REFERENCE MANUAL www.pinnaclesys.
© 2003 Pinnacle Systems GmbH. All rights reserved. Copyright and Protective Rights This manual or the software described herein, in whole or in part, may not be reproduced, translated or reduced to any machine readable form without prior written approval from Pinnacle Systems GmbH.
Tra de ma rk s Pinnacle Liquid, EDITION, Liquid chro me , Liqu id bl ue , Liqu id sil ver , Liquid Editio n , Liqu id Edition PRO , Pinnacl e Editio n (DV 500 ) , Liqu id field , InTimeÔ and InTime ProcessingÔ, TARGA and TARGA 3000 are logo and trademarks of ©Pinnacle Systems GmbH and Pinnacle Systems, Inc. Pinnacle Systems and the Pinnacle Systems logo are registered trademarks of Pinnacle Systems, Inc.
Table of Contents Section I Basics Chapter 1 Safety .......................................................1-1 Safety Notes .............................................................1-1 Additional Instructions .............................................................. 1-1 Safety Standards ......................................................................... 1-2 Implementation in Accordance with Intended Use ................... 1-3 Symbols and Conventions ......................................
Table of Contents Chapter 3 Setup ........................................................3-1 Delivery Package ....................................................... 3-2 Technical Specifications ............................................. 3-3 Installation .............................................................. 3-4 System Requirements .................................................................. 3-4 Installing the PCI interface card (IEEE 1394) ............................
Table of Contents Chapter 4 Introduction ...............................................4-1 Preface .....................................................................4-2 Sources of Information ...............................................4-3 List of Chapters .........................................................4-4 Chapter 5 Documentation ...........................................5-1 Conventions and Symbols ............................................5-2 The Online Help ........................
Table of Contents Chapter 6 Basics .......................................................6-1 Starting and Exiting .................................................. 6-2 Menus, Dialog Boxes and Tool Buttons .......................... 6-3 Shortcut Menus ........................................................................... 6-3 Tool Buttons and Toolbars ..........................................................6-4 Dialog Boxes ............................................................................
Table of Contents Section II Working w ith Pi nnacle Liquid Chapter 7 Signup .......................................................7-1 Logging on As an Existing User ....................................7-3 New User/Initial Login ...............................................7-4 Load User Profile .......................................................7-5 User Details ..............................................................7-6 Remove User ...........................................................
Table of Contents Importing Objects ....................................................8-44 Import - Where from, Where to? ............................................. 8-45 What Can Be Imported? ........................................................... 8-46 Importing Media Clips ............................................................. 8-48 Image Import (Global Settings) ............................................... 8-51 Copying/Pasting Objects from Other Projects ................
Table of Contents Chapter 9 Administration ............................................9-1 The Project ...............................................................9-3 Opening and Creating Projects .................................................. 9-3 Project Template ......................................................................... 9-5 Copy/Delete a Project ................................................................. 9-6 Project Structure ..................................................
Table of Contents Media Management ................................................. 9-112 Basics ....................................................................................... 9-113 Media Tab in the Project Window .......................................... 9-123 Media Management Settings .................................................. 9-129 Importing Media Clips ........................................................... 9-133 Media Management and Object Properties ............................
Table of Contents Audio in the Timeline ............................................10-124 “Audio” Tracks ...................................................................... 10-124 Synchronicity ....................................................................... 10-124 Volume and Panning ............................................................ 10-126 Fade-In and Fade-Out .......................................................... 10-126 Output and Monitor .........................................
Table of Contents Effects ................................................................. 11-53 Video Effects ........................................................................... 11-54 Linear Timewarp .................................................................. 11-159 Audio Effects ......................................................................... 11-165 Color Correction Editor .......................................... 11-174 Color Correction Editor (Overview) ......................
Table of Contents Chapter 12 Realtime FX .............................................. 12-1 Always Maximum Performance .................................... 12-2 Rendering and Realtime ............................................ 12-3 When Render, When Realtime? .............................................. 12-3 Realtime and the Effect Preview ............................................... 12-4 Render Management of Realtime Software Effects .................. 12-6 Optimizing Realtime Preview ...........
Table of Contents Chapter 14 DVD Authoring .......................................... 14-1 Step by Step DVD Authoring ......................................14-3 DVD Menu Wizard .....................................................14-6 How Does DVD Authoring Work? .................................14-7 DVD Authoring: Reference ....................................... 14-12 Links Tab ................................................................................. 14-14 AutoLink Tab ..........................
Table of Contents Chapter 15 Output .................................................... 15-1 Record to Tape ........................................................ 15-3 Record ....................................................................................... 15-4 Stripe Tape ................................................................................ 15-7 Exporting Sequences .............................................. 15-10 Functions in the Export Sequence Dialog Box ......................
Table of Contents Fuse Sequence ....................................................... 15-31 Preparing a Sequence .............................................................. 15-32 Calling Fuse Sequence ............................................................ 15-32 Starting Fuse Sequence ........................................................... 15-32 Fuse in AVI and other Formats ............................................... 15-33 ALE Project Export .............................................
Table of Contents Chapter 16 Customize Pinnacle Liquid ........................... 16-1 User Settings .......................................................... 16-3 Basics and Definition of Terms ................................................ 16-3 Managing Property Sets ........................................................... 16-5 Customizing Toolbars .............................................................. 16-8 Assign Functions to Keyboard ...............................................
Table of Contents System Settings ..................................................... 17-18 Changing Parameters ............................................................. 17-18 General Tab ............................................................................. 17-19 System Format Settings Tab .................................................... 17-21 Inputs/Outputs Tab ................................................................. 17-22 System Info Tab ........................................
Section 1 B as ics
chapter 1 Safety Safety Notes This manual is an important component of Liquid Edition .It should be permanently available in the vicinity of Liquid Edit ion , and is to be read and applied by every person working with or managing the system.
Safety Notes Safety Standards The Li quid Edi tion editing system and its components were developed, produced and tested to comply with applicable standards, state-of-the-art technology and recognized safety regulations. For customers in Europe Conformance to European guidelines and standards is confirmed by CE certification and the CE declaration of conformity. For customers in the USA The system was tested to comply with “FCC standards for home and office use”.
Safety Notes Implementation in Accordance with Intended Use Liquid Edi tion is intended exclusively for video and audio editing. Any other use shall not be deemed intended use. Any damages resulting shall be the sole responsibility of the user/system operator. Symbols and Conventions Symbols Identifying Special Texts Caution Calls the reader’s attention to especially “dangerous” actions, i.e. actions that could lead to a loss of data.
Safety Notes Attention Indicates an electrostatically sensitive device (ESD). Improper handling can result in damage to the product. Take precautionary measures against electrostatic discharge. Warning Warns of an electromagnetic field. This is a Class A device that can under certain circumstances cause radio interference in residential areas. The device operator is required to take suitable countermeasures.
Safety Notes Safety when Operating Warning This is a Class A device that can under certain circumstances cause radio interference in residential areas. The device operator is required to take suitable countermeasures! In the case of radio interference, switch the computer system off immediately and disconnect the power supply cord. In doing so always pull on the connector and never on the cable. Troubleshoot immediately.
Safety Notes 1-6 Chapter Safety
chapter 2 General Liquid Edi tion is an extremely flexible and powerful non-linear editing system for video editing. Its operating system is easy to use, allowing the user to focus on creating video. Small size, low cost and high performance make Liquid Edit ion ideal for a wide variety of applications. Performance and expandability also enable Liquid Edi tion to be used as a second editing system for mid to high-end applications.
Transport, Packing, Environmental Protection Always transport the system in its original packing. Keep the cardboard box and packing material to ensure safe packing of the system for transport at a later date. Keep the packing free of moisture. Always pack the system as indicated on the cardboard box. If, however, you do wish to dispose of the packing, please respect the valid legislation regarding environmental protection and waste disposal. The packing can be disposed of as standard household waste.
Handling CD-ROM Discs If proper care is not exercised when handling the CD-ROM disc, the data may become unreadable or other errors may occur. Observe the following precautions when handling the CD-ROM: w Do not touch the disc surface directly with your hands. Hold the disc by the edge and do not touch the data surface. w Do not attach paper notes or stickers to the disc surface. Label using a soft pencil; never use a ballpoint pen. w Be careful not to drop the disc.
Cleaning CD-ROM discs Dust and fingerprints on the disc surface can result in read errors. Clean the disc by wiping lightly from the center out with soft dry cloth. To remove severe stains, soak a cloth in a neutral solvent, wring the cloth well to remove excess solvent, and wipe the disc lightly. After cleaning, wipe the disc dry with a soft, dry cloth. Do not clean with benzene, record cleaner or anti-static spray. Doing so may damage the disc.
Handling Floppy Disks Floppy disks are convenient and easy to handle, but certain precautions are required to protect the data on the disk. Shutter w Do not open the shutter by hand or touch the surface of the disk media. Data errors can result from dirt or scratches on the disk surface. w Keep floppy disks away from televisions, speakers, and other sources of magnetism. The contents of the disk can be erased by magnets. w Do not leave floppy disks near heaters or in locations exposed to direct sunlight.
2-6 Chapter General
chapter 3 Setup Liquid Edi tion can be easily integrated in existing video or PC peripherals. Its open software architecture supports popular third-party graphics, paint and effects applications. This section contains information on: w scope of delivery ( page 3-2) w technical specifications ( page 3-3) w hardware installation ( page 3-4) w system setup in studio environment ( page 3-11) w connections (video, audio, remote, reference...
Delivery Package Delivery Package w Li quid Edi tion PCI interface board (IEEE 1394) or AGP graphics card featuring analog I/O (Pro version only) w Pinnacle Liquid application software (CD-ROM); Driver CD (Pro version) w IEEE 1394 cable w Installation/Reference Manual, User‘s Guide, Quick Reference Card, AGP Hardware Installation Guide (Pro version only), Support Card w analog video/audio breakout box (Pro version only) w Third party software (Package content may vary due to different product versions) 3-
Technical Specifications Technical Specifications Technical Specifications * = optional Video Inputs: w IEEE 1394 (native DV, DVCPRO 25, Embedded Audio) 6-pin connector on PCI card; with PCMCIA 4 or 6 pin available w Analog via CVBS (RCA) and Y/C (4-pin Hosiden) on breakout box * Video Outputs: w IEEE 1394 (native DV, DVCPRO 25, Embedded Audio) w Analog via CVBS (RCA) and Y/C (4-pin Hosiden) on breakout box * Audio Inputs: w 2 channels (16 Bit/48 kHz) or 4 channels (12 Bit/32 kHz) IEEE 1394/DV Embedd
Installation Installation This section contains the following information: System Requirements page 3-4 Installing the PCI interface card page 3-6 Configuring/Connecting A/V HD Subsystem page 3-9 Configurations and Software Installation page 3-13 After the Installation page 3-16 Connecting Liquid Cont rol page 3-18 InTime board installation page 3-19 RS 422 device control setup page 3-21 System Requirements The system requirements described here are the minimum requirements.
Installation Main Memory 256 MB (512 to 1 GB) RAM HDD for system and AV data 20 GB, minimum data transfer rate 4 MB/s for A/V separate A/V disk(s) recommended A/V Harddisk subsystem (optional RAID) Controller: U2W SCSI (LVD) PCI Busmaster: Dual Ultrawide A/V Drives: minimum data rate transfer 8 MB/s Free Slots 1 x PCI Ref. Nr. 2.1 for the PCI interface card 1 x PCI 2.1 for the harddisk controller (if not onboard) 1 x PCI 2.1 or AGP for the VGA card 1 or 2 PCI 2.
Installation Installing the PCI interface card (IEEE 1394) (Note: For the installation of the AGP card provided with Li quid Edition Pro, please refer to the separate Hardware Installation Manual.) Removing the Housing Cover Detach the power cord. then remove any other external connections on your computer. Remove the housing cover from the host PC.
Installation Removing the Cover Plates Remove the cover plate of the required PCI slot by unscrewing the retaining screw. Keep the screw handy, it will be needed to secure the card once slotted.
Installation Slotting the PCI Interface Card Attention Always avoid touching a card’s surfaces without being properly grounded (this applies also to your clothing). Electrostatic discharge may destruct the card. Now carefully remove the Liquid Edit ion card from its antistatic bag. Align the terminal strip of the card exactly with the free PCI slot. Carefully insert the card into the PCI slot. Now secure the card to the computer housing with the screw mentioned above.
Installation Configuring/Connecting A/V HD Subsystem (RAID, optional) The harddisk subsystem (A/V storage) is connected to the SCSI controller in the host PC via a SCSI connecting cable. Liquid Edi tion requires at least one (two recommended) U2W SCSI stream controller and the Windows striping set technology (RAID 0) for the A/V hard disk subsystem, or a dedicated RAID controller.
Installation Cabling Use only high-quality, approved LVD cables. External cables must not be longer than 8 meter. A maximum of 4 hard disk drives can be connected per stream, in which case the total length of the cable including the internal ribbon cable must not be longer than 8 meter. Disk Arrays (RAID) If you want to create a Windows stripe set, please refer to the Windows manual.
Liquid Edition and Peripherals Liquid Edition and Peripherals DV Camera (DV-In capable) Analog Outputs IEEE 1394 DV i.LINK connection External Monitor Active Speakers DV connection Analog connection Sample setup of Liquid Edi tion with camera and monitors RS 422 remote control for tape recorders and other devices is possible. Please contact your Pinnacle Systems dealer.
Video/Audio Connections Liquid Edition Video/Audio Connections Liquid Edition Digital i.LINK interface (IEEE 1394) Connection plate for the Li quid Edi tion interface card (PCI, sample illustration) With Li quid Edition , players and recorders can be connected only via the i.LINK interfaces (IEEE 1394, e.g. on the Liquid Edit ion plug-in card).
Configurations and Software Installation Configurations and Software Installation Setting Up Display Controller (VGA graphics adapter) Select a resolution of at least 1024 x 768 pixels (1280 x 1024 or more recommended) and a color depth of 32 bits (TrueColor); (Windows Start menu > Control Panel > Display > Settings).
Configurations and Software Installation Before you install Pinnacle Liquid: Tips on optimizing Windows w We strongly recommend that you use a fresh Windows installation that is as “clean” as possible as a basis for installing Pinnacle Liquid. Load the latest OS service packs, as well as drivers for the components used, particularly graphics card drivers. If at all possible, keep different editing software on different OS partitions (dual boot system).
Configurations and Software Installation 5 Setup copies the program files to the directory specified under step 4. If the process at some point seemingly has come to a halt, there may be a hidden Windows dialog box awaiting a user confirmation. Use Alt-Tab keys to bring the box to the foreground and click Ignore or Continue to resume the setup. If the installation was successful, a confirmation message appears. 6 Double-click the program symbol on the desktop to start the application.
Configurations and Software Installation After the Installation It needs only a few steps to configure Li quid Edition . Please read on: Device and System Settings Connect a DV device and turn it on. Then start Liquid E dition by double-clicking the program icon on the desktop. When the software has been loaded, click Li quid E dition Start menu > Control Panel. In the dialog box displayed, click the Site tab. Now double-click the videorecorder icon to display the Player Settings.
Configurations and Software Installation C o n n e c t i o n s Ta b If you have connected a controllable DV device (camera or recorder/player) via the IEEE 1394 interface (as opposed to a live source), click the device name in the left-hand box and check that “IEEE 1394” appears as Communication Port. This entry simultaneously defines video and audio inputs and outputs. If you wish to play image and sound material via a live source (i.e.
Connecting the control panel (Jog/Shuttle) (Optional) Connecting the control panel (Jog/Shuttle) (Optional) Li quid Control (optional) is an control panel for remote control of the player/recorder connected and for navigating the material already digitized. The jog/shuttle control knob is for quick and easy viewing and processing of audio/video material in both linear and non-linear mode. The Li quid Control has a number of freely assignable keys for configuring it to suit your personal needs.
InTime board Installation InTime board Installation This chapter is designed to help you install the InTime board delivered in the form of a PCI interface board in the PCI slot (as of Ref.No. 2.1) of your computer. A full-length PCI slot is required for installing the InTime board. The data transfer from and to InTime takes place via the regular PCI bus, thus making further connections unnecessary.
InTime board Installation 3 Slotting the InTime board Make sure you are properly grounded as described above and carefully remove the board from its antistatic bag. Align the terminal strip of the board exactly with the free PCI slot. Carefully insert the board into the PCI slot. Now secure the board to the computer housing with the screw mentioned above. 4 Replacing the Housing Cover Replace the housing cover of the host PC making sure that it is properly snapped in and screwed in.
Device Control via RS 422 Remote Device Control via RS 422 Remote Pinnacle Liquid can remote control professional video tape recorders and other devices that employ an industry standard Sony Betacam RS 422 remote protocol. A special RS 232-422 cable, however, is needed and can be obtained from your Pinnacle Systems dealer. The cable is connected to a free serial (COM) port on the computer and to the appropriate remote control port of the machine.
Device Control via RS 422 Remote 3 - 22 Chapter Setup
chapter 4 Introduction This purpose of this introduction is to provide you with an overview of Pinnacle Liquid and familiarize you with existing documentation.
Preface Preface Pinnacle Liquid is the professional solution for professional video editing on a computer. All its functions are specifically adapted to meet the requirements of today’s video editing. Its main focus is on the basics: image, audio and editing. Pinnacle Liquid is operated intuitively. Beginners will quickly produce successful results and professional editors will achieve the highest productivity and precision.
Sources of Information Sources of Information Installation Manual This part of the manual contains information on hardware and software installation, on how to connect components, and on hardware-specific and product-specific settings, etc. Pinnacle Liquid Reference Manual This manual is available in hardcopy form and as well as Acrobat pdf. It describes all functions of Pinnacle Liquid. It is suitable for learning the basics of operation as well as for looking up specific functions as you need them.
List of Chapters List of Chapters Introduction This chapter provides you with an initial introduction to Pinnacle Liquid. It also tells you about sources of information that will help you work with Pinnacle Liquid. page 4-1 Documentation This chapter familiarizes you with the user interface and Online Help and offers you tips on the effective use of this documentation. page 5-1 Basics This chapter describes the Pinnacle Liquid user interface and introduces you to the terminology used.
List of Chapters Edit Editing (cutting) films with sample applications; basics of audio editing; special functions (nesting and consolidating Sequences). page 10-1 Finish This chapter describes the finer points of working with Sequences, especially audio editing and video and audio effects, plus advanced post production features such as color correction (optional). Realtime FX With realtime effects, you don’t have to wait for effect rendering to be completed, but can preview the effects immediately.
List of Chapters Output How to output on tape an edited film (in Pinnacle Liquid lingo, a Sequence), exporting various data formats (single images, animation, edit decision lists), OMF export and networking with other postproduction applications. page 15-1 Customize Pinnacle Liquid (User and Site Settings) How to configure your Pinnacle Liquid workstation and how to create, customize and save your own user profiles.
chapter 5 Documentation This manual for Pinnacle Liquidcontains all information available at the time of printing of this manual.
Conventions and Symbols Conventions and Symbols This section describes the conventions used to identify special texts, such as warnings. Caution Calls the reader’s attention to particularly important information, or especially “dangerous” actions, i.e. actions that could lead to a loss of data. Note Calls the reader’s attention to important information and practical tips.
Conventions and Symbols Keyboard Symbol 7 Many of the functions in Pinnacle Liquid can be executed by means of keyboard shortcuts. This symbol identifies a keyboard shortcut. The key names are written in small caps (example: DEL, SHIFT, CTRL). Mouse Wheel 8 If your mouse has a wheel for scrolling, you can also execute some functions using the mouse wheel; move the Playline, for instance.
The Online Help The Online Help You can call Help either from the Pinnacle Liquid Start menu or by pressing F1.
The Online Help Title Bar The title bar is the same as in all Windows windows (see Windows manual). Tabs in the Help Window Clicking one of the rear tabs brings to front its corresponding content: Online Help The “Online Help” tab contains the table of contents, the index and the contents window for Online Help. Texts within the paragraphs that are marked in blue indicate cross-references. Online Manual The Pinnacle Liquid Online Manual reflects the contents of the (hardcopy) Reference Manual.
The Online Help Toolbar Contents/Index Click the “display table of contents” button to view a list of topics by chapter. Then double-click a chapter or topic to open the particular document. Under “List of Chapters” on page 4-4 of the Introduction, you will find a brief overview of the contents of each chapter. Click the “display index” button to view a list of index entries in alphabetical order.
The Online Help Information Window The information window displays text and illustrations of the help topics. If the topic does not fit in the current window size, scrollbars appear along the margin. Drag the bar downward to advance toward the end of the topic or click the top or bottom arrow. An arrow button appears in the bottom left-hand corner of each help page. Clicking this arrow returns you to the beginning of the help page.
The Online Help 5-8 Chapter Documentation
chapter 6 Basics This chapter features a quick introduction in Pinnacle Liquid: the most important software modules, the most important terms, the general principles behind their operation.
Starting and Exiting Starting and Exiting Starting Pinnacle Liquid 1 Switch on all the peripherals, including the VGA monitor(s), A/V disks, video recorder and A/V monitor, etc. 2 Start your computer. 3 Start Pinnacle Liquid either via the program shortcut on the Windows desktop or from the Windows Start menu. 4 The Pinnacle Liquid interface is displayed in the standard view (first launch). See also “Pinnacle Liquid Desktop” on page 6-11.
Menus, Dialog Boxes and Tool Buttons Menus, Dialog Boxes and Tool Buttons This section provides you with an overview of elements frequently used in Pinnacle Liquid. Shortcut Menus In developing Pinnacle Liquid’s visual design, there was one overriding concern: keep it simple and easy to use. This was also the reason for eliminating the traditional menu bar. Functions are called either from a shortcut menu or by means of a tool button.
Menus, Dialog Boxes and Tool Buttons Tool Buttons and Toolbars In Pinnacle Liquid, functions (such as “Play”) are called and executed either via a shortcut menu or via tool buttons. Tool buttons are generally found in toolbars (appear horizontally or vertically in the interface). Sometimes the button you need may not be included in the toolbar (due to restricted space). Nevertheless, you can determine for almost each toolbar which buttons it will contain and how these buttons will be arranged.
Menus, Dialog Boxes and Tool Buttons Normal Active selected Selected Normal Active Selected Button & text status Dialog Boxes Dialog boxes contain information, let you specify functions and select options.
Menus, Dialog Boxes and Tool Buttons Typical Elements in Dialog Boxes Most dialog boxes have a similar layout and contain the following basic elements: Tabs Clicking one of the rear tabs brings its content to the front. Sample tab Entry Fields Entry fields allow you to enter text. Simply click in the entry field and make your entry via the keyboard. Usually you confirm with ENTER. Check Boxes Click a check box or to select the corresponding option. Circular check boxes are either-or selections.
Menus, Dialog Boxes and Tool Buttons To set a value using a slider or knob, click the corresponding element and drag it to the desired position. You can also enter the values in entry fields via the keyboard. Drop-Down List Boxes Some windows have drop-down list boxes. Click the arrow or the visible list entry to open the list. Then select an entry by clicking it. Sample dropdown list box Buttons in Dialog Boxes These buttons apply to all settings of a dialog box.
Menus, Dialog Boxes and Tool Buttons Restore Initial State Restores all settings to the state they were in when the dialog box was first opened. Restore Default State Resets all changes to the default software settings. Customize Dialog Box Some dialog boxes can be customized. This button opens the corresponding tool box.
Tour de Pinnacle Liquid Tour de Pinnacle Liquid If your are not familiar with Pinnacle Liquid, please have a look at the next few pages. We would like to introduce to you some of the most important software modules, viewers and editors.
Tour de Pinnacle Liquid Inlays Inlay windows let you have a look at your video (moving or still), titles and graphics, effects to be rendered, etc. Even audio is displayed - as wave form. Placed around the inlay windows you find all kinds of functions and displays. The example below (a snapshot taken from the Clip Viewer) shows the position of the Playline and the duration of the clip between the mark-in and mark-out points.
Tour de Pinnacle Liquid Picons All objects in Pinnacle Liquid can also be displayed in Picon view. Picons (picture icons) are still images that help you identify clips. Picon view is ideal, for example, for developing a storyboard. Picon Picons are found on the Pinnacle Liquid desktop, in the Project window, on the Timeline and in numerous dialog boxes. For more information on Picons, see “Picon View” on page 9-32 and “Picon Play” on page 9-84.
Tour de Pinnacle Liquid The Taskbar The taskbar appears at the bottom of the desktop. On the left, you find the Start button that you use to access the Pinnacle Liquid Start menu. Taskbar functions Additional functions (from left): Error/fps Indicator The “thumbs up” sign tells you that the system started correctly. If a problem occurs, a flashing explanation point is displayed that is either yellow, orange or red, depending on the severity of the problem.
Tour de Pinnacle Liquid w Reset speed indicator resets speed to default fps w Reset speed indicator always at start playback As soon as the Timeline is replayed, resets the last fps information identified. w Show system info Displays system info (same as Start Menu > Control Panel > Site > System Settings > System Info). Render Viewer The icon (S, the Greek letter Sigma) represents the Render Viewer window. “Rendering” means the computation of effects.
Tour de Pinnacle Liquid Select Video Output (only Pinnacle Liquid with analog inputs/outputs) To quickly toggle between S-video and CVBS outputs (None means inlay only. Liquid Edit ion PRO only: The DV output via IEEE disabled is during timeline editing. Using the output selection button in the taskbar you can direct video output to a video monitor connected to the breakout box. When you call the Record to Tape tool, IEEE output is automatically enabled.
Tour de Pinnacle Liquid Audio Monitor Click this icon to open the Audio Monitor, which you can use to monitor and control signals of the analog output. For more information, see “Audio Monitor” on page 11-21. Desktop Views The Pinnacle Liquid desktop is able to display several windows at once, and you can configure them on the desktop in different ways. The current configuration of windows visible on the desktop is called a “view.
Tour de Pinnacle Liquid Views (One Monitor) - Timeline only - Sequence Editor above, Project window below - Project window above, Timeline below - Project window only - Sequence Editor above, Timeline below The most common views are “Project window only” for developing Projects and “Project window above, Timeline below” or “Sequence Editor above, Timeline below” for the actual editing.
Tour de Pinnacle Liquid Using the Project Browser The Project Browser proves especially useful when working on a single monitor system. When active, the Project Browser takes up some space of the Timeline. Toggle Rack/Folder area visible/ invisible Toggle tabs Views Rack shortcut menu Rack/Folder area Content area Project Browser The Project Browser is a miniature Project window. Use the this tool button to call up the browser.
Tour de Pinnacle Liquid w Toggle Rack/Folder area visible/invisible This field shows the name of the current active Rack or Rack Folder. By clicking on it you can turn off or on the display of the Rack/Folder area, thus leaving more (or less) space for the content area. w Toggle tabs Click to toggle through available Project tabs. w Switch Project In case you need material from a Project other than the current, it is possible to switch Projects. The current Sequence remains on the Timeline.
Tour de Pinnacle Liquid Views (Two Monitors) - The Timeline appears on both monitors - The Project window appears on both monitors - Left monitor: Sequence Editor above, Project window below.
Tour de Pinnacle Liquid The Start Menu Click the Start button on the taskbar to access the Start menu. Options in the Start Menu: wProject - opens an existing Project or creates a new one. Select Open/Create Project in the Start menu or select one of the most recently opened Projects from the list. See also “Opening and Creating Projects” on page 9-3.
Tour de Pinnacle Liquid The Trash To remove items from Racks, or shortcuts from the desktop, you can drag them to Trash. The can expands to indicate that there are items in it. The Trash tooltip, which appears when the mouse pointer rests on the icon for more than one second, indicates the number of items in Trash. Right-click Trash to access its shortcut menu. wOpen opens a window that displays Trash contents. You can drag items from the Trash window to the Project window to restore them.
Tour de Pinnacle Liquid The Project Window In this window, you can administer all the items needed for editing with Pinnacle Liquid. The Project window displays all the elements for the currently open Project, including audio and video clips, effects, graphics, etc. Similar in design and function to the Windows Explorer, the Project window uses a hierarchy of folders that you can customize to suit the Project and your own preferences.
Tour de Pinnacle Liquid The Timeline The Timeline is the workspace in which you compile a film (in Pinnacle Liquid known as Sequence) from the individual objects in the Project. Objects are placed on Timeline Tracks. You can select the number and size of the Tracks. Other elements used with the Timeline include the toolbar, Playline, Timecode Display and Timecode Bar. For more information on the Timeline and on editing video, see “Timeline Layout” on page 10-4.
Tour de Pinnacle Liquid The Sequence Editor The Sequence Editor combines the Source Viewer, Master Viewer and the Timeline. The Source Viewer (“player”) displays the clip that you want to edit. The Master Viewer (“recorder”) lets you play the Sequence located on the Timeline. For more information, see “Sequence Editor” on page 10-44.
Tour de Pinnacle Liquid The Logging Tool Before you can edit a video in Pinnacle Liquid, the corresponding raw material must be available on your computer. The Logging Tool lets you transfer the video data to your hard disk (mostly from a tape). Plus, you can control incoming audio and name clips. For information on working with the Logging Tool, see the chapter “Input” on page 8-1.
Tour de Pinnacle Liquid The Effect Editors With the Effect Editors, you can create Transitions and clip effects (FX). For more information on the Effect Editors for video clips, see “Effect Editors (Basics)” on page 11-62. Pinnacle Liquid also offers three audio Effect Editors (Equalizer, Echo and Maximizer; also see “Audio Effects” on page 11-166).
Tour de Pinnacle Liquid The Audio Editor Most of the work that you do with audio material requires the Audio Editor. In the standard view, the Audio Editor replaces the Source Viewer above the Timeline and starts with the Mixer tab in front. The second tab contains Audio Routing. It allows you to mix audio signals in subgroups and distribute them to the available outputs. See “Audio Editor” on page 11-21.
Tour de Pinnacle Liquid The Trim Editor With the Trim Editor, you can optimally coordinate movement in the image for editing purposes and precisely trim transitions between individual cuts. The two inlays show you the frames before and after the edit point. You can check the edit in Preview mode. The Slip Clip function allows you to trim the mark-in and mark-out simultaneously. See also “Trim Editor” on page 10-85.
Section 2 Working with Pinnacle Liquid
The chapters that follow are arranged to reflect the typical sequence of a video postproduction workflow, from digitizing to mastering. With this arrangement, you have the option of either working through the entire sequence or reading selected sections and skipping over those that you do not (yet) need. Signup Logging on to the system; working with user names and User Profiles. Input Everything you need to know about the raw materials of editing: Digitizing audio/video; importing graphics, titles, etc.
chapter 7 Signup You do not necessarily have to log on to Pinnacle Liquid in order to work with the system, but doing so offers certain advantages, especially when several users are working on the same system. If you log on under a specific user name, - The last Project edited under this name is opened with exactly the same status that it had when it was last exited. - The Pinnacle Liquid user interface is configured with the customized settings for this user (toolbars, keyboard assignment, etc.).
Logging on as an existing user page 7-3 New user/initial login page 7-4 Loading a user profile page 7-5 User Details page 7-6 à Comment page 7-6 à Password protection page 7-6 Removing a user page 7-8 Save user page 7-8 7-2 Chapter Signup
Logging on As an Existing User Logging on As an Existing User If other users are already registered on the system, the User Login dialog box will contain a list of names. Select the appropriate name and click OK. User Login Chapter Signup On initial installation of Pinnacle Liquid in a directory where no previous installations exists, only one Default User setting is being created instead of the usual six predefined User Settings you may know from erlier versions (see figure).
New User/Initial Login New User/Initial Login 1 In the User Login dialog box, select New User to create a new user. 2 Then enter a name and select a user profile from the list; you can select either: wDefault - Basic software setting or New User/Load User Profile wIf any are present, another registered user or a sample user (basic, etc.) with his or her customized settings.
Load User Profile Load User Profile If you have been working on a different Pinnacle Liquid system, you can load your own individual settings here. In the dialog box, enter the source of this file (such as a diskette) and then open the file. The user name appears in the list and you can now select it. For information on saving User Profiles, refer to “Save User” on page 7-8.
User Details User Details You can set up a new user by clicking User Details in either the User Login or New User dialog box. The User Details dialog box lets you add or change the password and comments for a user. User Details Comments This option is intended not so much for biographical information as for a description of the user profile; you can configure your own aliases and optimize them for special applications (for example, “Audio User”).
User Details Adding/Changing Passwords In the User Details dialog box, click Password Protection to enable it. This opens the Change Password dialog box. Type the password in the New Password box, then type it again in the Confirm Password box. Click OK to close the dialog box and assign the password to the user. Change Password Removing Passwords In the User Details dialog box, a check mark in the Password Protection item indicates that the user name is protected.
Remove User Remove User The User Selection box also lets you remove users. Select the user to be removed in the Registered Users list, then click Remove User. If the user has password protection, you must enter the password to delete the user name from the list. Pinnacle Liquid prompts you to confirm before removing the user from the list. Save User To save the settings of a specific user, use this function.
chapter 8 Input This chapter describes the integration of material (objects) for editing and processing in Pinnacle Liquid. This material will generally originate from external sources (for example, digitizing via the video interfaces); however, some object types can be created using local resources (for example, title and color clips). And as an open system, Pinnacle Liquid is also equipped for exchanging material with other systems (EDL import, ALE import).
Transfer objects from other Projects page 8-54 Create objects page 8-56 à Color clip page 8-57 à Generate signal clip (reference level tones) page 8-59 à Titles page 13-1 à Effects page 11-53 à Voice-over (audio clip) page 11-48 Import EDLs/ AVID MediaLog files Edit using an Edit Decision List page 15-19 Import ALE Project Interface to media data exchange page 8-62 Import VideoMachine DBF Project upgrade to Pinnacle Liquid page 8-64 XReceive Import of objects and structures “XReceive” on page 8-66 LST Impo
Logging and Digitizing (Capture) Logging and Digitizing (Capture) In Pinnacle Liquid, the Logging Tool is responsible for logging (views) and digitizing (saving to hard disk) A/V signals or A/V data played via the system’s video and audio interfaces. In the process, clips and Media Files are generated with specific properties such as mono or stereo, an aspect ratio of 4:3 or 16:9, in a specific Media Format and in offline or online quality (product-dependent).
Logging and Digitizing (Capture) Basics Logging and/or digitizing defines clip properties: à “Logging” and “digitizing” page 8-4 à Clip-in/clip-out and mark-in/mark-out page 8-5 à 16:9 or 4:3 page 8-6 à Stereo or mono page 8-7 “Logging” and “Digitizing” (Capture) Let’s begin by defining our terms: w “Logging” means viewing (and listening to) played A/V material, where clips can be defined by means of their mark-in and mark-out.
Logging and Digitizing (Capture) Clip-In/Clip-Out and Mark-In/Mark-Out There is a fine distinction between the two: The clip-in defines the first frame of a clip and the clip-out defines the last frame. Clip-in and clip-out points cannot be moved. If the Playline is positioned on the clip-in (for example, in the Clip Viewer), a triangle is displayed in the lower left-hand corner of the video inlay indicating that “there is no material to the left of (i.e. before) this point.
Logging and Digitizing (Capture) Sometimes the software refers to a “Handle Length”. This means that a few frames are added before a clip’s existing mark-in and/or after its mark-out and that the mark-in/out is shifted accordingly. However, the boundaries of the clip-in/out cannot be exceeded. Subclips are clips without their “own” clip-in and clip-out points whereas master clips each have their “own” clip-in and clip-out points.
Logging and Digitizing (Capture) Real and Pseudo 16:9 format Many camcorders, particularly semiprofessional ones, offer 16:9 switching which displays the desired aspect ratio, but does so by simply mapping the top and bottom 72 lines as black bars. The loss of these lines results in a poor picture quality if the image is scaled to the greater width.
Logging and Digitizing (Capture) In the Project Racks, the stereo/mono status of a clip is indicated in the Tracks column by an attached S or M, for example VA1A2-M (this refers to enabled Detail View). The mono/stereo setting is not final! You can change this assignment simultaneously for several selected clips via Properties or Adjust Audio.
Logging and Digitizing (Capture) The Logging Tool (Functions) à Display (inlay, timecode and status) page 8-10 à Select player source page 8-13 à Racks and Reels page 8-14 à Controls (player and edit buttons) page 8-16 à A/V inputs (select Source Tracks) page 8-21 à Stereo or mono? page 8-21 à Select Media Format page 8-22 à Destination drives for digitizing page 8-22 à Select Audio Out page 8-23 à Video Tool à Clip tab: Name and number clips page 8-24 à Audio tab: Control and edit level page 8-26 à Maste
Logging and Digitizing (Capture) Video Inlay, Timecode Fields and Status Field The video inlay displays the video signal currently being applied. If you are logging/digitizing audio data only (video Source Track not activated; page 8-21), a loudspeaker icon appears in the inlay.
Logging and Digitizing (Capture) Timecode Formats The timecode formats in PAL and NTSC-DF/NTSC-NDF use different separator characters between seconds and frames. Examples: w PAL: 01:00:00:00 (colon) w NTSC Non Drop Frame: 01:00:00.00 (dot) w NTSC Drop Frame: 01:00:00,00 (comma) Go to a Specific TC Position: Click the position field, enter a valid TC value and press ENTER. The player cues up the tape to the desired position.
Logging and Digitizing (Capture) Edit TC Fields/Calculate a Timecode/Clear Fields You can edit these fields. Missing values are automatically inserted. For example, if you set a mark-in and enter a duration via the keyboard, the mark-out is calculated. To add times to or subtract times from values, press the PLUS or MINUS key on the keyboard before entering the number.
Logging and Digitizing (Capture) Player Source (D) From the drop-down list box to the right of the status field, select a player source: either the LIVE Input or a controllable player/recorder (mandatory for Batch Digitize) connected via an interface (such as RS 422 or IEEE 1394/i.Link DV/Firewire). Timecode data for the material is usually transferred via the control interface. The options available in this list reflect the settings under Pinnacle Liquid Start Menu > Control Panel > Site > Devices.
Logging and Digitizing (Capture) Reels and Racks (E, F) Reel names define where the material originates. Racks define its destination. A Reel is usually a (video) tape but generally stands for a specific source. An unambiguous and unique Reel name for each source is especially important in networked systems and for a subsequent Batch Digitizing operation.
Logging and Digitizing (Capture) w If one or more Reels already exist in the Project, select a suitable Reel from the list: The three most recently used Reels are at the top; below them are all the Reels available in the Project (provided that Media Files already exist for them). w Optionally you can configure the Change Reel dialog box to not open when you call the Logging Tool ( page 8-30). Per default the dialog will come up.
Logging and Digitizing (Capture) Selecting/Creating a Rack (F) The top right list box allows you to select or create a new Rack. w To create a new Rack, click the icon to the left in the list box. A dialog box is displayed over the inlay where you can enter a name for the Rack. The logged clips will be stored in this Rack until you select another one. See“Creating New Folders/Racks” on page 9-11. w If one or more Racks already exist in the Project, double-click a suitable Rack in the list.
Logging and Digitizing (Capture) Play Starts play. To stop play, click this button again or click Stop. Stop Stops play at the current position. To stop play, you can also click the Play button again. Goto Start/Rewind Rewinds the tape/jumps to the start of a clip/Sequence. Goto End/Forward Forwards the tape/jumps to the end of a clip/Sequence. Step Back 1 Frame Goes back one frame. Step Forward 1 Frame Goes forward one frame.
Logging and Digitizing (Capture) Shuttle Slider Shuttles the tape ahead (drag to the right) and back (drag to the left). 7 You can also fix the slider in one position: Press the SHIFT key and release the mouse button at the desired speed. Goto Mark-In Cues up/jumps to mark-in, if any; otherwise to clip-in. Goto Mark-Out Cues up/jumps to mark-out, if any; otherwise to clip-out. Play In to Out Plays in a continuous loop from the mark-in to the mark-out, if both are set.
Logging and Digitizing (Capture) Edit Buttons These buttons (in the default configuration, located in the two vertical toolbars next to the inlay) allow you to define clips. Mark-In Sets the mark-in point at the current Playline position. You can set the mark-in point “on the fly” (during playback), or use the player commands to move to the point for the mark-in. If the markin point is already defined when you click this button, it moves the mark-in to the new position.
Logging and Digitizing (Capture) Clear Mark-In and Mark-Out Removes both the mark-in and mark-out points, if set. If only one is set, removes it. Clear Mark-In Removes the mark-in point. Clear Mark-Out Removes the mark-out point. 7 To clear all timecode fields (except Position), hold the SHIFT-KEY while clicking Cancel. Set Index Picture In some cases the first frame and last frame index pictures may not clearly represent the content of a clip, i.e.
Logging and Digitizing (Capture) A/V Inputs (Selecting Source Tracks, H) The A/V signals (Source Tracks) to be digitized are determined by a series of buttons to the right of the inlay. Click the appropriate buttons to select (icon highlighted) or deselect them. Source Track selection affects Media File generation. See also “Media Management” on page 9-112. For example, activate the Video Source Track and Audio Source Tracks A1 to A4. The system then creates five different Media Files, one for each signal.
Logging and Digitizing (Capture) Selecting a Media Format (J) Here you can define the format in which the Media Files are digitized. Depending on your editing system and the options installed, the list box below and to the right of the inlay contains a varying selection of Media Formats (or no selection at all). For more information, see “System Formats in Pinnacle Liquid” on page 9-116.
Logging and Digitizing (Capture) w Select volume On the list boxes, the mouse pointer changes to a triangle; click it to display the list of available drives and directories from which you can select a volume for digitizing. This also changes the Primary Volume Definition, page 9-129. w Edit Media Management settings Whatever you can select from the list is defined in the Media Management Settings (Pinnacle Liquid Start Menu > Control Panel > Site > Media Management Settings; page 9-129).
Logging and Digitizing (Capture) Click this button to open the Video Tool window to adjust the Black Level, Video Level (luminance) and Chroma of the incoming video signal. All changes made are automatically reflected in the video inlay and on the connected video monitor. The Video Tool has an immediate effect, meaning that an appropriately modified Media File is generated during the digitizing process. For this reason, the procedure is also said to be “destructive”.
Logging and Digitizing (Capture) Press TAB again to return you to text input mode: Pressing TAB once takes you to the Clip tab and pressing it a second time takes you to the Title text field. w Click an individual plus sign to increment the count by one. For the first clip, a “1” is appended to the text. If you activate automatic counting (double plus sign), numbering is performed automatically for each newly logged or digitized clip. Automatic numbering is especially helpful with default textual presets.
Logging and Digitizing (Capture) Audio Tab Here you can control and adjust incoming audio signals. For a description of the functions and elements of the faders and audio peak meter, see “Audio Tool” on page 11-17. Audio tab (sample) Destructive and Non-Destructive When an incoming audio signal is digitized or saved without any signal-related changes, the procedure is “non-destructive”. Modifications such as level changes are recorded separately as parameters and are not used until playback.
Logging and Digitizing (Capture) Input These four faders and the associated levels affect or control the incoming audio signal of active Audio Source Tracks (product and signal dependent; see overview below). For a detailed description of operation and information on digital audio (level scales, clipping, headroom, etc.) see the “Audio Tool” on page 11-17.
Logging and Digitizing (Capture) Playback Level The Playback Level (volume) is a clip attribute and a non-destructive setting. You can already define the volume level at which the clip should be played back on the Timeline when logging/ digitizing. Control the Playback Level using the fader on the left side of the tab. The associated level meter (right) is always visible. Note the following: w The Playback Level applies to all the Audio Source Tracks of a clip and to the complete clip (no key frames).
Logging and Digitizing (Capture) Master Tab This tab shows an inlay containing the frame on which the Timeline Playline is currently positioned. It lets you determine the insert point for the Direct Insert function (Send clips to Timeline; see next section). Using the mouse, you can scrub directly in the inlay or in the Timeline/Timecode bar. Note: You cannot play the current Sequence in this inlay.
Logging and Digitizing (Capture) 5 The clip is inserted on the Timeline as soon as it has been completely logged/digitized. The clip is also stored in the current selected Rack. If you exit the Logging Tool while Send Clips To Timeline is activated, it is then deactivated. Properties This button (upper right-hand corner next to Rack drop-down list box) opens the Properties menu. Some of the options described below are also relevant for the Batch Digitize module.
Logging and Digitizing (Capture) Start Logging Tool with last selected Rack If this option is selected, the Logging Tool is opened with the last Rack selected. This allows you to begin storing logged/digitized clips without making any other selections. Ignore dropped frames for LIVE Capture The capture process normally aborts when frames are dropped. When active, this option causes any dropped frames to be ignored while the live capture process continues.
Logging and Digitizing (Capture) T C B r e a k B e h a v i o u r ( L o g g i n g To o l o n l y & RS 422) Discontinuous timecode on a player tape can cause problems during digitizing. If the mark-in is set too close to a TC break, this can interfere with the tape deck’s preroll; during Batch Digitize the assignment of clips and corresponding locations on the tape can be lost.
Logging and Digitizing (Capture) D i s k F u l l S t a t e / C h a n g e Vo l u m e As soon as the current capture drive (destination volume) becomes filled to a certain limit, the system can automatically change to another volume or drive although not without issuing a warning. In other words, here you can define when the drive is considered “full”.
Logging and Digitizing (Capture) Te x t u a l C l i p P r e s e t s Here you can define the defaults for the text fields (see also Clip Tab: Naming and Numbering Clips on page 8-24). These entries are then permanently defined for each newly created clip and can, for example, be supplemented with automatic numbering. Of course, the default presets can also be deleted from the fields on a case-to-case basis.
Logging and Digitizing (Capture) w Have Source Tracks (audio/video) been specified? page 8-21 w Has Mono/Stereo been defined? page 8-21 w Are problems with the timecode to be expected (only with RS 422 remote)? page 8-32 Even while the Logging Tool is active, objects in the Timeline and in the Project remain accessible and can be edited. Logging Logging is possible only with material played via a source that can be controlled by Pinnacle Liquid.
Logging and Digitizing (Capture) All data can be modified until you click the Log button. You can also set a mark-in and mark-out while the player is running. This is known as “on the fly” logging. In order to compensate for response times, you can set a lead-in for the mark-in ( page 8-30). If the Send Clips To Timeline function is activated, the clip is also set in the Timeline.
Logging and Digitizing (Capture) Offline Logging Offline logging occurs when clips are to be defined without players that can be controlled. The timecode values of mark-in and mark-out points are entered manually. Otherwise the process is the same as logging with a connected player (also see “Before Logging/Digitizing: Checklist” on page 8-34). 7 If Pinnacle Liquid Media Management finds a Media File that matches the clip data entered, the clip is considered digitized” and can be played immediately.
Logging and Digitizing (Capture) mark-in. The message DIGITIZING appears in the status field and a progress indicator is displayed in the Duration timecode field. The digitizing process stops at the mark-out and so does the player. The digitized clip is transferred to the Rack, and to the Timeline if selected (see page 8-29). The current process can only be cancelled by clicking the Cancel button ( page 8-41).
Logging and Digitizing (Capture) Digitizing affects the pending A/V signals as they are defined in the particular play sources ( page 8-13) and as a function of the Source Tracks selected ( page 8-21). Players (such as CD players) may have to be started and stopped manually. Creating Subclips Subclips are components of a higher-level clip (master clip); they all reference the same Media File. However, subclips have their own clip-ins and clip-outs.
Logging and Digitizing (Capture) Using the Log Button 1 Start the digitizing process using one of the methods described above ( page 8-37). 2 Click the Log button once to set a mark-in and again to define a mark-out and insert the subclip in the Rack and on the Timeline. 3 You can repeat the procedure described in #2 as long as the digitizing process is still running. 4 To terminate, click the Digitize button again. The master clip is also stored in the Rack.
Logging and Digitizing (Capture) Cancel Click this button to cancel digitizing. No Media File is created and no clip is stored in the Rack. The player is stopped. 7 To clear all timecode fields (except Position), hold the SHIFT-KEY while clicking Cancel. Automatic Scene Detection Automatic Scene Detection saves you the trouble of manually dividing up your material into individual clips. This function is available only when digitizing via the DV input using i.
Logging and Digitizing (Capture) In the case of tapes with a large number of timecode jumps or breaks, you should play the tape live (see also Live Input on page 8-13). Scene detection continues to operate, although later on you will not be able to re-digitize the clips created using Batch Digitize because there is no tape TC information. A copy of the tape can help but not all device manufacturers support the transfer or recording of the timestamp data ( page 8-42) necessary for scene detection.
Logging and Digitizing (Capture) w Create Master with inside handle length This option generates master clips only, meaning clips with individual clip-in and clipout data. You can enter a Handle Length (see below). Important: You can also trim these master clips to the total available length of their shared Media File but only by using the Expand Clip(s) function ( page 9-69).
Importing Objects Importing Objects The Import function lets you integrate objects in Pinnacle Liquid Projects such as video files, audio files, graphics files, titles, subtitles, crawls, test images, etc. Import involves either creating a shortcut (link) to the object’s storage location (diskette, hard disk, network, CD-ROM, etc.) or saving the file (optionally as a copy) in a Media Directory of the current Project. In either case, a clip is stored in a Rack.
Importing Objects Import - Where from, Where to? The destination of an import operation is always a Rack. This is where the imported clip(s) are stored. Open the shortcut menu for the Rack that you want as your import destination and select Import. A submenu is displayed: w Media Clip (stills, animations, audio, video, etc.) The sources for the import are determined by your system; from a diskette or from a network drive, anything that the operating system can find can be addressed.
Importing Objects What Can Be Imported? The Import Media dialog box, which contains the same basic components as a typical Windows dialog box, indicates the file formats that Pinnacle Liquid can use. Click the Files of type list box to display a list of compatible file formats. You may have to convert a file to a compatible format before importing it.
Importing Objects Audio Files Formats: w *.wav (PCM uncompressed) w *.mpa, *.mp3 (MPEG-1 Layer 2 Audio) w *.wma (Windows Media Audio) Valid audio sample rates for import are: 11025 Hz, 22050 Hz, 32000 Hz, 44100 Hz, 48000 Hz. Sample rates in between can not be imported. Graphics (Image) File Formats: w *.bmp, *.png, *.tga, *.tif, *.pcd, *.psd, *.pcx, *.bsi, *.jpg, *.tdk (TitleDeko) (Note: except TIFF lzw-compressed; GIF is no longer supported (Version 5.0 or later.
Importing Objects Importing Media Clips From the Rack shortcut menu select Import > Media Clip to import objects to a Rack. Import Media dialog box Selecting Files Import > Media Clip can also be used for loading several objects at once. This is useful, for example, if you want to integrate several video clips from a removable hard disk or individual animation pictures in your Project. One way to do this is to select the required object(s) using a CTRL+click or SHIFT+click.
Importing Objects Images and still titles in themselves have no “length” (i.e. no true TC-in to TC-out). As clips in the Project, they are allocated the duration that was assigned in the global image import settings (default is three seconds). See also “Image Import (Global Settings)” on page 8-51.
Importing Objects Automatic Detection of Animations The individual files of an animation are detected as such and loaded as a clip if their file names contain a sequence number (such as Anima001, Anima002, etc.). The system automatically converts imported animations to a playable format. Click the file with the lowest sequence number. The associated files are loaded automatically (make sure all relevant files are in one directory).
Importing Objects Image Import (Global Settings) In the Image Import Properties dialog box, you can define parameters for importing graphics files, such as the default duration of a graphics clip on the Timeline. Be be sure to check these settings carefully when you load a large number of files. These settings may be found in Pinnacle Liquid > Start menu > Control Panel > User > Image Import.
Importing Objects Scale to fit Activate this option if you want to adapt the imported images to the selected TV format. Depending on their original size, however, this may result in varying degrees of distortion. Automatic detection of animations Activate this option if you want Pinnacle Liquid to detect the individual frames in an animation automatically. The software looks for file names that are consecutively numbered in ascending order (for example, "Image001.tif to Image099.tif ").
Importing Objects Alpha image playback behavior This option is meaningful only if you run into alpha-channel problems when playing consecutive clips. These clips are usually played back in real time. Nevertheless, problems may result from a very large number of very short clips. The closer you position the slider to the Secure end, the earlier Pinnacle Liquid starts to render these clips in order to permit a correct playback.
Copying/Pasting Objects from Other Projects Copying/Pasting Objects from Other Projects Another method for inserting objects in a Project is to copy and paste them using the Windows method: Open a Project, select one or more objects (for example using CTRL+click or SHIFT+click), copy the objects by pressing CTRL-C (or by selecting Copy from the shortcut menu), exit the Project and open the destination Project.
Media Management and Object Import Media Management and Object Import You can also integrate objects in a Project using Pinnacle Liquid Media Management functions ( page 9-112). Media Management primarily serves to access Media Files; if necessary, however, you can generate objects from these files. See also “Media Files: Functions” on page 9-127.
Creating Objects Creating Objects This section describes objects that you can create within Pinnacle Liquid (i.e. without exiting the program). It covers the following topics: Create color clip Create monochrome or color gradient backgrounds. page 8-57. Generate signal clip (reference level tones) Using the internal signal generator. page 8-59 Create title Generate still, roll and crawl titles using the integrated titler. page 13-1 Produce customized effects ... using the Pinnacle Liquid effect editors.
Creating Objects Creating a Color Clip The Create > Color Clip function (in the Rack shortcut menu) allows you to define color clips (for example, for a title background). In the Color Clip dialog box that is displayed when you select this option, you can set the parameters for monochrome clips as well as linear and circular gradients.
Creating Objects w RGB color model The combination display/entry field below the HLS bars describes a color in the RGB (red-green-blue) model. Each value can be from 0 to 255. 0’0’0 is black, 255’255’255 is white and 0’255’0 is pure green. For an exact reproduction of a color value with known coordinates, click the field and enter the numbers via the keyboard. w Color hexagon Drag the cross-hair pointer to the desired color. w Color scale - A selection of hues. Click the appropriate box.
Creating Objects Color Matte Clip Generating a Signal Clip (Reference Level Tones) Pinnacle Liquid has an internal audio signal generator that allows you to generate individual signal tones: 1 Open the shortcut menu in any Rack and select the Create > Signal Clip option. A clip with the audio (loudspeaker) icon is stored in the Rack. 2 From the shortcut menu of the signal clip generated, open the clip Properties.
Creating Objects 5 Volume Select 0, -9,, -12, -18 or -27 dB. 6 On the General tab, name the clip so that it will be easier to identify in the Project later on. The preset reference tones contained in earlier versions of Pinnacle Liquid are replaced by this new, more flexible function. No media data exists for a signal clip. The internal signal generator generates the signal. For the same reason there is no waveform display of a signal clip.
Voice-Over Voice-Over Voice-over permits a live audio recording to be synchronized onto the image (for example, in order to record a comment) by inserting an audio clip on the Timeline. For more information on this function, see “Voice-Over” on page 11-48. Importing EDL/AVID MediaLog Files For more information on this topic, see the section on “Exporting/importing EDLs” on page 15-19.
ALE Project Import/Export ALE Project Import/Export Pinnacle Liquid has a standardized interface for exchanging Project data in ALE format. Such data can also include Media Files. This function allows you to integrate Pinnacle Liquid systems in expanded network environments such as content management systems. Meta and Media Files can be exchanged easily and directly via this interface (Media Data Link).
ALE Project Import/Export Size Media File(s) to Mark-In/Mark-Out Only the range of associated Media Files defined by the clip is copied/moved to the destination drive. Also, a Handle Length to be added to mark-in and mark-out may be specified. Export Project as ALE In the dialog box displayed, enter the name and directory path for the file. The file is assigned the extension *.ale. All available clip data (i.e.
VideoMachine DBF Import VideoMachine DBF Import You can import Project data from VM-Studio to a Pinnacle Liquid Project. Proceed as follows: 1 Export the relevant VideoMachine Project. Start by selecting the Timeline menu > Tools > General Preferences > DBF Export Structure. In the dialog box displayed, you can then define which Project data you want to export. The data that can be exported is activated in the screenshot below. You cannot import other data or media data to Pinnacle Liquid.
VideoMachine DBF Import is created in the current Project. The Racks in this folder correspond to the Reels of the Video Machine Project and contain the clips along with all the data and Picons. You can digitize these clips using the Batch Digitize function ( page 9-87). Sequences (Video Machine Movies) can be exchanged by means of EDL import/export ( page 15-19). When importing graphics files, make sure that the directory paths are the same.
XReceive XReceive XReceive is to some extent the counterpart to XSend. You can use this function to retrieve files in your system that can’t be accessed by means of a standard media import or that are not suitable for this type of operation. XReceive connects your system via an IEEE 1394 interface, e.g. to the Sony DU1 Hard Disk Recorder. You can integrate and immediately work with media data and metadata in the Sonyspecific *.dlx format in your Project.
XReceive Calling XReceive To open the XReceive module, select Pinnacle Liquid Start menu > Tools. Then select the application you want from the drop-down menu (if more than one application is available). XReceive Options w Media File Action These are the Copy, Move and Link options already familiar from the standard import. Note that Move removes the file(s) from their original storage location. w Import Audio Files as Stereo This option imports audio clips with the stereo attribute.
LST Import LST Import This function imports editing data from Vortex, Pinnacle System’s Networked News Editing Solution. Please refer to your Vortex documentation for more details.
chapter 9 Administration As a preliminary step to the actual editing, this chapter deals with the sorting, finding, viewing, deleting, naming and copying of video and audio clips, i.e. the administration of a Project and all its components.
à Clip Viewer: viewing objects page 9-54 à Object properties (object information) page 9-76 à Storyboarding: Outlining a film page 9-82 à Batch Digitize/Capture: Automatically digitizing (capturing) clips page 9-87 à Consolidate: Reducing clips and Media Files page 9-97 à Condense: Combining all the clips of a Sequence page 9-101 à ClipSync: Synchronizing selected objects page 9-102 à Automatic scene detection page 9-107 Media Management Working with Media Files page 9-112 à System formats in Pinnacle Liqu
The Project The Project The Project is a key Pinnacle Liquid module, used for gathering, organizing and managing objects for productions. These objects include audio clips, video clips, Sequences, graphics, titles, subtitles, opening credits, closing credits, effects, animations, etc. See also “The Object” on page 9-20. Opening and Creating Projects In Pinnacle Liquid, at least one Project must be open at any one time. To open or create a Project... w ...click Open/Create Project.
The Project If more than one Project is being worked on in the system, you can select one of these Projects from the list displayed when you select Pinnacle Liquid Start menu > Project > Open/ Create Project... Open/create Project Working With Two Projects Simultaneously It is possible to edit two Projects at the same time; however, you have full access rights only to the “primary”, current Project, i.e. the one that was loaded in the Project window.
The Project Project Template In Pinnacle Liquid a Template refers to a predesigned standard Project with user-defined objects. For example, if you plan to produce a series of several parts, with a template you could define the standard elements for all parts, instead of having to load the same color bars, titles, subtitles, etc. in several Projects.
The Project Copy/Delete a Project Changes in a current Project are constantly saved. If you want to freeze the actual state of a Project, you can create a copy of it. Do not use the Windows Explorer for copying or moving Projects! Doing so may cause you to lose data! Do not use the standard Windows dialogs “Save (as)” or “Open” to copy, delete or rename Projects! Save A Copy 1 Select Pinnacle Liquid Start Menu > Project > Save a Copy.
The Project Delete Project It sometimes becomes necessary to delete Projects that are no longer needed. In this case, proceed as follows: 1 Select Pinnacle Liquid Start menu > Project > Delete Project 2 In the dialog box that appears, select the Project you want to delete. Click Delete Media Files to not only erase object data, such as clips and Sequences, but also all Media Files of a particular Project.
The Project Project Structure This section provides information on the basic elements of a Project and on how to work with them. What Comprises a Project? Look at the figure below or at any Pinnacle Liquid Project on your computer’s monitor. The name of the Project appears at the top left in the title bar.
The Project w Tree area The tree area on the left is used for creating and selecting Rack Folders and Racks. w Content area The content area on the right is used for organizing and viewing objects. w Tabs The five tabs provide you with an overview of your Project’s entire contents (All), specific Racks (Clips: without effects Racks), the individual effects Racks (FX; without clip Racks), the system effects Racks (Library) and media data (see also Media Management on page 9-112).
The Project What Are Rack Folders and Racks? Rack Folders and Racks provide you with a clearer overview, particularly in the case of extensive Projects. Take another look at the Project window shown at the beginning of this section. w Racks are combined in Rack Folders, which cannot themselves contain individual objects. w Objects are combined in Racks. The sample Project (“Project window (Sample)” on page 9-8) contains the “Audio” Folder in which the “Audio1” and “Audio2” Racks have been stored.
The Project Creating New Folders/Racks There must be at least one Rack in your Project in order to structure, organize, load, log and digitize the material you need for editing. In the default configuration, a Rack with the name Sequences is created for each newly generated Project. Rack Folders are optional. 1 To create a new Rack Folder or Rack, right-click the tree area. 2 In the shortcut menu that appears, click either New Rack or New Rack Folder.
The Project C u t / C o py / Pa s t e w Use Cut to delete a selected Rack or Rack Folder from its current position. w Use Copy to create a copy of a Rack or Rack Folder; then use Paste to re-insert it somewhere else. w Use Paste to insert a “cut” or copied Rack or Rack Folder somewhere else (for example, you may want to insert a Rack in a different Rack Folder). Rack Folder/Rack shortcut menu Copying, cutting and pasting can also be done with the drag&drop function.
The Project Creating a Shortcut to a Rack A Shortcut is a link to a Rack or Rack Folder. Any changes you make to a Shortcut (such as deleting an object it contains) are also made directly to the Rack, and vice versa. The only exception is deleting: if you delete a Shortcut, the original Rack is not deleted. 1 Right-click a Rack to display its shortcut menu and select Create Shortcut.
The Project Open Several Racks Simultaneously To view more than one Rack at once, drag a Rack icon from the Project window’s tree area as a shortcut to the desktop. Double-click the icon to open its Rack window, which is now a Shortcut of the original Rack within the Project window.
The Project Deleting Racks and Folders 1 To delete a Rack or Rack Folder, right-click the Rack or Rack Folder. 2 In the shortcut menu that appears, click Delete. The object is transferred to the desktop Trash. If necessary, you can still retrieve it from there. If you want to use a single object contained in a Rack Folder or Rack in Trash, you have to copy the whole Rack or Rack Folder back to the Project window. It is not possible to access individual objects contained in Racks or Rack Folder in Trash.
The Project The Project Browser The Project Browser proves especially useful when working on a single monitor system. When active, the Project Browser takes up some space of the Timeline. Toggle Rack/Folder area visible/ invisible Toggle tabs Views Rack shortcut menu Rack/Folder area Content area Project Browser (horizontal split setup) The Project Browser is a miniature Project window. Use the this tool button to call up the browser.
The Project You may also change the positions of content area and Rack/Folder area. Right-click on the separating line between the areas and select a combination. Relative preserves the relative size of both areas when dragging bigger or smaller. To move the Project Browser to, say, top of the Timeline, right-click the separating line between browser and Timeline Headers and select an option from the shortcut menu.
The Project Project Properties The Project Properties are a combination of several basic settings that users can modify to fit a particular use or preference. To open the Project Properties, right-click the content area or tree area, or click the shortcut menu button on the righthand side of the toolbar and select Project Properties. All properties and settings that you can open and modify in the separate modules correspond exactly to the Properties and Settings in the Pinnacle Liquid Start menu.
The Project Diagnose Project You can find this function the desktop Trash shortcut menu. It is used to recover Projects and objects that were damaged or lost because of a computer malfunction, or a manipulation of files. If a problem was detected and if the recovery was succesful, you will find a new Rack-Folder in the Project, named Diagnose Project.
The Object The Object This section tells you everything you need to know about objects in Pinnacle Liquid: Basics Objects defined, basic methods for working with objects, etc.
The Object Basics What Are Objects? In a Project, you will primarily be working with objects. “Object” is the most general word for items contained in a Project such as audio clips, video clips, Sequences, graphics, titles, subtitles, opening credits, closing credits, effects, animations, etc. Racks and Rack Folders are also objects, as are Shortcuts and copies. Objects, Shortcuts, Copies and Media Files “Objects” generally refer to items contained in a Project, such as video clips, audio clips, etc.
The Object Shortcuts are mostly used to get quicker access to the clip. For example, shortcuts on the desktop give you instant access to several clips which are stored in different Racks.
The Object Object Shortcut Menus Each object in Pinnacle Liquid has its own shortcut menu containing functions that relate to the particular object type. Some functions, however, are available for all objects. Grab Picons Use Grab Picons to update a clip’s Picons at the mark-in and markout. For automatic update of all Picons in a Project, see “Project Properties” on page 9-18. C u t / C o py / Pa s t e w Use Cut to delete a selected object or folder from its current position.
The Object Creating a Shortcut 1 Right-click the object. In the shortcut menu that appears, select Create Shortcut. 2 The system generates the shortcut below the original object and assigns it the same name; however, the object icon now has a small arrow. You can also create a shortcut to an object using the drag&drop function: Drag the object to the desktop.
The Object Undo/Redo Click Undo to reverse the last action performed. Click Redo to reverse the last Undo action performed. Undo and Redo apply to changes made directly to the object (for example, renaming), but not if you have moved it from Rack to Rack, deleted it, etc. Preview Click one or several clips in the Rack and select the function Preview > Selected from the Rack shortcut menu. If you wish to view all clips in the Rack, click Preview > All In Rack.
The Object Objects in the Project This section provides information on the interplay between Projects and objects: Object views page 9-26 Selecting objects page 9-36 Sorting and arranging objects page 9-37 Verify imported media page 9-38 Views Pinnacle Liquid makes a distinction between the Detail View (list) and the Picon View (images).
The Object Detail View The screenshot below shows the Project window with a few Racks and Rack Folders. One Rack in the list is selected. It contains several clips, displayed in alphanumeric form in the content area on the right, along with their mark-ins, mark-outs, duration, Tracks, etc.
The Object Standard Detail View To activate Detail View, right-click the Project window’s content area or click the shortcut menu button on the right side of the toolbar. In the shortcut menu that appears, click Detail View > Standard. “Detail” means that information is displayed in alphanumeric form with clip names, mark-ins, mark-outs, etc.; “Standard” means the information is displayed with the default column settings.
The Object Edit View To adjust the Detail View display, right-click the content area to open the Rack shortcut menu. Click Detail View > Edit View to open the Detail View Properties dialog box. Properties box in Detail View w In the list, click the check boxes of those items you want to display in detail view. The area at the top of the dialog box shows how the Detail View display looks. You can also use this area to change column width. To do so, drag the column divisions to the required position.
The Object w Repeatedly click the arrow buttons to the right of the scroll bar to move the column heading up or down in the list. Save Sets To save a certain configuration as a set, click the Save Set As button and enter a set name. To load a previously saved set, click the Arrow icon on the right of the Set field and click a set in the dropdown list that appears. Click Delete to delete sets. Object icons must always appear at the beginning of a line, i.e. they cannot be moved.
The Object Standard and Individual Settings Individual sets can also be activated with the shortcut menu. The default (Standard) settings are always available.
The Object Picon View Use Picon View to display objects as miniature images (Picons). In the case of a video clip, the first frame (mark-in) generally appears. If you define a specific index image (during Logging or in the Clip Viewer), this image will appear. Graphics and titles are also displayed en miniature. The Grab Picons function in the Rack shortcut menu updates Picons at the current positions of mark-in or clip-in and clip-out or mark-out, respectively.
The Object Click Small, Medium or Large to specify Picon size. How many objects will be visible, depends on the size of the window. Clip names also appear in Picon View. If you prefer to display take and scene numbers (for example, if you are working with a screenplay), click the appropriate option under Shortcut Menu > Project Properties (see also Project Properties on page 9-18).
The Object Object Icons (Detail View) In detail view, each line is preceded by an icon, representing object type and status.
The Object Object Icons (Picon View) Icons indicating the object status are also used in the Picon View: Effects Applied to Clips Symbol If you applied one or more effects to a clip, a grey star appears in the Picon: Picon with effect and Attributes symbols (left); Media File unavailable (right) Media File Not Available The exclamation mark in the upper left-hand corner indicates that a clip’s Media File is not available.
The Object Modify Clip Attributes A small blue star in the top right-hand corner identifies clips whose w Playback Level ( page 9-80) and/or w Color Correction Attributes (Primary Color Correction) have been changed. You can access these modifications via the extended dialog box in the Clip Viewer. To deactivate the modified attributes, see the section on Attributes, “FX Properties” on page 9-81. Select All/Invert Selection Click Select All in the Rack shortcut menu to select all objects in a Rack.
The Object Sorting Objects Objects in a Rack can be displayed in certain orders, regardless of whether Picon or Detail View is active. However, to actually sort items, you have to switch to Detail View: Sorting clips according to ascending alphanumeric order Sorting Using the Shortcut Menu 1 Right-click the heading of the column you want to sort.
The Object w An arrow pointing downwards represents ascending order, w upwards, descending order, and w no arrow, unsorted. Every column can be sorted, but you can only display the information sorted based on one column at a time. In other words, you can either sort by clip name or by the mark-in point or by the mark-out point, etc. Once you have specified the sorting method for one column, the other columns are automatically rearranged accordingly.
The Object In the dialog choose from the list a method of restoring the connection: w Copy the located Media File to a Project media directory w Move the located Media File to a Project media directory w establish a Link between object and Media File (which stays at its location). With the option Process only missing media unchecked, the operation includes all clips selected or in Rack. If Verify Imported Media cannot find a matching Media File, another dialog comes up.
The Object Searching for and Finding Objects Finding specific objects can be difficult, especially in extensive Projects. Pinnacle Liquid provides you with two tools: a Quick Finder and a complex Find Tool. Quick Finder Use this function (located in the upper left-hand corner of the Project window) to quickly find names and terms in your Project. Enter the term you are looking for in the field (you can also type in just part of the term). Click the Binoculars (Quick Finder) button.
The Object Find Tool The Find Tool is a powerful tool for finding practically any object in a Project. It offers a complex series of operators for customized searching and lets you conveniently organize results.
The Object O p e n F i n d To o l To use the Find Tool, click Start Menu > Find.
The Object Find window The Find Tool includes three tabs which are used for specifying search parameters and displaying results. On the right-hand side of the window are additional search commands and options for transferring results.
The Object Search Criteria The following pages show how to set tab parameters for effective searching. Item + Location Tab Item + Location tab with search string Use the options in the Item + Location list boxes to specify the attributes of the object you want to find. To perform a search, the Item + Location window must contain at least one search string.
The Object Column List Box To begin defining the attributes for a search, first select an attribute from the drop-down Column list box. The box provides 18 different criteria for narrowing down a file search. The option you choose in the Column list box has a direct effect on the options available in the remaining three boxes. Column list box Operator List Box Use the Operator list box to specify criteria for further narrowing down your search.
The Object Which options appear in one box depends on what you selected in other boxes. Pinnacle Liquid offers you logical operators to choose from. Variable Field What appears in this area depends on what you selected in the Column list box. The following boxes can appear, for example: w Text box This box appears, for example, when you specify Name in the Column box and is used to search for a text string (maximum of 29 characters).
The Object More List Box Use the More list box to specify the basic search operators AND and OR. Up to four search strings can be linked with these logical operators. Every line represents a search string. The default setting is “inactive” (---), in which case the system only searches for the first string. Use the AND and OR operators to search for and link additional strings. More list box Whether you use AND or OR depends on to what degree you want to narrow down the results.
The Object Select Use the Select tab to specify in which areas and for what types of media you want to search. The search procedure always applies to the active Project. The following two options are available: w Racks to search in w Media types to search for Select tab Racks to search in Use this function to specify which Racks to search through. This is especially useful if your Project involves many clips stored in a lot of different Racks. Click a check box to activate/deactivate it.
The Object Media types to search for Use the Media Types to Search For box to specify what type of media the Find Tool should look for. Media types Click the required check boxes. The logical operator between the various boxes is understood to be “OR”. If you click Audio, only audio data will appear.
The Object Use this function to prevent types of media from being displayed that you are not looking for even if they fulfill the criteria specified under Item + Location. This function can be useful, for example, if you are looking for a certain video clip. If you specified V (for video) in the Location field, all filters and graphics in your Project will also appear. To avoid this, use this box to specify exactly what types of video data you want to find.
The Object Search Result Display This box displays the results of a given search. Search Result area The Search Result area offers two shortcut menus. wTo open the objects shortcut menu, right-click an object in the Search Result area. The options provided in this menu let you open an object, transfer it to the Timeline, copy it etc.
The Object w To open the Rack shortcut menu, right-click a free area in the Search Result area. The functions in this menu can apply either to all search objects or only selected objects. The options provided in this menu let you perform a preview of all selected clips, switch between object display modes, select objects etc. Command Bar Use the three buttons at the top of the right-hand side of the Find window to control the actual operation of the Find function.
The Object Create Rack Use this option to create a new Rack into which you want to copy selected or all files. The dialog box that appears lets you specify a Rack name and location. M o v e To R a c k Use this function to move objects from their present Rack to another, already-existing Rack (“moved” objects are deleted from their previous Rack). Use the Move To Rack function only if you are absolutely sure that you don’t need the objects any more at their original location.
The Object Viewing and Editing Objects: the Clip Viewer Using the Clip Viewer, you can view (or listen to) and edit audiovisual objects. Such objects are generally referred to as “clips”, and not just in Pinnacle Liquid.
The Object Opening Clip Viewer The Clip Viewer can be opened in one of two ways: w Right-click an object in a Rack or on the desktop. Click Open in the shortcut menu that appears. or: w Double-click the object you want to view. Provided you have selected the appropriate option in Project Properties ( page 9-18), the Clip Viewer will open along with the desired object. The image appears in the window. It can be in the form of a video inlay (when the object is a video clip) or a graphic (e.g.
The Object Basic Clip Viewer Functions Current position of Playline Length of clip from mark-in to mark-out Extend dialog Mark-in and markout icons Position bar Playline Clip Viewer 9 - 56 Chapter Administration
The Object N a v i g a t i o n Us i n g t h e Po s i t i o n B a r The position bar is identical in the Clip, Source and Master Viewers and (in a miniaturized form) in Picon Play. Although the width of the bar is fixed, it is possible to view specific sections of a clip in the desired resolution. This makes navigation and thus finding scenes much easier, especially in long clips.
The Object The small line below the navigation bar represents the Playline position within the clip. The mark-in and mark-out points (if set) are also displayed. Functions: w Double-click the navigation bar to toggle between two states: A full zoom-out to the mark-in/mark-out or the last zoom scale that was manually set. w Double-click the navigation bar while pressing SHIFT to toggle between the zoom-out and clip-in/clip-out or the last zoom scale that was manually set.
The Object Mark-In/Mark-Out and Clip-In/Clip-Out The icons in the corner of the inlay indicate that the Playline is at the mark-in or mark-out (filled triangle) of a clip or at the beginning or end of the corresponding Media File of a clip (outlined triangle). See “ClipIn/Clip-Out and Mark-In/Mark-Out” on page 8-5 and “Media Management” on page 9-112. Mark-In Clip-In Brief Overview: Scrubbing Video Below the image display window is a position bar which represents the length of the clip.
The Object Position You can also enter a timecode value manually to move to a certain position in a clip. This can be done in one of two ways: w Click the Position field. In the box that opens, enter a timecode value using the numeric keypad. Alternatively, you can also click a single digit and enter a number to replace it. When you have finished inputting a timecode, confirm with ENTER. If the timecode turns red, you have entered an impermissible value (such as 00:61:00.34).
The Object Timecode Formats The PAL and NTSC-DF/NTSC-NDF timecode formats use different separator characters between seconds and frames. Examples: w NTSC Non Drop Frame: 01:00:00.00 (dot) w NTSC Drop Frame: 01:00:00,00 (comma) w PAL: 01:00:00:00 (colon) Additional Clip Viewer Functions Underscan/Overscan This toggle switch lets you choose between Underscan and Overscan inlay view. w Activate Underscan to show the whole frame with all pixel information displayed.
The Object w Analog scrub Press the SCROLL key on your keyboard once to activate analog audio scrubbing. Press it again to deactivate this mode. w Digital scrub Press the CAPS LOCK key on your keyboard to activate digital audio scrubbing. Press it again to deactivate this mode. If you use a mouse with a mouse wheel: simply turn the wheel to move the Playline frame by frame, press the wheel to move 10 frames at a time.
The Object Setting Markers and Adding Comments You can set as many Markers as you like on the position bar and attach a comment to each one. Setting and Deleting Markers w Setting - Move the Playline to the Marker position and click the Set Marker function. The Marker icon is inserted in the position bar. w Deleting - Position the Playline directly on a Marker in order to delete it using the Delete Marker function.
The Object Attach comment 1 Set a Marker. 2 Double-click a Marker to open its comment box. 3 Enter a text. 4 Confirm with OK or press the ENTER key. Set Marker Delete Marker Comment box Set Markers and add comments Display attached comments To display the entered information, including the timecode data of the given position, rest the mouse pointer on a Marker for about a second (comment appears automatically) or double-click the Marker to open the comment box.
The Object GoTo Marker List Click this button to open a window with a list of all Markers and comments for a clip. Click a given entry to move the Playline to this position in the clip and display the corresponding image in the inlay. If you don’t find this button in the standard toolbar of the Clip Viewer, open the Customize window (right-click in toolbar) and drag the button to the toolbar ( page 16-8). List of clip Markers w Marker Comment - contains a Marker comment created by the user.
The Object Wa v e f o r m I n l a y If you are editing an audio-only clip in the Clip Viewer, the waveform of the clip is displayed in the inlay window: Waveform Inlay The illustration shows a stereo clip. Both Source Tracks are arranged in the upper area. The two lines of the Playline encircle an image frame. The lower area shows the same Track in larger scale. The section above is indicated by a rectangular frame. You can mouse-scrub in the lower and upper waveform.
The Object If you want to edit the Audio Source Tracks for a video clip in the Waveform Inlay, first deactivate Video in the object Properties dialog box for the relevant clip ( page 9-76). The Waveform Inlay of audio clips reflects their individual Playback Level settings. A very low volume audio clip, for example, appears in the Waveform Inlay with an accordingly “flattened” waveform.
The Object Shuttle Playback (fast) Allows you to switch through a playing speed of 30, 60, 90 and 150 frames per second (NTSC, forward/reverse). PAL: 25, 50, 75, and 125. Shuttle Playback (slow) Allows you to switch through a playing speed of 7 and 15 frames per second (NTSC, forward/ reverse). PAL: 6, 12.
The Object as any other clip. Subclips appear in Racks with the same name as their original clip, but have a Subclip icon. ( page 9-34.) w Sub Clips will be automatically scaled to their duration in the viewers, so you don’t have to deal with the length of the Media File. If you don’t find this button in the standard toolbar of the Clip Viewer, open the Customize window (right-click in toolbar) and drag the button to the toolbar. (See also “Customizing Toolbars” on page 16-8.
The Object Video Tab (Primary Real Time Color Correction) This tab contains the functions for primary color correction. The correction works non-destructive, meaning that its attributes are saved with the clip metadata and used in real time for playing back the digitized material.
The Object w Midtones (gamma) w Highlights (gain, lift, white value) By selecting an area, you can perform selective color corrections. In each of these areas, you can control the red, green and blue color channels and the brightness (luminance - gray bar). Hue and Saturation These two functions affect the entire image. w Hue With this function you travel once around the entire color wheel either clockwise or counter-clockwise (“Color wheel and color vectors (vectorscope view)” on page 9-74).
The Object The Restore to Default button shown here resets all the parameters to zero. Red, green, blue and brightness (luminance) can be controlled separately. Nevertheless, a change in a color channel also causes a change in luminance. Proceed as follows: 1 Select Black, Gamma or Gain (shadows, midtones or highlights). 2 Drag one of the color bars or the luminance bar to the desired position or enter a value from -255 to 255. Single-click the small button next to a bar to reset it to the original value.
The Object 75% Color Limits the CbCr color components to 75 percent of the maximum permissible value. Reference Sets With this function, you can save up to 16 different groups of settings and restore them if necessary. The parameters of all three correctors plus tools are saved. Click the Plus symbol to add a set. A modified set can be saved using the double-Plus symbol. Trash deletes the current set, which you can choose form the list.
The Object When examining a color bar in the vectorscope, each of the colors named above is represented by a glowing dot at a specific location of the screen (like the tip of an arrow; see figure). The arrows are called vectors. With the aid of these vectors, all the possible points (= colors or hues) within the wheel can be precisely defined mathematically.
The Object RGB Color Model It is also possible, however, to use three bars for quantitatively displaying a hue. These bars (one red, one green, one blue) can be seen in Pinnacle Liquid Color Correction. A color appears to be composed of different percentages (bar lengths) of the three basic colors RGB, apart from the pure basic colors themselves. RGB is generally specified in values from 0 to 255. Example: (0,255,0) is pure green; (0,0,0) is black; (255, 255,255) is white.
The Object Object Information: Properties This dialog box contains detailed, object-specific information on, for example, the name of the Media File, file size, length, date last changed and where it is located. The FX Properties provide additional information on objects to which video or audio effects have been applied.
The Object Opening the Object Properties Box Right-click an object to open its shortcut menu and click Properties to display the following or a similar dialog box: Customize Full view of Properties window with customize dialog box on right w The Properties differ slightly depending on the object type. w The General tab is available for all objects. See also “General Elements of the Object Properties Box” on page 9-78. w The V tab is available for video clips and image objects.
The Object You can also customize this dialog box to meet your particular needs. This procedure is described in the following section.. Customizing the Object Properties Box 1 Click the wrench icon to open a field containing three tabs: General, Timecodes and Special. 2 Drag the elements you want to include in the dialog box from the appropriate tab to the required position. The position of existing buttons is shifted to make way for the added tools.
The Object w Comment Use to enter comments regarding the object. w Reel For a video or audio clip: Name or number of the object’s source tape/medium. You cannot edit this field (see also Media Management on page 9-112). w Audio Reel The name of the Reel where the clip’s audio originated. Video and audio clips from different sources can be synchronized using the ClipSync Function ( page 9-102). w Tracks Used to specify the object’s video and/or audio Source Tracks.
The Object w Clip Length Indicates the length of clip between the clip-in and clip-out points. This number reflects actual or maximum Media File duration, respectively. Mark-in and mark-out points can be different to clip-in and clip-out points. This field can be edited. w Clip In/Out Indicates the actual beginning and end of a Media File. You can edit these fields.
The Object w Status OK/NG Clips marked with “No Good” can be excluded from the Batch Digitize process by activating the Clips Marked OK option. See also “Sony ClipLink™” on page 8-36. w Original Name Name of the Media File that the clip referenced when it was imported. The reference can change during the course of your work; this allows you to clarify sources. FX Properties FX Properties provide information on and access to the effects applied to an object.
The Object In the case of a Timeline clip, you can open the FX Properties dialog box from the clip’s shortcut menu. For more information, see “FX Properties” on page 10-82. Preparing for Editing: Storyboarding A storyboard is used to roughly outline the course of an editing job. Using Picons, you can quickly put together a Sequence to get a rough idea of what a film will look like. With the Picon Play function and Clip Viewer, you can view and edit clips.
The Object To transfer your storyboard Sequence to the Timeline, make sure all Picons are selected (yellow border), the Picons slightly overlap, with each succeeding Picon on top of the previous one. Pinnacle Liquid can then recognize the order of the clips. The bottom clip is used as the first clip in the Sequence on the Timeline; the top clip, as the last. Do not click a clip somewhere in the middle of the stack, because that would change the order.
The Object Picon Play Picon Play is possible both in Picon View and in Detail View. Activate Picon Play wALT+double-click the Picon or clip name. wDouble-click a clip’s Picon (Picon View) or a name (Detail View). For this to work, you have to have selected the option Start Picon Play in the Project Properties dialog box ( page 9-18). Pinnacle Liquid starts playing the clip in a window in Picon format (its size depends on the size you specified in Picon View).
The Object Shortcut Menu for Objects on the Desktop Picon View can be controlled just like in a Rack ( page 9-26) with an object’s shortcut menu. Use the Mark-In/Mark-Out mode to see the actual images at the in and out points. Moreover, three special functions are additionally available for desktop storyboarding: Select All Overlapping Click an object in a series, then right-click and select this option to select all overlapping objects in the given series.
The Object Transferring Storyboards (Send to) To transfer a storyboard Sequence, i.e. a defined series of objects, to the Timeline or the Source Viewer, select the objects you wish to transfer. This can be done by either clicking the Select All Overlapping option (in the object shortcut menu), positioning a frame around the required objects with the mouse, or clicking on objects while holding down they SHIFT or CTRL key.
The Object Batch Digitize (Batch Capture) Batch Digitize is the automatic digitizing of what is usually a large number of clips and is, therefore, usually the next step after logging ( page 8-35). However, this function is also recommended for the transition from offline to online editing or for “cleaning up” Projects.
The Object Select Batch Digitize and then one of four options: w All In Rack - Starts Batch Digitize for all the clips in a Rack. w Selected - Starts Batch Digitize for all selected clips. w Not Digitized - Analyzes which clips are not digitized and starts Batch Digitize with these clips. w Clips Marked OK - Starts Batch Digitize with the clips whose status is set to OK ( page 9-76). Clips that have been logged in Pinnacle Liquid always have the OK status.
The Object Batch Settings These options affect the size and number of Media Files generated. Condense to Mark-In/Out Use this option to digitize clips from mark-in to mark-out. Otherwise clips will be digitized from clip-in to clip-out. On first-time digitize, mark-in/mark-out and clip-in/clip-out are most probably identical. When Use Mark-In/Out is activated while batching a Sequence, only the required media data will be created.
The Object Mark-in and mark-out points cannot assume values that exceed those of clip-in and clipout points. Rule of thumb: Mark-in <= clip-in. If the media file’s mark-in and clip-in points are identical, you cannot add a handle length. Tip: If you “batched” the clips of a Sequence with a Handle Length in order to leave yourself room to trim these clips later on, you must expand the relevant clips before you can lengthen them (you can always shorten them).
The Object 00:00.30:05 00:00.30:00 2 Clips within Merge Distance V A1 A2 5 Frames V A1 A2 1 Media File 00:00.30:00 2 Clips within Merge Distance V A1 A2 V A1 A2 00:00.30:05 5 Frames 00:00.30:00 2 Media Files V A1 A2 V A1 00:00.30:05 5 Frames V A1 Schematic diagram: Merge if less than... with “Distance” set to 10 Frames Just Clips without Media This option limits digitizing to clips that are not associated to any Media Files.
The Object Batch Info This section contains information on the current batch job. Total Duration This field initially contains the accumulated duration of all the clips, as they were sent from the Project to be batched, that is, before the options Handle Length, Use Mark-In/Out or Merge if less than... are applied. The actual duration of all resulting Media Files is calculated, and displayed, when you launch the Batch. That duration can be longer or shorter, depending on material and options selected.
The Object Batch Status w The progress indicator below this field provides you with information on the overall progress of the batch operation. w A progress indicator below the video inlay refers to the current clip being digitized/Media File being created. The audio peak meters display the level being applied during digitizing. Any Playback Levels that were logged are not taken into account (see also Playback Level on page 8-28).
The Object 3 If all runs smoothly, one batch list entry after the other is removed from the list as Batch Digitize completes the job. 4 In case of successful termination the Batch Digitize dialog closes. Otherwise, see “Error Messages” on page 9-94 below. Pinnacle Liquid processes the clips in ascending order by mark-in points in order to avoid any unnecessary shuttling back and forth on the part of the player.
The Object w TC break A TC break was detected and the clip(s) could therefore not be digitized. Please note: The TC Break Behaviour Settings in the Logging Tool Properties have no influence on TC breaks detected during Batch Digitize. At the end of the batch, the system goes into troubleshooting mode.
The Object Batch Properties The Batch Digitize Properties dialog box is in part identical to the Logging Tool Properties dialog box: page 8-30. Batch Digitize and Render Effects If you use Batch Digitize to digitize the clips of a Sequence that has already been edited in order, for example, to achieve a higher image quality, note the following: w All the rendered components of this Sequence (clip effects, Transitions, slow-motion clips, accelerated clips, etc.
The Object Consolidate The Consolidate function copies the media data required by clips (individually or in a Sequence), thus permitting those that are no longer needed to be deleted. Once a Sequence has been completed you can, for example, discard the surplus raw materials in order to create more space on the storage media. Consolidate can also be applied to individual clips. You also have the option of storing the consolidated clips in a Rack (see also Condense on page 9-101).
The Object Calling Consolidate The Consolidate function is located in the clip and Sequence shortcut menus (in the Project), and in the Rack shortcut menu. 1 Select one or more clips, or a Sequence. If you use the Rack shortcut menu, you can also select Consolidate for all the objects in the Rack. 2 Select Consolidate from the shortcut menu. When a Sequence is selected, all the clips in the Sequence are consolidated.
The Object This means that you can, for example, assemble a number of files gathered together in the network on one (local) volume. 4 If there is not enough space available in the current volume ( page 9-129), an error message is displayed. In this case, determine which Media Files are not needed and delete them. The Sequence or clip(s) can be played exactly as before. They are, however, now referenced to the newly created, consolidated Media Files.
The Object 1 In the shortcut menu for the consolidated Sequence/clip(s), click Tag used media. Media Management now determines how many clips access the same Media File. 2 Open the Media tab in the Project window and under Streamed media, select the Project in which the Consolidate operation was executed. All the Streamed Media Files are now displayed. 3 The result of the Tag used media command appear in the Tags column as a number from 0 to..., depending on how many clips reference the same Media File.
The Object Condense The Condense function generates copies of clips. Associated Media Files are not copied (see also Consolidate on page 9-97). This function is used, for example, to generate the inventory of a Sequence. It allows you to view exactly what material and what length of material was used - a useful function if you need to create a music list or archive footage list.
The Object Calling Condense The Condense function is located in the clip or Sequence shortcut menu in the Project. 1 Select one or more clips, or a Sequence. If you use the Rack shortcut menu, you can also select Condense for all the objects in the Rack. 2 Select Condense from the shortcut menu. 3 A dialog is now displayed containing two options: w Handle Length This value (in frames) is added to the clip’s mark-in and mark-out points, thus creating a new clip-in or clip-out.
The Object Which Objects Can Be Synchronized? You can synchronize w a video clip with one or more audio clips, w an audio clip with one or more video clips or w audio clips with one or more audio clips, (depending on the synchronous point selected). The result is a new clip: VA1..A4 or A1..A4 In all cases, note the following: w A video clip cannot be synchronized with audio clips from different Reels, i.e.: Vreel#1 + A1reel#2 + A2reel#3 cannot be synchronized.
The Object w The timecode format must be identical for all participating clips. PAL and NTSC TCs cannot be mixed. How to Synchronize Clips 1: Select objects Open the shortcut menu for a Rack containing clips to be synchronized and select ClipSync (either for all the clips in the Rack or for selected clips). The ClipSync dialog box is displayed containing a list of the selected or marked, valid clips from the rack.
The Object 2: Select synchronous points Use the two list boxes in the middle of the ClipSync dialog box to select synchronous points. Synchronize to timecode If video and audio clips have identical timecodes, synchronizing to timecode can be very useful. Clips of different lengths are aligned to the first common TC value.
The Object 3: Specify criterion If necessary, you can define the selected synchronous point more precisely by means of a second criterion. The second list box (on the right) contains: w any name (default) w identical clip name (exact match) w fitting clip name (partial match) w identical Reel name (exact match) w fitting Reel name (partial match) For example, if you select Identical clip name, only the clips with the exact same name are synchronized.
The Object Automatic Scene Detection (Clip Viewer) Automatic Scene Detection (found in the extended dialog box of the Clip Viewer) divides a longer clip with different takes (scenes) into a number of shorter clips. A similar function is available in the Logging Tool ( page 8-41).
The Object Scene Detection Based on Video Content The system analyzes differences in the video content frame by frame. For example, if a shot of an evening candlelight dinner is followed by a daytime market scene under a blue sky, it’s easy to deduce that this is a new scene and create a new clip. Other motifs, such as a fast pan, can prove more problematic for the system since the content varies wildly from frame to frame.
The Object 8 The clip in the Clip Viewer is played back. Each time a scene is detected, a green Marker is set on the Position Bar. If you notice that scenes are not being detected or non-scenes are being detected, exit and correct the Sensitivity for the next run. To jump from Marker to Marker use the buttons shown here or the C and V keys of the keyboard (default assignment). With the ARROW KEYS (LEFT/RIGHT) it is easy to check whether a Marker really indicates a scene change.
The Object Multiframe Scan This is a filter which suppresses extremely short image events in order to not create unnecessary scenes. The best example would be photo flashes that last only one frame. Should be active in most of the cases. Subclip or Masterclip? w All subclips created by the Automatic Scene Detection have identical clip-ins and clipouts. Therefore, a subclip can easily be trimmed to the full extension of its media file.
The Object Scene Detection Based on Metadata With this variation, the system analyzes the start/stop data (datestamp/timestamp) that DV camcorders write to the tape each time recording begins. Important: Not all manufacturers equip their devices with this function. If the material does not contain timestamp data, the system automatically falls back on video content based dectection.
Media Management Media Management Media Management in Pinnacle Liquid provides greater clarity and more transparency in the handling of Media Files, especially for users working in a networked environment. It facilitates and organizes the exchange and shared usage of Media Files and the selection of Media Formats and digitizing drives. Media Files, you may remember, contain the digital image and audio information necessary for editing.
Media Management Basics Certainly it is also possible to work in Pinnacle Liquid without giving much thought to Media Files. To a large extent, the software organizes the interactions between clips and Media Files in the background. When Projects become more complex and the exchange of data becomes more important, however, you should familiarize your self with some of the basics of Media Management. Compatibility Projects and Media Files that were created in Pinnacle Liquid up to and including Version 2.
Media Management w Still media Media Files without a “real” timecode clip-in/clip-out, such as graphics inserts and title clips, which can be changed to any length by repeating the same single image. Identifying a Media File What makes a file a Media File from the point of view of Media Management? w Still Media File This type of Media File is sufficiently defined by a Reel name and the name assigned when the file was created.
Media Management changed. A Media File with a different clip-out (where all the other metadata is the same) is a different Media File. w Stream type (video, audio, still) and a stream ID (see the section on naming Media Files, page 9-115). With this information, Media Management can assign clips and Media Files to one another. The “matchback” functionality searches all the specified directories.
Media Management System Formats in Pinnacle Liquid From the System Format Settings (Pinnacle Liquid Start Menu > Control Panel > Site > System Settings), select the available playback and render formats provided by your system. Defining System Formats File Format (Playback Formats) The file formats that your particular system can play back are listed here. The formats offered for selection depend on the product and on any optional expansions.
Media Management Render Formats From this list, select the format to be used for creating render files. The selection offered depends on the File Formats available (and on the Pinnacle Systems editing solution you‘re using). The format selected here is also the target format of choice when fusing (mixed-format) Sequences (other formats will be converted to the selected format; see “Fuse Sequence” on page 15-32). You can also fuse Sequences to create AVI wrapped files; e.g.
Media Management File Formats File Formats can be identified by the file name extension on the Media Files. Pinnacle Liquid uses the following video File Formats (the associated products appear in parentheses): w 2vuy (Li quid blue , Li quid chrome ) w yuv (Liquid silver ) w MXF (Li quid blue ) w m2v (Liquid blue , Liquid silver , Liquid chrome ) w dif (Liquid blue , Liquid Edi tion , Liquid chrome ) w avi (Li quid Edition ) For all the products, wav is used as the audio File Format.
Media Management IPB-MPEG2 (capture with Liquid silver , Liquid blue in Logging Tool; not an editing format) IPB-MPEG2 (DVD-compatible export) w dif: DV/DVCAM (Liquid Edi tion , Liquid chrome , Li quid blue ): 25 Mbit/s DVCPRO25 (Liquid Edi tion , Liquid chrome , Li quid silver (non-native), Liquid blue ): 25 Mbit/s DVCPRO 50 (Li quid blue optional): 50 Mbit/s w avi: DV, DVCPRO 25 (Liquid Edi tion ) w wav: PCM 16 bit, 48 kHz (all products) The term “codec” is sometimes used (for example, when Sequences ar
Media Management Identical Media Files Initially, Media Management handles Media Files in different Media Formats (I-MPEG, DV, Uncompressed, PCM, etc.) that are otherwise identical (same Reel, same clip-in/clip-out) as one clip that exists in two or three Media Formats (Clip-based View). Probably the most common example of this involves video Media Files with synchronous audio Media Files (e.g.
Media Management To view the path information, select File-Based View (see the Media tab in the Project window, page 9-124). Each Media Directory also contains information on the Project in which the Media Files were created. Media Management uses this information to indicate the origin of media data on the Media tab (where Reels are arranged by Project; page 9-123).
Media Management Still Media w Stills (i.e. images, titles, backgrounds, etc.): “DriveLetter:/DirectoryName/@ImportedStills.ProjectID/FileName”. Media Management assigns these files to a Reel with the name Image. Here the Project ID ensures that identical names can be used in different Projects. Where Does Media Management Look for Media Files? The “magic word” is “Reels”. In any directory tree, Media Management ignores everything above the “Reels” directory and searches for Media Files below it (i.e.
Media Management file) result in a better match, the Media File thus identified is played; otherwise the preselected file is played. In other words, there is no fixed assignment of clip to Media File in the sense that exactly one Media File is associated with the clip. For A/V grouped clips, matching is also extended to the associated audio files.
Media Management Media tab Media Files: Views and List Headings The Media Files can be displayed as Picons and in the form of a list. You can sort each column (in the Detail (List) View) and generally edit the list. (See also “Objects in the Project” on page 9-26.) Right-click a free space in the right-hand area of the window or click the button at the top of the Project window to display the shortcut menu for the Media tab.
Media Management This view is recommended for identical files or for video with synchronous audio because it allows you to access the individual Media Files directly (see also Identical Media Files on page 9-120). w Clip based This view combines several identical Media Files in a single clip. Example: A video clip with two Audio Source Tracks (VA1A2) gets only one list entry. w Mixed This option combines the two views mentioned above.
Media Management w Audio Rate Sampling rate for audio Media Files. w Audio Bits Bit rate for audio Media Files. w Video Aspect Aspect ratio (4:3, 16:9). w Path Directory path for the Media File ( page 9-120). w File Name of the Media File (system name, page 9-115). w Location Freely assignable name for the volume (storage medium/location) where the file is stored, such as an abbreviation (see also Editing Media Directories on page 9-130).
Media Management Media Files: Functions Open the shortcut menu by right-clicking on the Media tab in the Project window or clicking the tool button. w Open This function loads the Media File in the Clip Viewer. If the data rate is sufficiently high, Media Files can easily be played via a network connection as well. Direct editing is not possible; if you wish to do so, create a clip from the Media File (see below). w Properties This function opens the Object Properties dialog box ( page 9-76).
Media Management Tags are not updated automatically. Reset and start a new count for fresh results. Also, for a correct count of used media be sure to choose the Clip based viewing mode ( page 9-124). w Reset This function resets the values under Tag used media to zero (for example, to restart counting). w Check Links This function checks whether the link(s) to the Media File(s) are correct and indicates any lost links. w Refresh View This function updates the list displayed.
Media Management Media Management Settings To view the options and default settings for Media Management, select Pinnacle Liquid Start Menu > Control Panel > Site > Media Management Settings. Among other things, these settings are important for the Logging Tool because they allow you to define the directories for digitize and save operations. The Media Management settings are not user-specific; they apply to the particular system.
Media Management M e d i a Vo l u m e s ( D i r e c t o r i e s ) This list applies to several modules and functions in Pinnacle Liquid: w For Media Management: Media Management searches the drives and directories listed here for Media Files that can be used by Pinnacle Liquid. w For the Logging Tool and Batch Digitize: Any data resulting from digitizing is saved to the volumes (drives and directories) specified here.
Media Management You can also create a new directory (folder). Click the button and enter a location and name for the new folder. w Edit This function allows you to edit an existing list entry. Click the entry and then click Edit and follow the procedure described under Add. Or you can right-click the Path column to call the Edit and Add functions from the shortcut menu. w Remove This function deletes an entry from the list (and only from there). Click the entry and then click Remove.
Media Management w Rearrange You can move the entries using the two arrows to the right of the list box. Click an entry and then click one of the arrows until the entry is in the desired position. If you wish to create a new directory, select File > New > Folder in the Windows Explorer (refer to the Windows manual).
Media Management Importing Media Clips When importing media clips to a Project, you can create copies of the relevant Media Files in the relevant Project Media Directory or move files to this directory (see “Media Volumes (Directories)” on page 9-130 and “Project Media Directories: Where Are the Files Stored?” on page 9-120). For more information, see “Importing Media Clips” on page 8-48. You can also bypass the import operation as described.
Media Management Tab: V The upper area of this box lists the information that Media Management was able to find for this object; the lower area contains options that the user can set (depending on the object type). V-Tab with video relevant information w Media File Name - Name under which the system saved a Media File on the hard disk (see also Naming of Media Files by Pinnacle Liquid (Streamed media) on page 9-115).
Media Management w Media Size - Size of the Media File in kilobytes, megabytes or gigabytes. w File Format - The Media File Format, such as YUV or 2VUY for Uncompressed, M2V for I-MPEG or TGA for a Targa graphics file. Also see “System Formats in Pinnacle Liquid” on page 9-116. w Media Format - Specifies the Media Format that was used for digitizing or when a graphics file was created. Also see “System Formats in Pinnacle Liquid” on page 9-116. w NDQ Level - For I-MPEG: The compression level applied.
Media Management The question of whether or not to use interlaced mode generally applies to graphics grabbed from a television picture, which consists of two interlaced frames. In some cases, the still may flicker if the two frames are significantly different. This is particularly true if there is a great deal of movement in the picture. In this case, it is useful to grab only the even or odd lines of a picture and fill in the missing lines through interpolation.
Media Management ated with a graphics program completely fills out the PAL television format (assuming the pixels are square). The values for NTSC are: CCIR NTSC = 720x486; NTSC (square pixels) = 640x486. Tab: A1 (A2, A3, A4) Similar to Tab V, plus audio specifics: w Samples/s Specify the sampling rate here. Internally Pinnacle Liquid works with 48 kHz. w Bits/Samples The bit rate of the audio file.
Media Management Media Management and the Windows Explorer You can also find the file names generated by Media Management in the Windows Explorer. Media Files are easy to identify by the timecode information and the directory containing the Reel name. For most Media Files a file exists with the same name containing metadata for this Media File.
Media Management w Drag & drop to desktop Trash icon: Select one or more objects and drag them to the Pinnacle Liquid desktop Trash icon (not the Windows Recycle Bin and not the Project Trash button!). See also “The Trash” on page 6-21. In all four cases, the Delete dialog box is displayed and in all four cases the objects are placed in the desktop Trash from which they can also be retrieved. Objects that are deleted from the Timeline are not placed in the Trash.
Media Management Sequence(s) This option deletes Sequences from the Rack and removes the Sequence name from the dropdown list box above the Master Viewer. It does not affect the Media Files. Clip(s) This option is applied to clips and, if appropriate, the associated Media Files.
Media Management Shortcut(s) This option deletes shortcuts, including those on the desktop. Deleting Media Files If you attempt to delete Media Files that are used by other clips, you are asked to confirm the deletion in a second dialog box. Conform Media Delete Deleting Render Files Render files, i.e. files created when effects or Timewarp Editor clips are rendered, can also be deleted selectively.
Media Management Deleting Render Files (Project) The shortcut menu for the Trash icon on the desktop contains a number of options for deleting render files that apply to the current Project. Select Delete Render Files Of Project:... w All This option deletes all existing render files in the Project. w Not used by any Sequence This option deletes render files that do not reference any existing Sequences in the Project.
Media Management Restoring Deleted Objects, Media Files and Render Files A number of options are available for retrieving “deleted” objects, files and statuses. Sometimes, however, certain manipulations are required and sometimes it simply cannot be done.
Media Management Render File Deleted - Effect Found This is simple. Pinnacle Liquid re-renders the effect when, for example, the relevant Sequence must be played. Render File and Effect Deleted Standard effects can simply be applied once again at the appropriate positions. Pinnacle Liquid re-renders the effect when, for example, the relevant Sequence must be played. Customized effects must be recreated. It is recommended that you save labor-intensive effects in a Rack.
Media Management Cleaning up a Project This function (located in the shortcut menu for the Pinnacle Liquid desktop Trash) deletes some of the peripheral Project data which can become quite extensive especially for large and long, edited Projects. This function does not delete any objects, Sequences or Media Files. Particularly when working with large Projects, be sure to empty the Pinnacle Liquid desktop Trash icon from time to time. This keeps the Project files small.
Media Management 9 - 146 Chapter Administration
chapter10 Edit This section describes the Pinnacle Liquid function that deals more specifically with the editing of Sequences on the Timeline, such as how to insert, trim, delete and move clips on the Timeline. The basics of audio editing are also presented.
Special functions and Tools à Consolidate (copying the Media Files used in a Sequence) page 9-97 à Condense (collecting all clips of a Sequence in a Rack) page 9-101 à Nesting Sequences (building a Container) page 10-130 à Master Viewer: Full-Size Monitor page 10-135 à Inlay Quality menu page 10-137 10 - 2 Chapter Edit
Video Editing Video Editing Basics This section provides you with information on the Timeline. The Timeline is the area in which the Sequence is compiled.
Video Editing Timeline Layout As the basic tool for non-linear editing, the Timeline not only allows you to gain an overview of your editing work, it also provides flexible and powerful functions. There is no set assignment of clips to Tracks - all video and audio clips, graphics, title clips and transition effects can be positioned anywhere on any Timeline Track.
Video Editing Timeline Elements This section describes the most important components of the Timeline: “Empty” Timeline An “empty” Timeline or positions on the Timeline at which no object (video clip, audio clip, title, etc.) is located on a Track, indicate the following: w @ System’s video output: black (Video Black) w @ System’s audio output: mute In other words: You do not have to insert a particular object to generate a result of “black” or “mute” at the particular output.
Video Editing The Playline on the Timeline and the Playline on the position bar in the Master Viewer correspond to the same position in the Sequence and move simultaneously. If the Timecode bar in the Timeline is zoomed in (1 second scale or less), a second line appears. This line specifies which frame is being shown in the Master Viewer (or output). When inserting clips with the Source Viewer, this frame will be overwritten by the source’s first frame.
Video Editing Timecode/Zoom Display The timecode indicator beneath the zoom controller offers two display modes. When you scrub on the Timeline or play back a Sequence, the current position of the Playline is displayed. When you use the zoom tool, the indicator shows the zoom setting.
Video Editing Timeline Properties Click the righthand mouse button on the Timeline to access the shortcut menu. Under Timeline Properties you’ll find several options that allow you to personalize Timeline editing: w Clear mark-in/out on Timeline after insert ...immediately after the clip was inserted (only when using the Insert Arrow). See also “The Insert Arrow” on page 10-50. w Automatically update Timeline Picons ... does so even while trimming the clips.
Video Editing Tracks Tracks are the basic elements of the Timeline. They are used for positioning clips, transitions and all other objects contained in a Sequence. Every object on a Timeline Track occupies a certain area of the Timeline. The length of this area depends on the object’s duration and on the Timeline display size. The mark-in point is represented by the left edge of the clip, the mark-out point, by the right edge.
Video Editing 7 To select more than one slice number, hold down the SHIFT button when clicking. w Set Mark-In/Out for Edits # -> # Click this option to set a mark-in at the slice first selected and a mark-out at the slice last selected. A red slice indicates a segment which contains unrendered clips or effects. During rendering, the red turns to green to indicate the render progress.
Video Editing w Dark Red When the Slice above certain Timeline ranges gets dark red, this indicates: - There is no media data for the clip(s) available (also indicated by “!” in the inlay) - Format of clip(s) and currently selected File Format do not match (check Control Panel > Site > System Settings > System Formats > File Formats (preferred)) w Gray Everything that is not green, yellow or red, i.e. “normal” video and graphics, is gray and is always played back at the full frame rate.
Video Editing w When the mouse pointer is on an empty part of the Track it appears as crosshairs. w When the mouse pointer is on top of a clip, it turns into an arrow accompanied by a film strip symbol. This means you can select the clip and move it in its entirety. w When the mouse pointer is near the mark-in or mark-out of a clip or transition, the arrow is accompanied by a mark-in or mark-out symbol. This means that you can trim the object by pressing the left mouse button.
Video Editing SyncLock Track Name Video Playback column column Source Track Mapping column Column headers Track Name Audio Playback column Source Track mapping Track headers Source Track Mapping The Source Track Mapping column shows the Source Tracks (video, audio 1 to 4) of the clip currently in the Source Viewer. You can define which Source Tracks are mapped to which Timeline Tracks in the column and you can define mapping type and completely deactivate mapping in the column header.
Video Editing Track Name The Track Name column shows the name of every Track. Here you can modify the Tracks and adjust what appears on them. page 10-15 This column is also used for defining Tracks as active or not active for editing. See also “Activate all” on page 10-19. Video Playback The Video Playback column is used for activating and deactivating video playback of Tracks. If Video Playback is activated, the monitor icon appears.
Video Editing Right-click the Audio Playback column header to open a shortcut menu for controlling audio playback settings. See also “Special Characteristics of Audio Clips” on page 11-6. If the speaker icon appears as a contour, audio scrubbing mode is activated for the Track: “Audio Scrubbing - Digital or Analog” on page 11-14. Configuring Tracks You can “configure” Tracks both individually and for the entire Timeline. In other words, you can name, delete, add, copy, zoom in, zoom out, etc.
Video Editing Adjusting All Tracks (Track Name Header) To adjust all Timeline Tracks as a group, right-click the header of the Track Name column. In the shortcut menu that appears, use the options provided to control the appearance and functionality of the Tracks. Add Track Track Name header shortcut menu Click Add Track to add an additional Track to the Timeline. New Tracks are added under the existing Tracks. You can always drag a Track to a different position.
Video Editing The number at the end of the clip indicates by how many frames you have to move the clip(s) so that they are synchronous again. However, this function only works if the video and audio were digitized synchronously and inserted ungrouped on the Timeline. See “Source Track Mapping” on page 10-23 and “Synchronicity” on page 10-125. w Recurrent Use - indicates (based on the timecode information) whether a clip or parts of it are already contained in the Sequence.
Video Editing w Name - displays name of current clip. w Scene/Take - displays the entry made when naming a clip, for example, in the Logging Tool or in Clip Properties. w Duration - indicates the length of a clip in seconds between its mark-in and mark-out. Submenu text w Clip Duration - indicates the length of a clip in seconds before the mark-in, between the mark-in and mark-out, and after the markout. w Reel - displays source Reel names. w Comment - displays clip comments.
Video Editing Track Height If you want all the Tracks to have the same height, click Track Height. From the pop-up that appears, specify a height of 14 to 122 pixels. To directly control the height of individual Tracks using the mouse, drag the line between two Track Headers up or down. Control Track height using the mouse Activate all Select Activate all in the Name Track Header to toggle Track status between active and inactive. Inactive Tracks have a Track name with a dark background.
Video Editing Protect All Click Protect all to protect all Tracks and hence all elements on the Timeline from being modified. When this function is activated, you cannot directly access the clips or other elements on the Tracks. Protected Tracks are played back normally during Timeline playback (when playback is activated). The Picons of protected Tracks appear with a darker background. Protected Track Protected and unprotected Tracks You can delete protected Tracks (system prompts you for confirmation).
Video Editing Duplicate Track Click Duplicate Track to make a copy of the current Track, including all the objects it contains, and insert it below the current Track. The copy is assigned the same name and has the same settings as the original. Duplicate Track Empty Click Duplicate Track Empty to make a copy of the current Track, without its contents (i.e. just the settings). The copy is inserted below the current Track and assigned the same name as the original.
Video Editing View See “View” on page 10-16. Text Info See “Text” on page 10-17. Track Height See “Track Height” on page 10-19. Protected See “Protect All” on page 10-20. Active See “Activate all” on page 10-19. Track Priority Track Priority is defined vertically (higher Tracks have higher priority). This lets you apply effects at several levels (multi-layering). You can insert any number of Tracks in order to create effects like keys, 2D/3D effects, etc.
Video Editing Track Priority does not apply to audio. All audio signals have equal priority, regardless of their Track position. Source Track Mapping If you are working with the Sequence Editor ( page 10-44), Source Track Mapping is important for inserting clips on the Timeline; it serves as a sort of “signpost” for the Source Tracks.
Video Editing Source Track Labels Source Track Labels in the Source Track Mapping column identify the Timeline Tracks on which the Source Tracks should be inserted. The following Labels are possible: w “VA” means that a clip is positioned on a Track with video and audio grouped. Tracks labeled with “A” only contain audio (no video signal in clip). w “V” means that only a video signal is positioned on the Track.
Video Editing Mappings Disabled Deactivate Mappings Enabled so that when you press the Insert Arrow instead of the clip itself a gap the duration of the clip appears on the Timeline Tracks (if they are edit-active) based on Source Track Mapping. This applies to both grouped and ungrouped clips. Mapping Individual Tracks You can define mapping for each Track. To enable/disable mapping simply click the Source Track Label (toggle switch).
Video Editing Please note: That does not activate or deactivate the edit status of the Track.
Video Editing Overwrite Style When working in Overwrite Style, the inserted clip replaces an area on the Timeline Track equal in size to the clip’s duration. To activate Overwrite Style, click the tool button (between Source and Master Viewer). When Overwrite Style is active, a red square appears at the top center of the button. Which Timeline Tracks are overwritten depends on which Source Tracks a clip contains and on Source Track Mapping. (See “Source Track Mapping” on page 10-23 for details.
Video Editing Example The following example illustrates an insert using the Insert Arrow with a clip that has one video Source Track and one audio Source Track mapped to a Track set inactive. Before insertion V Name 1 A1 Name 3 Name 2 inactive After insertion V Name 1 A1 Name 2 Name 3 inactive A transition in the area of the inserted clip is deleted. Film Style If you insert a clip with the Insert Arrow in Film Style, a cut is created at the insert point.
Video Editing In order to insert an object with the Insert Arrow a Track has to be active and not protected. page 10-19 In the case of active Tracks that have no assigned Source Tracks, a cut is also created. Objects previously on the Track are shifted (rippled) to make room for the inserted clip and a gap is created. page 10-50 Example The following example illustrates an insert using the Insert Arrow with a clip that has one video Source Track and one audio Source Track mapped to a Track set inactive.
Video Editing Navigating on the Timeline This section describes how you can find your way on the Timeline, set the Playline to specific points on the Timeline, and view/listen to video/audio. The information below also applies to the Playlines in the Clip, Source, Master and all other Viewers. The timecode display to the lower left of the Timeline refers to the current position of the Playline.
Video Editing Scrub Mode In this case, the mouse pointer must be switched to Scrub Mode. Above the Timeline, the mouse pointer again appears as shown (white arrow accompanied by a line representing the Playline). If the mouse pointer does not look like this, you are in Edit Mode ( page 10-64). Click the Edit Mode button in the Timeline toolbar to switch to Scrub Mode. 7 Or to change modes temporarily, hold down the ALT key. When you release the key, the mouse pointer will return to the previous mode.
Video Editing Keyboard Navigation You can also move the Playline using the keyboard: Arrow Keys w Use the LEFT ARROW/RIGHT ARROW keys to move the Playline one frame at a time. w Simultaneously hold down the SHIFT key to move the Playline 10 frames at a time. Default/Custom Key Assignment You can also assign the function to another key. See also “Assign Functions to Keyboard” on page 16-11. Shuttle Playback (JKL) Shuttle Playback is a convenient way to play back Sequences.
Video Editing GoTo Start Jumps to the beginning of the Sequence/clip. GoTo End Jumps to the end of the Sequence/clip. Step Back 1 Frame Jogs backward one frame at a time. Step Forward 1 Frame Jogs forward one frame at a time. Step Back 10 Frames Jogs backward ten frames at a time. Step Forward 10 Frames Jogs forward ten frames at a time.
Video Editing GoTo Mark-In Jumps to the mark-in point, if set; otherwise to the start of the Sequence/clip. GoTo Mark-Out Jumps to the mark-out point, if set; otherwise to the end of the Sequence/clip. GoTo Previous Marker Jumps backward to the next Marker in that direction, if one is set. GoTo Next Marker Jumps forward to the next Marker in that direction, if one is set. GoTo Previous Edit Jumps backward to the previous Edit, if it exists. GoTo Next Edit Jumps forward to the next Edit, if it exists.
Video Editing The system registers each point on the Timeline where a clip, transition, title, etc., ends or begins as an “Edit” and displays it as a Slice. These Slices are numbered and are displayed above the Timeline Tracks. GoTo Previous Event Jumps backward to an event before the current position, if one is set. GoTo Next Event Jumps forward to an event following the current position, if one is set. Events include Markers, mark-ins, mark-outs and Edits.
Video Editing Timeline Markers Timeline Markers can be set anywhere on the Timeline and can be provided with a comment as needed. A Marker List allows you to jump directly to a specific Marker. There is also a clip Marker. See also “Setting Markers and Adding Comments” on page 9-63. Setting and Deleting Markers Move the Playline to the Marker position and click the Set Marker function. The Marker symbol is inserted in the Timecode Bar and in the position bar of the Master Viewer.
Video Editing Marker List Click this button to open the Marker List. This window contains a list in chronological order of all the Marker set in the current Sequence. Double-click a marker entry to make the Playline move to the corresponding Marker position. w Marker Comment - contains a Marker comment created by the user. To enter a comment, doubleclick the Marker and type in information in the field that appears. w Sequence - shows the timecode position of a Marker on the Timeline.
Video Editing Undo/Redo In the default configuration, these two functions are available on the Timeline and Master Viewer toolbars. Undo Cancels the last edit action and returns the software to the state it was in before you performed that action. Pinnacle Liquid saves the last 64 changes you made in any given module, permitting you to revert to practically any previous state. The Undo History summarizes all available Undo steps in a list of edit actions.
Video Editing ABCs of Effects The simplest effects in Pinnacle Liquid are video Dissolves and Audio Cross Fades. This section provides a brief description of these Transitions. For more information on video and audio effects, see “Effects” on page 11-53. Add transitions On the Li brary tab in the Project window, Transitions can be found in the Rack Folders named Classic Transition FX and Realtime Transition FX, in the Racks Editors, Presets and Audio, respectively.
Video Editing Edit To create or edit a Transition, click Edit to open the appropriate Transition Effect Editor. Transition effect shortcut menu Duration To change the default duration of a Transition, click Duration and enter the required duration in hh:mm:ss:ff. To change the duration value, you can also subtract or add a certain duration. To do so, enter a “+” or “-” before a number. Confirm with ENTER.
Video Editing Align Use Align to define the point (mark-in, middle, mark-out) to position a Transition on the Timeline (generally at the cut between two clips). w Click Start At Cut to position the beginning of a Transition (mark-in) at the cut. w Click End At Cut to position the end of a Transition (mark-out) at the cut. 7 w Click Centered On Cut to center a Transition on the cut. You can also activate the Align function by repeatedly pressing the ALT button, while dragging the Transition.
Video Editing Rename Click Rename to assign a different name to a Transition effect. Transition Undo/Redo These options allow you to cancel changes you made to Transitions or to cancel the undo(s) that you performed. Leeway (Overlap) A valid Transition appears as a grey bar. If the bar is red, this means that the clip does not cover the entire Transition area.
Video Editing Invalid Transitions The pictures below illustrate how Transitions can be set.
Video Editing If you insert, delete or move a clip in the area of a Transition, the entire Transition is deleted. Add (Auto) Dissolve This function automates the insertion of Dissolves and Cross Fades: With a single click, the Dissolve or Cross Fade is in place. See also “Add Dissolve” on page 11-43. Sequence Editor The Sequence Editor combines the Source Viewer (“player”), Master Viewer (“recorder”) and Timeline (permits non-linear editing and the creation of Sequences).
Video Editing Use the Sequence Editor as an alternative or supplement to Timeline editing ( page 10-63).
Video Editing Source Viewer The Source Viewer is used to prepare clips for editing and insert them on the Timeline. It is equipped with the same functions as the Clip Viewer ( page 9-54), but also offers the Insert Arrow and the two Edit Styles ( page 10-26). Clip name pull-down Playline position Duration indicator Position bar Toolbars Source Viewer Loading Clips to the Source Viewer There are various ways to load clips (and clip shortcuts) to the Source Viewer.
Video Editing When you insert a clip on the Timeline, a copy of the clip is created. Thus, the original clip is not affected. This copy can be transferred to the Project (with Cut/Copy, Paste). The last 20 clips you loaded in the Source Viewer appear in the clip name list. page 10-48 Drag&Drop You can drag clips from the Project window to the video inlay of the Source Viewer. When you drag several clips at once to the Source Viewer, they appear in the order they were in the Project window. Send to...
Video Editing Dragging Clips from the Source Viewer Of course, you can also drag clips from the Source Viewer to other areas. To do so, CTRL+drag a clip to: w the desktop (a shortcut is created). w in a Rack of the Project window (a copy of the clip is created). w the Master Viewer (a copy of the clip is created and inserted at the Playline). w on the Timeline. Clip Name List The last 20 clips you loaded in the Source Viewer appear in the Clip Name List.
Video Editing Moving Mark-Ins and Mark-Outs You can also move an existing mark-in or mark-out instead of setting new ones. To do this, ALT+drag the mark-in or mark-out to the required position. The mouse cursor turns into a cross. The new position is reflected both in the video inlay and on the timecode indicator. Mark-In/Mark-Out Frames are “Inclusive” Frames with mark-ins or mark-outs are inclusive. This means they are used for insertions and Timeline playback.
Video Editing The Insert Arrow Single-click the Insert Arrow to transfer a clip defined in the Source Viewer to the Timeline. The button is located between the Source and Master Viewers.
Video Editing Master Viewer The Master Viewer is used for displaying output of the Timeline. All actions performed in the Master Viewer have a direct effect on the Timeline and vice versa. All buttons are available for both areas and are used to activate the same functions. The Master Viewer is similar in design to the Source Viewer and Clip Viewer. However, it is not used for processing and playing clips, but rather Sequences.
Video Editing Loading Sequences to the Master Viewer/ Timeline There are three ways to load Sequences to the Master Viewer (and thus onto the Timeline): w You can double-click them in the Project window, w use the Send To... option in the shortcut menu w or drag them to the Master Viewer’s inlay. When you transfer several Sequences to the Master Viewer (from the desktop or a Rack), they appear in the Sequence List in their original order. The Sequence List is used for selecting Sequences.
Video Editing Dragging Sequences from the Master Viewer You can also drag Sequences from the Master Viewer to the desktop, Racks or Source Viewer. To do so, CTRL+drag the Sequence. Dragging a Sequence to the Timeline results in the creation of a Container ( page 10-130). Setting Mark-Ins and Mark-Outs To define a specific insertion point or exit point on the Timeline, first set a mark-in or mark-out.
Video Editing Additional Functions and Elements The Master Viewer has many functions in common with the Clip Viewer and Source Viewer. The functions not listed here are described there ( page 9-54). Position Bar To view a Sequence, scrub the position bar (you can also scrub in the Master Viewer’s inlay like with all viewers). For general hints on how to use the position bar, see “Navigation Using the Position Bar” on page 9-57.
Video Editing Video Inlay The video inlay displays Timeline output at the current Playline position. A clip’s mark-in/mark-out points are graphically displayed in the video inlay. Special icons mark frames that contain such points or markers: w Frames with mark-in/mark-out points have an opaque triangle in the corner. w Markers not only appear on the position bar, but are also represented in the video inlay through a marker icon at the top of the inlay.
Video Editing à Saving Timeline as template page 10-58 à Saving Timeline as default template page 10-58 à Setting start timecode page 10-58 Playback Sequence page 10-59 Sequence as a clip page 10-60 New Sequence Use the New Sequence button to create a new Sequence within a Project. When a new Sequence is created, the system empties the Timeline. The previous Sequence remains saved in the Sequence Rack in the Project window.
Video Editing Sequence Menu Click the Sequence Menu button in the top right-hand corner of the Sequence Editor to open the Sequence menu. Use this menu to adjust settings for handling and displaying Sequences on the Timeline. New Sequence from Template Sequence menu Click this option to create a new Sequence in a Project that is not based on the Default Template, but rather a Template selected from the submenu that appears. New Sequence from Template menu Save A Copy Of Sequence...
Video Editing Save Timeline As Template... Use this option to save the current Timeline Tracks as a new Template. In the box that appears, enter a Template name. If you do not save the template in the Template folder or if you use a different file extension, Pinnacle Liquid does not recognize it as a Template and does not display it in the Template list. This function is useful for saving different templates for different tasks.
Video Editing starting at 02:00:00.00 hours - record to tape in insert mode will inevitably fail. Solution: adapt the Timeline TC or stripe the tape accordingly ( page 15-8). Also, when you use a precoded tape to perform an insert edit, Timeline TC and tape TC need to be compatible, and the corresponding clip(s) have to be placed at correct position(s) on the Timeline. Playing Back a Sequence You can play back a Sequence in the Master Viewer/Timeline, in the Source Viewer and using Picon Play.
Video Editing Play In to Out Plays in a continuous loop from the mark-in to the mark-out, if both are set. If no mark-out is set, plays from mark-in to end. If no mark-in is set, plays from the beginning to the mark-out, if one is set, or to the end, if not. 7 Press SHIFT+SPACEBAR (default assignment). For customized assignments, see “Assign Functions to Keyboard” on page 16-11. To stop “in to out loop play,” press the SPACEBAR on the keyboard, or click the Play or Stop button.
Video Editing The length of a Sequence as a clip is determined by the mark-in and/or mark-out. In other words, if a one-minute Sequence contains a 30-second area bordered by a mark-in and mark-out, the Sequence as a clip then appears in the Project window with a length of 30 seconds. However, the Sequence may still be trimmed. Three-Point Editing Three-point editing is useful for subsequently inserting clips in Sequences and replacing clips.
Video Editing If you define all four editing points, the mark-out in the Source Viewer is overwritten by the corresponding Timeline mark-out.
Video Editing Timeline Editing Whether you choose to edit with the Sequence Editor or work directly on the Timeline depends on the particular application and your personal preference. Both are possible in Pinnacle Liquid. You can even use a combination of the two methods. This section tells you how you can edit and trim directly on the Timeline. It describes the following areas in detail: Timeline edit functions page 10-63 Adding objects Drag&drop; Send To...
Video Editing Edit Button Click this button to activate the Edit Mode of the mouse cursor. This mode permits you to access elements on the Timeline so that you can, for example, select, trim and delete objects. 7 Press the ALT key to temporarily switch between cursor Edit Mode and scrub mode. When the Edit Mode is deactivated, you can scrub the Playline with the cursor. To scrub on the Timeline when the Edit Mode is activated, drag the mouse pointer on the Timecode Bar.
Video Editing Adding Objects There are various ways to position objects on the Timeline in order to edit a Sequence (other objects already on the Timeline are overwritten or shifted depending on the Edit Style specified see “Edit Styles” on page 10-26). Drag&Drop By dragging: you can drag objects directly to the Timeline from the Project window, Clip Viewer, Source Viewer (hold down the CTRL key) and desktop. They are positioned where you drop them.
Video Editing Selecting Objects To process objects on the Timeline, for example, to copy, move or delete them, they first have to be selected. Selected objects appear “recessed” on the Timeline. Clicking Objects Click the Edit Mode button on the Timeline toolbar to put the mouse cursor in the necessary mode for selecting objects (= Edit Mode). 7 To temporarily switch to Scrub Mode, hold down the ALT key. The type of mouse pointer reveals what mode the system is in.
Video Editing Selecting Objects after Playline Use this function to select clips of an active Track or of several active Tracks located after (= to the right of) the current Playline position. If you want this selection to be valid for all objects (on all Tracks), activate all Tracks via Activate All in the Track Header of the name column. This selects also those objects over which the Playline is located.
Video Editing Align Use the Align function to align clips: the default insert point for clips is at the left edge; for Transitions, the middle. 7 Press the ALT key repeatedly while dragging an object to toggle between the three available insert points: beginning (mark-in), middle and end (mark-out) of the clip/Transition. Insert point at mark-in Insert point at center Insert point at mark-out Snap Mode Another tool available for precision positioning is the Snap Mode.
Video Editing Moving Objects with your Keyboard w Vertically -- to be able to move an object vertically, for example Track by Track, select it and press CTRL + ARROW UP/DOWN. w Horizontally -- the object keeps its exact horizontal position, an audio clip, for example, remains synchronous. Use CTRL + ARROW LEFT/RIGHT to move an object frame by frame to the left or right or SHIFT + CTRL + ARROW LEFT/RIGHT to move it ten frames at a time.
Video Editing When a clip is inserted in a different Sequence, the procedure is as follows: The clip (or clips) is (are) inserted in active Tracks. If nothing happens when you select the Paste command, check to be sure the destination Tracks are also activated for editing. Move/Copy Range You can use these two functions to quickly and easily rearrange sections on the Timeline. Simply use the following procedure: w Activate the Tracks containing the affected objects.
Video Editing Trimming Objects Trimming involves shortening and lengthening Timeline objects. There are various ways to do this: How trimming affects other objects on the Timeline depends on the Edit Style you have selected (see also Edit Styles on page 10-26) If you are working in Overwrite Style, trimmed objects delete whatever was previously at a given position on the Timeline or create gaps.
Video Editing E x t e n d To o l The Extend function allows you to quickly trim (lengthen/shorten) one or more clips to a specific point: 1 Activate the Track(s) where the clip or clips are located. 2 If you specify the trim point using a mark-out, you can lengthen the previous edit by clicking on the Extend function. If you specify the trim point using a mark-in, the following edit will be given preference.
Video Editing Deleting Objects When deleting objects, note the Edit Style: - Overwrite Style: deleting an object does not affect the other objects on that Track. The deleted object just leaves a gap in the Track equal in size to its duration. page 10-27 - Film Style: elements later on the Track ripple forward to fill in the gap left by the deleted object(s). page 10-28 Transitions are deleted from the Timeline without affecting any other objects or leaving gaps.
Video Editing Objects on the Timeline The objects on the Timeline are video clips, audio clips, Containers and Transitions. Like all other objects, they each have their own shortcut menu. (See also “Object Information: Properties” on page 9-76.) This section provides you with information on Timeline-specific functions, i.e. functions that are important for working with objects on the Timeline. Right-click a clip to open its shortcut menu.
Video Editing Clip Info “Clips” refers to all objects that contain image and/or audio data. When you rest the cursor on a clip for a second a pop-up with clip information appears. To control what information this pop-up contains, use the Track Name and Column Headers shortcut menus (see also Adjusting All Tracks (Track Name Header) on page 10-16). Clip with clip information Open (Double-click) Calls the Clip Viewer with extended dialog (Attributes).
Video Editing Z o o m To C l i p Zoom To Clip zooms Timeline display to approximate clip length. Cut Cut deletes a clip from the Timeline and moves it to the clipboard. As long as a clip is not inserted at another position, it appears on the Timeline with a grid over it. Copy Click Copy to open a submenu: w Copy the selected clip(s) to the clipboard. w Copy the volume/panning settings, if any.
Video Editing Delete Delete eliminates a clip from the Timeline. Rename Use Rename to assign a different name to a clip. E x p a n d C l i p ( To Av a i l a b l e M e d i a ) Expand Clip is available only for subclips with individual clip-ins and clip-outs. Subclips are clips that have already been defined as such in the Logging Tool or have been digitized with a Handle Length in a Batch Digitize operation ( page 8-39). Select one or more clips and call the function from the shortcut menu.
Video Editing Tip: What do you do if... ... you are editing and you notice that a clip you digitized is too short? Easily solved! Supply the source tape (Reel), select Batch Digitize from the clip shortcut menu to display the Batch Digitize dialog box and enter a generous Handle Length. After digitizing is complete, return to the Timeline and select Expand Clip(s) from the clip shortcut menu. You can now extend the clip you just digitized at the mark-in and markout.
Video Editing You can use Match Frame e.g. to load a clip and to re-insert its audio source Track in case a clip audio Source Track was not inserted on the Timeline or if it is not in sync. Match Frame to Project Same procedure as Match Frame to Clip, but selects the original clip in its original Project Rack. Note: Does not select a clip in the Timeline Project Browser. Look in the Project window for the located clip.
Video Editing Easy Freeze Frame Creates a freeze frame (still image) at the Playline position. 1 Move the Playline to the frame you want to freeze. 2 Right-click the clip to open the shortcut menu, select Freeze Frame. 3 The still now overwrites the remaining length of the clip. You can extend or shorten the freeze to any length. At the end of a clip (last frame position), the resulting freeze will have exactly one frame of length. You can extend or shorten the freeze to any length.
Video Editing Disband Several Selected Clips If several clips are selected, they are disbanded paralleled. You can activate this function in the shortcut menu of any selected clip. The objects created by disbanding are linked (or grouped) in the sense of the Item Link function. If you would like to unlink the items altogether (for example, in order to delete a clip), you must use the Item Link > Unlink Items function ( page 10-98).
Video Editing FX Properties The FX Properties provide information on and access to the effects applied to an object. You can activate and deactivate effect parameters and clip Attributes. The effect editors are listed below the horizontal line, the attributes above the line. Undo Redo Trash List of Attributes Move up Move down Clip effect list FX Properties dialog box w Activating and deactivating parameters and Attributes: Click the appropriate checkboxes.
Video Editing w The clip effect list contains all effects applied on a clip. You can control the order in which effects are applied to a clip by rearranging the order of the effects in this list. To move an effect, click it and then click Move up or Move down. You can also change an effect’s settings using the FX Properties shortcut menu: Edit Select Edit or double click the Editor’s name to open a particular Effect Editor and edit an effect ( page 11-65.
Video Editing Properties Click Properties to open the Clip Properties box with information on the current clip. (See “Object Information: Properties” on page 9-76.) Transitions Transitions (Transition effects such as dissolves) are also objects. page 10-39. Trim Editor Of course, if you want to more precisely trim cuts once you have finished raw editing a Sequence on the Timeline or while you are inserting clips in a Sequence, you can do this with the Timeline or Source Viewer.
Video Editing Li quid Control is an excellent addition to the Trim Editor. It will allow you to perform all your trimming functions with the fingers of one hand while giving your undivided attention to the image ( page 16-20).
Video Editing Trim operations in the Trim Editor are always in Film Style. When displaying clips, the Trim Editor ignores realtime effects that were applied to the clips to be trimmed. The inlays show the original video. We recommend that you first trim the clips precisely and then apply the effects. Elements of the Trim Editor The following are the most important functions and elements of the Trim Editor: Previewing the Edit In Preview mode, the video inlay plays an Edit in a continuous loop.
Video Editing Timecode Displays above Inlay The three timecode indicators above the video inlays provide the following information (from left to right): w current duration of outgoing clip w timecode of editing point on the Timeline (master TC) w current duration of the incoming clip Protected and Inactive Tracks Protected Tracks and inactive Tracks are handled differently during trimming (see also Trimming with the Trim Editor on page 10-113): w If all Tracks are protected or edit-inactive, no edit is
Video Editing w Trim Both means that both the mark-out of the outgoing clip and the mark-in of the incoming clip are trimmed. This is also indicated by the yellow handles in the mark-in and mark-out areas of the clips. Handle To select one of the three trim modes: w Trim Outgoing Clip: Click the outgoing clip in the left video inlay. w Trim Incoming Clip: Click the incoming clip in the right video inlay. w Trim Both: Click the area between the video inlays to select both the outgoing and incoming clips.
Video Editing You can activate up to two Tracks for scrubbing. These Tracks are identified by the fact that their Speaker icon appears as a contour (not filled in). 3 Please note: digital scrub is per default activated. (Use the shortcut menu (right-click next to the Audio Tool icon on the Taskbar) to toggle scrub modes when editing in the Timeline. The Trim Editor features digital scrub only.) D = Digital Scrub enabled w The value entered defines the length of the playback loop.
Video Editing When you select multiple edits for trimming, the edit with the highest Track priority on the Timeline appears in the Trim Editor video inlays. Trimming (Examples) With single or multiple edits selected for trimming, you can trim the mark-in and mark-out point(s) with the tool buttons or by scrubbing the Timeline or video inlays. As you trim, the video inlays in the Trim Editor window are updated to display the current mark-in and mark-out points.
Video Editing Trim Both When trimming both the outgoing and incoming clip, their duration change since the edit moves on the Timeline. However, the subsequent clips stay in the same position and Sequence duration remains unchanged. Before After Trimming both Slip Clip Click the Slip Clip button to choose both the mark-in and mark-out of a selected clip. When Slip Clip is activated, both the mark-in and mark-out of one clip are trimmed and shifted by the same number of frames in the same direction.
Video Editing Selecting Previous or Next Edit To change edits, click GoTo Next or GoTo Previous. This causes the Playline to jump to the closest edit after or before the current edit, and the selected handles appear on the newly selected edit. The Trim Editor video inlays change to display the new outgoing and incoming frames. w When you select a different edit, the system automatically deactivates the Slip Clip mode and returns to Trim Both mode. w Edits on protected or inactive Tracks are ignored.
Video Editing Restoring an Edit You can use the Undo/Redo buttons in the Trim Editor to undo/redo the steps you performed since opening the Trim Editor. To restore an edit to the state it was in before you opened the Trim Editor, click the Restore Edit button. Preview Range Enter a value for the length of the preview loop. Special Functions This section describes the functions that are not generally needed every day but can be very useful for specific tasks.
Video Editing Sync Lock has a direct influence on your work on the Timeline and in the Trim Editor. Sync Lock in Film Style In Film Style it is not possible to move an object on a synchronized Track. A Quick Info box appears: This Object Cannot Be Moved. You can now check the intended operation, deactivate Sync Lock, if necessary, or change to Overwrite Style and perform the move. Please note that, when trimming in Film Style, object parts may be deleted or gaps be entered if Sync Lock is active.
Video Editing Trim Mark In to the Left (Lengthening) Trim Mark In to the Right (Shortening) Trim Mark Out to the Left (Shortening) Chapter Edit 10 - 95
Video Editing Trim Mark Out to the Right (Lengthening) Item Link This function can be accessed via the shortcut menu of an object. It allows you to link several objects (clips to clips, Transitions to Transitions) to form one group. They remain linked until Item Link is deactivated. As long as they are linked, their multiple components react just like a single object: clicking on one selects all items belonging to the group as well. If you move one, the other ones move as well.
Video Editing Link Items 1 Keep the CTRL key pressed and click on the objects you wish to link. 2 Open the shortcut menu of one of the objects involved and select the option Item Link > Link Item to link the objects. If the option is grayed out in the menu (meaning it cannot be selected), the objects are probably already grouped (at least in part), or you are attempting to link objects on the same Track.
Video Editing Add Item to Linked Items Click the object of the group and then (while keeping the SHIFT key depressed) on the following object(s). Select the function Item Link > Link Item from the shortcut menu of one of the respective objects. Note that additional objects from Tracks must have lower priority.
Video Editing Select a handle of a linked object BEFORE: AFTER: If in this group the Mark Out of one object is selected, all Mark Outs of the objects of this group are selected automatically as well.
Video Editing Cut/Paste of deselected objects BEFORE: The lowest object is deselected by mouse click + CTRL AFTER: The two pasted objects are forming one group with the deselected object Editing - Examples and Illustrations This section again summarizes the various editing options available in Pinnacle Liquid. Certain editing procedures are illustrated with examples.
Video Editing You can then choose one of three methods for inserting clips on the Timeline: w via the Insert Arrow using the Sequence Editor page 10-44 w via drag&drop (Timeline editing) page 10-63 w via Send To (Storyboarding) page 9-86 Overwrite and Film Styles illustrated The two Edit Styles ( page 10-26) define how the insertion or deletion of a clip or gap will affect the other objects on the Timeline: Inserting a Clip in Overwrite Style When working in Overwrite Style, the inserted clip replaces a
Video Editing Editing with the Insert Arrow When inserting with the Insert Arrow, the clip in the Source Viewer is inserted on the mapped Source Tracks. See “Source Track Mapping” on page 10-23 for details. Before insertion V Name 1 Name 2 A1 Name 3 inactive After insertion V Name 1 Name 2 A1 Name 3 inactive Example of inserting a video clip (V and A1 Source Tracks).
Video Editing Editing with Drag&Drop When inserting a clip with drag&drop, you can insert objects on the Timeline from, for example, the Project window or desktop. Before insertion Name 1 Name 2 After insertion Name 1 Name 2 Inserting a Clip in Film Style When you insert a clip in Film Style, existing parts of a Sequence are not deleted by the inserted clip. Instead, a cut is made at the insert point and the second “piece of film” is attached to the mark-out of the inserted clip.
Video Editing Editing with the Insert Arrow When inserting with the Insert Arrow, the clip in the Source Viewer is inserted on the mapped Source Tracks. See “Source Track Mapping” on page 10-23 for details.
Video Editing Editing with Drag&Drop When inserting a clip with drag&drop, you can insert objects on the Timeline from the Project window or desktop.
Video Editing Deleting Clips Deleting a Clip in Overwrite Style When deleting a clip in Overwrite Style, the objects which followed the deleted clip are not rippled and a gap which corresponds in length to the duration of the deleted clip results. Before deletion Name 1 Name 2 After deletion Name 1 Name 2 Deleting a Clip in Film Style When deleting a clip in Film Style, the objects which followed the deleted clip are rippled to fill the space (no gap results).
Video Editing Deleting Gaps There are two ways to delete a gap: w Trim the gap on the Timeline until it disappears w Set a mark-in and mark-out on the Timeline at the beginning and end of the gap. Click the Trash button to delete the gap. Make sure you are in Film Style so that the subsequent objects are rippled to fill the gap. Timeline Trimming You can perform the following trimming operations via the mouse or keyboard.
Video Editing Single Trim in Film Style: Clip A Clip B Clip A Clip A Clip C Clip B Clip C Clip B Clip C Trim mark-out Clip A Clip B Clip A Clip A Clip C Clip B Clip B Clip C Clip C Trim mark-in 10 - 108 Chapter Edit
Video Editing Single Trim in Overwrite Style: Clip A Clip B Clip A Clip A Clip C Clip B Clip B Clip C Clip C Trim mark-out Clip A Clip A Clip A Clip B Clip C Clip C Clip B Clip B Clip C Trim mark-in Chapter Edit 10 - 109
Video Editing Trim Both The Trim Both option trims two clips - the mark-out point of the outgoing clip and the mark-in point of the incoming clip. The total duration of both clips remains unchanged. Clip A Clip B Clip A Clip B When using Trim Both, it makes no difference which edit style is activated. Slip Clip The Slip Clip option modifies the content of a clip on the Timeline by moving the mark-in and mark-out the same distance in the same direction.
Video Editing Trimming Transitions Drag the beginning or end of a Transition to move its mark-in or mark-out point. Simultaneously Trimming Several Objects To trim several clips on the Timeline at once, mark the different trim points by holding down the CTRL KEY and clicking them. (The selected clips can be at different positions on the Timeline.) Drag one of the handles to trim the clips.
Video Editing Before trimming Name 1 Name 2 Name 3 After trimming Name 1 Name 2 Name 3 Film style Trimming with the Trim Editor Basics page 10-114 Opening the Trim Editor in different Timeline situations page 10-115 Going to next/previous edit page 10-117 Simple trim with the Trim Editor page 10-119 Adding trims by activating additional Tracks page 10-120 Manually changing selected trims page 10-121 Slip clip mode page 10-123 A trim with Transition page 10-124 10 - 112 Chapter Edit
Video Editing Basics w The default trim mode is Trim Both. To select a different mode, click either the outgoing or incoming clip in the Trim Editor. To reactivate Trim Both, click the area between the two viewers. The trim mode is applied to all the edits involved. w Trimming is always done in film style. w Click the outgoing viewer to trim the mark-out of the outgoing clip. w Click the incoming viewer to trim the mark-in of the incoming clip.
Video Editing Opening the Trim Editor in Different Timeline Situations This section describes the effects of activated/deactivated Tracks and overlapping Edits. No Tracks Active BEFORE AFTER Edit closest to Playline Mark-in and mark-out of the edit are selected Playline moves to the closest edit Track is now active w The Playline automatically moves to the closest previous/next edit. w The Track with the edit is set active. w Trim Both is activated.
Video Editing Two or More Active Tracks BEFORE AFTER Edit closest to Playline on an active Track Edit closest to Playline These Tracks become/remain inactive Playline moves to the closest edit(s) on an active Track(s) w The Playline jumps to the closest previous/next edit on an active Track(s). w All active Tracks which do not have an edit at this position become inactive. w All edits at same position are selected and Trim Both mode activated. w All Tracks involved are active.
Video Editing G o To P r e v i o u s / N e x t E d i t i n D i f f e r e n t E d i t Situations These situations occur if the Trim Editor is already opened and you are using the GoTo Previous/ Next Edit function. One Track Active BEFORE Closest edit on an active Track AFTER This Track switches to active Playline moves to the closest edit on an active Track w The Playline jumps to the closest edit on an active Track.
Video Editing w The Playline moves to the closest edit on an active Track. w All active Tracks which do not have an edit at this position are set inactive. w All Tracks that have an edit at this position are set active; Trim Both mode is activated.
Video Editing Simple Trim with Trim Editor Cases that frequently occur: Trim Both Trim edit to the left or right w Trim Both is the Trim Editor’s default mode. w Trimming the edit to the left shortens the outgoing clip and lengthens the incoming clip by an equal number of frames. This means the length of the trimmed Track does not change, only the edit point is moved. If you move the edit point to the right, the opposite happens.
Video Editing Trim Incoming Trim incoming clip to the left or right w Trimming to the left or right, shortens or lengthens the incoming clip. w Every object to the right of the trimmed edit(s) on the trimmed Track(s) is rippled. As a result, the Track(s) gets shorter or longer.
Video Editing Trim State The edit on the additionally selected Track is assigned the activated trim mode. BEFORE AFTER Trim mode defined for the trim on the leading Track is Trim Outgoing Edit on the leading Track Same trim mode is activated for this edit as the edit on the leading Track Manually Changing Selected Trims Click a mark-in or mark-out directly to change selected trims. The type of mouse pointer indicates whether Trim Outgoing or Trim Incoming is activated.
Video Editing w The Track becomes active. w Tracks that do not have an edit at this position become inactive. w The Playline moves to the selected edit. Depending on which part of the edit you have clicked (left side - center - right side) Trim Outgoing, Trim Both or Trim Incoming is activated. You can change the trim mode of an already selected edit the same way.
Video Editing Slip Clip Mode Activate the Slip Clip mode in the Trim Editor to slip clips. Click the outgoing viewer to slip the outgoing clip; click the incoming viewer to slip the incoming clip. Outgoing clip Incoming clip Activating Additional Tracks BEFORE This Track is to be set active AFTER Slip Clip mode is activated for this clip It is possible to work with slip clips on different Tracks by activating another Track or by selecting additional edit points directly on the Timeline.
Video Editing BEFORE AFTER Select this mark-out by clicking it This mark-in is also selected and Slip Clip mode is activated for this clip A Trim with Transition BEFORE AFTER Trim edit to the left Transition moves with the edit The Transition moves with the edit and remains at the same position in relation to the edit itself. You can only trim until the Transition of the trimmed edit reaches the next/previous edit or another Transition. Otherwise you have to shorten the duration of the Transition.
Audio in the Timeline Audio in the Timeline This section contains information on audio editing on the Pinnacle Liquid Timeline. Audio clips basically behave the same as any other object, whether in the Clip Viewer, Source Viewer, Master Viewer or on the Timeline. Nevertheless, there are a few special points that you should note. (For more information on the subject of audio, see the section on “Audio Postproduction” on page 11-3).
Audio in the Timeline Grouped video and audio clips (i.e. video and audio Source Tracks integrated in one clip) are less likely to become asynchronous because the audio and video are linked, being embedded in one single object. Two methods are available: w Drag&drop: If you insert clips on the Timeline using the mouse, the audio and video remain linked within these clips, meaning that they remain synchronous. For details, see the section on “Timeline Editing” on page 10-63.
Audio in the Timeline Volume and Panning Audio clips have a specific volume (level) and a specific left/right alignment, called panning or balance, depending on stereo or mono properties. This information is defined when the clips are digitized or imported, along with their stereo or mono characteristics (“Stereo and Mono, Panorama and Balance” on page 11-10). Nevertheless, you can also change these parameters later on.
Audio in the Timeline Output and Monitor What you hear when you play the audio on the Timeline depends on a number of factors. w The panning or balance (left/right/center) is primarily a clip property ( page 11-6) but can also be influenced in the Output Routing of the Audio Editor ( page 11-21). It can even be affected by subsequent mixers and connector panels. w The volume can be influenced by the Audio Tool (output; page 11-17) and by clips that have been adjusted individually.
Special Functions Special Functions Consolidate and Condense (Building a Rack from a Sequence) The Condense function combines all the clips of a Sequence to form a new Rack ( page 9-101); Consolidate creates copies of required Media Files ( page 9-97). Nesting Sequences (building a Container) Sequences can be nested on up to ten levels.
Special Functions Nesting Sequences (Building a Container) If you want to include Sequences as objects on the Timeline, drag them from the Project window to the Timeline or the Source Viewer (or use Send To command from the shortcut menu). You can now edit the Sequence just like a clip, e.g. include it in another Sequence (building Containers), apply effects or trim it.
Special Functions What Are Containers? In Pinnacle Liquid, Containers are Sequences that were integrated in another Sequence. Complete Sequences containing an unlimited number of clips and edits can be embedded like objects (i.e. clips) in another Sequence. Pinnacle Liquid allows you to edit these Sequences on the Timeline within the main Sequences and to move back and forth from the container(s) to the main Sequence with just one mouse-click.
Special Functions Step Into Container First insert a Sequence (Container) within the Sequence (Top Sequence) currently being edited. Then open the Container’s shortcut menu and select Container > Step Into Container. Opening the container The opened Container is now located on the Timeline including all individual objects. A tab indicating that the current Container is “stepped into” (opened) appears left of the Track Headers. By clicking this tab, you reach the higher Sequence, i.e.
Special Functions An area is highlighted in color on the Timecode bar and is limited by mark-in and mark-out points. This area corresponds to the length of the Container in the higher Sequence (in this case the main Sequence). The indicated timecode refers to the Container currently open. Also the Timeline layout corresponds to the current Container. See “Dismantle Container” on page 10-134. Insert Further Containers Insertion of further Containers leads to an increase in tab pages.
Special Functions Edit Containers You can edit an opened Container just like any other Sequence. When changing the length of clips within the Container, thus changing the entire length as well, please note: lengthening/shortening the Container does not automatically affect the next higher level(s).
Special Functions Dismantling or Opening a Container? w You can click on an Opened Container to close it again. In the case of nested containers, you will obtain a better overview if you strictly separate the levels. w A Dismantled Container can change the Timeline layout if Tracks are added. If may also be necessary to regenerate a dismantled file using the function Build Container.
1024 Special Functions 1/4 1280 Full-size mode: How resolution relates to inlay size... In this example, the desktop is set to 1280 * 1024 (width * height) and the videos inlays are displayed in PAL format. w The Clip Viewer displays its image at the default size and resolution, which is one quarter of the PAL or NTSC resolution. The Full-size button has no effect on the Clip Viewer.
Special Functions The following table describes the variants: Resolution (horizontal) 1024 1280 1600 Full-size mode Possible for No Master Viewer, some Effect Editors (esp. realtime editors) Yes Yes (automat.) All Viewers (except for some Effect Editors) The Clip Viewer and Render Viewer are not currently full-size-capable.
Special Functions When using host-based realtime effects and the system reports dropped frames, you should select Low Quality. This will mean less work for the processors and permits a more fluid playback, particularly when complex effects are used. If your system has an analog video monitor output, the Quality setting also shows on the monitor. Full Screen: CCIR Pixels/Square Pixels - In Fullscreen mode only Computer monitors, whether LCD or CRT, can only display square pixels.
Special Functions Square pixels CCIR pixels Same section from same video frame, different pixel patterns Identical areas were cut from the bottom left-hand corner of the same video frame, once with the square setting and once with CCIR pixels. As you can see in the enlargement, the pixels at the same locations are not identical. Why is this? Because in the one case the lines (i.e.
chapter11 Finish This chapter describes the finer points of working with Sequences, especially audio editing and video and audio effects. For information on what realtime effects are possible with your Pinnacle editing system, refer to the next chapter. This chapter contains basic information on effects. Note that the descriptions here refer to the Classic editors and effects (Clip FX and Transitions). See also “Where are the Pinnacle Liquid Effects?” on page 11-56.
Effects à Video effects (Transitions, Clip effects, Effect Editors, etc.
Audio Postproduction Audio Postproduction Basics This section provides a basic description of audio editing in Pinnacle Liquid: From input to output page 11-3 Special characteristics of audio clips page 11-6 Inserting audio clips on the Timeline page 11-9 Assigning Tracks page 11-10 Stereo and mono, panorama and balance page 11-10 Muting Timeline Tracks page 11-14 Audio scrubbing and monitoring page 11-14 Working with more than 16 audio Source Tracks (real-time playback) page 11-16 From Input to Output Th
Audio Postproduction CH-1 CH-1 CH-2 CH-4 Logging Tool Input Level Logging Tool A1 A2 A4 A3 Project A1-A4 A1 A2 A3 A4 Timeline Track Name 2 Name 3 Name 4 Ungrouped A1 A2 A3 A4 Name 1 A1 A2 A3 A4 Mixer 1 2 Output 1 2 CH1 CH2 Output Audio Tool Output Levels 11 - 4 Chapter Finish
Audio Postproduction w Up to four sources, CH-1 to CH-4, can be connected to the system’s audio inputs. w In the Logging Tool, faders and level meters control and regulate incoming signals.The Audio Tool controls the level of incoming signals. w If you selected four inputs for digitizing, you will have one clip with four Audio Source Tracks (A1, A2, A3, A4).
Audio Postproduction Special Characteristics of Audio Clips As objects, audio clips are very similar to video clips (moveable, trimmable, etc.) but they do have a few special characteristics. You can access these functions via the shortcut menu for the Audio Playback column, which is located at the beginning of the Timeline and is identified by the loudspeaker icon. See also “Audio Playback” on page 10-14.
Audio Postproduction S h o w Vo l u m e Activate this option to graphically display the level of an entire clip (appears as a blue line). This line shows audio fade-ins and fade-outs and, if the Audio Editor is open, can be moved to any position to edit audio (procedure referred to as “rubberbanding”). Column Audio-Playback Volume lines do not necessarily need to be displayed to adjust volume, but it makes mixing easier. You can either activate Pan Lines or Volume Lines, but not both.
Audio Postproduction Wa v e f o r m Choose this option to graphically display a clip’s audio signal. This is useful, for example, when the editing work you are doing revolves around a certain audio event (such as a continuous drum beat), in which case you can use the wave peaks as reference points. It is only possible to display a waveform for individual audio Source Tracks. V-A-grouped clips cannot be displayed in waveform mode.
Audio Postproduction Disband Clip An audio clip can contain up to four audio Source Tracks. Four individual clips can be generated from this type of grouped clip. Open the shortcut menu for the clip. Use this function to distribute the Source Tracks of a grouped clip among the Timeline Tracks below the original clip (if free). If there is no free Track directly below, an additional Track (or more, if necessary) is automatically added. Stereo clips are separated into two mono clips.
Audio Postproduction Assigning Tracks Depending on the size of your Project, it can be very useful to carefully work out a clear audio editing concept, especially how you plan to distribute the different audio clips. In terms of mixing, consider which audio clips should be grouped and which ones you want to keep separate. You can name Timeline Tracks separately so that it is easy to recognize what type of audio is on what Track.
Audio Postproduction Stereo and Mono A stereo signal in its original meaning reflects a spatial sound source. To create a spatial impression between “left” and “right”, two signals have to be used. For this reason, the term “stereo” refers to a pair of audio signals. A stereo signal understood in this sense consists of two signals that subjectively sound the same, but create an acoustic space centrically between “left” and “right”.
Audio Postproduction Stereo/Mono Is a Clip Property In Pinnacle Liquid, an audio clip can be either “stereo” or “mono”. This feature is assigned to it and can also be changed.
Audio Postproduction Pa n o ra m a a n d B a l a n c e Panorama (Pan) and Balance are two possibilities to influence signal orientation within the left/ right spectrum: w The balance is controlled in stereo clips just like in your stereo system: one signal amplitude is lowered, the other one remains unchanged. The left/right signal distribution is upheld. w The panorama is controlled for mono clips: the signal of a channel “migrates” e.g. from left to right.
Audio Postproduction Muting Timeline Tracks (Audio Playback) Audio Playback on/ off Select this function from the Audio Playback column shortcut menu to switch the playback of one or all Timeline Tracks off or on. It is the same as activating or deactivating playback directly in the Audio Playback column of a Timeline Track (by clicking the Loudspeaker icon).
Audio Postproduction To toggle between scrubbing modes use the shortcut menu of the Audio Tool icon on the taskbar (right-click). Select your preference, and don’t forget to choose the Tracks you need to monitor (see the following section).
Audio Postproduction Selecting Audio Tracks for Scrubbing and Monitoring (Clip/Source Viewer) If you are working with clips including three or four Source Tracks (A1 to A4), you have to select the Source Track(s) you wish to listen to when scrubbing. Please note: This has no effect on the Audio Editor Routing. To do so, drag the function Select Audio Tracks from the toolbox of the Clip or Source Viewer to the tool bar. Select a Track combination in the pop-up menu.
Audio Postproduction Audio Tool The Audio Tool controls and monitors the audio output signals. It resembles the controls and meters used in the Logging Tool in its structure and functionality, only that incoming audio signals are processed in the Logging Tool ( page 8-35). This section covers the following topics: Opening the Audio Tool/Functions The Audio Tool is used for controlling output levels. To open the Audio Tool window, click its icon in the taskbar.
Audio Postproduction Output Level Meter w The Audio Tool displays the level of the outgoing audio signals in the form of up to four vertical bars that change from yellow to red when the level exceeds -9 dB (default), thus indicating that the level is nearing the overload threshold. The overload threshold can be set in steps of 1 dB (-9 to -20 dB) (Pinnacle Liquid Start Menu > Control Panel > Site > System Settings > General > General > Audio Reference Level; page 17-19).
Audio Postproduction Which Signals Can Be Adjusted? All the signals can be adjusted at the output. For information on input signals: page 8-27. Clipping The red “LED” indicator above each of the scales shows whether the overload threshold has been exceeded, in which case the system clips the signal. Also, in the max dB Field, the value 0.0 is displayed in red and a red cross appears and stays to indicate that the system has clipped the signal. Reset using the Reset button.
Audio Postproduction Headroom With digital audio, overload reserve is called “headroom”. Headroom is not standardized; a headroom of 9 to 12 dB is generally used. The “red” range of Pinnacle Liquid’s peak level meters begins by default at -9 dB. Digital audio exhibits less tolerance to overloading than analog audio. If you exceed a certain level, noticeable distortions can be heard or signal information is lost due to clipping.
Audio Postproduction Audio Monitor To open the Audio Monitor, click the Loudspeaker icon in the taskbar. You can then adjust the signal applied to the Audio Monitor. w Select the outputs (Source Tracks) for left and right speakers from the drop-down menus. w Use the Fader to adjust the volume. w Activate Mute to mute the monitor. The Audio Monitor Fader monitors the signals of the sound card audio output and has no effect on the master system audio output.
Audio Postproduction Opening the Audio Editor To open the Audio Editor click its button in the Master Viewer’s toolbar. In the standard view, the Audio Editor replaces the Source Viewer above the Timeline.
Audio Postproduction The Mixer consists of eight identical faders which correspond to eight Timeline Tracks occupied by audio clips, or video clips with embedded audio. The first step in audio editing with the Audio Editor is to assign Timeline Tracks to fader units. Each fader provides the functions described below. Keep in mind that the Fader units do not affect the entire Timeline Track, but only the clip under the Playline position.
Audio Postproduction Assigning Timeline Tracks w Click the Timeline Track Selector to select a Timeline Track from the list that appears. Repeat this procedure for all remaining Faders until all relevant Timeline Tracks have been assigned. You can assign a Track only once. Remember that a Timeline Track can contain up to four audio Source Tracks for mixing. Also keep in mind that the settings do not apply to the entire Timeline Track, but to the clip under the Playline position.
Audio Postproduction Pa n / B a l a n c e D i a l Use this button to influence the right/left orientation of the audio signal to be controlled at the audio output of the system. It depends on the audio source whether the Fader operates as a pan (“Panorama”) or balance Fader. w Balance functionality in the case of stereo clips, w Pan functionality in the case of mono clips.
Audio Postproduction Fader Use the Fader to control the audio output level of Tracks. In the main operating range of +12 dB to -20 dB, the control range is linear and has a wide-spaced scale; below -20 dB it has a narrowspaced scale. Double-click the Fader or the scale to reset to the 0 dB position. 7 7 The UP ARROW/DOWN ARROW keys change the level in increments of 0.3 dB. If you use a wheel mouse, turn the wheel to change the level in increments of 0,3 dB. Levels are relative.
Audio Postproduction Rubberbanding The term “rubberbanding” is used to describe the action of moving and adjusting Volume Lines, Pan Lines and setting Key Frames on volume and pan lines directly on the clip. You can do this using the mouse or the fader units. Setting Key Frames In Audio Timeline editing Key Frames refer to the small blue diamonds on the Volume/Pan Lines used for adjusting an audio clip’s volume level or the pan orientation.
Audio Postproduction Clips whose Playback Level was modified during logging/digitizing or in the Clip Viewer are shown with the volume line set to the 0 dB position. Nevertheless, audio is played at the modified level. The waveform display reflects the Playback Level setting. For example, a very low volume clip shows a “flattened” waveform.
Audio Postproduction Au d i o K e y F r a m e To o l t i p When moving Key Frames, a small box appears next to the mouse pointer. It indicates: w the horizontal displacement of the Key Frame position (in +/- mm:ss:ff) w the quantitative change (in the case of volume lines +/- dB, in the case of pan +/- 50%, i.e. left/right). You can move horizontally (only to the neighboring Key Frame) and vertically (within the maximum values).
Audio Postproduction Deleting Key Frames Key Frames can also be deleted in the clip by means of the mouse. Click the respective Key Frame and drag it out of the clip. The mouse pointer turns into a Trash icon. You can release the mouse button, the Key Frame is now deleted. Key Frame Toolbar Located below the Mixer is a toolbar with various buttons for controlling Key Frame functions. Key Frame toolbar These buttons can be used for setting, copying and deleting Key Frames.
Audio Postproduction Deleting Key Frames Move the Playline to the Key Frame you want to delete and click the Delete Key Frame button. Deleting Several Key Frames The Delete Audio Key Frames button can be found in the toolbar of the Audio Editor. This button can be used for Key Frames on the volume line and on the pan line. Activate either Show Volume or Show Panorama and select a section on the Timeline by setting mark-in and mark-out.
Audio Postproduction C o py / Pa s t e Key F ra m e Click this button to copy Key Frames with their audio or pan settings. Click this button to insert copied Key Frames elsewhere on the Volume or Pan Lines (or even to other clips). Key Frames can only be copied to audio clips in the same Track. C o p y Va l u e t o N e x t / P r e v i o u s K e y F r a m e Click this button to transfer settings to the next Key Frame. Click this button to transfer settings to the previous Key Frame.
Audio Postproduction Audio Routing Use the Audio Editor’s Audio Routing to assign Source Tracks via Timeline Tracks and audio outputs to each other via subgroups. To open Audio Routing, click the Audio Routing tab in the Audio Editor. Why Use Audio Routing? As described earlier, Pinnacle Liquid assigns odd numbered stereo Source Tracks (A1/A3) to the left output (CH-1/3 in Audio Routing) and even ones to CH-2/4. Mono Tracks are panned centrically, i.e.
Audio Postproduction Interpreting the Audio Router Timeline Tracks Scroll bar Source Tracks Prefab output sets Track matrix Submix “Output box” Audio Editor audio routing w Timeline Tracks are arranged vertically next to each other (as in the Mixer). They represent the Timeline rotated by 90 degrees. w Four Tracks appear at a time. w Use the scroll bar to see additional Tracks. w Every Timeline Track has four Source Track columns (A1 to A4).
Audio Postproduction Predefined Routing Sets You can either use one of the predefined routing sets or create a customized one. The predefined routings are suitable for most applications. w Standard The example below shows all uneven Source Tracks routed via Submix 1 to CH-1.
Audio Postproduction This setting causes a level increase at the output of up to 6 dB. Audio Routing: Single Out w Set Stereo-Mono Set Stereo-Mono results in both stereo Tracks being assigned to both outputs, thus sounding like mono. This setting causes a level increase at the output of up to 6 dB.
Audio Postproduction Customized Routing Sets To create a customized routing set, in the drop-down menu click Custom Set. The difference between this window and those of defined sets is that the dots in the matrix can now be edited (and appear darker). Each of these dots represents a Source Track. To assign a Source Track to one of the eight Submixes, move its dot to another position in the column.
Audio Postproduction Special Functions This section describes a number of special audio functions: Cross Fade page 11-39 1-click Fade In/Out page 11-40 Global modification of volume and panning page 11-41 Add Dissolve page 11-43 Audio Mix Automation (live audio mix) page 11-44 External (hardware) audio fader page 11-46 Voice-Over page 11-48 Audio Settings page 11-51 Reference Level (Create Signal Clip) page 8-59 11 - 38 Chapter Finish
Audio Postproduction Cross Fade The Cross Fade blends out the outgoing clip, while simultaneously fading in the incoming clip. Fade-ins and fade-outs are always linear. wCross Fade can be found in the Project window on the Li brary tab in the Folder Classic Transition FX > Audio. Insert the fade at a transition or at the beginning or end of an audio clip.
Audio Postproduction 1-click Fade In/Out This function facilitates the creation of audio fade-ins/outs. The Audio Editor has to be open and the Volume Lines have to be visible. Make sure you are in Edit Mode ( page 10-64). 1-click Fade In/Out w Create fade-in: move the mouse pointer to the beginning of an audio clip near the volume line and keep the CTRL key pressed. The symbol of an ascending volume line appears next to the mouse pointer.
Audio Postproduction Global Modification of Volume and Panning (Adjust Audio Function) The Adjust Audio option allows you to increase or decrease the volume level of one or several audio clips. Each individual Key Frame is modified by the indicated value. Also Panning can be globally modified. 1 Open the Audio Editor. 2 Select one or several clips. 3 Click right in one of the selected clips and select Adjust Audio from the shortcut menu. (This entry is only visible with the Audio Editor open).
Audio Postproduction G l o b a l Vo l u m e The example illustration (in the dialog box) to the right shows the scope of level increase or decrease without jolting the Volume or Pan Line. “15 dB Top Buffer” e.g. means that you can enter 15 dB into the left entry field. If you enter a higher value, the peaks of the volume/pan lines are nevertheless only increased (or decreased) by the technically admissible maximum value; the curves are jolted at these places.
Audio Postproduction Add Dissolve This function automates the insertion of Cross Fades and Dissolves. Proceed as follows: 1 Set the Playline near the editing point. Make sure the respective Timeline Track is enabled. If there are several overlapping editing points at this point, you can insert several Dissolves at the same time (if the Tracks are active). 2 Now you have two options: Add Dissolve with or without option ( page 11-43).
Audio Postproduction Audio Mix Automation In the Audio Editor, Pinnacle Liquid offers the option of mixing up to eight channels (from up to eight Timeline Tracks) live. Start by activating the Audio Mix Automation function of the Tracks to be mixed by clicking on the box underneath the Fader. See also “Audio Mixer” on page 11-22. The box at the bottom of each Fader glows red to indicate that the Track has been activated.
Audio Postproduction Stoppi ng Audi o Mi x Automation You have three options for stopping Audio Mix Automation: w Click the function again w Click Stop or Play, w Run to mark-out. Specifying Key Frame Resolution After stopping, a dialog box opens concerning the conversion of the (provisional) red line into a Volume or Panorama Line set with Key Frames: In the top area of the dialog box you can select the mixed Tracks to be stored.
Audio Postproduction Repeated Procedures You may repeat this procedure until the section selected is mixed perfectly. Earlier settings are overwritten with each confirming of the Audio Mix Automation. You can fine tune your mixes by switching Tracks on and off (Playback on/off, or by activating/deactivating Audio Mix Automation for these Tracks).
Audio Postproduction Installation To connect the external fader, your system must be equipped with a midi interface (gameport) with a D-sub 15-pin connector. This interface may already be mounted on your motherboard or may be available via an installed sound card. You may also use Danka Data Device’s midiLink adaptor which connects to your computer’s COM port (www.dankadata.com).
Audio Postproduction Balancing Faders Position the Playline at the position where you would like to start mixing. If you open the Audio Editor when an external fader is connected and turned on, two arrows, one pointing up and one pointing down, appear to the left of the activation button for Audio Mix Automation. These arrows indicate the direction in which you must move the hardware fader to ensure coverage with the software fader.
Audio Postproduction The clip generated using the Voice-Over function is saved in the Capture directory of the destination volume for this Project (for example, "R:\Start-PAL..."). This directory is generated only when clips are digitized (Batch Digitize or Logging Tool), meaning that material must already have been digitized previously in this Project.
Audio Postproduction 2 To start recording, click the Voice-Over button. Record the narration or whatever audio input you choose. 3 To stop recording, click the Voice-Over button once again or click the Play/Stop button. 4 The Voice-Over dialog box is then displayed. Option: - Clip Name lets you define the name under which the clip will be saved in the Rack.
Audio Postproduction Audio Settings Select Pinnacle Liquid Start Menu > Control Panel > User > Audio Settings to configure specific Audio Mix Automation and Voice-Over parameters. Pa ra me t e rs fo r Au d i o M i x Au t o m a t i o n Enter the desired values for Preroll and Postroll in the two fields. See also “Audio Mix Automation” on page 11-44. Pa r a m e t e r s f o r Vo i c e - O v e r Here you can set the parameters that will guarantee a successful Voice-Over recording.
Audio Postproduction w Preroll/Postroll These entries define the preroll and postroll settings for the Voice-Over session. w Preferred device This option lets you select different sound cards (if installed). w Preferred quality This option selects the audio quality (Stereo, Mono, Sampling, etc.). w Input level Single-click the small triangle on the bottom right to add an audio meter and a fader to the dialog box, with which you can then control the incoming signal.
Effects Effects In their broadest sense, effects are used to modify, distort, and optimize digitized video and audio. Pinnacle Liquid provides effects for both video and audio clips. Among them you will find ready-made effects and effect editors that can be used immediately, some of which can also be played back in real time (depending on the hardware combined with Pinnacle Liquid or the product version). Effect editors allow you to create your own complex, customized effects.
Effects Video Effects Basics This section provides basic information on the effects available from Pinnacle Liquid. Be sure to read this section if you have not yet worked with Pinnacle Liquid effects.
Effects What Are Clip Effects ( Filter)? Clip effects only involve a single clip. Another commonly used expression for Clip effect is “filter”. By applying one or more clip effects to clips, you can manipulate them in a variety of ways. Example of a clip effect Certain clip effects, such as color or keying effects, only influence the appearance of a video - they do not alter a clip’s position. In contrast, effects like 2D effects alter size, position, rotation, etc.
Effects Where are the Pinnacle Liquid Effects? The Library tab in the Project Window contains the following Pinnacle Liquid effects (note that the basic structure has changed since Version 5.0; the actual selection and display depend on your Pinnacle editing system): Clip FX Rack in Pinnacle Liquid (sample illustration) w DVD Menus - Templates for DVD menus. w Realtime Clip FX - This folder contains realtime clip (filter) effects with separate editors. The Presets Rack contains ready-to-use effects.
Effects w Classic Transition FX - This Folder contains Transition effects and effect editors from Pinnacle Liquid that you can use to create and edit your own transition effects. The Presets Rack contains ready-to-use Transitions. w Plug In Clip FX - These Folders and Racks contain effects from third-party vendors included in the Pinnacle Liquid scope of supply. To add more plug-in effects, select Pinnacle Liquid Start menu > Control Panel > Site > PlugIn Settings. w Plug In Transition FX - Same as above.
Effects Transition effects To apply Transition effects, drag them from the Project window to the edit point between two clips on the Timeline, or in the case of a fade-in or fade-out to the beginning or end. That’s how to apply a transition correctly: across the edit, with no gap between the two clips For a description of how to proceed further: page 11-65. 7 Use the Align function to select the insert point of a Transition.
Effects The Timeline Track of the clip to which an effect is applied must be activated for video playback. (See also “Video Playback” on page 10-14.) A Timeline Slice above a segment that contains non-rendered render effects is displayed in red. From left to right, this area gradually disappears from the Slice as rendering progresses. Act ivat ing / De ac tivatin g Ef f ec t Paramet ers You can activate or deactivate the effect parameters and clip attributes.
Effects Deleting and Removing Effects w Transitions - Click the Transition and press DEL or right-click the Transition and select the Delete function from the shortcut menu. w Clip effects - If you want to remove an effect from a clip, open the shortcut menu by rightclicking either the colored line or the effect icon (see also Effect Icon on a Timeline Clip on page 11-60) or via the clip’s FX properties. (See also “FX Properties” on page 10-82.
Effects Accessing Effects via a Line or Icon Right-click either a line or an icon to display a shortcut menu with two levels. The top lists the effects applied to the clip and the bottom lists the options relating to the particular effect. w Edit - this option opens the editor for the effect ( page 11-62). w Copy/Delete - See also “Saving Individually Created Effects” on page 11-97. w FX Undo/Redo - these options relate to changes made to the effect.
Effects Effect Editors (Basics) In addition to the ready-made effects supplied, Effect Editors are provided that allow you to individually create and adapt clip effects and Transitions. This section provides you with basic information and an overview of the Effect Editors in Pinnacle Liquid: What is an Effect Editor? An Effect Editor is a workshop for creating effects whose parameters you yourself modify.
Effects Filter Editor Use this editor to create alienation effects with clips without altering their size, position, etc. For details, see “Filter Editor” on page 11-155. Color Editor Use this editor to adjust the color, contrast, brightness, gamma etc. settings of clips. In this way you can correct color and create color alienation effects. Example: white balance correction, color matching. For details, see “Color Editor” on page 11-136. Wipe Editor Use this editor to create wipes.
Effects Color Correction Editor Primary, Six Vector and Selective Color Correction plus a wide variety of additional functions (such as Tone Balance, Histo Match and subsequent White-Balancing) and diagnostic displays (vector, waveform, histogram, etc.) make this editor a powerful tool ( page 11-175).
Effects Tabs Acceleration curve Playline position Toolbar Duration Video inlay Toggle incoming/ outgoing Position bar Close editor Toolbar Example of an Effect Editor (normal view): 2D Editor for Transitions Opening Effect Editors and Editing Clips (= Applying FX Editors) In the default configuration, an open Effect Editor takes the place of the Sequence Editor.
Effects Selecting an Editor from a List (applicable to Clip FX:) 1 Click the button shown and select the Effect Editor you want from the menu displayed. 2 Then click the clip that you want to edit. Retrieving an Effect Editor from the Rack 1 In the Project window, click the Li bra ry tab and drag the Effect Editor you want from one of the Folders/Racks to a clip in the Timeline.
Effects Opening an Effect Editor in the Rack (applicable only to Effect Editors that were copied to the FX tab:) 1 Double-click the relevant Effect Editor icon. 2 Then click the clip that you want to edit. Opening Transition Effect Editors Transition Effect Editors appear as separate objects on the Timeline because they are positioned on the edit between two clips or at the beginning or end of a clip.
Effects Wo r k i n g w i t h t h e P r e v i e w I m a g e Instead of loading a clip in the Effect Editor, you can work with the preview images (the gray and blue panels that appear in the Editor Inlay when no clip is currently loaded). This can be helpful for preparing and trying out effects because the volume of data to be calculated is much smaller, thus speeding up the preview. (See also “Effect Viewer” on page 11-70.
Effects Elements and Functions of the Effect Editors Tabs Acceleration curve Effect parameters Playline position Toolbar Duration Video inlay (Effect viewer) Toggle incoming/ outgoing Position bar Close editor Toolbar Example of an Effect Editor (normal view): 2D Editor for Transitions This section describes the various elements of the Effect Editors and explains how they are used. All Effect Editors are organized in the same way and even have some of the same parameters.
Effects Acceleration curve (Key Frame interpolation) page 11-78 Effect parameters and options page 11-85 Effect Editor shortcut menu page 11-88 Deactivating modified settings page 11-92 Copying settings to Key Frames page 11-92 Closing Effect Editors page 11-92 Effect Viewer The editor’s Effect Viewer lets you preview effects. When you open an Effect Editor, the default graphics appear. Effect Viewer with default image Click the Zoom button to zoom in and out on the Effect Viewer’s video inlay.
Effects This is the “canvas” view. Each rectangle on the canvas corresponds to a full screen. To toggle between full-screen view and the standard grid-pattern view of 325%, double-right-click the video inlay. Effect Viewer with canvas and grid pattern The Canvas is useful for maintaining an overview of moving effects such as 2D and 3D effects. It lets you view clips and parts of an image that are outside the actual screen area, for example, in the case of zoom and other 2D/3D effects.
Effects When opening an Effect Editor, the Playline can be on different locations on the position bar depending on the Playline’s position on the Timeline at the moment of opening. If it is located in the clip/Transition, it keeps its position. If it is located before or after the clip/ Transition, it jumps to the beginning or the end of the position bar in the Editor, that is, the first or last frame of the clip or Transition. Timecode Displays Two timecode fields are located above the video inlay.
Effects w Normal - all channels are displayed, including an existing alpha channel. w Alpha Overlay - visualizes the alpha channel by a red overlay, where solid red indicates full transparency which blocks out the RGB channel background. Useful, for instance, to check a key effect especially around the edges of the foreground image. w Color only -red, green and blue together, without alpha. w Red-green-blue - either-or-or. Useful for Color Gain or Gamma modifications (functions in the Color Editor).
Effects successive Key Frames. You can think of Key Frames as “steps” in an effect and use them to define image movement, new wipe settings, etc. Any time you change a setting in an Effect Editor, Pinnacle Liquid automatically inserts a new Key Frame (if the use of this feature has not been turned off). w For example, a picture which passes over another picture can be defined with just two Key Frames. The first Key Frame positions the image in the top, left corner of the screen; size is set to 0.
Effects Setting Key Frames Any time you change a setting in an Effect Editor, Pinnacle Liquid automatically inserts a new Key Frame at the given point on the position bar (located below the Effect Viewer’s video inlay). Click this button to manually add a Key Frame, with the current settings, at the current point in the effect. Copying Key Frames Use this button to copy a Key Frame to the clipboard, without deleting it from the effect. 7 CTRL + C to copy Key Frames.
Effects Deleting Key Frames To delete a Key Frame, click the Goto Next/Previous button to move the Playline to the Key Frame you want to delete. Click the Delete Key Frame button to eliminate the Key Frame. 7 DELETE 7 CTRL + X to delete and copy to clipboard. Moving Key Frames Hold the ALT key and drag the Key Frame with the mouse (left button pressed) to the desired position. Commenting on Key Frames Key Frames, just like Markers, can be commented on. Double-click a Key Frame to open an entry field.
Effects Previous Key Frame Moves the Playline back to the previous Key Frame. Next Key Frame Moves the Playline forward to the next Key Frame. Goto Previous Marker Moves the Playline back to the previous Marker. Goto Next Marker Moves the Playline forward to the next Marker. Move Canvas Click this button to move an image on the Canvas. This function only works if you have zoomed in ( page 11-70) on the Canvas. You can now drag the image within the video inlay.
Effects Acceleration Curve The acceleration curve, located to the left of the Effect Viewer, is used for defining the rate of change between two Key Frames. Clip images are interpolated based on the set curve. The x-axis of the grid represents time; the y-axis, change. For example... page 11-78 Linear acceleration page 11-79 Splined acceleration page 11-80 Default acceleration curve page 11-81 Accelerate - decelerate page 11-83 Acceleration range page 11-84 Default acceleration curve For Example...
Effects Linear Acceleration The diagonal line through the grid shows that there is a steady rate of change over the duration of KF1: border color changes steadily from red to magenta to purple to blue as you run the effect. This is linear acceleration, the rate of change is constant from beginning to end.
Effects Splined Acceleration You can also set a splined acceleration so that the rate of change varies over time. Splined acceleration is displayed as a curve. There are two types of acceleration splines you can use on an effect: Default Acceleration Curve or Accelerate - Decelerate. These options are available in the shortcut menu. You can set an acceleration curve three ways: w Drag the acceleration line with the mouse. w Drag the slider under the Acceleration field at the bottom of the box.
Effects Default Acceleration Curve The figure below shows a positive acceleration setting in default mode. In the case of positive function curves, the rate of change is high directly after the first Key Frame at the beginning of the effect (KF1) and lower towards the end of the effect (KF2). With an acceleration setting of 85, for example, border color may change from red to magenta to purple all in the first half of the effect.
Effects The figure below is an example of a negative function curve in default mode. In the case of negative function curves, the rate of change is low directly after the first Key Frame at the beginning of the effect (KF1) and increases towards the end of the effect (KF2). With an acceleration setting of -85, for example, border color may take the first half of the effect to change from red to magenta. The change from magenta to purple to blue is much quicker, and occurs in the second half of the effect.
Effects Accelerate - Decelerate The other mode for splined acceleration is Accelerate-Decelerate. In this mode, the rate of change varies twice. The figure below illustrates an example of a positive setting in this mode. More ( faste r) Blue border Change time More (faste r) Less change over Red border Frame of KF1 Time Frame of KF2 Positive accelerate-decelerate curve Rate of change is higher at the beginning and end of the effect, and lower in the middle.
Effects With negative accelerate-decelerate settings, the rate of change is lower at the beginning and end of the effect, and higher in the middle of the effect, as shown in the figure below. Blue border ow Less (sl Change More Change over Time wer) Less (slo er) Red border Frame of KF1 Time Frame of KF2 Negative accelerate-decelerate curve Acceleration Range In both splined modes, the acceleration range is +/- 100; 0 is the default setting and corresponds to linear acceleration.
Effects E f f e c t Pa ra me t e rs a n d O p t i o n s Using the two tabs to the left in the Effect Editor, you can customize the effect parameters and other options. Effect Parameters Tab The left-hand tab contains in its drop-down menus all parameters for the given effect.
Effects When generating effects, there are several ways of adjusting the Effect Editor parameters: w by selecting an item from a drop-down menu, w using a slider or knob, w entering a numeric value, w activating a tool button and moving the mouse within the video inlay, w selecting colors in a color selector. Certain related functions that are set using a slider (such as width and height) can be linked together by clicking the Lock button (Lock icon closes).
Effects Options tab To o l b a r The toolbar located below the tabs and acceleration curve contains special effect editing buttons. To customize the buttons on this toolbar, drag them from the General tab in the Customize window. (See also “Customizing Toolbars” on page 16-8.
Effects Restore Initial State Restores initial state (to when editor was first opened). Restore to Default Resets all parameters to the default factory settings. Swap Sources Use this button to toggle between the incoming and outgoing clips of a Transition effect in order to apply the given effect to the other clip. Revert Direction of Effect Click this button to reverse the direction of the effect.
Effects Undo Click Undo to cancel the last action you performed and return the effect to the state it was in before you performed that action. Pinnacle Liquid notes the last 64 changes you made during any given effect editing session, permitting you to revert to practically any previous state. 7CTRL + Z Redo Effect Editors shortcut menu Click Redo to cancel the last undo action you performed and return the effect to the state it was in before you used the Undo function (up to 64 steps).
Effects Paste Click Paste to insert a cut or copied Key Frame from the clipboard into the effect at the position of the Playline. 7 CTRL + V Cut > (with submenu) Click Cut > to open a submenu for specifying which properties you want to remove from a given Key Frame. For example, you can clear the rotation values of the Key Frame while maintaining its current size. The cut properties are placed on the clipboard in case you want to paste them into other Key Frames.
Effects Paste to all Key Frames Click Paste to all Key Frames to apply the contents of the clipboard to all Key Frames in the effect. You can also use the diamond icons on the tab item bars to copy and paste Key Frames. To do so, drag the diamond icon of the particular parameter to a Key Frame on the position bar to copy these settings or drag it to the inlay to copy the settings to all Key Frames. Show Click Show to open a menu for controlling the display of the preview in the Effect Viewer.
Effects If you are creating a transition effect in which you are modifying the background as well, use this function to be able to edit the background image if it is fully covered by the foreground image. Properties Click Properties to open the Properties dialog box which contains three tabs for adjusting effect and preview quality. For more information on this subject, see “Rendering and Preview Quality (relevant only for Classic Effects)” on page 11-96.
Effects You can define how long it will be from the time you close the editor until rendering begins. (See also “Rendering and Preview Quality (relevant only for Classic Effects)” on page 11-96.) Effect Rendering Render Viewer Rendering occurs automatically in the background. During rendering a pulsating Sigma symbol appears on the taskbar. To monitor the rendering process, click the Sigma button to open the Render Viewer.
Effects The Render Viewer displays the video image being rendered. Underneath the video inlay is a rendering status display: w Click Stop Rendering to stop the rendering process. w Click Start Rendering to start or resume rendering. w Click the box to activate or deactivate rendering of the yellow slices (this enables/disables the background rendering of realtime effects). For more information, see “Render Management of Realtime Software Effects” on page 12-6.
Effects Deleting Render Files Render files, i.e. files created when effects or timewarp clips are rendered, can be deleted selectively. It may become necessary to delete render files; for example, after a Batch Digitize operation you may want to perform a manual re-rendering of effects on the basis of the newly digitized material. Or you may want to delete files you no longer need in order to make room on the storage media.
Effects Rendering and Preview Quality (relevant only for Classic Effects) Use an effect’s Properties window to control rendering and preview quality. There are two ways to open this window: w On the Effect Editor’s toolbar, click the Effect Editor’s Shortcut Menu Button > Properties. w Click Pinnacle Liquid Start menu > Control Panel > Site > FX Editor Properties. Render Quality Use the Render Quality tab to adjust rendering quality settings.
Effects Saving Individually Created Effects An effect which was created using one of the Effect Editors may be saved and renamed for later use. That’s how to proceed: 1 Create the effect, insert it on the Timeline either as clip effect or Transition. 2 Open the shortcut menu of the effect by clicking the colored line or the effect icon (Clip FX only), or in case of a Transition open the shortcut menu of the Transition. 3 Select Copy.
Effects 3D Editor for clip effects page 11-119 Clip FX Wipe Editor page 11-135 Color Editor page 11-136 Keying Editor page 11-141 Filter Editor page 11-155 Transition Effect Editors: Basics Transitions always require two video signals. The simplest type of transition effect is a Dissolve in which the clip to the left of the Transition on the Timeline (outgoing clip) is mixed with the second clip (incoming clip). This involves two video signals.
Effects Outgoing/Incoming Clip Transition effects are often much more complex than clip effects since they involve two clips in one editor. At some point in the Transition the clips are either in the foreground or background, as in the case of a wipe or slide. Incoming clip in the foreground When you open the 2D Editor for Transitions, on the right-hand side above the inlay the following button appears.
Effects Background/Foreground Whether a clip is in the foreground or background determines when and how this clip partially or fully covers the other clip during the transition. Foreground/background defines “priority”.
Effects 2D Editor for Transitions The 2D Editor for Transitions is used for generating 2-D effects. Since these effects consist of two clips they can be rather complex. Key Frames are used to define the dynamics of such effects. Opening the Effect Editor There are several ways to open the 2D Editor for transitions: w In the Project window, click Li brary > Folder Classic Transition FX > Editors. Drag the 2D Editor from the content area to a cut on the Timeline.
Effects Double-click the video inlay to restore the default settings of the activated button. 2D Editor for Transitions Position Use this function to control the horizontal and vertical positioning of the incoming and/or outgoing clip. w Adjusting settings in menu: Move the sliders to a particular position/value between +/- 400 % (four times the image width or image height). Click Center Image to position a clip in the middle of the video inlay.
Effects Size Use this function to control image size. w Adjusting settings in menu: Move the Width and Height sliders to a particular position/value between 0 and 400 %. If you want width and height to be controlled simultaneously (aspect ratio), click the Lock button. Click Original Size to restore the object in the Effect Viewer to its original size. Click Fit to full Size to adjust a smaller or larger image to the size of the Effect Viewer.
Effects Border Inside Use this function create a border within a clip’s area and control its dimensions. An inside border reduces the dimensions of a clip. w Adjusting settings in menu: Move the Height and Width sliders to values between 0 and 100% (in relationship to the clip’s dimensions). Click Softness to create a soft edge along the inside edge of the border. Set Transparency to 0 to 100 to define border transparency.
Effects Shadow Use this function to create a shadow. w Adjusting settings in menu: Set X and Y Offset to specify a clip-to-shadow distance (= offset) of +/- 50% (in relationship to clip width and height). Specify a value under Softness to define shadow edge softness; specify a value under Transparency to define shadow transparency. To create a colored shadow, specify a color under Color. w Adjusting settings directly in video inlay: Click the Shadow button.
Effects Trailing Use this function to create a trail. A “trail” is an effect in which a clip is followed by a series of several copies of itself. To create a trail, click this button. In the dialog box that appears, move the Frame slider to specify the number of frames that should follow (maximum of 20). Move the Offset slider to define the distance between the individual copies. With the maximum setting of 100, only one trail frame appears in the Effect Viewer.
Effects Outgoing clip (left) and incoming clip (right) still without transition 2 In the Project window, click Li brary Tab > Folder Classic Transition FX > Editors in the tree area. Drag the Classic Transition FX 2D Editor to the cut between the two clips. If the transition is not completely gray (i.e. fully or partially red), insufficient leeway was provided on either the start, end or both sides of the Transition.
Effects 4 The 2D Editor appears above the Timeline (that is, if the specific view is activated). The incoming clip appears in the Effect Viewer. The Edit Outgoing/Incoming Clip button above the Effect Viewer on the right shows that the incoming clip is defined as the foreground clip (hence, as the “priority” clip it can be edited) and the outgoing clip (paint spots) as the background clip. This is the default setting: incoming clip = foreground.
Effects 5 Now you can edit the effect. First define its initial state at first Key Frame. To do so, click the Size button to reduce the size of the rose-being-dipped clip (you can make the clip as small as you like, even so small that you cannot recognize the image it contains). Click the Position button to move the clip to the top right-hand corner (see below). Make sure the Playline is located at the first Key Frame. 6 Now define the final state of the effect.
Effects 8 To define a narrow, transparent blue outside border for the incoming clip, open the Border Outside drop-down menu. Specify an appropriate border width for the small picture under Width; adjust Softness and Transparency. To define a color either click the Color box to open the color selector and select a color or click anywhere on the desktop. All changes you make to settings are automatically reflected in the object. 9 Start a “preview” of the effect by shifting the Playline from left to right.
Effects 10 Close the editor by clicking the Close Editor button in its top right-hand corner. Background rendering of the effect begins immediately. You can monitor this process in the Render Viewer. To do so click the Sigma button. See also “Render Viewer” on page 11-93. 3D Editor for Transitions The 3D-Editor for transitions is used for generating 3D effects between two clips. The 3D Editor has four drop-down controls in addition to those of the 2D Editor.
Effects w Shear - Distorts the image along the edges ( page 11-130). w Pageturn - Contains the parameters for the Pageturn effect (“Pageturn” on page 11-131). For a comprehensive description of all 3D features please turn to “Clip FX 3D-Editor” on page 11-119 pp. Wipe Editor for Transitions The Wipe Editor creates an alpha channel. This channel operates like a mask placed on top of a clip which causes only parts of the clip to appear.
Effects The Wipe Editor’s functions are essentially identical to those of the 2D Editor, the only difference being the addition of the Pattern and Gaussian Blur menus ( page 11-159). For a description of all other Wipe Editor functions, see “2D Editor for Transitions” on page 11-101. Wipe Editor for transitions Pattern w First select the shape of the Wipe areas: Rectangle or Circle. You can select a gradient (see Transparency > Softness).
Effects w Use the Mirror X Repetition and Mirror Y Repetition functions to mirror wipe area rows or columns along the center axis. See examples below: No mirroring (left), mirrored Y repetition (center) and mirrored X repetition (right) It is not possible to make changes to the individual areas of a wipe - they can only be changed collectively. In other words, any change you make to a border, rotation, transparency, etc. is applied to all wipe areas in the same ma1nner.
Effects 2 Right-click the transition to open the Effect Editor’s shortcut menu. Click Edit to open the Transition FX Wipe Editor. In this example, the incoming clip of a water glass is in the foreground. Hidden underneath it is the outgoing clip, a picture of a paint can. The effect is as follows: the water glass is located in a grid of nine rotating fields (wipe areas) that slowly become larger and gradually cover the paint can.
Effects 6 Open the Rotation menu and set Rotation to 90 degrees. This can also be done with the Rotation button. Example of a transition wipe 7 Close the editor by clicking the Close Editor button in its top right-hand corner. Background rendering of the effect begins automatically. You can monitor this process in the Render Viewer. To do so click the Render Viewer button (Sigma). Clip FX 2D Editor In contrast to the Transition FX 2D Editor, the Clip FX 2D Editor exclusively works with individual clips.
Effects Opening the Clip Effect 2D Editor There are several ways to open the clip effect 2D Editor and load a clip for editing (see also Opening Effect Editors and Editing Clips (= Applying FX Editors) on page 11-65): w Click the Open 2D Editor button on the toolbar to the right of the Master Viewer. Click a clip to load it into the editor. w If you have already created a copy of the Editor in a Rack other than Library : Click Open in the shortcut menu or simply double-click the effect.
Effects Otherwise the functions of the 2D Editor for clips are identical to those of the 2D Editor for transitions and are described there: “2D Editor for Transitions” on page 11-101). If you want the Key Frame effect to have a color background, simply position a color clip underneath the effect clip on the Timeline. (See “Track Priority” on page 10-22.).
Effects Then open the Editor shortcut menu by right-clicking either the effect button for the clip or the colored line that appears at the upper edge of the clip. Select Edit to open the 3D Editor. If you use the 3D Editor for a transition effect, open the Transition shortcut menu and click Edit. Special Feature of the 3D Editor: The Z Axis In the default configuration, the Z axis is perpendicular to the monitor surface and extends into the depth of an imaginary space.
Effects Differences from 2D Editor The 3D Editor has four drop-down controls in addition to those of the 2D Editor. w Rotation - Defines rotations of the image in space. w Camera - Defines the position of the virtual camera in space. w Shear - Distorts the object in two dimensions. w Pageturn - Contains the parameters for the pageturn effect. You can move the slider with the mouse, enter values in the text boxes, or use the function buttons.
Effects Rotation This option lets you set image rotation around the central horizontal axis (x), the central vertical axis (y) and the axis perpendicular to the center point of the image section (z). You can also move the pivot point.
Effects Rotation Menu 359° spin control Hold down the mouse button and turn the knob by dragging the indicator. One full rotation corresponds to 360°. With each complete rotation, the value in the Spins editable box (see below) is raised or lowered, i.e. the rotation counter changes each time you pass the 359° mark. Spins and Angle edit boxes If you wish to program several full spins over the effect duration, enter a value in the top box.
Effects Pivot point The Pivot Point is the point at which the rotations begin. In the default configuration, the Pivot Point is located at the geometric center of the image or nodal point of the camera (see below). In other words, the rotational axes intersect at this point.
Effects Now shift the y Pivot point to +50 percent: the point is shifted upward by half the image height to the upper left-hand corner of the image. y y: + 50 z x: - 50 Rotate x x Pivot point at top left-hand corner of image Turning the y Spin control further has no effect other than what was described above because the Pivot Point is simply moved upward on the y axis. If you change the x Spin control, however, you will see a difference.
Effects Setting parameters in the video inlay Activate the Rotation or Pivot Point function and, inside the video inlay, drag the mouse pointer while holding down the: w SHIFT key to rotate the image on the x axis/to move the pivot point to the left/right; w CTRL key to rotate the image on the y axis/to move the pivot point up/down; w ALT key to rotate the image on the z axis/to move the pivot point forward/backward; CTRL and ALT simultaneously serve to rotate the image in 45-degree increments; w No key t
Effects You can also use the Eyedropper (Pipette) function in the Color Picker dialog box to select a hue from any position on the desktop and apply it to the back. Camera The sliders in the Camera drop-down menu apply to a virtual camera whose “viewfinder” is represented by the fixed dimensions of the Effect Viewer. As with images, you can rotate the camera on three axes and change its Pivot Point.
Effects Rotation As long as the Pivot Point is not moved in any of the three directions, the virtual camera’s pivot point is located exactly at its nodal point. w X and Y correspond to the tilt and swivel movements possible for a camera mounted on a tripod. w Z permits a rotation on the image axis, i.e. it basically has the same effect as rotating the image itself on the z axis. 359° spin control Hold down the mouse button and turn the knob by dragging the indicator.
Effects w ALT key to rotate the camera on the z axis; CTRL and ALT serve to rotate the image in 45-degree increments. w No key to edit the x and y axes simultaneously. Pivot Point The Pivot Point is the point around which the camera rotates. In the default configuration, the Pivot Point is located at the camera’s nodal point. In other words, the rotational axes intersect at this point.
Effects Field of View This parameter allows you to enlarge or shrink the image section (range: 1.0 to 135.0°) The default value is 50.4°. This is almost exactly the field angle achieved in still photography using a lens with a 50 mm focal length. This lens creates a perspective corresponding to the field angle of the human eye.
Effects 3D Transition Effects and Multilayer 3D Clip Effects As with the 2D Editor, the 3D Editor makes a distinction between Incoming/Outgoing clip and Foreground/Background when you apply the effect to two clips, i.e. use the effect as a Transition. The corresponding function button for switching between clips for editing can be found in the same location as in the 2D Editor, above the inlay. Z Position The Z position must be applied separately to the two clips belonging to a Transition.
Effects Pageturn (some parameters not visible) Radius Defines the bend radius with which the image is uncurled. The higher the value, the further the bend. Curl Defines how far the image should be curled or the status at the start of the effect. For example, an image can already be partially curled at the start of the effect. Direction Defines the direction of the page turn, for example from the bottom left-hand corner toward the upper right-hand corner.
Effects When you change the angle during the effect or enter several spins (via the keyboard or by rotating the Spin control several times), the image uncurls several times over the four corners, i.e. the Curl axis rotates around the image center. Roll When Roll is activated, the image is rolled up into a spiral, tighter or looser depending on the radius selected. When Roll is not activated, the image corner always remains visible when curled. Front Light Sets a light accent on the inside of the bend (i.
Effects Backside Image parameters The parameters in this group define the how the back of the turned page will be displayed. In the default configuration, the back of the image is the same as the front but reversed left to right. Flip horizontal/vertical Activate these functions to flip the back of the image vertically and/or horizontally. Color You can also apply a color to the image back. Click the highlighted square next to the slider to open the Color Picker dialog box.
Effects Highlight falloff Changes the softness of the highlight´s edges. A value of 0 creates a very broad and soft transition (default = 50). Transparency Activate the checkbox and then either use the slider or enter a value to define the transparency of the turned page corner with relation to the image beneath it (front side of image). Clip FX Wipe Editor When you create a wipe, an alpha channel is added to the clip.
Effects w In the Project window, clickLi brary Tab > Folder Classic Clip FX > Editors. Drag the clip effect Wipe Editor from the content area to a clip on the Timeline. Right-click the effect. In the shortcut menu that appears, click Edit. Clip effect Wipe Editor Unlike the Transition FX Wipe Editor, this editor does not have Foreground/Background and Incoming/Outgoing functions since clip effects always only involve one clip.
Effects Opening the Color Editor There are several ways to open the Color Editor for clip effects and load a clip for editing (see also Opening Effect Editors and Editing Clips (= Applying FX Editors) on page 11-65): w Click the Open Color Editor button on the toolbar to the right of the Master Viewer. Click a clip to load it into the editor. w If you have already created a copy of the editor in a Rack other than Li brary : Click Open in the shortcut menu or simply double-click the effect.
Effects Brightness & Contrast Use this function to control brightness, contrast and chroma. w Adjusting settings in menu: Adjust the Brightness, Contrast and Chroma sliders to the required position. w Adjusting settings directly in video inlay: Click either the Brightness or Contrast button and drag the mouse pointer up and down in the inlay. Hue & Saturation Use this function to control hue, saturation and lightness. w With the menu: Move the sliders to set each parameter.
Effects Color Gain Use this function to control the color gain of each of the three basic colors red, green and blue. w Working with the menu: Move the appropriate slider to control color gain. w Working with the buttons: Click the Color Gain button. Now when you move the mouse pointer on the Effect Viewer, the color mouse pointer appears.
Effects w Adjusting settings in menu: Slide the Red Gamma, Green Gamma and Blue Gamma sliders to control gamma. Use Black Stretch to adjust the gamma curve for black, independent of the color channels. With this function you can specifically stretch (or compress) the bottom range of the gamma curve in order to increase (or decrease) details in shadowed areas, without effecting the actual black value. w Adjusting settings directly in video inlay: Click the Gamma button.
Effects Keying Editor A key effect is used to make a certain area of an image transparent (for example, areas with the same brightness or color) in order to then replace this area with another image.
Effects Opening the Keying Editor There are several ways to open the Keying Editor for clip effects and load a clip for editing (see also Opening Effect Editors and Editing Clips (= Applying FX Editors) on page 11-65): w Click the Open Keying Editor button on the toolbar to the right of the Master Viewer. Click a clip to load it into the editor. w If you have already created a copy of the editor in a Rack other than Library Click Open in the shortcut menu or simply double-click the effect.
Effects Key Types Pinnacle Liquid offers five different types of keys. wLuminance Key - Used for keying areas with a certain brightness (i.e. affects the luminance signal). wChroma Key - Allows certain colors or color ranges to be keyed. w Blue Screen Key - Used for keying a defined blue for creating the blue-screen effect. w Green Screen Key - Used for keying a defined green. page 11-151 w RGB Difference Key - Used for keying specifically defined monochrome color areas.
Effects Invert Activate this to reverse the Key Mask function. Now the selected area is excluded from the key function and everything else around it is added to the key. Softness Here you set a soft transition at the edges of the Key Mask. Show Mask This function makes the Key Mask(s) in the image more visible by providing a uniform gray area. Transparency Here you set the transparency of the key area.
Effects Luminance Key The Luminance Key operates with an image’s luminance signal, i.e. the various gray scales of a picture. Luminance keying is not only useful for gray-scale and b/w graphics and pictures, but also for images with high brightness contrasts. Linear Graph Mode Point A Point B Luminance Key The Threshold, Cutoff, Key Transparency and Foreground sliders described below are only active if Linear is selected under Graph Mode (see Graph Mode below).
Effects Threshold Threshold and Key Transparency are functions of one another. The value set under Threshold defines the luminance range for Key Transparency and vice versa. Key Transparency defines the level of transparency for the luminance levels specified under Threshold. To set threshold, either enter a numerical value in the Threshold field or drag Point B to the right or left in the graph. Threshold range is 0 (black) to 100 (white). Cutoff Cutoff and Foreground are functions of one another.
Effects Creating a Luma Key The luminance axis represents an image’s luminance values from black to white. The transparency axis represents transparency from opaque to totally transparent. Initially an image is totally opaque (i.e. the curve is completely flat). In order to key, specify which part of the image should be transparent (i.e. define a luminance value). Specify how soft the transition between opaque and transparent should be (i.e. the steepness of the curve between Point A and Point B).
Effects Other Graph Modes Luma keys can be created by specially adapting the luminance graph. In the graph above, the horizontal axis is for luminance, with black being on the left and white on the right. The vertical axis represents transparency, with opaque being at the bottom and full transparency at the top. Drag the points on the graph to set clip luminance to any level of transparency.
Effects Chroma Key Using Chroma Key you can key a color or color range in a specified luminance range. The color to be keyed in a picture can thus be defined precisely. Chroma Key Selecting a Color Area with the Pipette The most direct way of defining a color range is to use the pipette pointer. To do so, click the Pipette (Eyedropper) button and then the area of the picture you want to key. The selected color is indicated by a small point in the color wheel.
Effects Selecting a Color Area in the Color Wheel The mouse pointer turns into a cross when it is in the color wheel. Drag the mouse pointer in the color wheel to create a frame of any shape in it. After you release the mouse button, the area enclosed by the line is then the selected color area. The following options are also available: w Increase/add area: SHIFT+drag the cursor to define more than one area or increase the size of an existing area. A plus sign appears next to the mouse pointer.
Effects Softness Use Softness to create a soft transition between key and foreground. Spill Suppression Use Spill Suppression to desaturate and thus make less visible any existing color values of the key color, especially at the edges of the foreground. Blue Screen Key/Green Screen Key Blue-screen keying is used for recordings in front of a blue background. For best results the background should be in the standard blue-screen color (approximately corresponds to Pantone 2735) and have even lighting.
Effects Blue/Green Screen Key Editor Threshold The value you set here determines the size of the key range on the UV level (i.e. the two color difference signals R-Y and B-Y). The key center point is calculated from all the UV values for the image. The slider allows you to set the environment to be keyed to the calculated average value. Luma Threshold and Luma Cutoff These parameters affect the range of luminance (brightness) to which the key should apply.
Effects Transition Normally the transition from keyed to non-keyed ranges in the image is linear. Transition presents the transition in the form of an acceleration/deceleration curve as used for Key Frame interpolation by the Pinnacle Liquid Effect Editors, although in this case it has a chronological dimension. Here you can use the function, for example, to optimize the key to the edges of foreground objects.
Effects RGB Difference Key Use the RGB Difference Key to specify which color you want to make transparent in the clip. The difference between a chroma key and an RGB difference key is that a chroma key lets you adjust the chroma and the gray values independently, while the RGB difference key adjusts these components together. RGB Difference Key Color Click this field to open the color palette. To specify the color you want to use, click a color in this color spectrum.
Effects Similarity Use Similarity to specify a range of similar colors to be transparent. To select a range, drag the Similarity slider between values 0 and 100. The higher the setting, the broader the range of similar colors selected. Softness Use Softness to soften the edges of the superimposed (foreground) clip. Filter Editor The Filter Editor contains a wide range of effects used for alienating video material.
Effects Filter Editor When you first open the Filter Editor, the Pinnacle Liquid default graphic appears in the Effect Viewer. Once you select a clip this graphic is replaced by the clip. As with the other editors, functions can be activated either by clicking the appropriate button or by selecting options from the drop-down menus. Invert Use the Invert function to use the color or lightness which is complementary to the one you originally specified.
Effects w Blend with Original - Use this transparency slider to create a transition between the inverse of an original image and the original image itself. Move the slider to 0 for a opaque inverted image; move it to 100 for a opaque original image. Original clip and negative effect Mosaic Use the Mosaic function to create a mosaic effect. w Move the two sliders to define the number of horizontal and vertical divisions in an image (to create blocks).
Effects Posterize Use the Posterize function to limit the number of colors in a picture. The system maps the image’s pixels based on the colors that are the closest match. Use this filter to create large, flat areas in an image. w Channel- Use the Channel list box to select a color, luminance or alpha channel to which you want to apply a function. The following channels are available: RGB, Red, Blue, Green. w Amount - Use the Amount option to limit the number of colors used for posterizing.
Effects Gaussian Blur This filter lets you add a controllable blur to the image. Radius defines the degree of the blur. Both Directions, Vertical or Horizontal determines the visual impression of the filter. Gaussian blur Cropping See also “Cropping” on page 11-105. Transparency See also “Transparency” on page 11-106. Special Functions Add Dissolve This function automates the insertion of video and audio. See also “Add Dissolve” on page 11-43.
Effects Linear Timewarp Use Linear Timewarp to quickly and simply generate linear speed effects in video clips and animations, such as slow motion, fast motion, fit to fill, reverse playback, freezes, strobe effects, etc. Add Linear Timewarp is a function in a clip’s Timeline shortcut menu. “Linear” means: the playback speed does not change during playback, i.e., remains constant. Dynamic modifications of speed and direction using Key Frames are best achieved with the Timewarp Editor ( page 11-222).
Effects TIP: Apply the Timewarp effect first, then all other effects. That is, the Timewarp clip needs to be completely rendered before you apply additional effects. Plus, a Timewarp discards a clip’s alpha plane so that already applied key effects, for example, would be lost. If a Timewarp effect, be it dynamic or linear, is applied to a clip to which already one or more effects have been applied, the following happens: The effect line at the clip’s top as well as the effect icon disappear from the clip.
Effects Speed Here’s where you set playback speed and direction. w Reverse Check the box to select reverse playback. w Percentage or factor Click the % checkbox if you prefer to enter values as a percentage of standard playback speed (which is 100 %). Otherwise a factor will be used (1.0 = 100 %). w Speed Enter a value, confirm with ENTER to exit the dialog, or hit TAB to confirm and jump to the next selection. Examples: 100 % = factor 1.0 = realtime (standard) playback 50 % = factor 0.
Effects Resulting Clip Length Here you find the resulting length of the timewarped clip, assuming you have entered a Speed value or selected Fit to fill, or, other way round, you enter the desired duration in the TC field, which changes the value in the Speed field accordingly. w Apply clip length If checked, the clip will automatically be brought to its actual warped length. Caution: a lengthened clip will overwrite the following clip(s) on the same Track.
Effects Motion Detection In the default configuration, this function is activated. For motifs with a lot of motion or very unsteady cameras, it may be better to deactivate Motion Detection. Strobe Effect The Strobe effect is best used for motifs with a great deal of motion. Strobe plays a configurable number of identical frames in succession before repeating the same number of the next frame (omitting those in between). For example: Instead of the standard frame sequence 1-2-3-4-5-6-7 etc.
Effects Generating a Freeze (Still) When you apply a Linear Timewarp (or the Timewarp Editor) to a 1-frame clip, Pinnacle Liquid assumes that you want to freeze exactly this frame, i.e. that you want to turn it into a still. The procedure is as follows (based on the example of a clip frozen at the end): 1 Using the Add Edit button (see figure), trim the last frame from the clip. It helps to select a Timeline scale of the same size.
Effects Audio Effects This section provides you with information on working with audio effects: Basics à Where can I find audio effects? page 11-167 à Applying effects and opening Effect Editors page 11-167 à Audio effects are real-time effects page 11-168 à Changing effect parameters in real time page 11-168 à FX Properties page 9-81 à Saving effect settings page 11-169 à Effects and output level page 11-169 Pinnacle Liquid audio effects à Equalizer page 11-170 à Maximizer page 11-172 à Echo page 11-173
Effects Where Can I Find Audio Effects? In the Project window, click Library tab > Folder Classic Clip FX > Audio. Here you will find the Equalizer, Echo and Maximizer effects. Applying Effects and Opening Effect Editors 1 Drag the desired effect onto the relevant clip. 2 Right-click the effect icon (or the colored line) on the clip to open the shortcut menu.
Effects Audio Effects Are Real-Time Effects Audio effects are real-time effects. This means you can make changes to a clip while it is playing using the audio effect edit boxes. However, if you apply, for example, the Equalizer effect several times to one clip, you may exceed your system’s processing capacity (of course, also due to other required operations). In this case, the system renders the effects.
Effects Saving Effect Settings To save effects, e.g. an equalizer effect with specific settings which you plan to use again on other clips, proceed as follows: w Right-click the FX icon on the clip to open the shortcut menu and select Copy to create a copy of the given effect. w Go to a Rack and use the Paste option from the Rack shortcut menu. The effect will be placed in the Rack and can be renamed using the Rename option.
Effects Equalizer The Pinnacle Liquid Equalizer is a parametric triple-band equalizer which gives you the choice of three overlapping frequency bands: w Low: 20 Hz to 1000 Hz w Mid: 20 Hz to 20 kHz (with adjustable slope) w High: 1000 Hz to 20 kHz “Parametric” means you can precisely define a center frequency for each band. Move the Gain slider to amplify and attenuate (increase and decrease) the level of specific frequency bands (+/15 dB).
Effects Bell Equalizer and Slope In the Mid range, use the Slope (Q) slider to define the frequency range (bandwidth) used for amplification or attenuation. Depending on the settings, amplification or attenuation falls to the right or left of the center Frequency by a defined factor. Together with the specified center Frequency, Q determines the bandwidth for amplification or attenuation.
Effects Maximizer The Maximizer is an effect for optimizing loudness. With this function, “normalized” audio material with level peaks in the headroom range (see also Digital Scale and Digital Audio on page 11-19) sounds even louder and denser without exceeding the maximum modulation limit. Tone quality is only minimally affected. Maximizer Like the Equalizer, the Maximizer is also a real-time effect.
Effects Audio material that was previously recorded with “emphasis” contains amplified, highfrequency signal components. Because this may distort the Maximizer’s audio analysis, it is recommended that you not use emphasis if the Maximizer must be used. The Pinnacle Liquid Maximizer is a combination of a dynamic compressor and a limiter two components used in professional audio processing. Echo Three parameters are available for influencing the outcome of an echo effect: Delay, Feedback and Mixup.
Effects Delay Use this field to specify how long the output signal should be held in the buffer before it is sent back to the signal. To create a reverberation effect, use a relatively small delay value. Feedback Use this field to define echo frequency (i.e. how often the delayed signal is returned to the signal). Mixup Use this field to define echo level in relationship to the output signal. 100 percent corresponds to a ratio of 1:1, in other words, equally loud.
Color Correction Editor Color Correction Editor The Pinnacle Liquid Color Correction Editor provides primary and secondary color correction functions, including the necessary diagnostic tools (such as the Waveform Monitor and Vectorscope). The first part of this section will provide you with an overview of the editor’s elements and functions. The second part contains a brief discussion of color theory, which you can skip if you’re already familiar with color correction.
Color Correction Editor Color Correction Editor (Overview) Opening and Operation Color Correction Editor operation is the same as clip Effect Editor operation (general instructions for use can be found under “Classic Clip Effect Editors (Filters)” on page 11-62).
Color Correction Editor The Color Correction Editor takes the place of the Sequence Editor. Click the triangular arrow at the bottom between the inlays to open the bottom half of the editor.
Color Correction Editor Diagnostic Area (1) A B C D H G E F Diagnostic area of the Color Correction Editor This area contains functions for analyzing and assessing the image material to be edited. w A - This knob lets you adjust Display intensity. w B - List box for selecting the Display (Vector, Waveform, Histogram, Lightning, Cube, Vectorlight) or Reference Source. For descriptions of the individual Displays, see: page 11-191.
Color Correction Editor Compact Display and Magnifier (2) wA - Compact Display of the three correctors (Primary, Six Vector, Selective); you can edit the tool buttons and sliders. A wB - Zoom and scale When the Zoom is activated, an enlarged view appears wherever the mouse pointer is positioned in the inlay. Moving the slider changes the zoom scale in four different stages. wC - Opens/closes the expanded Color Correction Editor.
Color Correction Editor The original material is edited in this area. Changes are immediately visible in the inlay and at the monitor output. w A - A Reference Source (in an orange frame) is displayed. Select the reference source from the shortcut menu for the relevant Timeline clip. See also “Reference Source” on page 11-202. w B - Buttons (Color and Gray Balance, HistoMatch, HueMatch, etc.) w C - Buttons for navigating in the correction clip; Undo/Redo, return to original state, etc.
Color Correction Editor What is Color? Depending on who you’re talking to, this question can have many different answers. A physicist might say that color is an electromagnetic radiation of a certain wavelength. A doctor might tell you that it’s the stimulation of light-sensitive receptors on the retina. An artist might say, it’s a subjective impression. And a philosopher would perhaps answer, it’s nothing but an idea. In any case, color has something to do with light.
Color Correction Editor RGB Color Space On a computer monitor, colors are generated by means of red, green and blue dots illuminated at different intensities. If you look closely enough at the monitor, you can see these dots. The red, green and blue (RGB) variables can be stored digitally as bytes with values from 0 to 255. The notation (255,255,255) means “white”, (0,0,0) means “black” and (0,255,0) means a fully saturated “green”.
Color Correction Editor Working with the Vector and Waveform Diagnostic Displays This section describes how to work with a vectorscope, waveform, etc. Reading this section will help clarify much of the information on color and color models from the previous section and give it a concrete basis in reality. If you’re already familiar with this topic, skip to the description of the individual color correctors (“Primary Color Correction” on page 11-200 ff.).
Color Correction Editor About the scale: The horizontal axis is Cb, the vertical axis is Cr, the six markings indicate the corresponding color locuses at a saturation of 75 %. The maximum saturation of the test image colors is 100 %; this is why the corners of the hexagon are located outside the circle. The square contains the 75% color range. Unlike an analog vectorscope, the digital Vector Display of Pinnacle Liquid Color Correction displays disconnected points.
Color Correction Editor You are looking up at a cube whose uppermost corner is positioned exactly above its lowest corner. Left-click in the display above the Cr axis and drag it downward in an arc. The cube is rotated to a position similar to the one in the image below: The RGBspace.bmp test image in the Cube Display The third axis (Luminance axis Y) now appears. What appears to be a cube is the RGB space. Within this space, imagine the possible RGB colors.
Color Correction Editor Experiment with the Saturation slider to see how the cube expands and contracts. Once it expands beyond a certain point, clipping occurs; this means you’ve reached the edge of the permissible YUV space. See also “Legalizer” on page 11-198. 7 Close the Color Correction Editor and reopen it immediately to call the standard test image (Note: Make sure there is no clip selected on the Timeline!).
Color Correction Editor The most important feature here is the square plane representing the possible colors of the YUV color space. Switch back to the Cube Display: The standard test image in the Cube Display With a luminance of Y = 128, you see the plane of possible colors for the YUV space (here only every fourth color value is displayed as a point). These values come from the color square in the center of the test image. Color gradients (Cb,Cr) are arranged on the left and right (half resolution).
Color Correction Editor Now switch to the Waveform Display: The standard test image in the Waveform Display (not clipped) The Waveform Display lets you measure the luminance (a.k.a. brightness or video level) of an image signal.
Color Correction Editor 8 Naturally, test images always provide very tidy Vector and Waveform Displays. The interpretation of “real” video signals can appear confusing but only at first glance. Here are three examples: Video image and the associated Vector Display In this image, a green apple (the Granny Smith variety, to give you an idea) is being dipped in a can of yellow paint. To the right is a can of blue paint and in the background a few splashes of red, yellow, blue and turquoise paint.
Color Correction Editor This display shows a relatively uniform distribution of brightness, a wide band that mainly falls between 20 and 80 percent. The short black band at the lower left-hand edge of the image is mapped on the zero line at the bottom left. At points the highlights on the apple and paint cans extend above the 100 percent line.
Color Correction Editor Diagnostic Displays (Overview) Pinnacle Liquid Color Correction provides various diagnostic displays for assessing and analyzing video signals. You can select them from the top left-hand list box (above the Diagnostic Display area), or by clicking their respective buttons. Vector Display The Vector Display allows you to analyze, control and adjust the color components in a video signal. It is called automatically when you activate the Hue-Saturation button (see figure).
Color Correction Editor w The permissible range as defined by CCIR Standard 601 is specified by the dimensions of the axes (see also Legalizer on page 11-198). w Single-clicking the segmented rectangle in the bottom right-hand corner instantly takes you to the Vectorlight Display. You can set the Saturation (S) and Hue (H) directly in the Vector Display. w Saturation Drag the mouse pointer across the display, either toward or away from the axis intersection.
Color Correction Editor The scale from 0 to 100 (percent) refers to the image amplitude. Beyond 100 percent, bright spots in the image appear plain white without any detailing. Using the Legalizer, you can clip the signal ( page 11-198). w Single-clicking the segmented rectangle in the bottom right-hand corner instantly takes you to the Vectorlight Display. Cube Display The Cube Display is a three-dimensional display of the video signal along the Y, Cb and Cr axes.
Color Correction Editor Lightning Display This display shows the color values of all three signal components (YCbCr). All the other displays can indicate either the color component or the luma component. The Lightning Display is used especially in video analyzing technology. Lightning Display Basically, you are shown two sides of the Cube Display, one of which is upsidedown (in the bottom section). The Y component is plotted along the center vertical axis.
Color Correction Editor Vectorlight Display The Vectorlight Display combines several different displays: w Vector Display (bottom left) w Waveform Display (top right) w The other two are variations of the Cube Display (similar to the Lightning Display). The Y axis is the center vertical axis in the top left display and the center horizontal axis in the bottom right display. Changing the Hue value rotates the image around the Y axis and will help you gain a clearer understanding of the displays.
Color Correction Editor Histogram The Histogram shows the distribution and frequency of the RGB values contained in an image. It has no spatial relationship to the associated image. Color correction using the Histogram (HistoMatch) is described elsewhere: page 11-212. Histogram Display w A field is displayed for each channel (red, green, blue). w The values are plotted from left to right on the X axis (0 to 255), the scale is divided by 10 scale marks along the upper horizontal lines.
Color Correction Editor For example, the histogram of a fully saturated red color clip (255,0,0) comprises a green vertical line at position 255 in the R field and two lines at position 0 in the G and B fields. Clearly stated, all the pixels contained in the image are red=255 and it contains no values for the other two components. The histogram for a dark-green color clip (25,25,25) displays the three lines (full height) at the same X positions.
Color Correction Editor Tools Legalizer Four options will help you stay within certain signal-related limits. CCIR 601 Limits the image output signal to the values permitted by the CCIR-601 Standard by clipping any exceeding components. Use the SoftClipping function to configure signal clipping ( page 11-198).
Color Correction Editor the signal is not simply truncated at the clipping limit but is compressed well below this limit. You can determine the degree to which it is compressed using the sliders. SoftClipping permits a somewhat better delineation in image areas that are too bright and too dark. Channel Display With this function, you can activate the individual color channels R, G and B or the luminance channel Y or all three color channels at the same time.
Color Correction Editor Primary Color Correction A basic feature of Primary Color Correction is the fact that it affects the entire color balance of an image. In other words: If, for example, the red component in Gamma is increased, the whole image takes on a more or less distinct reddish “cast”. Or it’s a cast that is removed by increasing this component.
Color Correction Editor Cast correction (using the mouse) page 11-206 Gray Balance (subsequent white-balancing) page 11-207 Tone Balance page 11-210 Color Balance page 11-210 HistoMatch page 11-212 HueMatch page 11-213 Operating Variants When working with Primary Color Correction, you can choose between several operating variants. For purposes of comparison and matching, you can also display a Reference Source.
Color Correction Editor Imagine the color wheel superimposed on the image. As you drag the mouse pointer toward “3:30 o’clock” the blue component increases while the green and red components are simultaneously reduced. The RGB bars indicate the quantitative change. Drag the mouse pointer (up or down) while holding down the right mouse button to change the Luminance. Activate linked control by means of the gain, gamma or black button ( page 11-203).
Color Correction Editor Parameters This section describes the individual standard ranges and parameters of Primary Color Correction. You can modify RGB and luminance in three overlapping areas (Gain, Gamma, Black) either separately or with R, G and B linked (see also Linked Control on page 11-201). Hue and Saturation can also be configured either separately or in combination.
Color Correction Editor Gamma (Midtones) Gamma primarily affects medium-bright areas of an image. Gamma is the variable you can set by adjusting the conventional brightness control on your TV set. The Waveform Display (with the standard test image) illustrates how the lines from Y=0 to Y=255 are distorted into curves. B l a c k ( B l a c k Va l u e, Pe d e s t a l ) Black primarily affects the dark ranges in an image.
Color Correction Editor Linking of Hue and Saturation This function allows you to modify Hue and Saturation simultaneously but only in the Vector Display ( page 11-191). The Vector Display is automatically called when you click this button. The mouse pointer changes on the Vector Display. If you drag the mouse pointer: w In a circular motion, the color locuses rotate around the axis intersection, i.e. the Hues change; w Up and down, the Saturation rises/falls.
Color Correction Editor Contrast Adaptation This function automatically adapts the contrast based on the brightest and darkest spots in an image: Activate the function and drag a line from the “black point” to the “white point” (i.e. from the darkest to the brightest point in the image). Because this can be a matter of individual pixels, it may be helpful to activate the Zoom ( page 11-179).
Color Correction Editor Gray Balance (Subsequent White-Balancing) To a large extent, the human eye is able to adjust to the predominant color temperatures of light. This is why the same white object under different lighting conditions is still perceived as “white”. A video camera must be set to the current definition of “white” before recording and when the light color (color temperature) changes.
Color Correction Editor In actuality, however, this spot has the coordinates Y = 234, Cb = -7, Cr = 7, in other words, an undesirable cast. In the Cube Display the narrow, finely curved line of green dots is especially obvious, indicating the cast. In order to correct this, you would click the 1-Point Gray Balance button (and also the Zoom) and look for a point in the image that is as achromatic as possible. In this case, it’s simple: Either the body of the light bulb or the black outline.
Color Correction Editor 2 - Po i n t G ra y B a l a n c e Drag a line between a light-gray point and a dark-gray point within the image to adapt the RGB Black values and RGB Gain values. This option can be applied if a color cast caused by an incorrect white-balancing does not run linearly across the brightness areas. 3 - Po i n t G ra y B a l a n c e 3-point Gray Balance affects Black, Gamma and Gain. When you click the button, three control squares connected by a line appear in the image.
Color Correction Editor Tone Balance An image motif does not always contain gray for a subsequent white-balancing ( page 11-207). In this case, you can use Tone Balance to balance color on the basis of a reference hue. Correction is possible in Black, Gamma and Gain; the default setting when you click the button is gamma. Luminance remains the same, a fact that sets Tone Balance apart from Color Balance.
Color Correction Editor 1-point Color Balance 1-Point Color Balance affects Black, Gamma and Gain simultaneously. 1 You need a Reference Source ( page 11-202) containing similar, “correct” hues as far as the mood of the color is concerned. This is clearly a subjective assessment that requires a good eye and a little experience. Call the Reference in the diagnostic display.
Color Correction Editor The control squares check luminance values at the spots where you have moved them and may adapt accordingly. For example: If you move the gray square representing Gamma to a spot which is even darker (in terms of luminance) than the current black square’s location, the squares adapt: The gray square changes to black, the black to gray, HistoMatch The color balance of two images can also be matched on the basis of the associated histograms.
Color Correction Editor 1 Load the clip you want to correct in the Color Correction Editor. 2 Define a Reference Source ( page 11-202). 3 Select the Histogram diagnostic display. The histograms for the two clips are both visible and superimposed on one another (green for the correction clip and blue for the reference source).
Color Correction Editor Six Vector Color Correction Six Vector Color Correction is already considered to be secondary correction because the hues R, Mg, B, Cy, G and Yl can be edited independently of one another. For example, you can easily use this function to “repaint” a red car blue. Six Vector Color Correction appears in the Compact Display between the inlays and in the bottom half of the Color Correction Editor when it is opened all the way.
Color Correction Editor Selective Color Correction Selective Color Correction permits a very precise definition of the hues you wish to edit. You can pick up to 15 individual hues or color ranges. You can even edit the range for which no selection has been made (the “Garbage”). Selective Color Correction appears as a Compact Display between the inlays and in the bottom half of the Color Correction Editor when it is opened all the way.
Color Correction Editor Defining Vectors - Selective Color (A) Initially no Vectors are defined. 1 Load the clip you want to edit in the Color Correction Editor. 2 Click the Add Selective Color button in the Selective Color area to activate the Pipette (Eyedropper). 3 Determine the color area in the correction clip as precisely as possible by also using the Zoom ( page 11-179). w - Single-click to define a 3x3 pixel area around the Pipette position.
Color Correction Editor Color Isolation (B) In order to edit a color as precisely as possible, the color must be isolated from the spectrum of colors in the image. Otherwise you might have unwanted color corrections in similar areas. Pinnacle Liquid specifies each selected color Vector as a numeric “center” in YCbCr values: This center is determined mathematically on the basis of various values using the Pipette.
Color Correction Editor w The hue (H) is represented by the size of the segment angle (the “width of the wedge of pie”). w The saturation (S) is represented by the radial extension of the segment. w The third dimension, luminance (L), is visible only in the Cube Display ( page 11-193). w The transition range (Softness, dark blue marking) defines the transition from the selected range (light blue) to the non-selected surroundings. The larger the transition range, the softer the transition.
Color Correction Editor Vector Display: The currently valid saturation area is displayed as a rotating ring. Move the Range slider so that the standard gray disappears from the areas you want to edit or until the blue saturation area includes the relevant color locuses. Finally, click the S icon once again. w Hue (H)Switch to the Vector Display and click the H icon. Working image: Only the ranges that meet the Cb center, Cr center plus/minus Hue range criterion are displayed.
Color Correction Editor C o l o r Wa s h Shifting selections horizontally and/or vertically is known as ColorWash. To do this, use the Cr and Cb sliders. The effect is very noticeable in the Vector Display. Non-Selected Range (Garbage) “Garbage” refers to the range not selected in any Vector. This option allows you, for example, to isolate three colors and, via “garbage”, de-saturate all the others or set them to black and white.
Color Correction Editor center mouse button (or mouse wheel) to move the center of the luminance range. Suitable diagnostic display: Cube. w Saturation range Hold down the SHIFT key and left mouse button to move the lower limit; right mouse button to move the upper limit; center mouse button (or mouse wheel) to move the center of the saturation range along the radius. Suitable diagnostic display: Vector.
Timewarp Editor Timewarp Editor The Timewarp Editor allows you to modify the play speed and direction of video clips. You can control speed and direction changes dynamically with Key Frames. The Timewarp Editor is a clip effect; it has no effect on audio clips. Timewarp effects are rendered. For basic information on video effects, see “Effect Editors (Basics)” on page 11-62 and “Key Frames” on page 11-73.
Timewarp Editor Opening and Using the Timewarp Editor The Timewarp Editor is used like a clip Effect Editor (for general information see “Classic Clip Effect Editors (Filters)” on page 11-62). To open the Timewarp Editor: wDrag the Editor Picon from the Library tab of the Project window to the appropriate clip. Open the Editor by right-clicking the continuous colored line on the bottom edge of the clip or from the clip’s FX Properties dialog box ( page 9-81).
Timewarp Editor mark-out, i.e. in the section to which the Timewarp effect is being applied. If the clip-in/ mark-in or clip-out/mark-out coincide in the original clip, the mark-in for starting the effect is automatically shifted one frame (and the same happens to the mark-out), thus changing the speed information. Functions of the Timewarp Editor (Overview) The Timewarp Editor generates a (rendered) destination clip from a source clip.
Timewarp Editor E - Speed diagram displaying changes in speed and play direction of the destination clip F - Editing and control functions (destination clip) G - Position bar (destination clip, page 11-227) H - Position bars (source clip) I - Key Frame functions ( page 11-225) Setting and Editing Key Frames The Timewarp Editor contains the usual range of buttons for setting, deleting and copying Key Frames (for basic information, see “Key Frames” on page 11-73).
Timewarp Editor Linearize/Delinearize Segment Firstly, this function serves to create direct transitions, such as a sudden shift from “forward” (speed of 1.0) to “reverse” (speed of -1.0). Secondly, linearizing results in a steady progression of motion between two Key Frames, i.e. without acceleration or delay. For more information, see the example under “Linear and Nonlinear (Curve)” on page 11-235.
Timewarp Editor Navigating Diagrams, Keeping Overview Five functions that make handling and understanding of the diagrams easier: Move a Segment Depending on the scale currently set, a smaller or larger portion of the diagram area is outside the range of the display. Hold down the SHIFT key (the mouse pointer changes to a hand) and drag the pointer across the diagram until the appropriate section is visible.
Timewarp Editor Interpretation of the Diagrams and Examples The upper diagram maps the chronology of the source clip (vertical axis and position bar to the left) against the chronology of the destination clip (horizontal axis and position bar). In its initial state when you call a clip that has not yet been edited, the following applies: Source clip chronology = destination clip chronology.
Timewarp Editor Linear Slow Motion at Half the Standard Speed For linear slow motion at 50%, the destination clip becomes twice as long as the source clip. The speed remains constant, which is why it is called “linear slow motion”. < Duration of dest. clip (2 x source clip) > < Duration source clip > Linear slow motion at 50% play speed (factor of 0.5) A Key Frame is set at the first frame of the source clip that is assigned a speed parameter of 0.5.
Timewarp Editor The vertical extension of the grid in the upper diagram indicates the actual length of the source clip Media File. You cannot set Key Frames outside this grid. There is no limit to the horizontal extension to the right and left. In theory at least, the destination clip can be endless. Dynamic Acceleration/Deceleration When multiple Key Frames are used, you can generate dynamic Timewarp effects.
Timewarp Editor The figure shows the resulting phases: w First the clip accelerates until it reaches about 160% of the initial speed. w In the second phase, it decelerates to 0% (Stop). w In the third phase, it runs backward, initially accelerating (to -100%) and then decelerating until it stops again. w In the next phase, the clip plays in the forward direction and accelerates. w In the final phase, it decelerates back to the standard speed.
Timewarp Editor Why A Curve? Let’s say you wanted to slow down a clip from standard speed to zero, e.g., decelerate a movement to its complete stop. Therefore, you set Speed = 1.0 at the first Keyframe (or mark-in) and at the end of the clip, at the second Keyframe (or mark-out), to zero. Now the speed line becomes an initially slightly ascending, and then descending curve that ultimately hits the zero position, from where it goes on again as a straight horizontal line.
Timewarp Editor But you have not given the destination clip more time to complete the task, the walls stand where they‘ve stood before. That‘s why you make up for the extra time, and therefore the initial acceleration you see in the curve. This is to make sure that the effect finishes in the source clip’s time frame (source clip and destination clip have the same lenght = duration). Of course it is possible to achieve a more or less linear deceleration - but that takes time.
Timewarp Editor Playback Loop It is also possible to form a “loop”, i.e. a clip that is played to the end, jumps back to the beginning and is replayed. This can be repeated any number of times: In the segments where the speed remains constant at 1.0, the straight ascending lines in the upper diagram run parallel to the standard line. Each of the almost vertical descents designates the position at which the clip returns to the starting position (by means of an extremely fast “rewind”).
Timewarp Editor Linear and Nonlinear (Curve) The transitions between the play directions (forward and reverse) and speeds can be configured in several different ways, as illustrated by the next example. The diagram below describes a clip that is played repeatedly from beginning to end and from end to beginning: war d For rd kwa Start Bac End Key Frame 0.
Timewarp Editor rd Start kwa Bac End Forw ard The figure below shows the same Key Frame distribution as the figure above except that the transitions have not been linearized: Non-linearized variant of previous example This destination clip demonstrates soft transitions between the forward and backward passages.
Timewarp Editor w A straight horizontal line means: In the upper diagram: Still playback In the lower diagram: Constant speed w A steep curve/straight line: In the upper diagram: High speed In the lower diagram: Rapid acceleration/deceleration w A shallow curve/straight line: In the upper diagram: Low speed In the lower diagram: Gradual acceleration/deceleration Standard Applications This section provides you with step-by-step instructions for frequently used applications such as slow motion and stills (F
Timewarp Editor Slow Motion/ Fast Motion (Linear) The speed of a slow motion clip is somewhere between 1.0 (standard) and 0.0 (freeze). Values greater than 1 serve to multiply the standard speed. 1 Set a mark-in and mark-out on the Timeline clip that you want to edit. Make sure you don’t set a mark-in and mark-out on the first or last frame of the clip (i.e. the clip-in and clip-out of the Media File). 2 Drag the Timewarp Editor to the clip and open the Editor as described ( page 11-223).
Timewarp Editor 4 Enter the appropriate speed factor with a minus sign in the field with the blue flag. See also “Render Options” on page 11-240. Alternate variant: Set the mark-in after the mark-out on the source clip position bar. This also causes a reversal of the source clip. 5 Set a Key Frame. A straight blue line with the corresponding gradient appears in the diagram. 6 Exit the Timewarp Editor and trim the clip to the new length on the Timeline.
Timewarp Editor Adjust to Length (Fit to Fill) Instead of specifying a speed factor in the editor, you can define a length for the destination clip, e.g. if you want to fill a gap of a specific duration on the Timeline. 1 Drag the Timewarp Editor to the appropriate clip. 2 Trim the clip to the appropriate length. Shortening it means accelerating the clip and lengthening it means slow motion. Doubling the length = half speed (0.5). 3 If you wish to edit this clip further, open the Timewarp Editor.
Timewarp Editor w Mix Frames (for film): Provides smooth motion but is less focused. w Cut Frames (film): Provides sharp focus but motion is often jerky. Motion Detection In the default configuration, this function is activated. For motifs with a lot of motion or very unsteady cameras, it may be better to deactivate Motion Detection. Strobe Effect The Strobe effect is best used for motifs with a great deal of motion.
Timewarp Editor Individual Applications You can create complex Timewarp Effects quickly and easily using the tools of the Timewarp Editor. The basic principle is presented here step by step. For your first attempt, select a clip with a lot of motion in the motif (or in the camera work) and load it in the Timewarp Editor. Initially the source and destination clips are identical. 1 Set the Playlines in the source and destination clip position bars to the mark-in if they’re not already there.
Timewarp Editor 11 - 242 Chapter Finish
chapter12 Realtime FX This chapter provides information on the realtime effects in Liquid Edition . With realtime effects, you don’t have to wait for effect rendering to be completed, but can preview the effects immediately. Realtime effects are applied in the same way as the Classic effects and Effect Editors. For basic information on effects, see the “Finish” chapter in the section entitled “Basics” on page 11-54.
Always Maximum Performance Always Maximum Performance Pinnacle Liquid realtime effects need no special hardware. The effects use all your computer’s existing capabilities. That‘s the reason they‘re called “host-based” effects, the host being your computer with the combined power of all its components, most prominently the microprocessor and the graphics card.
Rendering and Realtime Rendering and Realtime This section provides you with information on when effects are realtime-capable and when they have to be rendered, as well as what this means for the Timeline playback (preview).
Rendering and Realtime Realtime and the Effect Preview On the Timeline, the above-mentioned effect types are indicated in the Slices (the numbered segments above the Timeline) by means of defined colors.
Rendering and Realtime w Red These segments must always be rendered. Where no rendered data yet exists, a gray exclamation point on a black surface becomes visible in the inlay as soon as the Playline touches the section not yet rendered. A deep, intense red indicates a render problem. Remove the effect(s) that caused the problem. w Gray Everything that is not green, yellow or red, i.e. normal video and graphics, is played back at the full frame rate.
Rendering and Realtime Render Management of Realtime Software Effects The yellow Slice marking above a realtime Transition or a clip that was edited using a realtime filter indicates that: w This segment can be played back immediately without waiting for rendering. However: When the segment is played back, individual frames may be dropped, depending on the complexity of the effect(s) and on computer performance.
Rendering and Realtime Optimizing Realtime Preview Some tips on enhancing your system‘s realtime performance. First CPU, then GPU (in effect editing) You can apply all realtime effects in all combinations imaginable to a clip. But: The best performance is achieved when CPU effects are applied first, and GPU effects last. The processing order of effects applied to a clip can be viewed and changed in the clip’s FX Properties: The list reflects the order in which effects were initially applied.
Rendering and Realtime The preview image becomes a little blurrier and softer. Rendering and output continues to be performed at the maximum resolution and quality. Turn Off Audio Playback Temporarily In certain borderline cases, deactivating timeline audio (Playback Off ) can help prevent “dropped frames”, i.e. frames omitted during playback. This is always the case when your system is operating near or beyond the limits of its performance capability. Deactivating audio takes off a little of the strain.
Rendering and Realtime The Render Viewer The Render Viewer is an inlay in which you can monitor the current render process. In the taskbar, click the symbol shown to open this view. Although the sequence of frames in the Render Viewer may appear to be mixed up (especially if you combined realtime and render effects), it isn’t; Render Management, which is working in the background, distributes specific resources to the different effects.
Effects and Effect Editors Effects and Effect Editors This section contains a complete listing of all the software-based realtime Effect Editors in Pinnacle Liquid. We have not attempted to list all the standard effect parameters, such as Size and Position, or other parameters that are self-explanatory. All realtime effects can be found in the Library tab, folders Realtime Clip FX and Realtime Transition FX.
Effects and Effect Editors Preliminary Remarks This section contains information on realtime effects and a quick introduction to the correct application of these effects. GPU and CPU Pinnacle Liquid’s software based (or host-based) realtime effects have been optimised for either the graphics card processor (GPU) or the computers’s central processing unit(s) (CPU). To facilitate identification of these effects, all realtime effect editors are marked either “GPU” or “CPU”, such as “2D GPU”.
Effects and Effect Editors Effect Preview in the Editor You can already test realtime effects in the corresponding Effect Editor. Click the button shown for Play In to Out to play the effect from start to finish. In the case of long clip effects (filters), it’s best to set the Playline manually whenever possible and view subsections of the effect.
Effects and Effect Editors 1 Where are the effects? All effects and Effect Editors are located in the Project window or Project Browser on the Library tab. The realtime effects can be found in the folders called Realtime... ; the Pinnacle Hollywood FX are also realtime-capable and can be found under Plug In Transition FX, Plug In Clip FX. 2 What is an Effect Editor? Actually, an Effect Editor is also an effect, but one that you can fine-tune.
Effects and Effect Editors Position the Transition across the edit between clips. A Transition always requires two images (even if one of them is “black”, or blank Timeline) and, therefore, always requires “leeway”, i.e. material extending beyond the displayed clip length. With A/B editing, the same clip would look like this: Fade out Fade in The two red arrows indicate the extra “leeway”. If there isn’t enough leeway, the Transition turns completely or partially red.
Effects and Effect Editors 4 How do I apply a clip effect? The easiest way is to drag the effect you want from the Rack and drop it on a clip. Please note: for maximum performance apply CPU effecs before you apply GPU effects. (But there are also other options: see“Opening Effect Editors and Editing Clips (= Applying FX Editors)” on page 11-65.) 5 How do I apply a transition? Drag the desired Transition to the edit between two clips.
Effects and Effect Editors Motion, change and dynamic effects, however, require at least two Key Frames. The first Key Frame contains the initial state and the second contains the end state. The change takes place between the two, all intermittent states are interpolated. Do not deactivate the Key Frames in a Transition. See also “Key Frames” on page 11-73. 8 Can I save effects I created myself? Yes, on the FX tab in the Project window. The Library is reserved for the effects supplied with the product.
Effects and Effect Editors Realtime Clip FX Editors w Lens Flare This effect generates an optical reflection that radiates outward in all spectral colors just as it would appear if light hit a camera lens from the side. w Magnify This effect generates a magnifying glass that can be moved across the image. w 2D Editor for two-dimensional effects (XY) including parameters for borders and shadow. For individual slide effects, enlarging/reducing image size.
Effects and Effect Editors w Replicate This effect multiplies the image by replicating and miniaturizing it, and also by scaling if you entered different values for horizontal and vertical replication. w Water Drop This effect simulates the impact of a droplet falling onto the surface of water, producing expanding, concentric waves. w Water Wave This effect is similar to Water Drop except that a straight wave approaches from different directions and rolls over the image.
Effects and Effect Editors w Falling Crystals This effect shatters the image into many pieces that slowly fall downward. w Curtain This effect projects the image onto a curtain that can be pulled open to the left or right. The Wind parameter causes the curtain to wave in the wind more or less gently. w Cylinder This effect projects the image onto a cylindrical surface. w Explosion This effect breaks the image into many pieces so as to resemble an explosion.
Effects and Effect Editors - Defining a color: You can select the Hue angle (as designated by the center of the “pie piece”, which you can also rotate by means of the mouse), a certain area around the selected hue center (modify Discrimination to make the slice bigger or smaller), and you can limit your selection by defining the Saturation (regions most saturated are at the edges of the color field).
Effects and Effect Editors Center sets the center luma value that will generate a full key. Radius sets the radius around the center value that will generate a full key. Softness softens the transitions from key to non-keyed regions. Gain multiplies the key value by the Gain constant Offset adds or subtracts a constant value of an offset from the key. Invert Key the pixels that were keyed out will become not keyed out, and vice versa.
Effects and Effect Editors Realtime Transition FX Editors w Dissolve CPU Standard transition w Cross Dissolve GPU Standard transition w DissolveThroughColor Dissolves from an image to a selectable color and from there to the next image: Or the dissolve can be set so that it becomes increasingly transparent (alpha) to reveal the clip underneath. w Gradient Wipe This transition provides over 400 gradient patterns for designing the transition.
Effects and Effect Editors w Gradient Wipe This is a wipe effect with 400 wipe patterns. w Inset This is a wipe effect in which the new image starts in one of the four corners and gradually covers over the old image until it is completely hidden. w Iris Cross This is a wipe effect in which the image is divided horizontally and vertically into four square segments; depending on the effect direction, these segments gradually become smaller to reveal or hide the new image.
Effects and Effect Editors Presets In these Racks you find predefined effects, arranged by GPU and CPU. It‘s a good idea to turn to Picon view to get an idea of what these effects do. Audio FX w CrossFade Standard audio cross fade PlugIn FX / Hollywood FX The Pinnacle Hollywood FX included with Pinnacle Liquid are also realtime-capable. Hollywood FX count among the GPU effects. The Hollywood FX Editors are located on the Library tab in the PlugIn Transition FX and PlugIn Clip FX Racks.
Effects and Effect Editors Additional Realtime Capabilities In addition to effects, the realtime capabilities of Pinnacle Liquid come into play in other areas as well. à page 11-165 Realtime Color Correction in the Clip Viewer The Clip Viewer’s extended dialog box contains functions for primary color correction. These include luminance, red-green-blue in the black, gamma and gain ranges, and control by means of hue and saturation.
Effects and Effect Editors 12 - 26 Chapter Realtime FX
chapter13 Titler A member of the Pinnacle TitleDeko family of character generators is part of the software bundle that comes with Pinnacle Liquid. This titler can be activated by clicking the “CG” tool button right next to the Master Viewer, or by selecting it from the menu in the effects editors short cut menu (click the “dice” button). For information on how to create titles using the titler software, please refer to the TitleDeko manul.
Save Title Path This function is to be found in the Titler properties (Pinnacle Liquid Start menu > Control Panel > User > CG Titler). Select the directory in which you want to save the title graphics (*.tdk and *.bmp formats). A version 2.55 roll or crawl title which was created with discrete speed settings may play back with a higher speed on the Timeline (that is, with a shorter duration). To avoid this effect, modify the title’s length by one frame. This resets the speed to the original selection.
chapter14 DVD Authoring What is DVD? A DVD (digital versatile disc) is a storage medium that is almost universally usable. DVDs provide superior image and audio quality, are easy to handle and, above all, interactive. With DVDs, viewers can help determine the program - for example, by retrieving different segments on the DVD directly using one or more menus and without rewinding, fast-forwarding or waiting.
The sections below contain the following information: Step by step DVD authoring page 14-4 Your first project: Not just for beginners! DVD Menu Wizard page 14-7 Helps you generate DVD menus How DVD authoring works page 14-8 Basics, structure and definition of terms DVD authoring: Reference page 14-13 Overview and detailed description of all the functions and features of the Pinnacle Liquid Authoring Tool Designing DVD menus page 14-50 Texts, buttons and backgrounds Burning a DVD page 14-65 How to put the fi
Step by Step DVD Authoring Step by Step DVD Authoring This section describes how to create a DVD (also known as DVD authoring) by taking you through a step-by-step example. You can use it either to get a preliminary look at the functions or to start your first DVD project using your own material. However, only the most important functions will be described. 1 Build a Sequence or retrieve a finished Sequence from the Timeline.
Step by Step DVD Authoring 8 Drag Link number 1 from the Link list to the beginning of your first chapter on the Timeline. The frame at the Playline position is displayed in the Master View. It will be easier to position the Link at the start of the clip if you also press the SHIFT key to activate magnet (snap) mode. Drop the Link on the DVD Track. This sets an Absolute Target. The Marker remains in this position even if you move the clip being viewed.
Step by Step DVD Authoring 13 Set additional Return Markers as desired. 14 And now for the preview that lets you test the menu and check navigation. Select the Preview tab. After a brief delay, the menu appears in the inlay. 15 Use the arrow buttons and click OK to activate and select the buttons. You can also jump from the beginning of one chapter to the beginning of another.
DVD Menu Wizard DVD Menu Wizard Pinnacle Liquid helps you generate DVD menus quickly and easily with the DVD Menu Wizard, which combines menu template selection with the AutoLink function, i.e. it automatically links menu buttons to audio/video. If necessary, you can then fine-tune your work in the DVD Editor. 1 Call the DVD Menu Wizard. (If the toolbar above the Timeline does not already contain this button, right-click the toolbar and select Customize.
How Does DVD Authoring Work? How Does DVD Authoring Work? This section introduces the basic terminology and the basics of authoring using Pinnacle Liquid. The interactivity of a DVD is the result of authoring. If you only want to export a film to DVD instead of to a DV or VHS tape, use Export to DVD in Pinnacle Liquid. DVD Editor Follow the usual procedure to assemble your material on the Timeline. Insert a DVD menu before the start of the Sequence.
How Does DVD Authoring Work? The actual authoring procedure takes place in the DVD Editor, which you can open as soon as at least one DVD menu appears on the Timeline. Authoring generally means designing the navigation structure of a DVD and, more specifically: w Linking the selection buttons in a menu to audio/video Sequences on the Timeline; w Designing menus and sometimes even Linking them to each other; w Setting Return Markers in order to return to menus.
How Does DVD Authoring Work? w Link A Link establishes the relationship between a menu button and a chapter. In Pinnacle Liquid, each Link has a unique number, a name (customizable) and a “target address” which is a timecode that refers to the Timeline TC. w Target Each Link has a target, whether it’s an Absolute Target (relating to the Timeline master TC) or an Anchored Target (relating to a clip). When the clip is moved, Anchored Targets move with it while Absolute Targets retain their positions.
How Does DVD Authoring Work? Note the following: w Links currently function in a horizontal Sequence only. This means that you cannot select individual Tracks at a particular position on the Timeline. When clips are arranged one above the other (according to the usual Timeline priority), the uppermost clip is always played.
How Does DVD Authoring Work? This module displays a “capacity indicator” that tells you how much space is available on the DVD ( page 15-45). If you want to play it safe, protect the Tracks (right-click the name field for the Track and select Protected). You can set Links at any time but be careful that you don’t accidently modify the Sequence.
DVD Authoring: Reference DVD Authoring: Reference This section describes all the Pinnacle Liquid DVD authoring functions, organized according to the tabs in the DVD Editor. But first a brief summary of the individual elements you will need to create a DVD: DVD Authoring: Elements The basic components are as follows: w Timeline with SequenceThis is where you arrange the contents of the DVD, including video, audio, graphics and...
DVD Authoring: Reference The following tabs contain the functions for the DVD Editor.
DVD Authoring: Reference Links Tab This tab contains the basic tools for rendering a DVD menu operational. Here you can assign individual menu buttons to the selected image Sequences. Each menu, which can also consist of several pages, has one Link (or chapter) list. Depending on your computer desktop’s resolution, you may be able to switch to fullscreen mode, which will allow you keep the DVD Editor Master View permanently displayed (see figure below).
DVD Authoring: Reference Link List This list contains an overview of all the chapters and Links between menu buttons and video/ audio in the current Sequence on the Timeline. The list refers to the menu currently displayed on the right side of the Viewer. List of all the Links for a DVD menu and the associated DVD Markers on the Timeline’s DVD Track as well as the menu buttons w No (number)These are the numbers of all the chapters/Links for a DVD menu.
DVD Authoring: Reference If you move a Link to a Sequence position using the mouse (drag and drop), you can automatically edit the name (see “Options Tab” on page 14-48). When you use the AutoLink functions, the chapter names are assigned automatically (for example, “Edit03” or “Clip08”) but you can still edit them afterwards. w Jump to The Timeline timecode for the Link, the “target address”. To avoid “VOB problems”, make sure the Links are not set too closely together ( page 14-35).
DVD Authoring: Reference Commands and Tool Buttons To the right of the Link list is a series of commands in plaintext that allow you, among other things, to assign, delete and move Links. You can also call these commands using the tool buttons pictured. S e t A b s o l u t e Ta r g e t An Absolute Target relates to the Timeline. It remains in its position even if you move clips and other components of the Sequence. The DVD Marker for a Link set with an Absolute Target is positioned on the DVD Track.
DVD Authoring: Reference w Move the Target Click the Target to select it and use one of the buttons shown to reposition it (step forward or back 1 or 10 frames). DVD Marker and tooltip for an Absolute Target Don’t position the targets too closely together. Keep at least ten frames between them to avoid having a VOB problem ( page 14-35). S e t A n c h o r e d Ta r g e t An Anchored Target relates to a clip and moves when the clip is moved. This is an advantage if you edit the Sequence later on.
DVD Authoring: Reference 1 Select a Link (list), hold down the left mouse button... 2 ...drag the Link to the desired clip at the desired position (the Playline moves with it) and drop it. The Jump to and Track columns are updated, as is the Picon associated with the Link in the DVD menu - it now shows the frame at the Playline/target position. If this frame is not informative enough, refer to Set Picons ( page 14-23) to define an individual frame.
DVD Authoring: Reference Create/Delete/Move Return Marker A Return Marker is a Marker that triggers a return to the menu that was activated when the Return Marker was created. This means that as soon as the Playline reaches the Return Marker in the Preview, or when the finished DVD is played to this point, the menu is activated (without a prompt) and played so that another item can be selected. This allows you to incorporate “loops”.
DVD Authoring: Reference Insert Additional Link/Reset Link/Delete Link The more Links you set in a menu, the more options you give the DVD user. Adding and deleting Links serves to structure the contents of a DVD. w Insert additional Link Click this button to add a blank Link to the list; this Link must then be assigned a target. The Link is always inserted above the current (= selected) list position.
DVD Authoring: Reference Set/Reset Picon Unless otherwise specified, the Picon for a menu button contains the frame from the target point (obviously, this applies only to buttons that can display a Picon, also called “thumbnails”). But this frame may not be the best choice. To define another frame as a Picon for a menu option: 1 Scrub the Playline at the desired position (monitor the Timeline frame in the Master View). 2 Click Set Picon. The target timecode remains the same.
DVD Authoring: Reference Animated picons: Video clips of the same length as the menu and below it 3 Repeat this procedure until you have assigned all the menu buttons you want. Please note: w The size and position of the clips are automatically adapted in the 2D Editor (GPU realtime only!) to fill the menu button cutouts: w At the mark-out, the clips are adapted to the length of the DVD menu, meaning that they are trimmed. The mark-in remains the same.
DVD Authoring: Reference w You can lengthen or shorten the DVD menu. In this case, you must also trim the clips of he animated picons. w In the same way (i.e. using drag and drop), you can insert a menu background. However, the menu background must contain an alpha plane (at least in some parts), or else you can discard the actual menu background and replace it with a moving image on which the buttons are then arranged ( page 14-50).
DVD Authoring: Reference 3 Exit the DVD Editor. 4 If necessary, free Tracks on the Timeline below the DVD menu so that they can contain the animated picons. Continue to do so until you have enough to contain all the animated picons you plan to use. 5 Insert the clips that will supply the image material for the animated picons below the DVD menu. These clips must be (at least) as long as the menu.
DVD Authoring: Reference Several Di fferent DVD Menus It is quite possible to insert several different menus (menu templates) in one DVD project. Position each menu on the DVD Track on the Timeline. Note the following when working with multiple menus: w Different menus, same target This is possible; the DVD Marker changes its assignment depending on which menu is activated. w A specific menu relates to a specific Link list.
DVD Authoring: Reference w Select patterns and colors Click a colored square above the inlay to open a palette of colors and striped patterns and select a design for each menu. The menu and the associated DVD Markers and Return Marker take on the same design. Select a menu and Marker design; rename the menu If you don’t see immediate results, activate the Use colors for DVD menus and related markers in Timeline option on the Options tab.
DVD Authoring: Reference Desktop/Inlay In addition to viewing the current menu, you can also modify or switch views in order, for example, to view and modify the navigational relationships of the menu buttons. Selecting a Menu Background (Motion Menu) You can use any moving or still image as a background but the menu background must be either fully or partially transparent, or non-existant (see also “Designing Menus with the DVD Menu Editor” on page 14-54).
DVD Authoring: Reference Updating the Video (With IEEE-1394 output only:) If you also wish to output the image to a connected TV monitor, activate the Video Update function. Usually the signal has to be looped through a DV device (analog output, such as the camera). This function slightly reduces processor performance, meaning that editing could go a little less smoothly. Autoplay This function initiates a jump from a menu to a certain chapter (Target) after a predefined period of time.
DVD Authoring: Reference Effects with DVD Menus (Transition Menu) You can also apply effects to DVD menus - e.g. after a menu button is selected, the entire menu is turned like a page in a book before the actual jump command is executed. Such effects are often seen on commercial DVDs. In this case, however, you need the menu to be a “normal” graphics clip that you can edit on the Timeline.
DVD Authoring: Reference 8 When the effect is finished, move the original Target of the menu button to the beginning of the effect (if necessary - it depends on the structure of your effect) by clicking the Target and using the tool buttons shown. 9 Test the results in the DVD preview. Repeat the procedure as needed for other menu buttons.
DVD Authoring: Reference 1 3 2 AutoLink to clip-ins in the four Timeline clips (numbering refers to summary below) 14 - 32 Chapter DVD Authoring
DVD Authoring: Reference Basics 1 Position the menu on the Timeline, open the DVD Editor and select the AutoLink tab. 1 Display the Sequence events and TRacks. 2 Select/remove Links by clicking the check box. 3 Click Apply. 4 Select a Marker design (see “Identifying DVD Markers and Menus” on page 14-27). 5 If necessary, go to the Links tab and click the Set Picon option to update the menu with the correct picons. 6 Continue editing the Links as needed on the Links tab.
DVD Authoring: Reference of the dissolve as a “clip-in” since, technically speaking, the clip starts with the first frame of the dissolve. w Tracks and clips The options in this list box allow you to further refine Link selection: ...of selected clips: The list contains only the clip(s) selected on the Timeline. ... of active Tracks: The list contains only the Tracks activated for editing. Click the Track name to (de)activate a Track. ...
DVD Authoring: Reference However, a VOB problem will be indicated by the flashing symbol shown on the left. The problem area on the DVD Track is identified by a vertical colored (pink) marking. Click the flashing symbol to move the Playline to the position of the problem and, if necessary, continue clicking it to go to all the other VOB problems. Resolving a VOB Problem You must create a minimum gap of at least ten frames.
DVD Authoring: Reference Options selected and modifications made in the Highlight tab are reset to default when a DVD menu template is edited in the DVD Menu Editor. We recommend to edit Highlight options as the last step in the process. Highlight states page 14-37 Subpictures à Theory... page 14-38 à ...
DVD Authoring: Reference 4 Activated highlight layer This layer briefly confirms its selection by displaying color shading and/or a change in transparency. It’s like a visual “clicking” sound. Why Subpictures? Subpictures are superimposed on the video and can be used on a DVD for such things as subtitles and overlays as well as for menu button highlights.
DVD Authoring: Reference Example Since this is not such a simple topic, we recommend that you start by examining the subpicture and highlight structure based on an example: 1 Open the DVD Editor and select any DVD menu template. 2 Go to the DVD Menu Editor and, for simplicity’s sake, delete all menu buttons except one (click to select and then delete). (See also “Designing Menus with the DVD Menu Editor” on page 14-54). 3 Click OK to exit the DVD Menu Editor. 4 Click the button shown on the left.
DVD Authoring: Reference Highlight Text Button Menu button (left, graphics) and highlight (right, subpicture) separated 7 From the list box, select the Selected state. 8 Now select the Color 1 to 4 pixel types one after the other and assign any colors you wish in the color field. 9 Move the mouse pointer across the highlight and observe which areas of the highlight change. 10 For each pixel type, play with the transparency as well.
DVD Authoring: Reference 11 Move the highlight back onto the button (completely or partially overlapping) and observe the effect of the transparency colors on the button’s color background. Highlight and customized pixel types This should give you an idea of how pixel types can influence the appearance of a button based on a color palette and transparency. Overview of Button and Highlight Functions This section provides an overview of the highlight functions.
DVD Authoring: Reference either individually or as a group. To do so, activate one, two or all three of the tool buttons shown either simultaneously or in succession. Then click a button and move the element to the desired position. This movement is documented in separate columns in the Link list (Links tab): The coordinates (e.g. -35,334) have the following meaning: The first number is the horizontal position and the second is the vertical. Negative or positive values describe the direction.
DVD Authoring: Reference w If highlights overlap, the button flashes. w Click the button to display the collision areas in bright red. w The button does not stop flashing until you have corrected the highlight collision(s). Collisions are easy to correct; simply create a little more space between the buttons (see also Designing Menus with the DVD Menu Editor on page 14-54).
DVD Authoring: Reference Button Status List Box Begin here by selecting which of the three possible button statuses you would like to edit. Palette and Pixel Types You can define a color and a degree of transparency for each of the four pixel types. Click the radio button to select the pixel type you want to edit. Color Selection You will probably recognize these variations from other areas of Pinnacle Liquid.
DVD Authoring: Reference Templates Tab Pinnacle Liquid comes with a set of standard DVD menus. You can select one on the Templates tab and then customize it using the DVD Menu Editor (see also Creating and Designing DVD menus on page 14-50). Selecting a Menu Template If you have already opened the DVD Editor with a template, you can replace this template with a different one.
DVD Authoring: Reference Master View Tab The Master View shows you the image on the Timeline, thus allowing you to set targets “on sight”. When you define targets using drag and drop, this tab is automatically opened as soon as the mouse pointer rests on the Timeline and when you scrub the Timeline position bar. If you work with a computer monitor resolution greater than 768 vertical pixels, you can activate the Master View permanently: Click this button to activate fullscreen mode.
DVD Authoring: Reference Preview Tab A preview or simulation allows you to test the DVD Sequence before exporting and/or burning it. Most importantly, you can test menu navigation.A menu without assigned Links cannot be viewed in the preview. Go to the Templates tab or click the button shown on the left.
DVD Authoring: Reference Player Buttons Previous/Next Chapter: These buttons let you jump from chapter to chapter in either direction without previously selecting a button in the DVD menu. The order of the chapters is based on the Timeline. The Stop button stops play and exits the preview. Play and Pause apply both to the DVD menu and to the chapter. Go to menu displays the previous menu. Clicking a Picon/Button w Single click: enables the highlight.
DVD Authoring: Reference w Auto seek Sequence to selected Link This option synchronizes the Playline. In other words, click a Link in the list or click a menu option and the Playline is automatically shifted to the correct position on the Timeline. w Set target picons with AutoLink function Grabs the frame at the Target position to be used in a thumbnail button; if not selected, the Picon can later be set individually. AutoLink only.
Creating and Designing DVD menus Creating and Designing DVD menus Menus are the basic interactive components of a DVD; they present the DVD contents and options available for selection. Technically speaking, a DVD menu is a graphics file with an integrated navigation structure. The file can have an alpha channel for fully or partially transparent areas, which means it can also be animated (for example, with a background video).
Creating and Designing DVD menus This section will provide you with detailed information, especially on the first two options for which you can use the integrated Pinnacle Liquid DVD Menu Editor. Blank Template A blank template is an empty DVD menu without buttons, background, texts, etc. In this case, you start from scratch and have two options: R e t r i e v e B l a n k Te m p l a t e f r o m L i b r a r y R a c k 1 In either the Project window or Project Browser, open the Library tab.
Creating and Designing DVD menus 4 Double-click the DVD menu and continue from the section entitled “Designing Menus with the DVD Menu Editor” on page 14-54. Editing a Menu Template 1 In either the Project window or Project Browser, open the Library tab. 2 Go to the Rack called DVD Menus. 3 Select one of the prepared menus. 4 Drag the selected menu to the Timeline and drop it at the desired location. It doesn’t matter which Track because the DVD menu automatically jumps to the DVD Track.
Creating and Designing DVD menus 5 On the Templates tab, use the Browse function to open a Windows dialog box. 6 Find the directory containing the DVD menu(s) and click OK. 7 The list of available menus is displayed. To select a menu, either double-click it or singleclick to select it and then click Apply. 8 Now continue from the section entitled “Designing Menus with the DVD Menu Editor” on page 14-54 (or begin immediately to assign Links).
Creating and Designing DVD menus Designing Menus with the DVD Menu Editor You may remember the DVD Menu Editor integrated in Pinnacle Liquid from TitleDeko; the two applications are also related. The elements of a menu are buttons, text, backgrounds and images. The DVD Menu Editor adds the highlights for interactive button navigation in the menu.
Creating and Designing DVD menus Opening the DVD Menu Editor First open the DVD Editor (for example, by double-clicking a DVD menu on the Timeline). Then click this button in the Editor task bar or click Edit menu. Finish by clicking OK to return to the DVD Editor, where you will find the new or edited menu.
Creating and Designing DVD menus w The Circle and Rectangle generate round and rectangular objects. You can edit surfaces, edges and shadows as though they were characters (see “Character and Object Looks” on page 14-57). Note the layers - objects can overlap each other either partially or completely. You can control the layer Sequence by selecting menu bar > Titles> Layers. w The Crosshairs represent scaling and moving mode and are automatically activated when an object is selected.
Creating and Designing DVD menus Character Properties These buttons should also be familiar: B for bold, I for italics and U for underline, plus the font list and font sizes specified in points as provided by the Windows operating system. The line button (circled in red) provides a menu with additional text formatting commands, such as the left/ right/centered alignment of text lines.
Creating and Designing DVD menus Backgrounds Backgrounds completely fill the edit window (full menu format). You can select a background from the palette (single-click it) or create a color background (full tone or blend). If you don’t want to use a background (for example, if you want to superimpose the menu buttons on a video), click the Transparency option. Click the Folder button to open a Windows dialog box for opening a file. This also lets you select any graphics file as a background.
Creating and Designing DVD menus DVD Menu Buttons These buttons allow you to turn a normal title into a DVD menu. They control navigation while also using visual highlights, if desired. Button Types Except for the menu background, any object on the desktop can be declared a menu button. Click the object and assign it a button type from the list: Normal button The standard button, a round or rectangular object, a text button.
Creating and Designing DVD menus According to the DVD specification, no more than 36 buttons are allowed on one DVD menu. To replace a button, select it and then double-click another design in the palette. The buttons that come with the product are located in the.../Media/DVD/Buttons directory of your Pinnacle Liquid installation. Arranging Buttons: Be Careful of Highlights Be sure to leave a gap between buttons, especially if the buttons have highlights. Highlights must not overlap.
Creating and Designing DVD menus Button Navigation You should always try to arrange the buttons in a menu so that navigation with the DVD remote is intuitive. Generally, you have four arrow buttons - Up, Down, Left and Right.
Creating and Designing DVD menus 3 drag the line to the desired button and drop it when the small orange box appears. Example: to edit the “move right” relation of a button, change the orange colored line. The Next and Previous buttons, however, have a defined relationship with the next or previous menu page. Designing Menus with Adobe Photoshop You can also use Adobe Photoshop to create DVD menus with highlight buttons for Pinnacle Liquid.
Creating and Designing DVD menus Background Layer The menu background must be created in the correct format (NTSC 720*480 pixels; PAL 720*576 pixels) with a color depth of 24 or 32 bits and areas of transparency defined by alpha channel. The layer names must start with a “(B)”. For example: (B) Background. A second descriptive designation, such as “Background” in the example here, is optional. Button Layers The two button types are link buttons and previous/next page buttons.
Creating and Designing DVD menus Link (Menu) Buttons The name of a link button starts with “(#...” and a digit. A particular digit can occur only once for each menu because the digit serves to define the link to a highlight layer. For example: (#3) Button 3. Two variants of link button exist: static and dynamic. w A static button has no alpha and appears in the menu exactly as it was created in Photoshop, e.g. a text on a colored background (“Play video 1”).
Burning a DVD Burning a DVD In order to save blanks and time, before exporting and burning the DVD you should test it: w in the DVD Editor preview and w possibly, on a software DVD player (see remarks below). For extensive projects, you should also check the volume of data from time to time while authoring to ensure that the length of the program, quality requirements and medium capacity are coordinated with one another. The Export to DVD...
chapter15 Output Pinnacle Liquid provides you with several options for transferring a Sequence to another medium and for preparing it for further editing or finishing on an external system: Recording to tape à Transferring the audio/video signal to a recorder via the digital/analog interfaces page 15-4 à Striping tapes and recording leaders page 15-8 Exporting Sequences ...
XSend to...
Record to Tape Record to Tape In the Pinnacle Liquid Start menu, select Tools > Record To Tape to open the corresponding window. This window has two tabs named à Record page 15-5 à Stripe Tape page 15-8 and a recorder toolbar, a drop-down menu for recorder selection and the video inlay. The timecode of the current Timeline is the master TC, because in non-linear editing the Timeline is the master. Therefore, the recording tape (or master tape) needs a compatible timecode.
Record to Tape Record To transfer a Sequence to a connected recorder, click the Record tab and consider the following options. w The Record to Tape tool requires the presence of a recording device which can be remote controlled via the IEEE 1394 (i.Link DV) or the RS 422 interface. See also “Player Settings” on page 17-2.
Record to Tape 2: Select Recording Mode NOTE: The selection of available recording modes depends on the remote interface used by the recording device (IEEE 1394 or RS 422 Betacam protocol) as well as on your Pinnacle Systems editing solution. w Select Dump To Tape and the recorder will start as soon as you click Record. The transfer is made to all the available tracks on the recorder (V, A1....D4), i.e. all tracks are overwritten.
Record to Tape continue within the coded range. As is the case with Dump To Tape, this option offers no track selection, i.e. all tracks available on the machine are overwritten. As with all toolbars, you can also customize the recorder controls below the inlay. Rightclick the toolbar to open the Customize box (see also Customizing Toolbars on page 16-8). 3: Start Recording If everything is set correctly, click Record.
Record to Tape Stripe Tape In order to be able to edit in Insert mode, the recording tape must have a consistent timecode (or, in Assemble mode, of at least a few seconds for a first cut-in scene, respectively). You should only do without a precoded tape when you select the Dump To Tape option and are sure that the Sequence can be transferred to the tape in one run. If there are interruptions, the recorder might no longer start with a clean cut.
Record to Tape Activate this function if you want to record a special leader, color bars or other test signals before the actual Sequence. As an alternative to Dump To Tape, with this method you can quickly and directly output a Sequence to an uncoded tape by selecting it with Select Stripe Sequence. The Sequence does not have to be on the Timeline. The timecode is taken from the Start Timecode field and the Sequence’s original timecode is ignored (RS 422 control only).
Record to Tape 15 seconds of preroll are recorded in black image before the actual start of the coding Sequence. This preroll starts always 15 seconds before the indicated start of Sequence in the case of machines that are controlled via the RS 422 interface. This means that coding starts at the entered timecode minus 15 seconds. (On some devices controlled via i.Link, you can change the preroll in the device settings.
Exporting Sequences Exporting Sequences The Export Sequence As... function allows you to export and save a Sequence on the Pinnacle Liquid Timeline in various data formats. Overview of formats that can be exported page 15-13 à AVI data format à QuickTime Movie (QuickTime codec required) à Windows Media Video/Audio à Single frames in a graphics format à WAV file (48 kHz or 44.1 kHz) à MPEG2-IPB for DVD/SVCD purposes Functions in the Export Sequence dialog box page 15-12 Exporting... à ...
Exporting Sequences Functions in the Export Sequence Dialog Box To export a Sequence, click Pinnacle Liquid Start Menu > Tools > Export Sequence As (at least one clip must be located on the Timeline).
Exporting Sequences Export as... First select the export format: w AVI Movie and/or WAV Audio w WAV Audio (48 KHz, stereo) w QuickTime Movie w MPEG2-IPB for DVD/SVCD purposes; see and IPB settings, page 15-57 w Windows Media Video/Audio w TIFF Sequence (frame by frame in the *.tif format) w TARGA Sequence (frame by frame in the *.tga format) w Bitmap Sequence (frame by frame in the *.bmp format) The options and functions below vary greatly as a function of the export format selected.
Exporting Sequences Video You can completely disable the export of video data. Example: When you export AVI Movie/WAV Audio, and Video is disabled (no checkmark), pure WAV(44.1 kHz) export results. Additional options: w Size You can select Full Size (Interlaced/Interpolated) or Quarter Size (1./2.Field) or enter the desired format (h*v = horizontal * vertical). w Square Pixel Format Click this option if you want the pixels generated to be square. The default is rectangular (CCIR).
Exporting Sequences w Progressive to output non-interlaced video. w Motion Estimation advisable with material that contains a lot of movement (or movement caused by shaky camera). Audio In the default configuration, this checkbox is selected. Delete the checkmark if you don’t want to include audio in the export. Select the appropriate sample rate (44.1 kHz or 48 kHz). Options w From Mark In to Mark Out onlyThis option lets you limit the export to a specific area of the Sequence.
Exporting Sequences Exporting Single Frames If you want to split a Sequence into single frames (images), 1 Load this Sequence to the Timeline, if necessary select a section by setting mark-in and mark-out points, click Pinnacle Liquid Start Menu > Tools > Export Sequence As... and 2 From the Export as list, select one of the three available graphics file formats: Bitmap Sequence generates *.bmp files, TARGA Sequence generates *.tga files and TIFF Sequence generates *.tif files.
Exporting Sequences 4 Click Save or OK to begin exporting the Sequence. You can view the progress of the export in the inlay (click the arrow button) and interrupt it if necessary.
Exporting Sequences Exporting Movies/WAV Audio To export video as AVI or QuickTime or to export WAV audio files, proceed as follows: 1 Load the desired Sequence to the Timeline, if necessary select a section by setting mark-in and mark-out points, click Pinnacle Liquid Start Menu > Tools > Export Sequence As... and 2 Select the desired format from the Export as... list. 3 Then select the options described, if necessary (“Functions in the Export Sequence Dialog Box” on page 15-12).
Exporting/importing EDLs Exporting/importing EDLs An Edit Decision List (EDL) contains in chronological order all basic components of a film Sequence, including the mark-in and mark-out points and video and audio tracks. Pinnacle Liquid automatically generates a new EDL whenever you create a new Sequence and continues to update the list as you add and modify editing events. EDLs can be exported and imported.
Exporting/importing EDLs Events Contained in EDLs Since EDLs can be read by different types of systems, they allow for system-independent editing of videos. This means you can do preliminary editing and layout work offline on one system and final online editing on another. In addition to Mark-In and Mark-Out points, EDLs also list video and audio sources, the duration of Transitions (e.g.
Exporting/importing EDLs Typical examples include the following: w The master is to be created in a special format that is not available to you. w For on-line editing you need the technical capacities of a large studio. It is recommended that you do a test run in advance to check the compatibility of the EDL and the on-line editing system to be used. For example, some systems reject edit lists whose Reel names include letters (e.g. “A001” or “tape01”).
Exporting/importing EDLs Exporting EDLs Step by Step EDL drop-down box Save Print EDL Export window To export the EDL of a Sequence created with Pinnacle Liquid: 1 In the Timeline, activate playback for the Tracks to be exported. EDLs are limited to a single video Track (V) and a maximum of four audio Tracks (A1 to A4). 2 Click Pinnacle Liquid Start menu > Tools > Export EDL. 3 A window with the EDL of the active Project on the Timeline appears. The default export format setting is Sony (BVE 9100).
Exporting/importing EDLs 4 Specify how you want to output the EDL - as a printout or file. w Click Print to print the EDL. w Click Save to save the EDL on a floppy disk or other storage medium. Exporting EDLs without Audio Information To export an EDL without any audio information (i.e. only the video data), be sure to deactivate the Audio Playback of all relevant Tracks (deselect the loudspeaker icon in the Audio Playback column) before exporting it from the Timeline.
Exporting/importing EDLs Importing EDLs Step by Step To import an EDL: 1 Click Pinnacle Liquid Start Menu > Tools > Import EDL. 2 The EDL Import dialog box appears. Select an EDL. (Note: Pinnacle Liquid supports the above-mentioned EDL formats.) 3 Click Open. The selected EDL is transferred as a new Sequence to the active Project. In the Project window, a new Rack Folder is created. This folder contains the Racks of the various types of media (depends on Sequence imported).
Exporting/importing EDLs Reading in Avid Media Log Logging Lists Logging Lists created with Avid MediaLog can be read in in Pinnacle Liquid and used for Batch Digitize. Go to the Start Menu/Tools/Import EDL and specify the file type “*.ALE” under Files of type. Open the respective file on the drive (e.g. disk drive) and you will find a folder including a Rack with the logged clips in Project. You can then start digitizing with Batch Digitize. Although these files al so have the *.
OMFI Export OMFI Export Complex audio editing is often carried out on special audio postproduction systems. The Open Media Framework Interchange (OMFI) format has established itself as the exchange standard for this type of work. OMFI makes it possible not only to export the pure editing data (EDL is limited to this type of data) but also allows audio and video Media Files to be exported. Furthermore, it is possible to generate a precise map of a Timeline Sequence with all clips and layers.
OMFI Export Calling OMFI Export The OMFI Export Tool is located in the Pinnacle Liquid Start menu > Export OMF. The dialog box below is displayed. It is divided into two areas: Composition and Media.
OMFI Export Composition In this area, you can define the components of the Composition (the OMFI term for a Sequence). OMFI Version Select the desired version from the menu. OMFI 2.0 is the default setting; however, you can also select OMFI 1.0. Note on importing in AVID Express: If OMFI 1.0 is selected, you should export AIFF audio data. Volume and panning settings are not retained. Include You can use this area to define the components of the Composition.
OMFI Export Media The Media area of the dialog box contains settings that affect the form and format of the media data that is to be included in the composition: Export with Media Files This option is usually activated. You can use the drop-down menu to specify the file type to be exported (video, audio, audio and video (default setting)). During an actual export, the affected files are converted to an OMF file.
OMFI Export Audio Format This area defines the audio file format and sample rate within the OMF format. The Audio Format menu offers the following options: w WAV - generates WAV files (default setting) w AIFF - generates AIFF files The Sample Rate menu offers the following options: w 44.1 kHz (default setting) w 48 kHz. From Mark In to Mark Out only Activate this checkbox if only a section in a Sequence needs to be converted to OMF.
OMFI Export Options This area offers composition-related options that do not usually have to be changed: OMFI Export options Deactivate the effects that are not supposed to be contained in the composition. Volume means that clip-specific volume levels are transferred.
Fuse Sequence Fuse Sequence The Fuse Sequence function allows you to output a Sequence as an individual media file, depending on system hardware and actual Media Format settings, respectively. Fuse Sequence “fuses” all identical Media File types of a Sequence into a single file (video and audio separately), thus allowing you, for example, to operate a playout server via the network. Another possible application would be a video and/or audio mixdown.
Fuse Sequence Preparing a Sequence Fuse Sequence processes the Sequence currently positioned on the Timeline. Before calling and starting the function, check the following: w Are a mark-in and mark-out set for partial Fuse output (if desired)? w Are all the relevant Tracks activated for audio/video playback? Audio is exported via two channels at 48 kHz/16 bit using the audio output connected to CH-1 and CH-2 as defined in Audio Editor Audio Routing.
Fuse Sequence Fuse in AVI and other Formats Fuse lets you create a Sequence in the *.avi format. Existing media data with the extension *.m2v or *.dv is “packed” in an “AVI wrapper” without any modification of the essence data. To enter settings for the destination format, select Start Menu > Control Panel > Site > System Settings > System Formats > Render Format. Besides other formats, the list displayed contains the following options related to *.
ALE Project Export ALE Project Export For information on ALE Project data interchange, see Chapter Input: page 8-62. XSend To... The XSend To... function allows you to transfer clips, Containers and Sequences quickly and directly from Pinnacle Liquid to QuickTime-compatible applications such as Commotion 4.1 and Adobe AfterEffects for further processing or to an encoding application such as Media Cleaner for streaming.
XSend To... Calling XSend To... You will find this function in the shortcut menu for clips and Sequences in the Project and in the shortcut menu for clips on the Timeline. If you have selected multiple clips, you can call XSend To... from the shortcut menu for any of the clips selected. From the submenu displayed, you can then select the application to which you want to send the material. If you wish to transfer a Sequence, in the Project window call the function from the shortcut menu for this Sequence.
XSend To... send to the program by means of XSend. If the program now starts with this file, it is “Drag&Drop-compatible” (as it is called in Windows) and can therefore be addressed by XSend. If not, you will have to use the usual method of opening the program and loading the file(s). XSend To... Options The options described below are offered in different combinations as a function of the source material and target application.
XSend To... Sequence(s) w Fuse – Select this option if the clips of the Sequence should be transferred to the selected application as a single file. This starts the Fuse process ( page 15-32). w From Mark In to Mark Out – Limits the Sequence section to be transferred. w Save Fuse File As... – Enter the directory path or select the path from the Windows dialog box (Browse). w User-Defined Name (instead of Object Name) – If desired, enter an individual name for the Fuse file generated.
XSend To... Note on Using This Function with AfterEffects: The first time you use XSend To... with AfterEffects, the following message is displayed: “Some of the add-on modules require that they be registered for this version of AfterEffects in order for you to be able use them.” From “Skip All/Serialize All”, select the “Serialize All” option. If you already clicked “Skip All”, close AfterEffects and resend to AE. The query is then repeated. Proceed as described above.
Export to DVD Export to DVD This chapter describes the output of “DVD” material. Pinnacle Liquid offers you several options, ranging from the elementary stream as a basis for DVD authoring to ready-to-play DVD, provided you have a DVD burner. If not, you can burn a Super Video CD or use a software player to play back the files generated. To use the DVD functions, select Pinnacle Liquid Start menu > Tools > Export to DVD.
Export to DVD Exporting Data Basically, you have two options: Use a Standard Set Select one of the Reference Sets supplied with the product, such as DVD VOB1. Note that the Destination format can then no longer be changed. However, it should normally be fine to use the default parameters. For an overview of the standard sets, see “Reference Sets (General/Standard)” on page 15-60 Custom Set For advanced users or special requirements: Put together a custom set.
Export to DVD Timeline Sequence to VCD/SVCD/DVD: Step-by-step 1 Click Pinnacle Liquid Start menu > Tools > Export to DVD to open a dialog box containing the four tabs Source, Destination, Burning and Options. 2 Create a custom Reference Set as described in the previous section ( page 15-41). 3 On the Source tab, make sure Current Sequence is selected. 4 Click the Destination tab. Select the desired format, i.e.
Export to DVD Source On this tab, start by defining the source material for export. w The information field at the bottom of the dialog box summarizes your selections (Source, Destination and Burning). w You can store proven or frequently used configurations in the Reference Sets list and retrieve them from there (see Options, page 15-59). w The Capacity Indicator provides an estimate of the storage space required on the destination medium selected ( page 15-45).
Export to DVD Current Sequence (Timeline) If this option is activated, the Sequence currently located on the Timeline is used; if the check box below this option is activated, only the area between the mark-in and mark-out on the Timeline is used. w Possible destination formats include Elementary Stream, Program Stream, Video CD, Super Video CD, DVD VOB file, DVD image (see Destination tab). MPEG-2 IPB File If this option is activated, an IPB file that you select (file extension *.
Export to DVD Capacity Indicator The blue area of the bar indicates the space required on the destination medium by the currently selected source material and the green area indicates the space still available. If the bar is completely blue with a short red line on the far right, this indicates: w Flashing line: Capacity of destination medium was exceeded; any excess material would not be burned, for example, to the SVCD.
Export to DVD Source: Current Timeline 1 Conversion to Elementary Stream (ES) Automatic detection of TV system as PAL or NTSC, aspect ratio of 4:3 or 16:9 (depending on current System Settings) and video size (resolution). Generates an m2v index file. 2 Audio conversion Destination format: DVD VOB and DVD Image: PCM Mono to PCM Stereo (1536 kbps bit rate; 48 kHz sample rate). Destination format: Program stream, DVD VOB, DVD Image: PCM Stereo to MPEG-1 Layer 2 (=MP2; 192-384 kbps bit rate; 44.
Export to DVD Destination On this tab, you can define a destination format and destination folder for the source material selected. When you select a destination format, the IPB Settimgs dialog box is automatically displayed. You can usually use the default settings. For more information, see “IPB Settings” on page 15-57. You do not have to select destination and temporary folders; if you leave these fields blank, the current standard render directory or folder is used.
Export to DVD Elementary Stream (ES) This option generates elementary streams only (for all other destination formats, elementary streams are required and generated as temporary files). w Video: MPEG-2 IPB, file extension *.m2v w Audio: PCM (WAV uncompressed, 44.1 kHz or 48 kHz; file extension *.wav), or MP2 (MPEG-1, Layer 2, compressed, 44.1 kHz or 48 kHz with different bit rates available for selection; file extension *.mpa). Select a destination directory and temporary directories (optional).
Export to DVD w This format cannot be burned to DVD/CD for direct playback. w You can play back program stream files and m2v files (IPB elementary stream) on a software player. Select a destination directory and temporary directory (optional). w Files generated: [name_sequence.mpg] MPEG Audio/Video program stream [name_sequence.mpa] MPEG 1 Layer 2 Audio (Stereo) Temporary: [name_sequence.m2v] Video elementary stream Temporary: [name_sequence_1.wav] and [name_sequence_2.
Export to DVD SVCD You can record about 35 to 60 minutes of video on a Super Video CD. Although the quality achieved with SVCD is not as high as DVD - which is also due to the lower image resolution (PAL: 480 x 576; NTSC: 480 x 480) - you need only a standard CD burner to burn video data. w The variable video bit rate in the IPB Settings is preset to an average of 2.4 megabit/second (maximum = 2.5 Mbps). You can also select a constant bit rate; see “IPB Settings” on page 15-57.
Export to DVD DVD VOB Files (Video_TS) VOBs (video objects) are essential components of a DVD. These files contain video, audio and subtitles and can attain a maximum size of one gigabyte each. VOBs are ideal for further processing in an authoring system. You can also burn them directly (without images). See also “IPB Settings” on page 15-57. w Audio: MP2 with 48 kHz stereo, bit rate selectable from 192 to 384 kbit/second, or PCM. w The file extension is *.vob.
Export to DVD DVD Image You can burn a DVD image to a DVD either immediately (Burning tab) or later on. A DVD Image (disc image) with the file extension *.img is generated using the “UDF Bridge” (Universal Disc Format), which contains all the information and data necessary for burning and playing. See also “IPB Settings” on page 15-57. w Audio encoding: MP2 with 48 kHz stereo, bit rate selectable from 192 to 384 kbit/second, or PCM (*.wav).
Export to DVD w In the case of a “DVD single stream export”, i.e. the export of a sequence as a DVD (not as a DVD authoring sequence with menus and several chapter streams), the DVD is burned with a standard menu as a leader. In the default configuration, this is a full-format play button with a highlight mask. You can replace this menu with an individualized design (e.g. your company logo). The bit map files can be found in Pinnacle Liquid’s installation directory...\Program\ as Menu_001.
Export to DVD Burning On this tab, you can select and operate the CD and/or DVD burners installed in the system. DVD: Burning tab Selecting the Burner Find the model in the list of all available CD burners and/or DVD burners that support the destination format selected. If an integrated, operational device does not appear in the list, you can try to locate it again by means of the Search function.
Export to DVD w A conservative burning speed is preset for the device selected: 4x or lower, or the slowest possible speed of the device. If you experience any problems, start by reducing the burning speed. If successful, increase the burning speed incrementally. w The type of medium inserted and the capacity available (MB or GB) are displayed. Pinnacle Liquid supports burning to the following media: w CD-R, CD-RW (658 MB and 703 MB) w DVD-R, DVD-RW, DVD+RW, DVD-RAM, DVD+R (4.37 GB = 4.
Export to DVD Erase/Format Disc Rewritable media can (CD-RW) or must (DVD-RW, DVD+RW) be erased before first time burning. In the case of DVD-RW, the erase procedure is automatically started before burning. Quick Erase enables only a minimal erase process. If Quick Erase is not selected, the whole medium will be erased in a process that takes about 30 minutes. An indicator keeps you informed of the progress of the formatting process.
Export to DVD IPB Settings IPB Settings determine the parameters of the MPEG elementary stream (for example, the bit rate) and, therefore, the quality of the result. Generally you will not need to change these parameters, unless you come close to exhausting the capacity of the DVD or CD used or have special requirements for subsequent DVD authoring. The IPB settings are the shared, central switches for Export Sequence > MPEG IPB and Export to DVD.
Export to DVD Constant (CBR) A constant bit rate (CBR) ensures that each image is handled with the same compression. This has the advantage of allowing you to make an exact precise calculation but it ignores the fact that some simple frame sequences can be encoded equally as well at a lower bit rate, meaning that you would be “wasting” bandwidth. This is not so important, however, if you have a lot of free space available on the CD or DVD. Selecting Constant enables the Maximum slider.
Export to DVD Standard GOP lengths: Software encoding (for export): - NTSC 16 (4..16); closed GOP IPBBPBBPBBPBBPBB; recommended for DVD: 15 - PAL 13 (4..13); closed GOP IPBBPBBPBBPBB; recommended for DVD: 12 Fast or Good Optimizes the process with respect to either speed (Fast) or quality (Good). “Good” encoding is about one-third slower than “fast”.
Export to DVD IPB Options (not all options visible) Reference Sets (General/Standard) If you don’t want to bother with individual parameter settings, select one of the standard sets. Naturally, you can also select a set, set each parameter individually and store additional reference sets. As long as you use an unmodified standard set, the color of the “Reference Sets” font is dark blue. The following is an overview: w DVD IMAGE 2 DVD Image; VBR: 6 Mbps (max.
Export to DVD w DVD VOB 2 DVD VOB; VBR: 6 Mbps (max. 8); Audio = PCM 1536 Kbps, 48 kHz w DVD VOB 1 DVD VOB; CBR: 9.3 Mbps; Audio = MP2 224 Kbps, 48 kHz w SUPER VIDEO CD 2 SVCD; VBR: 2.4 Mbps (max. 2.486); Audio = MP2 224 Kbps, 44.1 kHz w SUPER VIDEO CD 1SVCD; CBR: 2.486 Mbps; Audio = MP2 224 Kbps, 44.1 kHz w VIDEO CD VCD; CBR: 1.15 Mbps; Audio = MP2 224 Kbps, 44.1 kHz w PROGRAM STREAM 2 Program stream; VBR: 5 Mbps (max. 8); Audio = MP2 224 Kbps, 44.
Export to DVD Options This tab contains the options that are used less frequently. Options tab Video These options apply to DVD authoring export from the Timeline only. w Menu still picture Exports an animated (motion) menu as an individual still (the first frame of the menu is frozen). w Don’t re-encode existing MENU files Checks which files from previous export runs can be reused without modification and then encodes only the modified files, thus saving time.
Export to DVD Audio Same as above but applied to audio. Size Correction by Reducing... In cases where the destination is (S)VCD or DVD Image and the source material coming from the current Timeline would exceed the capacity limit of the selected burner medium, automatic data reduction kicks in. The current capacity limit (DVD) is 4.37 GB. Choose: w Bit rate - automatically scales down the encoding bit rate to fit all data on the medium (but not below 2 Mbps).
Export to DVD Confirm whether to overwrite destination file(s) This option causes a confirmation prompt to be displayed before an existing file is overwritten. Delete temporary files Depending on the source and destination format, various temporary files are generated that can be deleted once the export procedure is completed. If you select this option, these files are deleted automatically.
Export to DVD 15 - 64 Chapter Output
chapter16 Customize Pinnacle Liquid Pinnacle Liquid adapts itself to your way of working - not the other way around! You can customize the software interface as well as assign functions to peripherals such as the keyboard orLiquid Control as desired. Each user can individually optimize his or her working environment, store it on a diskette and use it on other Pinnacle Liquid systems. At the same time, certain settings are dependent on the particular system configuration or studio environment.
Site Settings page 17-1 These are settings that apply to the specific system and its environment regardless of a specific user.
User Settings User Settings Basics and Definition of Terms Pinnacle Liquid comes with six standard toolbar assignments and specific default settings in other modules as well. page 7-3 You can always restore the default settings, for example by logging on to the system under one of the deaults or by resetting the values in specific modules (see the tool button shown here). What Is Saved? Pinnacle Liquid constantly notes changes made to the software interface and dialog boxes.
User Settings Property Sets Property sets are used for adapting Pinnacle Liquid modules to your particular needs. For example, you can customize the key assignments of theLiquid Control and your computer’s keyboard. You can also switch between Property Sets during a given session to accommodate the demands of different tasks. Every user can create an unlimited number of Property Sets. Templates Pinnacle Liquid offers two other types of Templates: Project Templates and Timeline Templates.
User Settings Managing Property Sets Using Property Sets, you can quickly change user settings. Calling Property Sets Select Pinnacle Liquid Start Menu > Control Panel. The Control Panel is used for adjusting the main hardware and software settings and is activated in the Pinnacle Liquid Start Menu. Pinnacle Liquid manages two types of Property Sets: Site (system-related settings) and User (user-related settings). These categories are divided up between the two tabs on the left side of the Control Panel.
User Settings Available Property Sets The User tab is used for managing Property Sets created by logged-in users. In this tab you can save and load the settings for individual tasks, such as logging, raw editing, final editing and audio editing.
User Settings Please note that you may have to copy entire folders with all subdirectories in order to have all necessary data. This is more important, for example, with Project Templates which have a more complex structure than Timeline Templates which only consist of one file. Creating New Property Sets Depending on the category under which you want to create the new property set, first select the appropriate tab (Site or User). Right-click the list box.
User Settings Customizing Toolbars Many modules in Pinnacle Liquid are equipped with functions and toolbars that you can access with the mouse.
User Settings 1 Right-click a toolbar to find out whether it can be customized. 2 In the shortcut menu that appears, click Customize to open a dialog box with usually one to three tabs: Player, Edit and Special. Which tabs appear depends on the software module. The buttons that can be integrated in the particular toolbar you are using are available on the tabs.
User Settings w Grouping Tools: To arrange buttons in groups, slightly push one button against another. This creates a narrow dividing line at the border(s) of this group. When you remove a button from a toolbar the remaining buttons move together to fill the gap. The Special tab contains gaps of various sizes for creating spaces between buttons. 4 When you are finished arranging the buttons, click Close. This saves the changes you made to the current User Profile ( page 16-3).
User Settings Assign Functions to Keyboard In Pinnacle Liquid, you can assign certain functions to certain keys. You can select whether these functions should only be effective in certain modules or whether they should be available everywhere (placed on the Global Layer). For example, you can specify that pressing the spacebar always executes Start/Stop Playback for the Timeline even while you are working in the Audio Editor. In addition, you can assign menu commands to keys.
User Settings Selecting Modules 1 In the Pinnacle Liquid Start menu, select Control Panel > User > Keyboard Settings to open a dialog box. 2 It is easy to assign keys: To do so, first select from the drop-down menu the software module you want to customize, then simply drag the desired functions from the tool box to the given keys (to open the tool box, click on the wrench icon in the lower left). Assignable keys appear “pushed” when you move the cursor over them.
User Settings Key assignments for modules Remove Function from Key To remove a function from a key, click on the key and press DEL (or click on the Trash icon). Functions are never deleted permanently - they are always available in the tool box. Customizing the Global Layer Global keyboard shortcuts always have the same function, irrespective of what module is currently active.
User Settings You can enable and disable the Global Layer in its entirety. To assign global functions to keys, do the following: 1 Select the Global Shortcuts option from the drop-down menu on the left. 2 Click on the Global Shortcuts active checkbox. 3 Click on the wrench icon to open the tool box. 4 From the drop-down menu on the right, select the available modules for global layer functions. 5 Drag the desired functions to the desired keys.
User Settings Key Caps Click on this icon displayed in the right-hand corner of the task bar to open the Key Caps window which shows the current keyboard assignments. This window contains a keyboard image with the assignment for the current module. You can execute functions by clicking on the respective key icon. Global layer functions are color-coded. Individual assignments: see “Assign Functions to Keyboard” on page 16-11.
User Settings Modifiers and Keyboard Shortcuts (Defaults) The default keyboard shortcuts allow you to activate the most frequently used functions. For example, you can start and stop the playback of video and/or audio clips in any video inlay by pressing the SPACEBAR. Please note that the keyboard shortcuts are default settings that come with the software.
User Settings Modifier Commands Modifier commands are used to switch between different mouse modes. Hold down the indicated key(s) and drag, click etc. the mouse. NOTE: In Windows the key sequence Alt + Shift is by default used to toggle “Input Locales”, i.e., among other things, to switch keyboard layouts. Since some Pinnacle Liquid keyboard shortcuts make use of the very same keyboard sequence, we recommend that you disable that sequence.
User Settings Sequence Editor Act ion Key or Ke y Combination Drag clip from Source Viewer CTRL Scrub audio (toggle on/off) SCROLL Drag Mark-In/ Mark-Out Alt Effect Editors Act io ns Key or Ke y Combination Double-click returns image to original state Po s i t io n b u t t o n s e l e c t e d Horizontal movement only SHIFT Vertical movement only CTRL Size button selected Drag up/down to adjust image size SHIFT Rotation button selected 90-degree increments only SHIFT 45-degree increme
User Settings Effect Editors Actions Key or Key Combina tion Drag up/down to adjust border size SHIFT Pick border color from image ALT Bo rder ou tside t oo l sele cted Drag up/down to adjust border size SHIFT Pick color from image ALT Shadow button selected Drag up/down to adjust transparency SHIFT Pick shadow color from image ALT Any button selected Toggle temporarily to Position tool SHIFT + CTRL Keyboard Shortcuts Use Pinnacle Liquid’s Key Caps function ( page 16-15) to obtain an ov
User Settings Liquid Control: Assigning Keys You can access these settings under Pinnacle Liquid´s Start menu > Control Panel > User > Control Panel. Control Panel Dialog Box Customizing: Control Li quid Control is an control panel for remote control of the player/recorder connected. You can assign customizable tools to its keys. A Global Layer can also be defined (just like for the keyboard). See also “Customizing the Global Layer” on page 16-13.
User Settings Assign Keys 1 From the Pinnacle Liquid Start menu, select Control Panel > User > Control Panel to open a dialog box. 2 To assign functions to the keys, first select a module form the list, e.g. Timeline/Master Viewer or Logging Tool. 3 Then use the same procedure as for customizing toolbars: simply drag a given function to a particular key. It is also possible to assign shortcut menu functions to keys. These are represented by a “T”.
User Settings 16 - 22 Chapter Customize Pinnacle Liquid
chapter17 Site Settings “Site” refers to the computer system on which Pinnacle Liquid is running and the video peripherals connected to it. Among others, the settings include the TV format used (e.g. 16:9) and the selection of connected players and recorders. These settings, wich you can access under Pinnacle Liquid’s Start Menu > Control Panel > Site Tab, apply to all system users and, therefore, are not saved for an individual user but are called each time the system is restarted.
Player Settings Player Settings Icon Player Settings Double-click the icon Player Settings (via Pinnacle Liquid´s Start Menu > Control Panel > Site) to specify players and recorders connected to the system and video, audio and control connections. The dialog box that appears offers two tabs: Settings and Connections. Changing Parameters How to change default values page 17-3 Settings tab Device-specific settings such as drive ballistics, available inputs and outputs, etc.
Player Settings How to Change Parameters This dialog box is similar to Windows Explorer in terms of its organization. The categories that can be selected appear on the left; to display subcategories, click the plus sign in the box. Use the right-hand field to adjust the parameters for each category by double-clicking a value, entering one with the keyboard or selecting one from the appropriate drop-down menu.
Player Settings Settings Tab This tab can be used for adjusting the technical parameters of the connected devices. With Windows XP and 2000 OS it is possible to connect more than one DV device to your computer. All operable DV devices are listed under System Settings > Inputs/Outputs. The device that is selected there can be configured here, in the Player Settings dialogs. If you want to switch to another device, turn to the System Settings dialog ( page 17-18). Live Input page 17-4 i.
Player Settings Options You can add TC data to the live input signal or use the supplied TC data of the signal. 1 Click the plus (+) symbol, 2 click Options, 3 and, in the right-hand section, double-click the current Value. Choose one of three options: w Custom - It defines that a TC value manually specified in the Logging Tool should be used for generating timecode data. The timecode starts with the value entered in the Position timecode field. Start/stop the TC counter by clicking Play (toggle button).
Player Settings Assign and Configure Device The following options allow you to w select player and recording devices w configure these devices. (Options may differ depending on your product version.) Devices listed here show up in the Logging Tool and Record To Tape Tool (recorders only). You can also add several more devices. Assigned Name Per default, all devices are listed with their manufacturer or model names (such as Sony Device, DVW 500) or indicated by their remote connection (such as LIVE, i.
Player Settings If necessary, you can enter the exact device name in the line above the manufacturer name. Double-click this line to edit it and press ENTER to finish editing. Normally, no other device settings are needed. If you should have any problems controlling the device, however, see “Timing (IEEE 1394, DV)” on page 17-8. Add Devi ces/Remove Devices It is possible to add devices to the list. 1 Rightclick somewhere below the list of devices in the left-hand section of the dialog.
Player Settings Timing (IEEE 1394, DV) Double-click the Value you want to edit. Selection varies according to your product version. Wa i t A f t e r S e n d i n g R e c o r d [ m s ] This value defines the length of time from the moment the record command is sent to the recorder until the actual Timeline play. When it is set to 5000, you automatically receive a black image for 5 seconds before the film is recorded.
Player Settings Preroll [frames] This value determines the preroll time for Batch Digitize and Record to Tape. The higher the value, the longer the preroll time. Some DV devices require a preroll time of at least 15 frames in order to guarantee a successful synchronization between Pinnacle Liquid and the DV device. If a clip cannot be cleanly digitized with Batch Digitize (e.g.
Player Settings Rec TC Delay [Fields] Place two successive clips on the Timeline and record (Insert) them to tape. Adjust this parameter until the hard cut from Clip 1 to Clip 2 appears at the proper position on the tape (same position as on the Timeline). Edit Delay [Fields] After having adjusted Rec TC Delay, adjust the edit delay until the recording (Insert) starts at the first frame of Clip 1.
Player Settings Functional Description (RS 422) The technical options for the connected devices are described here. All entries in the functional description section simply specify the functional features of the device. They are not intrinsically used by the driver but serve to help the software identify which features should be available if a specific device is selected.
Player Settings Maximum Shuttle Speed Defines maximum shuttle speed for a device. This parameter controls the mapping of shuttle values received from the Liquid Control (optional control panel) between the second grid point (assigned to speed x2) and the maximum shuttle position. If improperly specified (usually too high), the device usually enters the maximum shuttle speed once the control ring/knob is moved past the x2 lock position.
Player Settings The Yes/No settings here describe the standard features of the device. You may add outputs according to your specific studio setup. This serves as cross-references in the Settings > Player Settings > Connection dialog and defines the inputs that can be assigned to the editing system. Options M i n i m u m P re r o l l P L AY [ s ] Controls the minimum preroll time used by the driver before automatic preroll adjustment has started during the initial digitization process.
Player Settings breaks in the preroll. To avoid problems when digitizing, you can configure a value for the ClipLink safe preroll here. The default value is three seconds. During these three seconds of preroll time, no data is digitized. Record Color Frame Selection Controls the Color Frame Select command sent to the device before any type of recording. Timecode Defines which type of timecode should be used for the device in timecode request.
Player Settings Standby Off After (Inactive) Controls the time in Still mode (Shuttle 0 or normal STOP) after which the device is switched to Standby Off when the device is not being actively used (i.e. it is currently not selected as the active device in either the Logging or Record Tool = normal background operation). Connections Tab Use this function to combine video and audio inputs of the editing system with the outputs of the connected players, recorders and live sources.
Player Settings w With Liquid Edi tion RS 422: select the COM port (serial interface) to which the 232422 cable is connected. w If you wish to use image and sound material via the Live Player (i.e. not controllable), make sure the following list options are selected. In the list Video Input: 1394; in the list Audio Input: DV embedded, or, provided your product supports this, the appropriate analog inputs. This restriction does not concern Liquid Edi tion systems equipped with RS 422 interface.
Player Settings Audio Inputs w DV Embedded - Choose this option if you want Pinnacle Liquid to use the audio signal at the DV connector. The video input switches automatically to 1394. Only for users of Pinnacle Liquid versions equipped with analog signal inputs and outputs: w Ch1-Ch2 - Choose this option if you want Pinnacle Liquid to use the audio signal at the analog audio connectors (cinch connectors on breakout box).
System Settings System Settings Systems Settings contains all parameters which affect the system itself, such as the television standard (PAL, NTSC), aspect ratio of the television picture (4:3, 16:9). Double-click the icon Systems Settings to open the dialog box.
System Settings General Tab This tab contains the following sections: General page 17-19 Video display page 17-19 Rendering page 17-20 General w Video System Displays the TV standard selected during installation. With NTSC, you can choose between Non Drop Frame and Drop Frame. Drop Frame is the default setting. w Digital Audio Reference Level You can set the audio reference level in single steps in a range from -9 dBFS to -20 dBFS.
System Settings Underscan and Overscan affect all video inlays of the software. If you select Individual, you can use the tool buttons of each Viewer to toggle Underscan and Overscan. The field order in Pinnacle Liquid is chronological: odd/even field (PAL and NTSC). The frame order is positional: odd/even field (PAL) and even/odd field (NTSC). Rendering w Destination Volume Enter the directory for saving rendered files.
System Settings System Format Settings Tab From the System Format Settings (Pinnacle Liquid Start Menu > Control Panel > Site > System Settings), select the available playback and render formats provided by your system. For background information on the system formats, see “System Formats in Pinnacle Liquid” on page 9-116. File Format (Playback Format) All formats that your system can play back are listed here. The formats offered for selection depend on the system and on any optional expansions.
System Settings D V, D V C P r o a n d R e n d e r F o r m a t Li quid Edition adapts itself automatically to an incoming DVCPro25 signal. w If you want DVCPro25 both at input and output, set Render Format to DVCPro (avi or dif). w If you want to DV both at input and output, set Render Format to DV (avi or dif). If you want to convert formats, select the appropriate Render Format.
System Settings Only for users of Pinnacle Liquid versions equipped with analog signal inputs and outputs: w Y/C PAL Setup: B,G,H oder SECAM NTSC Setup: Hue w CVBS PAL Setup: B,G,H oder SECAM NTSC Setup: Hue Video Outputs w 1394 same device and setting as described above. Only for users of Pinnacle Liquid versions equipped with analog signal inputs and outputs: To toggle between the available analog video monitor outputs of the breakout box, use the task bar symbol shown here.
Media Management Settings Media Management Settings To view the options and default settings for Media Management, select Pinnacle Liquid´s Start Menu > Control Panel > Site. Double-click the icon Media Management Settings to open the dialog box. Icon Media Management Settings Among other things, these settings are also important for the Logging Tool because they allow you to define the directories for digitize and save operations.
Media Management Settings Tab Video/Audio If you wish to save video and audio media files in separate directories, activate the Separate Drives for All Video and Audio option. If you select the combined drives, (only one tab Video/Audio), the Logging Tool does not permit the specification of a separate destination directory for audio.
Media Management Settings If “change volume” is activated for the digitizing drives (“Disk Full State / Change Volume” on page 8-33), processing continues on the next drive in the list or, if the end of the list has been reached, on the first drive at the top of the list (Batch Digitize feature only). w For media-clip import: The media files of imported objects are saved to the specified drive/directory (and possibly in specific subdirectories, depending on their type).
Media Management Settings w Primary Drive/Directory column Right-click the column without a header to define a drive/directory as the current (primary) drive/directory. The selected entry is marked with an asterisk (*). (See also “Disk Full State / Change Volume” on page 8-33.) w Access Rights column You can assign the Write or Read attribute (right-click to open the shortcut menu) in order to protect specific directories. Important: This does not apply on the operating system level, i.e.
FX Editors Settings FX Editors Settings These settings influence the quality of effects, both in finished sequences and in the preview in the Effect Editors. Double-click the icon FX Editors Settings to open the dialog box. Icon FX Editors Settings Please be aware that these settings apply only to rendered (Classic) effects. Realtime effects are not affected by these parameters.
FX Editors Settings w If you choose Fast Preview First and Best Quality Last, the effect preview will first appear with a low resolution. This gives you a quick look at the effect. Maximum resolution is then used for the final preview so that you can ultimately see the effect at maximum quality. w Whether or not Fast Preview First and Best Quality Last can be selected depends on which preview quality you selected. With Best, Best Quality Last is automatically selected.
Plug-In Settings Plug-In Settings These settings are used for specifying which folder contains the additional video filters and video effects to be used with Pinnacle Liquid. The plug-in files must be compatible with the “Adobe Premiere interface for plug-ins” (*.prm). Double-click this icon to open the Plug-In Settings dialog box. Icon Plug-In Settings Click Add and select the directory containing the plug-in you want to add.
Appendixes
leA08/03
GlossaryG chapter Glossary 1080/24p 16:9 One of the possible formats within the àDTV standard developed by the àATSC for the digital broadcasting of TV programs in the US. 1080/24 p stands for the vertical resolution of 1080 lines and an aspect ratio of 16:9. In contrast to the aspect ratio of 4:3 most commonly known in the field of TV, 16:9 offers a wider picture. Modern TV systems such as àPALPLUS or àHDTV prefer this wider picture.
Glossary SIGNAL,àY) and the two àCOLOR DIFFERENCE SIGNALS (àCHROMINANCE SIGNAL, àR-Y, àB-Y). In the ratio 4:1:1, values for Y, R-Y and B-Y are generated for each line of the video image. Four times as many Y-values than color values are available. In comparison with the sampling ratio 4:2:2, the horizontal chroma resolution is reduced to 50 %, whilst the vertical chroma resolution remains the same. The video format DVCPRO developed by Panasonic uses the sampling ratio 4:1:1.
Glossary 4:4:4 means that the three components of the video signal were registered with the same àSAMPLING RATIO of 13.5 àMHZ normally used within the general field of video. 4:4:4 is generally only used for RGB applications. 4:4:4:4 This àSAMPLING RATIO corresponds to 4:4:4, but includes an additional àKEY SIGNAL (àALPHA CHANNEL) with equally high àRESOLUTION. 5.
Glossary Also the undesirable steppiness visible in the case of diagonal or curved lines in computer graphics or along sharp key edges is known as aliasing effect à ANTIALIASING. Alpha Channel indefinite intermediate steps, while digital processes only know two states: 1 or 0, yes or no. Continuous phenomena like curves can in fact be displayed continuously in analog technology, while digital technology subdivides these phenomena into sections and disaggregates them into single events.
Glossary play between editing software and a video board, for example the perfect utilization of effect hardware, is realized via API. Artefact In video technology, this term describes visible, disturbing defects in pictures caused by technical limitation. Oftentimes they cannot be described by technical measured variables. Noise signals at object edges or undesired contours in picture sections often occur in picture areas in which smooth transitions should be displayed.
Glossary (àITU-R 601) or of shifting extremely large files between different work places. It remains to be seen whether ATM will be widely used in the field of video technology. Efforts, however, are already materializing. systems for further processing as Background well as for wave files (àWAV) that can be intended for completely dif- 1) Refers to the background of a key animated scene àBLUE BOX. ferent uses. 2) The second image plane in video mixer panels is sometimes referred to as background.
Glossary mitted within a defined period of time. If an image is to be displayed or transmitted in great sharpness and resolution of detail, a high bandwidth is required. The process of initial digitizing by means of a logging list after sighting and logging the material on the tapes is referred to as batch digitizing. The clips generated in the logging list are also digitized automatically.
Glossary B-frame Blackburst Bi-directional frame àMPEG Black signal, burst blanking. BIOS Basic Input Output System Designation for the automatic "start program" of a computer. It is stored on a separate chip. The BIOS basically controls the access to the microprocessor and prepares the acceptance of commands. A program cannot operate without the BIOS. Bit Binary Digit Basic unit in àDIGITAL TECHNOLOGY. One bit may adopt two states: 0 or 1.
Glossary Browser Common word for a software by means of which Internet or World Wide Web contents can be displayed. Different manufacturers also use program modules for their editing systems which are also known as browsers. They are widely used to display the existing digitized clips, graphics, titles or effects in a simple and clear way. The user can get an overview of the existing material with the help of a browser.
Glossary Chrominance (Media Files on the hard disks), they can be edited without modifiColor, color part, chrominance sig- cation of the actual data on the nal. hard disk. Chrominance is the color part (consisting of hue and saturation) of a video signal, while ClipLink àLUMINANCE refers to the brightThe ClipLink function developed ness part of a video signal. by Sony includes a bundle of individual functions included into devices equipped with the DVCAM format.
Glossary The reason why two color difference signals are needed which together determine one certain color can be explained as follows: Imagine all producible colors within the video system as being a circular area. When positioning a reticule in the middle of this circle, each color (more detailed: each color mode) can be explained as a combination of a value on the xand y-axis.
Glossary mats working with component signals are: àBETACAM and MII. Digital component signals are defined by àITU-R 601 standard. They are created from the analog component signals Y,R-Y and B-Y at a sampling ratio of à4:2:2 and are called Y, Cr, Cb. tising productions or for special effects in feature films. Typical functions required for compositing are àLAYERING and key functions (àCHROMA KEYING). The better the compositing results are supposed to be, the higher the system requirements.
Glossary each other. A low compression rate generates good quality but requires a lot of storage capacity. Increasingly compressed material does not require a lot of storage capacity but offers an impaired image quality. To find a compromise between existing storage capacity and image quality, many manufacturers offer variable compression rates that can be predetermined. The compression rate of a system, however, is only of limited importance for comparing the quality of different systems with each other.
Glossary Conversion of Standards The conversion of standards refers to the process of converting video signals from one TV standard to another. The fundamental differences between the various TV systems (PAL, NTSC, Secam) lie in the number of lines, the color transmission and the carrier frequencies. The conversion of standards is implemented with special devices, whereby high levels of technical expenditure are required in order to achieve optimum results.
Glossary magnetic tape is subdivided into àASSEMBLE and àINSERT EDIT. Most non-linear editing systems offer two different options, i.e. the user may choose whether he wants to replace or move the scene at the registered editing point. CVBS Color Video Burst Signal. CVBS Color Video Blanking Synchronous signal. All components of a standardized analog video signal in the PAL standard are combined to form one single component that can be transmitted by means of a simple laminated coax.
Glossary trast to D1, the signals are quantisized at 10 bits. The D5 format developed by Panasonic works without data reduction and is thus preferably used in post production. The maximum recording time per tape is 123 minutes. developed by Sony. D8, however, is not a format name adopted, determined and accepted by international standardization bodies.
Glossary 48 KHz and a resolution of 16 (20) bits. àAES/EBU. Data compression àCOMPRESSION, àDV, àMPEG, àM-JPEG. recorders that are used in video technology, for example in the field of server technology or archiving of transmitted TV programs. Additional coder/decoder to transfer mere data into displayable video signals are however necessary. Different drives and formats such as àDST and àDLT are used.
Glossary of the medium. A large quantity of data is necessary for high-quality signal processing. Since digital technology uses mere numerical values, the large amount of data can be reduced with the help of suitable mathematical methods (àCOMPRESSION). Digital component signals Digital Betacam DIN four-pole VCR format for digital components with 10 bits resolution. Digital Betacam makes use of a data compression of 2:1 (àDCTbased). Digital Betacam records on a 1/2" (12.
Glossary Depending on the manufacturer, the digital image and sound data are recorded either in an uncompressed or compressed way. As with non-linear editing systems, the manufacturer of disc recorders make use of different compression methods. As a rule, disc recorders are used as stand alone devices, but there are also board-only solutions by means of which a PC can be transformed into a disc recorder. Dissolve Transition from one picture Sequence to the next.
Glossary the fact of which causes problems during timecoding. The 0.03 frames missing per second add up to form complete frames and cause a difference between timecode value and number of frames. This problem is technically solved by applying the drop frame method. Two frames per minute are simply left out. The time difference that would otherwise occur is eliminated by applying this method. NTSC video recorders or timecode boards usually offer the possibility to work in drop-frame or àNONDROP-FRAME MODE.
Glossary DV devices use the ultra-compact mini DV tapes (with a running time up to 60 minutes in standard play) or the bigger standard tapes (up to 270 minutes at max.). DV was originally intended for the consumer market, but proved to be absolutely suitable for DV professionals for acquisition purposes. DVB DVCPRO Digital Video Broadcasting Panasonic developed the digital video tape format DVCPro on the basis of the àDV FORMAT. The technical data of the DVCPro standard are similar to those of DV.
Glossary DVCPRO50 the variety of possibilities of this disc. reducing the use of DVD-RAM exclusively to the use as a mass The digital vid eo tape format The outer dimensions of the DVD storage medium in the computer DVCPro50 was developed by Panasector. The DVD format enables correspond to those of an audio sonic on the basis of àDVCPRO. It CD: diameter: 12 cm; 1.2 millime- construction of downward-comdiffers from other àDV FORMATS patible devices. DVD home devices ters thick.
Glossary even further in the future, the developers have integrated additional extension features. The maximum capacity is reached at 17 GB (àDVD-18). DVD-5 Single-sided, single-layer DVD on which a maximum of 4.7 GB of data can be stored. DVD-9 Single-sided, dual-layer DVD on which a maximum of 8.5 GB of data can be stored. DVD-10 Double-sided, single-layer DVD. Offers a maximum storage capacity of 9.4 GB. DVD-R DVD-Recordable. A variant of of the Digital Versatile Disk which can be written once.
Glossary in all DVD-storage versions (DVD, DVD-5, DVD-9, DVD-10, DVD18). As a rule, DVD-ROMs include PC data, such as softwares or data bases. It is, however, also possible to save video data on a DVD-ROM. A DVD-Video is basically only a special version of the DVD-ROM. DVD-ROMs can be played back with PC-DVD-drives. DVD-Video Digital Versatile Disc-Video. One possible àDVD FORMAT. Common especially in the field of home entertainment with movies as content.
Glossary Edit Decision List (EDL) The EDL (Edit Decision List) is a list, in table format, of the cutting data of the film in the form of timecode values. The EDL is generated automatically during editing by many editing systems and can be saved to a disk. When working in off-line/on-line mode, the editing decision list is of vital importance: The EDL generated in àOFF-LINE EDITING is read into the àON-LINE SYSTEM as a basis for the final cut.
Glossary invariably changed. This traditional user element is often displayed in graphical software interfaces. to 200 MB/s. The third possibility is a distributor known as Fabric by means of which large quantities of data can be transmitted in the GB area via Fiber Channel. Fade to black Field The video amplitude is slowly reduced to zero, the picture content in the end position is uniformly black.
Glossary ated gaps between the sectors are written on over and over again. Linked àCLIPS or files are subdivided into individual parts on the hard disk and recorded across numerous, incoherent disk sectors. The read head of the hard disk has to be repositioned during reading of a clip, thus constantly crossing the complete disk radius in the worst case. This takes time, leads to reduced disk velocity and to interrupted rendition, all of which should be avoided.
Glossary In post production, the FX is commonly referred to as a general term for any kind of image manipulation such as wipes and keying effects, 3-D image manipulation, color variations etc. GB decompressed over and over again, a loss in picture quality becomes visible as a result of rounding errors after a few generations. This digital recording loss is higher, the higher the compression factor. Digital duplication losses are usually of no importance in normal editing without multiple effect levels.
Glossary Hard disk Magnetic storage medium for recording bigger quantities of digital data. The hard disk is subdivided into sectors in which data are stored. An address book makes sure that the stored data can be found later on. The magnetic disk rotates, and an axially movable write/read head is positioned in such a way that the individual sectors can be read or newly written. The most important factor apart from the storage capacity indicated in àGIGABYTE is the velocity of the disk.
Glossary actively used. HDTV is only used on a small scale worldwide. àDTV regulation in the United States will increase the number of HDTV playing modes, among them 1080i (1080 lines, àINTERLACED) as well as 720 p (720 lines, àPROGRESSIVE). Hertz (Hz) Hz = Abbreviation for Hertz Measuring unit for a frequency named after Heinrich Hertz. X Hertz correspond to x oscillations per second. Hi 8 Analog video tape format from the field of consumer electronics using 8 mm wide ME or MP tape.
Glossary as Camcorders, recorders as well as printers, scanners, CD drives and hard disks can be linked to one another via IEEE 1394. IEEE 1394 today supports up to 16 devices per system and enables a maximum of 63 devices to be connected. Until today, the cable length was limited to 4.5 meters, but this problem will be solved in the future by using fiberglass cables. IEEE 1394 networks are then also possible. i.LINK i.
Glossary (hence 50 fields are transmitted per second. The human eye does not perceive these 50 fields as a Sequence of individual pictures, but as a continuous event. gest certain standardization facts and solutions which are then examined by the ITU, possibly amended and then turned into a mandatory standard. The standard ITU-R 601 is very well known. Interpolation In the case of interpolation, a new intermediate value is calculated on the basis of known values.
Glossary Jitter Key Small vibrations when displaying video on a screen. This phenomenon can often be seen in the case of facades with many straight edges. 1) Collective term for different functions enabling partial combination of two video frames to form one new frame. Examples for this are àCHROMA KEYING and àLUMA KEYING. Jitter is caused by many factors, mainly during tape-recording, as a result of phase fluctuations. Jog/Shuttle Operating wheel for controlling video (tape) drives.
Glossary each used àKEY, the user defines which areas of the pictures should be superimposed in what form on the other picture (àKEY, àCHROMAKEY, àLUMINANCE KEY). LANC àCONTROL INTERFACES mon video image. Some time ago this had to be done in a number of successive copying steps. Modern non-linear editing and compositing systems nowadays offer channels or layers that can be graphically displayed to enable a better overview of the layering.
Glossary tem or format). LT C It is indicated how many vertical, parallel adjacent lines the respective device can display as a pattern consisting of individual lines. Longitudinal timecode This àTIMECODE, like a sound signal, is written onto an outer audio Track or a special separate longituThe maximum horizontal resoludinal Track of the video tape spetion in lines can also be expressed cially provided for the timecode.
Glossary Main Profile àMPEG Master The master or master tape is the tape on which the final cut is recorded. Maximizer tion of 1 àBYTE is 210 x210, then 1 MB comprises 1,024 x 1,024 bytes = 1,048,576 bytes. Recently, some of the manufacturers have stopped using this traditional binary calculation method, and are using the decimal system instead. According to this version, one megabyte corresponds to 1,000,000 bytes.
Glossary àJPEG (JOINT PHOTOGRAPHIC EXPERTS GROUP). During this process, each single frame is compressed separately, and the data stream generated in this way is processed as a linked Sequence of JPEG-compressed single frames. There is no universal M-JPEG standard - the individual manufacturers have stipulated their own formats in this regard. Motion vectors Direction and distance information used in àMPEG encoding. This defines the movement of an image portion from one àFRAME to the next.
Glossary of compression in different sections within a frame, for example, the compression implemented for the frame center is less than that implemented at the edges. Compared to motion JPEG, this feature permits a 10 - 15% data reduction with the same level of optical quality. B frames are bi-directional frames, i.e. frames which only contain the differences between a frame and the previous or following one. The term "P frame" stands for Predicted Frames.
Glossary sampling frequencies. Layer 2 is of importance in creating DVD. MPEG-2 àMPEG Multi-processor Some of the newer workstations and computers can be equipped with more than just one processor (àCPU) and are not limited to one processor, as is the case with normal PCs. This can considerably increase the efficiency and speed of these workstations.
Glossary Noise Irregular level variations of a low order of magnitude. All analog video signals contain noise contents. Ideally, the noise level may not be more than an LSB (Least Significant Bit) of the digital dynamic range. Signals which are pure digital generations do not contain any noise. Non-drop frame Strictly speaking, NTSC does not work at a frame rate of 60 Hz, but of 59.94 Hz. This corresponds to 29.97 frames per second. recorders in the non-drop-frame mode.
Glossary Online Editing During online editing the master of a film is edited in the best possible quality. The end product is generated in one work step. In the event that the Project was previously edited off-line, the àEDITING DECISION LIST derived from off-line editing is used as the basis for online editing.
Glossary PA L p l u s PCM PALplus is a TV standard which was developed on the basis of PAL and is compatible with PAL. The fundamental differences between PALplus and PAL are that PALplus operates with a aspect ratio of 16:9 and pre-filtering of the PALplus signal to ensure a better picture quality. Pulse Code Modulation. In PALplus the 575 lines of the active picture content is composed of a central band signal which consists of 432 lines and a helper signal containing 143 lines.
Glossary forms. Hence, a normal computer from the Intel family, a Macintosh or a silicon graphics computer is used and extended to form a nonlinear system with hardware (mostly plug-in cards), software and standard peripheral devices (SCSI hard disks). Postproduction describes the production phase of post-editing the recorded material. It therefore comprises work steps such as cutting, effect editing, post-addition of sound to the film and graphical editing.
Glossary stood to mean the rewinding of the tape to a defined point before the actual cutting point. The tape is parked at that point and also runs up from there during editing, such that playback is allowed to stabilize until the cutting point. and video are linked to each other (multiplexed). This enables simultaneous playback of sound and image. Program Streams are mainly used for computerized playback of high-quality videos (archiving, kiosk systems, etc.) Profile QSDI àMPEG àSDTI.
Glossary batches of hard drives in one device. They operate like one single large hard drive with a high storage capacity and fast access. Depending on the operating mode, RAIDs offer increased data security (àRAID LEVEL). level of data security, the write/ read rate is very high. While RAIDs are the backbone of most of the hard disk recorders and servers, they are also increasingly used in conjunction with editing systems.
Glossary Recorder The term "recorder" refers to various types of recording devices. During linear editing the recording device is referred to as the recorder. The àMASTER is recorded by the recorder; the slave device is called the player. Rendering Effects which are not available in real time must be calculated. This process is referred to as rendering. Numerous non-linear systems offer only a limited repertoire of real-time effects and to a large extent work with effects which must be rendered.
Glossary RS-422 Sampling ratio Scart Standard for the transmission of serial data over medium distances (up to 300 m). The display of video images requires information on brightness and color for each pixel. In video technology, this information is normally processed in the form of a brightness signal (àY) and two color difference signals (àR-Y, àB-Y). The brightness information is generally registered in more detail than the color information.
Glossary SCSI pressed digital component signals (in accordance with ITU-R 601) Small Computer Systems Interface. are transmitted in series. Widely used parallel computer BNC standard connectors with 75 interface for the transmission of Ohm and coaxial cables are used, high data rates. The SCSI interface as they are for common analog has also been established in nonvideo signals. (àCOMPOSITE, linear editing systems in terms of àFBAS). Cable connections with a hard disk connection.
Glossary tries and the former French colonies. Overall, the use of Secam is on the retreat. Secam is similar to PAL. For this reason, conversion (àSTANDARD CONVERSION) between these systems is comparably simple. Secam processes 625 lines and the frame rate is 50 Hz. provide central data inventories such as databases for use by the connected computers (clients). In general, video servers are devices that are especially aligned to the recording and playing of video and audio Sequences.
Glossary tions and manufacturers and various professional groups from the entire motion picture and television industry. The SMPTE maintains a series of committees dealing with standards and standardization proposals. SMPTE/EBU Timecode This is the currently normal and widely used àTIMECODE STANDARD (àVITC and àLTC) which was introduced by the àSMPTE. Time data in the format of hour:minute:second:image are assigned to each video picture.
Glossary them to be used for non-linear dig- S u r r o u n d ital video editing, include àRAID Generic term for various room drives and àAV HARD DISKS. sound procedures.
Glossary Symmetrical Symmetrical cables are twin-core shielded leads in which noise fields are mutually eliminated. Symmetrical audio connections are customary on the professional market; àXLR sockets and plug connectors are used as connections. devices are equipped with an integrated TBC. However, stand-alone TBCs are also available which can be synchronized with the remaining studio equipment via a reference signal (Genlock).
Glossary Timing rate U-matic VCR àFREQUENCY Old-fashioned videotape format which records video signals and two sound Tracks to a 3/4" tape (19 mm) in the color-under procedure. In Europe, the procedures used included related formats U-matic High Band, U-matic Low Band and U-matic SP. U-matic devices are no longer produced. Video Cassette Recorder Tracking àMULTI-TRACKING Transition Transition, flag The simplest form of transition is the àDISSOLVE, i.e.
Glossary VHS VITC Video Home System. Vertical Interval Timecode. The analog video tape format VHS was developed by JVC for the consumer market and has gained comprehensive acceptance there. With the VHS system, recording is implemented with a half-inch (12.7 mm) tape. One of the different procedures to record a àTIMECODE. VHS is not suitable for professional use due to the low àRESOLUTION. Video-8 The analog video tape format Video-8 was developed by Sony for use in compact consumer camcorders.
Glossary archiving of data and for backups. They can only be written on once, but can be read out any number of times. XLR Multi-pole, stable plug connection. In audio technology, three XLR-3 connections are used to transmit analog, symmetric or digital audio signals. The four-pole version of the XLR connection is generally used to transmit supply voltages, i.e. between battery charging devices, batteries, power supplies and camcorders. and àHI8. The Y/C connection is frequently referred to as S-Video.
Glossary G - 56 Glossary
I Index Numerics 0 dB (Audio Editor) 11 – 26 1080/24p Glossary G – 1 16:9 Glossary G – 1 16:9 Aspect Ratio Import Images 8 – 49 System Settings 17 – 19 1-Click Fade In/Out 11 – 40 2D (realtime FX) 12 – 17 2D Editor Clips 11 – 116 Transitions 11 – 101 3:2 Pull-Down Glossary G – 1 3D (realtime FX) 12 – 17 3D Editor Clip FX 11 – 118 Transitions 11 – 118 3D Transition Effects 11 – 130 4:3 Aspect Ratio see also 16:9 4:1:1 Glossary G – 1 4:2:0 Glossary G – 2 4:2:2 Glossary G – 2 4:2:2:4 Glossary G – 2 4:3 Aspe
Index Adobe Premiere AVI export 15 – 31 AVI import 8 – 46 Advanced Settings (FX) 17 – 29 AES/EBU Glossary G – 3 Audio Output (Player Settings) 17 – 12 AIFF (Audio Format OMFI Export) 15 – 29 ALE import and export (project) 8 – 62 Alias (Media Management) 9 – 131, 17 – 26 Aliasing Glossary G – 3 Align (Transition FX) 10 – 41 Alpha 11 – 72 Alpha Channel Glossary G – 4 Image Import 9 – 136 View Mode 11 – 72 Wipe Effect 11 – 112 Alt + Shift Key Sequence 16 – 17 Amplification/Attenuation Equalizer 11 – 170 Ana
Index Audio Editor 11 – 21 0 dB 11 – 26 Assign Faders to Tracks 11 – 24 Audio Levels 11 – 26 dB Display 11 – 25 Fader 11 – 26 Fader Functions 11 – 23 Key Frame Toolbar 11 – 30 Lock Faders 11 – 24 Mixer 11 – 22 Open 11 – 22 Pan/Balance Dial 11 – 25 Pan/Balance Entry Field 11 – 25 Solo 11 – 24 Tool Tip 11 – 29 Toolbar 11 – 30 Undo/Redo 11 – 31 Audio Mix Automation 11 – 44 Key Frame Resolution 11 – 45 Preroll 11 – 44 Start 11 – 44 Stop 11 – 45 Audio Mixer 11 – 22 Audio Mode 11 – 42 Audio Monitor 11 – 21 Aud
Index AUX Glossary G – 6 Auxiliary Level (Audio) 11 – 19 AV hard disks Glossary G – 6 AVI Glossary G – 6 Export Sequence in AVI File Format 15 – 12 Export to Adobe Premiere 15 – 31 Import from Adobe Premiere 8 – 46 AVI Fuse 15 – 33 Avid Media Log 15 – 24 Axes of Rotation 11 – 121 B Background Glossary G – 6 Background (pixel type DVD) 14 – 37 Background Rendering 11 – 93, Glossary G – 6 Background rendering enable/ disable 11 – 94 Background/Foreground (Transition Effects) 11 – 100 Balance and Panorama s
Index Broadcast Quality Glossary G – 8 Browser Glossary G – 9 Build Container 10 – 130 Burn DVD/SVCD 15 – 53 Bus Glossary G – 9 B-Y Glossary G – 9 Byte Glossary G – 9 C Calling Tools Once 16 – 10 Camera (3D) 11 – 126 Perspective 3D 11 – 130 Cancel (Functions, Dialog Boxes) 6 – 7 Canvas Effect Editor 11 – 71 Move Canvas 11 – 77 Capacity (Drives) 8 – 22 Capacity indicator (DVD Export) 15 – 44 Capture Glossary G – 9 Capture (Batch Digitize) 9 – 87 Capture (Digitizing with Logging Tool) 8 – 3 Capture Preroll
Index RGB Difference Key 11 – 153 Timewarp Editor 11 – 221 Wipe Editor 11 – 134 Clip Info (Timeline) 10 – 75 Clip numbering (Automatic/ Manual) 8 – 24 Clip Viewer 9 – 54 Automatic Scene Detection 9 – 107 Color Correction 9 – 69 Functions (basic) 9 – 56 Go To Marker List 9 – 65 Make Subclip 9 – 68 Markers and Comments 9 – 63 Position Bar 9 – 57 Primary Color Correction 9 – 69 Scrubbing (Audio) 9 – 61 Scrubbing (Video) 9 – 59 Select Audio Tracks 9 – 62 Set Mark-In/Out 9 – 58 Shuttle Playback 9 – 67 Timecode
Index Waveform Display 11 – 191 White-Balancing (Subsequent) 11 – 206 Work only in CCIR-601 11 – 197 YUV Color Space 11 – 181 Color difference signal Glossary G – 10 Color Editor 11 – 135 Brightness, Contrast 11 – 137 Color Gain 11 – 138 Equalize 11 – 138 Gamma 11 – 138 Hue, Saturation 11 – 137 Transparency 11 – 139 Component signals Glossary G – 11 Composite Glossary G – 12 see CVBS 17 – 16 Compositing Glossary G – 12 Composition OMFI 15 – 27 XSend to...
Index Cross Dissolve (realtime effect) 12 – 22 Cross Fade (Audio) 11 – 39 CSDI Glossary G – 14 CTL Glossary G – 14 CTL (Player Settings) 17 – 14 Cube Display (Color Correction Editor) 11 – 192 Curl 11 – 131 Current Rack 9 – 10 Curtain (realtime effect) 12 – 19 Configure see Customize Customize 16 – 1 Dividing Line between Tools 16 – 10 Gaps (Toolbar) 16 – 10 Keyboard 16 – 11 Keyboard Shortcuts and Modifiers 16 – 16 Liquid Control 16 – 20 Object Properties 9 – 78 Property Sets 16 – 4, 16 – 5, 16 – 7 Save
Index Headroom 11 – 20 Player Settings 17 – 11 Digital Audio Scrub Activating 11 – 14 Parameter 11 – 52 Digital Audio Scrub (Trim Editor) 10 – 88 Digital Betacam Glossary G – 18 Digital component signals Glossary G – 18 Digital recorders Glossary G – 18 Digital S Glossary G – 18 Digital Scale (Audio Tool) 11 – 19 Digitizer Glossary G – 18 Digitizing 8 – 37 Batch Digitize 9 – 87 Cancel 8 – 41 Create Subclips 8 – 39 Definition 8 – 4 Destination Drives 8 – 22 Full Control Digitize 8 – 37 Individual Clip 8 –
Index colored menus and markers (Options) 14 – 47 commands and tool buttons 14 – 17 desktop (inlay) 14 – 28 DVD Editor opening 14 – 12 overview 14 – 14 DVD markers identifying 14 – 26 DVD Menu Editor (see main entry) 14 – 53 DVD Menu Wizard 14 – 6 DVD menus (basics) 14 – 8 DVD timeline 14 – 9 DVD-B (background track) 14 – 28 Emphasis 1 (pixel type) 14 – 37 Emphasis 2 (pixel type) 14 – 37 Foreground (pixel type) 14 – 37 highlight all functions 14 – 40 example 14 – 38 palette and transparency 14 – 42 High
Index character properties 14 – 56 highlight styles 14 – 59 inserting images 14 – 57 looks 14 – 56 menu buttons 14 – 58 opening 14 – 54 Photoshop menus 14 – 61 thumbnail buttons 14 – 58 DVD menus blank templates 14 – 50 creating 14 – 49 creating templates 14 – 51 designing using Photoshop 14 – 61 importing templates 14 – 51 DVD preview 14 – 46 DVD transition menu 14 – 30 DVD+R 15 – 54 DVD+RW 15 – 54 DVD-10 Glossary G – 23 DVD-18 Glossary G – 23 DVD-5 Glossary G – 23 DVD-9 Glossary G – 23 DVD-R 15 – 54, G
Index 2D Editor (Transitions) 11 – 101 3D Clip FX 11 – 118 3D Transition 11 – 118 see also Effect Parameters Acceleration Curve 11 – 78 Clip Effect Editors 11 – 62 Close 11 – 92 Color Editor (Clips) 11 – 135 Deactivate Modified Settings 11 – 92 Effect Viewer 11 – 70 Filter Editor (Clips) 11 – 154 Full Screen Mode 11 – 68 Functions and Elements 11 – 69 Key Frames 11 – 73 Keying Editor (Clips) 11 – 140 Open 11 – 65 Parameters and Options 11 – 85 Position Bar 11 – 71 Preview Image 11 – 68 Properties 17 – 28 S
Index Media Files (Fuse Sequence) 15 – 31 MPEG-IPB 15 – 12 OMFI 15 – 25 Program Stream 15 – 39 QuickTime 15 – 17 Sequences 15 – 10 Single Frames (Graphics) 15 – 15 SVCD 15 – 39 TARGA 15 – 12 TIFF 15 – 12 VCD 15 – 48 VOB 15 – 39, 15 – 50 WAV (48 kHz or 44.1 kHz) 15 – 12 XSend to...
Index Foreground (pixel type DVD) 14 – 37 fps frames per second,see Frame Rate 15 – 13 fps (frames per second) 6 – 12 Fragmentation Glossary G – 26 Frame Glossary G – 27 Frame Buffer Glossary G – 27 Frame Order/Field Order 17 – 20 Frame Rate Glossary G – 27 Adjust 15 – 13 Frames/Fields Rendering 11 – 86 Framestore Glossary G – 27 Freeze 11 – 164, Glossary G – 27 Freeze frame (Timeline) 10 – 80 Freeze Frame (Timewarp Editor) 11 – 164 Linear Timewarp 11 – 161 Timewarp Editor 11 – 238 Frequency Glossary G –
Index Consolidate 9 – 98 OMF Export 15 – 28 Scene Detection (Clip Viewer) 9 – 110 Scene Detection (Logging Tool) 8 – 43 Hard disk Glossary G – 29 HDCAM Glossary G – 29 HDTV Glossary G – 29 Head/Tail Picons Display/Hide 10 – 16 Update 10 – 7 Headroom 11 – 20 Audio Tool 11 – 20 Maximizer 11 – 171 Hertz (Hz) Glossary G – 30 Hi 8 Glossary G – 30 High quality (inlay) 10 – 136 Highlight Backside image 11 – 133 Direction 11 – 133 Falloff 11 – 134 highlight buttons (DVD) 14 – 36 Highlight collision (DVD) 14 – 41
Index Inputs see also Connections Audio 17 – 17 Video 17 – 16 Inputs Audio (Connections) 17 – 17 Analog 17 – 17 DV Embedded 17 – 16 IEEE 1394 (Audio) 17 – 17 Inputs Video (Connections) CVBS (Composite) 17 – 16 IEEE 1394 17 – 16 Y/C 17 – 16 Insert Glossary G – 31 Black (Video) on Timeline 10 – 23 Clip (Using Drag & Drop) 10 – 65 Clip in Timeline (Send To...
Index Green Screen Key 11 – 142 Luminance Key 11 – 144 RGB Difference Key 11 – 153 L labels (numeric DVD) 14 – 47 LANC Glossary G – 34 Lasso Keying Editor 11 – 142 Select Objects 10 – 66 Layer Glossary G – 34 Layering Glossary G – 34 Leeway (with Transitions) 10 – 42 Legalizer (Color Correction Editor) 11 – 197 Lens Flare 12 – 17 Level Glossary G – 34 Level Tone 8 – 59 Lightness Color Editor 11 – 137 Lightning Display (Color Correction Editor) 11 – 193 Linear Acceleration (Effects) 11 – 79 Linear editing
Index User Details 7 – 6 Looks (DVD Menu Editor) 14 – 56 Loss of Sync 8 – 32 Lost Media Files 9 – 38 Loudness (Maximizer) 11 – 171 Low quality (inlay) 10 – 136 LTC Glossary G – 35 LTC (Player Settings) 17 – 14 Luma Keyer (realtime FX) 12 – 20 Luminance Color Picker 8 – 57 Luminance Key 11 – 144, Glossary G – 35 Creating a Luma Key 11 – 146 Cutoff 11 – 145 Foreground 11 – 145 Graph Modes 11 – 147 Key Transparency 11 – 145 Threshold 11 – 145 Luminance Range (Chroma Key Editor) 11 – 149 Luminance Signal Gloss
Index Open 9 – 127 Tag used media 9 – 127 unavailable (Symbol on Picon) 9 – 35 Various Functions 9 – 127 Also see Media Management Media Format Media Management 9 – 118 Select (Logging Tool) 8 – 22 Media Management 9 – 112 “Matchback” 9 – 115 Access Rights 9 – 131, 17 – 27 Alias 9 – 131, 17 – 26 Basics 9 – 113 Clip-Based View 9 – 125 Codec 9 – 119 Edit Media Directories 9 – 130, 17 – 26 File Formats 9 – 118 File-Based View 9 – 124 Identical Media Files 9 – 120 Identify Media File 9 – 114 Matching 9 – 122
Index Motion menus (animated DVD menu background) 14 – 28 Motion vectors Glossary G – 37 Mouse Pointer Different Modes & Shapes 10 – 11 Move Range (Timeline) 10 – 70 Movies (AVI, QuickTime) Export 15 – 17 MP Glossary G – 37 MP@ML Glossary G – 37 MP2 audio 15 – 47 MP3 Audio (Import) 8 – 47 MPEG Glossary G – 37 MPEG-1 Glossary G – 38 MPEG-1 (Video CD) 15 – 48 MPEG-1 Layer 1, 2, 3 Audio Glossary G – 38 MPEG-1 Layer 2 Audio 15 – 47 MPEG-2 Glossary G – 39 MPEG-3 Glossary G – 39 MPEG-4 Glossary G – 39 MPEG-IPB E
Index Properties (General) 9 – 76 Rename/Number (Project/Timeline) 9 – 24 Select 10 – 66 Select All 9 – 36 Shortcut Menu (Project) 9 – 23 Shortcut Menu (Timeline) 10 – 74 Shuffle Selection 9 – 85 Sort Objects 9 – 37 Storyboarding 9 – 82 Trimming (Timeline) View Object (Clip Viewer) 9 – 54 Odd/Even (TV lines) 9 – 136 Offline (Logging) 8 – 37 Offline Editing Glossary G – 40 Offset Shadow Tool 11 – 105 Trailing Tool, Effect Editor 11 – 106 OK/NG Object Properties 9 – 81 OMFI Export 15 – 25 Composition 15 –
Index Peak Level Meter (Audio Tool) 11 – 20 Pedestal (Primary Color Correction) 11 – 203 Personalize software interface Pixel Format Export 15 – 13 Global Graphics Settings 8 – 52 Pixel types (DVD) 14 – 37 Pixels (CCIR vs square) 10 – 137 Platform Glossary G – 42 see Customize Photo CD (Import Media Play TC Delay 17 – 9 Clip) 8 – 53 Playback Level (Audio) 8 – 28 Picon Playback On/Off (Timeline automatic update (Project) 9 – 18 Audio) 11 – 14 Desktop Storyboarding 9 – 82 Playback Server Glossary G – 43 DV
Index Black-Gamma-Gain (Contrast) 11 – 204 Color Cast Correction 11 – 205 Contrast 11 – 204 Contrast Adaptation 11 – 205 Gain 11 – 202 Gamma (Midtones) 11 – 203 Gray Balance 11 – 206 Highlights 11 – 202 Histo Match 11 – 211 Hue 11 – 203 Hue Match 11 – 212 Linked Control (Mouse) 11 – 200 Parameters 11 – 202 Reference Source 11 – 201 Saturation 11 – 203 Separate Control 11 – 200 Tone Balance 11 – 209 White-Balancing (Subsequent) 11 – 206 Primary Drive (Media Management) 9 – 131, 17 – 27 Print EDL 15 – 22 Pr
Index Quantisation Glossary G – 44 Quick Finder (Project) 9 – 40 Quicktime Glossary G – 44 QuickTime (Export Sequence) 15 – 12 R Rack Create 9 – 11 current (active) 9 – 10 Cut/Copy/Paste 9 – 11, 9 – 23 Delete 9 – 15 Desktop Shortcuts 9 – 14 Rack Folder 9 – 11 Select/Create (Logging Tool) 8 – 14 Several Racks Simultaneously 9 – 14 Sort Objects 9 – 37 optimize preview 12 – 7 Preview 12 – 4 Render management 12 – 6 Render Viewer 12 – 9 when to render 12 – 3 Rec TC Delay 17 – 10 Record To Tape 15 – 3 Assemb
Index Rescan Directories (Media Management) 9 – 128 Resolution Glossary G – 46 Response Time (Peak Level Audio Tool) 11 – 20 Restore Default State (Function) 6 – 8 Initial State (Function) 6 – 8 Restrict dragged Transitions to available handles 10 – 8 Return Marker (DVD) 14 – 20 Reverberation (Echo Audio Effect) 11 – 173 Reverse Playback Timeline (Shuttle Playback) 9 – 67 Timewarp Editor 11 – 237 RGB Glossary G – 46 RGB (Gamma, Color Editor) 11 – 139 RGB channels 11 – 72 RGB Color Model Color Correction (
Index SECAM 17 – 23 Secam Glossary G – 48 Select (Timeline Objects) After Playline 10 – 67 Click 10 – 66 Drag a Lasso 10 – 66 Select All (Objects) 9 – 36 Select all Overlapping (Desktop) 9 – 85 Select Audio Out Logging Tool 8 – 23 Select Audio Tracks (Scrubbing) 9 – 62 Selected (button highlights DVD) 14 – 36 Selective Color Correction 11 – 214 Color Editing 11 – 218 Color Isolation 11 – 216 Color Isolation (Mouse) 11 – 219 ColorWash 11 – 219 Garbage (Non-Selected Range) 11 – 219 Target Vector Selection 11
Index Maximizer 11 – 171 Signal-to-NoiseRatio Glossary G – 49 Silence (Generate Signal Clip) 8 – 59 Similarity (RGB Difference Key) 11 – 154 Simulate burn process (DVD) 15 – 54 Sine (Generate Signal Clip) 8 – 59 Single Frames (Images) Export 15 – 15 Single Trim (Trim Editor) 10 – 90 Site (Control Panel, system-specific Settings) 17 – 1 Six Vector Color Correction 11 – 213 Size Tool (Effect Editor) 11 – 103 Slice color coding 10 – 10 Colors indicating non-rendered passages 11 – 59 indication of unrendered s
Index Star (Symbol on Picon) 9 – 35 Start Menu (Overview) 6 – 20 Start Timecode Stripe Tape 15 – 9 Timeline (Sequence) 10 – 58 Step Emulation Delay 17 – 10 Stereo Glossary G – 51 separates Mapping 10 – 23 Stereo Clips separat 10 – 23 Stereo Waveform Indicator 11 – 8 Stereo/Mono 11 – 10 Audio Routing 11 – 13, 11 – 33 Clip Property 11 – 12 for Logging/Digitizing 8 – 21 Pseudo Stereo 11 – 12 Set Audio Mode 11 – 42 Still 11 – 164 Freeze (Linear Timewarp) 11 – 164 Freeze Frame (Timeline) 10 – 80 Linear Timewarp
Index TC Shift Timecode (Logging Tool) 8 – 15 TCP/IP Glossary G – 52 Template 9 – 5 Delete (Project) 9 – 5 Save (Project) 9 – 5 Timeline (Default Template) 10 – 58 Timeline (Save) 10 – 58 Where They Are Saved 16 – 6 Templates editing (DVD menus) 14 – 51 Text Information on Clips (Timeline) 10 – 17 Textual Clip Presets 8 – 34 Three-Point Editing 10 – 61 Threshold Luminance Key 11 – 145 Solarize 11 – 157 Thumbnail (buttons DVD) 14 – 58 Thumbs-up (see Error Indicator) 6 – 12 TIFF Export 15 – 12 Timecode Gl
Index Timeline Markers see Markers 10 – 36 Timeline Properties 10 – 8 Timeline Tracks see Tracks 10 – 9 Timewarp (Linear) 11 – 159 Timewarp Editor 11 – 221 Adjust Scale 11 – 226 Cut/Mix Fields/Frames 11 – 239 Fit to Fill (Adjust to Length) 11 – 239 Freeze (Still) 11 – 238 Individual Applications 11 – 241 Introduction, Examples 11 – 227 Large Display 11 – 226 linearize/delinearize segment 11 – 225 Locate Keyframe 11 – 226 Motion Detection 11 – 240 Move segment 11 – 226 Open and use 11 – 222 Positon Bars 11
Index Trash (Desktop) 6 – 21 Clean up Project 6 – 21 Delete Render Files 6 – 21 Empty Trash 6 – 21 Open 6 – 21 Paste 6 – 21 Tree Area (Project) 9 – 9 Triangle (Generate Signal Clip) 8 – 59 Trim Both (Trim Editor) 10 – 91 Trim Editor Digital Audio Scrub 10 – 88 Jump from Edit to Edit 10 – 92 Multiple Trimming Points 10 – 89 Preview 10 – 86 Preview Range 10 – 93 Selecting Trim Mode 10 – 87 Single Trim 10 – 90 Slip Clip 10 – 91 Tool Buttons 10 – 92 Trim Both 10 – 88, 10 – 91 Trim Incoming Clip 10 – 88 Trim Mo
Index View Switcher (Taskbar) 6 – 14 Viewing see Logging 8 – 4 VITC 17 – 5, Glossary G – 54 VITC (Player Settings) 17 – 14 VOB Glossary G – 54 VOB problem (DVD) 14 – 34 VOB, export 15 – 50 Voice-Over 11 – 48 Control Input 11 – 50 Requirements 11 – 49 Session Procedure 11 – 49 Volume Lines Edit (Rubberbanding) 11 – 27 Show 11 – 7 Vortex (NetzwerkEinstellungen) 16 – 21 Waveform Display (Color Correction Editor) 11 – 191 Waveform Inlay (Clip/Source Viewer) 9 – 66 Wedge Wipe (realtime effect) 12 – 23 White-Ba
