Avid® FX® User’s Guide m a k e m a n a g e m ove | m e d i a ™ Avid ®
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Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Avid Training Services . . . . . . . . . .
Using Grids and Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Aligning Objects in the Composite Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Distributing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Transforming Objects using the OpenGL Interactors . . . . . . . . . . . . . . . . . . . . 59 Viewing the Channels of an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing Media from the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Importing Media from the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Importing Movie Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Importing Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Importing Still Image Files . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating Wipes with the PixelChooser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Previewing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Using J,K,L Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Previewing Effects on a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Previewing to RAM . . . . . . . . . . . . . . . . . . . . . . . . .
Working with the Animation Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Chapter 6 Working with Containers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 Types of Containers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 Working with 3D Containers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 Creating a 3D Container. . . . . . . . . . . . . . . . . .
Applying Animation to a Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Creating Chart Backdrops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 Chapter 7 Working with Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Adding Media to Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Mapping Media to the Faces of a Shape. . . . . . . . . . . . . .
Working with the Text Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 Using the Text Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 Repositioning Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 Editing Text Using the Text Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 Kerning Text . . . . . . . . . . . . . . . . . . . . . . .
Applying Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460 Using Context Menus in the Style Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 Chapter 9 Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491 Generating the Motion Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491 Overview of Using the Motion Tracker . . . . . . . . . . . .
Adjusting Splines in Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553 Extruding Spline Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554 Converting a Spline Primitive to a Spline Object . . . . . . . . . . . . . . . . . . . . . . . 556 Converting Still Image Files into Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556 Chapter 11 Finishing: Rendering and Exporting . . . . . . . . . . . . . . . . .
Using This Guide Avid® FX provides the widest range of high-quality titling and effects ever offered for the Avid Xpress® Pro. Available separately or as part of the Avid Xpress Studio suite of integrated applications, Avid FX works as an AVX plug-in. With over 1500 customizable title, effects and transition templates it is the ultimate combination of power and convenience.
Using This Guide Symbols and Conventions Avid documentation uses the following symbols and conventions: Symbol or Convention Meaning or Action n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data. w A warning describes an action that could cause you physical harm.
How to Order Documentation 4. Visit the online Knowledge Base at www.avid.com/support. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read/join online message-board discussions. 5. For Technical Support, please call 800-800-AVID (800-800-2843). For Broadcast On-Air Sites and Call Letter Stations, call 800-NEWSDNG (800-639-7364).
Using This Guide 20
Chapter 1 Desktop Before you can begin to composite, create titles, or animate objects, you should familiarize yourself with the basic 3D concepts and the Avid FX desktop.
Chapter 1 Desktop representation of space, three perpendicular axes X, Y, and Z, intersect at one point. This reference point is called the origin. The point of origin is 0, 0, 0. The opposite directions represent negative X, Y, and Z. XYZ Axes To remember the direction of the X, Y, and Z axes, you can use the “right-hand” rule: hold up your right hand so that your palm is facing you, then extend your thumb to the right, hold your index finger up, and point your middle finger towards you.
The 3D Environment Location = (2, 1, 3) Y=1 Origin Z=3 X=2 XZ, XY, YZ Planes Since you're working with a two-dimensional interface, spatial planes are used to locate points in three-dimensional space. The perpendicular axes extend as spatial planes: XZ, XY, and YZ. In the viewports, these planes correspond to three of the parallel projection windows: Top, Front, and Right. Imagine that the XZ, XY, and YZ planes are folded together like the top, front, and right side of a box.
Chapter 1 Desktop The Avid FX Windows There are four main windows for viewing and accessing the tools and commands that you need when working in Avid FX. Controls window Project window Composite window Timeline window The four windows are interdependent. Changes made on the timeline, for example, are visually updated in the Composite window. Values adjusted for each track on the timeline are also seen in the Composite window.
The Project Window The Project Window The Project window is the home to all your projects. This is where you organize all your work to help you work efficiently. You can also use the Project window as a clipboard area to save versions of a composition.When you start Avid FX, a copy of your current composition is automatically added to the Project window. You can drag tracks or entire compositions into this window at any time. The Project window is divided into two areas: the top and lower part.
Chapter 1 Desktop In the Project Window you can: • Create new projects—see “Creating Projects” on page 150. • Open existing projects • Save projects to the Library Browser • Add, sort, or move tracks. You can also drag tracks and entire compositions—see “Working with the Timeline Tracks” on page 41. • Save and rename compositions. • Batch import files to add to your composition and store them in the Project window—see “Batch Importing Media Files” on page 140.
The Project Window The Frame view displays a representative frame of each image or composition. The List view displays a representative frame of the image or composition in a list format with details. You can sort according to the name, length, type, and the standard of the items. Library Browser Window The Library Browser window allows you to quickly preview and apply settings files from the KeyFrame Library, including settings files that you add or customize.
Chapter 1 Desktop Selected effect Preview window Quality, Preview, and Effect buttons Source Folder menu Click a Category folder to preview the contents on the right. Comments Template-mode controls Link to Boris FX website To add an effect: 1. Click the name of any folder in the Available Categories window. Thumbnails of each effect in that folder appear in the Available Effects area. 2. The first time that you open a folder, click the Generate Thumbnails button. 3.
The Timeline Window To display only the Library Browser window: 1. Click the yellow Template button to toggle Template mode. The following text controls are available only in Template mode: t The red Insert Text button inserts the text into the Comments window into the text graphic. Use the tab key to separate lines of text. t The green Replace Comments button allows you to type comments into the Comments window, replacing the existing comments.
Chapter 1 Desktop The main areas of the Timeline window are: Timeline buttons and timecode area includes all shape, media, and container buttons. It also contains the timecode display. Timeline displays all tracks. It is also where keyframes are added. It is divided into the global and local timeline. Composition Tabs let you switch between compositions. Track name and control area displays the name of the track and the controls available for each track.
The Timeline Window Add Media buttons Add Container buttons Composition tabs Add Object Track buttons Add Paint Layer Add Shape Track buttons Motion Blur Extruded Pencil Show/Hide Mask Smart View • Composition tabs let you develop and toggle between several compositions simultaneously. • Add Media buttons create a new track with the specified media above the selected track or at the top of the timeline, if you do not have a track selected.
Chapter 1 Desktop • The Smart View button toggles the display of only tracks that have been modified—see “Using the Smart View” on page 32. Timecode Display All three timecode fields are editable. The only exception is for the Duration field if you are using the Avid FX as a plug in. In this case, you should set the duration in the Avid editing application. You can also change the way the timecode is displayed in the Preferences window.
The Timeline Window The Global and Local Timeline The global timeline at the top of the window represents the entire length of the effect. The gray area represents the portion of the local Timeline that is currently visible. Drag the gray area to change the visible portion of the timeline.
Chapter 1 Desktop Button To Do this Fit the entire timeline into the current window size Click the Size to Fit button. Press Shift+click this button to scale the display up or down by ten percent Timeline Tracks A timeline track has the following attributes: Filter visibility Preview Media selection Track name Shape Lock Track visibility Motion Blur • Track name: To rename a track, right-click it and select Rename. • Shape: Lets you select a shape from its menu.
The Timeline Window • Filter visibility: Turns all filters on the track on and off. When it is on, the filtered output is visible in the Composite window and in the rendered output—see “Viewing Filters” on page 178. • Preview: Opens a preview window for a track, which shows the track’s content, including the track’s shape and source media with any nested filters or masks.
Chapter 1 Desktop You can also apply filters using the filter tracks and nest tracks using container tracks. For more information, see “Working with Effects and Filters” on page 172. The Shape Track The shape track is the most basic type of track in Avid FX. When you create a new effect and start Avid FX, the tracks you see are all shape tracks. By default, these tracks use the 3D Plane shape, a still or moving image that looks exactly the same as the source image in an Avid editing application.
The Timeline Window The Transformations Track The transformations track contains individual tracks for all the attributes of a shape. These attributes correspond to the tabs in the Controls window when the shape track is selected. n Use the Smart View to display only the Transformations tracks which you adjusted. See “Using the Smart View” on page 32 The Face Track The face track contains tracks that determine the appearance of a shape’s face(s).
Chapter 1 Desktop Each face track has media associated with it that is masked and filtered independently from the shape. Each of the six faces of a cube could have different media, different filters, and different masks. A mask or filter applied to a face track is known as an “upstream” operation, because it takes place before shape transformations are applied. See “The Plug-In Filter Manager” on page 188 and “Upstream and Downstream Masks” on page 179.
The Timeline Window Nested tracks n To switch between the shape and face tracks, use the Track Selector button in the Controls window. See “Controls Window Buttons” on page 90. Compositing on the Timeline Compositing is the layering of images to produce one new integrated image. You can create and add an unlimited number of tracks on the timeline. The result of the layering or compositing of the tracks is displayed on the Composite window.
Chapter 1 Desktop Layering is from bottom to top Text track Background track + = Text track Background track Composited Result Multiple Compositions in a Single Timeline Window You can have multiple compositions accessible from the same timeline. This allows you to work with multiple versions of a single composition and to try out different effects and parameter changes on the same material, clicking back and forth to compare them.
The Timeline Window Saving Compositions When you save a composition, Avid FX uses the frame at the location of position indicator as the representative frame. To change the representative frame, move the position indicator to the appropriate frame. The compositions are automatically saved in the Project window, so if you mistakenly clear a composition from the timeline, you can undo or recover it from the Project window.
Chapter 1 Desktop Reordering Tracks on the Timeline You can change the order of tracks on the timeline, changing the way the tracks are composited. The result is displayed on the Composite window. In the example below, Track 1 and Track 2 occur higher than Burst in the timeline, so the Track 1 and Track 2 images overlap the Burst image in the composite. Burst was dragged to the position above Track 2 and it now overlaps the Track 2 image.
The Timeline Window Selecting Tracks on the Timeline Select a track to display its parameters in the Controls window. Click to select a track or use the up and down arrow keys on the keyboard to move from track to track. The selected track highlights in light blue. You can also select a track by clicking that track’s visible media in the Composite window. The corresponding track on the timeline is highlighted. See “Track Control Buttons” on page 82 for a description of the track controls.
Chapter 1 Desktop Resetting Tracks and Parameters Reset button There are several ways to reset individual tracks and parameters to their default settings. To reset a parameter track to default state at a specific keyframe: 1. Select the track nested inside the transformations track for the parameter you want to reset. 2. Do one of the following: • Select Edit > Reset Parameter or press Ctrl+R. • Press the Interpolation Field for the parameter in the Controls window and select None.
The Timeline Window t Right-click the track and select Rename Track 2. Enter a new name and press Enter. n You can also set the Use Track Counter preference to name tracks “Track 1,” “Track 2,” and so forth. See “Behavior Tab” on page 159. Nesting Tracks You can break down complicated tasks into more manageable sections by nesting multiple tracks. Another advantage is that you can place tracks within a hierarchy.
Chapter 1 Desktop To nest tracks: 1. Drag the track you want to nest over another track. 2. When a black box appears around the track you are dragging to, drop the track. n When you perform any action on a track, you perform that action on its nested tracks as well. For instance, if you delete a container, you also delete the tracks within it. To avoid this, drag the nested tracks out of the track that contains them.
The Timeline Window To delete an in or out-point: 1. Move the position indicator over the mark in the timeline. 2. Do the following: • To remove the in-point, select Preview > Mark In/Out > Clear Mark In. • To remove the out-point, select Preview > Mark In/Out > Clear Mark Out. • To remove all marks from the timeline, select Preview > Mark In/Out > Clear Marks. Using User Marks on the Timeline Use user marks for marking a location or reference point on the timeline.
Chapter 1 Desktop To move a user mark: • Do one of the following: t Drag the user mark on the timeline to the new position. t In the User Mark window, select the user mark and enter a new timecode in the Timecode field. To jump from one user mark to another: • Do one of the following: t In the User Mark window, double-click the user mark. t On the timeline, right-click the user mark and select Go to Next Mark or Go to Previous Mark.
The Timeline Window Sliding Tracks in the Timeline You can slide tracks in the timeline by selecting the Shape track and dragging to the left or right in the timeline. This changes the duration of a track, moves the keyframes. When sliding the track, the keyframes can move out of the timeline, however the parameters set for this keyframe are still valid. Active area A1 A2 1 A3 2 3 4 5 B1 B2 B3 3 4 5 B3 Slide track right or left If rolled to the right...
Chapter 1 Desktop 2. Deselect all the keyframes. 3. Press Ctrl key and drag the left most keyframe to the right. The track’s duration changes and the keyframes are repositioned. Sliding without Affecting Nested Tracks You can slide selected tracks without affecting nested tracks. To slide without affecting nested tracks: • Press Ctrl+clicking a Shape track to slide the selected track(s) but not nested tracks. For information on nesting tracks, see Nesting Tracks on page 45.
The Composite Window To slip a movie: 1. Drag the cursor over the Face track in the timeline. The cursor changes to a hand. 2. Drag the movie to the position you want. The timeline updates to display the number of frames that you moved the movie and the Start Time updates in the Movie Media tab. The Composite Window The Composite window displays the composited effect as it appears in the rendered output.
Chapter 1 Desktop Open GL interactor (Position Y) Open GL interactor (Position Z) Open GL interactor (Position X) A B C D E F G H I J KL M N O P Q R S T U V W A Show/Hide Timeline I Loop Preview Q Frame Forward B Add Keyframe J Move to Start R 10-Frame Forward C Quality K 10-Frame Back S Create User Mark D Resolution L Frame Back T Go to Previous User Mark E Zoom In M Play Reverse U Go to Next User Mark F Zoom Out N Stop V Color Depth G Channel O Play Forward W Add to Render Queue
The Composite Window The interactors appear in the Composite window when you select a track in the timeline. They appear semitransparent to indicate that you are working in software OpenGL mode and opaque in hardware OpenGL mode. To hide or display the interactors: • Select Preview > OpenGL Interactors > Show Interactor or press G. Turning Off the OpenGL mode When you want to manipulate light sources, targets, camera positions, and pivot point, you must turn the interactor off.
Chapter 1 Desktop • Draft quality mode: The Composite window switches to Draft mode when you use the interactors. You will find that the manipulations of 3D Plane tracks, Spline Objects, Spline Primitives, and 3D Extrusion tracks are dramatically speeded. When you use the on-screen interactors, the Composite window will switch to Draft quality mode. • High quality mode: The interactors appear semitransparent to indicate that you are working in software OpenGL mode.
The Composite Window To set the quality mode: 1. Click the Change Preview Quality button. 2. Select the quality mode. To set the resolution mode: 1. Click the Change Preview Resolution button. 2. Select the resolution mode. Using Grids and Guides The grid consists of evenly spaced points that you can use to align objects to each other or to the sides of a scene.
Chapter 1 Desktop To add guides: 1. Select Preview > Controls > Rulers to display the rulers in the Composite window. 2. To create a horizontal guide, click in the ruler at the top of the screen and drag down to the desired location. 3. To create a vertical guide, click in the ruler on the left side of the screen and drag right to the desired location.
The Composite Window Aligning Objects in the Composite Window You can align two or more objects with respect to other objects or the action/title safe area. The following example shows the original composition with four separate objects. To align objects: 1. Shift-select two or more tracks in the timeline (or their corresponding images in the Composite window). 2. Select Track > Align Selected. 3.
Chapter 1 Desktop Distributing Objects The Distribute Selected menu is similar to the Align Selected menu except that it requires at least three objects. The two extreme objects are distributed so that if five objects are selected, the two extreme objects do not move and the other three are distributed evenly between them. To distribute objects: 1. Shift-select three or more tracks in the timeline (or their corresponding images in the Composite window). 2. Select Track > Distribute Selected.
The Composite Window • Vertical: Moves the objects vertically (only) so that their centers distribute evenly between the centers of the two extreme objects. The two extreme object’s centers are highest and lowest on the screen. In the example, objects a and d are the extreme objects.
Chapter 1 Desktop Position Point n You can also use the Left and Right arrows on your keyboard to nudge the position. Press Shift+Right or Shift+Left arrow key to nudge by 10 points. You can also press Shift and select multiple objects to nudge simultaneously. To reposition a track in multiple axes: 1. Select the image. 2. Drag the image in any direction. Rotating an Object You can spin, tumble, or rotate an object around any of the three axes.
The Composite Window To rotate an object: 1. Select Preview > OpenGL Interactors > Rotate Interactor. Circles appear at the end of the interactors to indicate that you can rotate the image. 2.
Chapter 1 Desktop The corresponding Tumble X, Spin Y, or Rotate Z values update in the Controls window as you drag the interactors. The text “Clover” is rotated n To allow freeform rotation, click the object and rotate it around that axis. Scaling an Object Scaling an object adjusts its width and height. In addition to OpenGL interactors, you can also use the Shape Controls option from the Onscreen Controls menu. To scale an object: 1. Select Preview > OpenGL Interactors > Scale Interactor.
The Controls Window Viewing the Channels of an Image You can display the RGB, red, green, blue, or alpha component of an image in the Composite window. The alpha channel specifies the transparency of each pixel allowing portions of the foreground image to reveal or block out the background image when two images are composited. You may find it useful to display the alpha channel of your image when compositing, so that you can monitor the matte of an image.
Chapter 1 Desktop Tabs Recenter Position Point Slider Lock Interpolation field Dial control Revolutions Degrees Toggle between default animation and static Creates a Text Path Resets the tab. Import External Media Toggles between the Face and Shape in the Timeline. Toggles a Reflection Map Track on or off. Toggles a Texture Track on or off. The Analyze button generates motion tracking Toggles Drop data. Shadows on or off. Creates a Text Backdrop.
The Controls Window - Press Shift-Control to round to the nearest 5 degrees. - Press Shift-Control and use the mouse wheel to round to the nearest 45 degrees. When tracking with a mouse wheel on dial controls, you can use the following modifiers: - Use the mouse wheel with no modifier keys to move in 1 degree increments. - Press the Shift key and use the mouse wheel to round to the nearest 10 degrees. - Press Control and use the mouse wheel to round to the nearest .1 degrees.
Chapter 1 Desktop Customizing the Desktop You can easily customize the look of your desktop by setting color preferences, resizing windows. You can also assign keyboard shortcuts to facilitate a smoother workflow. Creating Custom Workspaces Create and save custom workspaces including the arrangement and size of windows. Set up your workspaces according to the tasks that you do. Use the Workspace menu to save custom window setups. To save a custom workspace: 1. Arrange the windows for the required task.
The Controls Window 2. Select a command on the left side of the window. 3. Enter the new shortcut on the right side of the window. You can enter a Key or a combination of a Key and Modifier(s). 4. Click Save after you enter the appropriate shortcut. 5. When you finish entering shortcuts, click OK to save your changes. The changes do not take effect until you quit and relaunch Avid FX.
Chapter 1 Desktop Opening Shortcuts Files You can open saved shortcuts created on other Avid editing systems. To open saved shortcuts: 1. Select Edit > Shortcuts. The Shortcuts window appears. 2. Click the Open Shortcuts button at the top of the Shortcuts window. 3. Navigate to the appropriate Shortcuts file and click OK. The changes do not take effect until you quit and relaunch Avid FX.
The Controls Window Renaming in the Project Window To rename in the Project window: 1. Select the track or composition in the Project window. 2. Select Composition > Rename Composition. 3. Type a new name and press Enter. n You can also rename items by selecting them, pressing Enter, typing the name and pressing Return or Enter again. Deleting from the Project Window To delete a track or composition from the Project window: • Click to select the item and click the Trash button.
Chapter 1 Desktop To undo an action, do one of the following: • From the Edit menu, select Undo • Press Ctrl+Z. If the last operation cannot be undone, the Can’t Undo option will be enabled. To redo an action: • From the Edit menu, select Redo • Press Ctrl+R. If the operation cannot be redone, the Can’t Redo option will be enabled. Using the History Palette The History Palette provides a history of all the actions that you have made in the timeline and Controls window.
The Controls Window Composite Window Controls This section describes the buttons found in the Composite window: • Playback Controls on page 71 • Preview Controls on page 72 • Other Composite Window Controls on page 72 • On-Screen Controls on page 73 Playback Controls Moves the CTI to the start position. Moves the CTI back 10 frames Frame Back moves the CTI one frame backward in time. The keyboard shortcut for this button is Page Up.
Chapter 1 Desktop Plays the sequence through once and then stops. Preview Controls The Toggle Timeline button toggles the timeline display on and off. This is useful if you want to close the timeline to make more room for other windows. The Add Keyframe button adds a keyframe at the current CTI location Quality chooses between yellow for Draft and green for High. Draft quality produces a jagged image but speeds preview time. Use High quality to antialias your image.
The Controls Window The Color Depth button sets the color depth for your project. 16-bit-per-channel mode makes a larger range of colors available. When you work with gradients for film effects or HDTV output, 16-bit-per-channel mode means that transitions between colors display less banding, and more detail is preserved. Using an 8-bit effect in a 16-bit project will result in a loss of detail.
Chapter 1 Desktop When you select Position Point, the blue Position Point appears. The corresponding parameter’s X and Y values update in the Controls window as you drag the Position Point around the screen. Shift+drag the Position Point to constrain the movement horizontally; Option+Shift+drag to constrain the movement vertically. Position Point moves the object. n When you work in OpenGL mode, instead of using the Position Point, you use the OpenGL interactors to position a track.
The Controls Window Bézier handles adjust the curve of the motion path. • Rulers –displays rulers along the left and top edges of the Composite window. Rulers show the length and width of the screen in pixels allowing you to precisely position object attributes on screen.The rulers appear slightly different depending on whether or not you have OpenGL enabled. The rulers also allow you to create guides. • Checkerboard – sets the background of the Composite window.
Chapter 1 Desktop 76 • Title Safe – displays guides that help ensure that your titles and images are not cut off or distorted when viewed on a television monitor. The inner bounding box represents the Title Safe area. The outer bounding box represents the Action Safe area. You can define the size of these areas. See Preview Tab on page 166. • Grid – displays an on-screen grid in the Composite window that you can use to help position and align objects.
The Controls Window Timeline Window Buttons The timeline includes a series of buttons which provide fast access to common commands.
Chapter 1 Desktop The Add Movie Media button creates a 3D Plane track with Movie media. When you click this button, a dialog box lets you choose the movie file. The Add Text Page button creates a 3D Plane track. When you click this button the Text window opens. The resulting text is a bitmap. See Understanding Vector Graphics and Bitmaps for more information. The Add Vector Text Media button creates a 3D Line Art track with Text media. When you click this button, the Text window opens.
The Controls Window 3D model container Container Title container Add Shape Track Buttons The Add Shape Track buttons create a new track with the specified shape. The new track is created above the selected track or at the top of the timeline if no track is selected. The media depends on the Shape type, but you can change it once you create the track. By default, the new track is created in Single Input mode, but you can change to Multi Input mode. See Working with Shapes on page 305.
Chapter 1 Desktop Timeline Display Buttons Button Name Description Global Motion Blur Toggles the visibility of motion blur off and on for all tracks in the timeline. Also lets you apply motion blur without displaying it in the Composite window. When Global Motion Blur is off, all tracks appear without motion blur in the Composite window and in the rendered output. The track-based motion blur does not affect motion within the media, it only affects the motion of the track.
The Controls Window Time Field The Time field displays the timecode at the current position in the effect. As you move the position indicator through the effect, the Time field updates to display the timecode at that point. You can type a value into the Time field and press Enter to move the position indicator to that point in the timeline. Duration Field The Duration field displays the duration of the current effect. To change the duration of effect, type a new value and press Enter.
Chapter 1 Desktop Type a value into the KeyFrame field and press Enter to move a selected keyframe to that timecode. If no keyframe exists at that timecode, the selected keyframe moves there. If a keyframe already exists at that timecode, the selected keyframe replaces the existing keyframe. You can also drag a keyframe to another keyframe to overwrite or replace that keyframe. For more information, see “Overwriting Keyframes” on page 215.
The Controls Window • Lock Button on page 86 • Track Media Button on page 86 Shape Button Press the Shape button to choose a shape from the pop-up menu. The default shape is 3D Plane. Each shape type displays a different Shape button in the timeline window. The following illustration shows the default 3D Plane Shape icon. Shape button You can also click the appropriate Add Shape button to create a new track with the selected shape.For more information, see Types of Shapes on page 93.
Chapter 1 Desktop Click the button to turn Track Visibility off. The track’s content is invisible in the Composite window and in the rendered output. Tracks below the inactive track in the timeline are visible. Filter Button When a filter is applied to a track, the filter track is nested within the main track. Each filter has a Filter button, which allows you to apply a different filter. Click the Filter button to choose another filter from the menu.
The Controls Window Composite Preview You can preview QuickTime movies by clicking the Preview button to open a QuickTime Source Preview monitor. See “Previewing Effects” on page 192 for information on using the preview to monitor feature. Motion Blur Button Click the Motion Blur button to toggle motion blur on or off for the track. Once you turn motion blur on, you can adjust the motion blur parameters in the Motion Blur tab. See Blurring an Image on page 310 for more information.
Chapter 1 Desktop Lock Button The Lock button lets you lock and unlock a track. Locking a track is useful if you do not want to accidentally change a track. Lock button The track is unlocked by default, which allows you to make changes to the track and its contents. When the track is locked, its media and filter selection controls appear dimmed and you cannot alter the track’s content. Furthermore, all tracks nested within the locked track are locked.
The Controls Window Still Image File opens a dialog box that allows you to choose a still image file to use as the track media. Only supported still image file formats appear in the browser. Color Allows you to assign the track a solid color. In the Color Media tab, click the color chip to access the system color picker or use the eyedropper to choose a color from the screen. You can also enter RGB values into the numerical fields. Gradient Allows you to create a color gradient to assign to the track.
Chapter 1 Desktop Position Indicator The timeline’s position indicator control represents the current time position of the effect. As you play the effect, the position indicator moves from frame to frame. Drag the position indicator through the timeline to move through the effect or click in the ruler area to move the position indicator to that position. You can also type a value in the Time field and the position indicator automatically jumps to that point in the timeline.
The Controls Window Controls Window This section describes controls and buttons of the Controls window/ Color Controls Color controls select a color for an attribute of a filter or object, such as a light, border, or text face. Color chip Eyedropper To select a color: 1. Do one of the following: t Click the color chip to access the system color picker. t Use the eyedropper to choose a color from the screen.
Chapter 1 Desktop To preview a color and save: 1. Click the Eyedropper tool in the Controls window and drag over the color ramp. Eyedropper Color ramp 2. Press C to preview the color in the Composite window. You can preview as many colors as you want. 3. Press V to commit to the previewed color, or press Enter. To cancel and leave the color unchanged: • n Press Escape.
The Controls Window The Texture Track button creates a Texture track in the timeline. This track is a media track that allows you to map a still image, EPS, video, color, gradient or natural media to Text, Spline Object and Spline Primitive media. For information, see Mapping Media to Text on page 443. The Path Track button creates a Motion Path track in the timeline. The Motion Path is a media track which creates text on a path, that is, text which wraps around a spline object.
Chapter 1 Desktop Info Window The Info window contains information on the XY position of the cursor in the Composite window, the color information at the cursor location, and the frame rate and estimated render time for the effect. To open the Info window: Select Window > Show Info Window. 92 Parameter Description R, G, B, A Displays the values in the four color channels (Red, Green, Blue, and Alpha) of the pixel at the cursor location.
The Controls Window Types of Shapes The following table describes each of the Shape choices. Shape Icon Example Description 3D Plane 3D Plane, the default shape for new tracks, is a flat plane that you can scale, position, and rotate in 3D space. This is the basic DVE effects shape. The 3D Plane is used as a 3D Primitive. Sphere Sphere maps the source image onto the surface of a sphere. The sphere unwraps to reveal the inside surface. Each surface has a separate track and displays different media.
Chapter 1 Desktop Shape 3D Line Art 94 Icon Example Description 3D Line Art is similar to 3D Plane, but is designed for use with vector-based files and shapes rather than bitmap images. This shape lets you infinitely scale vector-based images without degradation of quality.
Chapter 2 Working with Media One of the key components of your project are your media files. Avid FX not only allows you to import external files but meets the artist’s need to create new media from scratch within the system. With these different options, it is essential you learn how to manage media with little or no effort and how to quickly and transparently switch media on a timeline.
Chapter 2 Working with Media The Media Files Window Avid FX uses media from your Avid editing application, files located on other systems or networks, external media using a variety of formats, or media you have created within the Avid FX application. So, when working on different projects, you can easily lose track of the location of your media.
The Media Files Window Replacing or Relinking Media Files You can replace a media file instead of importing it to Avid FX. You will find this useful when you find yourself working in the middle of a project, and need to replace a file that you are already using on the timeline. You can also re-create an effect using a different file. All instances of the media file are replaced. To replace a media file: 1. Select Window > Media Files to display the Media Files window. 2.
Chapter 2 Working with Media Reloading Still Image Files You can refresh all occurrences of imported still graphics, including EPS files, without having to close and reopen the Avid FX effect setting. The application refreshes the effect to display the newly edited graphic. To re-create an effect using the updated image, you can reload it instead of importing it for each instance. Make sure that you use the same filename. When you reload layered EPS or PSD files, Avid FX attempts to recreate the layers.
Creating Media Load File button 3. Navigate to the location of the file you want to load. 4. If necessary, set the media import options. Creating Media You can easily create media, such as text, color, and gradients, which you can use as effects through out your projects. Each media you create has its own media track on the timeline. You can always change the media from the face track. This section discusses how to define color, work with gradients, and create natural media.
Chapter 2 Working with Media t Click an empty area in the timeline and select New Media > Color. A color media track is added to the timeline. New color media track Color media icon 2. To select a color, do one of the following: t Click the Color media icon and select Color. t Select the face track on the timeline to switch to the face track. The Color Media tab opens. 3.
Creating Media Use the color chip to pick a color Use the eyedropper to choose a color from the screen Enter RGB values into the text fields. Color ramp n Info box You can also apply colors from the Style Palette. See “Applying Color, Natural, Gradient or Extrusion Styles” on page 461. If you want to switch to a grayscale image, click the color ramp before you select the eyedropper. Creating Gradients A gradient is a graduated blending of two or more colors.
Chapter 2 Working with Media • Revolve—see “Creating a Revolve Gradient” on page 108. To create a gradient media track: 1. Do one of the following: t From the Track menu, select New Media > Gradient. t Click an empty area in the timeline and select New Media > Gradient. A gradient media track is added to the timeline. New gradient media track Gradient media button 2.
Creating Media Creating Gradient Blends Regardless of the type of gradient you select, you can modify its appearance by adjusting the color stops, adding color stops (which add intermediate colors in your gradient), and setting the transparency of each color. By default, there are two color stops and a midpoint, which automatically appears between the new color stop and each neighboring color stop. A gradient can have up to sixteen color stops.
Chapter 2 Working with Media 2. Do one of the following: • Click the color chip to access the system color picker. • Click the eyedropper and choose a color from the screen. • Enter RGB values into the numerical fields associated with the color control. • Click the color ramp before you select the eyedropper if you want to toggle the ramp to a grayscale image. 3. Adjust the transparency of the selected color stop by using the Alpha slider.
Creating Media To create a radial gradient: 1. Adjust Center X to determine the location of the gradient center on the X axis. 2. Adjust Center Y determines the location of the gradient center on the Y axis. Center X=25, Center Y=75 Center X=75, Center Y=25 The values are from 0 to 100, where 0 represents the left edge of the frame. Negative values move the centre out of the image frame on the left side, while values above 100 move it on the right.
Chapter 2 Working with Media To create a contour gradient: 1. Adjust the Angle to control the width of the gradient between the edge colors. 2. Adjust the Fade to determine the width and the middle color at the center of the frame. This value is measured as a percentage of the size of the image. Fade = 10 Fade = 90 Creating a Bevel Gradient The bevel gradient creates a beveled pyramid effect in which the four colors of the sides of the pyramid move from the start to the end color.
Creating Media Creating an Edge Gradient The edge gradient combines the contour and bevel shapes to create a beveled pyramid effect. The four colors of the pyramid sides move from the start to the end color blending inward toward the center. To create an edge gradient: 1. Add Fade by adjusting the width of the gradient between the edge colors (controlled by Angle) and the middle color at the center of the frame. This value is measured as a percentage of the size of the image. Fade = 25 Fade = 75 2.
Chapter 2 Working with Media Angle=10 Angle=80 Creating a Revolve Gradient The revolve gradient emanates from a center point.By animating the Angle parameter, you can create a clock wipe type of gradient effect. To create a Revolve gradient: 1. Adjust Center X to determine the location of the gradient center on the X axis. 2.
Creating Media Angle=90o Angle=120o Creating Gradient Patterns When creating gradients from scratch, whether as a background or mapping to an object, the creativity potential is endless. You can form gradient patterns that are both unique and fun. Once you become familiar with the parameters, you can then animate the pattern to use later, for example as a transition in your composition.
Chapter 2 Working with Media Repeat Stops=1 Repeat Stops=7 Repeat Stops=14 Repeat Stops=50 Scale Stops Use this parameter to scale all stops to the left or to the right. It works well with the Repeat Stops parameter. In a static gradient, position the point of interest in a texture map. On a radial gradient, try animating the scale stops to a hole which appears to dilate. It also creates an interesting effect when using the revolve gradient. In the example shown here, the radial gradient is used.
Creating Media Green Cycle=0 Green Cycle=20 Green Cycle=50 Green Cycle=100 Loop Use this parameter to move all stops to the right in a looping motion. The Loop is very useful when animating gradients. Try using this parameter together with the Scale Stops for an interesting effect. You should, leave all other parameters at their default values. In the example shown here, the Scale Stop has been set to about 10 on a contour gradient. Loop=0 Loop=3.
Chapter 2 Working with Media Interpolation fields 3. Animate the appropriate parameters for the gradient pattern. 4. Click the Interpolation field and select an interpolation. 5. Playback the image or scrub through to see the animation. Also see “Animation” on page 209. Saving and Loading Gradients As you create or customize gradients and patterns, you can save them at anytime. You can then load the presets to your composition later on.
Creating Media The gradient is saved as a static setting using the parameters at the CTI. You can save animated gradients—see “Loading and Saving Effects using the Library Browser” on page 186. To load a gradient: 1. Click the Load button in the Gradient tab. 2. Navigate to location of the gradient and click Open. Creating Natural Media You can create textures or natural media that you can use as background, map to text or apply to the face of a 2D or 3D object.
Chapter 2 Working with Media Creating a Wood Grain Effect The Wood Grain effect applies the texture of a solid piece of wood. To create a wood grain effect: 1. Adjust the Pattern X, Pattern Y, and Depth controls to change the pattern of the wood grain at a given point by moving through the procedural noise from which the effect is generated. n 114 Press the Alt key as you move the position point in the Composite window.
Creating Media 2. Adjust the Pattern Scale X and Pattern Scale Y controls to affect the scale of the grain pattern along the X and Y axis. Pattern Scale X=10 Pattern Scale X=100 3. Adjust Light Color to change the color of the lightest parts of the wood grain. 4. Adjust Dark Color to change the color of the darkest parts of the wood grain. 5. Adjust the Ring Scale to affect the scale of the rings. Ring Scale=1 Ring Scale=25 6. Adjust the Grainy setting to set the resolution of the pattern.
Chapter 2 Working with Media Direction=45 Direction=135 Creating Wooden Planks Wooden Plank simulates a surface covered in wooden boards, similar to a wood floor. To create a wooden plank effect: 1. Adjust the Pattern X, Pattern Y, and Depth controls to change the pattern of the wood grain at a given point by moving through the procedural noise from which the effect is generated.
Creating Media Ring Scale=1 Ring Scale=30 7. Adjust the Grainy setting to set the resolution of the pattern. Lower values create distinct, well-defined grain lines on the wood. Grainy=0 Grainy=2 8. Adjust Grain Scale to change the size of the grain spots created by the Grainy control. 9. Change the Width and Length to affect size of the planks without altering the scale of the wood pattern. Width=0.05 Length=1.0 Width=0.05 Length=0.05 Width=1.0 Length=0.05 10.
Chapter 2 Working with Media Color Variation=0 Color Variation=2.0 11. Adjust Groove Width. Increasing the value widens the grooves between the planks. 12. Update Wave to adjust the shape of the grain lines in the wood. As you increase the wave value, each line becomes more wavy or jagged Wave=0 Wave=2 13. Set the Direction to change the angle between the grain of the wood texture and the horizontal axis. Creating Fractal Noise Fractal noise creates a simulated marble texture.
Creating Media To create a fractal noise effect: 1. Adjust the Pattern X, Pattern Y, and Depth controls to change the pattern of the noise by moving through the procedural noise from which the effect is generated. n Press the Alt key as you move the position point in the Composite window, You can also adjust the Depth value to navigate through the underlying noise pattern. 2. Change Pattern Scale X and Pattern Scale Y controls to affect the scale of the marble pattern along the X and Y axis. 3.
Chapter 2 Working with Media Detail=10 Detail=90 6. Set Background Color Variation to vary the background color in the pattern. At a lower value, the background areas of the pattern resemble flat patches, while at a higher values the they become more mottled as a wider variety of colors are used in the pattern. Background Variation=0.0 Background Variation=1.0 7. Adjust Vein Thickness to change the thickness of the veins in the marble pattern. 8.
Creating Media To create a cloth effect: 1. Adjust the Pattern X, Pattern Y, and Depth controls to change the appearance of the cloth pattern by moving through the procedural noise from which the effect is generated. n Press the Alt key as you move the position point in the Composite window, You can also adjust the Depth value to navigate through the underlying noise pattern. 2.
Chapter 2 Working with Media To create a weave effect: 1. Adjust the Pattern X, Pattern Y, and Depth controls to change the appearance of the weave by moving through the procedural noise from which the effect is generated. n Press the Alt key as you move the position point in the Composite window, You can also adjust the Depth value to navigate through the underlying noise pattern. 2.
Creating Media Creating Granite Granite simulates the appearance of granite or another type of mottled stone. To create a granite effect: 1. Adjust the Pattern X, Pattern Y, and Depth controls to change the appearance of the granite pattern by moving through the procedural noise from which the effect is generated. n Press the Alt key as you move the position point in the Composite window, You can also adjust the Depth value to navigate through the underlying noise pattern. 2.
Chapter 2 Working with Media 5. Adjust Coarseness to control the number of distinct color patches that appear in the granite pattern. Lower values create a fewer patches that are larger in size, while higher values create a greater number of smaller patches. Courseness=10 Courseness=100 6. Set the Detail to show the jagged boundaries between the three colors in the pattern.
Creating Media To create a reptilian effect: 1. Adjust the Pattern X, Pattern Y, and Depth controls to change the appearance of the reptilian pattern by moving through the procedural noise from which the effect is generated. n Press the Alt key as you move the position point in the Composite window, You can also adjust the Depth value to navigate through the underlying noise pattern. 2. Adjust the Pattern Scale X and Pattern Scale Y controls to change the scale of the pattern along the X and Y axis. 3.
Chapter 2 Working with Media Color Variation=100 10. Use Spot Variation to change the shape of the edges of the spots. Spot Variation=100 11. Move the Direction control to spin the pattern around the Z axis. Creating Mixed Colors Mixed Colors produces a color noise map. To create a mixed color effect: 1. Adjust the Pattern X, Pattern Y, and Depth controls to change the appearance of the pattern by moving through the procedural noise from which the effect is generated.
Resizing Media Pattern Scale X and Y=10 Pattern Scale X and Y=100 3. Change Detail to show the jagged boundaries between the colors in the pattern. Lower values produce smooth curvilinear boundaries Detail=10 Detail=100 4. Use the Coarseness control to adjust the number of distinct color patches that appear in the random color pattern. Coarseness=10 Coarseness=100 5. Move the Direction control to spin the pattern around the Z axis.
Chapter 2 Working with Media To resize Media 1. With the face track of the media selected in the timeline, click the Layer tab in the Controls window. 2. Adjust the Size X and Size Y values to set the media’s track size in pixels on the respective axes.
Resizing Media Reference: Media This section contains reference information about media tracks. When you select a media type, the properties for that media display in the Controls window. Movie Media Tab Options Description Fields menu Chooses the field dominance for the movie. The choices include: Aspect menu • None • Upper Field • Lower Field Sets the pixel aspect for the file. The menu options include: 4:3 Aspect Ratio.
Chapter 2 Working with Media Options Description Key menu Determines how the movie’s alpha information is used. The options include: NoAlpha. Ignores the movie’s alpha channel and makes the image 100% opaque. Straight Alpha. Displays the portion of the image defined by the alpha channel. • The image portion where the alpha channel is black (0 pixels) is transparent. • The image portion where the alpha channel is white (255 pixels) is opaque.
Resizing Media Options Description Clip Tail Sets the number of frames to clip the tail of the movie file. A Mark Out appears in the Face track in the timeline at the frame where the movie ends. Info box Displays the movie Size in pixels and the Duration in frames (read only). To adjust the duration of the movie, use the Start Time, Clip Head and Clip Tail parameters.
Chapter 2 Working with Media Options Description Loop Mode menu Sets the looping mode. The loop plays for the whole effect, regardless of the Start Time and the movie duration. The frame output at Start Time is the first frame of the first loop (the clip head frame). The Loop Mode menu options are: • Forward. Plays the sequence, then repeats from the beginning. The loop continues until you stop the preview. • Back and Forth. Plays the sequence through, then plays it in reverse.
Resizing Media Options Description Key menu Determines how the image’s alpha information is used. The Key menu options include: No Alpha. Ignores the image’s alpha channel and makes the image 100% opaque. Straight Alpha. Displays the portion of the image defined by the alpha channel. • The black (0 pixels) image portion of the alpha channel is transparent. • The white (255 pixels) image portion of the alpha channel is opaque.
Chapter 2 Working with Media EPS Media Tab Options Description Aspect menu Sets the pixel aspect for the file. The menu options include: 4:3 Aspect Ratio. For files created by exporting 4:3 Avid editing application or for 4:3 files created in an animation program and saved as non-square pixels. 16:9 Aspect Ratio. For 16x9 images created in animation programs and saved as non-square pixels. Square Pixels.
Resizing Media Options Description Key menu Determines how the video track’s alpha information is used. The menu options are: No Alpha. Ignores the video track’s alpha channel and makes the image 100% opaque. Straight Alpha. Displays the area of the image defined by the alpha channel. • Makes the area of the image where the alpha channel is black (0 pixels) transparent. • Makes the area of the image where the alpha channel is white (255 pixels) opaque.
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Chapter 3 Starting Your Project After the tour of the desktop, you can now begin a project, set preferences, and bring in media to the project. To streamline your workflow, consider the type of media that you will be working with and how you would like to organize your material on the project window and the timeline.
Chapter 3 Starting Your Project settings are used for other effects as well. This is important to know when you’re rendering several effects at once. If you have effects that render using different settings, you must render these effects in separate groups. To set project settings: 1. Select Edit > Project Settings. The Project Settings window displays. 2. Adjust the parameters to suit your project. 3. Select OK to apply the parameters. For parameter descriptions, see Project Settings on page 155.
Setting Your Preferences 2. In the Preferences window, go to the appropriate tab and adjust the settings. 3. Click OK to save your preferences settings to your system. For parameter descriptions, see “Preferences Window” on page 158.
Chapter 3 Starting Your Project If you change your preferences for one effect, those settings are used for other effects as well. This is important, especially when rendering several effects at once. If you have effects that render using different settings, you must render these effects in separate groups. After adjusting the settings, click OK to save your preferences.
Importing Media Importing Media from the Project Window It is useful to import from the Project window when you want to add new media or multiple media files to your project. The file is named after the media file you imported. To import media from the Project window: 1. From the File menu, click Import. 2. Navigate to the location of the media to open it. The media appears in the Project window.
Chapter 3 Starting Your Project Importing media from the timeline Video track Face track Change Track Media icon 1 Click the Media icon of the track 2 Select the media type you want to import. 3 Navigate to the location of the file to open it 4 The media icon on the track changes to represent the media type Change Track Media icon You can also add media to the timeline by using the timeline buttons. This method adds a new track with the media and the 3D Plane shape on the timeline.
Importing Media Importing Movie Files Add Movie Media button Avid FX supports all QuickTime-supported movie file formats. It also supports Win32 DirectX supported formats. For a complete list, consult your Release Notes PDF. For a list of QuickTime-supported file types, consult Apple’s website at www.apple.com. When importing a movie file, set the cache size and default cache action to speed up the importing process by caching the frames on a disk file. See “Using Frame Cache Features” on page 581.
Chapter 3 Starting Your Project • Fields dominance of the format • Aspect ratio to determine the pixel ratio for the specified file • Key to determine how the alpha information in the image is used. If you select No Alpha, then the movie’s alpha channel is ignored making the image 100% opaque.
Importing Media Avid FX supports the audio file formats supported by the latest QuickTime including MP3 files. For information on files supported by Quicktime, see Apple’s web site. To import audio media: 1. Do one of the following: • From the Project window, select File > Import. • From the Track menu, select New Audio Track. 2. Navigate to the location of the audio file to open it. The audio file appears in the Project window, if using the first method. A new audio track is created on the timeline 3.
Chapter 3 Starting Your Project Importing Still Image Files Avid FX supports all QuickTime-supported still image file formats including Adobe Photoshop PSD files. You can import larger than project size images, which you can then pan and scan. You can also import images that are up to 16,000 pixels by 16,000 pixels.
Importing Media • Aspect ratio to determine the pixel ratio for the specified file • Key to determine how the alpha information in the image is used. If you select No Alpha, then the movie’s alpha channel is ignored making the image 100% opaque. If your image’s alpha channel is premultiplied with a color other than white or black, set the alpha channel to Straight Alpha and use the Premultiplied Alpha Key filter to remove colored edges after the file is imported. See “About Keying” on page 273.
Chapter 3 Starting Your Project t Click the Add Image Media button from the Timeline buttons area. 2. Navigate to the location of the PSD file to open it. The icon changes to represent the media type—see “Track Media Button” on page 86. Select the Shape track containing the PSD file. 3. From the Track menu, select Track > Convert to Container. The Shape track is converted to a 3D Container track. Each Photoshop layer is recreated as a 3D Plane track nested inside the 3D container.
Importing Media n • Adobe Photoshop EPS files are not supported. • Only files created in Adobe Illustrator version 10 and earlier are supported. • If you save a file in Illustrator version 10 and a gradient information is replaced by a solid color, resave the file in Illustrator version 8 or 9 and reimport. • If you do not want to resize the file, save it at a size that matches your Avid FX project size • You can import larger than project size images, which you can then pan and scan in Avid FX.
Chapter 3 Starting Your Project The Shape track is converted to a 3D Container track. Each Photoshop layer is recreated as a 3D Plane track nested inside the 3D container. You can now adjust any of the tracks or adjust the container track to affect all the nested tracks. You can also use a different shape type for each layer track and intersect the tracks in 3D space, apply lights and shadows.
Creating Projects Every time you start Avid FX, a new project is automatically created for you. You will need to save this project as you progress. Creating any new project or opening an existing project replaces the tracks and effects on the timeline and the compositions in the Project window. To open an existing project: 1. Select File > Open Project or Ctrl+O. 2. Navigate to the location of your project to open it. To create a new project: • Select File > New Project or press Shift+Ctrl+N.
Chapter 3 Starting Your Project To save a copy of the project to the Library Browser: 1. Select File > Save Project Copy To Library. 2. Navigate to the folder where you want to save the settings. 3. Enter a name and click Save. 4. Optional: Check the With Thumbnail Previews box if you want to save the settings as an animated thumbnail. Reverting to a Saved Project You can go back to the last saved version of a project. Changes made since you last saved the project are discarded.
Creating Projects Selected media Background track The media track is renamed after the new clip and the Track Media icon changes to appropriate track. In this example, the Movie Track icon appears. New media track 3D Plane icon Movie Track icon You can also add tracks and containers from the timeline to the Project window by dragging them. They are automatically named Comp 1, Comp 2, where the number increases as tracks are added or moved. To select multiple tracks, press Shift+select.
Chapter 3 Starting Your Project 3. Click the Shape icon on the track in the timeline and select 3D Line Art. Adding Compositions to the Timeline When you insert a composition to the timeline, it is added above tracks in the timeline. The tracks in the Project window remain unchanged. You can switch the composition in the timeline by double-clicking the composition in the Project window. To insert a new composition: Do one of the following: t Select Composition > Insert Composition.
Consolidate Project Reference: Projects This section contains all reference information about projects Project Settings Project settings include video resolution, aspect ratio, image size, etc. If you are using Avid FX Engine, make sure that your Project Settings match those in your Avid editor. Option Description Project Video formats include NTSC, PAL, DV, HDTV, Cineon, Film, D16 and Custom Sizes Some video boards support additional aspect ratios.
Chapter 3 Starting Your Project Option Description Alpha Channel Controls how Avid FX interprets alpha information for movie files exported or rendered from your Avid editor. You can override this setting for a specific composition when exporting or adding to the Render Queue. Color Depth • Straight Alpha for movies with alpha channels that are not premultiplied. Straight Alpha displays the area of the image defined by the alpha channel.
Consolidate Project Option Description Checkboxes Applies a vertical blur before rendering to help eliminate flickering in text rolls and reduces jagged edges on moving graphics with hard edges. 1:2:1 Deflickerring • Select if you are rendering an effect containing text moving vertically, (for example, a credit roll) or a moving graphic with hard edges (for example, a PICT image). Leave deselected for any other type of effect.
Chapter 3 Starting Your Project Preferences Window The Preferences window contains a number of tabs for setting up your project, working with the timeline and preview controls, and rendering your effect. Depending on your host application and hardware, some of these options may not be available. To open the Preferences window, select Edit > Preferences. Appearance Tab The Appearance tab lets you control the look and feel of the interface.
Consolidate Project Option Description Use Fonts in Font Menu Show Cached Frames Cache Marker Color Sets the default color for Cache Markers. Behavior Tab The Behavior tab contains general settings for the look-and-feel of the interface. Option Description New Track / Comp / Style Creation Checkboxes Start With Empty Time If selected, launches Avid FX with an empty timeline. Insert New Tracks at CTI Insert new tracks starting at the Current Time Indicator (CTI).
Chapter 3 Starting Your Project Option Description Text Tool Creates menu Determines which shape is used by default when you create a text track using the Text tool. The choices are: 3D Plane 3D Line Art 3D Extrusion See Editing Text from the Text Window on page 398. Tools Tab The Tools tab provides basic application and audio scrub options for the Avid FX user interface.
Consolidate Project Options Description Snap Across 2 monitors Selecting the Snap Across Two Monitors checkbox and choosing Windows > Snap All Home returns the windows to their default locations and sizes the windows so that they stretch across both monitors. If not selected, choosing Snap all Home returns the windows to their default locations and sizes on only one monitor.
Chapter 3 Starting Your Project Options Interpret Alpha menu Description Controls how Avid FX interprets alpha information in imported movie files. The choices include: No Alpha. Movies without alpha information. Straight Alpha. Movies with alpha channel are not premultiplied. Displays the portion of the image defined by the alpha channel. • Areas where the alpha channel is black (0) is transparent. • Areas where the alpha channel is white (255) is opaque.
Consolidate Project Options Description Still Import Defaults Alpha Channel menu Controls how Avid FX interprets alpha information in imported still image files. The choices are: No Alpha. See Invert Alpha Channel. Straight Alpha. See Invert Alpha Channel. Premultiplied Black. See Invert Alpha Channel. Premultiplied White. See Invert Alpha Channel. Aspect Sets the pixel aspect for importing still images.
Chapter 3 Starting Your Project Options Description Quality menu Sets the render quality of the exported movie file. The choices are: High. Use High quality to antialias your image. Draft. With Draft quality, no antialiasing takes place. This produces a jagged-edged image but speeds render time. Use Project Pixel Aspect Selects the movie file to render using the project’s pixel aspect ratio. If deselected, the movie file is rendered at a 4:3 pixel aspect ratio.
Consolidate Project Options Description Use Project Pixel Aspect Selects the movie file to render using the project’s pixel aspect ratio. If deselected, the movie file is rendered at a 4:3 pixel aspect ratio. Use Project Frame Rate Selects the project frame rate to use in rendering the movie file, and the Custom Frame Rate setting is ignored. If deselected, the Custom Frame Rate setting is used to render the movie file. Custom Frame Rate Uses the rate you set in the field.
Chapter 3 Starting Your Project Options Description Custom Frame Rate Uses the rate you set in the field. Type a value and press Enter. Flash Export Options Images menu Scale menu Sets the render quality of the exported Flash file. The choices, in order of decreasing quality, are: • Lossless Quality • Max Quality • High Quality • Normal Quality • Low Quality • Minimum Quality Adjusts the size of the exported Flash file.
Consolidate Project Options Description OpenGL Acceleration Hardware-dependent options for OpenGL Acceleration. IOn, max. texture cahcing is preferred if you have no problems. Multi-Processor Enabled Selected by default if your system has multi-processors.
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Chapter 4 Working with Effects and Filters Avid FX provides you with over 160 different filters and a library of effects presets, known as the KeyFrame Library.They allow you to alter your images in an endless number of ways. In addition, you can plug in third-party effects.
Chapter 4 Working with Effects and Filters Within the Avid FX application, filters are divided into the following categories: • Color and Blurs Filters on page 23 • Distortion and Perspective Filters on page 87 • Effects Filters on page 133 • Generators Filters on page 191 • Keys and Matte Filters on page 273 • Lights • Motion Filters on page 502 • Time Filters on page 391 • Wipe Transitions Loading and Saving BCC Presets All filters can be saved independent of the project or composition
Presets are only compatible with the filter in which they were created. For example, if you attempt to load a BCC Cartooner preset into a BCC Blur filter, the preset is ignored. You can, however, for example load BCC PixelChooser presets that were saved from another filter's PixelChooser. See “BCC PixelChooser” on page 190. Each BCC filter includes an on-screen help. Click the Help button to access it. To load a BCC filter: t From the Timeline, select Filters and browse to the filter that you want.
Chapter 4 Working with Effects and Filters Assigning Media to BCC Filter Tracks Some BCC filters will require you to assign a media file to the BCC filter track on the timeline. When you apply a BCC filter of this type, you will notice that your image in the Composite window is replaced by another image. In addition, filters that require you to explicitly assign the media file will include a Use Source Layer Track option in the first tab in the Controls window.
Working with Effects and Filters When you apply an effect, a filter track is created on the timeline. You must select the shape, face, or container track on which you want to apply the effect. If you do not select a track, the filter is applied directly at the top of the timeline. You can adjust the parameters of the filter to achieve the effect that you want. Some filter tracks contain other sub-tracks such as the PixelChooser or Map track.
Chapter 4 Working with Effects and Filters t n Alternatively, you can drag a filter from the Filter Palette to the timeline—see “The Filter Palette” on page 187. You can also use custom keyboard shortcuts to apply filters. See “Creating Keyboard Shortcuts” on page 66. 3. Expand the filter track to view the associated parameters. Filter track Filter parameters 4. Adjust the desired parameters on the timeline or using the tabs in the Control window until you are satisfied with the result.
Working with Effects and Filters About Upstream Filters An upstream filter is applied to the shape and processed before the shape transformations occur.
Chapter 4 Working with Effects and Filters In this example, the Ripple filter is a downstream filter. The Ripple track is nested within the cube track and affects the entire shape. Ripple filter nested in Cube track Filters and OpenGL Mode In OpenGL mode, you cannot see non-accelerated objects when you use the on-screen interactors in the Composite window.
Working with Effects and Filters Saves the effect n If you open an Avid FX effect from an editing application after your effect is rendered and do not make any changes to your effect, click Cancel to exit Avid FX and keep your effect rendered. Otherwise, you will need to render the effect again. Inserting Settings Into an Effect You can insert a settings file into any effect. To insert a settings file: 1. Open a settings file in the Library Browser or Avid editing application. 2.
Chapter 4 Working with Effects and Filters 2. From the menu, select a different filter. Viewing Filters You can turn the filters on a track on or off by using the Filter Visibility button. When the Filter Visibility is on, the filtered output can be viewed in the Composite window and in the rendered output. Filter Visibility button Turning off a track’s filter visibility speeds preview time when you are not working with that track.
Working with Masks Upstream and Downstream Masks You can apply a mask as an upstream or downstream mask. These terms refer to when the mask is processed in relation to the shape’s transformations. About Upstream Masks When you apply an upstream mask to a shape’s Face track, it becomes part of that face’s media and is processed before shape transformations occur. In the following example, the mask is applied first, then the masked face is curved into a cylinder.
Chapter 4 Working with Effects and Filters When the mask is in the downstream position, the mask does not move when you reposition the 3D Plane track because the mask is applied after shape positioning takes place. In this example, the track media was moved so that its edges are seen through the mask. You can also create rectangular downstream masks using the controls in the Mask tab. Also see “Masking the Shape” on page 317.
Working with Pre-Compositions • Click the Add 3D Plane button in the timeline. 2. Assign the media you are using for the mask to this new track. Use the alpha channel of the image file for the mask. 3. Expand the track you want to mask to reveal its Mask tracks. Shape Mask track Face Mask track n If you do not see the Mask tracks in the timeline, go to Edit > Preferences to open the Preferences window, and select Show Mask Tracks in the General tab. 4.
Chapter 4 Working with Effects and Filters Pre-compositions are very useful when you work with 3D chart containers as they include so many elements. If you want to add a drop shadow to all the elements in your chart, you will find it easier to pre-compose the 3D chart container and then add the drop shadow, instead of applying it to each element in the chart. As a bonus, the pre-composite will render more quickly. In this example, there are 3 separate media tracks that create one word: HOT.
Working with Pre-Compositions 2. Do one of the following: t Click the Add Pre-Composition button in the timeline window. t From the Track menu, select New Pre-Composition A pre-composition track is created. It contains the selected tracks. 3. To add a drop shadow effect, make sure the Pre-Composition track is selected. 4. In the Controls window, select the Shadow tab. This is where you will set the properties of the drop shadow. 5.
Chapter 4 Working with Effects and Filters Notice that the drop shadow is applied equally to all the letters. The KeyFrame Library and the Library Browser The KeyFrame Library is a collection of preset effects that are automatically installed on your system. The Library Browser window allows you to preview and apply the presets. The Library Browser not only lists presets but also shows any presets that you may have saved while working in your project.
The KeyFrame Library and the Library Browser Animated preview Quality, Preview, and Effect buttons Source Folder menu Available Effects window Available Categories window Comments box The Library Browser is a great way to teach yourself how to use Avid FX. You can insert an a setting file and adjust the parameters. Use the Smart View to display only the parameters that you changed.
Chapter 4 Working with Effects and Filters To preview animated thumbnails: 1. Select the file in the Available Categories window. 2. Click the Animate Thumbnails button. 3. Click again to stop the thumbnail previews. 4. Click in a blank area of the available effects window to play animated RAM previews of all the effects in the current category.
The Filter Palette To save a effect to the Library: 1. Select File > Save Project Copy To Library. 2. Navigate to the directory where you want to save the effect. 3. Enter a name and press Enter. The Filter Palette The Filter Palette is a window that lets you view all the filters in the current filters set, switch between filter sets, and search for a specific filters. You can also use it to apply filters. To apply a filter from the Filter Palette: 1. From the Window menu, select Show Filter Palette.
Chapter 4 Working with Effects and Filters The Plug-In Filter Manager In addition to the supplied filters, many third-party filters, such as for Adobe After Effects, can plug into Avid FX. You can manage and turn on/off all of these by using the Plug-In Filter Manager. To streamline your workflow and reduce clutter, you can create custom filter sets. For example, you can create a filter set for a specific project or group filters according to how you use them. To create filter sets: 1.
Using the PixelChooser Using the PixelChooser The PixelChooser offers different way to selectively filter images. Filters can be applied to a section of an image by specifying a geometric region or by using the image’s luma or color information, without necessarily applying the effect to the entire image. You can also use the PixelChooser feature across tracks. Note that all PixelChooser parameters are animatable.
Chapter 4 Working with Effects and Filters The PixelChooser performs the same basic operations in most filters. After examining each pixel in the image, it decides how to process each pixel based on its location and/or the channel values in that pixel or the corresponding pixel in the PixelChooser Track. • If it decides that a pixel not does meet the selection criteria, the source pixel is copied to the output and left unfiltered. Unfiltered pixels are black in the mask.
Using the PixelChooser Contextual Controls Avid FX supports contextual controls, so parameters that do not apply are dimmed in the BCC PixelChooser tabs and labelled Unused. For example, the Center X and Center Y parameters in the PixelChooser Region tab do not have any affect if the Region Type menu is set to Distance to Edge, so they are labelled Unused. When the Region Type menu is set to Distance to Point, the two parameters become active and are labelled Center X and Center Y.
Chapter 4 Working with Effects and Filters Creating Wipes with the PixelChooser This is an example of what you can achieve with the PixelChooser feature. You can easily create wipes from one image to another using the PixelChooser’s region controls and the Make Alpha Key filter. See “BCC Make Alpha Key” on page 311. Time 00:00:00:15 Time 00:00:01:00 Time 00:00:01:15 To create wipes: 1.
Previewing Effects Using J,K,L Keys You can use the J-K-L key to control playback. • L plays forward at normal speed, • J plays backwards at normal speed and • K stops playback. • Press L or J again plays at quarter speed forward or backwards. Previewing Effects on a Track You must make sure that only the track you want to preview is visible. Toggle Track Visibility To preview an effect an individual track: 1. Make sure that the only the track you want to preview is visible. 2.
Chapter 4 Working with Effects and Filters Previewing to RAM Previewing to RAM (PTR) defaults are set in the Preview tab of the Preferences window. PTR plays in the Composite window only if the Timeline or the Controls is active. PTR plays back the effect or animation in real time without rendering to disk. Your system plays as much of the effect as possible depending on your system’s available memory. The effect or animation plays slowly as Avid FX caches every frame.
Previewing Effects Previewing with Square Pixels Preview with Square Pixels shows your project at 4:3 aspect ratio, the standard used by the television industry. It provides an accurate portrayal of your project on a television monitor. This option is selected by default. Previewing with the Caps Lock Key Holding down the Caps Lock key disables or suspends rendering in the Composite window, letting you quickly adjust parameters. The Composite window displays a message over the effect.
Chapter 4 Working with Effects and Filters To control the source imagery: 1. Select Preview > Image 2. Select one of the following: • Proxy: Lets you view your effect even if you do not have media associated with it. Instead, the numbers 1 and 2 are substituted for the outgoing and incoming clips as determined by the host editing application. • Use Source: Lets you view a single frame of video associated with your effect. The program shows the first frame of video throughout the effect.
Working with Audio Effects To view the current frame in the external monitor: 1. Do one of the following: • Click the Display Frame on Monitor button in the upper-right corner of the Composite window. • Select Preview > Display Frame to Monitor. The image displays on the external monitor using the Resolution and Quality settings specified in the Composite window. To preview in high quality video to an external monitor: • Select Preview > Display HQ Frame to Monitor.
Chapter 4 Working with Effects and Filters 4. Set the sound parameter properties—see “Sound Parameters” on page 207. To replace an audio file in an audio track: • Select the audio track and click the Load File button in the Controls window. Displaying Audio Waveforms When you select the audio waveform track, the waveform is displayed in the timeline. There are two types of waveforms, Energy and Sample.
Working with Audio Effects To close the meters: • From the Window menu, select Hide Audio Meters. Playing Back Audio You can playback or preview audio tracks individually or mixed with other tracks. To play back a single audio track: • Click the Audio Preview icon on the audio track. The track’s audio plays from the current position of the position indicator, ignoring any marks in the timeline.
Chapter 4 Working with Effects and Filters Animating Volume and Balance When you want to adjust the volume or balance at different stages on the timeline, you can use the animation capabilities to automate the volume and balance of your audio signals. Here is a simple example for animating the volume. You can use the same procedure to animate the audio balance. Also see “Animation” on page 209. To create a volume animation: 1.
Working with Audio Effects 5. Move the position indicator at the end of the timeline. 6. Set the volume interpolation to Ease In/Out and enter a value of 0. A new keyframe appears with red bézier handles. You can drag the bézier handles to ramp the volume gradually or adjust each bézier handle independently by pressing the Alt key while dragging the handle. For information on how to use value and velocity curves in Volume and Balance tracks, see “Manipulating the Value Curve” on page 229. 7.
Chapter 4 Working with Effects and Filters Reference: Effects and Filters This section contains reference information about effects and filters. • Preview Menu on page 202 • Sound File on page 206 • Sound Parameters on page 207 Preview Menu The Preview menu controls how to display an effect. Options Description Connect to External Monitor Connects to the external monitor. Auto Update Monitor Previews every frame of your effect to an external video monitor connected to your hardware.
Working with Audio Effects Options Description Hide Guides Hides any visible guides that you have created. Snap to Guides and Snap to Grid Snap to Guides and Snap to Grids commands help you to precisely position objects by forcing the object to automatically align with the nearest guide line or grid line. See Using Grids and Guides on page 55. Quality Controls the quality of the source imagery used in the preview area. You can also set these options in the Composite window as well.
Chapter 4 Working with Effects and Filters Options Description Use Source Lets you view a single frame of video associated with your effect. The program shows the first frame of video throughout the effect. The still image does not update as your effect moves. Update Source Lets you to view the actual video on a frame-by-frame basis while previewing the effect. This slows playback, but allows for a completely frame accurate preview. OpenGL Mode Off Hardware acceleration speeds previews.
Working with Audio Effects Options Description None Does not include any marks in the Composite window. Title Safe Area Adds boundaries to the Composite window which helps to ensure that your titles and images are not cut off or distorted when viewed on a television monitor. The inner bounding box represents the Title Safe area. The outer bounding box represents the Action Safe area. Grid Adds a white grid to the Preview.
Chapter 4 Working with Effects and Filters Options Description Preview to RAM Previews animations and effects in the current Preview window played back in real time without rendering to disk. Your system plays as much of the effect as possible depending on your system's available memory. See Previewing to RAM on page 194. Preview to RAM at Half Rate Previews every other frame to RAM. Preview to RAM at Quarter Rate Preview every fourth frame to RAM.
Working with Audio Effects Options Description The Audio File Info box Displays the name, Sample Rate, Bit Rate, and number of Tracks (Stereo or Mono) in the chosen audio file. The Load File button Allows you to import a different external audio file into the audio track. Sound Parameters The sound parameters let you adjust the volume and balance of the audio file. Options Description Volume Expresses as a percentage of the audio file’s original volume.
Chapter 4 Working with Effects and Filters Button Description Click the Animate Preview button to play an animated RAM preview of the selected effect. Click again to stop the preview. Generate Thumbnails generates animated previews of effects. The first time you use the Library Browser you have to generate the thumbnails. To use this feature, see The KeyFrame Library and the Library Browser on page 184. To preview animated thumbnails: 1. Click the Animate Thumbnails button. 2.
Chapter 5 Animation Breathe life into just about any static object and its properties, such as gradient, color, text, and lighting. By using keyframes, you can set specific parameter values for a track at a certain point on the timeline. Using action, shape, and audio clips, you can quickly and easily combine animation types, mix their weights, copy animation from one model to another, create animation sequences, or synchronize animation with audio.
Chapter 5 Animation Creating Animation Animation is the change of an object/image over time. To create animation, you record changes to an object’s properties. Using a process called keyframing, you specify the object’s properties at the first and last frame of each change. Properties are automatically calculated and set for the frames in between, producing a change in the object. You can add as many keyframes to an object as you need to create your animation.
Creating Animation Parameter keyframes Creating Keyframes When you change a parameter in the Controls window, a keyframe is automatically created for that parameter at the current position indicator location, unless Constant is used as the interpolation. If a keyframe already exists at the position indicator location, or another keyframe is selected, the keyframe parameters are adjusted.
Chapter 5 Animation 2. Set the Count to specify the number of keyframes generated between selected keyframes when you use the Generate Keyframes command. 3. Set the Wiggle value to set the wiggle value displacement, expressed as a percentage. Wiggle only applies when you generate keyframes on a parameter track, not on a shape track. 4. Select from the Interpolation menu to set the interpolation type that the command uses. The choices are Linear, Decelerate, Accelerate or Ease In/Out.
Creating Animation New keyframes are created in the track each time you adjust a parameter value—see “The Controls Window” on page 63. You can also manually create new keyframes in the timeline, then change their parameter values later. To add parameter values to keyframes at a later time: 1. Move the position indicator to the frame on which you want the keyframe to appear. 2. Do one of the following: • Select Track > New Keyframe. • Press Ctrl+N to create a new keyframe at that position.
Chapter 5 Animation Snapping to a Keyframe You can quickly move the position indicator to any keyframe you select on a track. To snap the position indicator to a keyframe: 1. Select Track > Snap CTI to Keyframe. 2. Select a keyframe from a track. The position indicator moves to the position of the keyframe. Copying and Pasting Keyframes You can copy and paste a keyframe to transfer its parameter values to a new or existing keyframe at another location on the track.
Creating Animation Overwriting Keyframes You can overwrite keyframes by dragging one master keyframe to another master keyframe. This essentially overwrites the destination keyframe’s values with the values of the source keyframe. When you overwrite a master keyframe, the values merge. For parameters where both keyframes had a value, the keyframe uses the value from the destination keyframe; these values overwrite the values for the keyframe.
Chapter 5 Animation Reversing Keyframes You can reverse the position of two or more adjacent keyframes in the timeline. When you reverse keyframes, the parameter values at each keyframe switch. You can also select entire tracks, including any nested tracks to reverse. When you select a track(s), the command works as if you had selected all keyframes within the tracks. Since most interpolation types are not symmetric (with the exception of Linear), this command does not exactly reverse an effect.
Creating Animation n This command does not work when you work with the Constant or Hold interpolation types, since these interpolation types apply the same value on the start and end keyframes. Automatically Generating Random Keyframes You can easily create random keyframes. When you select master keyframes (keyframes on a Shape track), this command generates empty parameter keyframes equally spaced between the two extreme keyframes in the selection.
Chapter 5 Animation the image globally, you might set the Default Interpolation menu to Constant. However, you can always use another interpolation type by pressing the interpolation field and choosing the appropriate interpolation type from the menu that appears. The Toggle Interpolation menu lets you set an alternative interpolation type. You can toggle from the default interpolation to the toggle interpolation by Alt-clicking a parameter’s interpolation field.
Creating Animation For information on adjusting Bézier handles, see “Working with Value and Velocity Curves” on page 227. Holding Values When you hold values, the parameters whose values you do not change hold the value you set in the next or previous keyframe. Hold Parameter Values buttons n Holding parameter values could change effects in the Keyframe Library, as well as saved effects.
Chapter 5 Animation 6. Play your effect. The image on Video 1 starts full size (the default parameter value of 100), scales to 400%, and then scales down to 100. 7. Click the Hold Parameter Values button in the timeline. The Bézier curve changes for the Scale X track. The Scale values at the first and last keyframes change to 400, which is the Scale in the keyframe you added. 8. Play your effect. Scale X on the Video 1 track remains at 400 for the entire effect. 9.
Animating Shapes, Filters, and Containers 13. The Bézier curve changes for the Scale X track. The Scale values for the first and last keyframes return to the default Scale of 100. Animating Shapes, Filters, and Containers You can animate any parameter with a track in the Timeline window. A keyframe sets specific parameter values for a track at a certain point on the timeline. When you place multiple keyframes on the timeline, Avid FX interpolates or computes intermediate values between keyframe values.
Chapter 5 Animation 2. If you want the track to end before the effect ends, drag the end keyframe to an earlier point in the timeline. End keyframe 3. If you use an external movie file as media, delay the start time of the clip to coincide with the start time of the track—see “Importing Movie Files” on page 143. Creating Animated Effects An animated effect refers to any effect whose parameter values change over the course of the effect.
Animating Shapes, Filters, and Containers 5. Change the value in the numerical field in the track. 6. Press Enter. Numerical field To set interpolation types: 1. Select the first keyframe of the effect. 2. In the Controls window, click the interpolation field that accompanies the parameter and select Linear. The parameter value interpolates between the first keyframe and the next keyframe using the selected interpolation type.
Chapter 5 Animation Working with Interpolation Types Interpolation types determine how parameter values animate between keyframes. For example, using Linear interpolation changes the parameter values in even increments over time. Using the Accelerate interpolation type changes the parameter values in small increments at the start of the effect and in gradually larger increments as the effect progresses.
Animating Shapes, Filters, and Containers Keyframing Volume and Balance You can animate an Audio track’s volume and balance in the timeline by placing keyframes in the audio track’s Volume and Balance tracks. The following example describes a simple Volume animation. You can keyframe the balance on an Audio track the same way. To create a volume animation: 1. Expand the Audio track to view the Sound Parameters and Audio Waveforms tracks. 2.
Chapter 5 Animation 14. Select Preview > Preview Audio or click the Audio Preview icon to hear the changes you made. n Previewing to RAM with audio takes longer to render than previewing without audio. Remember to turn Preview with Audio off when you do not need to hear audio. To create a balance animation: 1. Reset the Volume track by selecting it and choosing Edit > Reset Parameter. Collapse the Volume track. 2. Expand the Balance track. 3. In the Controls window, click the Sound Parameters tab. 4.
Working with Value and Velocity Curves Working with Value and Velocity Curves Every animatable parameter track in the timeline has corresponding value and velocity curves. The value curve plots the parameter’s value over time on a graph and displays the location of keyframes in the timeline. Velocity curves plot the rate of change in a parameter’s value over time on a graph.
Chapter 5 Animation To view the curve in detail: 1. Drag the wheel control to increase or decrease the value range. If you scale the range down too much, parts of the curve may fall outside the visible region as shown in the following example. Wheel control 2. Click the Size to Fit button to view the entire curve with maximum detail. The lowest value in the curve becomes the lowest value in the range of the graph and the highest value in the curve becomes the highest value in the range of the graph.
Working with Value and Velocity Curves Reset button Manipulating the Value Curve You can adjust the value curve by dragging the keyframe points or manipulating Bézier control handles. Keyframe point If you use Ease In/Out, Jitter, Bounce or Swing as the interpolation type, you can manipulate the value curve using Bézier handles. Red handles appear at the keyframe point. To achieve a more natural curve: 1. Manipulate the handles to control the direction and tension of the curve. 2.
Chapter 5 Animation 3. Adjust each Bézier handle independently by holding the Option key while dragging the handle. This allows you to adjust the curve before or after a keyframe without affecting the corresponding curve on the other side of the keyframe. Using Velocity Curves You can manipulate a parameter’s velocity curve to adjust the movement of an effect over time. To display a parameter’s velocity curves in the timeline: • In the Controls window, Shift-click the parameter’s interpolation field.
Motion Path Filter You can manipulate velocity curves in the same way as value curves, except that velocity curves do not include keyframe points. For more information, see “Manipulating the Value Curve” on page 229. Motion Path Filter The Motion Path filter allows you to map one or more objects to a two-dimensional path. You create the path by drawing a spline object. You can map single tracks, multiple tracks, or 3D containers to the path.
Chapter 5 Animation 5. You can add jitter animation to the path by selecting the Path track and adjusting the parameters in the Animation Tab. For details, see “Working with the Animation Tab” on page 234. 6. You can animate the position of the object on the motion path by selecting the Motion Path track and adjusting the parameters in the Motion On Path tab of the Controls window. For details, see “Working with the Motion On Path Tab” on page 232 for details. 7.
Motion Path Filter Motion On Path adjusts the position of the object on the path. This allows you to animate the object(s) on a path, including the acceleration, orbital rotations, and back and forth animations. This parameter facilitates orbital or periodic animations. On Path Motion= 0, 0o On Path Motion=0, 180o On Path Motion=1, 0o Angle to Path allows you to control how the object is positioned on the path.
Chapter 5 Animation Working with the Apply Tab The Apply tab allows you to set what is mapped to the Motion Path. The Apply Tracker Data To menu choices depend on what object or track the Motion Path filter is applied to in the timeline. The Motion Path can be applied to a shape or container track. Depending on what the Motion Path is applied to, the choices may include: • Position applies to the Position X and Position Y of the track(s). Position adjusts the location of the track.
Motion Path Filter • Overshoot allows you to create bouncing animation. Each parameter moves past its destination value by the value specified in Overshoot before returning to its destination value. If all other parameters are set to the default, Overshoot has no affect. • Decay works in conjunction with the Overshoot parameter. Decay is expressed as a percentage that allows you to exponentially decrease the Overshoot. For example, you set the Jitter Y to 100 with an Overshoot of 300.
Chapter 5 Animation Reference: Animation Interpolation Menu Icon Interpolation Type Description Hold Maintains constant value from the current keyframe to the next keyframe in that parameter’s track. Linear Change occurs in equal increments from the current keyframe to the next keyframe with that parameter activated. Accelerate Change occurs slowly at first and then increases as the next keyframe approaches. Decelerate Change occurs quickly at first and then slows as the next keyframe approaches.
Motion Path Filter Icon Interpolation Type Description Swing Similar to Jitter except that a sine function produces a smooth periodic value curve with variable phase and amplitude. The first handle sets the outgoing and the second handle sets the incoming characteristics of the curve. Until you adjust a Bézier handle, this interpolation behaves exactly as if it were Ease In/Out. Adjust the handles to create a swing effect.
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Chapter 6 Working with Containers When creating complex effects and animations, you will find that working with containers comes in handy. They give you the ability to create effects, titling, and animation independently at the track level and globally at the container level.
Chapter 6 Working with Containers All containers preserve the spatial relationship between the objects within it as you reposition the container. You can choose whether the tracks in the container overlap based on their position in the timeline or whether they overlap based on their depths in 3D space. Working with 3D Containers 3D container tracks are used to group shape tracks together and apply transformations to all of the shapes at the same time.
Working with 3D Containers You can still adjust individual tracks at any time by changing the parameter for the specific track. Creating a 3D Container You can create a 3D container, which layers tracks and lets you adjust parameters for all tracks at the same time. When you place a shape track into a 3D container, you will notice that the container controls override some of the shape controls to eliminate redundant parameters shared by both the container and the shape.
Chapter 6 Working with Containers Creating a 2D Composite Container When you create a 3D container that uses the 2D composite renderer, the object whose track is positioned highest in the timeline overlaps all other objects in the container. You can place any type of shape track in the container. To create a 2D composite container: 1. On the timeline, select the tracks that you want to place in the container. 2.
Working with 3D Containers The parameters will update accordingly. 5. Adjust the desired parameters on the timeline or using the tabs in the Control window until you are satisfied with the result. For parameter descriptions, see “3D Container Controls” on page 287. Creating a 3D Model Container The 3D model renderer is similar to Z space composite, but it lets you to use 3D extrusion shapes in the container and apply 3D parameters such as materials, textures, and bump maps to two dimensional shapes.
Chapter 6 Working with Containers 3. Adjust the desired parameters on the timeline or using the tabs in the Control window until you are satisfied with the result. Notice that in addition to positioning and pivoting an object in the container, you can adjust the material, bump map, and texture settings. You must select the track in the timeline to see these tabs in the Control window. For parameter descriptions, see “3D Container Controls” on page 287.
Manipulating 3D Container Objects 3D container Shapes or objects You must always make sure that the 3D container track is selected. If you want to move or pivot an object or shape within the container, then select its track only and then make the change in the Controls window. Positioning a 3D Container You can position, scale, and rotate the 3D container. When you rotate the container, by default it’s transformed around its center.
Chapter 6 Working with Containers Pivoting a 3D Container You can set an external pivot point around which you can tumble, spin, or rotate the 3D container. You can also make a container spin around its own center and revolve around an external point by placing a container inside another container. To pivot a 3D container: 1. Select the 3D container track on the timeline. 2. In the Controls window, select the Pivot tab. 3. Adjust the parameters until you are satisfied with the result.
Working with the Camera Adjusting the 3D Model Camera Perspective You can create up to five camera views, however, only the current camera view is included in the rendered effect. In addition to controlling the position of the camera, you can set the depth of field which lets you apply a motion blur effect to objects that are outside the camera’s focal range.
Chapter 6 Working with Containers 4. Set the following parameters: Parameter Description Camera X, Camera Y, Camera Z Set the position of the focal point (the point on the image plane at which the camera is pointed) of the camera along the X, Y, and Z axis. Distance n Camera Z value is only available for the 3D model container. Sets the model camera’s distance from the object.
Working with the Camera To pan the camera: 1. Select the 3D model container track. 2. In the Controls window, select the Camera tab. 3. From the Camera Model menu, select Orbit. 4. Set the following parameters: Parameter Description Distance Sets the model camera’s position along the Z axis. Advance • Decrease negative values to move the camera away from the viewer. • Increase positive values to move the camera towards the viewer.
Chapter 6 Working with Containers Parameter Description Sample # menu Sets the number of samples that are taken. Higher values take longer to preview and render but provide smoother blurring. Working with Lights Light sources are points in three-dimensional space that emit light, causing objects (with materials that can be affected by light) to appear illuminated. Light sources are modeled as non-directional point sources that you can position in 3D space relative to the objects in the scene.
Working with Lights Light sources 1-3 Toggle lights on/off 3. Select one of the three light tabs. 4. Check the box next to the light tab to turn on the light. Tip: Try and work with one light at a time and then turn them all on towards the end to see the result. 5. Select the type of light source. 6. Set the overall ambience—see “Setting the Ambience of a Scene” on page 258. 7. Set the position of the light source—see “Changing the Position of the Light Source” on page 256. 8.
Chapter 6 Working with Containers Toggle lights on/off 3. Select one of the three light tabs. 4. Make sure that you turn on the light that you want to use. Tip: Try and work with one light at a time and then turn them all on towards the end to see the result. 5. Check the Lights Receive Shadows box. When selected the application of lights will cause objects to cast shadows on other objects. If this is not the effect that you want, deselect this option. 6.
Working with Lights Setting the Type of Light Source When working with 3D model and Z space composite container, the type of light source you select will determine the kind of lighting effect that will be produced. Depending on the type of light source you select, different options are available. You can set the intensity, apply a mix or set the softness of the edge of the light.
Chapter 6 Working with Containers Parameter Description Light X and Light Y Positions the light source in space by moving the light parallel to the image plane along the X and Y axes. Adjusting these values can change the shape of the light. For example, as the light source moves off to the right, the light becomes more oval and less round in shape.
Working with Lights To set the Diffuse Specular type: 1. From the Type menu, select Diffuse Specular. 2. Set the following: Parameter Description Intensity Determines the amount of diffuse light on the image. Increase this value to enlarge the size of the lit region and make the center of the lit area increasingly bright. Specular Determines the amount of specular light applied to the image.
Chapter 6 Working with Containers Parameter Description Edge Falloff Controls the relative softness of the edges of the lit region. Point At Source • Default setting of 0 provides a hard edge on the spotlight effect. Increase this value to soften the edges of the lit region. • Edge Falloff removes light from the edges of the lit region. • To maintain the size of the region while softening its edges, increase Cone Width.
Working with Lights Positioning the Light Source for a Z Space Composite Container You can choose between two coordinates or methods to position the light source” • Cartesian: This is the default method. It lets you to position the light source by specifying X and Y coordinates and the distance between the light source and the image. • Spherical: Lets you to move the light around the shape along an arc. To position the light source when using the Cartesian method: 1.
Chapter 6 Working with Containers 5. Set the Distance. This will focus the light or spread it over a larger area by adjusting the distance between the light source and the image. To move the light closer to the image, decrease the value. 6. If you are using more than one light source, select the next light tab and continue to position it. Using Colored Lights By default, light sources emit a white light.
Working with Lights To set the ambience in a 3D model container: 1. Select the Lights tab of the 3D container. 2. Set the Ambient value. Increase the value to evenly illuminate the image adding other light effects. Applying a Mode when Adding Light When adding light to a Z space composite container, you can control how the filtered image is composited with the source image. The mode blends the two images, giving the effects many additional creative possibilities.
Chapter 6 Working with Containers Apply Mode Menu Many effects use Apply Modes to apply the filtered output (or light or some other aspect of the effect) to the source image. Apply Modes control the blending of the two images, giving the effects many additional creative possibilities. In OpenGL mode, you cannot see non-accelerated objects when you use the on-screen interactors. Non-accelerated objects include apply modes.
Working with Lights Apply Mode Effect Scale Multiply A useful variation of Multiply that produces a brighter image than the standard Multiply. This is often the most realistic Apply Mode for light effects. Scale Screen A useful variation of Screen that produces a darker and less washed-out image than the standard Screen. Difference X 2 A variation of Difference that produces a more intense effect than the standard Difference.
Chapter 6 Working with Containers Apply Mode Effect Boost Expo 1 Blends the color channels in the source and filtered pixels by subtracting an offset value from each pixel, exponentiating the value, adding the results, and then adding back the offset. Boost Expo 2 Similar to Boost Expo 1, except that this mode uses offset and exponent values different from those used by Boost Expo 1. Boost Eq Power + Uses an algorithm modeled on the audio concept of an equal power crossfade.
Working with Shadows You can add a shadow to the entire container or objects in the containers. Objects inside the container cast only drop shadows, except those in Z space composite containers. Objects in a Z space composite container can cast and receive shadows rather than creating simple drop shadows. See “Adding Shadows to Z Space Composite Containers” on page 265 Drop shadows fall on a specified distance from the object, while cast shadows appear to fall on another object.
Chapter 6 Working with Containers 4. Set the following parameters: Parameter Description Distance Sets the distance (in pixels) of the shadow from the image. Opacity Sets the opacity of the drop shadow, scaled as a percentage. Softness Controls the softness of the shadow. Use a low value for an effect that emulates the look of a shadow in hard light, or increase the value for a more diffuse shadow effect. Color Determines the color of the shadow.
Working with Shadows Shadow set to color white Adding Shadows to Z Space Composite Containers You can add shadows to the entire container or work with the shapes or objects inside the container. You can cast shadows on objects rather than producing simple drop shadows. Adding Shadows to Shapes Inside a Z Space Composite Container When you select a shape or object inside the container, the shape track’s Lights and Shadows tabs are replaced by a single Lights/Shadows tab.
Chapter 6 Working with Containers Parameter Description Cast Z Space Shadows option Select if you want the track to cast shadows on other shapes in the container. Receive Z Space Shadows From Other Objects option Select if you want the shape to receive shadows cast by other shapes in the container. Receive Light 1, Receive Light 2, Receive Light 3 options Select if you want the shape to receives light from each of the three corresponding light sources in the container.
Working with Shadows 3. Select Shadows On. 4. Set the following parameters: • Opacity of the shadow. • Color of the shadow. • Elevation of the light source. A high elevation value produces a shadow that falls directly behind the object casting the shadow. A negative elevation value cause the object to cast a shadow in front of itself in Z space that partially covers the object. Elevation=60 Elevation=25 • Direction of the light source. This is the angle that it makes with the horizontal axis.
Chapter 6 Working with Containers • Light Width. Increase the value to produce shadows with softer edges. Light Width=15 • Light Width=50 Select the Algorithm you want to use for rendering. Experiment with the settings to find the algorithm that looks best. Faster #1 and Faster #2 renders shadows more quickly but at a lower quality. Better increases the rendering time but produces a better shadow. Adding Shadows to 3D Model Containers In 3D model container, each light added creates a cast shadow.
Applying a Motion Blur to a 3D Container Each tab corresponds to the respective numbered light source applied in the Lights tab 3. Check one of the three numbered Shadow options to enable a shadow. 4. Select the tab next to the option to adjust the following parameters for that shadow: • Shadow Bias: Lets you to correct render errors which may be created by extreme positioning of the light sources.
Chapter 6 Working with Containers Compositing 3D Container Images When working with 3D container images, you can apply a blending mode, adjust mix controls, and composite the entire container over other tracks on the timeline. To composite individual shapes within the container, use the shape’s Composite tab. To composite 3D container images: 1. Select the 3D container on the timeline. 2. In the Controls window, select the Composite tab. 3. Set the Apply Mode—see the “Apply Mode Menu” on page 260. 4.
Working with 3D Chart Containers To create a 3D Chart Container: 1. Click the Add Chart button in the timeline or select Track > New Chart Container. The chart is created over an alpha channel. If there are any tracks lower in the timeline, they are visible in the background unless they are turned off. 2. Double-click the Chart track in the timeline to open the Chart Editor. 3. Import a file or enter your data in the Chart Editor—See “Using the Chart Editor” on page 271. 4.
Chapter 6 Working with Containers 2. In the Chart Editor, click the Import Data button. 3. Navigate to the location of the file you want to import. 4. Select the file and click Open. 5. Click the Save Changes button to apply the data to your 3D chart. Selecting the Chart Type There are four types of charts to select from. You can customize each chart as you like. To select the chart type: 1. Select the Chart track on the timeline. 2. In the Controls window, select the Chart tab. 3.
Working with 3D Chart Containers 4. Adjust the values for the chart type until you are satisfied. For parameter descriptions, see “Chart Tab” on page 295. Formatting Charts Once you have selected the chart type, you can format it as you like. You can set color, orient the chart, set the font, position the legend and so on. Depending on the type of 3D chart you select different options are available.
Chapter 6 Working with Containers To Do This Rows as Series: Places the rows vertically in the chart. The information in the first row appears in the Legend. Select Rows as Series from the Series menu. Columns as Series: Places the columns vertically in the chart. The information in the first column appears in the Legend Select Columns as Series from the Series menu. Set the spacing globally between the bars or the pie chart sections. The Line Chart and Area Chart do not include this option.
Working with 3D Chart Containers • User: Lets you assign up to 16 colors to your chart. If your chart does not include 16 elements, some colors do not appear in your chart. If your chart includes more than 16 elements, the colors repeat. Use the eyedropper to pick a color from the color ramp or the screen or click the color swatch to open the system color picker. • Random: The random color seed lets you set the value that is input to the random generator used to generate the color of the bars.
Chapter 6 Working with Containers Green is selected for the font and blue for the grid lines 3. For the Line Graph only, set the type of value point for each line in the graph. Square Point Round Point 4. Adjust the Grid Font Opacity value to set the transparency of the font. The grid uses the default font and size. To change the font, see “Setting the Font in the Chart” on page 275. 5. Set the Grid Opacity. 6. Adjust the Grid Thickness value to set the width of the gridlines in pixels. 7.
Working with 3D Chart Containers 3. Select the Enable Values option to start adding and displaying the values. The values are displayed at the top of each bar, outside each pie chart section, at each line graph point, or above each area chart point. 4. Set the color of the values by using the eyedropper or color swatch. 5. Select the Apply Current Text Style option to apply the current text style set for your project in the Style Palette Window. 6.
Chapter 6 Working with Containers To set the value type: 1. Making sure the Chart track is selected on the timeline, select the Values tab in the Controls window. 2. From the Value Type menu, select the type that you want displayed. 3. Set the following parameters: Parameter Description Format Lets you format the numbers. n None This option is not available for the Scientific type Displays numbers without any commas. A value of nine thousand appears as 9000.
Working with 3D Chart Containers Depending how you prefer to work, make adjustments in the tabs of the Controls window, directly in the timeline, or use a combination of both methods. To position and scale a numeric value: 1. Make sure that the Enable Values option for your chart is selected. 2. Select the Values track on the timeline. Tip: It is the Values track that is on the same level as the Transformations track of the chart as well as the chart type track, for example BarGraph or PieChart. 3.
Chapter 6 Working with Containers Adding a Legend to a Chart When creating a chart, it is essential to have a legend that explains symbols or colors on the chart. You can quickly create one by using the values in the Legend tab. To add a legend to your chart: 1. Select the Chart track on the timeline. 2. In the Controls window, select the Legend tab. 3. Select the Enable Legend option. A legend track is added inside the 3D Chart container. 4.
Working with 3D Chart Containers • Round: Creates a circle of the corresponding color. 13. Select the Enable Legend Backdrop option to include a colored backdrop behind the legend. 14. Set the color of the backdrop, by using the color swatch or the eyedropper on the right. 15. Select the Corner Type to determine the shape of the corners of the legend box. Convex Corner Concave Corner Straight Corner 16. Adjust the Corner Size value to set the size of the legend’s corners.
Chapter 6 Working with Containers • Flat: Uses the 3D Plane shape so it is two dimensional (2D). • Extruded: Uses the 3D Extrusion shape so it is three dimensional (3D). Adding a 2D Style to a Chart You can add a two dimensional style to your chart. To add a 2D style to a chart: 1. Select the Chart track on the timeline. 2. In the Controls window, select the 3D Style tab 3. Select the Flat 3D style. 4.
Working with 3D Chart Containers To add a 3D style to a chart: 1. Select the Chart track on the timeline. 2. In the Controls window, select the 3D Style tab 3. Select the Extrusion 3D style. 4. Adjust the Shape Depth value to set the thickness of the extruded sides. 5. Adjust the Bevel Amount value to set the width of the bevels. 6. Select the Apply Current Material Style, if you want to apply the current material style set for your project to the front face of the chart.
Chapter 6 Working with Containers Reveal Remove To create an animated chart offscreen and onscreen 1. Select the Chart track on the timeline. 2. In the Controls window, select the Animation tab 3. Select the Reveal and Remove options. n To create a static chart, deselect both options. 4. Adjust the Animation Time value to controls how long each bar or pie chart section animates during the effect, expressed as a percentage.
Working with 3D Chart Containers This value is set as a percentage. At a value of 100, each bar or pie chart section finishes animating before the next element begins animating on or offscreen. At higher values, multiple elements animate at the same time 6. Set the Interpolation type: • Accelerate: Lets you to gradually accelerate the effect. • Decelerate: Lets you to gradually decelerate the effect. • Linear: Uses a constant speed, similar to the Linear interpolation type. 7.
Chapter 6 Working with Containers • You set the Tumble or Spin parameters so that parts of the chart appear very close to the viewer. • You rotate with a bevel or emboss style and you want the highlight to recalculate accordingly. n Tip: Set up the effect with the option disabled to improve preview performance. Then select the option as a final step to improve the render. 11. Adjust the Fade value to gradually fade in successive bars, sections, or lines.
Working with 3D Chart Containers Reference: Containers This section contains reference information about containers: 3D Container Controls3D Container Controls 3D Container Controls The 3D container has several tabs, which are made available depending on the type of renderer you are using.
Chapter 6 Working with Containers Parameter Description 2D Composite The object whose track is positioned highest in the timeline overlaps all other objects in the container. In 2D Composite mode, you can place any type of shape track in the container. Z Space Composite The object positioned closest to the viewer in Z space overlaps objects that are farther away. Z Space Composite allows objects in the container to cast shadows on one another rather than producing simple drop shadows.
Working with 3D Chart Containers Parameter Description Tumble, Spin, Rotate Adjust the container’s position around the X, Y, and Z axes. Animate Tumble, Spin, and Rotate values greater than 360° to make the container undergo more than one full revolution. Container tumbled Container spun Container rotated Pivot Tab (Containers) The Pivot tab lets you set an external pivot point around which the object or container tumbles, spins, or rotates.
Chapter 6 Working with Containers Parameter Description Camera X, Camera Y Set the horizontal and vertical position of the focal point of the camera (the point on the image plane at which the camera is pointed). Distance Sets the model camera’s distance from the container. Decrease this setting to place the camera closer to the container to exaggerate the perspective on portions of the container that are closest to the camera.
Working with 3D Chart Containers Parameter Orbit Pan Description Lets you rotate the camera around the object. In this camera model, the camera is always pointed towards the object. Orbit includes the following parameters: • Distance sets the model camera's distance from the object. Decreasing this setting places the camera closer to the object, exaggerating the perspective on portions of the object that are closest to the camera.
Chapter 6 Working with Containers n For each of the first two Apply Motion Blur to options, the motion blur is computed separately for each shape. For the last option, the snapshots are rendered for the entire container. This provides more accurate results even if the faces do not include animated objects; the motion blur mixing is done after the shapes are composited. Parameter Description Shutter Angle Refers to the workings of a conventional film camera. The default shutter angle is 180°.
Working with 3D Chart Containers Parameter Description Container, Faces, and Filters Applies motion blur to the entire container. Container Only Applies motion blur only to the container. Use Adaptive Motion Blur for 3D Planes option Enabled if the Apply Motion Blur to menu is set to 3D Planes Motion Only. Reduces the number of snapshots taken when 3D Planes move slowly, greatly reducing rendering time for effects that start slowly then move quickly offscreen.
Chapter 6 Working with Containers Parameter Description Mix Back Mixes the Normal apply mode with the chosen apply mode or mixes the chosen apply mode with a transparent application of the shape. If Mix Back is 100, Normal is used to composite the shape. As the Mix Back approaches 0, Normal increasingly mixes with the chosen apply mode. If Mix Back is 0, the chosen apply mode is used to composite the shape.
Working with 3D Chart Containers Chart Tab The Chart tab lets you format the 3D Chart. Click the tab for the appropriate chart shape, — a bar graph, a pie chart, a line graph or an area chart. While the bar graph, line graph and area charts can represent two dimensional table data, the pie chart uses only one row of numbers. Parameter Description Chart tabs Sets the type of chart.
Chapter 6 Working with Containers Parameter Description Scale Sets the scale of the chart, as a percentage. You can use this parameter to resize the entire chart. This parameter is only available for the Pie Chart. To scale the other chart types, use the Scale X and Scale Y parameters in the Position tab. Opacity Color menu Adjusts the opacity of the chart. • At a value of 0, the chart is transparent. • At a value of 100, the chart is opaque.
Working with 3D Chart Containers Parameter Description Chart Font menu Select the font to use in the Grid. Grid Font Size Selects the font size for the Grid. Grid Font Opacity Sets the transparency of the grid. Enable Gridlines option Include lines in your grid. Use the color swatch or the eyedropper to set the color of the gridlines. Deselect this option to display headers only. Grid Opacity Sets the transparency of the grid.
Chapter 6 Working with Containers Parameter Description Use menu Lets you format the values that are displayed in the Pie Chart. This option is not available for other chart types. The options include: Numeric Value. Displays the numeric value of each pie chart section. Percentage. Displays the percentage value of each pie chart section. Value and Percentage. Displays the numerical value and the percentage. Values Tab The Value tab lets you add numeric values to your chart.
Working with 3D Chart Containers Parameter Description Value Scale Sets the scale of the values, as a percentage. You can use this parameter to resize all the values. Value Opacity Adjusts opacity scaled as a percentage. • At 0, the values are completely transparent. • At 100, the values are completely opaque. • Intermediate values produce varying degrees of transparency. Value Position X and Value Position Y Adjust the horizontal and vertical location of the values.
Chapter 6 Working with Containers Parameter Description Legend Scale Sets the scale of the legend, as a percentage. You can use this parameter to resize the legend. Legend Opacity Adjusts the opacity of the legend, scaled as a percentage. • At a value of 0, the legend is completely transparent. • At a value of 100, the legend is completely opaque. Position X, Position Y, Position Z Adjust the horizontal, vertical, and depth of the legend. Key Shape menu Determines the shape of the legend’s key.
Working with 3D Chart Containers Parameter Description 3D Style Select your choice of the 3D Style Flat Uses the 3D Plane shape so it is two dimensional Apply Current Spline Style option Lets you apply a Spline style from the Style Palette. Enable Border Select to apply a border to each bar, outside each pie chart section, or around each area chart section. See Working with the Style Palette Use the color swatch or eyedropper to set the color of the border.
Chapter 6 Working with Containers Animation Tab (3D Chart Container) The Animation tab parameters lets you to animate your chart. You can animate charts on screen to reveal the elements, offscreen to remove the elements, or both. The parameters in this tab do not include interpolation fields. Instead, the animation is applied progressively using the setting in the Interpolation menu.
Working with 3D Chart Containers Parameter Description Spacing menu Allows you to animate the spacing between elements. The animation works in conjunction with the Spacing parameter in the Chart tab. Select from the following options: Constant. Does not animate the spacing. 0 to Value. Starts with the elements adjacent and animates to the Spacing value. If the Spacing value is 0, this choice has no affect. This option is only available when you are animating on screen. Infinity to Value.
Chapter 6 Working with Containers Parameter Description Continuously Rasterize option Select to force the vector form of the chart to recalculate based on parameter changes. Do not select this option if using static charts. Select the option to improve image quality in the following situations: • If you set the Scale parameters to scale the chart larger than 100% size. • If you use large negative Position Z values.
Chapter 7 Working with Shapes Working with the different shapes available, you can map a source image onto a 3D modeled object. All of the shapes allow you to map independent sources onto different surfaces within the shape, to crop source images before they are applied to the shape, move and rotate the object in 3D space, and apply lighting and shadow effects to the object. You can also map any of the media types to the face of a shape.
Chapter 7 Working with Shapes Adding Media to Shapes You can apply media to shape surfaces to create all kinds of different looks. Mapping Media to the Faces of a Shape Each shape has one or more Face tracks in the timeline that allow you to map color, video, movies, gradient, Natural media, text, or still image files to any of the faces of the shape. Cube n Cylinder Page Turn Mapping images to the 3D Extrusion shape is a bit different.
Adding Media to Shapes 3. Navigate to the file you want to use and click OK. The image is updated in the Composite window. n To quickly use the same media on every face, switch the Multi/Single Input icon to Single Input mode. The default Multi Input mode uses your assigned texture on the front, and the default color on the other faces. Using Single Input mode results in slightly faster rendering.
Chapter 7 Working with Shapes When you use a 3D Primitive shape, the Texture track is selected by default. To use a material instead, deselect the Texture track option in the Texture tab. 3D Primitives only include a single material which is set in the Materials tab. You cannot map different materials to each Face. Using Common Shape Parameters With a few exceptions, the following parameters are shared by all shapes.
Adding Media to Shapes Setting an External Pivot Point The parameters in the Pivot tab set an external pivot point around which the object tumbles, spins, or rotates. n The Pivot tab is not available for the Sphere, Cylinder, or Page Turn shapes. For detailed information on the Pivot tab parameters, see “Pivot Tab” on page 383. Adjusting the Camera Perspective The parameters in the Camera tab provide control over the camera’s perspective of the object.
Chapter 7 Working with Shapes For detailed information on the Camera tab parameters, see “Camera Tab” on page 356. Blurring an Image In real life, an object that moves quickly appears blurred. Imagine a camera taking a picture of the moving object. The object in the picture appears blurred because it moved during the short time that the camera’s shutter was open. If the shutter was open for a shorter time, the object would appear sharper.
Adding Media to Shapes You can apply motion blur to filters and Natural media by pre-composing the filter or Natural media track and applying motion blur to the pre-composition. For more information on pre-composing, see “Working with Pre-Compositions” on page 181. n Tip: Motion blur is a processor-intensive feature. Turn motion blur off while you work, and then enable it just before rendering. The global Motion Blur button on the timeline lets you switch turn the motion blur on or off for all tracks.
Chapter 7 Working with Shapes • High: Takes eight snapshots. • Highest: Uses the most samples. 5. From the Apply Motion Blur To menu, select an option to apply the motion blur: • Motion Only • Shape Only • Shape, Faces, and Upstream Filters 6. Select the Use Adaptive Motion Blur if Processing Motion Only option to reduce the number of snapshots used and reduce rendering time. For detailed information on the Motion Blur tab parameters, see “Motion Blur Tab (for 3D Primitives)” on page 380.
Adding Media to Shapes For detailed information on the Composite tab parameters, see “Composite Tab (for 3D Primitives)” on page 359. Examples of Mix Back and Other Apply Modes The following examples show various applications of Mix Back with Apply Modes. Mix Back is set to 100. The Normal apply mode is used to composite the sphere over the background. Mix Back is set to 0 and only Scale Screen apply mode is used.
Chapter 7 Working with Shapes Working with Lights and Shadows Light sources are points in three-dimensional space that emit light, causing objects (with materials that can be affected by light) to appear illuminated. You can specify the location of light sources relative to objects in the scene. You can also control the intensity, type, color, and falloff of the applied light, and the position of the light source in 3D space.
Working with Lights and Shadows Diffuse is set to 350 and Ambient is set to 50. Example 3: Light Source Close to Surface For a dramatic effect which simulates a light source very close to the surface, use both Specular and Diffuse light to create an intensely lit central spot and a large falloff area. Then reduce Ambient light to leave the unlit area in complete darkness. Diffuse is set to 300, Ambient is set to 0, and Specular is set to 75.
Chapter 7 Working with Shapes 5. Select a color for the shadow by clicking the Color color chip to access the system color picker or use the eyedropper to choose a color from the screen. 6. Use the Angle controls to set the direction of the drop shadow. For detailed information on the Shadow tab parameters, see “Shadow Tab (for 3D Primitives)” on page 386. Cropping the Shape The Crop tab contains parameters that crop the original image applied to the shape.
Working with Lights and Shadows 5. Select the Square Style option if you want the corner of the cropped image to be square. Otherwise, the corners are rounded. n In OpenGL mode, you cannot see non-accelerated objects when you use the on-screen interactors. For details, see “The OpenGL Interactors” on page 52. For detailed information on the Crop tab parameters, see “Crop Parameters (for 3D Primitives)” on page 361.
Chapter 7 Working with Shapes Working with 3D Shapes Avid FX provides various 3D shapes to create effects, including: • 3D Plane • 3D Sphere • 3D Extrusion Using 3D Plane Shapes The 3D Plane shape models the source image on a two-dimensional plane; however, the plane itself exists in three dimensions. That means it can rotate around the X, Y, and Z axes and be positioned in 3D space. n You use the 3D Plane shape with the Text media type to create two-dimensional titles that animate in 3D space.
Working with 3D Shapes Add 3D Model Container button To create 3D primitives: • Select a track(s) and click the Add 3D Model Container button in the timeline. The selected track(s) are nested in a 3D Container to use the 3D Model Renderer. Adding Lighting to 3D Plane Shapes With 3D Plane Shapes, you can work with up to three different lights to illuminate the image. To light 3D Plane shape: 1. Select the Lights tab (Controls window). 2.
Chapter 7 Working with Shapes 3. Use the Softness controls to determine the edge of the border. 4. From the Soften menu, select one of the following: • Border and Source to soften the inner and outer edges of the border. • Border to soften only the outer edges of the border. • Source to soften only the inner edges of the border. Border and Source Border Source 5. Select the Square Style option if you want the corners to be square. Otherwise, the corners are rounded. 6.
Working with 3D Shapes Using the 3D Sphere Shape as a 3D Primitive 3D Sphere tracks nested in a 3D Model Renderer Container are called 3D Primitives. This allows you to apply shadows, materials, textures, reflection maps, and bump map parameters to the 3D Sphere. You can include 3D Sphere tracks in a 3D Container that uses the 3D Model Renderer. Also, you can also scale 3D Sphere tracks using separate Scale X, Scale Y, and Scale Z parameters to create more arbitrary shapes.
Chapter 7 Working with Shapes Front Face Extrusion You can manipulate 3D Extrusions on several levels: • When you extrude text, the controls in the Text window affect text on a per character basis, allowing you to assign fonts, sizes, and styles to individual characters. These controls are only available in the Text window and are not animated. • Once you set the characteristics of individual characters, you can animate the text.
Working with 3D Shapes n Tip: However, the color is assigned to the Front Face using Constant interpolation. The other three faces use the default gray Plastic material. To use the color that you chose on all faces, set the Face Count menu to 1. • Texture tracks in the timeline allow you to map media to the front, back, extrusions, and bevels. When you select texture tracks in the Textures tab, the texture tracks overwrite the material specified in the Materials tab.
Chapter 7 Working with Shapes Optimizing Extruded Effects The 3D Extrusion shape is an especially memory-intensive feature. Try using the following techniques to speed up your workflow and optimize the effect: 324 • Use a lower Resolution and/or Draft Quality mode when creating the effect. • Work in hardware OpenGL mode—see “The OpenGL Interactors” on page 52. • Set up a 3D Extrusion shape to create 3D text using Text media applied to a 3D Plane shape.
Working with 3D Shapes • Turn on Back Face Culling and turn off Back Bevels to speed your renders—see “Adding Bevels and Extrusions” on page 332. Lighting in 3D Space You can apply up to three separate lights to the effect. These lights are modeled as nondirectional point sources that you can position in 3D space. You can also adjust and animate the lights’ color and intensity, and control the amount of ambient light on the entire object.
Chapter 7 Working with Shapes To highlight the extrusions of the object: • In the Lights tab, use a Distance value close to the Position Z value of the object (set in the Position tab). The object’s Position Z value and the light’s Distance value are set to 0. Adding Shadow in 3D Space Unlike the shadows created by the Shadow tab, the 3D Shadow tab creates true cast shadows that are created by using the three light sources in the Lights tab.
Working with 3D Shapes Applying Materials in 3D Space The Materials tab simulates different types of surfaces on each face of the object. You can use one of seven preset styles to customize or create a different material. When you choose 3D Extrusion as a shape type, Avid FX assigns the default plastic material to all four sides. These controls affect the entire effect (rather than individual characters) and are animated by setting keyframes in the timeline.
Chapter 7 Working with Shapes Face Count = 1 A gold material is mapped to all four faces. Face Count = 2 A gold material is mapped to the Front and Back, and Aluminum material mapped to the Extrusion and Bevel. Face Count = 3 A gold material is mapped to the Front and Back, Aluminum material mapped to the Extrusion, and Copper material mapped to the Bevel. n You may want to consult the Avid FX User’s Guide PDF located on the Online Library DVD to view these examples in color.
Working with 3D Shapes Adding 3D Detail You can use the Bump Map tab to create three-dimensional detail on an image based on luminance information in an image. The luminance value of each pixel of the image creates height, with brighter pixels creating more height. You can create the bump map from a procedural texture or you can use a media file. You also can apply bump maps to 3D Sphere, 3D Plane, Cylinder, Cube, and Page Turn shapes tracks.
Chapter 7 Working with Shapes For detailed information on the Bump Map tab parameters, see “Bump Map Tab” on page 352. For more information, see “Applying Materials in 3D Space” on page 327. n When you use an image that includes an alpha channel as a bump map, you should deselect the Back Face Culling option. Otherwise, faces that are visible where the texture is transparent may not render correctly. For more information, see “Adding Bevels and Extrusions” on page 332.
Working with 3D Shapes Adding Textures to 3D Primitives You can apply a Texture track to 3D Primitives. When you include 3D Sphere, 3D Plane, Cylinder, Cube, and Page Turn shapes in a 3D Container that uses the 3D Model Renderer, the track is called a 3D Primitive. This means that you can apply Materials, Textures, Reflection Maps, and Bump Map parameters to two-dimensional shapes. When you use a 3D Primitive shape, the Texture track is selected by default.
Chapter 7 Working with Shapes To pan the camera: 1. From the Camera Model menu, select Pan. 2. Use the Distance controls to set the camera’s position on the Z axis. 3. Use the Advance controls to set the position of the camera’s focal point on the X axis of the object. Advance=–100 Advance=100 To set the depth of field: 1. In the Depth of Field menu, select On to display the parameters. 2. From the Quality menu, select Low, Medium, or High. 3.
Working with 3D Shapes Back Face Culling on Back Face Culling off Example 2 shows the Back Bevel turned on. Back Bevels on To add bevels and extrusions: 1. Select the Extrusion tab. 2. From the Extrusion menu, select a type of X and use the controls to set the thickness of the extruded sides. 3. From the Bevel Type menu, select one of the following: • Straight to create straight bevels. • Convex to create bevels that curve outward. • Concave to create bevels that curve inward.
Chapter 7 Working with Shapes 6. Select the Back Face Culling option to render only the parts of the object that are currently visible. 7. Select the Back Bevels option to create bevels on the back face of text. For detailed information on the Extrusion tab parameters, see “Extrusion Tab” on page 364. Working with 3D Line Art 3D Line Art is similar to the 3D Plane shape in terms of its capabilities, but it is designed for use with vector graphics rather than bitmap images.
Working with 3D Line Art A vector graphic is a resolution-independent image mathematically represented as a series of lines and curves called vectors. The relationship between the vectors remains constant as the object is scaled, so there is never a loss of quality. The following example shows the letter P composed of vectors. An EPS file is an example of a vector graphic. Advantages of 3D Line Art You should use 3D Line Art when you need to preserve the vectors in a file to scale the object.
Chapter 7 Working with Shapes If you select the 3D Line Art shape, it scales the mask and no quality is lost, because the shape uses the vector information in the media file. Applying Additional Shapes Avid FX provides many additional shapes to which you can apply media. These include: • Cubes • Spheres • Cylinders • Page Turns Using Cube Shapes The Cube shape maps the source image onto one or more faces of a cube. You can use a separate media source for each of the six faces.
Applying Additional Shapes n Some of the Cube tabs are identical to the corresponding tabs in other shapes. These tabs are described in “Using Common Shape Parameters” on page 308. Using the Cube Shape as a 3D Primitive You can include Cube tracks in a 3D Container that uses the 3D Model Renderer. Cube tracks that are nested in a 3D Model Renderer Container are called 3D Primitives.This means that you can apply Materials, Textures, Reflection Maps, and Bump Maps to the cube.
Chapter 7 Working with Shapes Using Sphere Shapes The Sphere shape models the source image onto a sphere. In addition, Sphere lets you animate Perspective, which is useful in creating transitions and includes a Shadow tab. Unlike the 3D Sphere shape, the Sphere is not used as a 3D Primitive. The 3D Sphere shape type allows sphere shapes to work in 3D Containers in Z Space Composite or 3D Model mode, and provides some additional controls. In addition, the 3D Sphere correctly displays non-square pixels.
Applying Additional Shapes Example 1: Around. This is the most likely choice to use to place media on the shape and spin or tumble it. If the image is fully wrapped, wrapping Around only shows roughly half the source at any given time. This is not always the best choice if you do not spin or tumble your sphere. As you unwrap the sphere using the Around setting, the source covers a smaller part of the modeled shape, and the uncovered area becomes transparent. Example 2: One Way.
Chapter 7 Working with Shapes Example 5: Tile. You can create a tiled sphere by reducing Scale and Wrap Percent. n When you use the 3D Sphere as a 3D primitive, a Smoothness parameter appears in this tab. Smoothness adjusts the number of polygons used to create the faces of the shape. Increasing this value increases the number of polygons, which smooths jagged edges and decreases banding. However, increasing this value increases render time proportionately.
Applying Additional Shapes Using the Cylinder Shape The Cylinder shape maps the source media onto a cylinder. n Some of the Cylinder tabs are identical to the corresponding tabs in other shapes. These tabs are described in “Using Common Shape Parameters” on page 308. Using the Cylinder Shape as a 3D Primitive You can include Cylinder tracks in a 3D Container that uses the 3D Model Renderer. Cylinder tracks nested in a 3D Model Renderer Container are called 3D Primitives.
Chapter 7 Working with Shapes To create a cylinder shape: 1. Select a track(s) and click the Add 3D Model Container button in the timeline. The selected track(s) are nested in a 3D Container to use the 3D Model Renderer—see “Creating a 3D Model Container” on page 243. 2. Click the Media icon and choose Cylinder.
Applying Additional Shapes Example 2: Wrap Percent. A Wrap Percent of 100 wraps the source image completely around the cylinder. As Wrap Percent approaches 0, the shape becomes less cylindrical and closer to the original flat image.The overall effect is a gradual flattening of the image as the cylinder unwraps. Wrap Percent 100 n Wrap Percent 75 If you spin, tumble, or rotate a cylinder and then unwrap it, the object returns to its original position in 3D space as it unwraps.
Chapter 7 Working with Shapes Example 4: Around. Shows half the source at any given time. Therefore, this is not always the best choice if you do not spin or tumble your cylinder. As you unwrap the cylinder, the source covers a smaller part of the modeled shape and the uncovered area becomes transparent. Example 5: One Way. You can see the seam between the two images if you spin the cylinder 90° or 270°.
Applying Additional Shapes Using the Page Turn Shape Page Turn creates a 3D model of a page turning in a book or magazine, and allows you to place media on both sides of the page. n Some Page Turn tabs are identical to the corresponding tabs in other shapes. These tabs are described in “Using Common Shape Parameters” on page 308. Using the Page Turn Shape as a 3D Primitive Add 3D Model Container button You can include Page Turn tracks in a 3D Container that uses the 3D Model Renderer.
Chapter 7 Working with Shapes polygons that smooths jagged edges and decreases banding. However, it increases render time proportionately. For more information, see See “Using the 3D Sphere Shape as a 3D Primitive” on page 321. Add 3D Model Container button To create a Page Turn shape: 1. Select a track(s) and click the Add 3D Model Container button in the timeline. The selected track(s) are nested in a 3D Container to use the 3D Model Renderer—see “Creating a 3D Model Container” on page 243. 2.
Applying Additional Shapes Direction=70 Direction=300 For detailed information on the Page Turn tab parameters, see “Page Turn Tab” on page 384.
Chapter 7 Working with Shapes Reference: Shapes 3D Shadow Tab Parameter Description Shadow 1, 2, and 3 options Control the shadows created by the three corresponding light sources. Shadow Bias • Select the option next to the tab to turn on the shadows created by the light source. • Leave the option deselected to turn off shadows created by the light source. Corrects render errors that may occur in creating the shadow as follows: • Default maintains the Shadow Bias in its current state.
Applying Additional Shapes Border Tab (for 3D Plane Shapes) Parameter Description Width Controls the width of the border. The Width is measured in pixels and based on an image scale of 100%. If you scale the image, the border sizes with it. Opacity Sets the opacity of the border and is scaled as a percentage. • When Opacity is 100, the border is completely opaque. • Lower Opacity values allow the background to appear through the border. • When Opacity is 0, the border is completely transparent.
Chapter 7 Working with Shapes Parameter Description Color Controls the color of the borders. To access the system color picker: t Use one of the following to pick a color: Click the color chip. Use the eyedropper to pick a color from the screen. Enter RGB values into numerical fields and press Enter. Brick Parameters (Type Menu) Parameter Description Position X Position Y Determines the position of the bricks. Scale X, Scale Y Determine the horizontal and vertical size of the brick image.
Applying Additional Shapes Parameter Description Hue Variation, Saturation Variation, Lightness Variation Adjusts the variance between brick colors in the Hue, Saturation, and Lightness color spaces. Pattern Variation • As these values increase, the bricks assume a wider variety of colors. • As the values decrease, these values produces bricks that are more uniform in color.
Chapter 7 Working with Shapes Bump Map Tab Parameter Description Face Count menu Sets the number of different bump maps used in the object. The Face Count menu links to the Face Count menu in the Bump Map and Textures tabs. When you set this menu in any of these tabs, it updates in the other tabs. However, the options that select the faces are not linked. The Face Count menu parameters include: 4. Applies material individually to each face. 3.
Applying Additional Shapes Parameter Description Alpha to Opacity option Select the alpha channel value to apply to the bump map and set the opacity of the underlying material. Areas where the alpha channel value equals 0 are transparent and the underlying material is not visible. When this option is deselected, the Opacity setting in the Materials tab sets the opacity of the underlying material and the Opacity parameter in the Bump Map tab sets the opacity of the applied bump map.
Chapter 7 Working with Shapes Parameter Description Type menu Determines which set of parameters create the bump map. Rock. A realistic stone generator. This is the default choice. Brick. A versatile generator of tiled surfaces with realistic texture controls. Steel Plate. A textured plate of steel. Wood Grain. Creates the appearance of a solid piece of wood. Wooden Planks. Simulates a surface covered in wooden boards, similar to a wood floor. Fractal Noise. Creates a simulated marble texture.
Applying Additional Shapes Parameter Description Map Method menu Determines how the image is mapped to the face. The menu parameters are: Clip. Maps the image directly to the center of the face. If the image is smaller than the face, the underlying material is visible. If you choose Clip, Position X and Position Y reposition the image. Scale X and Scale Y resize the image. This parameter does not distort the bump map image but it can change its scale. Stretch.
Chapter 7 Working with Shapes Camera Tab Parameter Description Camera X Camera Y Set the horizontal and vertical position of the focal point of the camera (the location on the image plane where the camera is pointed). Camera X=10, Camera Y=10 Distance Camera X=630, Camera Y=470 Sets the model camera’s distance from the object. Decrease this value to move the camera closer to the object exaggerating the perspective on portions of the object that are closest to the camera.
Applying Additional Shapes Camera Tab (for 3D Extrusion Shape) Parameter Description Camera Model menu Determines the type of model is used to adjust the camera perspective of the object. The menu choices include the following: • Position. Allows you to adjust camera perspective—see Position parameters (Camera Tab) on page 357. • Orbit. Allows you to rotate the camera around the object. In this camera model, the camera points towards the object—see Orbit Parameters (Camera Tab) on page 358. • Pan.
Chapter 7 Working with Shapes Orbit Parameters (Camera Tab) Parameter Description Distance Sets the model camera’s distance from the object. Decrease this setting to place the camera closer to the object exaggerating the perspective on portions of the object that are closest to the camera. Tumble, Spin, and Rotate Rotate the model camera around the object along the X, Y, and Z axis. Pan Parameters (Camera Tab) Parameter Description Distance Sets the model camera’s position along the Z axis.
Applying Additional Shapes Depth of Field On Parameters (Camera Tab) Parameter Description Quality menu Controls the quality of the Depth of Field blur. This is basically an anti-aliasing level control. • Low • Medium • High There is a significant rendering cost to using High. Focal Length Sets the distance between the camera and the focal point. If the object is at the focal point, it appears in focus. As it moves away from the focal point, it loses focus.
Chapter 7 Working with Shapes Parameter Description Apply Mix Blends the Apply Mode setting with the Apply Mix From menu setting. Apply Mix softens the affect of a given apply mode or animates Apply Mix to blend from one apply mode to another over time. The resulting mixed mode is used to composite the shape. Brightness Adjusts the brightness of an object after it is composited over the background.
Applying Additional Shapes Parameter Description Opacity Use to adjust the level of transparency. • 0 sets the object to completely transparent. • 100 sets the object to completely opaque. • Intermediate values produce varying degrees of transparency. Determines the final opacity by mixing the Opacity and the Mix Back settings. Neither parameter overrides the other; the two parameters have a cumulative effect.
Chapter 7 Working with Shapes Parameter Description Square Style option Select to have the corners of the cropped image form right angles. When Square Style is deselected, the corners are rounded. If all of the Softness controls are at 0, Square Style has no affect. Cube Tab Parameter Description Displacement Detaches the faces of the cube from each other.
Applying Additional Shapes Cylinder Tab Parameter Description Perspective Determines the distance between the viewer’s eye and the surface of the object. The maximum value places the viewer far away from the shape and the minimum value puts the viewer just above the surface. Increase Perspective to adjust the size of the object and emphasize the part of the object directly in front of the viewer. For an example of Perspective, see page 342.
Chapter 7 Working with Shapes Parameter Description Wrap menu Determines how the image wraps around the cylinder. Around. Wraps the image completely around the shape. For an example, see page 344. One Way. Renders two copies of the source image, one on the front and one on the back. For an example, see page 344. Back & Forth. Renders two copies of the source, but the back copy is a mirror image. For an example, see page 344. Front.
Applying Additional Shapes Parameter Description Back Face Culling option Renders only the parts of the object that are currently visible. If an extruded title is facing forward, the back side is invisible and is not rendered if you turn on Back Face Culling. Turn Back Face Culling on to significantly speed rendering time but can produce noise or artifacts at the edges. n Back Bevels option Try turning Back Face Culling on and off to see which is better.
Chapter 7 Working with Shapes Light Tab (for 3D Primitives) Parameter Description Ambient Adjusts the total amount of diffuse light on the image. Illuminates or darkens the image evenly and is unaffected by any other lighting parameters. Color • The default setting of 100 does not add or subtract ambient light from the source image. • Decrease this setting to make the image darker before applying other lights. Controls the color of the applied light (Specular and Diffuse lights).
Applying Additional Shapes Parameter Description Falloff Controls the rate at which the Specular light falls off from the center of the lit region. • A higher Falloff value creates a more concentrated highlight, simulating a shiny, highly reflective surface. • A lower Falloff value spreads light more evenly throughout the lit region, simulating a rougher, less reflective surface. Both Specular and Diffuse light are affected by Color but only Specular light is affected by Falloff.
Chapter 7 Working with Shapes Parameter Description Type menu Determines what kind of lighting effect is produced by the light source. The menu parameters are: Diffuse Specular. Combines focused (specular) and diffuse light. Use this light type to create the appearance of a shiny surface lit by a point light source. Spotlight. Simulates the look of a traditional theatrical spotlight. Sweep. Creates a linear beam of light that sweeps across your image.
Applying Additional Shapes Cartesian Parameters (Lights Tab) Parameter Description Light X Light Y Move the light along the horizontal and vertical axes. Distance Focuses the light or spreads it over a larger area by adjusting the distance between the light source and the image. • Decrease the distance to move the light closer to the image, • Increase the distance to move the light further away.
Chapter 7 Working with Shapes Parameter Description Specular Determines the amount of specular light applied to the image. Increase this value to expand the amount of light at the center of the lit region (determined by the Light X and Y and Position settings). Intensity=50, Specular=0 Specular Falloff Intensity=50, Specular=400 Controls the relative softness of the edges of the region lit by specular light. Increase this value to soften the edges of this region and decrease its size.
Applying Additional Shapes Parameter Description Cone Width Adjusts the size of the light cone. • Increase this value to enlarge the size of the cone base thereby making the lit area larger. • Decrease to make the light cone narrower and reduce the size of the lit region. Unlike a physical spotlight, changing the cone width of the light does not affect its intensity. Intensity Controls the brightness of the spotlight.
Chapter 7 Working with Shapes Parameter Description Sweep Width Adjusts the size of the width, in pixels, of the light beam. Sweep width=200 Sweep width=400 Intensity Sets the intensity of the light. Edge Falloff Controls how the light falls off from the center of the beam to the outside regions of the beam. • At higher values, the light falls off rapidly outside the center of the beam creating a hardedged light beam.
Applying Additional Shapes Lights Tab (in 3D Space) Parameter Description Ambient Adjusts the total amount of diffuse light on the image. Light tabs • The default setting of 100 does not add or subtract ambient light from the source image. • Decrease the setting makes the image darker before the other lights are applied. • Ambient light illuminates or darkens the image evenly and is unaffected by any other lighting parameters.
Chapter 7 Working with Shapes Parameter Description Light X Light Y Position the light source in space by moving the light parallel to the image plane along the X and Y axes. Adjust the Light X and Light Y values to change the shape of the light. Change the Light X and Light Y is analogous to pivoting a theatrical spotlight to follow a performer on stage. Distance Positions the light source relative to the image plane.
Applying Additional Shapes Parameter Description Edge Falloff Controls the relative softness of the edges of the lit region. • Leave Edge Falloff at its default setting of 50 if you prefer a soft edge on the spotlight effect. • Increase this value to harden the edges of the lit region. Edge Falloff removes light from the edges of the lit region. To maintain the size of the region while softening its edges, increase Angle accordingly.
Chapter 7 Working with Shapes Mask Tab (for 3D Primitives) Parameter Description Distance Defines the mask edges using the Left, Top, Right, and Bottom settings. These values determine the distance, in pixels, between each edge of the mask and the corresponding edge of the source image. The Distance controls are locked by default; to adjust the controls individually, click the Lock icon, then adjust the appropriate parameter. Invert Mask option Inverts the mask. Softness Blurs the mask edges.
Applying Additional Shapes Parameter Description Front (FR), Back (BK), Bevel (BV), or Extrusion (EX) tabs Click a tab to adjust the corresponding face. Mode menu Determines which set of parameters is used to create the material surface as follows: Easy. Uses one of the preset modes that offer a selection of parameter controls for adjusting the effect. Advanced. Designs your own material surface. When Advanced is chosen, you have access to all parameter for creating custom material surfaces.
Chapter 7 Working with Shapes Parameter Description Type menu Controls the type of material created. The menu options include the following material: Matte. Simulates the appearance of hard, matte surfaces. Matte includes the Color, Ambient, Intensity, and Diffuse Intensity parameters. Plastic. Simulates the appearance of hard, shiny surfaces. This is the default material. Plastic includes the Color, Ambient Intensity, Diffuse Intensity, Specular Intensity, Shininess, and Reflectivity parameters. Gold.
Applying Additional Shapes Material Parameters (Materials Tab) Parameter Description Color Sets the color of the material. Select one of the following to pick a color: • Click the color chip to access the system color picker. • Use the eyedropper to pick a color from the screen. • Enter RGB values into numerical fields and press Enter. Ambient Color Sets the color of the ambient light on the surface. This parameter essentially controls the underlying color of the surface.
Chapter 7 Working with Shapes Parameter Description Shininess Controls the size of the region lit by the specular light. Reflectivity • Decrease the value to broaden the area and soften its edges. • Increase the value to focus the specular light. Sets the intensity of the reflected image on the face. Click the Reflection Map button at the bottom of the Controls window to create a Reflection Map track in the timeline.
Applying Additional Shapes Parameter Description Shutter Angle Refers to the workings of a conventional film camera. Normally the shutter is open 180° meaning that the shutter is open for half of each frame. • Increase the angle to open the shutter longer creating a wider blur. • Decrease the angle to produce a thinner blur. The default value of 180 models a typical movie camera. For the smoothest motion, set Shutter Angle to 360. You can also overdrive it to create special effects.
Chapter 7 Working with Shapes Parameter Description Apply Motion Blur To menu Controls what the motion blur affects. Select from the following selections: Motion Only. Applies motion blur to the motion of the 3D Plane track. Does not apply motion blur to lights or shadows, synthetic media (gradients or Natural media), or filters on the Face of the 3D Plane track. Shape Only. Applies motion blur to all attributes of the shape including borders, lights, and shadows. Shape, Faces, and Upstream Filters.
Applying Additional Shapes Parameter Description Fractal Noise See Creating Fractal Noise on page 118. Veined Marble See Creating Veined Marble on page 119. Cloth See Creating Veined Marble on page 119. Weave See Creating Weave on page 121. Granite See Creating Granite on page 123. Reptilian See Creating a Reptilian Pattern on page 124. Pivot Tab Parameter Description Position X, Position Y, Position Z Reflects the coordinates of the 3D object.
Chapter 7 Working with Shapes Page Turn Tab Parameter Description Radius Sets the radius of the 3D-modeled flap as the page turns. Reducing Radius makes the flap sharper and more like a crease, and increasing it makes the flap more cylindrical. Offset Front Opacity Direction Controls the amount of the page that peels off over the duration of the effect.
Applying Additional Shapes Parameter Description Trails Create a series of residual images that follow the object as it moves. • Whole number values determine the number of distinct visible trails. • Fractional numbers scale the opacity of the trails. • No trails are visible if the object is stationary. n Opacity Do not use the Trails parameter in each shape's Position tab if the shape is inside a 3D Container. Use the 3D Container's Trails control instead.
Chapter 7 Working with Shapes Parameter Description Resolution Sets the size of bump map. Increasing Resolution adds finer detail but also increases rendering times. Detail Adds detail to the bump map, similar to adding a gravelly component to the surface. • Decrease Detail to create a smoother surface. • Increase this value to create a coarser surface. Shadow Tab (for 3D Primitives) Parameter Description Shadow On option Select to make the shadow visible.
Applying Additional Shapes Parameter Description Color Sets the color of the shadow. To access the system color picker: • Use one of the following to pick a color: Click the color chip. Use the eyedropper to pick a color from the screen. Enter RGB values into numerical fields and press Enter. Angle Sets the direction of the drop shadow. Animate the shadow using Angle values greater than 360° to make it undergo one or more full revolutions.
Chapter 7 Working with Shapes Sphere Tab Parameter Description Wrap Percent Controls the extent to which the image wraps around the shape. A Wrap Percent of 100 wraps the image completely around the sphere.
Applying Additional Shapes Parameter Description Wrap menu Determines how the source image wraps around the sphere. The Wrap menu does not appear when you use the 3D Sphere as a 3D primitive. See “Using the 3D Sphere Shape as a 3D Primitive” on page 321. Around. Wraps the image completely around the shape. See Example 1 on page 339. One Way Repeat. Renders two copies of the source image, one on the front and one on the back of the sphere. See Example 2 on page 339. Back/Forth Repeat.
Chapter 7 Working with Shapes Parameter Description Resolution Determines the size of bump map. Increase Resolution to add finer detail. Increasing Resolution also increases rendering times. Pattern Type menu Determines the texture of the Steel Plate. The options include: Shape and Rivet. Uses the choices that you set in the Rivet Shape and Shape menus. Shape. Uses the chosen Shape. Rivet. Uses the chosen Rivet Shape. The exact appearance depends on the settings in the Shape and Rivet Shape menus.
Applying Additional Shapes Parameter Description Shape Count X, Shape Count Y Set the number of Shapes on the X and Y axes respectively. If the Pattern Type menu is set to Rivet, this parameter has no affect. Rivet Offset Sets the distance of the rivets from the edge of the plate. Higher values add more space between the rivets and the edge of the plate. Shape Scale X, Scale the shape on the X and Y axes.
Chapter 7 Working with Shapes Parameter Description Front (FR), Back (BK), Bevel (BV), or Extrusion (EX) tabs Select the option to turn on the texture of that face. Deselect to turn off the texture and use the specified material in the Materials tab. After you select the option, you need to click the Media icon for the texture track in the timeline to choose the media that you map to the face. Texture Opacity field and slider 392 Sets the opacity of the applied texture track.
Applying Additional Shapes Parameter Description Alpha to Opacity option Select to apply the alpha channel values to texture tracks and set the opacity value of the underlying material. Areas where the alpha channel value is 0 are transparent and the underlying material is not visible. When this option is deselected, the Opacity setting in the Materials tab sets the opacity of the underlying material. Values less than 100 allow you to blend the applied texture track with the underlying material.
Chapter 7 Working with Shapes 394 Parameter Description Map Method menu Determines how the image maps to the face. The choices include the following: • Clip maps the image directly to the center of the face. If the image is smaller than the face, the underlying material is visible. Select Clip and Position X and Y reposition the image. Scale X and Y resize the image. This parameter does not distort the texture image, but can change its scale.
Chapter 8 Working with Text With Avid FX, you can create and animate titles or create text with alpha channels to use as layers or masks in other effects. You can use Avid FX to create complex text animations, including text on a path, type-on or write-on effects, animated text reveals, as well as jitter or randomly generated text. These animations work with both 2D and 3D text.
Chapter 8 Working with Text The Text window allows you to type text or import or paste text from another source. You can format the text using the font, size, style, and kerning controls in this window. Once you create a Text media track, you can edit the text at any time by double-clicking the track. This opens your text in the Text window where you can make changes.
Using the Text Window Using the Text Window You can create, import, and edit text media for your text effect using the Text window. The Text window is character-based, which means you can apply different formats to individual characters. In the upper portion of the Text window, the text preview area, you can type in text and then select one or more characters to make style changes using the Style, Page, Color, Border, and Shadow tabs.
Chapter 8 Working with Text To create a new track with text as its media type: • Select Track > New Text Page. Button Description Add Text Track (timeline) Creates a 3D Plane track with Text as the media type. This is the best choice to create effects with lots of text, such as credit rolls or crawls, since this choice renders quickly. Add Vector Text Track (timeline) Creates a 3D Line Art track with Text as the media type.
Using the Text Window To access the Text window for a track: • n You can also access the Text window for a track by selecting the track and choosing Window > Text Window or by pressing Ctrl+4. Tip: You can use the Text tool to select the Text in the Composite window. For more information, see “Working with the Text Tool” on page 417. Selecting Text While you are creating text effects, you can select and edit the text it contains.
Chapter 8 Working with Text Previewing Text The Style Preview menu lets you set the style that is display in the text preview area. The Scale menu sets the size of the text in the preview window to a percentage of its actual size. Use smaller scales to work with large bodies of text or to speed previews.
Using the Text Window Working with Tabs The text preview area is bordered by rulers to help you precisely position your text. The white region of the rulers indicates the boundaries determined by the Page Width control. For more information, see “Setting Up a Text Page” on page 406. Tabs are markers that let you control the spacing between text. n Tabs apply globally to the Text window. You cannot create different tabs to use with different lines of text.
Chapter 8 Working with Text Tab justified right Tab justified left Importing Text Files You can import Rich Text Format files for use in Avid FX. When you import a text file into the Text window, all the style settings in the original file are retained. n Tip: Instead of importing files, you paste text that is copied from another program. To import a Rich Text Format file: 1. Click the Import File button. 2. In the Open dialog box, select a text file to import.
Using the Text Window Font size menu Style buttons Font menu Style tab Fixed Width option Size buttons Font buttons The Font menu lists all fonts available on your system. You can also choose fonts from the Style Palette. For more information, see “Font Styles” on page 454. n On Windows systems, the Font menu is a scrolling list. To apply styles: 1. Select a font from the Font menu. Use the Font buttons to browse through the list of available fonts.
Chapter 8 Working with Text Center Justification Right Justification Left Justification Force Left Justification Force Right justification Force Center An example of the various justification styles follows. 9. To change the spacing between the characters, enter a value in the Tracking field or adjust the slider. This parameter affects the text globally, regardless of which characters are currently selected. n Tracking is not animatable.
Using the Text Window 13. Set the Style Skew Y to 50. T 14. Adjust the Style Baseline to change the vertical position of the selected character(s) in relation to the baseline of the text. 15. Adjust Style Scale X and Style Scale Y to set the scale of the selected character(s) along the horizontal and vertical axis. 16. To adjust a complex text style, select Style Hue to shift the hue of all color values in the text style an equal amount.
Chapter 8 Working with Text n When you create a new text style, if Style Hue is not set to zero, color parameter manipulations do not match the text appearance. You should leave Style Hue set to zero when designing text styles. Then adjust Style Hue as a final step to avoid confusion. For more information on animating style parameters, see “Text Tracking and Scaling” on page 433.
Using the Text Window 3. Adjust the Text Width, so that the line breaks at the end of each word. 4. Select the Top Down Text option. Adding Fill The Fill tab lets you set the fill and opacity of text and add gradients. n Fill tab parameters do not apply to Text media used with the 3D Extrusion shape. Instead, use the 3D Extrusion’s Materials tab to apply media or colors to the faces of the text. For information, see “Applying Materials in 3D Space” on page 327. Fill tab To add fill to text: 1.
Chapter 8 Working with Text 6. Adjust the gradient parameters and select the Live Update option, so that the Composite window updates as you make changes to the Gradient Editor. Click OK. See “Creating Gradients” on page 101. For more information, see “Working with Title Containers” on page 422. For information on animating gradients, see “To animate a color stop:” on page 111. Apply Style button To apply a color gradient from the Style Palette: 1. Click the Style Palette button. 2.
Using the Text Window n n The Border tab parameters do not apply to Text media used with the 3D Extrusion shape. To animate text borders, create text without borders in the Text window. Apply and animate borders using the parameters in the Border tab (Control window). For more information, see “Adding Borders to Text” on page 434. Border tab To add borders to text: 1. Click one of the numbered Border Style tabs to create a new border style. 2.
Chapter 8 Working with Text 9. Set the Highlight Color to adjust the color of the lightest parts of the bevel. 10. Set the Shade Color to adjust the color of the darkest parts of the bevel. 11. Set the Highlight Angle to change the angle between the highlights and the horizontal axis. 12. Adjust the Outside Color to set the color of the soft edges of the border. 13. Adjust the Radial Fade to control the opacity of the outer edge of the border.
Using the Text Window Shadow tab The Shadow tab parameters do not have tracks in the timeline and are not animated. If you want to animate text shadows, create text without shadows in the Text window. You can then apply and animate shadows using the Controls window, Shadow tab. n The Shadow tab parameters do not apply to Text media used with the 3D Extrusion shape. Instead, use the 3D Extrusion’s Shadow tab to apply shadows to the text. For more information, see “Adding Shadows” on page 315.
Chapter 8 Working with Text 8. Rotate the Shadow Angle to adjust the angle between the shadow and the horizontal axis of the text. 9. If you set the Shadow type to Solid shadows, set the Highlight Color to vary the color of the highlighted areas of the shadow. 10. Set the Shade Color to adjust the color of the shaded areas of the shadow. For more information on the Shadow parameters, see “Shadow Tab Parameters” on page 479.
Using the Text Window 12. Open a track in the Text window and do the following: • Select the text. • Select the Color tab and set the Style Color. • Click the Update button to apply the changes and close the Text window. 13. Select the Starring track and choose Track > New Shape > 3D Plane or click the Add 3D Plane button in the timeline. A new track appears beneath the Produced by track. 14. Rename this track Producers. 15. Change the media for the Producers track to Text. 16.
Chapter 8 Working with Text 18. Rename this track Stars. 19. In the Text window, do the following: • Type the letter “x” twenty times. • Press Return. • On the second line, type the letter “x” twenty more times. • Click the Update button. • Close the Text window. n Because text lines have not been positioned, they initially appear on top of each other in the Composite window. 20.
Using the Text Window • Position Y: 380 • Interpolation type: Hold (for both parameters) Your Composite window should now look like this: 26. Shift-click to select all of the tracks in the timeline except the Background track and select Track > New 3D Container. A new Container track appears as the top track in your timeline with the selected tracks nested within it. 27. Select File > Save Project As. 28. Name the project Credits Template.
Chapter 8 Working with Text To create text in a word processing program: 1. In a word processing program, type the following: Edited by Alison Smith Produced by Will Jones Catherine Adams Susan Vose Starring Jeanine Brennan Sam Hegg n The text after characters is inserted onto the next Avid FX track in your template. The text after characters appears on the same Avid FX track, on a new line. 2.
Working with the Text Tool Working with the Text Tool Avid FX lets you create text using two different methods. Instead of creating text in the Text window, you can use the Text tool to type text directly over the image in the Composite window. Or you can create text in the Text window. The Text tool lets you accurately position text over a background image.
Chapter 8 Working with Text Using the Text Tool When using the Text tool to create text, the text appears in the Composite window with the last used text style, and a new Text track appears at the top of the timeline. A small square, called the Baseline Indicator, shows the text baseline and justification. The Baseline Indicator only appears if you selected the Snap to Grid or Snap to Guide option. For more information, see “Using Grids and Guides” on page 55 and “Using Grids and Guides” on page 55.
Working with the Text Tool To reposition the text: 1. In the Tool window, select the Solid Arrow tool. 2. In the timeline, select the text’s Face track. 3. In the Composite window, select the text and drag it to a new location. Editing Text Using the Text Tool You can edit text that was created with the Text tool by using the Text tool to select the appropriate characters. You can also edit the text in the Text window. For more information, see “Formatting Text in the Text Window” on page 420.
Chapter 8 Working with Text To format text: 1. In the timeline, select the Text Face track to view the Text Media Control tabs in the Controls window. 2. Use the parameters in the Transform, Fill, Border and Shadow tabs to apply styles to all the characters in the text—see “Working with Title Containers” on page 422. Formatting Text with the Style Palette You can apply styles from the Style Palette to individual characters or to the entire text track.
Working with the Text Tool Justifying Text Created with the Text Tool When you use the Text tool to create text, the text uses the justification of the last used text style. You can change this using the Justification buttons in the Text window or the Transform tab. To access the Justification buttons in the Text window: • Double-click the text’s Shape track. To access the Justification buttons in the Transform tab: • Select the text’s Face track and click the Transform tab in the Controls window.
Chapter 8 Working with Text Working with Title Containers Add Title Container button Title containers enable you to easily animate one or more text tracks. The title container keyframes the text tracks within to roll or crawl across the screen, zoom in, fade up and down, or shuffle on and off the screen. This container aligns and animates the title pages so that you do not have to set keyframes in the timeline.
Working with Title Containers 1. Create title pages by setting the track media type to Text. The Text window opens. You can type, import, and edit text, and control font, size, justification, color, opacity, spacing, shadows, and borders. The parameters in the Text window are applied on a per character basis—see “Creating a Text Effect” on page 397. 2. Create a title container. Drag one or more title pages into the title container to animate them.
Chapter 8 Working with Text Creating a Roll A roll typically contains the titles or credits of a program. You can create a traditional roll in which a title moves from the bottom of the screen to the top. A roll moves all of the tracks in the title container up the screen in the order they appear in the container. To create a roll: 1. Create the text to roll in a Title Container—see “Creating Text Animation” on page 422. 2. Select the Maintain Speed option to manually adjust the speed of the tracks.
Working with Title Containers Creating a Crawl A crawl moves all the tracks in the Title Container horizontally across the screen in the order that they appear in the Title Container. To create a crawl: 1. Create the text to crawl in a Title Container—see “Creating Text Animation” on page 422. 2. Select the Maintain Speed option to manually adjust the Speed of the tracks. Speed has no affect if Maintain Speed is deselected. Speed pix/sec adjusts the speed at which each track crawls across the screen. 3.
Chapter 8 Working with Text n You cannot animate Speed, Mask, and Blend settings; so these parameters do not have corresponding tracks in the timeline. Creating a Fade A fade gradually brings in or out all the tracks in the order they appear in the Title Container. If you adjust settings in the Control window, you set Opacity keyframes in the text tracks allowing you to easily control the duration of the fades. To create a fade in or out: 1.
Working with Title Containers Hold Frames controls the number of frames each track remains at full Scale after it zooms in. When Animation Style is set to Zoom, Avid FX adjusts the number of Hold Frames to fit the number of tracks in the title container and the duration of the effect. 3. Set the number of frames each track takes to zoom in by changing the In Rate setting. The Scale value ranges from 100 to 0. 4.
Chapter 8 Working with Text 6. Set the number of frames each track takes to move offscreen from the center of the Container by changing the Out Rate setting. 7. Set Cross Rate to determine the number of frames each track overlaps the following track. A value of 0 causes each track to move offscreen completely before the following track moves on. 8. Increase Cross Rate to increase the number of frames in which the tracks overlap. 9.
Working with Title Containers • Container, Faces, and Filters: Applies motion blur to the entire container. 6. Select the Use Adaptive Motion Blur for 3D Planes option to reduce rendering time for effects that move slowly and then quickly offscreen. n The 3D Planes – Motion Only option must be selected in the Apply Motion Blur to menu. For details on the Motion Blur parameters, see “Motion Blur Tab Parameters” on page 475.
Chapter 8 Working with Text 3. To set the background color, click the color chip to access the system color picker or use the eyedropper to choose a color from the screen. 4. Select the 1:2:1 Deflicker option to apply a vertical blur to the effect, eliminating flickering in rolls and reducing jagged edges. n Do not also set the 1:2:1 Deflicker option in the Preferences window. For details on the Render tab parameters, see “Render Tab Parameters” on page 478.
Converting a Text Track into a Container Converting a Text Track into a Container Converting a single text track into a container puts each individual character into its own track, which lets you easily position each element separately. Then you can simultaneously animate individual characters at the track level and animate the entire text at the container level. The X was rotated and lowered. The container was spun.
Chapter 8 Working with Text You can now animate each character individually by animating that character’s Media and/or Shape track. You can also animate the entire text effect by animating the container. Adding Effects to Text When you select the Text track or Text Face track in the Timeline, the Text Media control tabs appear in the Controls window. These tabs allow you to animate the text, put the text on a path, create type-on or jitter animation, randomize the text, and create text backdrops.
Adding Effects to Text When you work with the 3D Line Art shape, the Transformations tracks do not include a track that corresponds to the Layer tab. The parameters in this tab are not available when you work with the 3D Line Art shape. n To export text as Flash, you must use the 3D Line Art shape. You can drag Text tracks into Mask tracks to quickly create masks or transitions. For more information, see “Applying a Mask to a Track” on page 180.
Chapter 8 Working with Text Setting Text Fill and Opacity You can set the text fill and opacity to determine the fill type and its transparency. When you use the parameters in the Fill tab (Controls window), they apply to all characters and are animatable. If you want to apply a different fill type to individual character, use the Fill parameters in the Text window. For information, see “Adding Fill” on page 407.
Adding Effects to Text Border Style tabs For detailed information on the Border tab parameters, see “Border Tab Parameters” on page 465. Adding a Motion Path After you’ve created text, you can wrap it around a spline object and then animate it. Track Selector button To create text on a path: 1. Create a text track—see “Creating a Text Effect” on page 397. n Make sure Text Wrap is set to No Wrap. For more information, see “Setting Up a Text Page” on page 406. 2. Select the Text track in the timeline.
Chapter 8 Working with Text 3. Click the Track Selector button in the Controls window or press F. The text media control tabs appear in the Controls window. 4. In the Path tab, select the Make Path Track. A Path track appears in the timeline. 5. Select the Path track in the timeline. The Tool window opens. 6. Select a tool and draw a spline in the Composite window. These examples show an oval drawn with the Oval tool. 7.
Adding Effects to Text • Line to apply the effect to individual lines. 3. From the Order menu, select one of the following: • Forward to type the text from left to right. • Reverse to type the text from right to left. • Random to type the text randomly. 4. Select the Text Type On option and adjust the percentage that the text is visible in each frame. For detailed information on the Type-On parameters, see Type-On Tab Parameters on page 489.
Chapter 8 Working with Text • Negative Only: Restricts the parameters to only allow values that are lower than the original. 8. Use the Polarize controls to alternate the jitter parameters for characters. At higher values, every other character alternates. 9. Set the Master Jitter amount to scale all jitter parameters globally. For detailed information on the Jitter tab parameters, see “Jitter Tab Parameters” on page 473.
Adding Effects to Text • Random Style is similar to Style Shift except that it randomizes the styles instead of moving from left to right. Use multiple styles. • Style Shuffle randomly shuffles the styles assigned to each character to that of another style used in the Text window. Use multiple styles. • Style by Word looks at the style of the first letter of each word and assigns that style to entire words at random.
Chapter 8 Working with Text For detailed information on the Generator tab parameters, see “Generator Tab Parameters” on page 469. Setting Generated Text Generated text ignores user input except for style properties. The idea is to mimic large bodies of text (sometimes called Greek text in page layout programs) or to create design elements and background with text shapes. To create text design elements: 1. From the Generator Type menu, select Generated Text. 2.
Adding Effects to Text • Non Alpha randomly displays only non-alpha-numeric characters such as punctuation marks and symbols. • All Printable randomly displays all the characters on the keyboard, with randomly mixed cases. • User Text Characters randomly displays only the characters that appeared in the Text window. 7. To vary characters from frame to frame, enter a value in Scramble Letters. For detailed information on the Generator tab parameters, see “Generator Tab Parameters” on page 469.
Chapter 8 Working with Text 6. Select the Leading Zeros option to display zeros before the number. Allow Negative checkbox allows negative numbers. 7. Select the Scramble Letters option to randomly vary the numbers from frame to frame. For detailed information on the Generator tab parameters, see “Generator Tab Parameters” on page 469. Generating Numbers Choose Numbers from the Generator Type menu.
Adding Effects to Text Setting Timecode To generate timecode: 1. From the Timecode Type menu, select PAL, NTSC, or Drop Frame (NTSC) to display the Timecode format. NTSC Drop Frame 2. Adjust the Start Hours, Start Minutes, Start Seconds, and Start Frames parameters to set the appropriate timecode. 3. Set Scramble Letters to randomly vary the numbers from frame to frame. For detailed information on the Generator tab parameters, see “Generator Tab Parameters” on page 469.
Chapter 8 Working with Text To map media to text: 1. From the Texture track, select a media type from the Media icon. 2. Select the Text track’s Face track to display the Text controls in the Controls window. 3. Click the Texture tab. The Map Method menu controls how the media is mapped onto the text. 4. From the Map Method menu, choose one of the following: • Tile repeats the texture image on the face of the text.
Adding Effects to Text Adding Color Backdrops to Text Adding a color backdrop to text dramatically changes the look. To add a backdrop, you’ll be using the Backdrop track, a Spline Primitive media track that appears below the text’s Face track in the timeline. You can add a border and set the fill using Border and Fill tabs. The backdrop resizes if you change the size or amount of the text. n n Tip: You can map media to the text backdrop by using the Apply To menu in the Texture tab.
Chapter 8 Working with Text • Increase positive Shift Y values to move the backdrop up. • Decrease negative Shift Y values to move the backdrop toward the bottom of the screen. n You can also create a backdrop using the Layer tab. When you use the Layer tab, a track is not created in the timeline, so you cannot animate any of the parameters. For information, see “Creating a Text Backdrop with the Layer Tab” on page 446.
Adding Effects to Text To add a color background to text: 1. Click the color chip to access the system color picker. 2. Use the eyedropper to choose a color from the screen. n The parameters in this tab depend on the Media type. The Layer tab shows the options for Text, Spline, and Spline Primitive media. Color, Gradient, and Natural media include only the Size X and Size Y parameters.
Chapter 8 Working with Text 3. Click the color chip to access the system color picker or use the eyedropper to choose a color from the screen. 4. Use the Bkgrd Opacity controls to adjust the transparency of the background. 5. Select the Invert Alpha option if you want to invert the background’s alpha channel. 6. Use the Size X and Size Y controls to adjust the size of the background track. 7. Select the Force Size option to set the background size to the size of the project media.
Converting Text and Text Backdrops to Spline Objects The paths which comprise the text characters are visible in the Composite window. In the following example, each character is selected with the Pen tool, so the control points are visible. 5. Edit and animate the splines as you would any other spline media. In the following example, a control point in the letter E is converted from a linear to a curve point. Pen tool button Preview button To create an animating backdrop: 1.
Chapter 8 Working with Text Media icon 3. Select the Pen tool in the Tool window—see “Using The Tool Window” on page 524. 4. Select the Spline object in the Composite window. The Spline objects default control points display. 5. You can now use the Pen tool to manipulate the Spline Object. n The wireframe spline object you manipulate is the same object as the shape outlining your text. However, it displays at the shape’s original scale.
Converting Text and Text Backdrops to Spline Objects 3. Select one of the tools in the Tool window and draw a shape. 4. Use the Hollow Arrow tool to select objects and select one of the following: • To connect two objects, select Tools > Path > Combine Contours or press Alt+Shift+C. • To disconnect two objects, select Tools > Path > Split Contours or press Alt+Shift+S. For more information on the Pen tool, see “Using The Tool Window” on page 524.
Chapter 8 Working with Text Working with the Style Palette The Style Palette allows you to save and categorize styles for text, color, gradient, natural, spline, brush, material, and extrusion for future use. Styles let you work more efficiently. To open the Style Palette, do one of the following: • Select Window > Show Style Palette. • Press Ctrl+7. • In the Text window, click the Style Palette button.
Working with the Style Palette Add Style button To add styles to text: 1. From the timeline, select a text track and open the Text window. 2. Use the parameters in the Text window to adjust the style as desired. Select the appropriate characters. 3. Click the Style Palette button to open the Style Palette. The Apply controls lets you select the attributes of the current style to save as a new style. 4. In the Text tab of the Style Palette, click the Add Style button.
Chapter 8 Working with Text Font Styles The Style Palette lets you save thumbnails of all the available fonts on your system in the Fonts tab. You can also use the Use Fonts in Font Menu option to display each available font using the corresponding font instead of the system font in the Text window’s font menu. However, selecting this option increases the display time for the font menu. When you access this tab for the first time, you must add a category.
Working with the Style Palette 3. Open the Style Palette. 4. In the Natural or Gradient tab, click the Add Style button. The current style in the Controls window is added to the selected category in the Style Palette. 5. Name the style. Brush Styles Once you are satisfied with a particular brush style, you can save it. Brush tool button Pencil tool button Add Style button To create brush styles: 1. Select the Brush or Pencil tool in the Tool window.
Chapter 8 Working with Text Add Style button To create spline styles: 1. Create a spline object—see “Creating Spline Objects” on page 522. 2. Select the Hollow Arrow tool in the Tool window. To open the Tool window, choose Window > Show Tool Window or type Ctrl+6. 3. Select the spline in the Composite window. 4. Open the Style Palette. 5. From the Spline tab in the Style Palette, click the Add Style button. The style is added to the selected category in the Style Palette. 6. Name the style.
Working with the Style Palette Organizing Styles Once you have created some styles, you’ll want to organize them efficiently. Using the Add Category, you can create categories to organize your styles. For example, to use a group of styles in one project, create a category for that project. The Style Palette must include at least one category for you to create new styles. To create a new category: 1. Click the Add Category button. 2. Enter a new category name which then appears in the category menu. 3.
Chapter 8 Working with Text 3. Click the Thumbnail Background button to switch between a black background and a checkerboard. The checkerboard is useful if your style is very dark. For example, black text is easier to see over the checkerboard. Editing Styles You can edit styles directly in the Style Palette using the Edit Selected Style button. This applies to Gradient, Color, Natural, Spline, Material, Bump Map, Extrusion and Brush styles.
Working with the Style Palette If you select a Gradient style and click the Edit Selected Style button, the Gradient Editor opens. 3. Make the appropriate changes and click OK. Renaming Styles At times, you may want to rename some of the styles you created. Rename Style button To rename a style: 1. Select the style’s thumbnail. 2. Click the Rename Style button. 3. Enter a new name for the style and click OK. n Tip: You can also select the style, press Enter, type a name and press Enter.
Chapter 8 Working with Text Delete Style button To delete a style: 1. Select the style’s thumbnail. 2. Click the Delete Style button. The style’s thumbnail is deleted from the Style Palette. Applying Styles There are many styles you can add, depending on the type. There are text, color, natural, extrusion, gradient, spline, brush, material, and bump map styles.
Working with the Style Palette • Click to select the thumbnail and click the Apply Style button. • Double-click the thumbnail for the style you want to apply. To apply text styles from the Text window: 1. In the Text window, select the appropriate text. 2. Select individual characters or press Ctrl+A to select all text. 3. Click the Style Palette button at the bottom of the Text window. 4. In the Text tab in the Style Palette, select the parameters to apply.
Chapter 8 Working with Text To apply a Natural style to text, you must create a texture track of the Natural media type and apply the style to the texture track. To apply a Natural style to the face of a shape track (for example a Cube or Cylinder), map Natural media to a face and apply the style to it. Apply Style button To add styles to media tracks: 1. In the timeline or the Composite window, select a Shape track. 2. Open the Style Palette. 3.
Working with the Style Palette Applying Brush Styles You can apply brush styles in the Composite window. Apply Style button To add Brush styles: 1. Select the object to which you want to apply the material in the Composite window or the timeline. 2. Open the Style Palette. 3. In the Brush tab in the Style Palette, do one of the following: • Double-click the thumbnail for the style you want to apply. • Select the thumbnail and click the Apply Style button.
Chapter 8 Working with Text To use context menus: 1. Right-click a file to open its context menu. 2. Choose one of the following: • Apply applies the style to the selected object • Rename lets you rename the style in the Style Palette. • Delete removes the style from the Style Palette. • Properties opens a dialog box with information about the style. When you finish.
Working with the Style Palette Reference: and Titling Animation Tab Parameters Parameter Description Acceleration Lets you gradually accelerate the effect. Overshoot Creates bouncing animation. Decay Works in conjunction with the Overshoot parameter. Seed Varies the amount of animation from frame to frame. Velocity Determines the speed of the Jitter X and Jitter Y parameters. Jitter X Jitters the text position on the X axis. Jitter Y Jitters the text position on the Y axis.
Chapter 8 Working with Text Parameter Description Edge Style Controls the style of the border. The options include: Plain: Applies a flat border to the text. Bevel: Creates a beveled border effect. Radial: Creates a glowing border effect. Position Sets the location of the border. The options include: Inside: Positions the border on the inside of the edges of the selected character(s). Outside: Positions the border on the outside of the edges of the selected character(s).
Working with the Style Palette Parameter Description Edge Softness Softens the border edge. A value of 0 creates a border with a hard edge. Raise to increase softness. Cap Controls the shape of the ends of the border. The options include: Flat: Creates flat ends. Round: Adds a circular cap to the end of the stroke that slightly lengthens the stroke and creates a rounded end.
Chapter 8 Working with Text Composite Tab Parameters Parameter Description Apply Mode Determines how the tracks in the title container are composited over objects below the container in the timeline. Apply Mix Blends the Apply Mode setting with the Apply Mix From menu setting. Use Apply Mix to soften the effect of an Apply Mode. Brightness Adjusts the brightness of the container after it is composited over the background objects.
Working with the Style Palette Fill Tab Parameters Parameter Description Fill On Select to create filled text. Deselect to create transparent text. Style Opacity Adjusts the opacity of the selected character(s). Text Fill • A setting of 100 makes the text opaque. • A setting of 0 makes the text transparent. Determines the type of media applied to the face of the text. The options include: Color: Use the selected style color. Use with the color chip or eyedropper to select a custom color.
Chapter 8 Working with Text Parameter Description Variation Mode Varies the appearance of the text. Alphabetical Text: Uses only alphabetical characters offset by the Letter Variation amount. Random Text: Uses only alphabetical characters but the characters are randomized. Random User Text: Uses only the alphabetical characters that are included in the original user text. Uses only a, b, c, d, e, g, h, i, l, n, p, r, s, and t.
Working with the Style Palette Parameter Description Line Length Lets you set the character line length. Line Count Lets you set the number of lines. Word Break Lets you set the number of characters before a word break occurs. To add word breaks, enter a value. Tip: A value of 10 does not create word breaks. Lesser values create word breaks. Random Numbers Generates random numbers Random Seed Randomly varies numbers from frame to frame.
Chapter 8 Working with Text Parameter Description Short Weekday Displays the accepted abbreviation for the weekday. For example Tues. instead of Tuesday. Does not display if Display Weekday is not selected. Display Day Displays the day. Short Month Displays the accepted abbreviation for the month. Display Weekday Displays the weekday. Short Date Displays the accepted abbreviation for the date. For example 12/13/2004 instead of December 13, 2004. Display Hour Displays the hour.
Working with the Style Palette Parameter Description Start Seconds Sets the second at which the timecode starts. Start Frames Sets the frame at which the timecode starts. Scramble Varies the characters from frame to frame. Jitter Tab Parameters Parameter Description Jitter Seed Varies the amount of jitter from frame to frame. You cannot animate this parameter. Jitter Speed Varies the speed of the jitter.
Chapter 8 Working with Text Parameter Description Polarize Alternates the jitter parameters for characters. At higher values every other character alternates. Master Jitter Amount Scales all jitter parameters globally. Layer Tab Parameters Parameter Description Background Color Sets the color of the background layer. Background Opacity field and slider Sets the opacity of the background layer. The value expressed as a percentage.
Working with the Style Palette Motion Blur Tab Parameters Parameter Description Enable Motion Blur Select to apply motion blur to the container. Shutter Angle Sets the amount of time the shutter is open in a normal camera. Default is 180o. Smoothness • Increase the angle to get a wider blur. • Decrease the angle to get a thinner blur. • Set to 360o to get the smoothest motion. Determines how many samples are taken between the time the shutter is open and the time it closes.
Chapter 8 Working with Text Parameter Description Use Adaptive Motion Blur for 3D Planes Reduces the number of snapshots taken when 3D Planes move slowly, reducing rendering time for effects that move slowly and then quickly offscreen. Requires Apply Motion Blur to menu set to 3D Planes – Motion only. Path Tab Parameters 476 Parameter Description Make Path Track Select to create a Path track. On Path Motion Adjusts the position of the text on the path.
Working with the Style Palette Parameter Description Alignment Sets justification of text on the path. Left: Aligns the text so that each line starts at the beginning of the path. Default. Center: Centers the text on the length of the path. Right: Aligns the text so the end of the line matches the end of the path. Distribute: Justifies the text along the length of the path by adjusting the space between characters. Reverse Path Select to map the text to the underside or inside of the path.
Chapter 8 Working with Text Render Tab Parameters Parameter Description Color Background Select to create a solid background in the chosen color. Background Color Click to select the color picker. 1:2:1 Deflicker Applies a vertical blur to the effect that helps eliminate flickering in text rolls and reduces jagged edges on moving graphics with hard edges. n Do not also set the 1:2:1 Deflicker option in the Preferences window.
Working with the Style Palette Parameter Description Angle Determines the direction of the drop shadow. • A setting of 0o places the shadow to the right of the text. • A setting of 90o places it directly beneath the text. Style Palette Controls Button Description Thumbnail Background Lets you choose to display the style over a checkerboard or a solid black color.
Chapter 8 Working with Text Parameter Description Shadow Type Determines the type of shadows that are created. The options include: Drop Shadows: Fall a specified distance from the object. Cast Shadows: Appear to fall on another object. Requires Distance. Solid Shadows: Simulate the appearance of a 3D object by applying a gradient to a shadow. • Highlight Color sets the color of the highlighted areas of the shadow. • Shade Color sets the color of the shaded areas of the shadow.
Working with the Style Palette Parameter Description Draft Typing Does not display shadows, borders, and some text transformations while you type. Once you finish typing, the text updates with all styles. Draft Typing speeds previews, but still allows you to preview text as it will appear in the Composite window. Text Window Menu Parameter Description Cut Deletes the selected text and saves it to your Clipboard. Copy Copies the selected text.
Chapter 8 Working with Text Parameter Description Tile Repeats the texture image on the face of the text. When you select Tile, decrease the Scale X and Scale Y parameters to better see the tiled image within the text. Position X and Y Lets you move the center of the texture image along the X and Y axis. This repositions the texture within the text. Scale X and Y Lets you change the size of the texture image along the X and Y axis. Apply To Lets you apply the texture media to the text or backdrop.
Working with the Style Palette Parameter Description Style buttons Apply styles to selected characters. The styles include: Style Skew X, Style Skew Y • Normal • Bold • Italic • Underline • Superscript • Subscript Distort the selected characters along the horizontal and vertical axis. Style Skew Y Style Skew X Style Hue Affects the color value of all the style elements with a single parameter. Acts as a filter changing the appearance of the overall text.
Chapter 8 Working with Text Parameter Description Tracking Adjusts the spacing in pixels between the characters in the Text window. Style baseline Adjusts the vertical position of the selected characters in relation to the baseline. • Increase the value to raise the character above the baseline. • Decrease the value to lower the character below the baseline. Kerning Adjusts the spacing, in pixels, between the selected group of characters.
Working with the Style Palette Fill Tab Parameter Description Fill On Select to turn off the fill. Deselect to use the Text window fill option. Blend Type Determines how the Fill Type is blended if any characters overlap each other. The options include: Normal: Uses the Normal Apply Mode. Add: Uses the Add Apply Mode. Subtract: Uses the Subtract Apply Mode. Fill Opacity Adjusts the opacity of the fill. A value of 100 makes the text opaque. A value of 0 makes the text transparent.
Chapter 8 Working with Text Parameter Description Position Sets the location of the border. The menu options include: Inside: Positions the border on the inside edges of the selected character(s). Outside: Positions the border on the outside edges of the selected character(s). Center: Centers the border over the edges of the selected character(s). Half of the border is on the inside edge and half is on the outside edge. Edge Softness Softens the edge of the border.
Working with the Style Palette Parameter Description Shadow Color Sets the color of the shadow. Use one of the methods to select the color. Color chip: Click to access the color picker. RGB values: Enter values in the numerical fields. Eyedropper: Click on the screen to select a color. Shadow Distance Shadow Opacity Shadow Softness Shadow Angle Sets the distance between the shadow and the text. • A lower value offsets the text slightly.
Chapter 8 Working with Text Transform Tab Parameters Parameter Description Tracking Controls the global horizontal spacing of the characters in the effect. Leading Adjusts the spacing between multiple lines of text. Applies to all lines and is animatable. Baseline Adjusts the vertical position of the selected character(s) in relation to the baseline of the text. • Decrease this value to move the bottom of the character beneath the baseline.
Working with the Style Palette Type-On Tab Parameters Parameter Description Apply To menu Determines how to apply the type on animation. The options include: Letter: Applies the effect to individual characters. Word: Applies the effect to individual words. Words are characters separated by a space. Line: Applies the effect to individual lines. Lines are characters separated by a space. Order Allows you to control the order in which the text types on.
Chapter 8 Working with Text 490 Parameter Description Tumble, Spin, Rotate Set the starting values for the characters in relation to the final values. Controlled by the Letter Tumble, Letter Spin, and Letter Rotate values in the Text Transformations tab and by the Tumble, Spin, and Rotate controls the Shape track’s Position tab. Jitter Position Randomizes the position of the individual text characters on the X and Y axes. Jitter Angle Randomizes the angle of the individual text characters.
Chapter 9 Motion Tracking Avid FX provides sophisticated tools to track or follow motion in an video or image sequence. There are three effects or filters to assist you: Corner Pin Tracker, Motion Stabilizer, and Motion Tracker. • Generating the Motion Path • Working with the Corner Pin Tracker on page 497 • Working with the Motion Stabilizer on page 500 Generating the Motion Path You can generate motion path data by estimating the motion of an object in a media file.
Chapter 9 Motion Tracking To use the Motion Tracker: 1. Load the media to track into the Source track and set up the timeline to produce the desired effect. The hierarchy of shape and filter tracks in the timeline, and the location of the Motion Tracker filter track in this hierarchy, determines how the tracker data is applied—see “Creating Motion Tracker Effects and Applying Tracker Data” on page 493 2.
Generating the Motion Path Creating Motion Tracker Effects and Applying Tracker Data This section provides information on how to apply the Motion Tracker to the timeline to produce different effects. Other timeline configurations are possible; these are simply the most common applications. Using Motion Tracker Data in a Shape Track You can have one shape track (for example, a text track or a spline object) and follow a moving point in another file. To use Motion Tracker data in a shape track: 1.
Chapter 9 Motion Tracking Using Motion Tracker Data in a Filter Track You can follow a moving point in a file. This technique is useful when using a filter that has position controls, (for example, Spotlight, Bulge, or Ripple). For example, you could track a logo on a t-shirt and then use the Mosaic filter to make the logo unrecognizable. You can also use this technique in filters that have a PixelChooser tab, since the PixelChooser contains position controls.
Generating the Motion Path Setting Target and Search Regions Once you set up the timeline to produce the desired effect, you need to specify which point or points you want to track. For each tracker you are using, a Target and Search region can be defined in the source track. The Target region indicates the area in the media to track. The Search region indicates the area in the media that the filter should search for the target. To set Target and Search regions: 1.
Chapter 9 Motion Tracking • If your image does not contain a high-contrast object to track, apply an Unsharp Mask or Bright/Contrast filter to the Source track to increase the contrast for better results. • Work at High Quality and Full Resolution for the best results.You can work at Half or Quarter Resolution to preview the motion path. If the tracker fails repeatedly, you may have to work at Full Resolution.
Working with the Corner Pin Tracker Manually Correcting Errors If the Tracker cannot locate the Target region in the Search region during analysis, errors can occur.
Chapter 9 Motion Tracking The Corner Pin Tracker and Motion Tracker filters share many common parameters, since both filters employ motion trackers to produce effects. The main difference is that the Motion Tracker uses motion data to affect a variety of shape and filter parameters in other tracks in the timeline, while the Corner Pin Tracker has a more narrow focus. You can only apply data created with the Corner Pin Tracker filter to the media in the Corner Pin Source track.
Working with the Corner Pin Tracker Setting Target and Search Regions Once you set up the timeline to produce the desired effect, you need to specify the points that you want to track. For each of the four trackers, a Target and Search region must be defined in the Motion Tracker Source track. The Target region indicates the area to track. The Search region indicates the area that the filter should search for the target.
Chapter 9 Motion Tracking • The Search region should be large enough to accommodate the movement of the Target region in the subsequent frame. However, processing time increases as the size of the Search region increases, so do not make the Search region unnecessarily large. • If your image does not contain a high-contrast object to track, apply an Unsharp Mask or Bright/Contrast filter to the Source track to increase the contrast for better results.
Working with the Motion Stabilizer To use the Motion Stabilizer filter: 1. Apply the Motion Stabilizer filter to a shape track in the timeline. Expand the Motion Stabilizer filter track to reveal the nested Source track. Import the media you want to stabilize into the Source track. 2. Click the Preview Monitor icon in the Motion Stabilizer filter track to open a Preview window.
Chapter 9 Motion Tracking Motion Filters This section contains reference information about Motion filters. • Motion Tracker on page 502 • Motion Stabilizer on page 509 • Corner Pin Tracker on page 515 Motion Tracker The Motion Tracker filter allows you to generate motion path data by estimating the motion of an object in a media file. You can then use this data to control the motion of another aspect of the effect.
Working with the Motion Stabilizer Parameter Description Tracker tab option Select to enable the corresponding motion tracker. Deselect the option to disable the tracker. Color controls set the color for the Motion Tracker’s onscreen Search and Target regions. This color is used to draw the motion path created when the tracker data is generated. If you are using multiple trackers, choose a different color for each to help identify each tracker in the Preview window.
Chapter 9 Motion Tracking Parameter Description Region Zoom menu Select an option to zoom in on the Target region in the Preview window, enabling you to precisely position the Target. The options include: Off. Uses the normal magnification. 2x, 3x, 4x, 5x, 6x, 7x, 8x. Use the corresponding amount of magnification. The first illustration shows Region Zoom set to Off and the second shows Region Zoom set to 6x.
Working with the Motion Stabilizer Advanced Tab (Motion Tracker) The Advanced tab allows you to fine tune the motion tracking for more accurate results. You can often adjust a failed tracker by increasing the Failure Threshold value. Typically the Failure Threshold accuracy should be at least 90 percent for an accurate result. It is also recommended that the Failure Threshold is close to or slightly below the Auto Update Threshold value.
Chapter 9 Motion Tracking Parameter Description Target Update Criteria menu Determines how often the motion of the target is estimated. The choices include: Always Update. Creates the motion estimation between two adjacent frames in time. No Update. Creates the estimation between the frame at the keyframe and the current frame. If your target object does not change through the course of the video, use the No Update or Auto Update option. Auto Update.
Working with the Motion Stabilizer Apply Tab (Motion Tracker) The Apply tab allows you to apply the motion data created by the Motion Tracker filter. Parameter Description Apply Tracker Data To menu Select an option to apply the filter to the timeline. The options include: Position. Applies the result to the Position X and Position Y of the Shape track. Position adjusts the location of the shape. Pivot. Applies the result to the pivot point of the Shape track.
Chapter 9 Motion Tracking Parameter Description Alpha Spotlight: Near Corner. Sets the point in the lit region that is closest to the light source. Far Corner sets the point in the lit region that is farthest from the light source. Displace Light displaces the Near and Far Corners by the same amount. Bulge: Center. Positions the center of the bulge or depression. Pin 1 Point and Pin 2 Point set the position of the Pin 1 and Pin 2 points. Burnt Film: Position.
Working with the Motion Stabilizer Parameter Description Ripple: Center. Sets the position of the center of the ripple. Pin 1 Point and Pin 2 Point set the position of the Pin 1 and Pin 2 points. Scatterize: Center. Positions the center of the effect when Scatter style is set to Radial. Snow: Pan. Adjusts the perspective view of the effect. Sparks: Producer. Sets the coordinates of the sparks’ source point. Spotlight: Light Source. Sets the position of light source.
Chapter 9 Motion Tracking Parameter Description Analyze All option Select to create data for all active trackers when you click the Analyze button. Deselect to create data only for the currently selected Tracker tab. Draw Average option Select to display in the Composite window the average position of all of the analyzed trackers. Tracker tab option Select to enable the corresponding motion tracker. Deselect the option to disable the tracker.
Working with the Motion Stabilizer Parameter Description Draw Centers Select to view a motion path showing the location of the center of the Target region at each frame in the effect. The motion path for the analyzed tracker is displayed in the Motion Tracker Preview window. Deselect this option to hide the motion path. The following examples show Draw Regions set to On, the Draw Centers set to On, and the Draw Regions and Draw Centers set to On.
Chapter 9 Motion Tracking Parameter Description Weight Factor menu Sets the weighting factor for each tracker’s contribution to the average result. This allows you to average the results of multiple trackers for more precise tracking. Select a number from the menu to indicate the number of samples that are taken of that tracker. Typically, you add weight to the tracker in which you have the highest confidence. If you are only using one tracker, the parameter has no affect.
Working with the Motion Stabilizer Parameter Description Target Update Criteria menu Determines how often the motion of the target is estimated. The choices include: Always Update. Estimates the motion between two adjacent frames in time. No Update. Estimates between the frame at the keyframe and the current frame. If your target object does not change through the course of the video, use the No Update or Auto Update option. Auto Update. Estimates once with the target from the previous keyframe.
Chapter 9 Motion Tracking Parameter Description Stabilize Direction menu Use for an image that is unstable on one axis but moving on the other axis. The options include: Any Direction. Stabilizes all motion. X Only. Stabilizes the X axis of motion. Y Only. Stabilizes the Y axis of motion. Color Specifies the color used to draw the average position of the trackers. Requires the Search/Target tab set to Draw/Average.
Working with the Motion Stabilizer Parameter Description Pivot Point menu (requires Rotation and Scale option) Determines which Motion Tracker is used as a Pivot Point. This point should be the point that you stabilize to, so it should not scale or rotate and should be near the rotation axis. Angle/Scale Point menu (requires Rotation and Scale option) Sets the point that scales or rotates.
Chapter 9 Motion Tracking Parameter Description Tracker tab option Select to enable the corresponding motion tracker. Deselect the option to disable the tracker. Color controls set the color for the Motion Tracker’s onscreen Search and Target regions. This color is used to draw the motion path created when the tracker data is generated. If you are using multiple trackers, choose a different color for each to help identify each tracker in the Preview window.
Working with the Motion Stabilizer Parameter Description Weight Factor menu Sets the weighting factor for each tracker’s contribution to the average result. This allows you to average the results of multiple trackers for more precise tracking. Select a number from the menu to indicate the number of samples that are taken of that tracker. Typically, you add weight to the tracker in which you have the highest confidence. If you are only using one tracker, the parameter has no affect.
Chapter 9 Motion Tracking Parameter Description Target Update Criteria menu Determines how often the motion of the target is estimated. The choices include: Always Update. Estimates the motion between two adjacent frames in time. No Update. Estimates between the frame at the keyframe and the current frame. If your target object does not change through the course of the video, use the No Update or Auto Update option. Auto Update. Estimates once with the target from the previous keyframe.
Working with the Motion Stabilizer Parameter Description Stabilize Direction menu Use for an image that is unstable on one axis but moving on the other axis. The options include: Any Direction. Stabilizes all motion. X Only. Stabilizes the X axis of motion. Y Only. Stabilizes the Y axis of motion. Color Specifies the color used to draw the average position of the trackers. Requires the Search/Target tab set to Draw/Average.
Chapter 9 Motion Tracking 520
Chapter 10 Using Spline Media A powerful feature of Avid FX is the ability to create, import, and edit vector-based media. Spline object and primitive media allow you to accomplish these tasks including converting text characters to spline objects in order to edit and animate.
Chapter 10 Using Spline Media 3. Use the Freehand Tolerance menu to set the mouse sensitivity and determine the number of points that are created when you draw a spline object. A higher number means fewer anchor points along the path. A lower value means more points along a path because the mouse is more sensitive to movement. 4. Use the Onion-Skin Frames to set the number of onion-skins around the current frame.
Working with Spline Object Media You can create a spline track by using buttons available in the timeline area or on the track itself. To create a spline track using timeline buttons: Spline Object Type Method Button 3D Line Art Click the Add Spline Media button in the timeline. You cannot use the Brush tool with 3D Line Art so the tool is dimmed in the Tool window 3D Plane Click the Add Paint Layer button in the timeline. When you select the track, the Tool window opens with the Brush tool selected.
Chapter 10 Using Spline Media Change Track Shape button By default, spline object tracks are named Spline Track. When you rename the track, it retains the name even if you change the track’s media type. Drawing Spline Objects Always select spline media track in the timeline to create a spline object. Once you select the correct track, use the tools such as the Pen, Oval and Brush, in the Tool window to draw a shape and create new splines.
Working with Spline Object Media Solid Arrow tool Hollow Arrow tool Rotate tool Text tool Oval tool Rectangle tool Scissors tool Pen tool Pencil tool Multi-Frame mode Mirror mode Brush tool Spray Brush tool Clone Brush tool Roller Brush tool Eraser tool Bitmap to Vector tool Magnifying Glass tool Hand tool Skew tool OpenGL Translation interactors OpenGL Scale interactors OpenGL Rotate interactors Many tools perform several different functions that are accessed by pressing modifier keys on the keyboard
Chapter 10 Using Spline Media The Solid Arrow tool is the default tool. Use the Solid Arrow tool to adjust on-screen controls such as position points, motion paths, and shape outlines or to select shape tracks in the timeline by clicking in the Composite window. It works with all shapes and media types, not just splines. Using the Hollow Arrow Tool Hollow Arrow tool The Hollow Arrow tool is used only with splines. Use it to select a spline object by clicking the object in the Composite window.
Working with Spline Object Media 7. Drag the spline outline itself to reposition the object. 8. When the Hollow Arrow tool is selected, you can press Ctrl+A to select all the splines in the Composite window. Press Shift+A to deselect the splines. You can also “nudge” splines by one pixel at a time when the Hollow Arrow tool is selected. To nudge a complete spline: 1. Select the spline using the Hollow Arrow tool. 2. Press The Left, Right, Up or Down Arrow key.
Chapter 10 Using Spline Media To use the Rotate tool: 1. Select the spline so the bounding box appears. 2. Click-drag a corner point and to the desired location. Using the Text Tool Text tool The Text tool allows you to type text directly over the image in the Composite window. Also see “Working with the Text Tool” on page 417. Using the Oval Tool Oval tool The Oval tool creates ovals and circles. To create an oval: 1. Click and drag diagonally in the Composite window.
Working with Spline Object Media 2. For an oval centered around the cursor, press the Ctrl key while clicking and dragging. To create a circle: • Do one of the following: • To create a circle, press the Shift key as you click and drag in the Composite window. • To create a circle centered around the cursor, press the Shift key and the Ctrl key while clicking and dragging. Using the Rectangle Tool Rectangle tool The Rectangle tool creates rectangular or square spline objects. To create a rectangle: 1.
Chapter 10 Using Spline Media n The Scissors tool only cuts splines at control points. If you want to cut a spline between control points, use the Pen tool to create a new control point at the desired location and then cut the spline. Using the Pen Tool Pen tool The Pen tool creates spline objects by setting control points. A spline automatically joins the control points in the order in which they are created.
Working with Spline Object Media Type of Point Illustration Method Smooth point with two bézier handles Click a point and drag the Pen away from the point before releasing the mouse Tangent point with one bézier handle Press the Alt key as you click-drag in the Composite window 3. To continue the spline, click another point in the Composite window to create a second control point. The first and second control points are joined automatically by a spline. 4.
Chapter 10 Using Spline Media If the point is a smooth point, adjust each handle separately by pressing the Alt key while dragging the handle as shown in the following examples. To convert a cusp or tangent point to a smooth point: 1. Select the point. 2. Do one of the following: • Press the Ctrl key while clicking and dragging out from the control point. • Select Tools > Smooth Points. To convert a cusp point to a tangent point: 1. Select the point. 2.
Working with Spline Object Media 3. Press the Shift key to constrain movement to the horizontal or vertical axis. To extend an open spline path: 1. Select a control point at one end of the spline. 2. Press the Alt key and click in the Composite window outside of the spline path. A new control point is created at the cursor location and is added to the end of the spline. 3. Release the Option or Alt key and continue clicking in the Composite window to add control points. 4.
Chapter 10 Using Spline Media The Pencil tool creates unstroked splines with solid fill, while the Brush tool creates stroked splines with soft edges and no fill. As you draw in the Composite window, Avid FX automatically places control points along the spline. After you finish drawing the spline, you can do the following: • Edit and adjust its control points using the Pen tool. • Adjust the properties of the brush as you wish—see “Paint Controls” on page 559 for a description of the Brush properties.
Working with Spline Object Media Working in Mirror Mode Mirror Mode tool Mirror mode determines how splines are transformed when rotated or otherwise adjusted as a group. When Mirror mode is deselected, the group of splines rotates around the center point of the spline object whose corner point is being dragged. To enter Mirror mode: • Do one of the following: • Click the Mirror Mode button in the Tool window. • Select Tools > Mirror Mode.
Chapter 10 Using Spline Media Using the Magnifying Glass Tool Magnifying Glass tool The Magnifying Glass tool adjusts the scale of the image in the Composite window. • To zoom in on a point, click in the Composite window. • To zoom out, press the Alt key while clicking. The Magnifying glass adjusts the Composite window’s Scale setting by one step for each click. • To exactly fit the image, shift-click the Composite window.
Working with Spline Object Media To use the fill color as the stroke color: • Click the swap arrow in the corner of the color chips or press X to switch the colors. The fill color is used as the stroke color and vice versa. To change either color: 1. Double-click the appropriate chip. 2. In the system color picker, select a new color. You can also set the fill properties by using the Fill tab in the Controls window.
Chapter 10 Using Spline Media EPS files created with Adobe Illustrator are imported into the Avid FX using the EPS File media type. You can then convert the EPS files to spline objects and edit them. Also see “Importing EPS Files” on page 148. To convert EPS files to Spline Objects: 1. Click the Add EPS button to create a track that uses the 3D Line Art shape. 2. In the dialog box, navigate to the file and click Open. 3. Click the Media icon on the shape track and select Spline Object.
Working with Spline Object Media Media icon The 3D Container controls also let you intersect the tracks in 3D space and apply lights and shadows. You can use a different shape type for each track. Converting Text to Spline Objects You can create 2D or 3D text effects using the Text media type, and then change the media type to Spline Object to edit the splines which form the text characters. This allows you to animate the shape of the text.
Chapter 10 Using Spline Media The Transformation tracks contain tracks for each of the Path controls. You can animate the Path controls by setting the parameters in the Controls window. You can also use the Pen, Fill Color, Stroke Color and Eyedropper tools, letting you animate each spline’s stroke, fill, border, and shadows. See “Understanding Path Controls” on page 542.
Working with Spline Object Media 5. Select Tools > Write On. The strokes animate automatically. You can now select individual strokes and use the Pen tool to reshape the stroke. Also see “Animation” on page 209 Adding Jitter to Spline Objects You can vary the positions of spline objects over time by creating jitter or bouncing effects. To add jitter to spline objects: 1. Select the Spline Object track on the timeline. 2. In the Controls window, select the Animation tab. 3.
Chapter 10 Using Spline Media Parameter Description Seed Randomly varies the jitter from frame to frame. Velocity Controls the speed of the Jitter X and Jitter Y parameters. Jitter X, Jitter Y Vary the positions of each control point along the X and Y axes. Understanding Path Controls A path is an object that uses a curved path as the baseline for text, which can crawl along the path. You create and edit paths using the shape drawing tools.
Working with Spline Object Media The Path Track and 3D Line Art Shape When you work with the 3D Line Art shape, there is no Face track. As the 3D Line Art shape does not have a Mask track nested in the Face track, you cannot create upstream masks for any composition using the 3D Line Art shape. You cannot use the Brush tool with the 3D Line Art shape or adjust Layer properties, therefore these tracks are not available in the Controls window.
Chapter 10 Using Spline Media Combining Multiple Splines If you create multiple spline objects on a single track, each spline has its own set of Transformation tracks nested in the Path track. This allows you to independently animate each spline. The timeline shows an effect with three splines in one shape track. Transformation tracks nested inside Spline Object track You can combine multiple spline objects into one object.
Working with Spline Object Media Converting Spline Objects to a Container When you create multiple spline objects on a single track, you can transform each spline shape into its own track. This allows you to easily animate splines individually at the track level. However, you can still animate the splines globally at the container level. To convert spline object to a Container: 1. Select the track in the timeline. 2. Select Track > Convert to Container.
Chapter 10 Using Spline Media Working with the Spline Primitive Media Type The spline primitive media type lets you create spline objects in basic shapes, including rectangles, circles, stars, arrows, hearts, and medallions. You can control the stroke and fill, as well as the shape and size of the path itself. You can also create masks and transitions. See “Applying a Mask to a Track” on page 180.
Working with the Spline Primitive Media Type To create a spline track directly on the timeline track: 1. Click the Change Track Media button and select Spline Primitive. Change Track Media button 2. Click the Change Track Shape button and select the type of spline primitive media. Change Track Shape button Drawing Shapes You can create shapes and adjust the size at any time by using the Shape tab in the Controls window.
Chapter 10 Using Spline Media To create a shape: 1. Select the Spline Primitive track in the timeline. 2. Do one of the following: • Click the Track Selector button in the Controls window or pressing F. • Expand the Spline Primitive track and click the Face track. 3. In the Controls window, select the Shape tab. 4. Select the sub-tab for the shape you want to create. For example to create a rectangle, click the Rectangle tab. 5. Adjust the settings for that shape.
Editing Spline Object and Spline Primitive Media • Expand the Spline Primitive track and click the Face track. 3. In the Controls window, select the Fill tab. Editing Spline Object and Spline Primitive Media For spline objects or spline primitives, you can add and edit properties of borders and shadows. You can also map textures to the media or create backdrops. Adding Borders to Spline Edges You can add up to five different border styles to the edges of the splines.
Chapter 10 Using Spline Media Parameters Description Edge Softness Softens the edge of the border. (Contextual parameter with Plain and Radial settings.) Cap (Contextual parameter with Plain setting.) Controls the shape of the ends of the border. Flat Creates flat ends Round Adds a circular cap to the end of the stroke. Square Adds a square cap to the end of the stroke. Join menu (Contextual Determines the shape of the corners of the border. parameter with Plain setting.
Editing Spline Object and Spline Primitive Media Parameters Description Border Begin, Border End Adjust the percentage of the border that is visible at each frame in the timeline to create animated border effects. The range is from 0 to 100. Border Offset Use the dial to select a portion of the border and animate it in conjunction with Border Begin and Border End. Adding Shadow to Splines You can add up to five different shadows to the spline media. 1.
Chapter 10 Using Spline Media Mapping Media to Spline Media You can map media to the face of a spline object or spline primitive. When using a shape other than 3D Extrusions, you must add a texture track which you can then use to map the desired media. You can map a still image, a video file, color, gradient or natural media. Also see “Mapping Media to a 3D Extrusion” on page 323. Texture Track button To add a texture track: 1.
Editing Spline Object and Spline Primitive Media Parameter Description Stretch Sizes the texture image to fit the spline object Clip Size and position the texture image on the spline. Tile Repeats the texture to fit the face Position X, Position Y (Contextual with Clip and Tile.) Move the center of the texture image along the X and Y axes. Scale X, Scale Y (Contextual with Clip.) Change the size of the texture image along the X and Y axes.
Chapter 10 Using Spline Media Parameters Description Background Color Controls the color of the background layer. Background Opacity Sets the opacity of the background layer and is scaled as a percentage. Invert Alpha option Select to invert the background’s original alpha channel. A value of 255 (white) is transparent. Size X, Size Y Adjust the size of the background track along the horizontal and vertical axes. Force Size option Sets the background size to the size of the project.
Editing Spline Object and Spline Primitive Media Adding Materials and Texture to 3D Extrusion shapes You can assign different materials to the front, back, extrusions, and bevels as well as customize the materials. You an also animate the entire effects. “Applying Materials in 3D Space” on page 327. You can also map media. This gives the 3D extrusion shape some texture. See “Mapping Media to a 3D Extrusion” on page 323. Silhouette track replaces the Path track.
Chapter 10 Using Spline Media Converting a Spline Primitive to a Spline Object Once you create a Spline Primitive, you can convert it to a Spline Object to edit the shape. To convert a Spline Primitive to a Spline Object: 1. Click the Media icon on a spline primitive track and choose Spline Object from the menu. The Tool window opens automatically. 2. Use the Pen tool to edit the object.
Converting Still Image Files into Vectors Spline track Imported media Shape track 5. Choose Window > Show Vector Trace Palette. The options in this palette affect the spline creation. Adjust the parameters if you are unable to create the spline that you want. Since this is a floating window, you can leave it open while you work. • The Trace Channel menu sets which channel the bitmap trace uses. Choose Luminance, Alpha, Red, Green, or Blue.
Chapter 10 Using Spline Media t Alt-drag the Pencil tool on each letter of the imported graphic to create a separate Spline track for each letter. This allows you to animate and extrude letters separately. t Shift-Alt-click the Pencil tool on the imported graphic to create a single Spline track for the graphic. Any animation and extrusion will affect the entire graphic. In the example at right, the spline was created using this method. 7.
Converting Still Image Files into Vectors Reference: Spline Media This section contains reference information about spline media. • Spline Object Properties on page 559 • Spline Primitive Properties on page 568 Spline Object Properties • Paint Controls on page 559 • Border Tab on page 485 • Shadow Tab on page 486 • Animation Tab Parameters on page 465 • Layer Tab Parameters on page 474 Paint Controls The Paint tools allow you to draw freehand images directly in the Composite window.
Chapter 10 Using Spline Media To set the brush to appear as an outline based on the brush size, choose Edit > Preferences. In the Appearance tab, select the Show Brush Outline checkbox. n The Brush tab is not available when using the 3D Line Art shape. To create a Paint effect t Choose Filters > Effects > Paint or press the Add Paint Layer button in the timeline. You can also click the Paint tool in the Tools window and simply begin painting.
Converting Still Image Files into Vectors Color Swatch + Profile Color Swatch + Image Luma Color Swatch + Image Alpha Image + Image Alpha 7. Set the Layer Choice menu. This menu has no affect if the brush image is not a layered .psd file. • When Cyclic is chosen, layered images display each layer in turn as they are painted on. • When Random is chosen, layered images display each layer in a random order. Layer Choice=Cyclic Layer Choice=Random 8. Create a paint stroke.
Chapter 10 Using Spline Media Brush images can be created in any standard graphics format. Photoshop (.psd) files allow you to create layered brush image files, where each layer, beginning with the bottom layer, is applied in turn. 256 x 256 pixels is the suggested size for brush images. Larger sizes can slow painting down. When the Paint track is selected, the Paint tab and Transform tab appear in the Controls window. The parameters in these tabs are global and affect all of the strokes in a paint effect.
Converting Still Image Files into Vectors Parameter Brush Type Color Source Layer Choice Description Sets the type of brush. Each of the these brush types can also be selected by clicking the appropriate icon in the Tool window. • Color is a standard paint brush and uses the selected Color. • Clone allows you to use the brush as a cloning tool. • Spray applies color as if from a paint sprayer. • Roller applies color as if from a paint roller.
Chapter 10 Using Spline Media Parameter Color Modulation Description Sets the color variation between Color A and Color B. The choices in this menu are most functional when working with a Wacom® tablet. • When None is chosen, only Color B is used. • Pressure varies the color between Color A and Color B depending on the amount of pressure applied to the pen as it moves across the tablet. This choice is functional only with a tablet.
Converting Still Image Files into Vectors Parameter Description Color A Color B Set the colors of the brush. Click the color chip to access the system color picker or use the eyedropper to choose a color. You can also enter RGB values into the numerical fields and press Enter. Opacity Modulation menu Sets the opacity variation between Opacity A and Opacity B. Choices are most functional when working with a Wacom® tablet.
Chapter 10 Using Spline Media Parameter Length Scale Description Is used in conjunction with the Size Modulation length and l-Length options. The color varies dependent on the value set in the Length Scale parameter. Dab Shift and Image Shift. When Dab Spacing is used, Dab Shift allows you to animate the dabs. Dab Spacing moves each dab toward the preceding or following dab, depending on the direction that the dial control is moved. Dab Shift is used with the Color, Eraser and Clone brushes.
Converting Still Image Files into Vectors Flow Modulation Sets the flow variation between Flow A and Flow B. Choices are most functional when working with a Wacom® tablet. Refer to the information on the Color Modulation menu for details on specific menu choices. Flow A Flow B Set the amount of paint emitted by the sprayer. Roller Parameters When Roller is chosen from the Brush Type menu, the Roller Angle menu sets the appearance of the paint applied by the roller.
Chapter 10 Using Spline Media Parameter Description Fill Type Determines the type of fill applied to the spline. Color Applies a solid color fill. Gradient Applies a grayscale gradient fill. Wacom Pen Tip Sensing Pen tip sensing is a new feature that simplifies working with brushes when using a Wacom tablet. When the pen tip is brought close to the tablet, Avid FX switches the brush type to the last one used. Pen tip sensing becomes active when working in a Paint effect.
Converting Still Image Files into Vectors Rectangle Tab Rectangle creates a rectangular or square–shaped spline. You can use this shape to create the basis for a textured backdrop or gradient fill onto which you add text objects. Parameter Description Left, Top, Right, Bottom Control the positions of the corners of the rectangle. Scaled as a percentage of the width and height of the Composite window. Corner Size Adjusts the size of the rectangle’s corners.
Chapter 10 Using Spline Media Parameter Description Start Angle Sets the location of the starting edge of the wedge. Increase this value to move the starting edge around the Z axis. Start Angle = 180 Arc Angle Specifies the distance between the starting and ending edges of the wedge or the length of the arc that forms the outer edge of the wedge. Arc Angle = 180 Arrow Tab Arrow creates arrow–shaped splines.
Converting Still Image Files into Vectors 10 pointed star Medallion creates a medallion–shaped spline. The medallion shape is similar to a star, but with a greater number of shorter points. In addition, the medallion is stretched horizontally. Parameter Description Points Set the number of points in the star. Higher values produce more points. Length Sets the length of each point. Higher values produce longer points. Heart Tab Heart produces a heart–shaped spline.
Chapter 10 Using Spline Media Parameter Description Roundness Adjusts the shape of the bottom point of the heart. Lower values produce a rounded point. Grid Tab Grid produces a grid–shaped spline. When you work with the grid spline primitive, the controls in the Fill tab have no affect as grids cannot be filled. Parameter Description Columns, Rows Set the number of grid lines along the X and Y axes.
Converting Still Image Files into Vectors Line Tab Line produces a line-shaped spline. When you work with the Line spline primitive, the controls in the Fill tab have no affect. Lines cannot be filled. Use the Edge Width parameter in the Border tab to set the width of the line. For information, see “Adding Borders to Spline Edges” on page 549. Parameter Description Start X, Start Y Set the starting position of the line along the horizontal and vertical axes.
Chapter 10 Using Spline Media Parameter Description Points Sets the number of points that create the polygon. Requires a minimum of three points and a maximum of sixteen. Numbered X, Numbered Y Set the position of each point on the X and Y axes. To adjust the position of points, use the onscreen Position Point controls.
Chapter 11 Finishing: Rendering and Exporting Once you have created your objects, textured them, animated them, and so on, you can render out your scene as a sequence of 2D images. You can then export these images in a format of your choice. • Understanding the Render Queue on page 575 • Rendering Tracks and Compositions on page 576 • Rendering Effects on page 582 Understanding the Render Queue The main tool for rendering in Avid FX is the Render Queue which is located in the Project window.
Chapter 11 Finishing: Rendering and Exporting Rendering Tracks and Compositions To begin rendering tracks and compositions, you must first add them to the Render Queue and export them. You must then adjust the movie export settings as you wish. Finally, start the rendering process in the Render Queue.
Rendering Tracks and Compositions 4. Set the scale to adjust the size of the exported movie. The choices are measured relative to the project size. 5. Set the render quality of the exported movie file. • High quality to antialiase your image. • Draft quality cannot reduce antialiasing. It produces a jagged-edged image but speeds rendering. 6. Select the Use Project Frame Rate option to use the project frame rate in rendering the movie file and ignore the Frame Rate setting. 7.
Chapter 11 Finishing: Rendering and Exporting • Premultiplied Black: Alpha channels are premultiplied with solid black. Some hardware devices may not composite the color channels correctly. This choice corrects that problem. The level of black used depends on whether the Generate Color Safe Output option is selected. • Premultiplied White: Alpha channels are premultiplied with solid white. Some hardware devices may not composite the color channels correctly. This choice corrects that problem.
Rendering Tracks and Compositions Setting the Video Compression Compression is a process by which the amount of information in a file is reduced. Many different methods exist for compressing video. Each type uses a different mathematical technique, generally referred to as a CODEC. Each CODEC has its advantages and disadvantages, and most are designed to meet the needs of a specific function (for example, production, editing, compositing, or distribution).
Chapter 11 Finishing: Rendering and Exporting n To render only some tracks or compositions, check those to render. Render Render Selected 2. From the Settings drop-down list, select the export settings. 3. If you do not want to use the default folder, choose a destination folder for each rendered item, by selecting Select Folder from the Export Folder drop down list. 4. Click the Render or Render Selected button. A progress bar displays the progress of the rendering. 5.
Rendering Tracks and Compositions To edit a render item t Right-click a render item to open it in the timeline for further editing. Exporting Files as Flash Avid FX allows you to export files in the Macromedia Flash (SWF) format. This feature allows you to export compositions as compact, vector-based files optimized for web viewing. For example, you could export a Type On effect to include on a web page.
Chapter 11 Finishing: Rendering and Exporting Frame caching is controlled by Edit menu commands. The appearance of cached frames is set in the Preferences Appearance tab. The location, size and type of cache are set Preferences Preview tab. For more information, see “Preferences Window” on page 158. The following Frame Cache commands appear in the Edit menu: n Commands Description Purge Frame Cache Rerenders the current frame if you cache the wrong image for a frame.
Rendering Effects For example, if several filters are applied to one track, then the filter that appears closest to the bottom of the timeline is rendered first, followed by the other filters. See “The Rendering Pipeline” on page 583 for information about the order in which the elements of an effect are rendered. The Rendering Pipeline Avid FX renders the elements of a shape in a particular order, which is referred to as the “rendering pipeline.
Chapter 11 Finishing: Rendering and Exporting Render Queue Controls These controls allow you to create error logs, specify destination folders for rendered files, control export settings, monitor the progress of each file as it renders, and to remove files from the Render Queue. Controls Description Trash Can Removes the selected items from the Render Queue. Render Now Renders the items in the Render Queue. Log menu Lists errors encountered during rendering. Outputs into a text file.
Rendering Effects Controls Description Settings column Contains a menu for each item. This menu controls the scale, quality, frame rate, and field render settings used in creating a movie. The options include: Best (best quality video rendering) Fast (draft video rendering) Web (web export) Corresponds to the Best, Fast, and Web export settings templates in the Preferences window’s Movie Export tab.
Chapter 11 Finishing: Rendering and Exporting 586
Index Numerics 16 bit color 72 2D Composite Container 242 2D composite renderer 241 3D Chart Container Animation Tab 302 Bar Graph 271 Controls 294 3D Chart Containers overview 270 3D Container adding to Project window 153 Controls 287 creating 241 motion trails 288 nest tracks 62 positioning 245 3D Containers 240 3D Detail 329 3D Environment 21 3D Extrusion 523, 546 3D Shadow Tab 326 Aluminum material 378 camera controls 331 Copper material 378 creating a texture track 323 creating styles 456 description
Index applying textures 331 Composite Tab 359 Crop Parameters 361 Cube 337 Cylinder 341 Light Tab 366 Mapping Media to 307 Mask tab 376 Motion Blur Tab 380 Page Turn 345 Shadow Tab 386 3D Primitives and Materials tab 328 3D Shadow Tab 326, 348 3D Space applying materials 327 lighting 325 Lights tab 373 3D space Cartesian coordinates 21 origin 22 planes 23 XZY coordinates 22 3D Sphere Add 3D Sphere button 79 description 93 motion blur controls 310 overview 320 using as a 3D Primitive 321 wrapping options 38
Index animating creating keyframes 211 Spline Objects 539 text backdrops 446 text pages 422 Animating Color Stops 111 Animating Shapes, Filters, and Containers 221 Animating Text 423 Animation 209 Animation Tab 3D Chart Container 302 Animation tab 234 Appearance Tab 158 Apply button 88 Apply Mode Menu 260 Apply Modes Add 261 Boost Bias 262 Boost Equal Power – 262 Boost Equal Power + 262 Boost Expo 1 262 Boost Expo 2 262 Darken 260 Darker 260 Difference 260 Difference X 2 261 Difference X 4 261 Lighten 260
Index BCC Presets 169 Better Quality Field Rendering 578 Bevel Gradient 106 Bevels in 3D Extrusion 364 Bevels and Extrusions 332 Bézier handles 74 in an audio track 201, 225 Bitmap to Vector Trace 556 Bitmaps 334 Blur, Motion in shapes 310 in Title Container 428 Border Tab 3D Plane Shapes 349 Border tab 319 Borders creating in Text window 408 in 3D Plane shape 319 Boris Continuum Complete 169 Bounce 74, 237 Bounce interpolation 237 Brick Parameters Type Menu 350 Brush tool 533 using to draw a Spline 533 Br
Index using the Eyedropper tool 89 Color Correction filter 45 Color Depth 72, 156 Color Media Add Color Media button 77 Color Media tab 100 Color Modulation 564 Color on a track 87 Color ramp 89 Combine Contours Command 451, 544 Composite Tab 3D Primitives 359 Composite Window Ad to Render button 72 Aligning objects 57 Color Depth 72 Controls button 73 Create User Mark 72 displaying channels 72, 72 displaying rulers 75 distributing objects 58 Loop modes 71 playback controls 71 Position Point 73 preview con
Index Corner Pin Tracker 497, 515 overview 498 setting target and search regions 499 Corner Pin Tracker filter Advanced tab 517 Crop Source tab 519 Crawls, text 425 Creating 3D container 241 keyframes 211 Spline Primitives 546 text 398 tracks 41 Credit Roll adjusting the speed 424 creating 422 optimizing performance 422 optimizing workflow 423 Crop Parameters 3D Primitives 361 Crop tab 316 Cropping 316 CTI 33, 71, 88 Cube Add Cube button 79 camera controls 309 compositing controls 312 crop controls 316 des
Index setting 81 E Ease In/Out 74 Ease In/Out interpolation 236 Edge Gradient 107 Editing Spline Objects 530 Spline Primitives 546 Effects 169, 172 animated 222 creating text 398 glossy surface 314 light source close to surface 315 loading and saving with Library Briowser 186 matte surface 314 Previewing 192 previewing 193 renaming in the Project window 69 Rendering 582 setting duration 81 Encapsulated Post Script (EPS) Files Add EPS Media button 77 converting to Spline Objects 150 importing 98, 148 prepa
Index Generated Text 440 Generating timecode onscreen 443 Glass material 378 Global and Local Timeline 33 Global Motion Blur button 80 Gold material 378 Gradient Blends 103 Gradient fill 87 Gradient Patterns 109 Animating 111 Gradients 101 Add Gradient Media button 77 loading 112 saving 112 Saving and Loading 112 saving styles 454 Granite Natural media 123 Grid 76 Grids creating with Spline Primitive 572 Grids and Guides 55 Guides 55, 56 H Half Resolution setting 72 Hand tool 536 Headers and Footers Text
Index setting toggle 218 setting type 218 Smart View button 80 toggle interpolation 217 types 224 Interpolation menu 212 Interpolation type 74 Inverting masks 376 Iron material 378 preserving absolute time 218 random 217 reversing 216 selecting 213 setting interpolation type 218 Smart View button 80 snap CTI to 214 snapping to 214 Keyframing Animation 210 J L J,K,L Keys 193 Jitter 74, 235 Jitter interpolation 236 Justification Baseline Indicator 418 setting for the Text tool 421 setting in Text window
Index Sweep Parameters 371 Linear Gradien 104 Linear interpolation 236 List View 27 Load File Button 90 Locks on tracks 86 Loop Button 71 Loop Gradient 111 Loop Playback in the Composite window 71 movie import option 131 M Magnifying a Spline Object 536 Magnifying Glass tool 536 Make Alpha Key creating wipes with 192 Mapping Images to Faces 330 Mapping Media to 3D Primitives 307 Mapping Media to Spline 552 Mapping media to text 443 Margins setting in Text window 406 Mark In/Out 205 Marks clearing 47 Mask
Index Motion Blur 35 Global Motion Blur button 80 in 3D Plane 310 in 3D Sphere 310 in Title Container 428 track control 85 with 3D Container 269 Motion Blur Tab 3D Primitives 380 Motion filters Advanced controls 505 Corner Pin Tracker 497 correcting errors 497 Motion Stabilizer 500 Motion Tracker 491 setting target and search regions 495, 499 Motion on Path tab 232 Motion Path adjusting with on-screen controls 74 Motion Path Filter 231 Motion Stabilizer 509 using multiple trackers 501 Motion Stabilizer fil
Index tracks 45 Noise map 113 Nudging spline objects 527 Numbers Generating 442 O Object Track Add 31 One Second Display Button 33 Onion-Skin Frames 522 On-screen controls Controls button 73 motion path 74 position point 73 rulers 75 shape control 73 Open GL Interactors 204 OpenGL overview 52 rotating objects 60 scaling objects 62 using interactors 52 OpenGL acceleration 204 OpenGL Interactors Transforming objects with 59 OpenGL interactors 51 positioning objects 59 translating objects 59 OpenGL Mode and
Index looping movies 131 playback controls 71 Frame Advance 71 Frame Back 71 Loop button 71 Play/Stop 71 Plug-In Filter Manager 188 Position 234 Position Indicator CTI 88 Position indicator 214 moving one frame back 71 moving one frame forward 71 moving to effect start 88 moving to the effect end 88 moving with a mouse wheel 69 moving with the Time field 81 One Second Display button 33 Size to Fit button 34 Position Point 73 constrain 73 Position Tab 384 Positioning aligning objects in the Composite window
Index R Radial Gradient 104 RAM preview to 194 Random color noise map 113 Random Numbers generating 441 Random Seed 110 Rectangle tool 529 Rectangles drawing 529 Red, Green, Blue Cycles 110, 110 Reflection Map Button 90 Renaming tracks 44 Render Queue deleting compositions 584 deleting tracks 584 export settings 585 overview 575 setting the default export folder 584 Render Queue Controls 584 Rendering 575 disabling with Caps Lock key 195 Effects 582 order 583 setting quality 164, 164, 165 Reordering tracks
Index Shadow tab 315 Shadows 3D Shadow Tab 326 creating in Text window 410 in Title Container 429 Lights 262 Shadow tab 315 with 2D Composite Containers 263 with 3D Model Containers 268 with Z Space Composite Containers 265 Shadows and Lights 314 Shape choices 93 Shape Icon 83 Shape parameters camera controls 309 camera controls, in 3D Extrusion 331 common parameters 308 compositing controls 312 crop controls 316 lighting controls in 3D Plane 319 in 3D Sphere 319 mask controls 317 motion trails 385, 385 pi
Index Spherical Parameters Lights Tab 369 Spline Mapping Media to 552 shadows 551 Spline Media 87, 521 Extruding 554 Spline Object 87 Spline Object and Primitive Media editing 549 Spline Objects Add Paint Media button 78 Add Spline Object Media button 77 animating 539 animating with the Write-On command 540 as Masks 537 Bring Forward 543 Bring to Top 543 Brush tool 533 combining 544 converting EPS files to 150, 537 converting text to 448, 539 creating 522 creating animated splines 534 creating from Spline
Index importing sequential files 140 Load File button 90 preparing for import 146 Stone textures 113 Stroke animating 539 animating with the Write-On command 540 Brush tool 533 Color chip 536 Path controls 542 Style Palette context menus 463 creating brush styles 455 creating material styles 456 Font tab 454 overview 452 saving styles 452 using 452 using context menus 48 Styles 460 Sweep Parameters Lights Tab 371 Swing 74, 237 Swing interpolation 236 T Template Mode 28 Text Add 3D Extrusion Text Media but
Index shadow controls 410 Shadow Tab Parameters 478, 479 shuffle effects 427 Style Palette 399 Style Palette Controls 479 Style Preview Menu 480 styles categorizing in Style Palette 457 saving to Style Palette 459 Template 412 Text Backdrop button 90 Texture Tab 481 Texture Track button 90 Transform tab 433 Type-On Animation 436 Window Menu 481 zoom effects 426 Text Backdrop Button 90 Text Backdrops Multi-Shape 450 Text Fill and Opacity 434 Text Media 395 Text tool 528 Baseline Indicator 418 creating text
Index Size to Fit button 34 sliding tracks 49 Smart View button 80 timecode display 80 track controls 82 Timeline Buttons 30 Timeline Tracks 34 working with 41 Timeline window 29 Title Container creating crawls 425 creating fades 426 creating rolls 424 motion blur 428 overview 422 shadows 429 shuffle effects 427 zoom effects 426 Title Safe 76 Title Safe Area 205 Titles converting to Spline Objects 539 Toggle Interpolation 217 Tool window Brush tool 533 Fill Color chip 536 Hand tool 536 Hollow Arrow tool 52
Index Overshoot 235 Type-On Animation 436 Type-On Tab Parameters 489 U Undo using the History Palette 70 Undo and redo 69 Update Source 196 Upstream and downstream filters 174 Upstream Masks 178 User Mark 72 User Mark button 72 User Marks 47 User marks adding to timeline 47 moving 48 V Value and Velocity Curves overview 227 Value Curves controls 227 Value curves manipulating 229 Values Locking 65 Vector Graphics 334 Vector Trace Tool 556 Veined Marble Natural media 119 Velocity 235 Velocity curves overvi
