Category box displays the list of AVX plug-in effects, by

vendor or group name, that are currently installed. The Effects box
displays the names of the effects available for the selected group.

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 AVX Host Effect

Show/Hide
plug-in list

Show/Hide effect
parameters

Animated
parameter

Animatable
parameters

After you choose an effect from the list, its parameters are displayed in the
property editor.
When you see a green box beside a parameter, it means that you can
animate the parameter. Simply set the parameter, press the green
animation button, move to the next keyframe and change the parameter,
and then press the button again. The button turns red to show the
parameter has been animated.
In some cases, the effect’s property page may also contain a button called
Open Effect UI, which lets you open a new interface for the effect.

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Chapter 5 • Image Effects

New Interface is displayed

Press Open Effect UI

3. On the Masking property page, select the channels on which you want to
apply the effect. The effect is applied only to areas of the image where the
alpha channel is not black. You can derive masks from the alpha of the
input clip or an external matte from another clip.
4. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.

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 Blur Effect

Blur Effect
The Blur effect lets you remove noise from areas of an image where color
transitions occur.
You can apply the Blur effect to clips, tracks, Effects Trees, or as a paint effect.
\Image Effects folder

Original image Blur effect

Bubble Effect
The Bubble effect lets you apply a Bubble effect to an image. The Bubble effect
simulates the Pointillist style of painting.
You can apply the Bubble effect to clips or tracks, or in an Effects Tree.
\Image Effects folder

Original image Bubble effect (size set to 5)

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Chapter 5 • Image Effects

Channel Switcher Effect

The Channel Switcher effect lets you map the selected channels (components)
of an image to other channels. You can apply this effect to clips, tracks, layers,
or in an Effects Tree.
\Image Effects folder
This effect is useful if, for example, a logo or text was created in another
application and you want to use it in Avid|DS. Most of the time, the alpha
channel and RGB channels are exported separately as RGB images from the
application. To combine both images, you need to apply a Channel Switcher
effect to the RGB image that you want to use as a matte, and then combine
both images using the Key Combiner effect.
The destination channels you choose depend on the results you expect to see.
For example, if you have a black and white RGB image that you want to use as
a matte, you already know that you should use the image’s lightness in the
alpha channel, and that you want to process the alpha channel. Therefore you
can map Lightness to Alpha.
If your image is a color image and you want to use it as a matte, you can map
the hue or green channel to alpha to achieve this result. Since the green
channel contains most of the luminance information in an image, mapping
the green channel to alpha may produce more contrast. You can experiment
to see which produces the best result.

If the RGB destination channels all have the same source channel,
the result is a grayscale image.

To convert an RGB image to an alpha channel

1. Create an Effects Tree on a layer.

Although you can apply the Channel Switcher effect directly to a clip
or track, this example shows you how to switch the RGB channels to
the alpha channel in an Effects Tree.
2. Add an RGB image that you want to use as an alpha channel.
3. Apply the Channel Switcher effect.
4. Connect the image to the Channel Switcher node.
5. Open the Channel Switcher property editor.
6. On the Masking property page, select Alpha from the Process box.
Only the alpha channel will be processed.
7. On the General property page, map Lightness to Alpha.

If the Alpha option is dimmed, be sure that Alpha is selected on the

Masking property page.

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 Channel Switcher Effect

The RGB channel is output as an alpha channel. In this case, since the
image is black and white, the lightness is mapped to alpha. However you
can remap any channels depending on the results you want.
Alpha channel

Channel
Switcher

RGB channels Output of Channel Switcher

8. Add an image that contains the RGB channels you want to combine with
an alpha channel.
9. Add a Key Combiner effect and then composite the images together—see
Key Combiner Effect on page 277.

Background
image

RGB image

Composited result

Alpha output from

Channel Switcher

Click the Help icon for detailed information on the Channel Switcher properties.

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Color Correction Effects

The Color Correction effects let you change the colors of an entire image. You
can apply these effects to clips, tracks, layers, or in an Effects Tree.
The Selective Color Correction effect is an Effects Tree that you can apply to
clips, tracks, layers, or in an Effects Tree. It lets you correct specific colors in an
image. For more information, see Selective Color Correction Effect on page 186.
There are also several preset Color Correction effects that you can apply to
your images, including Blue Duotone, Old Photo, Saturated, and Tritone. For
more information, see Monochromes on page 185.

\Image Effects, \Paint\Effects and \Image Effects\Color Corrections folders

Original image Blue Duotone Color Correction

Old Photo Saturated

Since the Color Correction effects are real-time effects, you can view the
results upon playback without having to first process the effect.

In some cases, real-time effects may require processing to ensure

that no frames are skipped. For more information, see Working with
Real-time Effects on page 71.

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Color Correction Effect The Color Correction effect lets you adjust the various aspects of an image’s
color, such as the hue, saturation, contrast, and brightness. You can adjust the
color in each of the user-defined ranges of shadows, highlights, and midtones.
\Image Effects and \Image Effects\Color Corrections folders

Using the Color Correction Effect

Once you apply the Color Correction effect, you can modify parameters to
color correct your image. Each property page is presented in the order in
which you should perform the color correction. The adjustments you make to
parameters are cumulative and applied on top of parameters on subsequent
property pages.

To color correct an image

1. Apply the Color Correction effect to a clip, track, layer, or in an Effects Tree.
2. On the Basic property page, adjust the Hue, Saturation, Gain, and
Brightness controls.
3. On the Balance property page, select the Shadows, Midtones, Highlights,
or Master options.

Luminance
ranges Color wheel

Color selector

4. On the color wheel, drag the color selector to a new color.

5. Use the Luminance controls to adjust the luminance of the selected range.

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6. On the Adjust property page, use the sliders to adjust individual Gamma,
Gain, and Offset per channel. For example, you can use the sliders to
adjust the gamma of the RGB, R, G, B, L or A.
7. On the Curves property page, select a curve to adjust from the list.
You can adjust RGB curves together, or R,G, or B individually. You can
also adjust the Luma, Alpha and Ranges curves. If you choose ranges, you
can adjust the Shadows, Midtones, and Highlights independently.
8. Adjust the curve(s) in the function curve graph.
The mappings are applied to the curves you adjust.
9. On the Masking property page, select the channels on which you want to
apply the effect. The effect is applied only to areas of the image where the
alpha channel is not black. You can derive masks from the alpha of the
input clip or an external matte from another clip.
10. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
11. Select Output Frame Size.
The effect processes and outputs pixels that fall within the frame size.
Click the Help icon for detailed information on the Color Correction properties.

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Monochromes The Monochrome color correction effects are preset color correction effects
that let you change an image’s color to a monochromatic hue.
\Image Effects\Color Corrections\Monochromes folder

Original image Monochrome Blue Monochrome Cyan

Monochrome Fuschia Monochrome Green

Monochrome Lt Blue Monochrome Magenta

Monochrome Orange Monochrome Pea Green

Monochrome Purple Monochrome Red

Monochrome Sea Green Monochrome Yellow

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Selective Color The Selective Color Correction effect is an Effects Tree preset that lets you
Correction Effect correct or change certain colors in an image. You can apply the Selective Color
Correction effect to clips, tracks, layers, or in an Effects Tree.
You can apply multiple Selective Color Correction effects to an image to
change individual colors. For example, if an image contains a man wearing a
suit and tie, you can individually change the colors of each. For that matter,
you can also change his hair and eye color using more Selective Color
Correction effects.
\Image Effect and \Color Corrections folders
Since this effect is a tree preset, you can use it without having to first create an
Effects Tree to achieve the same results. Take a closer look at the tree, and
you’ll notice that it’s comprised of several effects: Chroma Keyer, Color
Correction, and Key Combiner.
Chroma Keyer Color Corrector Key Combiner

The Chroma Keyer effect lets you create a matte for the colors you want to
affect. The Color Correction effect lets you change the color you selected as a
key color in the Chroma Keyer effect. Lastly, the Key Combiner effect lets you
combine the alpha output of your original image with the RGB output from
the keyer and Color Correction effect. For more information, see Key
Combiner Effect on page 277.

A useful feature of this effect is that you can switch between the
keyer and color corrector property editors, change values, and watch
how the resulting image is affected in the viewer.

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The following example shows you how to color correct two different areas in
an image. There are two beakers full of a green solution—you’ll make one
beaker red and the other orange.

Before selective color correction After selective color correction

To create a matte for the first beaker

1. Apply the Selective Color Correction effect to a clip.
The Selective Color Correction property editor is displayed.
2. From the Effects List, select Pick Color.
The Chroma Keyer property editor is displayed.

3. On the Key property page, click Pick Key Color.

4. Select a color in the viewer. In this case, the green color in one of the beakers.
The selected color is displayed on the color swatch.
5. Select the Output Matte option to view the matte as you create it.

Initial matte

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6. Adjust the Chroma Tolerance to define the number of colors similar to the
key color that will be keyed out. The higher the number, the more similar
colors will be keyed out. This also means that more colors will be affected
by the color change.
7. Adjust the Gain to add more opacity to the matte.
8. Adjust the Lift to add more transparency to the matte.
9. On the Matte property page, select Pick BG, and click on the background
areas of the matte in the viewer.
More transparency is added to the background. You can also use the slider
to adjust the value.
10. Select Pick FG and click on foreground areas of the matte in the viewer.
More opacity is added to the foreground. You can also use the slider to
adjust the value.

This matte is already inverted so that you can pick areas that are
actually in the background so that you don’t have to mentally
determine which is foreground and which is background.
If you reset any parameters on this property page, make sure that the
Invert option is still selected.
11. Select the Shapes property page, and draw a shape around the object
whose color you want to change. You could also draw a matte that will
block out shapes you don’t want to affect. In this case, we don’t want to
affect the second beaker, so a matte is drawn around the beaker that will
be color corrected.

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12. Select the Fill Outside option, and set its value to 0. Deselect Fill Inside.
Everything outside the matte becomes transparent.
13. On the Key property page, deselect Output Matte.
Since the rest of the effects are applied to the RGB channels, you no longer
need to see the matte.
Click the Help icon for detailed information on the Chroma Keyer properties.

To change the color of the beaker

1. From the Effects list, choose Selective Color Correction.
The Color Correction property editor is displayed.
2. Adjust the Hue until you see a pink color.
A value of 207 was used. If not all the colors are changing, go back to the
Chroma Keyer and select a higher Chroma Tolerance. You can also adjust
any other setting such as the Pick BG or Pick FG, or apply a blur to create
a more realistic color change.

3. Continue adjusting the color using the parameters on the rest of the
property pages—see Using the Color Correction Effect on page 183.

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To adjust the color of the second beaker

1. Apply a second Selective Color Correction effect to the clip.
2. Create a matte for the second beaker.
3. Draw the shape around the second beaker.

4. Change the color of the beaker above. A Hue value of 270 produces an
orange color.

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Color Space Adjustment Effect

The Color Space Adjustment effect lets you convert areas of a clip from YUV to
RGB color space by adjusting the difference in color levels that can occur due to
YUV to RGB conversion. When you import clips into Avid|DS, they are
imported in YUV color space. However, when you apply some effects or
transitions, all or part of the clip may be converted to RGB color space.
You can apply the Color Space Adjustment effect to clips or tracks or in an
Effects Tree.
\Image Effects folder
If only part of the clip is converted to RGB and the rest remains as YUV, it can
cause a difference in the clip’s levels (luminance or saturation) in areas that have
the effect, compared to areas that don’t. This is due to the color space clipping
that occurs when converting from the YUV to the smaller RGB color space.
If you notice a difference in the clip’s levels, apply the Color Space Adjustment
effect to the area of the clip that requires RGB conversion.

To adjust a clip’s color space

1. Apply the Color Space Adjustment effect to a clip or track or in an
Effects Tree.
2. On the General property page, select one of the following options:
• Clip to adjust the Y, U, and V channels.
• Adjust to change the brightness and gain of the Y channel. Use the Adjust
slider to adjust the chrominance or luminance of colors that are out of
range. Higher values affect more chrominance and less luminance; lower
values affect more luminance and less chrominance.
3. Select the Highlight option to view the pixels that are out of range:
• Red areas indicate pixels that are over the RGB limit.
• Green areas indicate pixels that are under the RGB limit.
• Blue areas indicate pixels that contain illegal YUV values.

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4. On the Masking property page, select the channels on which you want to
apply the effect. The effect is applied only to areas of the image where the
alpha channel is not black. You can derive masks from the alpha of the
input clip or an external matte from another clip.
5. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
6. Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
7. Select Output Frame Size.
The effect processes and outputs pixels that fall within the frame size.
Click the Help icon for detailed information on the Color Space
Adjustment properties.

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Crop Effects
The Crop effects let you crop an image from the top, bottom, right, or left
edges. You can apply these effects to clips, tracks, or in an Effects Tree.
\Image Effects and \Image Effects\Crops folder

Original image 14×9 Letterbox 15×9 Letterbox

16×9 Letterbox

To crop an image
• Apply a crop effect to a clip, track, or in an Effects Tree.

Unlike the Crop in the DVE, no handles are displayed in the Crop
effects. You can change the crop using the parameters on the Crop
Effects property editor.
Click the Help icon for detailed information on the Crop properties.

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Custom Effects
The Custom effects let you create custom effects and save them for future use.
A mathematical process called the “convolution operator” is used to modify
the brightness values of pixels. You can also specify an area of the image where
the custom effect will be applied. The Custom effects also include blur,
emboss, and sharpen effects.
You can apply a custom effect to all or a portion of a clip or track, or in an
Effects Tree.

\Image Effects and \Image Effects\Custom Effects folder

Original image Colorful Woodcut Evangelize

Extrude Large Intensify

Line Detection Pressed Metal

Very Super Sunny Woodcut

Click the Help icon for detailed information on the Custom Effect properties.

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Blur Effects
The Blur effects let you remove noise from areas of an image where color
transitions occur, soften an image, or simulate motion or a lack of focus.
You can apply a Blur effect to all or a portion of a clip or track, or in an
Effects Tree.

\Image Effects\Custom Effects\Blurs folder

Original image Average Double Vision

Fractured Image Motion Blur Horizontal

Motion Blur Vertical Oily Blur

Shift to Right Sketchy Blur

Small Blur Smeary

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\Image Effects\Custom Effects\Blurs folder (Continued)

Original image Smudge The Camera Bumped

Vaseline

Click the Help icon for detailed information on the Custom Effect properties.

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Emboss Effects
The Emboss effects let you give an image a raised three-dimensional look.
You can apply an emboss effect to all or a portion of a clip or track, or in an
Effects Tree.

\Image Effects\Custom Effects\Embosses folder

Original image Bright Burnish Burnish

Emboss East Emboss North

Emboss North East Emboss North West

Emboss South Emboss South East

Emboss South West Emboss West

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\Image Effects\Custom Effects\Embosses folder (Continued)

Original image Embossed Coin NE Fat Emboss NE

Fat Emboss NW Fat Emboss SE

Fat Emboss SW Flat Emboss

Gray Emboss Rigid Emboss

Click the Help icon for detailed information on the Custom Effect properties.

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Sharpen Effects
The Sharpen effects let you increase the contrast between areas of different
colors in your image.
You can apply the Sharpen effect to a clip or track, or in an Effects Tree.
\Image Effects\Custom Effects\Sharpens folder

Original image Brighten and Sharpen Crisp Edges

Click the Help icon for detailed information on the Custom Effect properties.

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Deflicker Effect
The Deflicker effect lets you correct the luminance variations in a clip, which
can vary between frames, producing an undesirable flickering effect. You can
balance the flickering by normalizing either the black or white luminance
levels or both.
In the following example, you can see the difference in the luminance levels
between the two images. Using the Deflicker effect, you can choose a frame in
which the luminance levels are correct and apply the levels to the rest of the
frames in the clip.

Lighter luminance levels Darker luminance levels

Deflicker effect

\Image Effects folder

To use the Deflicker effect

1. Apply the Deflicker effect to a clip or track, or in an Effects Tree.
A small selection rectangle (the luminance box) appears on the lower-left
side of the viewer.
2. Scrub through the clip and choose a frame that has the desired
luminance levels.
3. Select the Black property page, and position the luminance box over an
area containing the level of black to which you want to normalize the clip.

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 Deflicker Effect

You can also draw a new luminance box in the viewer by clicking
in the viewer and dragging over an area.

Selected black region

4. Click Set as Reference Frame.

The black luminance is set, and the property editor displays the reference
luminance swatch, as well as the timecode for the chosen frame.
5. Verify each frame in the clip to determine if the luminance box is in the
correct position. If the area you set for the reference frame moves from
frame to frame, you need to move the luminance box in each frame so it
covers the same area.
6. Set a keyframe on the frames on which you reposition the luminance box.

You can also use the Autokey button when you adjust the luminance
box on various frames, which automatically adds a keyframe on the
frame on which you reposition the box.
7. Repeat the above steps 2 to 6 for the White property page, if required.
8. On the Masking property page, select the channels on which you want to
apply the effect.
The effect is applied only to areas of the image where the alpha channel is
not black. You can derive masks from the alpha of the input clip or an
external matte from another clip.
9. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
Click the Help icon for detailed information on the Deflicker properties.

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Depth of Field Effect

The Depth of Field effect lets you simulate the effect of a camera lens using the
Z-depth information contained in files rendered in SOFTIMAGE|3D or
mental ray®.
In an actual camera, the focal length of the lens defines a distance at which
objects appear perfectly focused. Points that are closer or further away from
this distance plane will be out of focus.
This effect lets you create a scene where objects appear in focus in the
foreground and blurred in the background. You can also animate the effect to
similate a change in the focus.
You can apply the Depth of Field effect to clips, tracks, or in an Effects Tree.
\Image Effects folder

Blurred
region

Original image Depth of Field effect

To use the Depth of Field effect

1. Render your sequence in SOFTIMAGE|3D, making sure that you select
the Render Z Channel option in Render Setup > Options.

Render the sequence in the same resolution of the Avid|DS project

in which you’ll import the sequence.

2. Capture the .pic file sequence in Avid|DS.

The .Zpic files are loaded through the effects, so you can only capture the
.pic files.
3. Apply the Depth of Field effect to a clip, track, or in an Effects Tree.
The Depth of Field property editor is displayed.
4. On the External Data property page, click Browse, and double-click on
one of the .Zpic files.
The file name is displayed in the File Path field.

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5. In the Frame Range boxes, enter the start and end frames of your sequence.
The message “External Data Loaded” is displayed on the property page.

If you don’t enter the start and end frames, an error message is
displayed on the property page.

6. In the Resolution boxes, enter the resolution that matches that of the
working project. The status line at the bottom of the property page
confirms that the external data has been loaded correctly. If the external
data does not load correctly, one of the following messages appears in the
status line:

Message Description

External Data Loaded All data has been loaded successfully for this frame

No External Data No file name has been entered and no data has been
Loaded loaded

Error - Data File The resolution of the data file does not match the
incorrect size resolution specified in the property page

Error - File not found; Avid|DS is unable to load the data file. The file cannot
<filename> be found.

7. On the Depth of Field property page, click Pick and then click on an
object in the viewer.
This lets you choose an area that should be in focus. The Focus Plane
parameter updates to display your selection. You can also adjust the Focus
Plane manually.

Area in focus

8. Set the Focal Length.

The focal length represents the length of the simulated lens. A lens with a
short focal length will give more depth of field than one with a longer length.

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9. Set the Aperture (F-stop). The aperture respresents the relative aperture
size of the simulated camera. A low aperture value produces a shallow
depth of field where a plane appears sharply in focus and all other planes
appear blurred. A high value gives a greater depth of field and objects in
both the foreground and background appear in focus.
10. Adjust the Strength. The strength represents the scaling factor of the pixel
size of the CIrcle of Confusion.
11. Adjust the Antialiasing. Antialiasing defines the level of smoothing of
jagged edges along lines and curves. This parameter is useful when you
have two or more objects that have large differences in depth and jagged
edges appear where the object intersect.
12. Adjust the Circle of Confusion.This option lets you define the maximum
value that any pixel will be blurred into the surrounding pixels for out of
focus planes.
13. On the Masking property page, select the channels on which you want to
apply the effect. The effect is applied only to areas of the image where the
alpha channel is not black. You can derive masks from the alpha of the
input clip or an external matte from another clip.
14. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
Click the Help icon for detailed information on the Depth of Field properties.

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Drop Shadow Effect

The Drop Shadow effect lets you places a shadow behind an image wherever
the alpha value is greater than 1, as well as create a drop shadow for any image
or text that contains alpha information. You can apply the Drop Shadow effect
to clips, tracks, or an Effects Tree.
\Image Effects folder
The shape of the drop shadow comes from the alpha information, or matte, in
your image. If required, you can generate or modify the matte using graphics
or keyers.
You can move, scale, and rotate the shadow using standard DVE tools. This is
useful when you want to cast a shadow on a surface that is not parallel to the
image, for example if you want to cast a shadow on a side wall. You can also
change its color and transparency, as well as modify its softness to give it a
more realistic appearance.

Drop shadow

Drop Shadow effect

Graphics or Keyer
effect used to
create a matte

Because the Drop Shadow effect simulates a shadow cast on a background, you
should apply it to an image on the overlay track or an image in a composite.
You can also animate the drop shadow to create the impression of a changing
light source. For example, if you want the price of a product to jump towards
you, first, create the text and then animate it. You can then create a drop
shadow of the text and animate its softness, position, and scale so that the
shadow becomes blurred and distant as the clip advances and the text jumps
off the screen.
Once you’ve fine-tuned the drop shadow, you can save its properties as a
preset. For more information, see Keyer Effects on page 333 and Creating
Mattes in Chapter 8 of the Avid|DS User’s Guide.

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To create a drop shadow

1. Apply the Drop Shadow effect to a clip, track, or in an Effects Tree.
A drop shadow is created and the Drop Shadow property editor is
displayed. In the viewer, a yellow DVE image box lets you transform the
drop shadow interactively.
2. In the Output box, select the Shadow Only option from the output box if
you want to hide the foreground and reveal the shadow in the viewer.

By default, the Shadow + Foreground option is selected, allowing

you to view the image and its shadow.

3. Use the Opacity controls to adjust the transparency of the shadow.

4. In the Softness box, use the Amount controls to adjust the strength of the
blur applied to the shadow.
5. Select the Fast option for faster interaction speed.

Drop shadow without the

foreground image

6. On the DVE property page, use the DVE controls to position, scale and
rotate the shadow. You can work interactively with the image, by moving
your pointer over the viewer.
In the viewer, the shadow is transformed while the original foreground
remains intact.

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 Drop Shadow Effect

Drop shadow
DVE image box

Foreground

Drop shadow

7. If you rotate the shadow around the Y axis, use the Perspective controls to
adjust the field of view.
8. On the Color property page, adjust the color of the shadow. You can select
a color from the palette or use the controls.
9. On the Crop property page, use the controls to crop the shadow.
The shadow image is cropped while the original foreground remains intact.

You can also drag the yellow box in the viewer to crop the shadow.

10. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
Click the Help icon for detailed information on the Drop Shadow properties.

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Edge Effect
The Edge effect lets you emphasize or detect the edges in an image. You can also
use the Edge effect in the Graphics layout as either a brush or fill effect, but it is
more suited to be used as a fill. For more information, refer to Painting and Titling
on page 315 of the Avid|DS User’s Guide.
You can apply the Edge effect to clips or tracks, or in an Effects Tree.
\Image Effects folder

Original image Edge effect

Click the Help icon for detailed information on the Edge properties.

Emboss Image Effect

The Emboss Image effect gives the illusion that the image has been raised from
its surface and lit from a specific direction, making it appear three-dimensional.
You can apply the Edge effect to clips or tracks, or in an Effects Tree.
\Image Effects folder

Original image Emboss Image effect

Click the Help icon for detailed information on the Emboss Image properties.

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 Fade Effects

Fade Effects
The Fade effects let you adjust the video levels to fade in or fade out a clip. You
can specify the color from which the image fades in or to which it fades out, or
you can apply a fade to a clip’s alpha channel for compositing.
You can apply the Fade effects to clips, tracks, or an Effects Tree.
\Image Effects and \Image Effects\Fades folders
Since the Fade effects are real-time effects, you can view the results upon
playback without having to first process the effect.

In some cases, real-time effects may require processing to ensure

that no frames are skipped. For more information, see Working with
Real-time Effects on page 71.

Effect name and location Description

Alpha Fade Affects the alpha channel only
\Image Effects folder
Fade Lets you adjust the video levels to perform
\Image Effects folder fades

Fade In Creates a fade in

\Image Effects folder
Fade Out Creates a fade out
\Image Effects folder
Key 50% Sets a clip’s alpha level at 50% thereby
\Image Effects\Fades folder making it semitransparent

Key Fade In and Out Lets you fade a clip’s alpha channel in and out
\Image Effects\Fades folder
Key Fade In Lets you fade in a clip’s alpha channel
\Image Effects\Fades folder
Key Fade Out Lets you fade out a clip’s alpha channel
\Image Effects\Fades folder
Video Fade In Creates a fade in
\Image Effects\Fades folder
Video Fade Out Creates a fade out
\Image Effects\Fades folder

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Film Effect
The Film effect lets you simulate the appearance of film for footage originally
recorded on video.
You can apply the Film effect to clips or tracks, or in an Effects Tree.
\Image Effects folder

Original image Film effect

Click the Help icon for detailed information on the Film properties.

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 Fog Effect

Fog Effect
The Fog effect lets you add atmospheric fog to an animated scene. You can
specify a gradual onset of the fog, so that objects in the foreground appear less
obscured than those in the background. You can also specify at what distance
the fog begins, as well as its intensity. The Fog effect applies the simulated fog
by using the Z-depth information contained in .Zpic files rendered in
SOFTIMAGE|3D or mental ray.
\Image Effects folder

Original image Fog effect

To use the Fog effect

1. Render your sequence in SOFTIMAGE|3D, making sure that you select
the Render Z Channel option in Render Setup > Options.

Render the sequence in the same resolution as the Avid|DS project in

which you’ll import the sequence.

2. Capture the .pic file sequence in Avid|DS.

The .Zpic files are loaded through the effects, so you can only capture the
.pic files.
3. Apply the Fog effect to a clip, track, or in an Effects Tree.
The Fog property editor is displayed.
4. On the External Data property page, click Browse and double-click on one
of the .Zpic files.
The file name is displayed in the File Path field.
5. In the Frame Range boxes, enter the start and end frames of your sequence.
The message “External Data Loaded” is displayed on the property page.

If you don’t enter the start and end frames, an error message is
displayed on the property page.

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6. In the Resolution boxes, enter the resolution that matches that of the
working project. The status line at the bottom of the property page
confirms that the external data has been loaded correctly. If the external
data does not load correctly, one of the following messages appears in the
status line:

Message Description

External Data All data has been loaded successfully for this frame.
Loaded

No External Data No file name has been entered and no data has been
Loaded loaded.

Error - Data File The resolution of the data file does not match the
incorrect size resolution specified in the property page.

Error - File not Avid|DS is unable to load the data file. The file cannot
found; <filename> be found.

7. On the Fog Effect property page, create a color for the fog by adjusting the
Red, Green, and Blue parameters.
By default Red, Green, and Blue are set to 100 creating a white fog color.
8. Set the Maximum Depth. You can set the depth at which the fog reaches
maximum intensity. The intensity of the fog increases linearly from the
Start Distance to the Maximum Depth.
9. Set the Start Distance. This lets you specify the distance from the
simulated camera at which the fog begins.
10. Adjust the opacity of the fog using the Opacity controls.
This lets you control the thickness of the fog. A value of 1 represents total
opacity and a value of 0 represents total transparency.
11. On the Masking property page, select the channels on which you want to
apply the effect. The effect is applied only to areas of the image where the
alpha channel is not black. You can derive masks from the alpha of the
input clip or an external matte from another clip.
12. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
Click the Help icon for detailed information on the Fog properties.

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 Frame Average Effect

Frame Average Effect

The Frame Average effect lets you create trails, motion blurs, and perform
noise removal on video clips. You can set the number of previous and next
frames to combine to create a new frame.
For example, if you select one previous frame and one next frame, then the
current frame will become an average of the current frame plus the previous
and next frames. This effect is applied to all frames in the clip.
You can apply the Frame Average effect to clips or tracks, or in an Effects Tree.
\Image Effects folder

To use the Frame Average effect

1. Apply the Frame Average effect to a clip or track, or in an Effects Tree.
2. On the General property page, set the number of Previous and Next
frames to be combined with the current frame.
3. From the Compositing Mode list, select a mode.
For example, when you select Average, the previous and next frames are
averaged into the current frame. If you set a value of 1 for previous and
next, then three images are displayed at the current frame.

Previous = 0 Next = 0 Previous = 1 Next = 0 Previous = 1 Next = 1

4. Select one of the following options:

• Repeat the first/last frame to use the value set in Next (for the first frame),
since there is no first frame and Previous (on the last frame).
• Use a solid color to use a solid color to combine with the first/last frames.
5. On the Masking property page, select the channels on which you want to
apply the effect. The effect is applied only to areas of the image where the
alpha channel is not black. You can derive masks from the alpha of the
input clip or an external matte from another clip.
6. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
Click the Help icon for detailed information on the Frame Average properties.

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Gradient Effects
The Gradient effects let you create gradual transitions between colors in an
image. The gradient effects can also be used to highlight or accent important
areas of an underlying image.
You can apply the Gradient effects to clips and tracks, in an Effects Tree, or use
them as source generators to create gradient backgrounds.
\Image Effects, \Image Effects\Gradients and \Source Generators folders

Effect name and location Description

Alpha Ramp - Bottom Top Affects the alpha channel only
\Image Effects\Gradients

Alpha Ramp - Left Right Affects the alpha channel only

\Image Effects\Gradients

Alpha Ramp - Right Left Affects the alpha channel only

\Image Effects\Gradients

Alpha Ramp - Top Bottom Affects the alpha channel only

\Image Effects\Gradients

Color Gradient Creates a gradual transition between

two, three, or four colors in an image.
\Image Effects, \Image Effects\Gradients and \Source Generators
Linear Gradient Generates a blend of up to 20 strips of
color that can have arbitrarily set widths
\Image Effects, \Image Effects\Gradients and \Source Generators
Radial Gradient Creates a transition between several
rings of color
\Image Effects, \Image Effects\Gradients and \Source Generators
Transparent Affects the alpha channel only
\Image Effects\Gradients

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 Graphics Effect

Graphics Effect
The Graphics effect lets you access the Graphics layouts and create graphics or
titles. You can then use any of the tools or effects found in the Graphics layouts.
You can apply the Graphics effect to clips, tracks, layers, and in an Effects tree.
\Image Effects folder

To use the Graphics effect

1. Select a clip from the timeline and do one of the following:
• From the Image Tools toolbar, click Apply Effect and choose Graphics
from the menu.
• From the taskbar, click the Graphics layout icon.

Make sure the play cursor is over the clip or you cannot switch to the
Graphics layout.

The Graphics effect is applied to the clip and the Graphics layout is displayed.

Creating Rolls and A roll or crawl typically contains the titles or credits of a program. You can
Crawls create a traditional roll in which a title moves from the bottom of the screen to
the top, or a traditional crawl in which a title moves from the right of the
screen to the left. Single or multiple titles can be used for a roll or crawl.
You create rolls or crawls by using the Graphics property editor. This lets you
quickly and easily create standard rolls or crawls that involve few titles. When
you do this, the time span of the titles change to match the duration of the
graphics session.
You can also create the animation manually by using the Animation Key icon
to set individual keyframes. This method lets you create a complex roll or
crawl that involves many titles that start and end in different locations. You
can also include paint strokes in a roll or crawl.

When you create a roll or crawl, the entire duration of the clip
is used.

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To create a roll or crawl

1. From the GFX Creation toolbar, click Text to create a text body.
2. Click the viewer and type in some text.
3. When you’re done, select the text body.
4. From the General toolbar, click Graphics Properties.

5. In the Graphics property editor, select one of the following options from
the Motion box:
• Roll to create a roll.
• Crawl to create a crawl.
6. In the Start Position box, select one of the following options:
• Onscreen to start the roll or crawl on the screen.
• Offscreen to start the roll or crawl off the screen.
7. In the End Position box, select one of the following options:
• Onscreen to end the roll or crawl on the screen.
• Offscreen to end the roll or crawl off the screen.
8. To guarantee optimal quality when building rolls/crawls, select the
Standard Speed option.
9. Click Build Motion.
The title’s transformation is animated.

216 • Avid|DS
 Graphics Effect

10. To apply an automatic fade, roll, and crawl animation only on selected
Graphics objects, select the Apply to Selection option.
11. To modify the transformation properties of the title, select the title, and
do one of the following:
• From the graphics property tree, open the Transformations property
editor, and modify the values.
• From the View menu, choose Views > Animation Editor. Select the
Transformation property and adjust the function curve
Click the Help icon for detailed information on the Graphics properties.

Creating a Fade You can automatically create fades by using the Graphics property editor.
When you apply a fade to a graphics object, its time span changes to match the
duration of the graphics session. In addition, the existing opacity settings for a
stroke (brush and fill) and text body (edge, face, shadow) are overwritten with
the new fade values.

To fade an object
1. From the Graphics Tools toolbar, select a drawing tool.
2. In the graphics property tree, define the properties for your tool.
3. Create an object in the viewer.
4. Move the object to the desired fade-in position.
5. From the General toolbar, click Graphics Properties.
6. In the Fade box, set the In and Out values in frames.
7. Click Build Fade.
The object’s opacity properties are animated.
8. To modify the opacity properties of the object, select the object and adjust the
Opacity controls on the Paint Style, Brush, and Titling Style property editors.
Click the Help icon for detailed information on the Graphics properties.

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Chapter 5 • Image Effects

Graphics Session Effects

The Graphics Session effects are presets that let you create various effects. For
example, you can create a blur in or blur out effect, which affects the graphics
object’s opacity and size over time. You can also create simple rolls and crawls,
as well as “countdown” clocks.
You can apply the Graphics Session effects to clip and tracks.
\Image Effects folder

Effect name and location Description

16×9 Letterbox Crops an image from the top and

\Image Effects\Graphics Sessions bottom, creating a 16×9 pixel ratio

Blur In Creates a blur effect in which a text

\Image Effects\Graphics Sessions body or graphics object decreases in size
while its opacity is increased
simultaneously

Blur Out Creates a blur effect in which a text box

\Image Effects\Graphics Sessions or graphics object grows in size while its
opacity is reduced simultaneously

Count Down Creates a “countdown” clock effect

\Image Effects\Fades\Graphics Sessions that you can use as a track or clip effect

Fade In Creates a fade where a title or graphics

\Image Effects\Graphics Sessions object changes from 0 to 100 percent
opacity

Fade Out Creates a fade where a title or graphics

\Image Effects\Fades\Graphics Sessions object changes from 100 to 0 percent
opacity

Shinny Creates a shiny, glowing appearance

\Image Effects\Fades\Graphics Sessions

Simple Crawl Creates a crawl in which a title moves

\Image Effects\Fades\Graphics Sessions from the right of the screen to the left

Simple Roll Creates a roll in which a title moves from

\Image Effects\Fades\Graphics Sessions the bottom of the screen to the top

Sun & Flares Adds a sunny flare-like spot to a track

\Image Effects\Fades\Graphics Sessions or clip

218 • Avid|DS
 Graphics Session Effects

To use a Graphics Session effect

1. In the Graphics layout, do one of the following:
• From the General toolbar, click Graphics Properties.
• In the timeline, right-click on the graphics effect bar and choose Effect
Properties from the menu.

Effect bar

2. In the Graphics property editor, click the Load Preset icon.

3. In the Load Preset dialog box, select a graphics session effect from the
\Image Effects\Graphics Sessions folder.
Click the Help icon for detailed information on the Graphics Session properties.

Applying the Count Down effects

You can use the Count Down effect as a clip or track effect. You can, for
example, apply the effect as a clip effect over your own clips, using them as an
identifier for your company.

To apply the Slate or Slate Clock effects

1. On the timeline effect track, drag to select a 10-second region in front of
your material.

A fast way to do this is to activate Ripple, select the first clip on

the timeline, and enter 1000+ in the S (start) timecode box on the
status bar.
2. Do one of the following:
• Right-click on the upper area of the track and choose Add Timeline Effect
from the menu.
• Press the apostrophe (‘) key.
3. In the Load Preset dialog box, browse through the folders. Select Slate or
Slate (clock) from the \Image Effects\Graphics Sessions folder.
These graphics session effects contain a countdown from 10 to 2, with two
seconds of black.

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Chapter 5 • Image Effects

Impressionist Effects
The Impressionist effects are presets that let you add artistic effects to your
images. These effects resemble traditional fine-arts media, such as chalk,
charcoal, crayon, and pencil.
You can apply the Impressionist effects to clips, tracks, or an Effects Tree.

\Image Effects\Impressionist folder

Chalk Bright Chalk Chunky Chalk Detailed
Strokes on Black Strokes Opaque Strokes

Chalk Faithful Chalk Fine Chalk Heavy

Scribbles on Embossed
Black
Chalk Medium Chalk Medium Chalk Powerful
Coverage Coverage Strokes on Black
Colored Colored
Chalk Rough Chalk Sketch Chalk Sketch
Textured Colorful Half Finished
Abstract
Chalk Sketch Chalk Sketch on Chalk Sketch on
Monochrome Fine Laid Paper Heavy Laid
Paper
Chalk Sketch Chalk Sketch Chalk Sketch
Rough Soft Soft
Monochrome
Chalk Sketch Charcoal Colored Charcoal
Detailed Pastels Scratches on Colored Soft
Black Scribble
Charcoal Dark Charcoal Fine Charcoal Heavy
Transparent Scribble Stamped

Charcoal Long Charcoal Rough Charcoal Soft

Strokes on Black Bleached Fresco Contrasty
Sketch
Charcoal Charcoal Stroke Charcoal
Stamped Tonal Sized by Textured Sketch
Brightness on Yellow
Conte Contrasty Conte Faithful Conte Smudged
Rough Monochrome

Conte Textured Conte Crayon

Colored Stick Unsmudged Distressed
Monochrome Fresco Rubbing1
Crayon Crayon Lino Crayon Short
Distressed Fresco Chatter Choppy Strokes
Rubbing2

220 • Avid|DS
 Impressionist Effects

\Image Effects\Impressionist folder (Continued)

Geometric Geometric Geometric
Boiling Shiny Bumps and Chaotic Chrome
Bubbles Craters Impressions
Geometric Geometric Glass Geometric
Colored Bubbles Patches Halftone Dots
Mosaic
Geometric Geometric Geometric Jaggy
Halftone Lines Halftone Glass
Squares
Geometric Geometric Geometric
Melting Metallic Metallic Buttons Pillows Bas
Buttons Relief
Geometric Geometric Geometric
Pillows Glass Pillows Large Pillows Small
Chrome Chrome
Geometric Poker Geometric Geometric TV
Chips Raised Dots Screen

Ink Colored Line Ink Colored Ink Scratchy Pen

Pen Screen on Black on Black

Ink Detailed Ink Spiderweb Marker Burlap

Colored Stipple Crosshatch Impression

Marker Large Marker Opaque Marker Opaque

Strokes on Crosshatch on Black
White
Marker Opaque Marker Rough Marker Small
Strokes Textured Tonal Strokes on
Sketch White
Marker Textured Natural Cloth Natural Crushed
Sepia Tonal Scraps Gum Mosaic

Natural Crushed Natural Gauze Natural Gum

Herbs Underlay Grid

Natural Particle Natural Quilt1 Natural Quilt2

Board

Natural Snake Natural Tapestry Natural Tied

Grass Mosaic

Natural Tinfoil Natural Tinfoil Natural Tinfoil

Colorful Opaque Radial

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Chapter 5 • Image Effects

\Image Effects\Impressionist folder (Continued)

Natural Wild Paint Angled Paint Craquelure
Cave Painting Scribbles Surface

Paint Dry Brush Paint Dry Brush Paint Dry Brush

Angled Grid Dense Sticks Grid

Paint Dry Brush Paint Dry Brush Paint Dry Brush

Jumble Junk Pile Scrappy Sketch

Paint Dry Brush Paint Eggshell Paint Fine Brush

Sparse Sticks Crackle Hairs

Paint Paint Paint Free Daubs

Fingerpaint Fluorescent
Palette Knife
Paint High Paint Hot Swirl Paint Linear
Contrast Collage Brush

Paint Old Brush Paint Radically Paint Smudges

Stamp Colored Mica Antique
Chips
Paint Smudges Paint Smudges Paint Smudges
Mosaic Soft Paper Soft Paper

Paint Smudges Paint Vegetable Pencil

Square Pigment Crosshatch
Horizontal Detailed
Pencil Pencil Crosshatch Pencil
Crosshatch Radically Colored Crosshatch
Heavy Rough Silverpoint
Pencil Pencil Crosshatch Pencil Distressed
Crosshatch Softened Japanese Paper
Smudges Smudges
Pencil Scribble Pencil Scribble Pencil Scribble
Grid Halftone on Original

Pencil Scribble Pencil Scribble Pencil Sketch

Swirl (Sketch) Blurry Detailed Colored

Pencil Sketch Pencil Sketch Pencil Sketch

Detailed Soft Detailed Soft Light
Monochrome
Pencil Soft Pointillist Pointillist Small
Opaque Embossed Daubs
Daubs

222 • Avid|DS
 Impressionist Effects

\Image Effects\Impressionist folder (Continued)

Pointillist Sparse Stamp Stamp Crown
Colored Cardboard Glyph
Fresco
Stamp Dry Rag Stamp Stamp Potato on
Embossed Black
Herbal
Stamp Small Stamp Sponge Stamp Sponge
Torn Scraps Daubs Angled Daubs Fine

Stamp Sponge Stamp Textured Sumi-e Colored

Daubs Rough Gouache Strokes on Gray

Sumi-e Dry Sumi-e Fine Sumi-e Strokes

Strokes on Ghost Brush Mosaic
Pitted Stone
Sumi-e Texture Texture
Translucent Crosshatch Web Crosshatch Web
Strokes on White Color Monochrome
Texture Floral Texture Fossil Texture Maze1
Blanket

Texture Maze2 Texture Twenty Texture Vegas

Twenty

Watercolor Watercolor Damp Watercolor Soft

Damp Translucent Wash Daubs on Fine
Translucent Paper
Watercolor Soft Watercolor Watercolor
Water Sketch Spatter Spatter Colorful

Watercolor Watercolor
Spatter Watery Spotty Brush on
Rough Paper

Click the Help icon for detailed information on the Impressionist properties.

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Chapter 5 • Image Effects

Matte Effect
The Matte effect lets you clean specific areas of an existing matte or create a
new matte for an image. This effect is useful if you import a clip that has a
matte in its alpha channel, but the matte requires touching up.
Using the shape tools, you can create a garbage matte and, if necessary, track
the shapes using the shape tracking tools. For more information, see Using the
Shape Tracker on page 443.
You can apply the Matte effect to clips, tracks, layers, or in an Effects Tree.
\Image Effects and \Keyers folders

The Matte property editor contains three of the same property pages
as the Blue-Green Keyer property editor. Once you apply the effect,
you can use the same methods to clean your matte as you would
using the Blue-Green Keyer property editor. For more information,
see Using the Blue-Green Keyer on page 334 of this guide and
Creating Mattes on page 378 of the Avid|DS User’s Guide.
Click the Help icon for detailed information on the Matte properties.

Motion Blur Effect

The Motion Blur effect lets you simulate the effect of motion in an image.
Applying a straight, unidirectional blur to the image creates the simulation.
The result of this effect is similar to a moving object that has been
photographed with a slow shutter speed. This effect works by simultaneously
shifting pixel values in a straight direction and blurring them together.
You can apply the Motion Blur effect to clips or tracks, or in an Effects Tree.
\Image Effects folder

Original image Motion Blur effect

224 • Avid|DS
 Negative Effect

Negative Effect
The Negative effect reverses the colors in your image.
You can also use the Negative effect in the Graphics layout as either a brush or
fill effect, but it is more suited to be used as the fill.
You can apply the Negative effect to clips, tracks, or in an Effects Tree.
\Image Effects folder

Original image Negative effect

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Chapter 5 • Image Effects

Optical Glow Effect

The Optical Glow effect lets you define different lighting effects for images.
This effect is useful when you want to give an object the appearance that it’s
radiating light or heat. You can adjust the overall diffusion parameters, and
then fine-tune areas that contain white or black.
You can apply this effect to clips, tracks, or in an Effects Tree.
\Image Effects folder

Original image Optical Glow effect is applied

(note diffused areas)

To create an optical glow effect

1. Apply the Optical Glow effect to a clip or track, or in an Effects Tree.
The Optical Glow property editor is displayed.
2. On the General property page, use the Level controls to set the amount of
overall diffusion.
The level of overall diffusion is applied to the entire image.
3. Use the Mix controls to set the percentage of overall diffusion.
The mix determines the percentage of diffusion (specified in the Level
controls) added to the entire image.

226 • Avid|DS
 Optical Glow Effect

4. Use the controls in the Color Correction box to adjust the amount of gain
and brightness applied to the entire image.
5. Use the Amount controls to adjust the percentage of the original image
that is added to the diffused image.
6. On the Black Diffusion property page, use the controls to specify the black
diffusion parameters.
7. On the White Diffusion property page, use the controls to specify the
white diffusion parameters.
8. On the Masking property page, select the channels on which you want to
apply the effect. The effect is applied only to areas of the image where the
alpha channel is not black. You can derive masks from the alpha of the
input clip or an external matte from another clip.
9. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
Click the Help icon for detailed information on the Optical Glow properties.

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Chapter 5 • Image Effects

Outsource Effect
Certain shots in your sequence may require specific touch ups in another
application. The Outsource effect lets you output an area of the timeline in
the file format of your choice, while keeping a link to the exported files. This
makes it easy to bring the files back into Avid|DS when the work in the
external application is complete. All you have to do is apply the Outsource
effect, specify a file format, and then export the file. When the work is
complete, you can update the link to these files from within the Outsource
property editor. Any changes made to the file(s) are displayed in the viewer.
Just like any other linked file, you have to process the effect to play the area on
the timeline in real time.
When you apply the Outsource effect in a stack of effects or as part of an
Effects Tree, the image, including the effects below the Outsource effect, will
be output to file.
You can apply this effect to clips, tracks, or an Effects Tree.
\Image Effects folder

To apply the outsource effect

1. Apply the Outsource effect to a clip or track.

228 • Avid|DS
 Outsource Effect

2. On the General property page, click Add to create an application preset.

The Add New Application dialog box is displayed.

3. Type in the name of the external application you plan to use in the
Application Name text box.
4. Assign a file type to the external application by selecting a file format from
the Default Export Format list.
5. Click OK to save the preset.
The application preset is now available from the 3rd Party Application list.

Preset available
from 3rd Party
Application list.

6. Type a name for your file in the File Name text box.
7. A location for the file is created by default. You can change the defualt
location by clicking the browse button and selecting a new folder.

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Chapter 5 • Image Effects

8. Click Export to output the area on the timeline to file. If you are exporting
a series of frames several files are created. The files are named as follows:
Filename0.psd, Filename1.psd, and so on.
9. Touch up the file or series of files in the external application.

You can use the Open in Explorer button to open Windows NT

Explorer directly to the location where the file(s) is located.

10. When the work is done, click Update to update the link to the file(s).
Any changes made to the file(s) are displayed in the viewer.
11. On the Options property page, select one of the following options from
the Process box:
• Frame if your material is frame-based, such as static images or 30-fps
computer-generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
12. Process the effect to generate a cache, so you can play the area on the
timeline in real time.
Click the Help icon for detailed information on the Outsource effect properties.

230 • Avid|DS
 Painterly Effects

Painterly Effects
The Painterly effects let you create a wide variety of effects which simulate
artistic media, such as charcoal, colored pencil, conte crayon, graphic pens,
and palette knives.
You can apply the Painterly effects to clips and tracks, or in an Effects Tree.

\Image Effects\Painterly Effects folder

Effect name Description
Accented Edges Adds accents to the edges in an image

Angled Strokes Applies diagonal strokes to the image

Bas Relief Makes an image appear as if it has been carved in

low relief and lit to show the surface modulations

Chalk and Draws the image onto a solid mid-gray background

Charcoal

Charcoal Draws the image onto a surface that resembles

rough, textured paper

Chrome Creates a highly polished, smooth chrome surface

Colored Pencil Draws the image with colored pencils on a solid

background

Conte Crayon Creates the appearance that an image was drawn

with conte crayon on a texture of your choice

Craquelure Draws the image onto a high-relief plaster surface,

producing a fine network of cracks that follow the
contours of the image
Crosshatch Draws an image with the appearance of fine
crosshatching throughout

Cutout Makes an image appear as though it was made

from roughly cut pieces of colored paper

Dark Strokes Draws the image with diagonal black-and-white

brush strokes

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Chapter 5 • Image Effects

\Image Effects\Painterly Effects folder (Continued)

Effect name Description
Deterministic Creates a stable, regular noise pattern
Noise

Diffuse Glow Draws an image as if it is being viewed through a

soft diffusion filter

Drybrush Draws the edges of the image using a dry brush

technique

Film Grain Adds the appearance of photographic grain to

the image

Fresco Draws the image in a coarse painting style with

short, rounded, hastily-applied daubs

Glass Distorts an image as if it is being viewed through a

refracting glass surface

Glowing Edges Enhances the edges of an image with bright

glowing colors

Grain Adds a wide variety of grain types to an image

Graphic Pen Uses fine linear ink strokes to capture details in the
original image

Halftone Screen Draws the image as if it has been printed using a

halftone screen

Ink Outlines Draws an image with fine lines around the

original details

Mosaic Draws an image as if it was composed of small

squares or tiles laid down on a flat surface

Neon Glow Adds various types of glow to the objects in

an image

Note Paper Draws an image as if it was cut from a sheet of

note paper

232 • Avid|DS
 Painterly Effects

\Image Effects\Painterly Effects folder (Continued)

Effect name Description
Paint Daubs Creates an image in a wide variety of
paintbrush styles

Palette Knife Lets you create an image with rough smears of color
that appear to have been made with a palette knife

Patchwork Gives the image the appearance of quilted fabric

Photocopy Makes an image appear as if it has been photocopied

Plaster Makes the image appear moulded from three-

dimensional plaster

Plastic Wrap Alters an image so that it appears to be shrink-

wrapped or coated in shiny plastic, with the
surface detail accentuated
Polar Distorts the image by converting rectangular
Coordinates coordinates to polar coordinates

Poster Edges Reduces the number of color shades in the image

and adds dark lines along the edges

Rough Pastels Creates an image using strokes of colored pastel

chalk on a textured surface

Scatter Noise Displaces individual pixels which dither the

original image

Smudge Stick Uses short, diagonal strokes to smudge or smear

the darker areas of the image

Spatter Paints the image in a Pointillist painting style using

a spatter airbrush technique

Spherize Geometrically distorts an image in a circular shape

Sponge Makes the image appear to have been painted

with a sponge

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Chapter 5 • Image Effects

\Image Effects\Painterly Effects folder (Continued)

Effect name Description
Sprayed Strokes Creates an image with disjointed, sprayed strokes
of adjustable length and orientation

Stained Glass Makes an image appear to be a piece of stained

glass that is lit from behind

Sumi-e Creates an image in the Japanese sumi-e ink

painting style

Texturizer Integrates a surface texture with an image

Torn Edges Makes the edges of objects in an image appear like

torn paper

Twirl Swirls the image as though a whirlwind was

sucking the image toward its center

Underpainting Paints an image onto a textured surface

Watercolor Paints the image on smooth paper using a medium

brush loaded with water and color

Waterpaper Creates an image with blotchy daubs that appear

to have been painted onto damp paper

Click the Help icon for detailed information on the Painterly properties.

234 • Avid|DS
 Posterize Effect

Posterize Effect
The Posterize effect lets you reduce the number of color samples in an image
and select the channels on which the effect is applied.
You can apply the Posterize effect to clips, tracks, or an Effects Tree.

When you apply this effect as paint effect, only the parameters of the
General property page are available.

\Image Effects folder

In the following example, the Posterize effect is applied to the RGB channels
with the sampling set to 8. This means that the RGB channels will be reduced
to 8 samples.

Original image Posterize effect (8 samples)

Click the Help icon for detailed information on the Posterize properties.

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Chapter 5 • Image Effects

Premultiplication Effect
The Premultiplication effect lets you change a clip’s premultiplication state.
When you import material into Avid|DS, you should specify whether the
material is premultiplied or not. However, if you didn’t set the
premultiplication state when you imported the material, or a clip’s
premultiplication was incorrectly set, you can apply the Premultiplication
effect to change the clip’s state.
The Premultiplication effect also lets you change a clip’s premultiplication
state without having to first create a graphics container clip.
You can apply the Premultiplication effect to clips, tracks, or in an
Effects Tree.
For more information, see Working with Premultiplied Images on page 103.
\Image Effects\Custom Effects folder

To apply the Premultiplication effect

1. Apply the Premultiplication effect to a clip or track, or in an Effects Tree.
2. From the Premultiplication property editor, select one of the following options:
• Pre-multiplied to change the clip to premultiplied.
• Not Pre-multiplied to change the clip to not premultiplied.
• Auto to maintain the clip’s current premultiplication state.

Original image (note line around balloon) Premultiplication effect

236 • Avid|DS
 Premultiplication Effect

3. On the Masking property page, indicate whether or not you are using a
mask for the effect. By default, the effect is applied to the RGB channels.
You can derive masks from the alpha of the input clip or an external matte
from another clip.
4. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
• Click the Help icon for detailed information on the Premultiplication
properties.

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Chapter 5 • Image Effects

Radial Blur Effect

The Radial Blur property editor lets you apply a circular blur effect to an
image. It works by simultaneously shifting pixel values in a circular direction
and blurring them together. You can achieve various effects by applying a
filter, and varying the extent and direction (angle) of the blur, as well as its
opacity and its location.
You can apply the Radial Blur effect to clips, tracks, or an Effects Tree.
\Image Effects folder

Original image Radial Blur effect

Click the Help icon for detailed information on the Radial Blur properties.

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Reticulation Effect
The Reticulation effect lets you simulate the shrinking and distortion of
photographic film emulsion. This effect processes the darker areas of the
image with dense clumps of dark emulsion, and the lighter areas with a light
stippling of grain.
By default, this effect produces a monochrome (grayscale) image, but you can
apply separate colors to the current foreground and background colors to
color the final result.
You can apply the Reticulation effect to clips, tracks, or an Effects Tree.
\Image Effects folder

Original image

Reticulation effect (monochrome) Reticulation effect (color)

Click the Help icon for detailed information on the Reticulation properties.

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RGB-YUV Dither Effect

The RGB-YUV Dither effect applies a filter to an image in order to avoid
banding due to RGB-YUV conversions. Use this effect if you are working with
RGB material that you created from within Avid|DS or if you are using linked
clips and banding appears after processing. Once you apply the effect, the
results are automatic.

Banding usually appears on smooth grayscale or color gradients. Use

this effect if banding occurs after processing. Apply it as the last
possible effect (topmost if you stack multiple effects). Stacking
multiple RGB-YUV Dither effects will create undesirable artifacts.
You can apply the RGB-YUV Dither effect to clips, tracks, or an Effects Tree.
\Image Effects\Custom Effects folder
Click the Help icon for detailed information on the RGB-YUV Dither properties.

Ripple Effect
The Ripple effect lets you add randomly-spaced ripples to the image’s surface,
making the image appear as if it is under water and being rippled by the wind.
You can apply the Ripple effect to clips, tracks, or an Effects Tree.
\Image Effects folder

Original image Ripple effect

Click the Help icon for detailed information on the Ripple properties.

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Sharpen Effect
The Sharpen effect lets you sharpen an image. You can sharpen the entire
image or just the edges. This effect works by finding adjacent pixels with
differing color values and adjusting these values to increase the difference
between them.
You can also use the Sharpen effect as a brush or fill effect in a graphics
session, but it is more suited to be used with fill.
You can apply the Sharpen effect to clips, tracks, or an Effects Tree.
\Image Effects folder

Original image Sharpen effect

Click the Help icon for detailed information on the Sharpen properties.

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Solarize Effect
The Solarize effect lets you invert RGB or HLS values. You can mix between
the original and the inverted image. You can also apply the effect to the RGB
and/or alpha channel.
In the following example, the Solarize effect is applied to the RGB channels
with 100% mix. This means that the resulting image will use 100% of the
inversed image. Whereas, if the mix was set to 75%, then 75% of the inverted
image would be used and 25% of the original image.
You can apply the Solarize effect to clips, tracks, or an Effects Tree.
\Image Effects folder

Original image Solarize effect (100% mix)

Click the Help icon for detailed information on the Solarize properties.

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Special Filter Effect

The Special filter lets you apply a filter that creates a bubbly effect in your image.
The filter calculates either the minimum or the maximum brightness value in a
specified area around a pixel and applies this value to the pixel. This operation is
applied to every pixel in the image.
You can apply the Special Filter effect to clips, tracks, or an Effects Tree.
\Image Effects folder

Original image Special Filter effect (maximum rank,

radius of 8.28)

Click the Help icon for detailed information on the Special Filter properties.

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Source Generator Effects

Avid|DS lets you generate your own clips using effects such as solid or
gradient colors, 3D Warp effects, or patterns. You can use this new clip as a
background for a compositing session or to create a fade-to-color transition.
You can apply the source generator effects to tracks or in an Effects Tree.

\Source Generators and \Image Effects folders

Effect name Description
3D Warp Generates a clip using 3D animated scenes, such as a
page turn or melting screen—see Generating a
3D Warp Clip on page 164.
Black Generates a black clip

Clouds (granite) Generates a clip of thick cumulus cloud images

Clouds Generates a clip of soft, undulating cirrus cloud

images

Color Gradient Generates a clip using images with a gradual

transition between two, three, or four colors

Deterministic Generates a clip using a stable, regular noise pattern.

Noise The Composite Method options can produce a wide
range of effects.
Fractal Noise Generates a clip using a pattern capable of creating a
wide-range of textures: clouds, fog, stone, paper,
sand, liquid, cloth, and so on.
Granite Generates a clip using a pattern capable of creating
a wide-range of natural effects: granite, fire, clouds,
terrain, and soft noise patterns
Linear Gradient Generates a clip using a blend of up to 20 strips of
color that can have arbitrarily set widths.

Marble Generates a clip that has a marbled look

Matte Generates a black clip that lets you create a matte on

its alpha channel

Pattern Generates a clip using one of six infinite patterns

that can simulate soft noise, canvas, burlap, leopard
skin, snake skin, and rocky textures

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\Source Generators and \Image Effects folders (Continued)

Effect name Description
Radial Gradient Generates a clip using rings of colors that are
blended together

Solid Color Generates a clip with a single specified color

Test Pattern Generates a clip using a number of different test

patterns

Timecode Generates a clip that displays the timecode

Turbulence Generates a clip of smooth interlocking ridges and

fissures.

White Generates a white clip

Wood Generates a clip using a wood texture

To generate a clip on the timeline

1. Drag on a track to select a region.
2. From the Image Tools toolbar, click Generate Clip.
3. From the the Load Preset dialog box, select an effect from the Source
Generators folder and click OK.
A clip containing the selected effect is created on the track and the effect’s
property editor is displayed for you to make any adjustments.
The clip name is appended with the term “Generated” in parentheses.

A clip generated with the Wood effect

To generate a clip in an Effects Tree

1. Right-click on an empty area of an Effects Tree and choose Add Effect
from the menu.
The Load Preset dialog box is displayed.

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2. From the the Load Preset dialog box, select an effect from the Source
Generators folder and click OK.
A new input node is added to the Effects Tree. You can composite the
generated clip as you would any other clip.

A clip (node) generated with the Cloud effect

To create a Fade-to-Color transition

1. Drag on a track to select a region.
2. From the Image Tools toolbar, click Generate Clip.
3. From the the Load a Preset dialog box, select an Solid Color from the
Source Generators folder and click OK.
A clip containing a solid color is displayed on the track and the effect’s
property editor is displayed for you to make any adjustments.
4. Select a color for the generated clip.
5. On the timeline, position the generated clip at the timecode where the
transition should start.
6. Select the edit point.
7. From the NLE Tools toolbar, click Dissolve or Wipe.
8. Adjust the transition properties.

Dissolve to solid color

Click the Help icon for detailed information on the image transition’s properties.

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Spill Correction Effect

The Spill Correction effect lets you remove the blue or green spill color in an image.
You can adjust the amount and hue of spill color in the image’s RGB channels.
You can apply the Spill Correction effect to clips, tracks, or in an Effects Tree.
\Image Effects folder

The Spill Correction effect contains the same parameters as the Spill
property page of the Blue-Green Keyer with the addition of the Pick
Spill color button. For the effect to determine the spill color, click
Pick Spill Color, then select the spill color in the viewer. You can
then proceed with spill correction in the same manner as with the
Blue-Green Keyer. For more information, see Blue-Green Keyer
Effect on page 334.
Click the Help icon for detailed information on the Spill Correction properties.

Stamp Effect
The Stamp effect lets you make an image appear as if it was created with a wood
block stamp. By default, this effect produces a monochrome (grayscale) image,
but it can use the current foreground and background colors if they’re available.
You can apply the Stamp effect to clips, tracks, or in an Effects Tree.
\Image Effects folder

Original image Stamp effect

Click the Help icon for detailed information on the Stamp properties.

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Threshold Effect
The Threshold effect lets you create a variety of posterized effects. It works by
pushing pixel values up or down according to whether they fall above or
below a specified threshold. Pixels with values below the minimum specified
are pushed down to a lower tonal level and those falling above the maximum
are pushed up to a higher tonal level. A posterized effect results because the
total number of tonal levels is decreased.
You can also use the Threshold effect in the graphics property tree as either
a brush or fill effect, but it is more suited to be used as the fill. For more
information, refer to Painting and Titling on page 315 of the Avid|DS
User’s Guide.
You can apply the Threshold effect to clips or tracks, or in an Effects Tree.
\Image Effects folder

Original image Threshold effect (minimum of 0,

maximum of 20)

Click the Help icon for detailed information on the Threshold properties.

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 Warp Effect

Warp Effect
The Warp effect lets you transform an image or part of an image from one
shape to another over time. You can warp still or moving images.
You can apply the Warp effect to clips or tracks, or in an Effects Tree.
\Image Effects folder
When warping a still image, you can, for example, add a caricature to a
person’s face, giving their face a surprised look by enlarging the eyes, or
deforming an object to a specific form.

Original image

Eyes and lips warped at 50% shape Eyes and lips warped at 100%
interpolation shape interpolation

When warping a moving image, you can, for example, adjust the position or
form of an object moving across an image over a sequence of frames, such as a
walking man shrinking in size as he walks.

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The general steps to create a warp are:

1. Select an image or section of an image.
2. Create shapes that describe the source and destination of the warp
transformation.
3. Join the shapes together and adjust the correspondence between the two.
4. Animate the shape positions over time.
5. Track the warped shapes if necessary.
6. Set the rendering options.
7. Process the warp.

Creating Shapes Shapes are the Bézier curves that outline the portions of the image that you
want to warp. The Warp effect uses these shapes to specify whether these parts
of the image move or if they should be stationary. Shapes can be open-ended
or closed. They can stand alone or be joined to another shape.

To close a shape drawn with the Freehand tool, hold down the Ctrl
key while you draw the shape. Once you release the mouse button,
the shape is closed. To close a shape drawn with the Polyline tool,
press the Ctrl key after you draw the last line segment.
The Warp effect has four shape-creation tools:
• Freehand
• Polyline
• Ellipse
• Rectangle

To create a source and destination shape

1. Apply the Warp effect to a clip.
2. On the Shapes property page, click Apply.
3. From the Shape Creation box, select a drawing tool to create the source shape.

If you copy open shapes from the Warp effect into a keyer or Matte
effect, the shapes will automatically be closed.

4. Create a rough shape around the object you want to warp.

The source shape is displayed in red.

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Source shape drawn

with the Ellipse tool

You can zoom and pan in the viewer to frame the portion of the
image you want to trace.

5. From the Editing Tools box, click Edit Shape.

The control points of the source shape are displayed.
6. Drag the control points, so that your shape outlines the part of the image
you want to warp.

Control point

To add an additional control point, hold down the A key and click on the
line where you want the control point to appear.

If the image is moving between frames, you should rotoscope or

animate the source shape over the length of the clip. For more
information, refer to Creating Animation on page 508 of the Avid|DS
User’s Guide.
7. From the Shape Creation box, select a shape to create the destination shape.

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Instead of drawing a target shape from scratch, you can click Copy
and Join from the Editing Tools box. This tool creates a copy of the
source shape and joins the two shapes together. Simply edit or
transform the target shape to interactively warp the chosen object.
8. Create a second shape to represent the destination shape of the warped object.
The destination shape is displayed in red.

Destination shape
drawn with the
Ellipse tool.

To close a shape created with the polyline tool, press the Ctrl key
and click.

9. Use the following tools from the tools in the Transformations box to
manipulate your shape:
• Select
• Scale
• Rotate
• Skew
10. From the Editing Tools box click Edit Shape.
Control points along the target shape are displayed.
11. Drag the control points to modify the shape.

If the image is moving between frames, you should rotoscope or

animate the target shape over the length of the clip.

For more information, refer to Working with Graphics on page 342 of the
Avid|DS User’s Guide.

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Joining Shapes Once the shapes are created, you can join them together to create a relationship
between the beginning and ending shape of the object. The order in which you
join shapes gives the direction to a warp. For example, if you join a small shape
to a large shape, the object will warp over time from small to large. If you join a
large shape to a small shape, then the object will warp from large to small.

You can only join open-ended shapes with other open-ended shapes
and closed-ended shapes with other closed-ended shapes.

When the two shapes are joined, you can match corresponding features on the
two shapes. Each shape contains four or more correspondence points (four
initially), which describe the location of key positions on a shape. You can
place these correspondence points at key locations on a shape, such as where
the Bézier curve changes direction.

Correspondence point

Correspondence points have some restrictions:

• There must be at least four correspondence points per shape.
• Shapes intended to be joined must have the same number of
correspondence points.
• Correspondence points on the ends of open-ended shapes cannot be
moved or deleted.
• Correspondence points cannot cross over each other. There is a limit as to
how close they can be to each other.

To join the source and destination shapes

1. From the Editing Tools box, click Join and drag the source shape towards
the target shape.
A blue line appears as you drag the pointer from the source to the target.
When the pointer comes in contact with the target shape, the two shapes
momentarily turn yellow and are joined together by a correspondence vector.

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Target shape

Source shape joined to

target shape by a
correspondence vector

Source shape

To break the join between two shapes, click Join in the Editing Tools
box and click on one of the shapes. A dialog box appears, prompting
you to break the join, click OK.
2. In the Editing Tools box, click Correspondence.
The source and target shapes are highlighted in yellow. Each shape
contains four correspondence points, which are connected with
correspondence vectors.
3. Move the correspondence points on the source shape to key locations on
the curve, such as where the curve changes directions.
4. Match the correspondence points on the target shape to those on the
source shape.

Correspondent points
are moved to key
locations on the curve

Correspondent points on the target

match those of the source

To add additional correspondence points, hold down the A key and

click the shapes on which you want the point to appear. To delete
correspondence points, select a point and press the Delete key.

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5. To increase the precision of the shape during processing, increase the

Density value.
The number of correspondence vectors (yellow lines) between
correspondence points increases as the Density value increases.

During processing, Avid|DS does not use the actual shapes you
created, but uses the edge densities of the shapes to create an
Correspondence approximation of the shapes. That is, a shape’s edge density defines
point how closely the form used in the warping process matches the shape
Edge density
that is drawn.
Shapes are subdivided between correspondence points based on the
shape’s edge density. The higher the edge density, the more edges,
Original and the more closely the shape is depicted by its edges. Thus, the
shape more precise the transition between shapes.
When you change the edge density, be careful not to use too high a
Shape with edge density of 5. density setting. There is no exact formula for selecting the best
density for any given shape. Choose one that approximates the shape
enough, but not too much. Setting a shape’s density unnecessarily
high slows down processing time.

Creating Barrier You may find that the area outside your source or target shapes also gets
Shapes distorted when your object is warped. To get rid of this unwanted distortion,
you can create a barrier shape which prevents the distortion from spreading to
the rest of the image.

To create a barrier shape

1. Create a third shape encompassing both the source and target shapes.
The barrier shape is displayed in red.

Barrier shape

Source shape

Target shape

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2. From the Editing Tools box, click Copy and Join.

A copy of the shape is created on top of its original. By doing so, you are
creating a static warp in which the source and target shapes are the same.
This static warp acts as a barrier, which prevents the original warp from
spreading to other areas of the image.

Animating Shapes You can animate the interpolation between shapes or the shapes themselves
on both still images or when the object is moving over time. You can add
keyframes and modify the way the source shape warps into the target. For
moving images, you can use the tracker to track the shapes to match the
movement in a clip, or animate the shapes frame by frame. For more
information, see Tracking Shapes on page 443 of this guide and Creating
Animation on page 508 of the Avid|DS User’s Guide.

To animate the interpolation between shapes

1. On the timeline, double-click the Warp effect bar above your clip.
The Warp property editor is displayed.
2. Place the play cursor anywhere in the clip.
3. On the Shapes property page, modify the Shape Interpolation Amount.
The image changes shape as you modify the Shape Interpolation Amount.
4. Click the Animation Key icon.
A keyframe is added at that point in time, changing how the object moves
from source to target shape.
5. Move the play cursor to another frame, modify the Shape Interpolation
Amount, and add another keyframe.
6. From the View menu, choose Views > Animation Editor.
The animation editor is displayed.
7. Tweak the shape animation by modifying, adding, and deleting key frames.

You can also modify the slope of the interpolation from Linear to
either Spline or Constant Interpolation.

Click the Help icon for detailed information on the animation editor.

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Tracking Warped If your image moves or scales, you’ll need to set up trackers to track the
Shapes source, destination and barier shapes. In the following example, the man’s
face both scales and moves as his eye is warped. To correctly track the eye, you
need to increase the trackers’ target area and search regions, and ensure that
the Always Update option is selected.

To track the shapes

1. On the Shape property page, deselect the Apply option.
Since you need to track the input image rather than the warping image,
turn off the Warp effect so you can see what you want to track.
2. From the Transformation box, click Select Shape.
3. In the viewer, draw a selection box around all the shapes to select them.

Since all the shapes including the source, destination, and two barrier
shapes move and scale, you need to track all the shapes.
4. On the Tracker property page, click Show.

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Trackers for source,

destination, and two
barrier shapes

All four trackers are displayed.

5. Use the period (.) or comma (,) keys on the keyboard to cycle through
each tracker and set the following for each tracker:
• Increase the size of the search and target areas to consider the change in
the shape’s size.

Target area

Search region

• In the Target box, click Always Update.

Since the shapes scale and move you need the tracker targets to update in
each frame.
• Set the Confidence level.
If you find that the tracker stops frequently, try lowering the confidence level.
6. Click the track forward or track backward buttons.
7. On the Shapes property page, deselect the Show Shapes option to see the
final result without the drawn shapes and tracker boxes. You also need to
select the Apply option to turn the Warp effect back on.

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Setting the Rendering The final look of your warp depends largely on the render settings you choose.
Options You can go from a fast low-quality test image to a slower higher-quality image for
final output by simply changing a few of the settings in the Render property page.
The render settings let you choose how the edges of your shapes are defined,
how precise the transition is between shapes, how pixels are interpolated, and
how soft or jagged the edges are.

To set the rendering options

1. In the Warp property editor, select the Render property page.
2. For the Edge Mode, select one of the following:
• Fixed to pin the border of the image in place. Be careful using this option
because it can cause shearing or ripping if your warped object moves or
grows in size.
• Sliding to make the image’s borders move with the rest of the warped object.

Original image

Image stretched upwards and Image stretched upwards and

processed with the edge set to processed with the edge set to Sliding.
Fixed. Notice how the borders of Notice how the borders of the image
the image do not move, resulting do not stay in place, but compensate
in a distorted image. for the stretched image, resulting in a
less distorted image.

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• Cookie Cutter to keep everything that falls within your closed shapes and
remove everything else. This option is also useful for creating mattes. You
cannot use this option with open-ended shapes.

With the edge set to Cookie Cutter, A matte is automatically created

the area outlined by the closed based on the areas that were cut out.
shapes is cut out. The rest of the
image is ignored and set to black.

3. To set the transition quality, select one of the following from the Warp
Precision list:
• Linear if you want to do a quick test. This option processes the warp at the
lowest quality, but is very fast and uses the least amount of memory.
• Low or Medium if you need slightly higher quality than the Linear option.
The quality of the images improve with only slightly slower processing times.
• High if you need a high-quality image that is processed in a reasonable
amount of time. This option produces professional quality images.
• Very High or Super High if you require an extremely smooth transition
between shapes. Both of these options provide extremely high-quality
images, but take considerable amounts of time to process.

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4. For the Interpolation setting, which affects pixel quality, select one of the
following:
• None if you want quick results. This option results in marginal pixel
image quality, but the processing time is very quick.
• Bilinear if you need a reasonable image quality within a reasonable
processing time. This is the default setting.
• Scaling if your target shape is scaled down by more than 50%. This option
results in the least amount of degradation, but also takes the longest time
to process.
5. Select the Antialiasing option if you want the edges of the shapes or
regions to be smooth. If you deselect this option, the edges are jagged.
6. Select the Soften Edges option if you want the pixels around the edges of
the shapes to blend gradually with the pixels of the surrounding image.
7. Process the effect and then play it back on the timeline to view the results.
Click the Help icon for detailed information on the Warp properties.

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Chapter 6 Tree Effects

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Chapter 6 • Tree Effects

In This Chapter...
Tree Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Composite Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Flicker Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Key Combiner Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Matte Composite Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Tracker Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

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Tree Effects
Tree effects are effects that you can only apply within an Effects Tree (except
for the AVX Host effect), and usually require more than one input. For
example, rather than using layers to create a composite, you can use a
Composite effect in an Effects Tree. You can layer up to six images with the
Composite effect. For more information, see Using the Effects Tree on page 43.

There’s also a preset Effects Tree for selective color correction. For
more information, see Selective Color Correction Effect on page 186.

\Tree Effects folder

Effect name Description
AVX Host Lets you load AVX plug-in effects—see AVX
Host Effect on page 176.

Composite Composites multiple images together

Flicker Lets you map luminance variations in one clip

to another clip.

Key Combiner Combines the RGB channels from one image

with the alpha channel of another image

Matte Composite Lets you composite multiple mattes together

Tracker Lets you track or stabilize your clips while

working in the Effects Tree

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Composite Effect
In an Effects Tree, the Composite effect lets you composite up to six images
together in one node. To composite more than six inputs, use multiple
Composite effects. You can also use an external matte for the effect.
You can apply the Composite effect in an Effects Tree.
\Tree Effects folder

To apply the Composite effect

1. In the Layers view, click on a layer to display its Effects Tree.
2. Add the Compositing Effect to the tree.
3. Connect the input nodes to the Composite node, and the output node
from the Composite node to the Output node.
The bottommost layer is the first input.
If your inputs already have mattes, then you’ll see the composited result in
the viewer. If they don’t have mattes, you can create them using any of the
keyer, matte, or graphics effects. You can also add an external matte to an
input using the Matte Composite effect. For more information, see Matte
Composite Effect on page 279.

Bottommost layer

If the output does not display the results you expect, the
premultiplication state of an image was probably incorrectly set
when it was imported. Select the Premultiply property page and
change the input’s premultiplication state. For more information, see
Changing the Premultiplication Setting on page 104.
4. Double-click on the Composite node to display the Composite
property editor.

266 • Avid|DS
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5. On the General property page, you can mute or solo each input to view
them individually. You can also control the opacity of each layer, mute the
background, and export the alpha. When you use several Composite
effects, or use a Composite effect with a layer or other effects in the same
tree, you may need to export the effect’s alpha channel in order for it to be
correctly composited.

6. On the Operations property page, choose the compositing operations to

combine the inputs.
By default, the compositing operations are set to Over. You can apply the
operations independently on the RGB and alpha components of each input.

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The operations differ between the RGB and alpha channels. Most
operations that you select for the RGB channels are automatically applied
to the alpha channel. You can, however, change the alpha operation
separately. These operations are the same as those found on each layer—
see Applying Matte and Blend Operations on page 269.
7. On the Premultiply property page, change any required inputs to the
correct premultiplication state.
By default, all clips are set to Auto, which will maintain the clip’s current
premultiplication state.
8. On the Masking property page, specify whether or not to use a mask for
the effect. By default, the effect is applied to the RGB and alpha channels.
You can derive masks from the alpha of the input clip or an external matte
from another clip.
9. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
Click the Help icon for detailed information on the Composite properties.

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Applying Matte and You can composite images placed on layers or in Effects Trees using matte
Blend Operations (Boolean) or blending operations. You can apply these operations
independently on the RGB and alpha components of the layer or in a
Composite node.
The operations differ between the RGB and alpha channels. Most RGB
operations that you select are automatically applied to the alpha channel. You
can, however, change the alpha operation separately. On a layer, the two
images or mattes are combined with the default operation (Over), and are
displayed in the result area.

Result area

Layer operations for RGB

and alpha channels

Using a Composite node, the images or mattes are also combined using the
default operation (Over), and displayed in the viewer. To combine multiple
mattes in an Effects Tree, use the Matte Composite effect. For more
information, see Matte Composite Effect on page 279.

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To apply matte and blend operations on a layer

• Right-click on the RGB or alpha operator between the two layers on which
you want to apply the operation, and choose an operator from the menu.
The results of the composite appear in the result area at the top of the view.

Matte (Boolean)
operations

Blend operations

You can also apply matte (Boolean) operations between external mattes on a layer.

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To apply external matte operations on a layer

1. Right-click on the matte controls between the mattes and choose an
operator from the menu.

Matte
controls

2. Right-click on the External Matte thumbnail and choose RGB or Alpha

from the menu.

External matte set to Alpha External matte set to RGB

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The following tables list commands that perform matte and blending
operations on the RGB or alpha channels.
These are the original images:

Foreground image Background image

Foreground alpha Background alpha

The following matte operations modify the resulting alpha channel of the
composite, without affecting the RGB colors.

Command Result Description

Over Places the foreground image over
the background image

In Places the foreground image inside

the background matte. Only the
foreground is shown in the
resulting composite.

Out Places the foreground image

outside the background matte

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Command Result Description

Atop Places the foreground image inside
the background matte; plus part of
the background image which is
outside the foreground matte.
This operation is similar to the In
operation, but includes the
background in the composite.

Xor Places the foreground image outside

the background matte; plus part of
the background image which is
outside the foreground matte.

The following blend operations modify the resulting RGB channels, and
possibly the alpha channels, depending on which operation you choose.
Command Result Description
Add Adds the RGB values of the
foreground image to the
background
Note: This may sometimes cause
the image to appear overexposed
in areas where too much of one
color has been added together.

Add No Adds the RGB values of the

Clipping foreground image to the
background, but applies a special
algorithm that prevents the image
from appearing overexposed

Difference Subtracts the RGB values of the

background image from the
foreground

Multiply Multiplies the RGB values of the

foreground image the background.
The result is always darker.

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Command Result Description

Lighter For each of the RGB channels,
compares the pixel values in the
foreground and background images,
and selects the lighter pixels.

Darker For each of the RGB channels,

compares the pixel values in the
foreground and background images,
and selects the darker pixels.

Luminance Adds the luminance values of the

foreground image to the saturation
and hue of the background

Color Adds the saturation and hue values

of the foreground image to the
luminance of the background

Non-additive Compares the full luminance value

of the pixel in the foreground
image, with the background and
selects the higher intensity pixels

Invert Compares the full luminance value

Non-additive of the pixel in the foreground
image, with the background and
selects the lower intensity pixels

Bypass Does not apply any matte or blend

operation between the layers

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Flicker Effect
The Flicker effect lets you map the variations in the luminance of one clip to
another clip. This effect is useful, for example, if you have a background clip
with flickering fire and you want to composite another clip (a man) on top
that doesn’t have the flickering. You can map the luminance variations from
the fire to the man.

Original
Luminance in face changes to
match luminance in fire

\Tree Effects folder

To use the Flicker effect

1. Place the clip you want to use as a reference on the timeline. This is the
clip (fire) whose luminance values you want to map to another clip.
2. Create a graphics container clip.
The Compositing layout is displayed.
3. Click on the layer, to activate the Effects Tree.
4. From the browser, drag the clip (man) to which you want to apply the
luminance values to the Effects Tree.
The clip is added as an input node in the Effects Tree.
5. Add the Flicker and Composite effects to the Effects Tree.
6. Connect the nodes as follows:
• Background clip to Input 2 of the Flicker effect
• Man clip to Input 1 of the Flicker effect
• Output of the Flicker effect to Input 2 of the Composite effect
• Background clip to Input 1 of the Composite effect

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7. Double-click the Flicker node.

The Flicker property editor is displayed and a small selection rectangle
(the luminance box) is displayed in the viewer. Since you want to map the
luminance values of the background clip to the man clip, only the
background clip is displayed. To view the man clip separately, deselect the
Output Reference option.
8. Select the Black property page, and position the luminance box over an area
containing the level of black to which you want to choose as a reference.

You can also draw a new luminance box in the viewer by clicking
in the viewer and dragging over an area.

9. Click Set as Reference Frame.

The black luminance is set, and the property editor displays the reference
luminance swatch, as well as the timecode for the chosen frame.
10. Verify each frame in the clip to determine if the luminance box is in the
correct position. If the area you set for the reference frame moves from
frame to frame, you need to move the luminance box in each frame so it
covers the same area.
11. Set a keyframe on the frames on which you reposition the luminance box.
12. Repeat steps 8 to 11 for the White property page, if required.
13. On the Masking property page, select the channels on which you want to
apply the effect. The effect is applied only to areas of the image where the
alpha channel is not black. You can derive masks from the alpha of the
input clip or an external matte from another clip.
14. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
Click the Help icon for detailed information on the Flicker properties.

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Key Combiner Effect

The Key Combiner effect lets you combine the RGB channels of one image
with the alpha channel of another. This effect is useful when you:
• Want to use an external matte as an RGB clip’s alpha channel
• Produce a logo or text in another application in which the RGB and alpha
channels have been exported separately and you want to combine them in
Avid|DS. In this case, you would also have to use the Channel Switcher
effect to convert the RGB to alpha first. For more information, see
Channel Switcher Effect on page 180.
You can apply the Key Combiner effect in an Effects Tree.
\Tree Effects folder

The Key Combiner effect is a preset of the Dissolve effect,

customized so that you can simply connect two inputs to produce an
RGBA output. The mix is set to 100% and masking is set to only
process the alpha. The result is that the alpha channel of Input 2 is
combined with the RGB of Input 1.
To combine separate RGB and alpha channels
1. Create an Effects Tree on a layer.
2. Add an image that contains the alpha channel you want to combine with
an RGB channel.
3. Add an image that contains the RGB channels you want to combine with
an alpha channel.

RGB

RGB image (Input 1) Key

Combiner

Alpha
Key Combiner result
(RGBA image)

RGBA image (Input 2)

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4. Apply the Key Combiner effect to the tree.

5. Connect the image to be used as an RGB image to Input 1.
6. Connect the image to be used as an alpha channel to Input 2.

If you use the Key Combiner effect as an input to a Composite node

and the output does not display the results you expect, the
premultiplication state of an image was probably incorrectly set when
it was imported. From the Composite property editor, select the
Premultiply property page and change the input’s premultiplication
state. For more information, see Changing the Premultiplication
Setting on page 104.

Background image
Composited result
RGB

Alpha Key Combiner

result

7. Connect the Key Combiner node to the Output node.

The RGB image is combined with the alpha channel. You can apply more
effects to the RGBA image or composite it over another image as shown in
this example.
8. Open the Key Combiner property editor.
9. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
Click the Help icon for detailed information on the Key Combiner properties.

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Matte Composite Effect

The Matte Composite effect lets you add external mattes to layers in your
composite. An external matte is a matte taken from one clip and applied to
another. You can apply one or more external mattes to each layer in the
composite. These mattes are combined in the order in which they appear
using various logic (Boolean) operations.
You can use the RGB or alpha channel from an image or effect as the inputs to
the Matte Composite effect. You can also choose to use a separate matte as a
mask for the composited mattes. The Matte Composite effect behaves in the
same manner as when you apply an external matte to a layer. For more
information, see Using External Mattes on Layers on page 95.
You can apply the Matte Composite effect in an Effects Tree.
\Tree Effects folder
The following example shows you how external mattes are added in layers and
Effects Trees.

External matte
added using Matte
Composite effect

External matte

RGB image

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External matte
added to layer

External matte

RGB image

To composite multiple mattes together

1. Apply the Matte Composite effect in an Effects Tree.
The effect’s node is added to the tree.
2. Add the images that you want to use as mattes to the Effects Tree.
Each image is displayed as an input node in the tree.
3. Connect each input to the inputs of the Matte Composite node.
4. On the General property page, select the channel you want to use in the
composite and the Boolean operation you want to apply between each
input. You can also use an invert of the RGB or alpha channels.
5. On the Masking property page, select one of the following options from
the Mask box:
• None: The effect will not obey any external matte.
• Alpha: The effect will obey the alpha channel from the background (input
1). The composited mattes are applied using the alpha channel from the
background as a mask.
• Matte Input: The effect will obey the matte from an external source when you
connect it to the Matte input of an effect in the Effects Tree. The composited
mattes are applied using the matte from another image or effect.

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You can also use the alpha, the luminance of the RGB, the separate red,
green, or blue channels, or an invert of any of these as the input for the
external matte.
6. On the Options property page, select one of the following options from
the Process box:
• Frame if your material is frame-based, such as static images or 30-fps
computer-generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
7. Connect the output of the Matte Composite effect to the input of another
image or effect.
Click the Help icon for detailed information on the Matte Composite properties.

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Tracker Effect
The Tracker effect lets you track or stabilize your clips while working in the
Effects Tree.

If you want to stabilize your clip while working in the Effect Tree,
you can use the Stabilize effect, which is a preset of the Tracker
effect. The Stabilize effect is located in the Image Effects folder.
You can apply the Tracker effect in an Effects Tree.
\Tree Effects folder

To apply the Tracker effect

1. In the Layers view, click on a layer to activate it’s Effects Tree.
2. Right-click in the Effects Tree and choose Add Effect from the menu.
3. From the Tree Effects folder, select Tracker Effect.
4. Connect the input nodes to the Tracker effect as follows:
• To track: Connect the Input 1 (layer) node to the Tracker effect Input 1,
and connect the Input 2 (reference) node to the Tracker effect Input 2.
Connect the output from the Tracker effect node to the input of the
Output node.
• To stabilize: Connect the input node to both Tracker effect inputs. You can
also use the Stabilize effect which connects the nodes for you (see tip above).
5. You can now track or stabilize in the Effects Tree—see Tracking on page 419.
Click the Help icon for detailed information on the Tracker properties.

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In This Chapter...
Image Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Dissolve Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

DVE Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Morph Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Wipe Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

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 Image Transition Effects

Image Transition Effects

The image transition effects let you create transitions between overlapping
clips on the timeline, or between two nodes in an Effects Tree.
You can apply image transition effects on the timeline or in an Effects Tree.
\Image Effects, \Image Transitions, and \DVE folders
Effect name Description
AVX Host Let’s you load AVX plug-in effects—see AVX Host Effect
on page 176.

Dissolve Fades out one clip as another fades in

DVE Transforms the size, position, and shape of images

Morph Transforms one image or a sequence of images into

another over one or more frames

Wipe Applies a wipe transition between two overlapping clips

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Dissolve Effect
The Dissolve effect lets you apply a transition between video clips in which the
image from one clip gradually becomes less distinct as the image from the
other clip replaces it.
You can apply a dissolve at the start, center, or end of the transition. You can
also adjust the amount of the dissolve if you want the frames of one clip to be
more apparent than the other.
The Dissolve effect can only be applied on clips on the timeline or as a node in
an Effects Tree.
\Image Transitions folder
Since the Dissolve effect is a real-time effect, you can view the results upon
playback without having to first process the effect.

In some cases, real-time effects may require processing to ensure

that no frames are skipped. For more information, see Working with
Real-time Effects on page 71.

First clip Dissolve at 25% Dissolve at 50% Dissolve at 75% Second clip

To apply a dissolve on the timeline

1. On the timeline, overlap the clips that you want to work with. They can be
placed on the same or different tracks. Make sure the clips that receive the
dissolve have extra material.
2. Select the intersecting edit point between the two video clips on which
you want to apply the dissolve.
The selected edit point turns red.

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3. From the NLE Tools toolbar, click Dissolve.

The transition area appears as a gradient on the activeness bar.

4. In the Dissolve property editor, adjust the amount of the dissolve, and
specify the start point and duration of the transition.

The start point and duration options are only available when you
apply a dissolve on the timeline.

Click the Help icon for more information on the dissolve properties.

To apply a dissolve in an Effects Tree

1. Right-click on an empty area of an Effects Tree and choose Add Effect
from the menu.
The Load Preset dialog box is displayed.
2. From the Image Transitions folder, double-click Dissolve.
A Dissolve node is added to the Effects Tree.

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3. In the Effects Tree, double-click on the Dissolve node.

The Dissolve property editor is displayed.

4. On the Timing property page, adjust the amount of the dissolve and the
function curve to control the timing and percentage of the mix.
Click the Help icon for more information on the dissolve properties.

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DVE Effect
The DVE effect lets you transform the size, position, and shape of images in
three-dimensional space. Using DVEs, you can create effects such as “push-
wipes”, “fly-bys” or picture-in-picture.
You can apply DVEs to clips, tracks, layers, or in an Effects Tree. On the
timeline, you can use DVEs for transitions between two clips, or for single
sided transitions at the beginning or end of a clip. For more information, refer
to Creating One-Sided Transitions on page 292 of the Avid|DS User’s Guide.
\Image Effects and \Image Transitions folders

To apply a DVE on the timeline

1. On the timeline, overlap the clips that you want to work with. They can be
placed on the same or different tracks. Make sure that the clips to receive
the DVE have extra material.
2. Select the intersecting edit point between the two video clips on which
you want to apply the DVE.
3. From the NLE Tools toolbar, click DVE.
The transition area appears as a gradient on the activeness bar.

4. In the DVE property editor, modify the properties of the DVE to achieve
the effect you want.
Click the Help icon for more information on the DVE properties.
To learn about applying DVEs on layers in a composite, see Transforming
Images on page 368.

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Morph Effect
The Morph effect lets you transform one image or a sequence of images
into another over a sequence of frames. You can morph between still or
moving images.
You can apply the Morph effect as a transition on the timeline or in an
Effects Tree.
\Image Transitions folder
When morphing a still image, you can, for example, show a change between
two images, such as the progressive aging of a girl into a woman or the
transformation of a woman into a man.

Outgoing image with morph applied Morph - 50% shape interpolation, Incoming Image with morph applied
to face 50% transparency to face

When morphing a moving image, you can show a change between two
sequences of images, such as a walking boy turning into a walking man.
The Morph effect is comprised of a Warp on an incoming image, a Warp on
an outgoing image and a dissolve in between them. For more information, see
Warp Effect on page 249.
The outgoing image is warped from its original shape to the shape of the
incoming image. The incoming image is warped in the opposite direction,
going from the shape of the outgoing image to its original shape.
Manipulating the transparency value lets you control the dissolve between the
two images.

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The Source shape morphs from the original image to a distorted image
resembling the shape of the target.

The target shape morphs in the opposite direction, from distorted image,
resembling the shape of the source to the original target image.

The general steps to create a morph are:

1. Select the images to morph together.
2. Create source and target shapes that describe the morph transformation.
3. Join the shapes and adjust the correspondence between the two.
4. Track the shapes or adjust the shape positions over time with keyframes,
if necessary.
5. Set the rendering options.
6. Process the morph.

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Applying a Morph You apply the Morph transition effect in the same way as a simple dissolve or
Transition Effect wipe. In an Effects Tree, you apply it like any other effect between two inputs.
For more information, see Adding Effects to Trees on page 47.

To create a morph transition between clips

1. On the timeline, overlap the clips that you want to apply the Morph effect.
They can be placed on the same or different tracks. Make sure the clips
that receive the effect have extra material.
2. Select the edit point between the two video clips.
The selected edit point turns red.
3. From the NLE Tools toolbar, click Dissolve or Wipe.
The Dissolve or Wipe property editor is displayed, and the transition area
appears as a gradient on the activeness bar.
4. In the Wipe or Dissolve property editor, click the Load Preset icon.
The Load Preset dialog box is displayed.
5. From the Image Transitions folder, select the Morph effect.
The Morph property page is displayed.

Creating Shapes Shapes are Bézier curves that outline the parts of your image that you want to
morph. The Morph effect uses these shapes as a guide to transition from one
to the other. Shapes can be open-ended or closed. They can stand alone or be
joined to another shape.
The Morph effect has four shape creation tools:
• Freehand
• Polyline
• Ellipse
• Rectangle

Click the Help button for a detailed description of each of these tools.

To create a source and destination shape

1. Double-click on the transition area between the two clips.
The Morph property editor is displayed.
2. On the Shapes property page, select the Source option from the Output box.
The outgoing image appears in the viewer.
3. From the Shape Creation box, select a drawing tool to create the source shape.

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4. Create a rough shape around the object that you want to warp.
The source shape is displayed in red.

Source shape drawn with

the Polyline tool on the
outgoing image

You can zoom and pan in the viewer to frame the portion of the
image you want to trace.

5. From the Editing Tools box, click the Edit Shape tool.
Control points along the source shape are displayed.

If you copy open shapes from the Morph effect into a keyer or Matte
effect, the shapes will automatically be closed.

6. Drag the control points so that your shape outlines the part of the image
you want to morph.

Control point

To add an additional control point, hold down the A key and click on the
line on which you want the control point to appear.

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If the source image is moving between frames, you should rotoscope

or animate the source shape over the length of the transition. For
more information, refer to Creating Animation on page 508 of the
Avid|DS User’s Guide.
7. From the Output box, select the Destination option.
The incoming image appears in the viewer.
8. From the Shape Creation box, select a shape tool to create the target shape.

When you draw the shapes on the destination image, be sure to draw
them in the same direction and order in which you created them on
the source image. For example, if you started drawing the shape on
the source image from the top and to the right, and also draw the
shape on the destination image from the top and to the right. This
will avoid unwanted deformations in the morphed image. However,
if you want to create a deformation, you can create the shape on the
destination image differently.
9. Create a second shape on the destination image representing the target
shape or the final image into which the source image will morph.
The target shape is displayed in blue.

Target shape drawn with

the Polyline tool on the
incoming image

To close a shape created with the polyline tool, press the Ctrl key
and click.

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10. Use the following tools from the Transformations box to manipulate
your shape:
• Select
• Scale
• Rotate
• Skew
11. From the Editing Tools box, click the Edit Shape tool.
Control points along the target shape are displayed.
12. Drag the control points to modify the shape—see Tracking Morphed
Shapes on page 301.

If the target image is moving between frames, you can track the
target shape over the length of the transition.

13. On the Shapes property page, select the Apply option.

The morph effect is applied to the clips.

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Joining Shapes Once you have created your shapes, you can join them together to create a
relationship between the beginning shape of the source image and the ending
shape of the target image. The Morph effect automatically interpolates
between the two shapes over the length of the transition.

You can only join open-ended shapes with other open-ended shapes
and closed-ended shapes with other closed-ended shapes.

When the two shapes are joined, you can match corresponding features on the
two shapes. Each shape contains four correspondence points, which describe the
location of key positions on a shape. You can place these correspondence points
at key locations on a shape, such as where the Bézier curve changes direction.
Correspondence point

Move a correspondence
point to this location

Correspondence points have some restrictions:

• There must be at least four correspondence points per shape.
• Shapes intended to be joined must have the same number of
correspondence points.
• Correspondence points on the ends of open-ended shapes cannot be
moved or deleted.
• Correspondence points cannot cross over each other. There is a limit as to
how close they are allowed.

To join the source and target shapes

1. From the output box, select the Mix option.
Both images and shapes appear in the viewer.
2. From the Transformations box, click the Select tool and select the
source shape.
3. From the Editing Tools box, click Join, and drag the source shape towards
the target shape.
A blue line appears as you drag the pointer from the source shape to the
target shape. When the pointer touches the target shape, the two shapes
momentarily turn yellow and are joined together by a correspondence vector.

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Source shape joined to target shape

by a correspondence vector

Source shape in red

Target shape in blue

To break the join between two shapes, click Join in the Editing Tools
box and click on one of the shapes. A dialog box appears asking you
if you want to break the join, click OK.
4. From the Editing Tools box, select the Correspondence option.
The source and target shapes are highlighted in yellow. Each shape
contains four correspondence points. The correspondence points on each
shape are connected with correspondence vectors.
5. Move the correspondence points on the source shape to key locations on
the curve, such as where the curve changes directions.
6. Match the correspondence points of the target shape with those of the
source shape.
When you’re morphing between similar objects, such as between two
faces, you should move the correspondence points to try and match up
key features on the source image with those on the target.

Move the correspondence points so

that key features on the source image
match those of the target image. In
this case, the features of the face
(eyes, nose, and mouth).

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To add additional correspondence points, press the A key and click

the shape on which you want the point to appear. To delete
correspondence points, select a point, and press the Delete key.
7. To increase the precision of the shape during processing, increase the
Density value.
The number of correspondent vectors (yellow lines) between
correspondence points increases as the Density value increases.

During processing, Avid|DS does not use the actual shapes you
created, but uses the edge densities of the shapes to create an
Correspondence approximation of the shapes. That is, a shape’s edge density defines
point how closely the form used in the morphing process matches the
Edge density
shape that is drawn.
Shapes are subdivided between correspondence points based on the
shape’s edge density. The higher the edge density, the more edges,
Original and the more closely the shape is depicted by its edges. Thus, the
shape more precise the transition between shapes.
When you change the edge density, be careful not to use too high a
Shape with edge density of 5. density setting. There is no exact formula for selecting the best
density for any given shape. Choose one that approximates the shape
enough, but not too much. Setting a shape’s density unnecessarily
high slows down processing time.

Creating Barrier You may find that the area outside your source or target shapes also gets
Shapes distorted when your image is morphed. To get rid of this unwanted distortion,
you can create a barrier shape for either the source or target shapes, which
prevents the distortion from spreading to the rest of the image.

To create a barrier shape

1. Create a third shape encompassing both the source and target shapes.
The barrier shape is displayed in red or blue depending on which option
you choose.
2. From the Editing Tools box, click Copy and Join.
This creates a copy of the shape directly on top of its original. By doing so,
you are creating a static warp where the source and target shapes are the
same. This static warp acts as a barrier, which prevents the original warp
from spreading to other areas of the image.

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Warping the Morph After you create the morph between the two images, you can also apply a warp
to the output of the morph. For example, let’s say that you have two faces that
morph from one to the other. Next you want to change the length of the nose of
both images. To do so, you can warp the noses from within the Morph effect.

To warp the output of the morph

1. On the Shapes property page, select the Mix option.
Both the incoming and outgoing images are displayed in the viewer.
2. Select the Apply option.
3. Draw the source and target shapes, and then join them.
The warp source and target shapes are displayed in green.
4. Draw a barrier shape for areas you don’t want to affect.
The shape is animated using the same interpolation as the Morph effect. If
you want to use a different interpolation than the Morph effect, you can
apply individual warp effects to each clip before you apply the Morph effect.

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Animating Shapes You can animate the interpolation between shapes or the shapes themselves
when the objects are moving over time. For still images, the Morph effect
automatically interpolates between the source and target shapes. You can add
keyframes and modify the way the source morphs into the target. For moving
images, you can animate the shapes frame-by-frame to match the movement
in the clip. For more information, refer to Creating Animation on page 508 of
the Avid|DS User’s Guide.

To animate the interpolation between shapes

1. Double-click on the transition area between the clips to open the Morph
property editor.
2. Scrub slowly through the transition on the timeline.
By default, the object moves from the source shape to the target shape in a
linear manner, moving from 0% shape interpolation and 0% transparency
at the beginning of the transition to 100% shape interpolation and 100%
transparency at the end of the transition.
3. Place the play cursor anywhere within the transition area.
4. On the Shapes property page, modify the Shape Interpolation Amount.
The amount of morphing changes as you modify the Shape
Interpolation Amount.
5. Click the Animation Key icon.
A keyframe is added at that point in time, changing how the object moves
from source to target shape.
6. Move the play cursor to another area of the clip, modify the Shape
Interpolation Amount, and add another keyframe.
7. Animate the Transparency value in the same way as the Shape
Interpolation Amount.
8. From the View menu, choose Views > Animation Editor.
The animation editor is displayed.
9. Tweak the shape and transparency animation by modifying, adding, and
deleting keyframes to both the Blend Shapes and Opacity function curves.

You can also modify the slope of the function curves from Linear to
either Spline of Constant interpolation.

Click the Help icon for detailed information on the animation editor.

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 Morph Effect

Tracking Morphed If your image moves or scales, you’ll need to set up trackers to track the
Shapes source, destination, and barrier shapes. To correctly track the shapes, you
need to increase the trackers’ target area and search regions, and ensure that
the Always Update option is selected.

To track the shapes

1. On the Shapes property page, select either Source or Destination in the
Output box, depending on which image you want to track.
2. From the Transformations box, click the Select Shape tool.
3. In the viewer, drag around all the shapes to select them.
Since all the shapes including the source, destination, and two barrier
shapes move and scale, you need to track all the shapes.
4. On the Tracker property page, click Show.
All four trackers are displayed.
5. Use the period (.) or comma (,) keys on the keyboard to cycle through
each tracker and set the following for each tracker:
• Increase the size of the search and target areas to consider the change in
the size of the area on which the shape is drawn.
• Click Always Update.
Since the area of the image defined by the shapes scale and move, you need
the tracker targets to update in each frame.
• Set the Confidence level.
If you find that the tracker stops frequently, try lowering the confidence level.
6. Click the Track Forward (or Track Backward) button.
7. On the Shapes property page, deselect the Show Shapes option to see the
final result without the drawn shapes and tracker boxes.
8. In the Output box, select Mix to see the resulting morph.

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Setting the Rendering The final look of your morph depends largely on the render settings you
Options choose. You can go from a quick low resolution test to a high resolution image
for final output by simply changing a few of the settings in the Render
property page.
The render settings let you choose how the edges of your shapes are defined,
how precise the transition is between shapes, how pixels are interpolated, and
how soft or jagged the edges are.

To set the rendering options

1. In the Morph property editor, select the Render property page.
2. For the Edge Mode setting, select one of the following options:
• Fixed to pin the border of the image in place. Be careful using this option
because it can cause distortion and shearing if your warped object moves
or grows in size.
• Sliding to move the image’s borders with the rest of the warped object.
This option produces less distortion.

Image before being warped or stretched.

Image stretched upwards and Image stretched upwards and

processed with Edge mode set to processed with Edge Mode set to
Fixed. Notice how the borders of the Sliding. Notice how the borders of the
image do not move, resulting in a image do not stay in place, but
distorted image. compensate for the stretched image,
resulting in a less distorted image.

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 Morph Effect

• Cookie Cutter to keep everything that falls within your closed shapes and
remove everything else. This option is also useful for creating mattes. You
cannot use this option with open-ended shapes.

To close a shape, press the Ctrl key and then click in the viewer.

With Edge Mode set to Cookie Cutter, A matte is automatically created based
the area outlined by the closed shapes on the areas that were cut out.
is cut out. The rest of the image is
ignored and set to black.

3. For the Warp Precision setting, which affects transition quality, select one
of the following options:
• Linear to do a quick test. This option processes the morph at the lowest
quality, but is very fast and uses the least amount of memory.
• Low or Medium if you need slightly higher quality than the Linear option.
The quality of the images improve with only slightly slower processing times.
• High if you need a high-quality image that is processed in a reasonable
amount of time. This option produces professional quality images.
• Very High or Super High if you require an extremely smooth transition
between shapes. Both of these options provide extremely high-quality
images, but take considerable amounts of time to process.

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4. For the Interpolation setting, which effects pixel quality, select one of the
following options:
• None if you want quick results. This option results in marginal pixel
image quality, but the processing time is very quick.
• Bilinear if you need a reasonable image quality within a reasonable
processing time. This is the default setting.
• Bicubic if you go from a small source shape to a larger target shape. This
option results in high pixel-quality which is required when the morph
enlarges parts of the image.
• Scaling if your target shape is scaled down by more than 50%. This option
results in the least amount of degradation, but also takes the longest time
to process.
5. Select the Antialiasing option if you want the edges of the shapes or
regions to be smooth. If you deselect this option, the edges are jagged.
6. Select the Soften Edges option if you want the pixels around the edges of
the shapes to blend gradually with the pixels of the surrounding image.
7. Process the effect and then play it back on the timeline to view the results.
Click the Help icon for detailed information on the Morph properties.

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 Wipe Effect

Wipe Effect
The Wipe effect lets you create a transition between two overlapping clips,
such that the second clip is revealed according to a specified pattern. You can
also apply a border between the two clips by specifying the position, color, and
edge softness.
You can apply wipes to clips and tracks, or in an Effects Tree. On the timeline,
you can also use wipes for transitions between two clips, or for single sided
transitions at the beginning or end of a clip. For more information, refer to
Creating One-Sided Transitions on page 292 of the Avid|DS User’s Guide.

You can apply a wipe in an Effects Tree the same way that you apply
a dissolve. For more information, see Dissolve Effect on page 286.

\Image Effects and \Image Transitions folders

Since the wipe effects are real-time effects, you can view the results upon
playback without having to first process the effect.

In some cases, real-time effects may require processing to ensure

that no frames are skipped. For more information, see Working with
Real-time Effects on page 71.

Wipe pattern Description

Wipe 001 Vertical left to right

Wipe 002 Horizontal top to bottom

Wipe 003 From top left

Wipe 004 From top right

Wipe 005 From bottom right

Wipe 006 From bottom left

Wipe 007 In from four corners

Wipe 008 From four centers

Wipe 021 Barn doors

Wipe 022 Vertical barn doors

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Wipe pattern Description

Wipe 023 From top center

Wipe 024 From right center

Wipe 025 From bottom center

Wipe 026 From left center

Wipe 041 Diagonal from top left

Wipe 042 Diagonal from top right

Wipe 045 Double diagonal bottom left to top right

Wipe 046 Double diagonal top left to bottom right

Wipe 061 Triangle from top center

Wipe 071 Ragged edge from left to right

Wipe 072 Ragged edge top to bottom

Wipe 073 Ragged barn doors

Wipe 074 Ragged vertical barn doors

Wipe 119 Circle

Wipe 203 Radial

Wipe 234 Radial from left

Wipe 999 Plasma

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To apply a wipe between two clips

1. On the timeline, overlap the clips that you want to work with. They can be
placed on the same or different tracks. Make sure that the clips to receive
the wipe have extra material.
2. Select the intersecting edit point between the two video clips on which
you want to apply the wipe.
The selected edit point turns red.
3. From the NLE Tools toolbar, click Wipe.
The transition area appears as a gradient on the activeness bar.

4. In the Wipe property editor adjust the amount of the wipe, and specify the
start point and duration of the transition.

The start point and duration options are only available when you
apply a dissolve on the timeline.

Click the Help icon for detailed information on the Wipe properties.

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308 • Avid|DS
Chapter 8 Time Effects

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Chapter 8 • Time Effects

In This Chapter...
Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

3:2 Contract Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

3:2 Expand Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Deinterlace Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Interlace Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

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 Time Effects

Time Effects
The time effects let you process images by rearranging the fields and frames in
a clip. Time effects include 3:2 Contract, 3:2 Expand, Deinterlace, Interlace,
Timewarp. You can apply time effects only to clips.
\Time Effects folder

Name/Location Description
3:2 Contract Contracts video fields to remove a 3:2 pulldown

3:2 Expand Expands video fields to restore a 3:2 pulldown

Deinterlace Separates the frames of a clip into its odd and

even fields

Interlace Recombines frames of a clip that were separated

into odd and even fields

Timewarp Speeds up or slows down the action in a clip

When you apply a time effect, a container clip is created. This container clip
holds the entire source clip, even if you only used part of it. First frame and
end frame markers inside the container clip indicate the portion of the source
clip that is actually used. Only that portion is visible on the top timeline.
Unlike other effects, a time effect is not represented by an effect bar that you
can move, copy, delete, or trim. You can, however, save a time effect as a preset
and apply it to different clips.

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To apply a time effect

1. From the timeline, select a clip.
2. From the Image Tools toolbar, click a time effect.

Time effects

The effect’s property editor is displayed and a container clip is created.

To modify a time effect

• On the timeline, right-click on a container clip, choose Properties, and
then select the parameters that you want to modify.
The effect’s property editor is displayed for you to make any adjustments.

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 3:2 Contract Effect

3:2 Contract Effect

The 3:2 Contract effect lets you process video fields to recreate the original
film sequence at 24 frames per second. This removes artifacts so that you can
work on clean frames.
You can apply the 3:2 Contract effect only to video clips.

Because the 3:2 pulldown technique is not required with PAL video
material, this effect is only used on sequences in NTSC format.

Clip created from film transfer

using 3:2 pulldown
AA BB BC CD DD EE FF FG GH HH
Mixed fields that may contain
artifacts
3:2 Contract

AA BB CC DD EE FF GG HH

3:2 Expand

AA BB BC CD DD EE FF FG GH HH

When using these effects inside graphics container clips, you should
apply the 3:2 Contract effect inside the graphics container clip,
perform the graphics or compositing tasks, and then go to the
parent timeline to apply the 3:2 Expand effect.
To contract video fields
1. From the timeline, select a clip.
2. Frames composed of mixed fields occur in pairs. Position the play cursor
on the first frame in any pair of frames composed of mixed fields.

AA BB BC CD DD EE FF FG GH HH

Position the play cursor on one of these frames

3. From the Image Tools toolbar, click 3:2 Contract.

The clip is contracted to 24 frames per second. A container clip is created
and the 3:2 Contract property editor is displayed.
4. On the timeline, the length of the clip is updated.

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3:2 Expand Effect

The 3:2 Expand effect lets you expand the video fields to recreate a 30-frames-
per-second clip. Once you’ve added effects to your clips, you need to expand
the video fields.
You can apply the 3:2 Expand effect only to video clips.

Because the 3:2 pulldown technique is not required with PAL video
material, this effect is only used on sequences in NTSC format.

To expand video fields

1. From the timeline, select a 3:2 Contract container clip.
2. From the Image Tools toolbar, click 3:2 Expand.
A 3:2 Expand container clip is created and the clip recovers its original length.
3. On the timeline, the length of the clip is updated.

During a 3:2 Expand, if a clip starts or ends with a frame composed

of mixed fields, red frames are added at the beginning or end of the
clip to ensure a fully recoverable operation when performing a 3:2
Contract. You can trim the clip to remove these frames. For more
information, refer to Trimming Clips on page 269 of the Avid|DS
User’s Guide.

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 Deinterlace Effect

Deinterlace Effect
The Deinterlace effect lets you separate each frame of a clip into two fields:
one containing even lines and the other containing odd lines.
In the deinterlaced clip, each field appears as one frame and contains half the
lines of video information of the original frame. For viewing purposes, the in-
between lines are replaced either by duplicates or by interpolation. As a result,
the clip becomes twice as long on the timeline.
You can apply the Deinterlace effect only to clips.
\Time Effects folder
The Deinterlace effect is useful for creating a field-based rotoscopy or paint
animation. For example, in a clip that contains fast moving objects, two fields
in the same frame may contain two slightly different images. When you
deinterlace the clip, each field is displayed separately. You can then use the
graphics tools to create a matte which accurately tracks the moving object.
Separating the fields in a clip also lets you paint over artifacts which may
appear only in odd or even fields.
After you’ve worked on the fields in a clip, you must recombine (interlace)
them to display the resulting frames and recover the original playback speed.
For more information, see Interlace Effect on page 317.

To use the Deinterlace and Interlace effects in a graphics container

clip, do the following: apply the Deinterlace effect to a clip on the
top timeline, apply the graphics container clip to the deinterlace
container clip, perform the graphics or compositing tasks inside the
graphics container clip, and then go to the top timeline to apply the
Interlace effect. To preserve your edits on the top timeline, make
sure that Ripple mode is activated.

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To deinterlace a clip
1. Apply the Deinterlace effect to a clip.
A container clip is created and the Deinterlace property editor is displayed.

2. From the Interpolation box, select one type of interpolation:

• None for no interpolation. The added frames will be exact duplicates of
the adjacent frames. This option is best for clips containing static images.
• Linear to interpolate the entire clip. This option is best for clips
containing moving images.
• Adaptive to interpolate the moving areas of the image only. This option is
best for clips that have both a static and moving component.
3. Select the Invert Field Dominance option to change the order in which
odd and even fields occur in time.
4. The duration of the clip is doubled.

If you deinterlace a clip that is part of a composite, the clip’s

duration is doubled. To maintain synchronization, make sure that
you deinterlace the other clips in the composite.
Click the Help icon for detailed information on the Deinterlace properties.

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 Interlace Effect

Interlace Effect
The Interlace effect lets you shorten deinterlaced clips by half because every
two consecutive frames are interleaved into a single frame. This interlaced
frame contains both odd and even fields.
You can apply the Interlace effect only to clips.
\Time Effects folder. This effect also appears as a button on the Image
Tools toolbar.

To interlace a clip
1. From the timeline, select a Deinterlace container clip.
2. From the Image Tools toolbar, click Interlace.
A container clip is created and the Interlace property editor is displayed.
3. Select the Invert Field Dominance option to change the order in which
odd and even fields occur in time.
4. The duration of the clip is reduced by half.

To use the Deinterlace and Interlace effects in a graphics container

clip, do the following: apply the Deinterlace effect to a clip on the
top timeline, apply the graphics container clip to the deinterlace
container clip, perform the graphics or compositing tasks inside the
graphics container clip, and then go to the top timeline to apply the
Interlace effect. To preserve your edits on the top timeline, make
sure that you’re working in Ripple mode.
Click the Help icon for detailed information on the Interlace properties.

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Timewarp Effects
The Timewarp effects let you change the speed of your clips. You can speed
them up, slow them down, or have them play in reverse.
Applying a Timewarp effect creates a container clip in which frames are
added, removed, or rearranged to create the pacing that you want. Slowing the
action down increases the number of frames, while speeding the action up
decreases it.
The timewarp container clip holds the entire source clip, even if you only used
part of it. First frame and end frame markers inside the container clip indicate
the portion of the source clip that is actually used in the timewarp.
\Audio Time effects (audio) and \Time Effects (video) folders

Audio Timewarp Effect The audio Timewarp effect lets you alter the length and speed of an audio clip
without affecting the original pitch. The audio timewarp has been optimized
for human speech.
There are two methods of changing the speed—by specifying a percentage of
the original speed or by entering a new SMPTE duration.
\Audio Time Effects folder

To apply the Timewarp (audio) effect

1. From the timeline, select an audio clip.
2. From the Audio Tools toolbar, click Timewarp.
A timewarp container clip is created and the Timewarp property editor
is displayed.

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 Timewarp Effects

3. Do one of the following to define the new speed:

• In the Speed (%) box, enter a new speed as a percentage of the original speed.
• In the Duration (SMPTE) box, enter a new end timecode for the container clip.
You can define the speed using either the speed or duration control.
Because these properties are interdependent, when you change one, the
other is updated automatically. For example, if you specify a new end
timecode, the speed is adjusted so that the clip fills the new duration.
4. In the Quality box, specify how you would like the processing to be done.
The higher the quality setting, the more processing power, and therefore
more time is required to complete the process. For example, set the quality
to Fast while you experiment with parameters. Once you’ve decided on
your settings, set the quality to High to process the final result.
5. Select the Update Duration option to update the clip displayed on
the timeline.
6. On the Advanced property page, set the following parameters:
• Blocklength: Specify the size of the audio blocks used to perform the
Timezone processing. As a general rule, percussive sounds, such as drums,
piano, or clicks, should use smaller blocklengths, while instruments such
as strings, wind, and flute, should use longer blocklengths. For clips that
combine both percussive and tonal sounds, like music, you’ll need to
experiment with this parameter for an optimal setting.
• Cross Fading: Specify the length of the crossfade applied between each
audio block during the Timezone processing.
• Energy Detection (dB): Specify the energy threshold for processing audio
blocks. When you select this option, only audio blocks that do not exceed
the specified energy threshold are processed. This is particularly useful for
percussive content or for speech applications. Do not select this option
when an exact processed file size must be guaranteed.
Click the Help icon for detailed information on the audio Timewarp properties.

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Video Timewarp Effect The video Timewarp effect lets you speed up or slow down the action in a
video clip. You can also reverse the action in a clip, freeze frames, or match the
duration of two clips.
\Time Effects folder
The Timewarp effect has five modes: constant, speed, input speed, position,
and hold.
• Constant mode speeds up or slows down the action in a clip by giving it a
new constant speed.
• Speed mode applies a variable speed, so that the action speeds up and/or
slows down progressively.
• Input Speed mode applies a variable speed based on the source clip in
the timewarp container clip, so that the action speeds up and/or slows
down progressively.
• Position mode rearranges the action completely by changing the position
of frames in time.
• Hold mode freezes frames.

Inside a timewarp container clip, audio and video synchronization is

not valid. Therefore, you cannot play the audio portion of a clip
from inside a video timewarp container clip or from a clip that is a
container clip of a timewarp container clip.
To apply a video timewarp
1. From the timeline, select a video clip.
2. From the Image Tools toolbar, click Timewarp.
A timewarp container clip is created and the Timewarp property editor
is displayed.

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 Timewarp Effects

This portion of the

property editor
varies according
to the mode

3. Select one of the following from the Mode list:

• Constant to apply a constant speed to the entire clip.
• Speed to specify a speed that varies throughout the clip.
• Input Speed to specify a speed based on the source clip
• Position to apply frame mapping.
• Hold to freeze frames.

To freeze frames in the selected clip, you can also go the frame that
you want to freeze and click Freeze in the Image Tools toolbar.

4. Select the Interpolate option to create smoother motion.

As frames are added or removed, the timewarp interpolates between
frames (or fields in field processing mode) to create a smoother motion.
5. Select the Invert option to reverse field dominance in a clip—see Field
Dominance on page 25.

If you selected the Frames option in the Processing Options dialog

box, then the Invert Fields option in the Timewarp property editor
will have no effect when you process the timewarp.
6. Click Update Duration to update the clip displayed on the timeline.

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If you have problems applying a timewarp to material that has been

transferred from film using a 3:2 pulldown, you should first apply a
3:2 Contract effect, then apply a Timewarp, and then apply a 3:2
Expand effect on the timewarped results, using the Frames option in
the Processing Options dialog box. For more information, see 3:2
Contract Effect on page 313 and 3:2 Expand Effect on page 314.
Click the Help icon for detailed information on the video Timewarp properties.

Applying a Constant Speed

Using the Constant mode, you can assign a new apparent speed to a portion
of a clip. For example, in a scene where a runner is crossing the finish line, you
can set the speed to 50% to slow down the action.
You can define the speed using any of the speed or duration controls. Because
these properties are interdependent, when you change one, the others are
updated automatically. For example, if you specify a new duration by changing
the end timecode, the speed is adjusted so that the clip fills the new duration.
Once you’ve applied a new constant speed to a clip, you can adjust the clip’s in
and out-points and its duration.

To apply a constant speed

1. From the Timewarp property editor, select Constant from the Mode list.
The Constant mode properties are displayed.

Constant mode
properties

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2. To define the new apparent speed, do one of the following:

• Speed(%): Enter a new speed as a percentage of the original speed.
• Speed (Frames per Second): Enter a new speed in frames per second
(enter a negative value if you want to reverse the action in the clip).
• Duration (SMPTE): Enter a new duration for the container clip.
• Duration (Frames): Enter a new duration in frames.
Frames are added or removed from the clip to change the apparent speed of
action. Speed values are rounded, so that the number of frames is an integer.
3. Click Update Duration to update the container clip’s duration on
the timeline.

If the Interpolate option is deselected, and the new constant speed is

slower than the original speed, the updated duration of the clip on
the timeline may not match the updated duration in the property
editor. This is because slowing down the clip without interpolation
simply duplicates each full frame a fixed number of times. To
remove the extra frames, you can simply trim them in the timeline.
When Interpolation is selected, extra frames are not generated
because some frames are mixed together.
Click the Help icon for detailed information on the Timewarp properties.

To adjust the clip’s in and out-points on the source clip

1. Select the timewarped clip whose in or out-points you want to change.
2. Do one of the following:
• From the top timeline, select the clip’s in or out point. Hold down the F
key and drag the edit handle to move the in or out-point forward or
backward in time.
• From inside the timewarp container clip, select the First Frame or End
Frame marker and drag it to the new in or out-point.
The clip now uses more or less material, but its duration on the top
timeline does not change. This will either speed up the action or slow it
down, depending on whether you increased or decreased the number of
frames being used.

To adjust the clip’s duration

1. Select the timewarped clip whose in or out-points you want to change.
2. From the top timeline, select the clip’s in or out-point.
3. Hold down the G key and drag the edit handle to move the in or out-point
forward or backward in time.
The clip’s duration is increased or decreased, but its in and out-points in
the source material do not change.

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Applying a Variable Speed

Using the Speed mode, you can assign different speeds to different parts of a
clip without changing the clip’s duration on the timeline.
For example, if you apply a timewarp to a clip in a basketball scene, you can
slow the action down and then speed it up again to make the ball gradually
slow down as it approaches the net, come to a stop above the net, and then fall
through the net at full speed.
Changing the speed changes the portion of the source clip that is used, since
more or less material is needed to maintain the clip’s duration. After each
change, the first frame and end frame markers inside the timewarp container
clip are updated accordingly. A base frame marker is set at the frame where
you originally applied the timewarp.

Apparent speed at
timecode 00:00:00:10

Apparent speed
at current play
cursor position

To apply a variable speed

1. From the Timewarp property editor, select Speed from the Mode list.
The Speed function curve is displayed.
2. Change the apparent speed of the clip by doing one of the following:
• Edit the function curve—refer to Animation Graph in the online help.
• Move the play cursor to a specific timecode and enter a value in the Speed
text box.
If Autokey mode is on, a keyframe is created on the function curve.

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If Autokey mode is deactivated, you can use the Set/Remove Key button in
the Timewarp property editor to add or remove keyframes from the
function curve.

You can also edit the function curve in the animation editor by
right-clicking on the Animation Key icon and choosing Edit
Animation from the menu. In the animation editor, you can work
on a copy of the function curve and preserve the original until you’re
ready to accept your changes. For more information, refer to Making
Temporary Copies of Function Curves on page 519 of the Avid|DS
User’s Guide.
Click the Help icon for detailed information on the Timewarp properties.

Applying a Variable Speed Based on the Source Clip

Using the Input Speed mode, you can assign different speeds to different parts
of a clip, and update the clip’s duration accordingly.
Changing the speed in the Input Speed mode does not affect the portion of the
clip that is used, because the changes are based on the source material. Instead,
the clip’s duration is lengthened or shortened, depending on whether you
slowed the clip down, or sped it up. However you change it, the final
timewarped clip will retain the first and end frames that you specified originally.

Apparent speed at
timecode 00:00:02:10

Apparent speed
at current play
cursor position

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To apply a variable speed based on the source clip

1. From the Timewarp property editor, select Input Speed from the Mode list.
The Input Speed function curve is displayed.
2. Select the Show Input Frames option.
The Input Speed function curve is updated to represent the source
material for the timewarp container clip.
3. Change the apparent speed of the clip by doing one of the following:
• Move the play cursor to a specific timecode and enter a value in the Speed
text box.
• Edit the function curve—refer to Animation Graph in the online help.
If Autokey mode is activated, a keyframe is created on the function curve.
If Autokey mode is deactivated, you can use the Set/Remove Key button in
the Timewarp property editor to add or remove keyframes from the
function curve.
4. Deselect the Show Input Frames option.
5. Click Update Duration to update the duration of the clip in the top timeline.
Click the Help icon for detailed information on the Timewarp properties.

Changing the Position of Frames

Using the Position mode, you can move frames to different timecodes. For
example, to reverse the action in a clip, you can place the last frame first and
the first frame last.
In Position mode, a position curve maps the frames’ original timecode inside
the container clip (the vertical axis) versus their new timecode (on the
horizontal axis). You can change this mapping by editing the function curve.
In the following example, the clip plays backward slowly from the last frame
to the first, then plays forward fast, from the first frame to the last.

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Original timecode of
the frame at timecode
00:00:00:16

Original timecode of the

frame at the current play
cursor position

To change the position of frames.

1. From the Timewarp property editor, select Position from the Mode list.
The Position function curve is displayed.
2. Change the position of frames by doing one of the following:
• Edit the function curve—refer to Animation Graph in the online help.
• Move the play cursor to a specific timecode.
• In the Position box, enter the original timecode of the frame that you want
to move to the current play cursor position.
If Autokey mode is activated, a keyframe is created on the function curve.

You can also edit the function curve in the animation editor by
right-clicking on the Animation Key icon and choosing Animation
Editor from the menu. In the animation editor, you can work on a
copy of the function curve and preserve the original until you are
ready to accept your changes. For more information, refer to Making
Temporary Copies of Function Curves on page 519 of the Avid|DS
User’s Guide.
To reverse the action in a clip
1. From the timeline, select a clip.
2. From the Image Tools toolbar, click Timewarp.
A container clip is created and the Timewarp property editor is displayed.

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3. Click the Load Preset icon.

4. From the Load Preset dialog box, select the Reverse effect.
In the Base Frame box, Last is selected. In the Speed (%) box, the value is
-100, indicating that the clip will play in reverse.
5. Change the negative speed value to make the clip play backward at a
different speed.
Click the Help icon for detailed information on the Timewarp properties.

Freezing Frames
Using the Hold mode, you can freeze the action of a specified frame by giving it
a speed of zero. You can now specify whether to freeze a frame or field by using
the Hold On options. Avid|DS replaces frames in a specific part of the clip by
using the frame or field you specified in the Timewarp property editor. Field-
based holds require processing whereas frame-based holds do not.

To freeze frames
1. From the timeline, select a clip.
2. Using the transport controls, locate the frame you want to freeze.
3. From the Image Tools toolbar, click Freeze.
A timewarp container clip is created and the Timewarp property editor
is displayed.

You can also freeze frames by clicking Timewarp and selecting Hold
from the Mode list in the Timewarp property editor.

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Notice that the Fix At text box in the Hold Frame box contains the selected
frame’s timecode in the timewarp container clip, and not on the top
timeline. A base frame marker is set at this timecode on the timeline in the
timewarp container clip.
All subsequent frames in the clip are replaced by the current frame
causing the action to freeze indefinitely. You also have the option of
holding the first or last frame of the container clip.
4. Adjust the Base Frame by changing the Fix At value in the Timewarp
property editor.

You can also adjust the base frame by moving the base frame marker
in the timewarp container clip.

5. By default, the Hold This Frame Indefinitely option is selected. If you want
the action to slow down gradually, enter a value in the Ease In text box.
The action slows down over the specified number of frames.
6. If you want to convert the clip into a still image based on the specified
frame, select the Replace Entire Clip With This Frame option.
7. If you want to freeze a frame and then let the action resume, do the
following in the Mode box:
• Select the Hold This Frame for a Fixed Duration option.
• Duration: Enter the number of frames during which the action is frozen.
• Ease In: Enter the number of frames during which the action slows down
to a stop.
• Ease Out: Enter the number of frames during which the action recovers its
original speed.
8. If you want to create a strobe effect do the following:
• Select the Strobe option.
• In the Frequency text box, enter the number of frames that are repeated
and then skipped.
Starting with the first frame in the container clip, a specified number of
frames is repeated and then the same number of frames is skipped.

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9. To freeze either a frame or field, select one of the following from the Hold
On boxes:
• Frame to freeze both fields of the selected frame.
• Field 1 to freeze the first field of the frame.
• Field 2 to freeze the second field of the frame.

Freeze frame timewarps do not require processing when you set the
Hold On mode to Frame, and you’ve set the Ease In and Ease Out
values to zero.
Freeze frame timewarps do require processing when you set the
Hold On mode to Field 1 or Field 2, or when you’ve specified an
Ease In or Ease Out value.
10. Click Update Duration to update the clip’s duration.
Click the Help icon for detailed information on the Timewarp properties.

Giving One Clip the Duration of Another

You can use the Timewarp effect to give one clip the same number of frames
as a second clip. This is useful when you want to composite a clip that
contains a single-frame image with another clip that contains action.

To give one clip the duration of another

1. Place two clips on the timeline.
2. Select the first clip (the clip whose duration you want to change).
3. Press the Ctrl key and click the second clip (the clip whose duration you
want to match).
4. From the Image Tools toolbar, click Timewarp.
A container clip is created over the first clip and the Timewarp property
editor is displayed. On the timeline, the length of the first clip is updated
to match the length of the second clip.
Click the Help icon for detailed information on the Timewarp properties.

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Chapter 9 • Keyer Effects

In This Chapter...
Keyer Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Blue-Green Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Chroma Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Difference Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

HLS Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Linear Luma Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Luma Keyer Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

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Keyer Effects
The keyer effects let you combine a foreground image over a background image
using a matte. You can use a matte that is already combined with the foreground
image, or create your own using any of the Avid|DS keyers. You can create a key
based on HLS, YUV, or RGB color values, or on luminance values.
You can apply the keyer effects to clips, tracks, or layers, or in an Effects Tree.
\Image Effects and \Keyer folders
Effect name Description
Blue-Green Keyer Creates a key based on a blue or green color.
This is a real-time effect.

Chroma Keyer Creates a key based on a color other than blue

or green. This is a real-time effect.

Difference Keyer Creates a key by comparing the difference

between two images

HLS Keyer Creates a key based on a color other than blue

or green

Linear Luma Keyer Creates a key based on luminance. This is a real-

time effect.

Luma Keyer Creates a key based on luminance

Matte Lets you clean up specific areas of an existing

matte—Matte Effect on page 224.

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Blue-Green Keyer Effect

The Blue-Green Keyer effect lets you create a matte based on a blue or green
background color. Once the matte is created, you can composite the clip over
another one. If you want to key out a background color other than blue or
green, use the HLS or Chroma keyer.
\Image Effects and \Keyer folders
You can apply the Blue-Green Keyer effect to clips, tracks, or layers, or in an
Effects Tree. Applying the keyer as a clip or track effect on an overlay track lets
you composite the clip over another clip on a video track underneath it.
Applying the keyer as a layer effect or in an Effects Tree lets you create a more
complex composite, such as multiple keys on multiple layers. The layer with a
keyer effect applied to it will be composited over the layers underneath it.
Since the Blue-Green Keyer is a real-time effect, you can view the results upon
playback without having to first process the effect.

In some cases, real-time effects may require processing to ensure

that no frames are skipped. For more information, see Working with
Real-time Effects on page 71.

Using the Blue-Green Once you apply the keyer, you can create a basic matte and then fine-tune it
Keyer using the Blue-Green Keyer property editor. The property editor contains
several property pages from which you can fine-tune your matte, crop the
image, create a garbage matte, track the garbage matte, create a spill matte,
and apply spill correction.
The following example shows you how a matte is created for the lady filmed
against a green screen and composited over a medieval glowing background.

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To create a basic matte

1. Apply the Blue-Green Keyer effect to a clip, track, or layer, or in an
Effects Tree.
The Blue-Green Keyer property editor is displayed.
2. On the Key property page, select the Keep Original Alpha option if your
image has an existing matte that you want to keep.
3. Right-click on the viewer and choose Comparison Buffer > Use
Comparison Buffer from the menu, or press Alt+1 (one). Using the
comparison buffer, you can view a snapshot of the image as it is currently
and then compare the results to the key as it progresses.
4. Right-click on the viewer and choose Comparison Buffer > Grab or
press Alt+2.
5. Resize the comparison buffer so you can view the edge of the lady’s dress.
The image is saved. This lets you view the current image with an image
later in the key process.

6. Press the Alt+1 keys to turn off the comparison buffer for now.
7. Click Pick Key Color.
The cursor changes to the an eyedropper cursor when you move it over
the viewer.

Pick cursor

8. In the viewer, click the color that you want to key out.
A matte based on the selected color is created. This color is displayed in
the color swatch beside the Pick Key Color button.

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9. Click Output Matte to see the initial matte created by the keyer.

10. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that is in the Processing Options dialog box.
Click the Help icon for detailed information on the Blue-Green Keyer properties.

To fine-tune the matte

1. In the Blue-Green Keyer property editor, select the Key property page.
2. Adjust the Cleanup controls. Higher values remove more foreground.
Using Cleanup, you can increase or decrease the threshold between what
is foreground and what is background.
3. Adjust the Foreground Presence controls. Higher values remove
semitransparency from the foreground image.

Semitransparent areas
are removed

4. On the Matte property page, select the Output Matte option to display the
matte in the viewer.
Since all the changes you make are applied to the matte and not the RGB
channels, you should display the matte while you work.

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5. Adjust the opaque and transparent areas of the matte by doing the following:
• Click Pick BG and then click on the background areas of the matte in
the viewer.
Semitransparent areas of the background become transparent. You can
continue clicking in the viewer to force more areas to become transparent.

• Click Pick FG and then click on foreground areas of the matte in the viewer.
Semitransparent areas of the foreground become opaque. You can
continue clicking in the viewer to force more areas to become opaque.
Many times it is necessary to switch between picking the foreground and
background so some areas that should be transparent don’t become
opaque and opaque areas don’t become transparent.

Use the sliders to adjust semitransparent areas making them

transparent or opaque.

6. Deselect the Output Matte option to view the progression of the key.
7. Press the Alt+1 keys to turn on the comparison buffer.
Now you can see the edges and compare them to the original image. As you
can see, there’s some softness around the edges that need to be removed.

8. In the Size box, click Apply.

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9. Shrink the size of the matte until there is no more green around the edge
of the lady’s dress.

10. Turn off the comparison buffer.

11. On the Shapes property page, select the Output Matte option.
12. Use the graphics tools on this property page to create a garbage matte.
You can also apply a blur to the shape, or fill the inside or outside of the
shape. In this example, two rectangles were drawn with Fill Inside set to 0.
These rectangles cover the garbage on either side of the lady. You can also
animate the shapes on this property page if the garbage matte obscures
your image at any point.
13. If the image moves or scales, you may need to animate the shapes in the
garbage matte. You can do this by tracking the shapes to the object or
other objects—see Using the Shape Tracker on page 443.
Click the Help icon for detailed information on the Blue-Green Keyer properties.

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To create a spill matte

1. Select the Spill Matte 1 property page.
2. Ensure the Apply option is selected (by default it is selected), to apply the
spill matte to the image.
3. Select the Output Spill Matte option to view the spill matte.
The spill matte is derived from the selected key color. Any areas of
foreground image that contain black or gray will be replaced by the spill
replace color. For example, if an area has black, then 100% spill replace color
is applied. If an area has 50% gray, then 50% spill replace color is applied.

Ensure that Output Matte is deselected on the Matte property page

or you won’t see the spill matte.

4. Use the Softness and Threshold controls to adjust the spill matte.
The Softness slider adjusts the range between transparent and opaque areas
of the spill matte. The Threshold slider adjusts the spill correction area.
5. On the Spill Matte 2 property page, use the controls to further adjust
the matte.
6. On the Spill Replace property page, use the controls to adjust the amount
and hue of spill color in an image’s RGB channels.
7. Deselect the Output Spill Matte option to see how the image is
composited and to view the spill.

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In this example, you can see green spill around the edges of the woman, as
well as in her dress.

Green spill

Enlarged area
showing spill

8. To select a hue to replace the spill hue, do one of the following:

• Click Pick Hue and click on a color in the viewer.
• Drag the color selector in the color wheel to a hue and saturation that will
replace the current spill hue and saturation.
9. Fine-tune the replacement color using the Hue and Saturation controls.
10. Use the Luma Gain controls to multiply the original luminance by the
value you select. A value of 100 represents the original luminance.
11. Use the Luma Brightness controls to add to the original luminance by the
value you select. A value of 0 represents the original luminance.

Click the Help icon for detailed information on the Blue-Green Keyer properties.

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Chroma Keyer Effect

The Chroma Keyer effect lets you create a matte based on color. If you want to
create a matte based on a blue or green background color, use the Blue-Green
Keyer effect.
\Image Effects and \Keyer folders
You can apply the Chroma Keyer effect to clips, tracks, or layers, or in an
Effects Tree.
Applying the keyer as a clip or track effect on an overlay track lets you
composite the clip over another clip on a video track underneath it.
Applying the keyer as a layer effect or Effects Tree lets you create a more
complex composite, such as multiple keys on multiple layers. The layer with a
keyer effect applied to it will be composited over the layers underneath it.
Since the Chroma Keyer is a real-time effect, you can view the results upon
playback without having to first process the effect.

In some cases, real-time effects may require processing to ensure

that no frames are skipped. For more information, see Working with
Real-time Effects on page 71.

Using the Chroma Once you apply the keyer, you can create a basic matte and then fine-tune it
Keyer using the Chroma Keyer property editor.

The property editor contains several property pages from which you
can fine-tune your matte, crop the image, create a garbage matte,
track the garbage matte, create a spill matte, and apply spill
correction.
In the following example, the Chroma Keyer effect was used to create a matte,
which in turn is used to change the color of the sky from bright blue to aqua
using the Color Correction effect.

Before After

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To create a basic matte

1. Apply the Chroma Keyer effect to a clip, track, or layer, or in an Effects Tree.
The Chroma Keyer property editor is displayed.
2. On the Key property page, select the Keep Original Alpha option if your
image has an existing matte that you want to keep.
3. Click Pick Key Color.
4. In the viewer, click the color that you want to key out.
A matte based on the selected color is created. This color is displayed in
the color swatch beside the Pick Key Color button.
5. Click Output Matte to see the matte.
Since all changes you make are applied to the matte and not the RGB
channels, you should display the matte while you work.

6. On the Masking property page, specify whether you’re using a mask for
the effect or not. By default, the effect is applied to the RGB and alpha
channels. You can derive masks from the alpha of the input clip or an
external matte from another clip.
7. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
Granularity setting that’s in the Processing Options dialog box.
Click the Help icon for detailed information on the Chroma Keyer properties.

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To fine-tune the matte

1. In the Chroma Keyer property editor, select the Key property page.
2. From the Tune box, adjust the Chroma Tolerance controls. Lower values
add more foreground; higher values remove more foreground.
3. Adjust the Gain and Lift controls. Gain lets you add more opacity to the
matte, and Lift adds more transparency to the matte.
4. On the Matte property page adjust the opaque and transparent areas of
the matte by doing one of the following:
• Click Pick BG or Pick FG, and then click on background and foreground
areas of the matte in the viewer.
• Use the controls to adjust semitransparent areas, making them
transparent or opaque.

5. Use the Size controls to increase or decrease the size of the matte.
6. Use the Blur controls to adjust the softness of the blur and the degree to
which it is applied to your matte.
7. On the Crop property page, use the controls to crop the image from the
top, bottom, left, or right edges. The crop is applied to the R, G, B, and
alpha components.
8. On the Shapes property page, use the graphics tools to create a garbage
matte. You can also apply a blur to the shape, or fill the inside or outside of
the shape.

If the image moves or scales, you may need to animate the shapes in
the garbage matte. You can do this by tracking the shapes to the
object or other objects. For more information, see Using the Shape
Tracker on page 443.

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9. On the Matte property page, select the Invert Matte option.

Since the sky requires color correcting, you need to invert the matte.

Click the Help icon for detailed information on the Chroma Keyer properties.

To create a spill matte

1. On the Matte property page, deselect the Output Matte option.
To see the spill matte, you must turn off the matte.
2. On the Spill Matte 1 property page, select the Apply option (by default it
is selected) to apply the spill matte to the image.
3. Select the Output Spill Matte option to view the spill matte.
The spill matte is derived from the selected key color. Any areas of
foreground image that contain black or gray will be replaced by the spill
replace color. For example, if an area has black then 100% spill replace color
is applied. If an area has 50% gray, then 50% spill replace color is applied.
4. From the Tune box, adjust the Chroma Tolerance controls. Lower values
add more foreground; higher values remove more foreground.
5. Adjust the Gain and Lift controls. Gain lets you add more opacity to the
matte, while Lift adds more transparency to the matte.
6. Adjust the following controls to fine-tune the spill matte:
• Map to apply post-process mapping to the spill matte, so you make
semitransparent areas fully opaque or fully transparent.
• Size to increase or decrease the size of the matte.
• Blur to apply a post-process blur to the spill matte.

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7. Deselect the Output Spill Matte option.

Since the next steps are to adjust the amount and hue of spill color, you
need to view the RGB channels.
8. On the Spill Replace property page, use the controls to adjust the amount
and hue of spill color in an image’s RGB channels. To select a hue to
replace the spill hue, do one of the following:
• Click Pick Hue and click on a color in the viewer.
• Drag the color selector in the color wheel to a hue and saturation that will
replace the current spill hue and saturation.
9. Fine-tune the replacement color using the Hue and Saturation controls.
10. Adjust the Luma Gain controls to multiply the original luminance by the
value you select. A value of 100 represents the original luminance.
11. Adjust the Luma Brightness controls to add to the original luminance by
the value you select. A value of 0 represents the original luminance.
Click the Help icon for detailed information on the Chroma Keyer properties.

To color correct the sky

1. Deselect the Output Spill Matte option so you can view the changes you
make to the RGB channels.
2. Apply a color correction effect on top of the Chroma Keyer effect.
The Color Correction property editor is displayed
3. On the Masking property page, do the following:
• In the Mask box, click Alpha.
• In the Process box, ensure R, G, and B are selected.
• The effect is applied only to areas of the image where the alpha channel is
not black. If the matte is not adjusted properly, you can go back to the
Chroma Keyer effect and adjust it further.
4. On the Basic property page, adjust the Hue to select a new color for the sky.
Click the Help icon for detailed information on the Color Correction properties.

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Difference Keyer Effect

The Difference Keyer effect lets you create a matte based on the difference
between foreground and reference clips. The foreground clip contains an
image that you want to isolate, while the reference clip contains a background
similar to the foreground clip. When you apply the Difference Keyer effect,
only the isolated image in the clip is retained.
You can apply the Difference Keyer effect to layers or in an Effects Tree.
\Keyer folder

Using the Difference When you apply the Difference Keyer as a layer effect, you must first set up the
Keyer composite by placing the clips on tracks and layers. Once you set up the
composite, you apply the Difference Keyer effect to the foreground clip, and
then create a basic matte. You can fine-tune the matte using the Difference
Keyer property editor.
In an Effects Tree, you connect the foreground and reference clips to the
Difference Keyer node, and then use a composite node to composite the
output of the Difference Keyer node with the background clip.

The property editor has the same property pages as when you apply the
Difference Keyer to a layer, but without the Reference property page. This is
because the Difference Keyer node has two inputs, so the Reference property
page isn’t required.
In the following examples, the Difference Keyer effect was used to create a
matte for the hands so that they can be composited over the flowers
background. This example shows you how to apply the Difference Keyer effect
on a layer and in an Effects Tree.

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Using the Difference Keyer effect on layers

1. From the browser, drag the clip to be used as the background image and
place it on the timeline.

2. From the taskbar, click the Compositing layout icon.

A graphics container clip is created from the clip and the clip is placed in
the Layers view.
3. Drag the clip to be used as your foreground clip from the browser to an
empty area of the Layers view.
A track on the timeline and a layer in the Layers view is created for the clip.

4. From the browser, right-drag the clip to be used as your reference clip to
the marker ribbon.
This places the clip on the timeline above the foreground clip without
adding it as a layer.

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5. In the Layers view, select the foreground layer and click Key.
The Blue-Green Keyer property editor is displayed by default.
6. Click the Load Preset icon.
7. From the Load Preset dialog box, select the Difference Keyer from the
Keyer folder.
8. Select the Reference property page.
9. From the timeline, drag the track containing the reference clip to the
reference thumbnail.
The reference clip is displayed in the reference thumbnail. The Difference
keyer computes the difference between the reference clip and the selected
layer, and creates a matte on the layer.

Matte generated by
Difference keyer

Reference clip in
reference thumbnail

Background clip Foreground clip Reference clip

Composite after Difference Keyer effect is applied

10. Fine tune the matte further to create the results you want—see To fine-
tune the matte on page 343.

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Using the Difference Keyer effect in an Effects Tree

1. From the browser, drag the clip to be used as your background image and
place it on the timeline.

2. From the taskbar, click the Compositing layout icon.

A graphics container clip is created from the clip and the clip is placed in
the Layers view.
3. Click on the layer to make sure it’s active.
The Effects Tree for the layer also becomes active.
4. In the browser, press the Ctrl key and click on the clips to be used as your
foreground and reference clips, and drag them to an empty area of the
Effects Tree view.
Tracks on the timeline and nodes in the Effects Tree view are created for
the clips.

Foreground clip Reference clip

5. Right-click on an empty area of the Effects Tree view and choose Add
Effect from the menu.
The Load Preset dialog box is displayed.
6. In the Keyer Effects folder, select the Difference Keyer effect.
The effect is added as a node in the Effects Tree view.

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7. Connect the foreground clip to Input 1 on the Difference Keyer node, and
the reference clip to Input 2.
8. Add a Composite node, located in the Tree Effects folder, to the tree and
connect the nodes as follows:

The Difference Keyer effect computes the difference between the reference
clip and the selected layer, and creates a matte on the layer.

To fine-tune the matte

1. In the Difference Keyer property editor, select the General property page.
2. Select the Keep Original Alpha option if your image has an existing matte
that you want to preserve.
3. Select the Output Matte option to output the matte as an RGB image.
This option also lets you switch the viewer’s display between the matte and
the RGB channels.
4. From the Pre-blur box, do one of the following:
• Select the Apply option and use the controls to adjust the amount of blur
to be applied. By default, a Fast (uniform) blur is applied. This type of
blur decreases the amount of time required to process the effect.

When you use the Pre-blur controls on the General property page,
make sure the Same as Processing option on the Options property
page is selected. This will ensure that the pre-blur is applied to
individual fields.
5. On the Map property page, make sure the Apply option is selected, so that
changes are applied to the matte.

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6. Adjust the opaque and transparent areas of the matte by doing one of
the following:
• Adjust the Clip Low and Clip High controls.
Clip Low forces semitransparent areas of the background to become more
transparent. Clip High forces semitransparent areas of the foreground to
become more opaque.
• Click Force (Opaque or Transparent) and select an alpha value from
the viewer.
7. Adjust the function curve further by interactively manipulating it on the
function curve graph.
8. On the Matte property page, select the Apply options from the Blur box to
apply a blur to the matte.
9. Use the Radius and Amount controls to adjust the blur.
10. From the Size box, select the Apply option to apply the Shrink/Grow effect
to the matte.

When you use the Size controls on the Matte property page, make
sure the Same as Processing option on the Options property page is
selected. This will ensure that the shrink/grow effect is applied to
individual fields.
11. Use the Shrink/Grow controls to adjust the size of the matte.
12. Deselect the Output Matte option.
Since you will work on the spill color correction, you no longer need to see
the matte.
13. On the Spill property page, click Pick Spill Color, then select the spill
color in the viewer.
14. To select a hue to replace the spill hue, do one of the following:
• Click Pick Replace Hue and click on a color in the viewer.
• Drag the color selector in the color wheel to a hue and saturation that will
replace the current spill hue and saturation.
15. Fine-tune the replacement color using the Hue and Saturation controls.
16. Use the Luminance Offset and Threshold controls to add or subtract
luminance to or from the original luminance value and to adjust the spill
correction area.

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17. Use the Softness controls to create a softer transition between the
replacement color and adjacent colors in the RGB image.

Spill correction in the Difference Keyer is only effective if you are

keying out blue or green screen shots.

18. On the Masking property page, specify whether you’re using a mask for
the effect or not. By default, the effect is applied to the RGB and alpha
channels. You can derive masks from the alpha of the input clip or an
external matte from another clip.
19. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
granularity that is set in the Processing Options dialog box.
Click the Help icon for detailed information on the Difference Keyer properties.

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HLS Keyer Effect

The HLS Keyer effect lets you create a matte based on the hue, luminance, and
saturation (HLS) values of an image. Once the matte is created, you can
composite the clip over another one. You can also use the HLS Keyer effect to
key out specific areas of an image.
You can apply the HLS Keyer effect to clips, tracks, or layers, or in an
Effects Tree.
\Image Effects and \Keyer folders

Using the HLS Keyer Once you apply the HLS Keyer effect to a clip, track, or layer, you can create a
basic key and then fine-tune it. Whether you applied the keyer as a clip, track,
or layer effect, the steps required to create a key are the same. However, if you
applied the keyer using a graphics effect, you’ll need to perform a couple of
preliminary steps before you can create the key.

To create a basic key

1. Apply the HLS Keyer effect to a clip, track, or layer, or in an Effects Tree.
The HLS Keyer property editor is displayed.
2. In the viewer, press the Shift key and drag over the portion of the image
that you want to key out.
The HLS controls update according to the pixel values in the selected region
of the image and the specified color range is removed from the image.

Selecting an area to be keyed

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Use the following shortcuts when keying out mattes:

To Do this

Select pixels Click and drag

Make a rectangular selection Hold down Shift and drag

Select the pixels in roll area (fall-off regions) Hold down Ctrl and drag

You can also enter values in the HLS Keyer property editor.
3. View the output of the matte by right-clicking on the viewer and choosing
Alpha Component from the menu.

Select the 75% transparency to view both the matte and the image as
you extract color ranges.
If you applied the keyer on an overlay track, be sure to solo the track
so you only see the output of the matte for the keyer.
4. Continue to make rectangular selections over areas that are still not transparent.
Each time you drag over the color to be keyed, the current frame is
processed and the viewer immediately displays the results.
5. To view the final matte, right-click on the viewer and choose
Alpha Component > Matte from the menu.
The resulting matte is shown in the viewer.

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6. To display the RGB image, turn off the alpha component by right-clicking
on the viewer again and choose Alpha Component > Off.
You can now see any underlying layers in the composite.

If you applied the keyer on an overlay track, be sure to deselect the

Solo button on the track.

Click the Help icon for detailed information on the HLS Keyer properties.

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To fine-tune the key

1. On the Matte property page, select the Apply option from the Blur box to
apply a blur to the matte.
2. Use the Radius and Amount controls to adjust the blur.
3. From the Size box, select the Apply option to apply the Shrink/Grow effect
to the matte.

When you use the Size controls on the Matte property page, make
sure the Same as Processing option on the Options property page is
selected. This will ensure that the shrink/grow effect is applied to
individual fields.
4. Use the Shrink/Grow controls to adjust the size of the matte.
5. On the Map property page, select the Apply option.
This property page lets you apply post-process mapping to the matte
generated by the HLS keyer. By modifying the function curve, you can
adjust areas of the matte according to their degree of transparency.
6. On the Masking property page, specify whether you’re using a mask for
the effect or not. By default, the effect is applied to the RGB and alpha
channels. You can derive masks from the alpha of the input clip or an
external matte from another clip.
7. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
granularity that is set in the Processing Options dialog box.
Click the Help icon for detailed information on the HLS Keyer properties.

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Linear Luma Keyer Effect

The Linear Luma Keyer effect lets you create a matte based on the luminance
values of an image. If the background you want to key out does not contain
chrominance information but only luminance information (such as white,
blacks and grays), then use the Linear Luma keyer to create the matte. The
Linear Luma keyer is simpler to use and faster than the Luma keyer.
You can apply the Linear Luma Keyer effect to clips, tracks, or layers, or in an
Effects Tree.
\Image Effects and \Keyer folders
Since the Linear Luma Keyer is a real-time effect, you can view the results
upon playback without having to first process the effect.

In some cases, real-time effects may require processing to ensure

that no frames are skipped. For more information, see Working with
Real-time Effects on page 71.

Using the Linear Luma Once you apply the keyer, you can create a basic key and then fine-tune it.
Keyer Whether you applied the keyer as a clip, track, layer effect or in an Effects Tree,
the steps required to create a key are the same.
In the following example, the Linear Luma keyer was used to create a matte
for the man on a white background in order to composite him over the
medieval background.

To create a basic key

1. Apply the Linear Luma Keyer effect to a clip, track, or layer, or in an
Effects Tree.
2. On the Key property page, select the Keep Original Alpha option if your
image has an existing matte that you want to preserve.
3. Select the Output Matte option to output the matte as an RGB image.
This option also lets you switch the viewer’s display between the matte and
the RGB channels.

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4. Click Reverse FG/BG.

Since the key is based on the brightness of the luminance, a white
background produces a high score in the keyer making the alpha white.
You can reverse the foreground and background to create the correct
matte so the foreground is white and the background is black.

5. Use the Gain and Brightness controls to adjust the matte. The Gain
control lets you add to or remove opacity from areas that are
semitransparent. The Brightness control lets you add brightness to all
areas of the matte.
6. From the Pre-blur box, do one of the following:
• Select the Apply option and use the controls to adjust the amount of blur
to be applied. By default, a fast uniform (box) blur is applied. This type of
blur decreases the amount of time required to process the effect.

When you use the Pre-blur controls on the General property page,
make sure the Same as Processing option on the Options property
page is selected. This will ensure that the pre-blur is applied to
individual fields.
Click the Help icon for detailed information on the Linear Luma Keyer properties.

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To fine-tune the matte

1. From the Linear Luma Keyer property editor, select the Matte property page.
2. Adjust the opaque and transparent areas of the matte by doing one of
the following:
• Click Pick BG or Pick FG, and then click on background and foreground
areas of the matte in the viewer.
• Use the sliders to adjust semitransparent areas making them transparent
or opaque.
3. Use the Size controls to increase or decrease the size of the matte.

When you use the Size controls on the Matte property page, make
sure the Same as Processing option on the Options property page is
selected. This will ensure that the shrink/grow effect is applied to
individual fields.
4. Use the Blur controls to adjust the softness of the blur and the degree to
which it is applied to your matte.

5. Use the controls on the Crop and Shapes property pages to crop the matte
or remove garbage from the matte respectively. You can also track shapes
in your garbage matte using the controls on the Tracker property page.
6. Deselect the Output Matte option to view the results of the composite.

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7. On the Masking property page, specify whether you’re using a mask for
the effect or not. By default, the effect is applied to the RGB and alpha
channels. You can derive masks from the alpha of the input clip or an
external matte from another clip.
8. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
granularity that is set in the Processing Options dialog box.
Click the Help icon for detailed information on the Linear Luma Keyer properties.

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 Luma Keyer Effect

Luma Keyer Effect

The Luma Keyer effect lets you create a matte based on the luminance values
of an image. Luminance is the portion of a video signal that contains the
brightness (black and white) information. If you want additional control over
a luma key, use the Linear Luma keyer instead of the Luma keyer.
You can apply the Luma Keyer effects to clips, tracks, or layers, or in an
Effects Tree.
\Image Effects and \Keyer folders

Using the Luma Keyer Once you apply the Luma Keyer effect, you can create a basic key and then
fine-tune it. Whether you applied the keyer as a clip, track, or layer effect, the
steps required to create a key are the same.

To create a basic matte

1. Apply the Luma Keyer effect to a clip, track, or layer.
2. In the viewer, press the Shift key and then drag over the portion of the
image that you want to key out.
The luminance range you selected is removed from the image.

Selecting an area to be keyed

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Use the following shortcuts when keying out mattes:

To Do this

Select pixels Click and drag

Make a rectangular selection Hold down Shift and drag

Select the pixels in roll area (fall-off regions) Click on a pixel, press the Ctrl
key, and drag

You can also enter values in the Luma Keyer property editor.
3. View the outline of the matte by right-clicking on the viewer and choosing
Alpha Component from the menu.

Select the 75% transparency so that you view both the matte and the
image as you extract color ranges. If your clip is on an overlay track,
solo it first before you view the alpha channel.

Continue making rectangular selections over areas that are still not
transparent. Each time you drag over the color to be keyed, the current
frame is processed and the viewer immediately displays the results.

You can zoom in on the viewer to find pixel values that need to be
keyed out.

4. To view the final matte, right-click on the viewer and choose Alpha
Component > Matte from the menu.
The resulting matte is shown in the viewer.

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5. To display the RGB image, turn off the alpha component by right-clicking
on the viewer again and choose Alpha Component > Off.
You can now see any underlying layers in the composite.

If you applied the keyer on an overlay track, be sure to deselect the

Solo button on the track.

Results of a composite using the luminance keyer

Click the Help icon for detailed information on the Luma Keyer properties.

To fine-tune the matte

1. On the Matte property page, select the Apply option from the Blur box to
apply a blur to the matte.
2. Use the Radius and Amount controls to adjust the blur.
3. From the Size box, select the Apply option to apply the Shrink/Grow effect
to the matte.

When you use the Size controls on the Matte property page, make
sure the Same as Processing option on the Options property page is
selected. This will ensure that the shrink/grow effect is applied to
individual fields.
4. Use the Shrink/Grow controls to adjust the size of the matte.
5. On the Map property page, modify the function curve to adjust areas of
the matte according to their degree of transparency.

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6. On the Masking property page, specify whether you’re using a mask for
the effect or not. By default, the effect is applied to the RGB and alpha
channels. You can derive masks from the alpha of the input clip or an
external matte from another clip.
7. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
granularity that is set in the Processing Options dialog box.
Click the Help icon for detailed information on the Luma Keyer properties.

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Chap ter 10 2D Digital Video Effects (DVEs)

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Chapter 10 • 2D Digital Video Effects (DVEs)

In This Chapter...
Digital Video Effects (DVEs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Transforming Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

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 Digital Video Effects (DVEs)

Digital Video Effects (DVEs)

A Digital Video Effect (DVE) lets you transform the size, position, and shape
of images in three-dimensional space. You can apply DVEs on clips on the
timeline, to layers, or in an Effects Tree. When you apply a DVE in an Effects
Tree, it can be treated as a transition with two inputs.

\Image Effects, \Image Transitions, and \DVE folders

Effect name and location Description

DVE Lets you transform an image

\Image Effects, \Image Transitions,
and \DVE folders

Soft Border Offsets an image and applies a soft

\DVE folder border around the image’s edges

5x5 Tile Scales, translates, and composites

\DVE folder the image producing a tiled effect.
This is an Effects Tree.

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Transforming Images
On the timeline, you can use DVEs for transitions between two clips or to
create effects such as “push-wipes” and “fly-bys”.
In the Layers view, you can apply DVEs on each layer or apply a global DVE to
transform several layers simultaneously. Transformations are applied to the
entire layer. For example, if you use a DVE to define a 45 degree rotation,
every frame in the clip is rotated by 45 degrees. You can also rotate the image
gradually over any number of frames by animating the rotation. You can
animate your DVEs by creating a motion path which records the different
positions of your image over time.
You can create various DVE image transformations including the scaling,
translating, rotating, cropping, and perspective. The direction of the
transformation is based on the X, Y, and Z axes (Cartesian 3D space) that
you specify. If you animate a DVE, you can preview the animation in the
viewer in real time using the Wireframe Preview button on the DVE toolbar.
Avid|DS lets you transform the image interactively in the viewer by adjusting
the dimensions of the image box. Any transformations that you apply are
reflected in numeric values in the property editor. You can adjust these values
to fine-tune the position of the image.

Image box

Handles

Image dimensions
Transforming an image in the viewer

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Creating DVEs on Each layer in the Layers view has an independent DVE tool. When you apply a
Individual Layers DVE on an individual layer, each DVE is surrounded by a yellow bounding box.

To apply a DVE to a layer

1. In the Layers view, click DVE on the layer where you want to apply the DVE.
A yellow bounding box surrounds the image in the viewer and the DVE
property editor is displayed.

2. On the DVE property page, create the transformation by doing one of

the following:
• Click Scale, Rotate, or Crop and interactively manipulate the image in
the viewer.
• Enter numerical values in the Scale, Rotate, and Translate text boxes.
• On the Crop property page, enter numerical values on this property page.

If you want to manipulate the DVE in the image plane, press the I
key before manipulating it.
When scaling an image, you can select the Lock XY option. When
you enter a value into the X text box, the same value will be entered
in the Y text box, or vice versa.

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3. On the DVE property page, use the Perspective controls to adjust the
amount of perspective applied to the rotation. By default, an angle of 45
degrees is applied.
4. Select the Use Motion Path option if you want to create a motion path in
the viewer. Otherwise a function curve is created which you can edit using
the animation editor.
5. On the Border property page, adjust the Border Size to create the desired
border thickness.
6. Adjust the Border Softness to control the amount of softness applied
between the edge of the image and the interior edge of the border.
7. Adjust the Fall Off Size to control the amount of transparency applied to
the edge of the image.
8. Select Red, Green, or Blue, or all three options to apply the border to all
three channels.
9. Click Apply Effect to apply the border effect.
10. On the Color property page, select a border color from the palette, or click
Pick and select a color from the viewer.

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11. On the Quality property page, set the quality settings, channels, and
motion blur options.
12. On the Options property page, select one of the following options from
the Source Material box:
• Frame if your material is frame-based, such as static images or 30 fps
computer generated images (CGI).
• Same as Processing if you want the effect to be processed using the same
granularity that is set in the Processing Options dialog box.
Click the Help icon for detailed information on the DVE properties.

Creating Global DVEs A global DVE applies a 3D transformation (scaling, rotation, translation) to
participating layers in the composite. When you apply a global DVE, a red
bounding box lets you interactively manipulate all participating DVEs in the
viewer. Before applying the global DVE, you must mark all the layers that you
don’t want to participate in the transformation. By default, all the layers
participate in the global DVE.

To create a global DVE

1. In the Layers view, select a layer that you don’t want to participate in the
transformation and click DVE.
2. In the DVE property editor, deselect the Global option.

3. Do the same for all the other layers that you don’t want to participate in
the transformation.

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4. Right-click on an empty area of the Layers view and choose Global DVE
Controls from the menu.
A red bounding box surrounds all the DVEs in the viewer and the Global
DVE property editor is displayed.

Global DVE
displayed in
wireframe mode

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5. Create the transformation by doing one of the following:

• Click Scale, Rotate, or Translate and interactively manipulate the global
DVE wireframe in the viewer.
• Enter numerical values in the Scale, Rotate, or Translate text boxes.
Although no handles are displayed on the red bounding box, the pointer
changes to indicate the transformation mode (scale, rotate, or translate)
when you position it inside the bounding box.

When scaling an image, you can select the Lock XY option. When
you enter a value into the X text box, the same value will be entered
in the Y text box, and vice versa.
If you want to manipulate the Global DVE in the image plane, press
the I key before manipulating it.
Click the Help icon for detailed information on the DVE properties.

Viewing DVEs The viewer lets you display and preview DVEs in wireframe mode. When you
play animated DVEs in this mode, the animation is played in real time.

To turn wireframe mode on or off

1. From the DVE toolbar, click the Show All Wireframes icon.
All layers with DVEs are displayed with a green bounding box and the
selected layer is displayed with a yellow bounding box. A global DVE is
displayed with a red bounding box.
2. Click the Show All Wireframes icon again to turn off wireframe mode.
The bounding boxes disappear on all layers except for the selected layer.

To preview an animated DVE in wireframe mode

Show All • Click the Wireframe Preview icon. Click the icon again to stop
Wireframes the preview.
Wireframe To access the wireframe preview mode from the top timeline, you must
Preview
display the DVE toolbar, and leave the DVE property editor open.

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Selecting DVEs When a DVE has been applied to a layer, there are two methods in which you
can select the DVE:
• If the Show All Wireframes icon is selected, click the DVE in the viewer, or
• Click the layer containing the DVE.
Each method has its benefits. For example, when you have several DVEs
displayed in wireframe mode, some of the DVEs may overlap making
selection difficult. Also, if you locked one of the DVEs, you will not be able to
select it. In these cases, it is better to click on the layer containing the DVE,
instead of selecting the DVE in the viewer.

Selected DVE

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Locking DVEs When you want to focus your attention on one particular DVE, you can lock
it so that all manipulations are only applied to a selected DVE. This helps to
avoid accidental selection of another DVE while you are manipulating the
locked DVE. When you click the Lock button on the DVE toolbar, the selected
layer becomes locked. If you want to work on another layer while in Lock
mode, simply select another layer in the Layers view.

To lock a DVE
1. On the Layers view, select a layer containing a DVE.
2. In the DVE toolbar, click the Lock Selection icon or press the Ctrl+L keys.
Lock Selection
The selected DVE is locked.

Centering an Image By default, an image rotates around its center and its image offset is 0. You can
shift the center of rotation by entering different X, Y, and Z values for the
image offset.

To move the center of rotation

1. In the DVE property editor, select the DVE property page.
2. Do one of the following:
• In the Image Offset box, enter values for the X, Y and Z offset.
• Click on the image offset in the viewer and drag it to a new location.

From the DVE toolbar, click the DVE Tool Properties icon to display
its property page, from which you can turn the following DVE tool
options on or off: Show Values, Show Handles, Show All Wireframes.

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Translating an Image You can move an image in any of the X, Y, or Z axes. When you translate in the
X direction, the image moves from left to right; in the Y axis, the image moves
up or down; in the Z axis, it moves from front to back.

You can constrain the tool in X or Y axis by pressing the Shift key
and moving the image.

To translate an image
1. In the DVE property editor, select the DVE property page.
In the image box, the pointer changes to the translate cursor.
2. Translate the image by doing any of the following:
• Click on the viewer and move the image interactively by dragging the
image box.
• To translate the image in the Z axis, press the slash (/) key and drag the
image box.
• To translate in the image plane, press the I key and drag the image box.
This is useful if the image has a Y rotation.
• To translate in the direction perpendicular to the image plane, press the
I+slash (/) keys and drag the image box.
• Enter exact X, Y and Z coordinates in the respective text boxes.

To lock an axis while you move a DVE, press the Shift key and move
the DVE. If you move the DVE in the X axis, then the Y axis will be
locked, and vice versa.
Click the Help icon for detailed information on the DVE properties.

Translating an image

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Scaling an Image You can modify the size of an image by changing its height and width. This is
known as scaling. You can resize an image along the X or Y axes, or resize it
proportionally in the viewer. You can also increase or decrease its height or width.

To scale an image
1. In the DVE property editor, select the DVE property page.
2. Click Scale or press the S key to activate the scale tool.
3. Click on the viewer and position the pointer over one of the handles on
the image box.
The pointer changes to the scale cursor.
4. Do one of the following:
• To scale the image proportionally, drag one of the corner handles inwards
or outwards.
The corner handles scale in two directions, depending on whether you
drag horizontally, vertically, or both.
• To scale without maintaining the image proportions, press the Shift key
and drag the corner handles.
• To adjust the height or width of the image, drag the side handles.
• Enter the exact X and Y coordinates in the respective text boxes.
Click the Help icon for detailed information on the DVE properties.

Scaling an image

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Rotating an Image You can rotate an image around any of its three axes by entering the angles of
rotation around the X, Y, and Z axes in the text boxes, or by using the pointer
to turn the image and define the rotation visually in the viewer.

To rotate an image
1. In the DVE property editor, select the DVE property page.
2. Click Rotate or press the D key to activate the rotate tool.
3. In the viewer, position the pointer over one of the handles on the image box.
The pointer changes to the rotate cursor.
4. Do any of the following:
• Drag the corner handles to rotate the image around the image’s Z axis.
• Drag the middle top and bottom handles to rotate the image around the
image’s X axis.
• Drag the middle side handles to rotate the image around the image’s Y axis.
• Enter the exact coordinates in the respective text boxes.
Click the Help icon for detailed information on the DVE properties.

Cropping an Image Cropping lets you cut away portions of an image. You can crop an image on
either the X or Y axes using the handles in the viewer. You can also select the part
of the image that you want to keep by drawing a rectangle in the crop mode.

To crop an image
1. In the DVE property editor, select the DVE property page.
2. Click Crop or press the F key to activate the crop tool.
3. In the viewer, position the pointer over one of the handles on the image box.
The pointer changes to the crop cursor.
4. Do one of the following:
• Click a handle to crop the image.
The corner handles crop two adjacent sides, and the middle handles crop
the selected side of the image.
• Press the R key and drag a rectangle around the image.
Any areas outside the box are cropped.
• Enter the exact coordinates in the respective text boxes.
Click the Help icon for detailed information on the DVE properties.

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Corner Pinning When you composite clips on layers, you can also perform 4-point corner
pinning in a DVE. When processing, the Tracker DVE option is applied first,
then the Scale, Rotate, Translate (SRT) DVE, and then the Global DVE.

To apply 4-point corner pinning

1. In the DVE property editor, deselect the Global and SRT options.
2. Select the Track option.
Corner pins are displayed in the four corners of the image.
3. Drag each corner to reshape the image.

If you want to continue transforming the image, select the Global

DVE and SRT DVE options again.

For more information, see Using the DVE Tracker on page 428.

Animating DVE Animation is the change of an object and/or its properties over time. This is
Transformations called keyframing. You can, for example, animate a DVE’s scale, rotation, or
translation. Once you’ve animated a DVE, all of the animated properties are
represented by a function curve which plots the property’s values over time.
You can animate a DVE’s position (translation) with or without motion
paths. When you use motion paths, a line is drawn in the viewer to show you
the path on which the DVE moves. Motion paths aren’t displayed in the
animation editor.
When you don’t use a motion path, you can animate the DVE’s position by
setting keyframes in the animation editor. The animated position is shown on
the translate function curve.

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To access the animation editor

• Right-click on the Animation Key icon in the property editor and choose
Animation Editor from the menu.

Animatable DVE properties Displayed function curves

When animating any of the DVE properties, you can use one of the following:
• Animation key on a property editor to set a keyframe each time you
adjust properties.
• Autokey button on the status bar to set keyframes automatically every
time you adjust properties.
• Animation editor to manipulate the function curves.
For more information, refer to Creating Animation on page 508 of the Avid|DS
User’s Guide and Animation Editor in the online help.

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 Transforming Images

Creating a Motion Path You can animate the position of an image to create effects, such as fly-bys.
When you animate the position of an image, the animation is represented by a
motion path, a trajectory that the image follows when you play the animation.

Motion path

Translated image

Initial control point

To create a motion path, you must set the first keyframe even if the Autokey
button is activated. All subsequent keyframes are created automatically when
you go to another frame and move the image. Once you create the motion
path, you can edit it in the viewer.

To create a motion path

1. On the timeline, position the play cursor on the frame on which the
animation will start.
2. In the DVE property editor, click Use Motion Path.
3. Click the Animation Key icon to set the first keyframe.
A yellow circle is displayed on the center of the object to indicate that a
keyframe is set and that motion path recording has started.
4. In the viewer, do one of the following:
• Move the image interactively by dragging it in the viewer.
• Translate the image in the Z axis by pressing the slash (/) key and dragging
the image.
• Translate the image in the image plane, by pressing the I key and dragging
the image.

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• Translate the image in the direction perpendicular to the image plane by

pressing the I+slash (/) keys and dragging the image.
The cursor changes to the translate cursor.
While moving the image, the Translate text boxes in the DVE property
page are automatically updated. You can also enter exact X, Y, and Z
values in the respective text boxes.
5. Go to the next frame on which you want to set a keyframe.
6. In the DVE property editor, click the Animation Key icon to set the
next keyframe.
The first control point in the motion path is displayed in the viewer.
7. Go to the next frame on which you want to set a keyframe.
8. In the viewer, drag the image to a new position.
Each time you repeat steps 5 and 6, the motion path is extended, and new
controls points are added to it.
Click the Help icon for detailed information on the DVE properties.

Editing a Motion Path

The motion path is made of a series of black and white segments. The
beginning of each segment represents the position of the image at a
given frame.

To edit the animation, you can modify the motion path by adding, moving or
removing keyframes. You can also change the curvature of the motion path, as
well as the speed at which the image travels along the path.

To move a keyframe
• In the viewer, drag a keyframe to a new location.
The keyframe moves to a new position, while maintaining the same timecode.

To add a keyframe
• Press the A key and click the motion path at the beginning of a black or
white segment.
A keyframe is added at the corresponding timecode.

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 Transforming Images

To move keyframes
• Do one of the following in the viewer:
- Press the Shift key and click the keyframes that you want to select, and
then drag them in the viewer.
- Press the Shift+R keys and drag to form a rectangle around the
keyframes that you want to select, and then drag them in the viewer.
The selected keyframes are moved to new positions, while maintaining
their timecodes.

If you want to lock the layer containing the motion path, press the
Ctrl+l keys. To unlock the layer, press Ctrl+l again.

To remove the entire animation

• In the DVE property editor, right-click on the Animation Key icon and
choose Remove Animation from the menu.
All keyframes are removed and the image maintains its position on the
current frame.

To change the curvature of the motion path

1. In the viewer, select a keyframe.
The tangent handles are displayed.
2. Drag the tangent handles.
The curvature of the motion path changes at the selected keyframe.

If the tangent handle is very close to the keyframe, press the H key
and drag to give priority to the tangent handle.

Tangent handles

3. To break the tangent, press the B key and drag a tangent handle.

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4. To unify a broken tangent handle, press the U key and drag a tangent handle.
The opposite tangent handle is aligned with the selected tangent handle.

Broken Unified

5. To change the curvature while maintaining the ratio between the tangent
handles, press the R key and drag a handle.
6. To convert an interval between two keyframes to a linear curve, press the
semicolon (;) key and, on the motion path, click the interval that you want
to convert.
7. To convert an interval between two keyframes to a Bézier curve, press the
apostrophe (’) key and, on the motion path, click on the interval that you
want to convert.

Linear segment

Bézier segment

8. To convert the entire motion path to a different type of curve, in the

animation editor, right-click on the Animation Key icon and choose one
of the following:
• Linear to create a straight line between keyframes.
• Bézier to create a smooth spline curve that you can edit using the tangent
handles at keyframes.

384 • Avid|DS
 Transforming Images

Bézier motion path Linear motion path

Changing the Speed of the Motion Path

The speed at which the image moves in the viewer depends on the distance
and number of frames between keyframes. If the image moves across the
viewer in a single frame, the speed of translation is high. If it takes 30 frames
for the image to move across the viewer, the speed is slower.
On the motion path, this speed is represented by a series of black and white
segments. Each segment represents the distance that the image travels from
one frame to the next. If the segments are long, the image is moving fast; if
they are short the image is moving slowly.

Position in frame 2 Slow speed

Position in frame 1

Position in frame 0
Fast speed

By default, the image moves smoothly along the entire motion path.
Depending on the type of motion that you want to create, you can set the
speed type at each keyframe.

To change the speed of translation

Do one of the following:
• To slow down the motion, move the keyframes closer together.
• To speed up the motion, move the keyframes farther apart.

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To adjust the speed between keyframes

• In the viewer, right-click on a keyframe and choose one of the following
from the menu:
- Stay Until Next Key to maintain the image’s current position until the
next keyframe.
- Constant Speed to move the image at a constant speed from the current
keyframe to the next.
- Smooth Speed to adjust the speed of the image before and after the
keyframe to create a smooth motion.
- Ease In/Ease Out to slow down the image, stop at the current keyframe,
and then speed up again.

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Chap ter 11 Paint Effects

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Chapter 11 • Paint Effects

In This Chapter...
Paint Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Artistic Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Clone Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Color Blend Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Cutout Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Noise Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Paper Grain Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Stack Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Reveal Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

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 Paint Effects

Paint Effects
The paint effects let you apply effects to the brush or fill of paint strokes or
text bodies. Paint effects modify the pixels of the image covered by the paint
stroke. Some effects, such as Edge or Color Blend, define the appearance of
the paint stroke. Other effects, such as Smear and Noise, define how the paint
stroke changes the underlying image.
You can apply the paint effects to the brush or fill of a stroke. For more
information, see Graphics Effect on page 215 of this guide and Painting and
Titling on page 315 of the Avid|DS User’s Guide.
\Paint\Effects folder
Effect name Description
Airbrush Lets you paint with a semitransparent stroke that
resembles an airbrush. This is a real-time effect.

Blur Removes noise from areas of an image where color

transitions occur. This effect averages the values of pixels.

Brighten Sets the luminance of the HLS color model to 10

percent. This effect is a preset of the Color Blend effect.

Clone Lets you remove scratches or wires from images by

cloning parts of the same image or parts of images from
other frames
Color Blend Lets you apply color to strokes in several different ways,
use other color palettes, or create a custom color. This is
a real-time effect.
Color Lets you color correct an image by adjusting the hue,
Correction saturation, gain, color balance, and brightness of the image.

Color Lets you create a gradual transition between two, three,

Gradient or four colors in an image.

Cutout Lets you create a cutout using the drawing tools which
you can cut, copy, and paste anywhere in your graphics
session. This is a real-time effect.
Desaturate Lets you tone down bright color. This effect is a preset of
the Color Blend effect and sets the saturation of the HLS
color model to 20 percent.
Edge Lets you detect or emphasize the edges in an image

Erase Lets you erase graphics objects, such as brush strokes,

fills, and text bodies

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\Paint\Effects folder (Continued)

Effect name Description
HLS Keyer Lets you color correct an image based on the hue,
luminance, and saturation (HLS) values of the image

Negative Lets you apply a negative paint stroke to an image

Noise Lets you adjust the level of noise in an image. This is

useful for touching up your image, such as removing
scratches, dust, or other imperfections.

Posterize Lets you reduce the number of color samples in an image,

and select the channels on which the effect is applied

Reveal Lets you “paint away” the alpha channel. When you
paint on the alpha channel with this tool, white areas
change to black (transparent).
Sharpen Lets you specify which areas of an image to sharpen and
by how much

Smear Lets you apply a smear to an existing image. You can

apply it as a brush stroke, but not as a fill. It works by
shifting pixel values in the direction of the brush stroke,
and blurring them together at the same time.
Solarize Lets you invert RGB or HLS values

Stack Effect Lets you replace a brush, fill, face, edge, or shadow effect
by a “stack” or combination of effects. Stack effects allow
you to build complex effects by editing, rearranging, and
applying multiple effects to the brush or fill.

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 Artistic Effects

Artistic Effects
The Artistic effects let you apply effects that simulate artistic aspects such
as texture and color. You can apply the Artistic effects to the brush or fill of
a stroke.
\Paint\Effects\Artistic folder
Effect name Description
Bas Relief Brush Lets you create puffy metallic-looking 3D text and
brush strokes

Chrome Brush Creates a highly polished, smooth, and shiny brush

stroke

Color Gradient Lets you apply a gradual transition between two,

three, or four colors in an image.

Darken Darkens the image by setting the luminance of the

HLS color model at 15 per cent opacity. This effect is
a preset of the Color Blend effect.
Deterministic Creates a stable, regular noise pattern. You can add
Noise consistent noise to the input image.

Glass Brush Distorts an image as if it was being viewed through a

refracting glass surface

Linear Gradient Lets you blend strips of color that can have arbitrarily
set widths. You can set the starting point of the strip
along with the angle of the gradient.
Motion Blur Simulates the effect of motion in an image. This is done
by applying a straight, unidirectional blur to the image.

Radial Blur Lets you apply a circular blur effect to an image. It

works by simultaneously shifting pixel values in a
circular direction and blurring them together.
Radial Gradient Lets you process rings of colors that are blended
together. You can use this effect to create a
graduated background or to highlight images.
Scatter Noise Lets you displace individual pixels which dither the
original image

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\Paint\Effects\Artistic folder (Continued)

Effect name Description
Special Effect Applies a filter that creates a bubbly effect in your
image. The filter calculates either the minimum or
the maximum brightness value in a specified area
around a pixel and applies this value to the pixel.
Textured Brush Applies a variety of textured effects to brush strokes.
This allows you to achieve an embossed brush effect.

Threshold Lets you create a variety of posterized effects. It

works by pushing the pixel values up or down
according to whether they fall above or below a
specified threshold.
Watercolor Lets you simulate the effect of painting with
watercolor

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 Clone Effect

Clone Effect
The Clone effect lets you remove scratches or wires from images by cloning
parts of the same image or parts of other images. The frame that contains the
image you want to clone is called the source. The source image can be taken
from the current frame, another frame from the same clip, or you can set a
source frame offset from which to always clone from.
You can apply the Clone effect as the brush or fill of a stroke.
\Paint\Effects folder

You can also use the Noise and Reveal effects to remove scratches.
For more information, see Noise Effect on page 405 and Reveal Effect
on page 418.
To load the Clone effect
1. From the taskbar, click the Graphics layout icon.

Make sure the play cursor is over the media on the timeline,
otherwise you cannot switch to the Graphics layout.

2. From the Graphics Tools toolbar, click Freehand.

3. In the Paint Style property editor, select the Use option from the Brush box.
4. In the graphics property tree, do the following:
• Right-click on the Masks property icon and choose RGB.
• Right-click on the Brush Fx property icon and choose Clone.
The Clone effect is loaded as a Brush Fx.

You can also use the fill of a stroke to clone an image. In the graphics
property tree, load Fill Fx with the Clone effect.

5. In the graphics property tree, click Brush Fx (Clone).

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The Brush FX (Clone) property editor is displayed

To clone using the current frame as the source

1. Load the Clone effect—see To load the Clone effect on page 393.
2. In the Brush Fx (Clone) property editor, select the type of source point to
use to define the area of the source image:
• Relative creates a clone located at a specific distance from the stroke. The
clone area will follow the position of the stroke, but at a specified offset.
• Absolute creates a clone that is located at an absolute position in a frame.
The clone area will always be taken from the same coordinates.
• In-place creates a clone underneath the stroke.
3. From the Source Frame list, select In Place.
4. To pick an area of the source to clone, do one of the following depending
on the type of cloning you selected:
• Relative: Click Pick, and drag the pointer at a distance representing the
desired offset. Successive strokes are applied using this offset.
• Absolute: Click Pick and click the area of the image that you want to clone.
Successive strokes apply the originally picked area of the source image.
• In-place: No picking is necessary since the source is determined by the
current position of the pointer.
5. Use the Amount controls to adjust the transparency of the clone.
6. You can now paint with the Clone tool.
Click the Help icon for detailed information on the Clone properties.

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 Clone Effect

To clone using a different frame as the source

1. Load the Clone effect—see To load the Clone effect on page 393.
2. In the Brush Fx (Clone) property editor, do the following:
• From the Source Point list, select In Place.
• From the Source Frame list, select Absolute.
• Use the Amount controls to adjust the transparency of the clone.
3. Do one of the following:
• Enter the timecode corresponding to the frame from which you want to
clone in the Frame box.
• Use the transport controls to locate the source frame from which you
will clone and click Make Source to take a snapshot of the current frame.
The timing of the current frame is saved and becomes the source for
subsequent clone operations.
4. To switch between the current frame and the frame you’ve chosen to clone
from, click Go To and Go Back.
5. You can now paint with the Clone tool.

When cloning from another frame, select the Use Onion Skinning
option in the Viewer Properties property editor. This allows you to
see the source frame at the same time.
Click the Help icon for detailed information on the Clone properties.

To clone using an offset frame as the source

1. Load the Clone effect—see To load the Clone effect on page 393.
2. In the Brush Fx (Clone) property editor, do the following:
• From the Source Frame box, select Relative from the Type list.
• Enter a value in the Frame box corresponding to the number of frames for
the offset.
This value can be either a positive or negative value.
• Use the Amount controls to adjust the transparency of the clone.
3. You can now paint with the Clone tool.
Click the Help icon for detailed information on the Clone properties.

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Color Blend Effect

The Color Blend effect lets you apply color to your graphics objects. Once you
select a color, you can apply it to a graphics object as a color blend or as a tint.
You can also set the transparency of the color.
You can apply the Color Blend effect as the brush or fill of a stroke.
\Paint\Effects folder
Since the Color Blend effect is a real-time effect, you can view the results upon
playback without having to first process the effect.

In some cases, real-time effects may require processing to ensure

that no frames are skipped. For more information, see Working with
Real-time Effects on page 71.
To select a color
1. From the taskbar, click the Graphics layout icon.

Make sure the play cursor is over the media on the timeline,
otherwise you cannot switch to the Graphics layout.

2. On the graphics property tree, right-click on Brush Fx or Fill Fx and

choose Color Blend from the menu.
3. From the Color Blend property editor, select the Color property page.
4. From the palette, do one of the following:
• Click a color.
• Click a striped box on the bottom row of the palette, and use the R, G, B,
and A controls to define the color.
The color is displayed in the preview box, and is either applied to the
selected object or becomes the default color which is applied to
subsequent objects you create.

To tint an image
1. In the Color Blend property editor, select the Type property page.
2. In the Type box, select the Tint option.
3. Select a combination of Hue, Luminance, and Saturation options.

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 Color Blend Effect

Setting the Opacity of The transparency of a stroke is determined by the combination of opacity
a Color settings in the Paint Style and Brush property editors.
The transparency of a title is determined by the combination of the opacity
settings in the Titling Style property editor. If a Color Blend effect is used, its
opacity setting also contributes to the transparency of graphics objects.

To change the opacity of a color

1. In the Color Blend property editor, select the Type property page.
2. Use the Opacity controls to adjust the transparency of the color displayed
in the preview box of the Color property page.
• If you selected an object from the viewer, the object is displayed with the
new opacity value.
• If you selected a drawing tool, the opacity value becomes the default
property for objects you subsequently create.

Defining Color You can select colors based on the RGB, CMYK, or HLS color models, or by
picking a color from the image in the viewer. You can create an entire range of
colors in the palette, as well as customize the currently-displayed color palette
by selecting a color and modifying its color values.

To define a color using channel controls

1. In the Color Blend property editor, select the Color property page.

Preview box

Color channel list

2. From the Color Channel list, select a color model.

3. Set the color values of each channel by adjusting the R, G, B, and A
controls for each channel.
The preview box displays the color as you adjust the channels.

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Picking a Color from an Image

If the color you want already exists in an image, you can select this color and
add it to your color palette.

To pick a color from an image

1. In the Color Blend property editor, select the Color property page.
2. Select a color from the color palette. This color will be replaced by the
color you select from your image.
3. Click Pick.
The pointer changes to the eyedropper cursor.
4. In the viewer, click the color that you want to add to the palette.
In the palette, the color you picked from the viewer replaces the color you
selected from the palette.

A very quick way to apply color is with the Pick Color tool. Once you
have chosen your drawing tool, hold down the 6 key. The pointer
changes to the eyedropper cursor. Pick a color from the image in the
viewer. You can now paint with this color until you decide to load
another color.
To define a range of colors
1. In the Color Blend property editor, select the Color property page.
2. From the color palette, select a color for the start of the color range.
3. Press the Shift key and click a color for the end of the color range.
4. Click Spread.
A color gradient between the two selected colors appears across the range
defined by the selected clips.

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 Color Blend Effect

Loading and Saving a Once you select or create a range of colors, you can save the colors as your own
Color Palette color palette. You can then use this palette on any graphics object you create.
When you finish a project, the palette is available for use on other projects.

\Palettes folder

Black Body Dark Values

Extended System Grayscale

Pastels Sea Colors

Skin Tones Avid|DS Palette

Value Spectrum

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To load a color palette

1. In the Color Blend property editor, click the Load icon.
2. In the Load DS Palette Preset dialog box, click a palette to select it.
The selected palette is displayed in the Color Blend property editor.

To save a color palette

1. In the Color Blend property editor, click the Save icon.
The Save DS Palette Preset dialog box is displayed with a list of palette presets.
2. In the File Name text box, enter a name for your palette.
3. In the File Description text box, give the palette a brief description and
click OK.
4. In the File Types text box, enter the file type for the palette.
Click the Help icon for detailed information on the Color Blend properties.

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 Cutout Effect

Cutout Effect
The Cutout effect lets you create a cutout using the drawing tools. The cutout
is a bitmap that you can treat as a graphics object–you can cut, copy, and paste
it anywhere in your graphics session.
The Cutout effect is usually used as a fill effect, but you can also apply the
effect to the brush of a shape, or to the face, edge, or shadow of titles.
\Paint\Effects folder
You can also save the graphics object as a stroke or text preset, and use it in a
different project. This is particularly useful for elements, such as logos, that
must look consistent from project to project.

The Cutout effect is resolution independent if the original cutout

was created in full resolution. If you want your cutout to be
resolution independent but you originally created it in a lower
resolution, switch back to full resolution, select the stroke, and
reload the Cutout effect to the cutout you created.
Since the Cutout effect is a real-time effect, you can view the results upon
playback without having to process the effect.

In some cases, real-time effects may require processing to ensure

that no frames are skipped. For more information, see Working with
Real-time Effects on page 71.
To create a shape cutout
1. From the taskbar, click the Graphics layout icon.

Make sure the play cursor is over the media on the timeline,
otherwise you cannot switch to the Graphics layout.

2. In the Graphics Tools toolbar, click a drawing tool (Polyline, Freehand,

Ellipse, Rectangle, or Magic Wand).
3. From the graphics property tree, click the Paint Style property icon.
4. In the Paint Style property editor, do the following:
• Deselect the Use Brush option.
• Select the Use Fill option.
5. Use the graphics property tree to set up the rest of the drawing tool
properties—refer to Setting Drawing Tool Properties on page 330 of the
Avid|DS User’s Guide.
6. From the graphics property tree, right-click on the Fill Fx icon and choose
Load from the menu.
7. From the Load Preset dialog box, select Cutout from the \Paint\Effects folder.

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8. From the graphics property tree, click the Fill Fx (Cutout) property icon.
9. In the Cutout property editor, do one of the following:
• Select the Transform Image option to transform the cutout when you
manipulate it. This option is most useful for using cutouts on other
images or frames.
• Deselect the Transform Image option to reveal the underlying image as
you move your cutout on the viewer.

Transform Image option Transform Image option

selected deselected

10. In the Transformation Quality box, select one of the following options:
• Unfiltered applies no filter to the image.
• Bilinear applies a fast, medium quality filter to the image.
• Filtered applies a strong filter to the image.
11. Draw on the viewer to create a shape.
A graphics object is created in the viewer. Since the cutout is placed on top
of the area you just cut out, you cannot see it.

A polyline is drawn
around the android,
defining the shape
of the cutout

12. From the Graphics Tools toolbar, click Select, and move the object in
the viewer.

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 Cutout Effect

The cutout is now visible. You can edit your cutout and save it as a stroke
preset if desired. For more information, refer to Manipulating Graphics on
page 365 and Using Stroke or Text Presets on page 328 of the Avid|DS
User’s Guide.

The cutout of the

android is selected
and moved

The cutout is pasted,

scaled, and skewed
in a different
graphics session

Click the Help icon for detailed information on the Cutout properties.

Using the Cutout You can use the Cutout effect in a stack just like any other paint effect in
Effect in a Stack Avid|DS. But before you create a stack effect, remember that when you create
a stroke that contains a Stack effect as well as the Cutout effect, any property
changes you make to the effects preceding the Cutout effect will not be
applied to your cutout.

Make sure the Cutout effect is the first effect in your stack or reload
the Cutout effect by right-clicking on the Cutout effect on the
graphics property tree and choosing Load.
For more information, see Stack Effects on page 412.

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Comparing the Cutout If the Cutout and Clone effects seem similar, be aware that they are quite
and Clone Effects different. The Cutout effect is used for creating a cutout from an image,
whereas the Clone effect is used primarily for touching up images and
removing scratches.
These are the differences between the Cutout and Clone effects:

Cutout effect Clone effect

A cutout image can be A cloned image can be translated, but not

transformed. rotated, skewed, or scaled.

Since a cutout retains a copy of The “snapshot” image used by the Clone
the entire image from which it effect as its source is actually a timecode
was created, a stroke created reference to an image that exists within a
with the Cutout effect can be graphics session. Because it is only a timecode
saved as a preset for use in other reference, it is confined to the time span of the
graphics sessions. graphics session and cannot be used in other
graphics sessions.

The Cutout effect does not have The Clone effect has properties (Type, Offset,
image touch-up properties. Anchor) for quickly touching up or repairing
an image.

404 • Avid|DS
 Noise Effect

Noise Effect
The Noise effect lets you remove scratches or wires. While not always useful
for large imperfections, the Noise effect can be used to remove small wires. In
the Noise property editor, the Median Rank and Selective Rank options are
particularly useful for reducing the noise in an image.
You can apply the Noise effect as the brush or fill of a stroke.
\Paint\Effects folder

You can also use the Clone and Reveal effects to remove scratches.
For more information, see Clone Effect on page 393 and Reveal Effect
on page 418.
To use the Noise effect
1. From the taskbar, click the Graphics layout icon.

Make sure the play cursor is over the media on the timeline,
otherwise you cannot switch to the Graphics layout.

2. From the Graphics Tools toolbar, click Freehand.

3. In the Paint Style property editor, select the Use option from the Brush box.
4. In the graphics property tree, right-click on the Brush Fx property icon,
and choose Load.
5. From the Load Preset dialog box, select the Noise effect.
6. In the graphics property tree, click the Brush Fx (Noise) property icon.

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7. In the Noise property editor, select the Median Rank or Selective Rank option.
8. From the graphics property tree, right-click on the Masks property icon,
and choose RGB.
9. Use the transport controls to locate the frame in which the scratches or
wires start, and move the play cursor over it.
10. Paint on the viewer. Adjust the Threshold controls in the Noise property
editor while you paint.
As you paint on the viewer, the scratch or wire is removed.

Scratch Selected stroke with the Noise effect

applied to the brush and fill

Click the Help icon for detailed information on the Noise properties.

406 • Avid|DS
 Paper Grain Images

Paper Grain Images

The paper grain images let you apply texture to a stroke, fill, or text body to
simulate the effect of painting on a textured canvas. You can apply paper grain
images to the brush or fill of a stroke, or text body.

Burlap paper grain applied to a stroke

\Paper Grain folder

Brick Burlap Canvas

Classicw Coldroll Diamondw

Dslogo Finechis Fineirre

Finepape Finepitt Fineplas

Finestip Gauze Hammered

Handmade Lightpit Lizardsk

Mediumde Mezzotin Plasterg

Plasters Roughhan Roughrag

Roughsto Sandcirc Sandston

Screen Sharpero Softrag

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\Paper Grain folder (Continued)

Tk_Aztec Tk_Bark Tk_Bark2

Tk_Buble Tk_Bubly Tk_Cells

Tk_Chips Tk_Cork Tk_Cork2

Tk_Crt Tk_Deco Tk_Dirty

Tk_Fire Tk_Fishy Tk_Freak

Tk_Fur Tk_Furry Tk_Glass

Tk_Hair Tk_Ice Tk_Jelly

Tk_Lava Tk_Molec Tk_Mud

Tk_Nerve Tk_Paper Tk_Point

Tk_Quilt Tk_Tron Tk_Tron1

Tk_Twirl Tk_Ugly Tk_Vango

Tk_Veins Tk_Weird Tk_Windm

Tk50sart Tkaliblk Tkcement

Tkchees2 Tkcheese Tkcomets

Tkcometz Tkcrystl Tkcubist

408 • Avid|DS
 Paper Grain Images

\Paper Grain folder (Continued)

Tkforest Tkghost2 Tkghosts

Tkhessia Tkicefun Tkjefish

Tkmicron Tknerves Tknervse2

Tkplaces Tkrckwal Tkrefoil

Tkrflect Tksaskwt Tkscream

Tkscrtch Tkshroud Tksludge

Tkstarfi Tkstarni Tkstripe

Tkstucco Tutoria1 Tutoria2

Veryfine

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To apply a paper grain image

1. From the Masks editor, select the Paper Grain property page.

Browse buttons

Preview box

2. Do one of the following:

• Click Browse to select a paper grain in the .tif or .bmp file format.
The Load Paper Grain Image dialog box is displayed. This dialog box
displays .tif or .bmp paper grain images only.

410 • Avid|DS
 Paper Grain Images

• Click the browse (...) button to select a paper grain in any other supported
file format.
The Load Paper Grain Image dialog box is displayed.

3. In the Load Paper Grain Image File dialog box, browse through the folder
and select a paper grain from the \DSPresets\Paper Grain folder.
The selected paper grain is displayed in the preview box.
4. On the Paper Grain property page, select the Use option to apply the
paper grain.
5. Select the Invert option to invert the paper grain.
6. Use the Absorption controls to set the opacity of the paper grain texture.
7. You can now paint or create titles on the viewer.
The objects you create are displayed with the properties you specified.
Click the Help icon for detailed information on the Masks properties.

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Chapter 11 • Paint Effects

Stack Effects
The stack effects let you replace a brush, fill, face, edge, or shadow effect by a
“stack” of any combination of effects. Stack effects let you build complex
effects by editing, rearranging, and stacking effects. The effects are processed
from the bottom of the stack to the top.

\Paint\Effects\Stack Effects folder

Original image 70s Vaseline Lens Add Stucko

Badrecep Badrecep2

Black Hole Blemish Remover

Blue Meanie Bone Scan

Bumpy Rust Cast in Silver

412 • Avid|DS
 Stack Effects

\Paint\Effects\Stack Effects folder (Continued)

Original image Cement Cement 2

Chalky Black Velvet Color Stucco

Dusty Blue Chalk Embossed Sepia Tone

Evil Aura Gravel

Gray Mezzotint Hand Tooled

Happy Aura Holo Emulsion

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\Paint\Effects\Stack Effects folder (Continued)

Original image Impact Inversion Light Watercoloring

Microscope Neon Edges

Nite Goggles Nite Vision1

Oily Paint Old Silvertone

Orange Haze Orange Peel

Pasty Yellow Monochrome Pebble Mosaic

414 • Avid|DS
 Stack Effects

\Paint\Effects\Stack Effects folder (Continued)

Original image Plasticene Pointallism

Purple Fur Shark Skin

Smooth Paste Soft Color Pencil

Soft Pointallism Soft Watercolor

Ye Olde Photocopy Yellow Hemoglobin

Yellow Medical Scan Yellow Strength

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To apply a stack effect

1. From the taskbar, click the Graphics layout icon.

Make sure the play cursor is over the media on the timeline,
otherwise you cannot switch to the Graphics layout.

2. From the graphics property tree, right-click on one of the following

property icons and choose Load:
• Brush Fx or Fill Fx.
• Face Fx, Edge Fx, or Shadow Fx
The Load Preset dialog box is displayed.
3. From the Load Preset dialog box, select an effect from the \Paint\Stack
Effects folder.
The effect replaces the property you selected in the graphics property tree.

Stack effect loaded into

Brush Fx property

Effects comprising the

effect stack

416 • Avid|DS
 Stack Effects

4. From the graphics property tree, click the Stack Effect property icon.
Effects that comprise the Stack effect are displayed as subproperties in
the graphics property tree. Click any of the effects’ property icons to edit
the properties.

To customize the effect stack

1. In the Stack Effect property editor, click Add.
2. In the Load Preset dialog box, select an effect.
The effect is added to the Effect Stack list.
3. To remove effects from the effect stack, select an effect, and click Remove.
4. To rearrange the order of effects, select an effect and click one of the following:
• Move Up to move the effect up by one level.
• Move Down to move the effect down by one level.
5. To save the effect stack as a preset, click the Save Preset icon.
Click the Help icon for detailed information on the Stack Effect properties.

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Chapter 11 • Paint Effects

Reveal Effect
The Reveal effect lets you “paint away” the unwanted portions of a
composited image and replace them with another image on an underlying
layer. When you paint with the Reveal effect, the opaque areas of the alpha
channel become transparent (black), revealing the underlying layer.
\Paint\Effects folder

You can also use the Clone and Noise effects to remove
imperfections and scratches. For more information, see Clone Effect
on page 393 and Noise Effect on page 405.
To apply a Reveal effect
1. Create a composite—see Compositing on page 77.
The Compositing layout is displayed.
2. In the Layers view, click the Gfx button on the layer on which you want
to paint.
The Graphics layout is displayed.
3. From the Graphics Tools toolbar, click Freehand.
4. From the graphics property tree, do the following:
• From the Paint Style property editor, select the Use option from the
Brush box.
• Right-click on the Brush Fx property icon and choose Load.
5. From the Load Preset dialog box, select the Reveal effect.
6. In the Brush Fx (Reveal) property editor, adjust the Amount controls to
control how much of the underlying image is revealed.
7. From the graphics property tree, right-click on the Masks property icon,
and choose Alpha Only.
8. Paint on the viewer.
As you paint on the viewer, the underlying layer is revealed.

You can also use the fill of a stroke to reveal an image. In the
graphics property tree, load Fill Fx with the Reveal effect.

Click the Help icon for detailed information on the Reveal properties.

418 • Avid|DS
Chap ter 12 Tracking

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Chapter 12 • Tracking

In This Chapter...
Motion Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Using the Trackers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Tracking Composited Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Creating Motion Paths with the Tracker . . . . . . . . . . . . . . . . . . . . . . 439

Combining Tracking with Other DVEs . . . . . . . . . . . . . . . . . . . . . . . . 442

Tracking Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Stabilizing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

4-Point Corner Pinning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Tracking Difficult Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

420 • Avid|DS
 Motion Tracking

Motion Tracking
Motion tracking lets you follow the motion of up to four points in an image
sequence. You can use the resulting motion paths to paste one object onto
another moving object, or stabilize a sequence with camera shake or other
undesired motion.
Motion tracking is also useful for creating a motion path to apply to external
images or for tracking shapes, such as a garbage matte or paint stroke.
Before you can do any motion tracking, you’ll need to understand the
following terms:
Reference is the clip that is tracked to construct a motion path. In the example
below, four-point tracking is applied to the bus in order to paste a banner
onto its side.
Layer is the clip that follows the motion path extracted from the reference
clip. In this case, it’s the banner that will be pasted onto the bus.
Result is the composite of the moving layer above a background. Once a
motion path is constructed, it is applied as a DVE to the layer. In the example
below, the result is the banner pasted onto the side of the bus.

The reference does not necessarily have to be the background. You

can composite the layer with any other clip.

Reference

Layer

Result

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Chapter 12 • Tracking

There are several scenarios in which you can use motion tracking:
• Compositing: Movement in one image is tracked and applied to another.
A point (or set of points) in one layer follows the motion of a point (or set
of points) in a reference layer—see Tracking Composited Clips on page 427.
• Stabilizing: A single clip is stabilized to remove unwanted movement. In
this case, a point in the reference clip is tracking an arbitrary static point
within the same clip—see Stabilizing Clips on page 449.
• Creating motion paths: A path is created by tracking a reference point (or
set of points), then saved and applied later as a preset to other layers or
clips—see Creating Motion Paths with the Tracker on page 439.
• Shape Tracking: Create a garbage matte and then use a tracker to track
motion in the sequence and then apply it to the garbage matte, or draw a
shape and use the tracker to apply motion from one image to the shape—
see Tracking Shapes on page 443 of this guide or Tracking Graphics Objects
on page 373 of the Avid|DS User’s Guide.

Choosing a Tracking Whether you want to stabilize an image or track motion in it, using a tracker
Method effect lets you perform both.
Depending on how you prefer to work, you can apply tracking/stabilizing on a
layer or in an Effects Tree. The main differences between these methods are
workflow and an extra property page in the Effects Tree tracker.
Also, to aid in your workflow, separate presets of the tracker effect are
available for stabilization. Refer to the following to help you decide which type
of tracker to apply:

Stabilizing Clips
There are several ways in which you can stabilize a clip:
• Apply a Stabilize tree effect to a clip
This method lets you stabilize a clip without having to first create a
graphics container clip. You can apply this effect to a clip on the timeline.
This tree effect is a preset effect of the Tracker tree effect. For more
information, see Using a Stabilizer Effects Tree on page 450.
• Apply a Stabilize tree effect in an Effects Tree
If you prefer to work using an Effects Tree, this method lets you stabilize a
clip inside an Effects Tree. This tree effect is a preset effect of the Tracker
tree effect. For more information, see Using a Stabilizer Effects Tree on
page 450.

422 • Avid|DS
 Motion Tracking

• Apply a Tracker effect to a layer

Once you create a graphics container clip, you can use the layer DVE’s
tracker to stabilize a clip. If you prefer to create a composite using layers,
use this tracker to stabilize a clip on a layer. For more information, see
Using a DVE Stabilizer on page 452.

Tracking
There are two ways to track the motion in a clip:
• Apply a Tracker tree effect in an Effects Tree
Since motion tracking typically requires more than one input, you can
only apply a Tracker tree effect inside an Effects Tree. For more
information, see Using a Tracker Tree Effect on page 430.
• Apply a Tracker effect to a layer
Once you create a graphics container clip, you can use the layer DVE’s
tracker to track motion in a clip. If you prefer to create a composite using
layers, use this tracker to track motion in a clip on a layer. For more
information, see Using the DVE Tracker on page 428.

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Chapter 12 • Tracking

Using the Trackers

Before you actually start the tracking or stabilizing process, there are a few
things you should know about the trackers. The reference point that you
choose for tracking and the way you position the trackers affects the overall
success of your tracking.
With every tracking scenario, there are trackers on both the reference and the
layer. The tracker(s) on the reference must be positioned on the point(s) that
will create the motion path. The tracker(s) on the layer should be positioned
on the point(s) that will follow the motion path.

Layer trackers Reference trackers

A tracker is composed of two concentric rectangles representing the target

area and the search region. The target area is the pixel pattern that the tracker
looks for in each frame, and the search region is the vicinity in which the
tracker looks for its target.

Center of Target area

target

Search region

Tracker number

The motion tracker takes a snapshot of the pixel patterns in the target area
and then looks for that same pattern in subsequent frames. For this reason,
you must select the target carefully in the first frame so the tracker has a
unique pattern to follow.

424 • Avid|DS
 Using the Trackers

Tracking and stabilizing is performed on each frame. To get the correct

tracking results, you should process the result in frames. In most cases it is
also best to perform tracking on a deinterlaced clip, since tracking will take
place on the frames. For more information, see Deinterlacing Clips for Motion
Tracking on page 460.

Using Multiple Trackers

To define the region for tracking, you must determine the number of trackers
to use. You can use one, two, or four trackers:

Use To

1-point tracking Track an object that moves in a particular direction

but does not scale.

2-point tracking Track an object that is being scaled and/or rotated

from one frame to the next.

4-point tracking Track the surface of any four-sided object, such as a

window, television screen, or rectangular sign.This
technique is sometimes referred to as four-point
corner pinning.

Selecting a Suitable The key to successful tracking is selecting a good reference point. When the
Reference Point for tracking process is started, the individual trackers (R1-R4, L1-L4) sample a
Tracking target area of the reference clip at the target frame. In each subsequent frame,
the motion tracker searches for the target image within the tracker’s search
region. When the target is found, a keyframe is set. The resulting motion path
controls the tracker DVE, and the layer image is moved accordingly.
In order for the search region of the tracker to recognize the target area and its
motion against its surroundings, you should choose a region with good
contrast and detail. You can also change the color space in which the tracker
searches to find a channel with the most contrast.
When placing the reference tracker, choose an area that:
• Has a clear pattern with high contrast. You can also change the color space
to select a channel with the most contrast.
• Appears in all frames of the sequence being tracked. That is, make sure it
does not disappear or fall outside the viewer area. If the image does move
outside the viewer area, you can offset the trackers. For more information,
see Offsetting the Tracker on page 457.
• Has a pattern that remains constant in all frames. That is, make sure that
the background is not constantly changing.

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Chapter 12 • Tracking

Target area

Search region

Correct placement of target

Incorrect placement of target Incorrect placement of target

When tracking, you will often encounter an area you would like to follow but
can’t be tracked directly. For example, you might want to track something that
goes behind a tree for part of the sequence. Offsetting lets you position the
target area on something you can track temporarily, while keeping the target
on its original reference point. For more information, see Offsetting the
Tracker on page 457.

Setting the Search Region

The search region determines how much of the image is analyzed when
searching for the target area.
Here are some points to remember when setting the search region:
• The time required to analyze the search region is proportional to the size
of the search region. Avoid unnecessarily large search regions unless you
use Fast Tracking, which decreases this time.
• A very large area also increases the chance of a false match with some
completely different part of the image.

426 • Avid|DS
 Tracking Composited Clips

Tracking Composited Clips

Most of the time, when you composite images together, you need one image
to follow the motion in another image. For example, you want to composite a
banner on the side of a bus and make the banner follow four points on the
bus. The motion of the banner layer needs to follow the motion of the bus
reference layer, so you can “pin” the banner to the bus.
Depending on how you prefer to work, there are two ways that you can apply
motion tracking to composited clips: using a DVE tracker on a layer or using a
tracker in the Effects Tree.
You can also pin a moving object in a layer image to a moving object in a reference
image. To do this, you must track an object in the layer image, and then separately
track an object in the reference image. Avid|DS then applies a transformation to
the layer image, so that the trackers in both images stay aligned.

Reference

Bus sequence

Layer

Banner to be pinned onto side of bus

Result: composited
sequence after
tracking is applied

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Chapter 12 • Tracking

Using the DVE Tracker If you prefer to composite images together using layers, use the DVE tracker
on a layer.

Setting up a DVE tracker

1. From the timeline, select a clip (the bus).
2. Move the play cursor over any frame in this clip.
3. From the taskbar, click the Compositing layout icon.
A graphics container clip is created in which you can layer your clips. The
clip automatically becomes the first layer in the composite.
4. From the view switcher, click the Browser icon.
5. In the browser, select the other clip in the composite (the banner), and
drag it to the marker ribbon.

Marker ribbon

The clip is automatically added as the topmost layer in the Layers view.

The reference image does not have to be used in a layer in the

composite. For example, you may need to simulate a motion path
created by an object in a clip that is not going to be used in the
composite. For more information, see Creating Motion Paths with
the Tracker on page 439.
6. On the Layers view, click the DVE button of the layer (the banner) that
will follow the path created by the tracker (that is, not the reference layer).
7. In the DVE property editor, click Track to open the Motion Tracker
property editor.
8. In the Edit box, select the Reference option.
9. On the Reference property page, drag the track icon of the reference layer
(the bus) to the Start Frame box.

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 Tracking Composited Clips

Motion Tracker
property editor

Drag reference clip

to Start Frame box
in the tracker

The bus image is now displayed in the Start and End Frame boxes. Since
this is the image that will be tracked, make sure that it is displayed as the
reference image.

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10. You can adjust the length of the clip to be used for motion tracking by
doing one of the following:
• Enter a timecode in the Start Frame and End Frame timecode boxes.
• Set in and out markers on the timeline.
The Start Frame and End Frame timecodes are updated in the
property editor.
11. Proceed to Positioning the Reference Tracker on page 432.

Using a Tracker Tree If you prefer to work in an Effects Tree, you can use the Tracker tree effect.
Effect
Setting up a Tracker tree effect
1. From the timeline, select a clip (the bus).
2. Position the play cursor over any frame in this clip.
3. From the taskbar, click the Compositing layout icon.
A container clip is created and the clip automatically becomes the first
layer in the composite.
4. Click on the layer (the bus) to activate its Effects Tree.
Input 1 (the bus) is connected to the output node.
5. From the browser, drag the other clip (the banner) to the Effects Tree view.
The clip is added to the Effects Tree, and is placed on a new track on the
timeline. No layer is created for the clip.
6. Right-click on an empty area of the Effects Tree and choose Add Effect
from the menu.
7. In the Load Preset dialog box, select the Tracker effect (Tree Effects folder).
A Tracker Effect node is added to the Effects Tree view.

Tracker added to Effects Tree

430 • Avid|DS
 Tracking Composited Clips

8. Connect the node to be used as a reference (the bus) to Input 2.

9. Connect the node to be used a a layer (the banner) to Input 1.

10. Connect the output of the Tracker node to the input of the Output node.
11. Double-click on the Tracker Effect node.
The Tracker Effect’s property editor is displayed.
12. In the Edit box, choose In 2 - ref from the list.

Mode list Edit list

The reference (input 2) is displayed in the viewer.

When you switch between In 1-layer and In 2-ref, the General

property page’s name changes to Input 1 or Input 2.

13. From the Mode list, select 4-pnt.

Four trackers are displayed in each corner of the viewer.
14. You can adjust the length of the clip to be used for motion tracking by
setting in and out markers on the timeline.
The Start Frame and End Frame timecodes are updated in the
property editor.
15. Add a Composite effect to the tree.
Since the tracker does not composite images together, you need to add a
Composite node in order to composite the banner over the bus image.

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16. Connect the nodes as follows:

• Output of the bus node to Input 1 on the Composite node.
• Output of the tracker node to Input 2 on the Composite node.

17. Proceed to Positioning the Reference Tracker below.

Positioning the You need to place the reference tracker(s) in the first frame of the clip that is to
Reference Tracker be tracked. The tracker will then follow the reference point(s) as it moves
through the sequence.

At any time, you can replace the reference clip with another by
dragging a new reference clip from the timeline to Effects Tree and
connecting it to Input 2.
1. On the timeline, scrub through the clip to select the best point to track—
see Selecting a Suitable Reference Point for Tracking on page 425.
2. From the Tracker property editor, do one of the following:
• In the DVE tracker, select Reference from the Edit box.
• In the Tracker tree effect, select In 2 - ref from the Edit list.
3. In the Mode box, do one of the following:
• In the DVE tracker, select the 1, 2, or 4-point option.
• In the Tracker tree effect, select the 1-pnt, 2-pnt, or 4-pnt option.
Depending on your selection, one, two, or four trackers are displayed in
the viewer. By default, they are located in the corners of the frames in both
the reference and layer images, and corresponding tabs for each tracker
are displayed in the property editor.
In 4-point mode, the trackers must always form a convex shape. In a
convex shape, one tracker can never be inside the triangle formed by the
other three. If you try to drag a tracker inside the triangle, it will stop at
the intersection.

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 Tracking Composited Clips

Valid tracker positions Invalid tracker positions

When you apply 4-point tracking, crop options become available for
cropping the layer image to its tracker polygon, and applying a blur
to the cropped image. For more information, see Cropping
Unwanted Parts of Images on page 438.
4. In the viewer, drag the center of a tracker(s) over the object that you want
to track.
The tracker changes to a magnifying glass when you drag it across the
viewer. You can change the magnification on the Advanced property page.
As you select a tracker, its property page is displayed in the property editor.

The tracker displays the magnification in luminance mode, except when

you choose RGB, so that you can view the contrast when selecting a target.
You can change the tracker to read the luminance from a single channel,
or to display RGB combined, on each tracker’s property page.

Press Ctrl and drag to move the trackers on the reference and
layer simultaneously.

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Reference trackers

5. You can adjust the size of the target and the search region to increase the
sampling size of the target area and/or make the search region larger. In
the viewer, click the inner and/or outer boxes of the tracker and drag the
resize handles to modify the target and/or search region.

Be sure that the target is completely inside the image. If the target is
partly over a gray area of the viewer, this message will appear:
“The tracker’s target is not completely inside the image.” When this
happens, resize or reposition the target.

Resize handles

Resizing the target Resizing the search region

6. In the Confidence box, adjust Threshold to define how closely the tracked
image must match the target. By default this value is set to 85%.
7. In the If Below Threshold box, select one of the following options:
• Update Target to update the target each time it falls below the Threshold
value. This option is useful if you have a rotating object and you are
tracking corner points. Since the corner points change, updating the
target will follow these changes.
• Continue to continue tracking even if the target falls below the threshold.
After the tracking is complete, you can use the Remove Keys Below
Threshold option to remove the failed keyframes. This will draw a straight
line between the good key frames and delete the bad key frames.
• Stop to stop the tracker when it falls below the Threshold value. Once
the tracker stops, you can reposition the tracker and then restart the
tracking process forward or backwards until the tracker is no longer
below the threshold.

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 Tracking Composited Clips

• Predict to make the tracker guess where to set keyframes. This option is
useful when an object becomes occluded (for example, an object moves
behind a tree). This option is based on speed and direction, so if the object
you are tracking is moving at a continuous speed and direction, predicting
the path is helpful.

Positioning the Layer The position in which you place layer trackers, depends on what kind of
Tracker tracking you want to do. For example, if you want to track four points, as in
the case of the banner on the bus, you can position the trackers on the four
corners of the image. The four corners are “pinned” and the banner is scaled
to match the trackers on the reference layer.
You could also crop the banner, by placing the four points inside the edges of
it. For more information, see Cropping Unwanted Parts of Images on page 438.
When you perform 1-point tracking, you can move the layer’s target area to
the exact position that will follow the reference tracker, usually the center of
the image. When the motion tracking is processed, the layer tracker is mapped
directly to the reference tracker. However, if you want to offset the layer, you
can move the layer tracker to another position. This lets you perform a DVE
transformation directly within the tracker.
1. In the Tracker property editor, do one of the following:
• In the DVE tracker, select the Layer option from the Edit box.
• In the Tracker tree effect, select the In 1 - layer option from the Edit list.
The layer image is displayed in the Start and End Frame boxes.
2. Drag the tracker(s) over the portions of the image that you want to follow
the motion path created in the reference image.
In this example, the four points at the edge of the banner will be the points
that follow the motion path.

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3. To see the appearance of the composite, do one of the following:

• In the DVE tracker, select the Result option from the Mode box.
• In the Tracker tree effect, select the Output option from the Mode list.

Starting the Tracking Once you’ve set up the reference and layer clips in the motion tracker, and
Process positioned and adjusted the trackers, you can start tracking.
1. In the Tracker property editor, do one of the following:
• In the DVE tracker, select the Reference option in the Edit box.
• In the Tracker tree effect, select the In 2 - ref option in the Edit list.
The reference image, where the tracking takes place, is displayed in the
viewer and in the property editor viewer boxes.
2. Go the first frame in the clip where the tracking is to begin.
3. In the Motion Tracker property editor, select the Update View option if you
want the viewer to update as the tracker advances from frame to frame. Be
aware, however, that this option will slow down the tracking process.
4. Select the Show Path option if you want to display the tracker’s motion
path after the tracking is complete.
5. Click the Track Forward button to begin tracking the reference clip.
You can click Stop at any time to halt the tracking process.

You can also click the Track Backward button if you want to start
tracking from the end of a clip.

The tracking process generates a motion path. Since this is an animation

sequence, you can adjust points manually. To remove the tracking, simply
delete the animation. For more information, see Modifying a Tracker’s
Motion Path on page 441.

You can also reapply the animation created with the motion tracker
on another image, by saving the layer DVE as a preset, and then
applying it to another clip. For more information, see Creating
Motion Paths with the Tracker on page 439.

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6. If the tracker fails to locate the target, the tracking process may stop
depending on the Confidence options you have set for your tracker(s).
For tips on correcting errors in the tracking process, see Correcting Tracker
Errors on page 459.

When you reposition a tracker and start tracking again, you must
manually update the tracker’s position curves, which are displayed in
the animation editor. Position curves are the sum of both the tracker
and offset curves. If you want to copy the curves from a tracker and
paste them into another effect, click Update Position Curves on each
tracker property page (R1-R4) before you copy the curves.
7. If the tracking was successful, you can view the result by doing the following:
• In the DVE tracker, select the Result option from the Edit box.
• In the Tracker tree effect, select the Output option from the Edit list.
The composite is displayed at the current frame.

If you’re using the DVE tracker and the reference image is part of the
composite, use the Opacity sliders in the Layers view to see both the
layer and reference images concurrently. In the Tracker tree effect,
you can adjust the opacity on the General property page.
You can also press Ctrl and click the play cursor if you want to display the
composite frame by frame. The object that you tracked in the layer image
follows the motion of the object that you tracked in the reference image.
8. If you’re satisfied with the results, process the sequence to view the results
in real time.
Avid|DS records the motion path of the reference image, and then applies
a DVE transformation to the layer image based on that motion path.

In a scenario where you need to pin a moving object in a layer image

to a moving object in a reference image, you must first track an
object in the layer image, and then separately track an object in the
reference image. (Both the Reference and Layer property pages each
have their own Track button) Avid|DS then maps the motion path
created from the layer to the motion path created from the reference.
Click the Help icon for detailed information on the Motion Tracker properties.

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Cropping Unwanted When you apply 4-point tracking to an image, you can crop the unwanted
Parts of Images parts of the image to an area on the reference clip. When you do this, any part
of the image outside of the polygon is removed from the resulting composite.

To crop a layer to a reference image

1. From the Motion Tracker property editor, do one of the following:
• In the DVE tracker, select the Layer option from the Edit box.
• In the Tracker tree effect, select the In 1 - layer option in the Edit list.
2. In the Mode box, select one of the following:
• In the DVE tracker, select the 4-point option.
• In the Tracker tree effect, select the 4-pnt option.
The trackers appear in the four corners of the viewer.

3. In the viewer, position the trackers over the area that you want to keep.
4. On the Advanced property page, select the Apply Crop option.
5. Select the Crop RGB option if you want to the RGB channels to be
cropped. Otherwise, only the alpha channel is cropped.
6. In the Edit box, select one of the following:
• In the DVE tracker, select the Result option.
• In the Tracker tree effect, select the Output option.
Verify that this is how you want the composite to look. The layer image is
adjusted so that its tracker polygon aligns with the reference image’s
tracker polygon, and the resulting composite is displayed in the viewer.

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Creating Motion Paths with the Tracker

You can use the tracker to create a motion path based on an object in a clip
that is not going to be used in the composite. Once you create a motion path,
you can save it as a preset and reuse it as a DVE transition on any layer or clip
without having to repeat the tracking of the motion in the reference image.
You can use either the DVE tracker or the Tracker tree effect to create the
motion path.

To create a motion path with the tracker

1. Do one of the following:
• Apply a DVE tracker on a layer—see Using the DVE Tracker on page 428
• Apply a Tracker tree effect in an Effects Tree—see Using a Tracker Tree
Effect on page 430.
2. In the Tracker property editor, do one of the following:
• In the DVE tracker, select the Reference option in the Edit box.
• In the Tracker tree effect, select the In 2 - ref option in the Edit list.
Since you’re only tracking one clip, you don’t need to set up a layer clip.
3. On the Reference or Input property page, select the Track option from the
Transformation box.
The Reference viewers display the start and end of clip that you want
to track.
4. From the Mode box, select the number of trackers you want to use.
5. In the viewer, position the tracker(s) over the area that you want to
track—see Positioning the Reference Tracker on page 432.
6. Position the play cursor is at the first frame where the tracking should
begin and click the Track Forward or Track Backward button—see
Starting the Tracking Process on page 436.
The motion path of the reference point is recorded.

When you apply a Tracker effect, you can save the motion path as a
preset by selecting the Save Preset icon in the Tracker property
editor. If you apply a Tracker on a layer, this isn’t possible.
7. To save the motion path, click the Save Preset icon in the Tracker
property editor.
8. In the Save DVE Preset dialog box, choose a folder, enter a name for your
preset, and click OK.
You can now use this DVE on any other clip in your project.
Click the Help icon for detailed information on the Motion Tracker properties.

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Applying a Motion After you save a motion path as a preset, you can apply it to any layer or clip
Path to Another Clip using a DVE tracker or a Tracker tree effect. This is handy if you don’t want to
repeat the tracking of the motion in the reference image.

To apply a motion path to a clip

1. Do one of the following:
• Apply a DVE tracker on a layer—see Using the DVE Tracker on page 428.
• Apply a Tracker tree effect in an Effects Tree—see Using a Tracker Tree
Effect on page 430.
2. Click the Load Preset icon.
3. In the Load DVE Preset dialog box, select the DVE preset that you want to
use and click OK.
The DVE is applied to the layer image.
4. To view the results, select one of the following from the Edit box:
• In the DVE tracker, select the Results option.
• In the Tracker tree effect, select the Output option.
The composite is displayed at the current frame.
• Press the Ctrl key and click the play cursor.
The composite is displayed frame by frame. The object that you tracked in
the layer image follows the motion of the object from the preset.

If you’re using a Tracker tree effect, you must first connect a

Composite effect to the tree to see the composited result. For more
information, see Using a Tracker Tree Effect on page 430.
5. If you’re satisfied with the results, you can process the sequence to view
the results in real time.
Click the Help icon for detailed information on the Motion Tracker properties.

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Modifying a Tracker’s A motion path is a series of control points or keyframes, representing the
Motion Path position of a tracker on each frame. The motion path is animated so it is
represented as a function curve whose points you can adjust manually. To
remove the tracking, you simply have to delete the animation.

To modify a tracker’s motion path

1. In the Motion Tracker property editor, select the Show Path option.
In the viewer, a motion path is displayed as a series of points. The control
point for the current frame is highlighted in red.

Motion path

2. Using the transport controls, go to the frame corresponding to the control

point that you want to change.
3. In the viewer, drag the control point to the desired position.
A keyframe is automatically set at the new location.

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Combining Tracking with Other DVEs

You can combine a motion tracker with other DVE transformations on the same
layer or in an Effects Tree. For example, you can apply motion tracking to an
image and then scale the image to match the perspective in the reference image.

DVEs are applied in this order: motion tracking, SRT/DVE, and

global. For more information on the Global DVE, see Creating
Global DVEs on page 371.
DVEs are always applied after the tracker, therefore you will not see
the results of a scaled, rotated, or translated image when you
perform tracking. If you want to see the image as it will appear after
the DVE has been applied, you must process the effect.
To apply DVEs on a layer
1. Close the Motion tracker property editor.
2. Do one of the following to open the DVE property editor:
• Select a layer to participate in the transformation and click DVE to open
the tool for that layer.
• If the DVE is applied on the timeline, double-click the DVE effect bar.
The DVE property editor is displayed.
3. In the DVE property editor, select the DVE that you want to apply
or deactivate.
4. Create your DVE in the viewer.
5. Process the clip to see the results.

To apply a DVE in an Effects Tree

1. In the Tracker property editor, select the Output option.
DVEs are always applied to result of the tracker.
2. Select the DVE property page, and create your DVE in the viewer.
3. Process the clip to see the results.

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 Tracking Shapes

Tracking Shapes
Shape tracking is a method of tracking that helps decrease the time required
to perform rotoscopy tasks. In the keyers and matte effect, you can create
shapes using the shape creation tools on the Shape property page and then
track them from the Tracker property page. You can track shapes as a whole,
or track individual controls points on a shape.
For example, if you want to create a key for an image that scales and moves
and the image contains objects that are difficult to key out, shape tracking lets
you create a garbage matte for these shapes and track them to the objects that
are difficult to key out.

Image after scaling

Objects difficult to key

The shape tracker will track the region for the duration of the stroke. For
more information on the overall tracking process. For more information, see
Motion Tracking on page 421.

Using the Shape When you want to use the shape tracker, decide if you want to track a shape,
Tracker or control points. For example, if you’re tracking a simple shape (like one of
the circles in the illustration above) you can draw a circle over the shape and
then track two points. Since these objects both scale and move, they require 2-
point tracking.
If you draw a complex shape, around a person for example, then you should
track individual control points.

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Tracking a Shape
You can draw multiple shapes using the shape creation tools and then track
them all at the same time.

When you draw a mix of shapes and decide to track some using
shape tracking and others using control point tracking, you need to
track all shape trackers in one pass and then all control point
trackers in another pass (or vice versa).
To track a shape
1. Apply a keyer or the Matte effect to a clip—see Keyer Effects on page 333.

The shape tracker is not available in the HLS or Luma keyers.

2. Create a matte for the clip.

3. On the Shape property page, choose a shape creation tool and draw a
shape(s) in the viewer.

Shapes drawn
in viewer

You can switch between the RGB and alpha channel views to verify
that your shape covers the entire object you are drawing.

4. From the Shape Transformations box, click the Select Shape tool, and
then select the shape in the viewer.

Selected shape

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A yellow box with handles is displayed around the selected shape.

Since the shape tracker performs tracking on the RGB channels, you
should view them in RGB. Deselect Output Matte on the Matte
property page.
5. Deselect the Output Matte option.
Since the shape tracker performs tracking on the RGB channels, you need
to position the trackers while viewing them in RGB.
6. On the Tracker property page, select the 1-point or 2-point option in the
Tracking Mode box.
Depending on your choice, one or two trackers are displayed on the shape.
If you don’t see the trackers, click Show.
7. Position the tracker(s) on the shape.
To switch between the trackers, press the comma (,) or period (.) key on
your keyboard. You can also click on another area in the viewer to deselect
both trackers and then reselect one or the other.

Two trackers displayed on a shape

When you position the trackers, be sure to look for an area that
contains good contrast. You can change the color space to find a
channel that contains the most luminance. For more information,
see Selecting a Suitable Reference Point for Tracking on page 425
8. Repeat steps 4 to 7 to position the trackers on each shape.
9. Press the Shift key and click on each shape to select them. Each shape that
you want to track must be selected.
10. Click Show.
The trackers for each shape must be displayed in the viewer in order to
track them.
11. Click the Track Forward or Track Backward button.
The tracking process starts.

If any tracker fails, a warning box is displayed and the tracking stops.
The failed tracker(s) turn red. You can reposition the tracker and
continue tracking forwards or backwards.
12. Once the tracking is complete you can process the effect and play it in
real time.

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Tracking Control Points

You can draw multiple shapes using the shape creation tools and then track
multiple control points on each shape in one pass.

To track control points

1. Apply a keyer or matte effect to a clip—see Keyer Effects on page 333.

The shape tracker is not available in the HLS or Luma keyers.

2. Create a matte for the clip.

3. On the Shape property page, choose a shape creation tool and draw a
shape(s) in the viewer.
You can draw multiple shapes and then track control points on each shape
at the same time.

If you draw a mix of shapes and then decide to track some using
shape tracking and others using control point tracking, you need to
track all shape trackers in one pass and then all control point
trackers in another pass (or vice versa).

You can switch between the RGB and alpha channel views to ensure
that your shape entirely covers the object you are drawing.

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4. Click Edit Shapes.

The control points of the last shape you drew are displayed. To select the
control points for another shape, click on the shape in the viewer.

Polyline shape drawn

in viewer

5. Deselect the Output Matte option.

Since the shape tracker performs tracking on the RGB channels, you need
to position the trackers while viewing them in RGB.
6. Select the Tracker property page.
7. In the viewer, press the Shift key and click on the control points you want
to track.
8. Click Show to display each control point in the viewer, so you can track them.
The trackers are displayed on the control points.
9. Position the tracker(s) on the shape.
In some cases when you draw a freehand shape you may want to track a
point not in the shape. In this case, you can offset the tracker by pressing
Shift+right-click and drag the tracker to another point that you want
to track.

Trackers offset from

control points

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When you position the trackers, be sure to look for an area that
contains good contrast. You can change the color space to find a
channel that contains the most luminance. For more information,
see Selecting a Suitable Reference Point for Tracking on page 425
To switch between the trackers, press the comma (,) or period (.) key on
your keyboard. You can also click on another area in the viewer to deselect
both trackers and then reselect one or the other.
10. Repeat steps 4 to 9 to position the trackers on multiple shapes.
11. Press the Shift key and click on each shape on which you want to track
control points.
Each shape that you want to track must be selected.
12. Press the Shift key and click on each control point you want to track.
13. Click Show to display each control point in the viewer, so you can
track them.
The trackers are displayed on the control points.
14. Click the Track Forward or Track Backward button.
The tracking starts. If the tracker fails at any point the tracker will stop.
Simply reposition a tracker and continue to track forwards or backwards.
15. Once the tracking is complete you can process the effect and play it in
real time.

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 Stabilizing Clips

Stabilizing Clips
Stabilizing is a technique that lets you remove unwanted movement, such as
camera jitter, from a sequence of images. When stabilizing, a target object in a
layer image is forced to remain in the same position, stabilizing the image.

Because of camera jitter, the pyramid appears to move up and down

Stabilizing moves the frames up or down in the opposite direction so that the pyramid appears stable

Gaps creates after image is displaced

To stabilize an image, Avid|DS tracks a point that appears in each frame. The
tracker creates a path from the movement of the object–this motion path
represents the jittering motion in the sequence.
To remove this unwanted movement, Avid|DS uses a DVE transformation to
move each frame in the opposite direction of the unwanted movement. Due
to displacement of the image, this may result in a gap around some parts of
the image. To correct this, you can scale or crop the image using the SRT DVE
(the tracker’s “parent” DVE) if you use the DVE tracker, or from the DVE
property page of the Tracker tree effect.
Depending on how you prefer to work, there are three ways to stabilize a clip:
• Using a Stabilizer tree effect on a clip
• Using a Stabilizer tree effect in an Effects Tree
• Using a DVE tracker on a layer

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Using a Stabilizer You can apply a Stabilizer tree effect to a clip on the timeline, or in an Effects
Effects Tree Tree. This effect is a preset of the Tracker tree effect.

To stabilize an image using the Stabilizer tree effect

1. From the timeline, select a clip.
2. Right-click on the clip and choose Add Clip Effect from the menu.
3. In the Load Preset dialog box, select Stabilizer from the Image Effects folder.
The Stabilizer effect is applied to the clip and the Effects Tree (Stabilizer)
dialog box is displayed.

Effects list

4. From the Effects list, select Stabilizer.

The Stabilizer property pages are displayed.

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5. From the Edit list, choose In 2-ref.

Mode list Edit list

When stabilizing clips, both the reference and layer clips are the same.
However, stabilizing/tracking is always performed on the reference layer
(input 2).
6. From the Mode list, select the number of trackers you want to use.

Typically 1-point tracking is adequate, but if you need to remove

unwanted rotational movement, use 2-point tracking.

7. Press the Ctrl key and drag the reference tracker in the viewer to the
point(s) you want to remain stable.
Both the reference and layer trackers are positioned at the same point—
see Positioning the Reference Tracker on page 432.
When you select a tracker, its property page is also displayed in the
dialog box.

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8. On the tracker (R1-R4) property page, choose the color space with which
you want the stabilizer to follow. Experiment with the color spaces until
you find one that has the most contrast.

You can change the size of the tracker’s magnification on the

Advanced property page.

9. From the Confidence box, choose the settings you want the tracker to
obey—see Positioning the Reference Tracker on page 432.
10. On the Options property page, specify if your source media is frame or
field-based.
Click the Help icon for detailed information on the Stabilizer properties.
11. Before you begin tracking, make sure the play cursor is on the first frame
where the tracking should begin and click the Track Forward button—see
Starting the Tracking Process on page 436.
The motion path of the static object is recorded. A DVE transformation is
then applied to the image to compensate for the motion path and to
stabilize the image.

Due to displacement of the image during stabilizing, you may notice

gaps around some parts of the image. To correct this, scale or crop
the image using a DVE. For more information, see Combining
Tracking with Other DVEs on page 442.
12. To view the results of the tracking, do one of the following:
• Select the Output option.
The composite is displayed at the current frame.
• Press the Ctrl key and click the play cursor.
The composite is displayed frame by frame. The object that you tracked in
the layer image follows the motion of the object that you tracked in the
reference image.

To increase the quality of the tracked image, you can adjust the
parameters on the Quality property page

13. If you’re satisfied with the results, process the sequence to view the results
in real time.

Using a DVE Stabilizer If you prefer working with layers, use the Stabilizer in the DVE effect.

To stabilize an image using the DVE tracker

1. From the timeline, select a clip.
2. Position the play cursor over any frame of the clip.

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 Stabilizing Clips

3. From the taskbar, click the Compositing layout icon.

A graphics container clip is created and the clip is placed in the Layers
view as the first layer—refer to Using Container Clips on page 295 of the
Avid|DS User’s Guide.
4. From the view switcher, click the Layers icon.
5. Click the DVE button on the layer that you want to stabilize.
Select DVE

The DVE property editor is displayed.

6. In the DVE property editor, click Track.
The Motion Tracker property editor is displayed.

7. From the Edit box, select the Reference option.

8. On the Reference property page, select the Stabilize option from the
Transformation box.
The Reference viewers display the start and end of clip that you want
to stabilize.

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arou

In stabilizing mode, the reference image and the layer image are
the same.

9. From the Mode box, select the number of trackers you want to use.

Typically 1-point tracking is adequate, but if you need to remove

unwanted rotational movement, use 2-point tracking.

10. Press the Ctrl key and drag the reference tracker in the viewer to the
point(s) you want to remain stable.
Both the reference and layer trackers are positioned at the same point. For
more information, see Positioning the Reference Tracker on page 432 and
Positioning the Layer Tracker on page 435.
11. On the Options property page, specify if your source media is frame or
field-based.
12. Before you begin tracking, make sure the play cursor is on the first frame
where the tracking should begin, and click the Track Forward button—see
Starting the Tracking Process on page 436.
The motion path of the static object is recorded. A DVE transformation is
then applied to the image to compensate for the motion path and stabilize
the image.

Due to displacement of the image during stabilizing, you may notice

gaps around some parts of the image. To correct this, scale or crop
the image using the a DVE. For more information, see Combining
Tracking with Other DVEs on page 442.
13. To view the results of the tracking, do one of the following:
• From the Edit box, select the Result option.
The composite is displayed at the current frame. If you want to view the
layer and reference images concurrently, you can use the Opacity slider in
the Layers view.
• Press the Ctrl key and click the play cursor.
The composite is displayed frame by frame. The object that you tracked in
the layer image follows the motion of the object that you tracked in the
reference image.

To increase the quality of the tracked image, you can adjust the
parameters on the Quality property page

14. If you’re satisfied with the results, process the sequence to view the results
in real time.
Click the Help icon for detailed information on the Motion Tracker properties.

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4-Point Corner Pinning

4-point corner pinning refers to pinning the four corners of one static
(usually) image onto another static image. A common example is to pin an
image to a TV screen. In Avid|DS, there are several ways in which you can
perform 4-point corner pinning. The method you choose depends on how
you prefer to work. You can use the following methods:
• DVE on a layer to pin one layer to another
• Corner Pin Effects Tree to pin a clip on an overlay track to an image below
it, or pin one input in an Effects Tree to another. This preset lets you
concentrate on corner pinning only. Since it only requires one input, you
can apply it to a clip or in an Effects Tree.

To perform 4-point corner pinning using the Corner Pin Effects Tree
1. Apply the Corner Pin preset to a clip or in an Effects Tree.
The Corner Pin property editor is displayed.

To see the composited result, you’ll also have to add a Composite

effect and connect the output of the Corner Pin effect to input 2 on
the Composite effect, and connect the other input node to input 1 of
the Composite effect. Lastly, connect the output of the Composite
effect to the input of the Output node.
2. From the Effects list, select Corner Pin.
The Corner Pin property pages are displayed, and the corner pins are
displayed in the viewer.
3. Position the pins on the image.

To perform 4-point corner pinning on a layer

1. Apply a DVE on a layer.
The DVE property editor is displayed.
2. From the DVE property editor, deselect the SRT option.
Since you don’t need to scale, rotate, or translate the image, you don’t
need to select this option.
3. Select the Track option beside the Track button.
The corner pins are displayed.
4. Position the pins on the image.

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Tracking Difficult Shots

When performing tracking, a common question you’ll ask yourself is “Why
did my tracker fail?.” Sometimes it’s difficult to determine what went wrong
when you tracked an image. There can be several reasons why a tracker fails.
For example, a tracker will fail if an object becomes occluded, or if a search
region doesn’t contain enough contrast.
To help determine how to fix tracking problems, ask yourself the following:

Question Solution

Did the tracker become Offset the tracker or set the tracker to “predict” a path—
occluded? see Offsetting the Tracker on page 457 and step 6 in
Positioning the Reference Tracker on page 432.

Is the Reference point in Offset the tracker—see Offsetting the Tracker on page 457.
the viewer?

Is there enough contrast in Change the tracker to a different color space—see Selecting
the tracker? a Suitable Reference Point for Tracking on page 425.
If your image has little contrast, you can apply a Color
Correction clip effect to it, so you can increase the gain
and decrease the brightness—see Color Correction Effect
on page 183.
If you only want to affect a certain area in an image, you
can also use the Selective Color Correction clip effect—see
Selective Color Correction Effect on page 186. Once
tracking is complete, you can remove the Color Correction
or Selective Color Correction effect.

Did the object move outside Increase the search region or manually move a target—see
the search region? step 4 in Positioning the Reference Tracker on page 432.

Does the object scale or rotate? Use a Tracker tree effect—see Using a Stabilizer Effects
Tree on page 450.

Did the tracker slowly degrade? Manually correct the tracker—see Correcting Tracker
Errors on page 459.

Is the object moving quickly? Deinterlace the clip before you stabilize it—see
Deinterlacing Clips for Motion Tracking on page 460.

Is my material full resolution Recapture the clips using full resolution and compression.
and uncompressed?

Does the background change? Use the Update Target option in the Confidence box of
the tracker—see step 6 in Positioning the Reference
Tracker on page 432.

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Question Solution

Why do I get the message “The Part or all of the tracker’s target is not positioned in the
tracker’s target is not completely image on the target frame. It may be just outside the
inside the image”? image in an area of the viewer. Resize the target or move
it and then try tracking again—see Positioning the
Reference Tracker on page 432.

Why do I get the message “Can’t The object you are trying to track contains no contrast.
track target of uniform color”? Try finding an object that has more contrast, or change
the color space—see Selecting a Suitable Reference Point
for Tracking on page 425.

Offsetting the Tracker At times, it’s not always possible to find a reference point that appears in every
frame. The object, for example, may move out of the viewer area or disappear
temporarily behind another object. When this happens, you can set an offset
point for the tracker to follow in the frames where the object disappears
from view.
Offsetting can occur when you change your choice of target halfway through
the tracking process. For example, if the target goes behind a tree for a few
frames, you can:
• Track normally until just before it goes behind the tree.
• Find some other part of the object you are following that isn’t obscured by
the tree, and move the target area to follow that.
• Continue tracking using this offset target until the tree is no longer in the way,
and then move the target back to the original object and continue tracking.
Avid|DS automatically adjusts for all offsets of the target to produce a single
unbroken motion path.

The offset point must maintain a constant distance from the

reference point in all frames where the tracking is taking place.

Compositing & Effects Guide • 457

Chapter 12 • Tracking

To set an offset point

1. Go to the frame where the object becomes occluded.

Man’s hand
disappears
behind car

Motion path

2. Press Shift+right-click and drag the tracker to another point that you
want to track.
This creates an offset point for the tracker to work with. Notice that the
Set Target option in the Motion Tracker property editor shows the
timecode where the offset has been set.

Offset the
target to
man’s head

3. Click the Track Forward or Track Backward button to continue the tracking.
A keyframe is set on the offset curve at the start and end frame. You can
adjust the curve using the animation editor.

458 • Avid|DS
 Tracking Difficult Shots

Correcting Tracker At times, a tracker may not find its target in a frame. If this occurs, an error
Errors message is displayed and the tracker that failed is highlighted in red in the
viewer. You can correct the error by fine-tuning the tracker’s properties and
then tracking backward until you reach a frame in which the tracker doesn’t fail.

To correct a tracker error

1. Using the transport controls, go to the frame where the error occurred
(that is, the frame that contains the red tracker).
2. In the Tracker property editor, do one of the following:
• In the DVE tracker, select the Reference option in the Edit box.
• In the Tracker tree effect, select the In 2 - ref option in the Edit list.
3. Select the tracker that you want to adjust and change its properties. You
can also reposition the tracker manually in the viewer, and set a keyframe
by clicking the Animation Key icon to confirm the change.

Animation key

4. Continue tracking forward.

If you used the Continue or Predict options (Confidence box), you

can select the Remove Keys Below Threshold option after the
tracking is complete. This will remove the incorrect tracker points
and interpolate the gaps in the motion path, where necessary, to
create a smoother path.

Compositing & Effects Guide • 459

Chapter 12 • Tracking

Deinterlacing Clips for Fast moving images contain interlace noise which may cause tracking to fail.
Motion Tracking In such cases, you should deinterlace the clips before tracking and then
interlace the graphics container clip when the motion tracking is complete.
For more information, see Deinterlace Effect on page 315 and Interlace Effect
on page 317.

To apply motion tracking inside a container clip that contains only

two clips
1. Apply the Deinterlace effect to each clip.
The duration of each clip automatically doubles.
2. Perform motion tracking.
3. Go to the parent timeline.
The newly created graphics container clip is displayed on the timeline.
4. Apply the Interlace effect to the graphics container clip.
Its duration is reduced by half and is now its original length.

When applying the Interlace or Deinterlace effect, remember to

select the Update Duration option to display the new duration on
the timeline. This is usually selected by default.
To apply motion tracking inside a graphics container clip that
contains more than two clips
1. In the graphics container clip, create another graphics container clip
holding the two clips that you want to use for motion tracking.
2. Inside the nested graphics container clip, apply the Deinterlace effect to
each clip.
Each clip’s duration doubles.
3. Perform motion tracking.
4. Go to the parent timeline.
The newly-created graphics container clip is displayed in a track.
5. Apply the Interlace effect to the newly created graphics container clip.
Its duration is reduced by half and is now its original length.

460 • Avid|DS
Chap ter 13 Audio Effects

Compositing & Effects Guide • 461

Chapter 13 • Audio Effects

In This Chapter...
Audio Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Crossfade Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464

Dynamics Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Equalizer (EQ) Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466

Fade Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Gain Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Reverb Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

VST Host Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

462 • Avid|DS
 Audio Effects

Audio Effects
The audio effects are used to adjust the output signal of your audio clip.
You can apply audio effects to clips or tracks, or on the mixer input strips. For
more information, see Applying Effects on page 33.
Since all of the audio effects are real-time effects, except for the Timewarp
effect, you can hear the results upon playback without having to first process
the effect.

In some cases, real-time effects may require processing to ensure

that no frames are skipped. For more information, see Working with
Real-time Effects on page 71.
\Audio Effects and \Audio Transitions folders
Effect name Description

Crossfade Applies an audio transition between two clips so that

the sound of the outgoing clip fades out as the
sound of the incoming clip fades in.

Dynamics Controls the dynamic range of the audio signal

Equalizers (EQ) Boosts or cuts a specific band of frequencies in the

audio signal

Fade Animates the volume of the audio signal over time

Gain Boosts or cuts the decibel level of the audio

output signal

Reverb Simulates the many reflections of a sound that can

be heard within a room

Timewarp Alters the length and speed of an audio clip without

affecting the original pitch—see Audio Timewarp
Effect on page 318.

VST Host Lets you apply VST™ plug-in effects to your clip

If you are adjusting parameters in an audio property editor during

playback, you may notice a slight time lapse before you hear the
results of the change. This will not affect the quality of the final
output to tape or file.

Compositing & Effects Guide • 463

Chapter 13 • Audio Effects

Crossfade Effects
A crossfade is an audio transition between two clips over a specified number
of frames. The sound of the outgoing clip gradually becomes less audible as
the incoming sound increases to the desired volume.
\Audio Transitions folder

To create a crossfade between two clips

1. On the timeline, overlap the clips that you want to work with. They can be
placed on the same or different tracks. Make sure that the clips to receive
the crossfade have extra material.
2. Select the edit point between the two audio clips on which you want to
apply the crossfade.
3. From the NLE Tools toolbar, click Crossfade.
The transition area appears as a gradient on the activeness bar.

4. In the Crossfade property editor, adjust the amount of the crossfade and
specify the start point and duration of the transition.
Click the Help icon for more information on the Crossfade properties.

464 • Avid|DS
 Dynamics Effects

Dynamics Effects
The Dynamics effects let you control the dynamic range of the audio signal.
You can apply audio effects to clips or tracks, or on the mixer input strips.
\Audio Effects folder
Effect name Description

Dynamics Controls the dynamic range of the

audio signal

2-1 Compression at -18 dB Reduces the signal strength of the

portion of the audio signal above -18 dB
by a ratio of 2-1

3-1 Compression at -18 dB Reduces the signal strength of the

portion of the audio signal above -18 dB
by a ratio of 3-1

Hard Limiter at -6 dB Keeps the audio signal strength from

exceeding a maximum of -6 dB

Hard Noise Gate at -35 dB Cuts off the sound when the audio signal
strength drops below -35 dB

Soft Limiter at -6 dB Reduces the signal strength of the

portion of the audio signal above -6 dB
by a ratio of 5-1 and keeps the maximum
to -4 dB

Soft Knee Reduces the signal strength of the

portion of the audio signal above -20 dB
and keeps the maximum to -8 dB

Using the Dynamics There are five dynamics processes available in the Dynamics property editor:
Effects Gate, Expander, Compressor 1, Compressor 2, and Limiter.

To apply a dynamics effect

1. Apply a dynamics effect to a clip, track, or mixer input strip.
The Dynamics property editor is displayed.
2. On the General property page, set the Attack and Release times.
3. On the Threshold property page, set the ratios.
4. Adjust the thresholds for the required processes.
Click the Help icon for detailed information on the Dynamics properties.

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Chapter 13 • Audio Effects

Equalizer (EQ) Effects

The Equalizer (EQ) effects let you boost or cut the output signal at certain
frequencies. You can apply audio effects to clips or tracks, or on the mixer
input strips.
\Audio Effects folder
Effect name Description

3 Band Tone Control Boosts or cuts the bass, middle, and treble
frequency ranges of the audio signal

4 Band Parametric EQ Boosts or cuts a specific band of frequencies

in the audio signal

10 Band Graphic EQ Boosts or cuts the audio signal at preset

frequencies with specific bandwidths

Using the 3 Band Tone The 3 Band Tone Control effect lets you adjust the decibel level of the bass,
Control middle, and treble frequencies, and the overall audio signal. You can boost or
cut the signal in a decibel range of -15 dB to +15 dB.

To boost or cut the frequency ranges of the audio signal

1. Apply the 3 Band Tone Control effect to a clip, track, or mixer input strip.
2. In the 3 Band Tone Control property editor, specify the amount of gain
(in decibels) to be added to or cut from each of the frequency ranges.

To boost or cut the overall gain of the input signal

• In the Input Gain text box, specify the amount of gain (in decibels) to be
added to or cut from the whole signal.
Click the Help icon for detailed information on the 3 Band Tone Control properties.

466 • Avid|DS
 Equalizer (EQ) Effects

Using the 4 Band The 4 Band Parametric EQ effect lets you boost or cut the audio signal at four
Parametric EQ different frequencies. You can boost or cut the signal in a decibel range of -24 dB
to +24 dB. You can also boost the overall gain of the audio clip’s input signal.
To boost or cut the overall gain of the input signal
1. Apply the 4 Band Parametric EQ effect to a clip, track, or mixer input strip.
The 4 Band Parametric EQ property editor is displayed.
2. On the Band 1 property page, specify the amount of gain (in decibels) to
be added to or cut from the whole signal.

To boost or cut the frequency ranges of the audio signal

1. In the Frequency text box, enter the frequency at which you want the
effect to be applied.
2. In the Gain text box, enter the amount of gain (in decibels) to be added to
or cut from the audio signal at the selected frequency.
3. In the Q text box, enter the Q factor (resonance).
4. Specify the curve type: Peaking, LF (low frequency) Shelving, or HF (high
frequency) Shelving.
Click the Help icon for detailed information on the 4 Band Parametric
EQ properties.

Using the 10 Band The 10 Band Graphic EQ effect lets you boost or cut the audio signal at preset
Graphic EQ frequencies ranging from 31 Hz to 16 kHz. The bands are separated by exactly
one octave, and each band has a bandwidth of one octave.
You can also boost or cut the overall gain of the audio clip’s input signal.
To boost or cut the overall gain of the input signal
1. Apply the 10 Band Graphic EQ effect to a clip, track, or mixer input strip.
The 10 Band Graphic EQ property editor is displayed.
2. On the Bands 1 - 5 property page, specify the amount of gain (in decibels)
to be added to or cut from the whole signal in the Input Gain text box.

To boost or cut the frequency ranges of the signal

• Specify the amount of gain (in decibels) to be added to or cut from each of
the frequency ranges.
Click the Help icon for detailed information on the 10 Band Graphic
EQ properties.

Compositing & Effects Guide • 467

Chapter 13 • Audio Effects

Fade Effects
The fade effects let you animate the volume of your audio clip over time. You
can apply audio effects to clips or tracks, or on the mixer input strips.
\Audio Effects folder
Effect name Description

Dip Animates the volume of the audio signal over time

Fade In Animates the fade-in volume of an audio clip

Fade In Linear Animates the fade-in volume of an audio clip

Fade Out Animates the fade-out volume of an audio clip

Fade Out Linear Animates the fade-out volume of an audio clip

To apply the Fade effect

• Apply a fade effect to a clip, track, or mixer input strip.
The Fade property editor is displayed. It consists of a single property page
which contains a function curve to control the volume of your audio clip.
Adjust the curve to set an increase or decrease in volume.
Click the Help icon for detailed information on the Fade properties.

468 • Avid|DS
 Gain Effect

Gain Effect
The Gain effect lets you boost or cut the output gain of an audio signal. This is
done by increasing or decreasing the decibel level.
You can apply audio effects to clips or tracks, or on the mixer input strips.
\Audio Effects folder

To adjust the output gain of an audio clip

1. Apply the Gain effect to a clip, track, or mixer input strip.
The Gain property editor is displayed.
2. In the Level text box, enter the desired decibel level of the audio clip.

To invert the output signal

• Select the Invert phase option.

To reset the decibel level to the default value (0)

• Click Unity.
Click the Help icon for detailed information on the Gain properties.

Reverb Effect
The Reverb property editor lets you apply a reverberation effect to your clip.
The reverberation effect simulates the many reflections of sound that can
occur within a room and can be used to add depth to a sound. The
You can apply audio effects to clips or tracks, or on the mixer input strips.
\Audio Effects folder

To apply a reverb effect

• Apply the Reverb effect to a clip, track, or mixer input strip.
The Reverb property editor is displayed.
Click the Help icon for detailed information on the Reverb properties.

Compositing & Effects Guide • 469

Chapter 13 • Audio Effects

VST ™ Host Effect

The VST Host effect lets you load and use VST plug-in effects in Avid|DS. You
must have VST plug-in effects installed before you can use them in Avid|DS.

Avid|DS implements version 1.0 of the VST Host and works with
any VST plug-in effects that support this version of the VST Host.

During installation of Avid|DS a VSTPlugIns folder is created in the Avid|DS

installation folder. In a default installation the full path to the folder would be:
C:\Program Files\Avid\DS_v4.0\VSTPlugIns
Avid|DS recognizes any VST plug-ins installed in the VSTPlugIns folder and
any of its subfolders or installed with Cubase VST.
You can apply audio effects to clips or tracks, or on the mixer input strips.
\Audio Effects folder

Consult the vendor’s documentation on how to install and uninstall

a VST plug-in effect.

To apply a VST plug-in effect

1. Install a VST plug-in effect on your system.
2. Apply the VST Host effect to a clip, track, or mixer input strip.
The VST Host property editor is displayed.
3. From the Effect list, select the plug-in effect you want to use.

To use a VST plug-in effect bank or program

1. Apply the VST Host effect to a clip, track, or mixer input strip.
The VST Host property editor is displayed.
2. From the Effect list, select the plug-in effect you want to use.
3. Click the Load button and navigate to the folder where the VST effect
bank (.fxb files) or program (.fxp files) are installed.
By default Avid|DS looks in the folder in which the VST plug-in is located.
4. Select the file you want and click OK.
5. From the Program list, select the effect preset you want to use.
Click the Help icon for detailed information on the VST Host properties.

470 • Avid|DS
 Index

Index Template-grid.1-0.dsc 168 applying effects 33 to 42

Template-lights.2-0.dsc 170 3D Warp 163
Numerics transition 169 audio 41
10 Band Graphic EQ effect 467 Tutorial-grid.2-0.dsc 170 Composite 266
14x9 Letterbox effect 193 4 Band Parametric EQ effect 467 creating clips 39
15x9 Letterbox effect 193 4-point corner pinning 379, 455 DVE 369
16x9 Letterbox effect 193, 218 4-point tracking 425, 455 Dynamics 465
1-point tracking 425 70s Vaseline Lens effect 412 Effects Tree 44 to 46
2-1 Compression effect 465 fade 468
2D Titling effect 160 A
fields 26
2-point tracking 425 Accented Edges effect 231
frames 26
3 Band Tone Control effect 466 Add No Clipping, blend
Morph effect 292
operation 273
3:2 Contract effect 313 multiple 42
contracting video fields 313 Add Stucko effect 412
on clips 35
3:2 Expand effect 314 Add, blend operation 273
on timeline 33
expanding video fields 314 ALE Import view Refer also to online
help 14 paper grain images 410
3-1 Compression effect 465 stack 42
alpha channel 94
3D DVE effect 21, 162 strip effects 41
about 80
3D DVE Layers view Refer to online time 312
help exporting 98
matte and blend operations 269 timeline effect track 38
3D DVE Object View Refer to online
help viewing 87 Timewarp, audio 318
3D scene Alpha Fade effect 209 Timewarp, video 320
loading 167 Alpha Not Exported message 98 to layers 40
saving 175 Alpha Ramp - Bottom Top to tracks 36
3D Titling effect 160 effect 214 Tracker effect 282
3D Warp effect 244 Alpha Ramp - Left Right effect 214 transition effects 36
applying 163 Alpha Ramp - Right Left effect 214 area, target 424
correspondence points, Alpha Ramp - Top Bottom Atop, matte operation 273
restrictions 253 effect 214 audio
linking database 170 Angled Strokes effect 231 applying effects 41
loading a 3D scene 167 animating crossfade 464
saving 3D scene 175 DVE transformations 379 effects 41, 463 to 469
SOFTIMAGE|3D 163 to 175 shapes, Warp effect 256 fade effects 468
source generator 164 animation 100 Gain effect 469
transition 163 cropping 64, 65 inverting output signal 469
using 164 effects 65, 70 Reverb effect 469
3D Warp, SOFTIMAGE|3D 163 to 175 fade 217 VST Host effect 470
creating 3D warp effects 168 layers 99 audio effects 21, 463 to 469
editing model notes 174 opacity 100 10 Band Graphic EQ 467
grid template 171 order of layers 100 2-1 Compression 465
light template 173 reapplying with tracker 436 3 Band Tone Control 466
linking database 170 rescaling 64 3-1 Compression 465
saving 3D scene 175 transformations 379 4 Band Parametric EQ 467
source generator 169 animation editor Refer to online help compression 465

Compositing & Effects Guide • 471

Index

Crossfade 464 Multiply 273 C

Dip 468 Non-additive 274 Cache List view Refer to online help
Dynamics 465 Blue Duotone effect 182 cache management 132
EQ 466 cache creation 135
Blue Meanie effect 412
equalizer 466 caches 132
Blue-Green Keyer effect 334 to 340
fade 468 clips 135
Fade In 468 creating a basic matte 335
container clips 136
fades 468 creating a spill matte 339
layers 137
Hard Limiter 465 fine-tuning the matte 336 media 132
Hard Noise Gate 465 slow playback settings 76 order, cache creation 144
Soft Knee 465 Blur effect 179 overlay tracks 136
Soft Limiter 465 blur effects top timeline 137
Audio Output Monitor Refer to tracks 136
online help Average 195
cache tracking system (CTS) 133
audio timewarp 318 Double Vision 195
caches 132
Audio Tools toolbar 34 Fractured Image 195
audio tracks 136
Average effect 195 Motion Blur Horizontal 195 clips 135
Avid Log Exchange view Refer to Motion Blur Vertical 195 container clips 136
online help
Oily Blur 195 creation 135, 141
Avid|DS discussion group 12
Shift to Right 195 creation order 144
Avid|DS palette 399
Sketchy Blur 195 CTS (Cache Tracking
AVX Host effect 176
System) 133
axis, locking 376 Small Blur 195
different qualities 133
B Smeary 195 interactive 134
Badrecep effect 412 Smudge 196 layers 137
Badrecep2 effect 412 The Camera Bumped 196 levels 134
barrier shapes 298 Vaseline 196 memory 134
creating 255 Blur In effect 218 overlay tracks 136
Bas Relief effect 231 Blur Out effect 218 raster mode 134
Birds Eye view Refer to online help top timeline 137
Bone Scan effect 412
Black Hole effect 412 tracks 136
Boolean operations 269
Blemish Remover effect 412 video tracks 136
blend operations Bright Burnish effect 197 Cast in Silver effect 412
Add 273 Brighten and Sharpen effect 199 categories, effects 21, 71
Add No Clipping 273 browser Refer to online help Cement effect 413
applying on a layer 270 Bubble effect 179 Cement2 effect 413
Bypass 274 building motion paths 439 centering image, DVEs 375
Color 274 Bumpy Rust effect 412 Chalk and Charcoal effect 231
Darker 274 Chalk effects, Impressionist
Burnish effect 197
Difference 273 Chalk Bright Strokes on Black 220
Bypass, blend operation 274
examples 273 Chalk Chunky Strokes 220
Invert Non-additive 274 bypassing Chalk Faithful 220
Lighter 274 effects 63 Chalk Fine Scribbles on Black 220
Luminance 274 nodes 52 Chalk Heavy Embossed 220

472 • Avid|DS
 Index

Chalk Medium Coverage Clip Search tool Refer to online help Dark Values color palette 399
Colored 220 clip tray Refer to online help defining colors 397
Chalk Powerful Strokes on clips Extended System color
Black 220 applying effects 35 palette 399
Chalk Rough Textured backgrounds, generating 39 Grayscale palette 399
Abstract 220 loading palettes 399
caches 135
Chalk Sketch Colorful 220 opacity of colors 397
creating 39, 245
Chalk Sketch Detailed Pastels 220 Pastels color palette 399
creating with effects 39
Chalk Sketch Half Finished 220 Pick Color tool 398
creating, 3D Warp effect 164
Chalk Sketch Monochrome 220 picking colors 398
deinterlacing 316
Chalk Sketch on Fine Laid saving palettes 399
Paper 220 deinterlacing for motion
tracking 460 Sea Colors color palette 399
Chalk Sketch on Heavy Laid
Paper 220 generating 245 selecting colors 396
Chalk Sketch Rough 220 interlacing 317 Skin Tones color palette 399
Chalk Sketch Soft 220 layer, motion tracking 421 tinting images 396
Chalk Sketch Soft layered, processing order 143 Value Spectrum color palette 399
Monochrome 220 reference, motion tracking 421 Color Correction effect 183
Chalky Black Velvet effect 413 reversing action 327 slow playback settings 76
Charcoal effect, Painterly 231 Clone effect 393 color correction effects 182 to 190
Charcoal effects, Impressionist cloning from different frame 395 Blue Duotone 182
Charcoal Colored Scratches on cloning from offset frame 395 Color Correction 183
Black 220 cloning from same frame 394 Monochrome Blue 185
Charcoal Colored Soft compared to Cutout 404 Monochrome Cyan 185
Scribble 220 loading 393 Monochrome Fuschia 185
Charcoal Dark Transparent 220 removing scratches 393 Monochrome Green 185
Charcoal Fine Scribble 220 wire removal 393 Monochrome Lt Blue 185
Charcoal Heavy Stamped 220 cloning an image 393 Monochrome Magenta 185
Charcoal Long Strokes on Clouds (Granite) effect 244 Monochrome Orange 185
Black 220 Clouds effect 244 Monochrome Pea Green 185
Charcoal Rough Bleached CmdLine Refer to online help Monochrome presets 185
Fresco 220
CmdLine view Refer to online help Monochrome Purple 185
Charcoal Soft Contrasty
Sketch 220 collapsing nodes 54 Monochrome Red 185
Charcoal Stamped Tonal 220 color Monochrome Sea Green 185
Charcoal Stroke Sized by defining 396 to 400 Monochrome Yellow 185
Brightness 220 opacity 397 Old Photo 182
Charcoal Textured Sketch on palettes, loading/saving 399 Saturated 182
Yellow 220 Pick Color tool 398 Selective Color Correction
Chroma Keyer effect 341 to 345 picking 397, 398 effect 186
creating a basic matte 342 selecting 396 Color Gradient effect 214, 244
creating a spill matte 344 tinting images 396 color palettes
fine-tuning the matte 343 Color Blend effect 396 Avid|DS 399
using 341 Avid|DS color palette 399 Avid|DS Palette 399
Chrome effect 231 Black Body color palette 399 Black Body 399
clip effects 35 color opacity 397 Dark Values 399

Compositing & Effects Guide • 473

Index

Extended System 399 effects, adding 82 Context Switcher Refer to online help
Grayscale 399 equation 81 contracting video fields 313
loading 400 external mattes, adding to conventions 14
Pastels 399 layers 96
document 14
saving 400 formula 81
keyboard, mouse, and pen 14
Skin Tones 399 garbage mattes, creating 338
how images are composited 80 convolution operator, effects 194
Value Spectrum 399
in a container clip 90 corner pinning, 4-point 379
color space 191
in Avid|DS 79 correspondence points 296
Color Space Adjustment effect 191
Color Stucco effect 413 layers, adding in container clip 94 adding 298
Color, blend operation 274 mattes, about 80 Count Down effect 218, 219
Colored Pencil effect 231 methods of adding effects 83 Craquelure effect 231
Colorful Woodcut effect 194 methods, choosing 82 crawls, creating 215
motion paths, creating 381 Crayon effects, Impressionist
colors
operations 269
defining 396 to 400 Crayon Distressed Fresco
premultiplication 105 to 110 Rubbing1 220
opacity 397
results, viewing 87, 98
palette, loading/saving 399 Crayon Distressed Fresco
using a DVE 85 Rubbing2 220
picking 397
using overlay tracks 84 Crayon Lino Chatter 220
selecting 396
viewing alpha channels 87
tinting images 396 Crayon Short Choppy
viewing results 87, 98 Strokes 220
combining separate RGB and alpha
channels 277 workflow 90 to 91 creating mattes 86
Complete mode processing 144, 151 Compositing & Effects Guide 13
Crisp Edges effect 199
example 147 compression audio effect 465
crop effects 193
conditions, real-time effects 75
Composite effect 266, 282 14x9 Letterbox 193
confidence, setting 434
applying 266 15x9 Letterbox 193
Constant mode, Timewarp
composited clips, tracking 427
effect 320 16x9 Letterbox 193
composites, processing order 143
container clips Crop tool 378
compositing 77
3:2 Expand/Contract 311 cropping
adding effects 82 caches 135, 136
adding external mattes in Effects animation 64
closing 92
Trees 279 animation curves 65
compositing 90, 92
adding external mattes to curves 64, 65
layers 96 interlace/deinterlace 311
images 378
adding layers in container clips 94 opening 92
Conte effects, Impressionist crossfade 464
adding mattes on layers 95
Conte Contrasty Rough 220 creating between audio clips 464
alpha channel, viewing 87
Conte Faithful 220 Crossfade effects 464
channels, about 80
Conte Smudged Crosshatch effect 231
choosing a method 82
Monochrome 220 CTS (Cache Tracking System) 133
compositing equation 81
Conte Textured Colored Cubase VST 470
creating a motion path 381 Stick 220
creating container clips 92 Conte Unsmudged curves
creating garbage mattes 338 Monochrome 220 cropping 64, 65
DVEs, using 85 Crayon 231 rescaling 64, 65

474 • Avid|DS
 Index

custom effects 194 to 198 Woodcut 194 dominance, field 25

Average effect 195 customer service 16 Double Vision effect 195
blur effects 195 Cutout effect 231, 401 to 404 Drop Shadow effect 205 to 207
Bright Burnish 197 compared to Clone 404 Drybrush effect 232
Brighten and Sharpen 199 shape cutout 401 dual viewer Refer to online help
Burnish 197 using in stack 403 Dusty Blue Chalk effect 413
Colorful Woodcut 194 cutouts 401 to 404 DVE effect 289
Crisp Edges 199 Cutout compared to Clone 404 DVE stabilizer, using 452
Double Vision 195 low resolution 401 DVEs 367 to 386
Emboss Coin NE 198 resolution independence 401
animating transformations 379
Emboss East 197 shape cutouts 401
applying 88
emboss effects 197
D applying as transition 289
Emboss North 197
Emboss North East 197 Dark Strokes effect 231 applying in Effects Tree 442
Emboss North West 197 Darker, blend operation 274 applying on layers 369, 442
Emboss South East 197 database, linking 170 centering images 375
Emboss South effect 197 defining colors 397 creating on individual layers 369
Emboss South West 197 Deflicker effect 200 cropping images 378
Emboss West 197 Deinterlace effect 315 global 369, 371
Evangelize 194 deinterlacing clips 316 image offset 375
Extrude 194 interpolation types 316 locking 375
Fat Emboss NE 198 deinterlacing clips 315, 316 locking an axis 376
Fat Emboss NW 198 motion tracking 460
motion path 381
Fat Emboss SE 198 deleting effects 69
previewing in wireframe
Fat Emboss SW 198 Depth of Field effect 202 mode 373
Flat Emboss 198 Deterministic effect 232 rotating images 378
Fractured Image 195 Deterministic Noise effect 244 scaling images 377
Gray Emboss 198 Difference Keyer effect 346 to 352
selecting 374
Large Intensify 194 applying in an Effects Tree 349
shifting center of rotation 375
Line Detection 194 applying on a layer 347
transforming images 368
Motion Blur Horizontal 195 creating a basic matte 347
translating images 376
Motion Blur Vertical 195 fine-tuning the matte 350
using with tracker 442
Oily Blur 195 using 346
viewing in wireframe mode 373
Pressed Metal 194 Difference, blend operation 273
Dynamics effects 465
Rigid Emboss 198 Diffuse Glow effect 232
Digital Video Effect (DVE) See DVEs 2-1 Compression 465
sharpen effects 199
Dip effect 468 3-1 Compression 465
Shift to Right 195
Sketchy Blur 195 discussion group 17 applying 465
Small Blur 195 discussion group, Avid|DS 12 Dynamics 465
Smeary 195 dissolve Hard Limiter 465
Smudge 196 applying in Effects Trees 287 Hard Noise Gate 465
The Camera Bumped 196 applying on timeline 286 Soft Knee 465
Vaseline 196 Dissolve effect 286 Soft Limiter 465
Very Super Sunny 194 document conventions 14 using 465

Compositing & Effects Guide • 475

Index

E image transition effects 21 bypassing a node 52

Edge effect 208 keyer effects 21, 333 to 364 clip or track Effect Trees 44
editing effects 60 to 69 library 21 collapsing a node 54
adjusting length 65 loading 66 connecting nodes 49
adjusting properties 60 moving 61 copying a node 53
bypassing 63 neighborhood 26 cropping animation 65
copying 61 NLE toolbar 34 cropping curves 65
deleting 69 on clips 35 cutting a node 53
loading 66 on tracks 36 deleting a node 53
moving 61 order of processing 141 disconnecting nodes 51
reordering 62 output, real-time 76 displaying 44, 45
replacing 67 paint effects 22, 389 to 418 editing 58
saving 66 pass-through 148 effect nodes 43
performance 23 effects 22
trimming 64
playing real-time effects 71 effects, adding 47
trimming animated effect 65
presets 66 expanding a node 55
EDL view Refer to online help
exposing effects 59
effect node 43 previewing 119
input nodes 43
effects processing 120
input nodes, adding 54
2D DVE 21 properties 60
layer Effects Trees 45
3D DVE 21, 162 real-time 43, 71
loading 55
adding to Effects Tree 47 real-time performance 23
multiple input Effects Tree 45
adjusting lengths 65 reordering 62
nodes 43
animating 70 replacing 67
nodes, cannot delete 54
applying 33 to 42 rescaling 64
output node 43
applying on layers 99 saving 66
pasting nodes 53
audio 21, 41, 463 to 469 source generator effects 22, 244 to
preset, viewing 57
Audio Tools toolbar 34 246
presets, loading 56
bypassing 63 spatial filtering 26
properties, displaying 59
caches 136, 137 stack 116, 412 to 417
renaming nodes 54
categories 21 stacking 35
replacing trees 57
convolution operator 194 strip 142
saving trees 55
copying 61 time effects 22, 311 to 319
selecting effects to edit 59
creating clips 39 track 33
selecting nodes 48
creating in SOFTIMAGE|3D 168 transition 285 to 307
Selective Color Correction
cropping 64 transition effects 21 preset 186
deleting 69 tree 22 single-input 44
DVEs 88, 367 to 386 tree effects 22, 265 switching input nodes 54
editing 60 to 67 trimming 64 toolbar, adding 55
Effects Tree 43 to 59 types 21 Tracker effect 282
fields versus frames 24 video 21 transition Effect Trees 44
graphics 38 workflow 31 using external mattes 279
image effects 21, 155 to 261 Effects Tree 43 to 59 viewing clip/track trees 46
Image Effects toolbar 34 adding effects to Effects list 59 viewing nodes 51
image transition 285 to 307 applying 44 to 46 viewing tree on other layer 46

476 • Avid|DS
 Index

Effects Tree view Refer to online help Evangelize effect 194 neighborhood effects 26
effects, editing 60 to 69 Evil Aura effect 413 progressive scanning 24
adjusting length 65 expand/contract fields 311, 313, 314 spatial filtering effects 26
adjusting properties 60 expanding nodes 55 fields, expand/contract 311, 313, 314
bypassing 63 exporting alpha channel 98 Film effect 210
copying 61 External Controller Setup Refer to Film Grain effect 232
deleting 69 online help filters See effects
loading effects 66 external matte operations finishing, text boxes 161
moving 61 applying on a layer 271 Flat Emboss effect 198
reordering 62 external mattes 93, 95 Flicker effect 275
replacing 67 adding to layers 96 Fog effect 211
saving 66 in Effects Tree 279 Fractal Noise effect 244
saving, toolbar 66 Extrude effect 194 Fractured Image effect 195
trimming 64, 65 F Frame Average effect 213
e-mail support 17 Fade effect 209 frame-based stabilizing 425
emboss effects 197 fade effects frame-based tracking 425
Bright Burnish 197 Alpha Fade 209 frames
Burnish 197 applying 468 interactive processing 134
Emboss Coin NE 198 audio 468 skipped 120
Emboss East 197 Fade 209 frames versus fields 24
Emboss North 197 Fade In 209 applying effects 26
Emboss North East 197 Fade Out 209 field dominance 25
Emboss North West 197 Key 50% 209 interlacing versus progressive
Emboss South 197 scanning 24
Key Fade In 209
Emboss South East 197 neighborhood effects 26
Key Fade In and Out 209
Emboss South West 197 progressive scanning 24
Key Fade Out 209
Emboss West 197 spatial filtering effects 26
Video Fade In 209
Fat Emboss NE 198 frequency range
Video Fade Out 209
Fat Emboss NW 198 boosting 466, 467
Fade In effect 209, 218
Fat Emboss SE 198 cutting 466, 467
Fade Out effect 209, 218
Fat Emboss SW 198 Fresco effect 232
fades, audio effect 468
Flat Emboss 198 fade-to-color transition 246 G
Gray Emboss 198 fading objects, graphics 217 gain
Rigid Emboss 198 Fat Emboss NE effect 198 adjusting output 469
Emboss Image 208 Fat Emboss NW effect 198 audio effect 469
Embossed Sepia Tone effect 413 Fat Emboss SE effect 198 boosting input signal 467
EQ effects 466 Fat Emboss SW effect 198 cutting input signal 467
10 Band Graphic EQ 467 field dominance 25 Gain effect 469
3 Band Tone Control 466 field order 25 generating
4 Band Parametric EQ 467 fields versus frames 24 backgrounds 39
equalizer effects 466 applying effects 26 clips 39
10 Band Graphic EQ 467 field dominance 25 Geometric effects, Impressionist
3 Band Tone Control 466 interlacing versus progressive Geometric Boiling Shiny
4 Band Parametric EQ 467 scanning 24 Bubbles 221

Compositing & Effects Guide • 477

Index

Geometric Bumps and cutouts, creating 401 to 404 creating a basic matte 353
Craters 221 effects 38 fine-tuning the matte 356
Geometric Chaotic Chrome fade, creating 217 Hold mode, Timewarp effect 320
Impressions 221 graphics session effects 218 to 219 Holo Emulsion effect 413
Geometric Colored Bubbles presets 66 hotline support 16
Mosaic 221
rolls, creating 215 I
Geometric Glass Patches 221
Graphics effect 215
Geometric Halftone Lines 221 image effects 21, 155 to 261
crawls 215
Geometric Halftone Squares 221 14x9 Letterbox 193
fade, creating 217
Geometric Haltone Dots 221 15x9 Letterbox 193
rolls, creating 215
Geometric Jaggy Glass 221 16x9 Letterbox 193, 218
slow playback settings 76
Geometric Melting Metallic 2D Titling 160
Graphics Object view Refer to online
Buttons 221 3D DVE 162
help
Geometric Metallic Buttons 221 3D Warp 244
graphics property tree
Geometric Pillows Bas Relief 221 Alpha Fade 209
Refer also to online help
Geometric Pillows Glass 221 Alpha Ramp - Bottom Top 214
replacing effects 68
Geometric Pillows Large Alpha Ramp - Left Right 214
graphics session effects 218 to 219
Chrome 221 Alpha Ramp - Right Left 214
16x9 Letterbox 218
Geometric Pillows Small Alpha Ramp - Top Bottom 214
Chrome 221 Blur In 218
Average 195
Geometric Poker Chips 221 Blur Out 218
Black 244
Geometric Raised Dots 221 Count Down 218
Blue Duotone 182
Geometric TV Screen 221 Count Down effect 219
Blur 179
Glass effect 232 Fade In 218
blur effects 195
global DVEs 371 Fade Out 218
Blur In 218
creating 371 Shinny 218
Blur Out 218
Glowing Edges effect 232 Simple Crawl 218
Bright Burnish 197
GOV Refer to online help Simple Roll 218
Brighten and Sharpen 199
gradient effects 214 Sun & Flares 218
Bubble 179
Alpha Ramp - Bottom Top 214 Gravel effect 413
Burnish 197
Alpha Ramp - Left Right 214 Gray Emboss effect 198
Clouds 244
Alpha Ramp - Right Left 214 Gray Mezzotint effect 413
Clouds (Granite) 244
grid templates
Alpha Ramp - Top Bottom 214 color correction effects 182 to 190
light, using 173
Color Gradient 214 Color Gradient 214, 244
Template-grid.1-0.dsc 168
Linear Gradient 214 Color Space Adjustment 191
Template-lights.1-0.dsc 170
Radial Gradient 214 Colorful Woodcut 194
Tutorial-grid.1-0.dsc 170
Transparent 214 Count Down 218
using 171
Grain effect 232 Crisp Edges 199
Granite effect 244 H crop effects 193
Graphic Pen effect 232 Halftone Screen effect 232 custom effects 194 to 198
graphic tablet 15 Hand Tooled effect 413 Deflicker 200
graphics Happy Aura effect 413 Depth of Field 202
animating titles 217 Hard Limiter effect 465 Deterministic Noise 244
color 396 to 400 Hard Noise Gate effect 465 Double Vision 195
crawls, creating 215 HLS Keyer effect Drop Shadow 205 to 207

478 • Avid|DS
 Index

Edge 208 Matte Composite 279 Solid Color 245

Emboss Coin NE 198 Monochrome Blue 185 source generator effects 244 to 246
Emboss East 197 Monochrome Cyan 185 Special Filter 243
emboss effects 197 Monochrome Fuschia 185 Spill Correction 247
Emboss Image effect 208 Monochrome Green 185 Stamp 247
Emboss North 197 Monochrome Lt Blue 185 Sun & Flares 218
Emboss North East 197 Monochrome Magenta 185 Test Pattern 245
Emboss North West 197 Monochrome Orange 185 The Camera Bumped 196
Emboss South 197 Monochrome Pea Green 185 Threshold 248
Emboss South East 197 Monochrome Purple 185 Timecode 245
Emboss South West 197 Monochrome Red 185 Turbulence 245
Emboss West effect 197 Monochrome Sea Green 185 Vaseline 196
Evangelize 194 Monochrome Yellow 185 Very Super Sunny 194
Extrude 194 Motion Blur 224 Video Fade In 209
Fade 209 Motion Blur Horizontal 195 Video Fade Out 209
fade effects 209 Motion Blur Vertical 195 Warp 249 to 261
Fade In 209, 218 Negative 225 White 245
Fade Out 209, 218 Oily Blur 195 Wood 245
Fat Emboss NE 198 Old Photo 182 Woodcut 194
Fat Emboss NW 198 Optical Glow 226 to 227, 228 to 230 Image Effects toolbar 34
Fat Emboss SE 198 Outsource effect 228 image transition effects 21, 285 to 307
Fat Emboss SW 198 Painterly effects 231 to 234 applying 36
Film 210 Pattern 244 applying morph 292
Flat Emboss 198 Posterize 235 Dissolve 286
Fog 211 Premultiplication 236 DVE 289
Fractal Noise 244 Pressed Metal 194 Morph 290 to 304
Fractured Image 195 Radial Blur 238 Wipe 305
Frame Average 213 Radial Gradient 214, 245 images
Gradient 214 Reticulation 239 centering 375
gradient effects 214 RGB-YUV Dither 240 cropping 378
Granite 244 Rigid Emboss 198 Paper Grain 407 to 411
Graphics 215 Ripple 240 rotating 378
graphics session effects 218 to 219 Saturated 182 scaling 377
Gray Emboss 198 Sharpen 241 tinting 396
Impressionist effects 220 to 223 sharpen effects 199 transforming 368
Key 50% 209 Shift to Right 195 translating 376
Key Fade In 209 Shinny 218 Impact Inversion effect 414
Key Fade In and Out 209 Simple Crawl 218 Impressionist effects 220 to 223
Key Fade Out 209 Simple Roll 218 In, matte operation 272
Large Intensify 194 Sketchy Blur 195 Inbox Refer to online help
Line Detection 194 Small Blur 195 Ink effects, Impressionist
Linear Gradient 214, 244 Smeary 195 Ink Colored Line Pen 221
Marble 244 Smudge 196 Ink Colored Screen on Black 221
Matte 224 Solarize 242 Ink Detailed Colored Stipple 221

Compositing & Effects Guide • 479

Index

Ink Scratchy Pen on Black 221 L locking

Ink Spiderweb Crosshatch 221 Large Intensify effect 194 axis, DVEs 376
Ink Outlines effect 232 layer effects 99 DVEs 375
Input Monitor Refer to online help loading new effects 99 Luma Keyer effect 361 to 364
input nodes 43 creating a basic matte 361
layer Effects Tree 45
Input Speed mode, Timewarp fine-tuning the matte 363
layer tracker, positioning 435
effect 320 shortcuts 362
input strips, adding effects 41 motion tracking 435
luminance 357, 361
Installation and Administration layer, motion tracking 421
Luminance, blend operation 274
Guide 12 layers
interactive caches 134 adding 94 M
Interlace effect 317 adding clips without layers 94 mailing list 17
interlacing 24 adding effects 99 Marble effect 244
clips 317 Marker effects, Impressionist
adding external mattes 96
Invert Non-additive, blend Marker Burlap Impression 221
animating 99
operation 274 Marker Large Strokes on
animating order of 100 White 221
inverting output signal, audio 469
applying DVEs 369 Marker Opaque Crosshatch 221
K applying effects 40, 99 Marker Opaque on Black 221
Key 50% effect 209 caches 135, 137 Marker Opaque Strokes 221
Key Combiner effect 277 creating DVEs 369 Marker Rough Textured Tonal
combining separate RGB and creating with overlay tracks 85 Sketch 221
alpha channels 277 Marker Small Strokes on
external matte thumbnail 96
Key Fade In and Out effect 209 White 221
forming 93
Key Fade In effect 209 Marker Textured Sepia Tonal 221
layer alpha thumbnail 96
Key Fade Out effect 209 marker ribbon 33
keyboard conventions 14 matte controls 96
red highlights 122
keyer effects 21, 333 to 364 matte expand 96 requires processing 113
Blue-Green Keyer 334 to 340 original alpha thumbnail 96 yellow highlights 73
choosing 333 processing 88, 90, 101 matte and blend operations
Chroma Keyer 341 to 345 scrolling 97 applying on a layer 270
Difference Keyer 346 to 352 viewing 98 Matte Composite effect 279
Linear Luma Keyer 357 to 360 Layers view Refer to online help Matte effect 224
Luma Keyer 361 to 364 levels, processing 134 matte operations
selecting 333 library, effects 21 applying on a layer 270
keying 333 to 364 licensing support 16 Atop 273
about 81 Light Watercoloring effect 414 examples 272
creating a basic matte 335, 342, Lighter, blend operation 274 In 272
347, 357, 361 Out 272
Line Detection effect 194
creating a garbage matte 338 Over 272
Linear Gradient effect 214, 244
creating matte on overlay track 86 Xor 273
Linear Luma Keyer effect 357 to 360
fine-tuning a matte 336, 343, 350, mattes
356, 359, 363 creating a basic matte 357
applying external mattes in Effects
mattes 86 fine-tuning the matte 359 Trees 277
on overlay track 86 list, mailing 17 applying external mattes to
kissing nodes 49 loading Effects Trees 55 layers 97

480 • Avid|DS
 Index

applying on layers 94 Monochrome Red 185 deinterlacing clips 460

external 93 Monochrome Sea Green 185 difficult shots 456
Matte Composite effect 279 Monochrome Yellow 185 DVE tracker, using 428
Matte effect 224 Morph effect 290 to 304 errors, correcting 459
operations 269 adding correspondence frames 425
spill, viewing 339 points 298 layer clip 421
using external 95 animating shapes 300 motion path, modifying 441
viewing 87 barrier shapes 298 moving object to another moving
media 132 breaking shapes 297 object 437
processed qualities 133 correspondence points 296 multiple trackers, using 425
Media Input/Output panels Refer to creating shapes 292 offsetting trackers 457
online help joining shapes 296 reapplying animation 436
Media Manager Refer to online help setting rendering options 302 reference clip 421
memory, caches 134 morphing reference point, selecting 425
messages animating shapes 300 search region 424, 426
Alpha Not Exported 98 correspondence points 296 shape tracker 443
Needs Processing 113 creating shapes 292 stabilizing 449
Microscope effect 414 joining shapes 296 starting the process 436
Minimal mode processing 144 processing 302 target area 424
example 145 rendering 302 trackers 424
mixer Refer to online help Mosiac effect 232 updating position curves 437
mixer strips, processing order 142 Motion Blur effect 224 updating target 434
model notes, SOFTIMAGE|3D 174 Motion Blur Horizontal effect 195 mouse conventions 14
modes Motion Blur Vertical effect 195 multiple-input Effects Tree 45
Complete, processing 144 motion paths 381, 439 Multiply, blend operation 273
Constant, Timewarp effect 320, 322
adding keyframes 382 N
Hold, Timewarp effect 320, 328
applying to clip 440 Natural effects, Impressionist
Input Speed, Timewarp
building with tracker 439 Natural Cloth Scraps 221
effect 320, 325
changing curvature 383 Natural Crushed Gum
Minimal, processing 144
changing speed 385 Mosaic 221
Position, Timewarp effect 320, 326
creating 381 Natural Crushed Herbs 221
processing 144
Speed, Timewarp effect 320, 324 editing 382 Natural Gauze Underlay 221
Monochrome presets 185 modifying 441 Natural Gum Grid 221
monochrome, color correction moving keyframes 382, 383 Natural Particle Board 221
presets removing animation 383 Natural Quilt1 221
Monochrome Blue 185 motion paths, creating 439 Natural Quilt2 221
Monochrome Cyan 185 motion tracking 21, 421 to 448 Natural Snake 221
Monochrome Fuschia 185 1-point tracking 425 Natural Tapestry effects 221
Monochrome Green 185 2-point tracking 425 Natural Tied Grass Mosaic 221
Monochrome Lt Blue 185 4-point tracking 425 Natural Tinfoil Colorful 221
Monochrome Magenta 185 changing motion path 441 Natural Tinfoil Opaque 221
Monochrome Orange 185 confidence, setting 434 Natural Tinfoil Radial 221
Monochrome Pea Green 185 correcting errors 459 Natural Wild Cave Painting 222
Monochrome Purple 185 cropping image 438 Needs Processing message 113

Compositing & Effects Guide • 481

Index

Negative effect 225 OMF view Refer to online help Blue Meanie, stack effect 412
neighborhood effects 26 online help 13 Bone Scan, stack effect 412
Neon Edges effect 414 Online Library CD 12, 13 Bumpy Rust, stack effect 412
Neon Glow effect 232 opacity Cast in Silver, stack effect 412
New Features Guide 12, 13 animating 100 Cement, stack effect 413
New Features Tour 12 color 397 Cement2, stack effect 413
Nite Goggles effect 414 strokes 397 Chalky Black Velvet, stack
Nite Vision effect 414 Open Media Framework view Refer effect 413
NLE toolbar 34 to online help Clone 393
nodes operations Color Blend 396
adding input 54 blend 269 Color Stucco, stack effect 413
bypassing 52 matte 269 Dusty Blue Chalk, stack effect 413
collapsing 54 Optical Glow effect 226 to 227, 228 Embossed Sepia Tone, stack
to 230 effect 413
connecting 49
Orange Haze effect 414 Evil Aura, stack effect 413
copying 53
Orange Peel effect 414 Gravel, stack effect 413
cutting 53
Out, matte operation 272 Gray Mezzotint, stack effect 413
deleting 53
Outbox Refer to online help Hand Tooled, stack effect 413
disconnecting 51
output gain, adjusting 469 Happy Aura, stack effect 413
effect 43
output node 43 Holo Emulsion, stack effect 413
expanding 55
outputting Impact Inversion, stack effect 414
input 43
real-time effects 76 Light Watercoloring, stack
kissing 49
without processing 76 effect 414
output 43
Outsource effect 228 Microscope, stack effect 414
pasting 53
Over, matte operation 272 Neon Edges, stack effect 414
renaming 54 overlay tracks 84 Nite Goggles, stack effect 414
ripping 51 adding 85 Nite Vision, stack effect 414
selecting 48 caches 135, 136 Noise 405
snapping 49 compositing with DVE 85 Oily Paint, stack effect 414
sticky 50 compositing with mattes 84 Old Silvertone, stack effect 414
switching 54 creating a matte for Orange Haze, stack effect 414
twanging 49, 50 compositing 84 Orange Peel, stack effect 414
viewing 51 creating layers 85 Pasty Yellow Monochrome, stack
Noise effect 405 inserting 85 effect 414
Non-additive, blend operation 274 Pebble Mosaic, stack effect 414
P
Note Paper effect 232 Plasticene, stack effect 415
Paint Daubs effect 233
O paint effects 22, 389 to 418 Pointallism, stack effect 415
offset trackers 457 70s Vaseline Lens, stack effect 412 Purple Fur, stack effect 415
offsetting control points, Add Stucko, stack effect 412 Reveal 418
tracking 447 Badrecep, stack effect 412 Shark Skin, stack effect 415
Oily Blur effect 195 Badrecep2, stack effect 412 Smooth Paste, stack effect 415
Oily Paint effect 414 Black Hole, stack effect 412 Soft Color Pencil, stack effect 415
Old Photo effect 182 Blemish Remover, stack Soft Pointallism, stack effect 415
Old Silvertone effect 414 effect 412 Soft Watercolor, stack effect 415

482 • Avid|DS
 Index

Ye Olde Photocopy, stack Craquelure 231 Dark Values 399

effect 415 Crosshatch 231 Extended System 399
Yellow Hemoglobin, stack Cutout 231 Grayscale 399
effect 415 Dark Strokes 231 loading 399, 400
Yellow Medical Scan, stack Deterministic 232 Pastels 399
effect 415
Diffuse Glow 232 saving 399, 400
Yellow Strength, stack effect 415
Drybrush 232 Sea Colors 399
Paint effects, Impressionist
Film Grain 232 Skin Tones 399
Paint Angled Scribbles 222
Fresco 232 Value Spectrum 399
Paint Craquelure Surface 222
Glass 232 Paper Grain images 407 to 411
Paint Dry Brush Angled Grid 222
Glowing Edges 232 applying 410
Paint Dry Brush Dense Sticks 222
Grain 232 pass-through effects 148
Paint Dry Brush Grid 222
Graphic Pen 232 Pasty Yellow Monochrome
Paint Dry Brush Jumble 222
Halftone Screen 232 effect 414
Paint Dry Brush Junk Pile 222
Ink Outlines 232 Patchwork effect 233
Paint Dry Brush Scrappy
Mosaic 232 path, motion
Sketch 222
Neon Glow 232 applying to clip 440
Paint Dry Brush Sparse Sticks 222
Note Paper 232 building with tracker 439
Paint Eggshell Crackle 222
Paint Daubs 233 tracking 439
Paint Fine Brush Hairs 222
Palette Knife 233 Pattern effect 244
Paint Fingerpaint 222
Patchwork 233 Pebble Mosaic effect 414
Paint Fluorescent Palette
Knife 222 Photocopy 233 pen conventions 14
Paint Free Daubs 222 Plaster 233 Pencil effects, Impressionist
Paint High Contrast Collage 222 Polar Coordinates 233 Pencil Crosshatch Detailed 222
Paint Hot Swirl 222 Poster Edges 233 Pencil Crosshatch Heavy
Paint Linear Brush 222 Rough Pastels 233 Rough 222
Paint Old Brush Stamp 222 Scatter Noise 233 Pencil Crosshatch Radically
Smudge Stick 233 Colored 222
Paint Radically Colored Mica
Chips 222 Spatter 233 Pencil Crosshatch Silverpoint 222
Paint Smudges Antique 222 Spherize 233 Pencil Crosshatch Smudges 222
Paint Smudges Mosaic 222 Sponge 233 Pencil Crosshatch Softened
Smudges 222
Paint Smudges Soft Paper 222 Sprayed Strokes 234
Pencil Distressed Japanese
Paint Smudges Square Stained Glass 234
Paper 222
Horizontal 222 Sumi-e 234
Pencil Scribble (Sketch)
Paint Vegetable Pigment 222 Texturizer 234 Blurry 222
Painterly effects 231 to 234 Torn Edges 234 Pencil Scribble Grid 222
Accented Edges 231 Twirl 234 Pencil Scribble Halftone 222
Angled Strokes 231 Underpainting 234 Pencil Scribble on Original 222
Bas Relief 231 Watercolor 234 Pencil Scribble Swirl 222
Chalk and Charcoal 231 Waterpaper 234 Pencil Sketch Detailed
Charcoal 231 Palette Knife effect 233 Colored 222
Chrome 231 palettes, color Pencil Sketch Detailed
Colored Pencil 231 Avid|DS Palette 399 Monochrome 222
Conte Crayon 231 Black Body 399 Pencil Sketch Soft Detailed 222

Compositing & Effects Guide • 483

Index

Pencil Sketch Soft Light 222 Process indicator 33, 116 progressive scanning 24
Pencil Soft Opaque 222 processing 113 to 152 Project Manager Refer to online help
performance 23 area, selecting 116 property editors
real-time 23, 71 audio tracks 142 processing 117
real-time output 76 cache creation 135 processing frames 117
phone support 16 cache creation order 144 replacing effects 68
Photocopy effect 233 cache management 132 Purple Fur effect 415
picking colors 397 caches 132
Q
pinning, corner 379 Complete mode 144, 151
qualities, processing media 133
Plaster effect 233 Complete mode, example 147
Quick Reference card 13
Plasticene effect 415 effects 120
playing real-time effects 71, 73 entire sequence 116 R
Pointallism effect, stack effect 415 frames, skipped 120 Radial Blur effect 238
Pointillist effects, Impressionist from property editor 117 Radial Gradient effect 214, 245
Pointillist Embossed Daubs 222 interactive 134 raster mode
Pointillist Small Daubs 222 layered clips, order 143 caches 134
Pointillist Sparse Colored 223 layers 88, 90, 101 processing 134
Polar Coordinates effect 233 levels 134 real-time effects 43, 71
position curves, updating 437 marker ribbon indication 113 conditions 75
Position mode, Timewarp effect 320 media 132 output to tape 76
Poster Edges effect 233 media, different qualities 133 performance 23, 71
Posterize effect 235 Minimal mode 144 playable in real time 75
premultiplication 103 to 110 mixer strips 142 playing 71, 73
changing the setting 104 modes 144 skipped frames 73
combining images 107 on timeline 116 stacking 74
compositing non-premultiplied options 121 unplayable, stack 74
images 110 order 141 using multiple 74
compositing premultiplied performance 23 real-time performance 23
images 109 previewing results 124 real-time processing 71, 113, 115,
determining state 104 progress bar information 123 117, 152
effect 236 property editor 117 red highlights, marker ribbon 75
equation 81 real-time 23, 71, 113, 115, 117, 152 reference tracker, positioning 432
examples 106 remotely 124 motion tracking 432
premultiplied images 103 sections, timeline 117 reference, motion tracking 421
results 106 selecting area 116 region, search 424
using RGB image as external skipped frames 120 Release Notes 12
matte 108 specific objects 117 remote processing 124
Premultiplication effect 236 subregion 119 removing scratches 393, 405
presets 66 timeline 116 renaming nodes 54
loading 66 tips 148, 151 reordering effects 62
sharing 66 tracks, order 141 replacing effects 67
stack effects, paint 412 to 417 when needed 113 using graphics property tree 68
Pressed Metal effect 194 workflow 115 using property editor 68
previewing processed effects 119, 124 progress bar information 123 rescaling curves 65

484 • Avid|DS
 Index

resolution, cutouts 401 creating mattes 187 Smudge effect 196

Reticulation effect 239 Sequence Tree Refer to online help Smudge Stick effect 233
Reveal effect 418 Sequence view Refer to online help Soft Color Pencil effect 415
Reverb audio effect 469 sequences Soft Knee effect 465
Reverb effect 469 caches 135 Soft Limiter effect 465
RGB channels, blend operations 269 processing 116 Soft Pointallism effect 415
RGB-YUV Dither effect 240 Setup Guide 12 Soft Watercolor effect 415
Rigid Emboss effect 198 shape tracker SOFTIMAGE|3D, 3D Warp 163 to 175
ripping nodes 51 tracking 443 creating 3D warp effects in
morphed shapes 301 SOFTIMAGE|3D 168
Ripple effect 240
tracking control points 446 editing model notes 174
rolls, creating 215
grid template 171
rotating images 378 tracking shapes 444
light template 173
rotoscopy 315 tracking warped shapes 257
linking the database 170
Rough Pastels effect 233 shapes
source generator 169
animating 300
S Template-grid.1-0.dsc 168
barrier 298
Saturated effect 182 Template-lights.2-0.dsc 170
copying from Morph effect 293
saving transition 169
copying from Warp effect 250
effects 66 Tutorial-grid.2-0.dsc 170
creating Morph shapes 292
Effects Trees 55 Solarize effect 242
creating Warp shapes 250
effects, toolbar 66 Solid Color effect 245
joining 296
presets 66 black 244
tracking 443 to 448
scaling images 377 white 245
tracking objects 443 to 448
source generator effects 22, 244 to 246
scan lines 24 tracking shapes 443 3D Warp 244
scanning, progressive 24 sharing presets 66 Black 244
Scatter Noise effect 233 Shark Skin effect 415 Clouds 244
scene templates Sharpen effect 241 Clouds (Granite) 244
light, using 173 sharpen effects 199 Color Gradient 214, 244
Template-grid.1-0.dsc 168 Brighten and Sharpen 199 Deterministic Noise 244
Template-lights.1-0.dsc 170 Crisp Edges 199 fade-to-color transition 246
Tutorial-grid.1-0.dsc 170 Shift to Right effect 195 Fractal Noise 244
using 171 shifting center of rotation, generating clips on the
scene, saving 175 DVEs 375 timeline 245
scratch removal 393 Shinny effect 218 Granite 244
cloning an image 393 Simple Crawl effect 218 Linear Gradient 214, 244
Noise effect 405 Simple Roll effect 218 Marble 244
Reveal effect 418 single input Effects Tree 44 Pattern 244
Script Editor Refer to online help Site Preparation Guide 12 Radial Gradient 214, 245
Sea Color color palette 399 Sketchy Blur effect 195 Solid Color 245
search region 424 skipped frames 73, 120 Test Pattern 245
setting 426 Slip/Roll view Refer to online help Timecode 245
Selective Color Correction Small Blur effect 195 Turbulence 245
effect 186 Smeary effect 195 White 245
changing colors 189 Smooth Paste effect 415 Wood 245

Compositing & Effects Guide • 485

Index

spatial filtering effects 26 Old Silvertone 414 Sumi-e Dry Strokes on Pitted
Spatter effect 233 Orange Haze 414 Stone 223
Special Filter effect 243 Orange Peel 414 Sumi-e Fine Ghost Brush 223
Speed mode, Timewarp effect 320 Pasty Yellow Monochrome 414 Sumi-e Strokes Mosaic 223
Spherize effect 233 Pebble Mosaic 414 Sumi-e Translucent Strokes on
White 223
Spill Correction effect 247 Plasticene 415
Sun & Flares effect 218
spill matte, viewing 339 Pointallism 415
support 16
Sponge effect 233 Purple Fur 415
Surround Panner Refer to online help
Sprayed Strokes effect 234 Shark Skin 415
switching nodes 54
stabilizing 449, 452 Smooth Color Pencil 415
frames 425 Smooth Paste 415 T
using the DVE tracker 452 Soft Pointallism 415 target area, motion tracking 424
using the Stabilizer tree effect 450 Soft Watercolor 415 technical support 16
stack effects 412 to 417 using Cutout effect 403 telephone support 16
70s Vaseline Lens 412 Ye Olde Photocopy 415 Template-grid.1-0.dsc, 3D scene
Add Stucko 412 Yellow Hemoglobin 415 template 168
Badrecep 412 Yellow Medical Scan 415 Template-lights.1-0.dsc, 3D scene
template 170
Badrecep2 412 Yellow Strength 415
templates
Black Hole 412 stacked effects 116
light, using 173
Blemish Remover 412 unplayable 74
Template-grid.1-0.dsc 168
Blue Meanie 412 stacking real-time effects 74
Template-lights.1-0.dsc 170
Bone Scan 412 Stained Glass effect 234
Tutorial-grid.1-0.dsc 170
Bumpy Rust 412 Stamp effect 247
using 171
Cast in Silver 412 Stamp effects, Impressionist
Test Pattern effect 245
Cement 413 Stamp Cardboard Fresco 223
text boxes, finishing 161
Cement2 413 Stamp Crown Glyph 223
Texture effects, Impressionist
Chalky Black Velvet 413 Stamp Dry Rag 223
Texture Crosshatch Web
Color Stucco 413 Stamp Embossed Herbal 223 Color 223
customizing 417 Stamp Potato on Black 223 Texture Crosshatch Web
Dusty Blue Chalk 413 Stamp Small Torn Scraps 223 Monochrome 223
Embossed Sepia Tone Scan 413 Stamp Sponge Daubs Angled 223 Texture Floral Blanket 223
Evil Aura 413 Stamp Sponge Daubs Fine 223 Texture Fossil 223
Gravel 413 Stamp Sponge Daubs Rough 223 Texture Maze1 223
Gray Mezzotint 413 Stamp Textured Gouache 223 Texture Maze2 223
Hand Tooled 413 starting the tracking process 436 Texture Twenty Twenty 223
Happy Aura 413 sticky nodes 50 Texture Vegas 223
Holo Emulsion 413 strip effects 41 Texturizer effect 234
Impact Inversion 414 applying 41 The Camera Bumped effect 196
Light Watercoloring 414 strokes, opacity 397 Threshold effect 248
Microscope 414 subregion processing 119 time effects 311 to 319
Neon Edges 414 Sumi-e effect, Painterly 234 3:2 Contract 313
Nite Goggles 414 Sumi-e effects, Impressionist 3:2 Expand 314
Nite Vision 414 Sumi-e Colored Strokes on applying 312
Oily Paint 414 Gray 223 Deinterlace 315

486 • Avid|DS
 Index

Interlace 317 Tracker effect 282 stabilizing 449

modifying 312 tracker tree effect, using 430 target area 424
Timewarp 318 to 319 motion tracking 430 trackers 424
time-based effects 22 trackers 424, 430, 432, 434, 435 tracks
Timecode effect 245 corner pinning 379 applying effect, timeline effect
timeline correcting errors 459 track 38
Refer also to online help cropping image 438 applying effects 36
applying effects 33 cropping image to polygon 438 audio, processing order 142
keying mattes 86 DVE, using 428 caches 135, 136
processing 88, 116 errors, correcting 459 processing order 141
timeline effect track 36, 38, 137 offsetting 457 training support 16
applying effects 38 reference point, selecting 425 transformation 367, 368
timeline effects 38 shape tracker, using 443 animating 379
Timewarp effect 318 to 319 starting the process 436 centering 375
applying 318, 320 tracking backwards 459 cropping 378
audio 318 using multiple 425 DVEs 88
changing frame position 326 tracking motion path 381
changing speed 324 backward 436 rotating 378
changing speed based on source backwards 459 scaling 377
clips 325 choosing a tracking method 422 translating 376
Constant mode 320, 322 combining with other DVEs 442 transforming images 368
constant speed 322 composited clips 427 transition effects 21, 285 to 307
freezing frames 328 control points 446 applying Morph 292
Hold mode 320, 328 difficult shots 456 Dissolve 286
Input Speed mode 320, 325 forwards 436
DVE 289
modes 320 frames 425
Morph 290 to 304
Position mode 320, 326 morphed shapes 301
Wipe 305
setting duration 330 shapes 444
Speed mode 320, 324 transition Effects Tree 44
updating position curves 437
variable speed 324, 325 transitions
updating target 434
video 320 applying a crossfade 464
using the trackers 424
tinting images 396 caches 136
warped shapes 257
tips crossfade 464
tracking, motion 21, 421 to 448
processing 151 Dissolve 286
1-point tracking 425
tips, processing 148, 151 DVE 289
2-point tracking 425
toolbars Morph 290 to 304
4-point tracking 425
adding Effects Tree 55 cropping image 438 morph 292
Audio Tools 34 deinterlacing clips 460 preset 66
Image Effects 34 modifying motion path 441 Wipe 305
NLE 34 moving object to another moving Translate tool 376
saving effects 66 object 437 translating images 376
top timeline, caches 137 offsetting trackers 457 transparency 100
Torn Edges effect 234 reference point, selecting 425 animating 100
track effects 33, 36 search region 424, 426 Transparent effect 214

Compositing & Effects Guide • 487

Index

transport controls Refer to online W workflows

help Warp effect 249 to 261 animating effects 70
tree effects 22, 265 animating shapes 256 compositing 90 to 91
AVX Host 176 barrier shapes, creating 255 effects 31
Composite 266, 282 creating 250 processing 115
Flicker 275 creating shapes 250 workgroups, processing
remotely 124
Key Combiner 277 joing shapes 253
Tracker 282 setting rendering options 259 X
SOFTIMAGE|3D 163 to 175 Xor, matte operation 273
tree, Effects 43 to 59
warp, 3D See 3D Warp effect Y
Trim view Refer to online help
warping
trimming effects 64 Ye Olde Photocopy effect 415
animating shapes 256
animated effects 65 Yellow Hemoglobin effect 415
barrier shapes 255 yellow highlights, marker ribbon 73
using timecodes 64 correspondence 253 Yellow Medical Scan effect 415
Turbulence effect 245 creating shapes 250 Yellow Strength effect 415
Tutorial guide 12 joining shapes 253
Tutorial-grid.1-0.dsc, 3D scene processing 259
template 170 rendering 259
twanging nodes 49 Watercolor effect 234
Twirl effect 234 Watercolor effects, Impressionist
Watercolor Damp
U Translucent 223
Underpainting effect 234 Watercolor Damp Translucent
User’s Guide 13 Wash 223
Watercolor Soft Daubs on Fine
V Paper 223
Vaseline effect 196 Watercolor Soft Water
Sketch 223
Very Super Sunny effect 194
Watercolor Spatter 223
video
Watercolor Spatter Colorful 223
effects 21
Watercolor Spatter Watery 223
transitions 21 Watercolor Spotty Brush on
Video Fade In effect 209 Rough Paper 223
Video Fade Out effect 209 Waterpaper effect 234
video timewarp 320 web support 17
viewer Refer to online help Wipe effect 305
applying 307
VST Host audio effect 470
slow playback settings 76
VST Host effect 470
wire removal 393
VST plug-ins
cloning an image 393
applying 470 Noise effect 405
effect banks 470 Reveal effect 418
installing 470 Wood effect 245
programs 470 Woodcut effect 194

488 • Avid|DS