UM-2014.
Phoenix User Manual 2014 © 2014 Digital Vision This publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose. The software described in this document is furnished under a license agreement. This license is available in the docs/licenses folder once the software is installed. See the appendix for license and legal notification.
Contents 1 Table of Contents Welcome .......................................................... 8 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 New in This Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 Phoenix User Manual Importing Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Importing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Im port Options Folder Im port Library Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 . . . . . . . . . . . . . . . . . . . . . . . . . . .
Contents Global Options ........................................................ Export Modes ........................................................ Mixdow n Rec TC ........................................................ Visible Multi Rec TC ........................................................ Tracks Multi Rec TC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Visible Multi Src TC ........................................................
4 Phoenix User Manual Effect Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 Lens Distort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Warper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Warper Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Contents Valhall Keys Video I/O 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356 VTR Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Video Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6 Phoenix User Manual Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448 Colour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 Monitoring / Video IO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Preferences Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Welcome 1
8 Welcome Phoenix User Manual 2014 Phoenix Finish - Phoenix Refine Phoenix Touch - Phoenix Video Welcome to the Phoenix Restoration Environment from Digital Vision! The Phoenix platform is the perfect solution for film/video archives and content owners who require the best in content restoration, re-mastering and re-purposing. This manual will help you get the most out of the system. Product : Phoenix Version : 2014 Document Revision : UM-2014.1-07 Date : © 2014 Digital Vision 13/05/2014 UM-2014.
9 © 2014 Digital Vision UM-2014.
Overview 2
11 Phoenix Finish Phoenix Refine Phoenix Touch Phoenix Video Welcome to the Phoenix Restoration Environment from Digital Vision. The Documentation section lists the documentation included with the application and where to locate it.
12 Overview Precision Control Panel Documentation The Precision Panel documentation includes an User Guide and a Hardware Installation Guide. Valhall Control Panel Documentation The Valhall Panel documentation includes an installation guide (giving information on the Valhall environment variables and setup), a user guide, and a quick reference labelled diagram of all the Valhall panel controls.
New in This Release 13 Product Support Product Support is available to all clients with a valid maintenance contract. To contact support, see the Contacts section. User Forum Digital Vision runs a web-based user forum at the following address : http://forum.digitalvision.se Please consider joining the forum and taking part in wide-ranging discussions with our growing community of users. Contacts Stockholm Linköping Digital Vision Telefonv.
14 Overview © 2014 Digital Vision UM-2014.
The User Interface 3
16 The User Interface This chapter will give you an overview of the user interface and some basic components of the application. Interface Conventions The following interface conventions are used for various elements. Functional A function button performs a single action only. Active and available function button. Inactive function button. If a button is not available for selection, it is greyed out.
Interface Conventions 17 Toggle Buttons Toggle button off. Toggle button on. A group of three toggle buttons, with one enabled. Radio Buttons A group of two radio buttons. In a group, only one option can be selected at one time. Option Buttons Option button off. Option button on. Information Dialogs Informational Informational messages, no user interaction required. © 2014 Digital Vision Query Request for user input. Warning/Error Warning or error alert.
18 The User Interface Main Screens The application environment is composed of a number of components within which you do the majority of your work. These include the main Project Screen, the Project Desktop and the Project Library. Project Screen The Project Screen is the first screen visible when we launch the application. This is where we create and manage our projects and access our global preferences. Main Project Screen See the Creating a Project and Project Management sections of this manual.
Main Screens 19 Project Desktop The Project Desktop is the main working environment inside your project. The Project Desktop show ing the view er area and the com position tim eline below .
20 The User Interface Project Library The Project Library is where we import and export media, create compositions and manage our project assets. See the Project Library section of this manual. File Browser A sophisticated file browser is used throughout the application. It is used to navigate both local and remote filesystems. You will use the file browser component in many places, including : Import and export of media, list files and LUT files. Attaching and detaching projects.
File Browser 21 File Brow ser (Im port Media version) show ing m ain functional areas 1. Network and Drives 2. Navigation and Folder hierarchy 3. Folder Bookmarks 4. Folder Management 5. File Type Filter Network and Drives To the left of the main file browser panels are the panels that allow : Network folder and local folder browsing Local drive selection or Network share selection © 2014 Digital Vision UM-2014.
22 The User Interface Local Drives When browsing Local drives, the available drive letters will be shown in the panel below : Local drives displaying available drive letters. You can double-click a drive letter to jump to the root of the drive.
File Browser 23 System Magners has a shared folder "S on Magners". If the target system (Magners above) requires authentication, you will need to do this before starting the application. Folder Navigation Once we have selected a local drive or network share, we navigate the filesystem folders via the central panels. © 2014 Digital Vision UM-2014.
24 The User Interface Full Current Location The file browser always shows you the full current location to your current folder in the box at the top : Full current location Folder Navigation The button to the right of the location display lets you quickly go up one folder level : Button to m ove up one folder level You can navigate up and down both local and remote folders using the panels in the centre of the window.
File Browser 25 Cascade Mode show ing three folders (above and below current) In Cascade Mode, you can jump backwards (up) and forwards (down) in your location history using the arrow buttons below the panels : Single Pane Mode In Single Pane Mode, the central area shows a single pane and the folders inside (below) the current folder only. Single Pane Mode. Display folders below current folder location only. Folder File Contents The files within the current folder are displayed in the bottom pane.
26 The User Interface Files that exist within the current folder are displayed in a tabular format (see the Tables section for a discussion of table use). The files displayed can be filtered by file type. Contiguous file sequences (i.e. no gaps) are compressed to display only the start and end frames i.e. export097738.dpx, export097739.dpx, ..., export097812.dpx is displayed as : export[97738-97812].dpx Use CTRL+R to refresh the file browser.
File Browser 27 Adding Bookmarks To add a bookmark for the current folder, or manage bookmarks, press the Bookm arks button. A dialog window will open. To add a bookmark for the current folder, press the A dd button : Bookm ark dialog The bookmark will be added to the list and available for use : New bookm ark in the list Delete and rename Bookmarks To delete or rename a bookmark, select and jump to it and use the appropriate button. © 2014 Digital Vision UM-2014.
28 The User Interface Folder Management At the top-right, the file browser displays the name of the current folder. To the right of the current folder name are the two buttons : Rename Current folder Create New folder Rename Current Folder Type a new name for the folder and press the Rename Folder button. Create New Folder Type a new name for the folder and press the Create New Folder button. The new folder is created within the current folder.
File Browser 29 Use the drop-down list and select the desired filter : Tables Many areas of the application display information in a tabular format, including the library, video I/O screens, capture lists, project list and file browser. Tabular display of assets in library Tables behave in a similar manner throughout the application. Selection Select items by left-clicking with the mouse. Selected items are shown in orange. Multiple non-continuous item s selected © 2014 Digital Vision UM-2014.
30 The User Interface Multiple Selection To select multiple items : SHIFT + select to select a continuous range CTRL + select to select non-continuous items (as shown in image above) Deselection To deselect an item, select it with CTRL + select again. Column Order To re-order the columns, click and drag a column title : Repositioning a colum n. Column Sort To sort the table display on a column, click the column title.
Tables 31 Show and Hide Columns You can show (insert) or hide (remove) a column by using your mouse and a right-click : Remove Column Right-click the mouse over the column you want to remove and choose Remove Column : Insert Column Right-click the mouse in the contents title area where you want to insert the new column and choose the column you want to insert : Column Sizing You can adjust the width of columns by clicking and dragging the column boundary with your mouse : Click and drag to stretch Mat
Projects 4
33 Projects are used to store and organise your work. This includes the project library containing all your compositions and source material, all your edits and grades specific to each composition, definitions of all the project output formats and all other project state (such as play heads, cached renders, window positions, undo stack etc.). The Project Screen is the first screen displayed when you launch the application. This is where you create and manage your projects.
34 Projects Project properties displayed are : Project Name Status (e.g. Offline, Available) Project Location Creation Date Modification Date The Project List is displayed a standard table. For more detail on tables and their use, see the Tables section.
Creating Projects 35 To create a new project : Type the name of the new project in the project name text field. Press the Ne w Proje ct button. Usually, a new project will take its initial settings from the last project selected. To create a completely fresh project (with all settings as default), see below. Now configure the project settings (e.g. output formats, sources, colour space etc.). Once done, press the A pply S e ttings button or just O pe n Proje ct.
36 Projects Defined project output formats are displayed on the left. The project master format is the first in the list. The settings for the selected output format is displayed to the right. Each output format has independent settings. The output formats defined determine the available display, playback, render and output formats for the project. You can modify the output formats defined for the project anytime.
Creating Projects 37 Additional Output Formats All additional output formats are listed below the master format and are completely independent of it. To create a new output format : Press the Ne w button located below the Output Formats list box. A new format will be created. Then configure the output via the Setup drop-down list or edit the individual parameters. To delete an output format, just select it from the output formats list and press the De le te button.
38 Projects Output Format Attributes Each output format has a set of attributes defined, including : Format Presets Frame Rate Colour Channels Colour Depth Render Resolution Viewing Aspect Ratio Render Options Conversion and Filter settings Colour Management System (CMS) When setting the attributes for your output formats you are defining the different ways that you wish to render material. It does not affect the source material that you will import, which has its own source format.
Creating Projects 39 media in the project library. It is possible to create compositions with different frame rates within a single project. The Library/New Composition button always creates a timeline at the frame rate set on the currently selected output format. You can create a composition at a different frame rate by changing the rate of the output format (at the project screen), creating the New Composition, then reverting the output format rate again.
40 Projects output format) if the source format differs from the output. If the source format matches the output, an output cache is generated if any Master layer effects are added. Cache Output can be set independently on any project output format. Enable this : To ensure everything is rendered and ready to lay-off to video. On a 10 bit secondary output format when your master format (and sources) are half-float or 16 bit.
Creating Projects 41 format maintaining the source image aspect ratio. This may result in a cropped or blanked image, depending on the difference between the source and output resolution and aspect ratio. Filtering The filter type selects the mechanism used to transform the pixels in the source image to the new output. This mechanism involves calculating the value of an output pixel as an aggregation of contributing source pixels. How the various pixel contributions are weighed defines the filter.
42 Projects Colour Management System (CMS) Each defined output format can have an independent colour Look Up Table applied (LUT) as part of your Colour Management System (CMS). A variety of LUT formats and CMS systems are supported, including the Nucoda CMS, THX Cinespace and Kodak. The LUT can be used in two ways : As a viewing only LUT. The LUT is not rendered on the final output. The LUT can be selected and toggled on/off inside the project. As a rendered LUT on the output.
Creating Projects 43 improve rendering speeds and realtime performance. To add a new source, press the Ne w button below the Sources list. Format The format and filter type of the selected proxy is shown to the right of the Sources list. The format allows you to change the proxy scale and bits per component. Scale Set the scale compared to the source media : 1:1 2:1 3.1 etc. Bits Per Component Set the colour component depth.
44 Projects Project Colour Scaling The default colour scaling is a per project setting and is defined via a dropdown list below the proxy setup. These scaling modes (defined below) affect : Video capture and layoff Timeline monitoring via SDI – including : Timeline filler, Transitions , Pan/Scan blanking, Fade to Colour Colour tool behaviour (black/white pivot points etc.) Scene detection Be very careful with this setting.
Attach/Detach Project 45 You should only import projects that were created on the same version of the application software, e.g. v2013.3 projects should not be imported into v2014.1 Detach Project The De tach Proje ct option removes a project from your project list. It does not delete the project. If you want to open the project again at a later date you need to re-attach it using the Attach Project button. You will not be asked to confirm project detachment.
46 Projects to a version mismatch or to missing cache renders. Version Mismatch Warning If you open a project that was created with an earlier application version, you will receive a warning dialog alerting you to this fact. It is usually safe to open a project created with the same Major.Minor version as used currently (i.e. 3.6r1 to 3.6r2). However, projects created in earlier Major.Minor versions may not be safe (e.g. 3.5r7 to 3.6r1).
Delete Project 47 Delete Project Press the Delete Project Button to delete the selected project. This permanently deletes the project and all its contents. You will be asked to confirm the deletion and also asked if you wish to delete the project notes. To keep the project notes, untick the tickbox before clicking the OK button. The project notes folder will be left untouched in the notes folder on your media root directory e.g.
48 Projects Recover Project dialog w indow Using the From drop-down list, select a previous project revision : Then press the Recover button to do the recovery. The selected project is copied to a backup folder (timestamped as per the Backup Folder box, see below) and then replaced with the chosen project version. The selected project will now be as it was at the stated date and time chosen from the drop-down list.
Recovering a Project 49 Grandstand EP 01 - This is the current project - the project that opens. This project is actually a revision we have recovered. Grandstand EP 01_2009_04_28_11_46 - This is a backup of the project created when we pressed Recover at 11:46 on 2009-04-28. Note that recovery can only go back in time. Once you recover a previous version of a project, you cannot use this method to revert to a later version again.
The Project Library 5
51 Keyboard Shortcut : F1 The Project Library is used for a wide variety of tasks, including : Importing and exporting media Creating composition timelines Organising media and timelines Viewing and modifying metadata Managing render tasks Creating proxy sources In single-screen mode, the Library window replaces the viewer. In dual-screen mode, the Library (and F1) button toggles display of the Memories window.
52 The Project Library The Caches folder contains the renders for all project compositions. It cannot be deleted. Create New Folder This button creates a new folder. New folders are always created as children of the selected folder. The selected folder is highlighted in orange (e.g. folder "02" above). Naming Folders By default, folders are named new folder. To rename a folder : Select the folder Press the F2 hot key Type the folder name © 2014 Digital Vision UM-2014.
Folders 53 Delete Folder To delete a folder, select it and press the delete folder button. Recurse The library only displays the contents of the currently selected folder by default. To display the contents of the current folder and all sub-folders, enable the R e curse button. With the R e curse button off, we only see the contents of the scans folder. With the R e curse button on, we see the contents of the scans folder and folders 001, 002, 003 etc.
54 The Project Library For more detail on tables and their use, see the Tables section. Item Types Each library item has a type. CLIP A CLIP is the label for both image and audio media. For image media, this is source media composed of individual file based frames e.g. DPX or TIFF sequences. An audio CLIP will have an icon : COMP A composition timeline. The active composition is shown with a Status property set as Current Edit and a COMP icon : Active com position show n as Current Edit.
Library Contents 55 The copy will be named using a prefix "Copy of .." and is completely independent of the original (but caches will be shared). MOVIE This is source media composed of a movie sequence e.g. Quicktime or Red. PROXY A proxy source (or clone). A proxy source is grouped with its corresponding source media. An arrow to the left can be expanded to show the proxy or clone. The proxy scale is shown in the Scale property.
56 The Project Library The layout of the Property dialog Property Editor Layout As can be seen in the illustration above, the Property Editor is composed of a number of panels that descrive different aspects of the metadata. Not all library items will include all metadata and all the panels. Basic Properties Basic Properties are those common to all library types, and include item name, tape name, description, timecode and duration, components and colour space. © 2014 Digital Vision UM-2014.
Properties and Metadata 57 Format Properties Some items have format specific properties we can edit and these are shown in the Format Properties panel. The image below shows the extra properties available for a Red R3D shot. Form at Properties panel show ing extra properties for a Red Cam era shot. Miscellaneous Metadata The Miscellaneous Metadata panel shows the extra metadata available. This will be the complete display of all item metadata, some of which will overlap with the Format Properties panel.
58 The Project Library Nucoda Properties The Nucoda Properties are an extra set of metadata fields that can be set on library items. Nucoda properties (part). Available properties include : SourceId, Take, Scene, Camroll, Slate, Soundroll, Director, ProjectName, DoP, Cameraman, DailiesColorist, DateOfShoot These Nucoda Properties will be included in any ALE List export and facilitate interoperability in a dailies environment with products from Avid etc.
Properties and Metadata 59 Open the File Browser and navigate to the new path required and select the clip located in the new location. The After path will update. The Status indicator will display Online if the selected (After) path is good and the clip is located. If we cannot locate the new path, we display Offline.
60 The Project Library Current Display the library item that corresponds to the segment under the active playhead. Marked Display the library items that correspond to the marked segments. Unused Display the library items that are not in use in the composition or marked region. Comp / Clip / Proxy Display compositions / clips / proxies. Cache Management The C le an U p button lets you selectively purge unused or unwanted caches and proxies.
Cache Management 61 Filters Select a filter via the drop-down menu : The filter will operate on all library item types selected via the toggle buttons : Available Filters unused only Caches and proxies are deleted if they are not used in any composition. all in project All caches and proxies in project are deleted. all in current composition Caches and proxies are deleted if they are used in active composition.
62 The Project Library Composition Save and Load You can use the Save and Load buttons (and also Store and Recall, see below) to easily copy compositions and clips between projects. We can copy image clips, audio clips and compositions. The projects can even be on separate computers as long as any selected sequences have the same file paths on each. If the paths differ, you can change it by editing the clip Properties and pressing the ..Change button to open the Relink Clips dialog.
Composition Save and Load 63 Save / Load Save Pressing the Save button will open a File Browser dialog and let you choose a path and filename for the saved information. This file will have a .content extension added automatically and stores metadata only. The .content file is a text file. Load Pressing the Load button will open a File Browser dialog and let you select a previously saved content file for loading.
64 The Project Library If sequences are deleted or moved after the paths are stored, then we will fail to locate this media when we load the content. Store / Recall Store and Recall work exactly like Load and Save except no content file is used (so no File Browser prompt). A Store will save the selected compositions and/or clips. A Recall operation will recall whatever this stored "snapshot" contains. The stored content persists until the next Store operation, even between application restarts.
Importing Material 6
66 Importing Material This chapter describes : How to get media (both video and audio) into the project library for use How to recursively import entire folders automatically How to import and conform from list files (e.g. an EDL) How to make sure each piece of media we import has the proper metadata attached How to manage our media library We import material into our project via the Library.
67 Directly importing media (image or audio) Importing material via a list (and then doing a List Capture) Capturing media from a tape source - this is covered separately in the VTR section In the first two cases, you start off by clicking on the ..Im port button in the library : This will launch the file browser and let us browse and load an image sequence or movie, audio or list file. For supported file formats, see File Format Support.
68 Importing Material As shown in the screenshot above, you can import multiple items at once by selecting more than one item (e.g. SHIFT+Click or CTRL+Click) and pressing the ..Im port button. Before doing the import, check your import options (see below). Once you have finished importing your media, click the C lose button to close the file browser. Import Options For image media, the Import Options dialog lets us select the method used to extract the Timecode and the Tapename from the media imported.
Importing Media 69 We can extract the timecode from the file header (e.g. a DPX format sequence) or from the sequence filename (i.e. sequence numbers are the timecodes). For header timecode, you will always use 1st tc header unless you have a Red R3D sequence and wish to use the second R3D timecode (2nd tc header). The timecode extracted will be placed in the Library In column, and will also cause the assignment of the Out and Duration values.
70 Importing Material Folder Import If you select a folder and press the ..Im port button, the folder contents and all sub-folders are imported recursively. We search for image sequences and movies and import those we find automatically. The Import Folder Options dialog allows us to set some import options, such as filters on image format and resolution, material naming convention and automatic sequence timeline splicing. Options Filter file format Select to import only files of specified file format.
Importing Media 71 Import as background task Select to import as a background task. After pressing Im port, you can close the file browser and the importing will continue in the background. Library Folders Media you import is placed inside the currently selected library folder (shown highlighted in orange). The import process can also create library folders automatically, placing each piece of media inside a folder named from the filename, file path or tapename extracted.
72 Importing Material Importing List Files Import a list into the library in the same way as image media. In the Library module, press the ..Im port button, browse to the list file location, select and import. In the case of a list file, you are creating a Composition, not importing shots. Initially, the list created composition will have no media linked to it. To link media to the composition created, see the next section List Capture.
Importing List Files 73 List Import Options When we import a list file, a new dialog opens and lets us set various import options. We can decide whether to import the list creating a new composition, merge it into an existing composition, how to merge any existing grades etc. Always take a backup copy of your composition before modifying it (e.g. by importing a list "into current composition"). List Im port options dialog. The dialog title is the list filenam e. Each option is described below.
74 Importing Material All events as new composition A new composition is created from the list file. If the list has a "TITLE:" field, this will become the name ( Material Name in the Library) of the new composition. All events into current composition The list file is added to the active composition on a new video track.
Importing List Files 75 Overwrite existing track With an active composition, this will cause the new list events to overwrite the selected video track. The new events from the list will completely replace the selected track. Merge existing grades from If you have a graded composition, you can choose to merge these grades into the new imported list.
76 Importing Material e.g. 001 OE5012E V C 19:08:57:15 19:08:58:15 01:00:01:00 01:00:02:00 * FROM FILE: S:\media\annotated\4\tc\1723400.dpx Conform to material If the media is available in the library (perhaps pulled in via Import material from file paths), Conform to material will try and conform (i.e. link) the list events to it. Create ASC CDL layers If the EDL list we import includes ASC Color Decision List information, selecting this option will create effect layers for the shots.
Importing List Files 77 Conform to record TC Selecting Conform to record TC changes the default conforming behaviour and looks to conform (link) our the available media with the list record timecodes. Normally we conform (i.e. link) our media to the event source timecode. Conforming to the list event record timecode is often required when our media has already been edited (such that media timecodes are now those for the record timeline).
78 Importing Material List Capture Once you have imported your list file, we have a composition timeline that has no media linked to the shots. A shot without media linked to it will display the offline slate in the monitor : To connect the composition shots to media, we need to : a) capture - find the referenced media and import it to the library. b) conform - link the matching media to the shots. We do this via a batch operation called List Capture.
Importing List Files 79 The List Capture window displays an alternative view of the composition timeline, showing each shot as a separate row in a table. Each shot will have a Status. You will only see the events listed on enabled video tracks. After initial import, the list will not be linked to any media and each list event will have a Needed status. Each event has a Needed status after list im port.
80 Importing Material Capturing Media After importing our list, we can proceed to Capture media into our Library via the ..C apture button. The capture process will examine on-disk file media and compare it with events in our list. Those that match will be loaded into our library and have a status set to Found. Matching can be performed on timecode alone, or on timecode and tapename.
Importing List Files 81 Any matching material is loaded into the library, but not yet linked (conformed) to the event. Match Name If Match Name is enabled, the tapename is used when testing for a match. With Match Name disabled, only timecode will be used. Multiple Matches Sometimes, we find more than one item of media on disk that matches a shot in the capture list. When this happens, the Status is displayed as Found Multiple and an arrow is displayed to the left of the list item.
82 Importing Material Event Controls Use the Event Controls to : Switch the selected event when multiple matches occur. Disable events to prevent them being conformed or found. Disable/Enable Event When you Disable an event, you prevent it changing status such that : A Found event will not conform (link) to material when pressing Conform (it will stay Found) A Needed event will not be found (it will stay Needed) The Disabled state of an event is reset if you close and re-enter the List Capture module.
Importing List Files 83 Detach Event Material Detach Event Material will unlink the selected events from their conformed media and change their status from Conformed to Found. The media itself remains loaded in the library but the affected events (shots) will go offline because the link to their media has been broken (they become unconformed).
84 Importing Material Conforming the List Conforming will link the Found events in your capture list to specific media matched and loaded into the project library. Once conformed, the status of the event changes to Conformed and can be considered locked (to the specified material). The event can be considered locked because a re-conform (pressing the Conform button in the List Capture module) will never detach or attach different media.
Compositions 7
86 Compositions A composition can be considered a container within which you compose your work. A project can contain an unlimited number of compositions, each of which can contain any number of video and audio tracks and their media segments. Compositions consists of : Video and audio tracks to arrange your media Bookmarks Edits and transitions Shot versions Any grading and effects on the shots of tracks Play-heads and marks The composition is the basic building block of any creative work you do.
Creating Compositions 87 Manual Creation To manually create a composition, press the New Composition button in the Library screen : This will close any open composition, create and open a new one. The new composition will be named Untitled by default but you can name it via the ..
88 Compositions Composition Elements The main element of a composition is the tim eline. This view is where you can arrange your m edia segm ents, edit segments, add effects and control what is displayed in the monitor. This is the default view for a composition and shows you : Video and audio tracks Media segments Play-heads and position indicators Timeline marks Bookmarks Video and Audio Tracks Video and audio tracks are laid out in horizontal strips in the classic way.
Composition Elements 89 Per Track Controls Per track, a set of track indicators on the left : Enabling a Track The track enable button allows you to select one or more tracks to operate on i.e. Delete Splice or overwrite media Push up or down etc. Disabled tracks are still exported (to file or tape). Locking a Track Locking a track will prevent any edit changes i.e. Edits/cuts Trimming Moving segments Track or segment insertion or deletion etc. A locked track can still have the grade changed.
90 Compositions Track Picture and Sound Output Toggle the timeline monitor picture and audio output via the toggle buttons. Tracks with output turned off are not exported (to tape or file). Global Track Controls Globally, you can also set the display of track thumbnails, play-heads, audio waveform and set the active play-head position to centred during play-back : Icon Description Centre active play head when playing composition. Toggle display of composition segment thumbnails.
Composition Elements Icon 91 Description Create a new video track Create a new audio track Push selected tracks up a level Push selected tracks down a level Delete selected tracks You cannot delete a locked track. Media Segments Media segments are displayed on the timeline with head and tail thumbnails. You can toggle the display of thumbnails using the previous section above. button. See Each media segment on a video track displays the tape name, material name and any source offset (head handles).
92 Compositions Active Segment The active segment lies under the currently active play-head and is displayed in blue. Grades, effects, versions etc. are applied to the active segment unless some other segment is selected. Selected Segment A selected segment will be displayed in orange. Any selected segments will take priority over the active segment. When one or more segments are selected, your composition timeline scroll-bar will also turn orange to indicate this.
Composition Elements 93 Components : Number of audio channels in file e.g. 2 chan Depth : Sample bit depth e.g. 16 bits Rate : Sample rate in Hz e.g. 48000 If the audio file has extra metadata available, it will be displayed in the Description column : Audio Waveforms The audio display button toggles the display of the audio waveform. The waveform is overlaid on the audio segments and the output display monitor.
94 Compositions Audio Properties To view and modify the audio metadata and properties, select the audio clip in the Library and press the Prope rtie s button. The audio clip properties window will open. This lets you view and modify metadata such as the audio clip name and description. Audio clip property dialog, including audio patching interface Audio Channel Patching Patching describes the method of switching (and/or affecting) audio signal routing between input and output audio channels.
Composition Elements 95 Audio clip properties dialog and patch panel. The audio clip channels (In) are labelled C1, C2, C3 etc., up to a maximum of eight channels. On import, available audio channels are un-muted by default and routed (patched) to the corresponding Out channel (i.e. In(C1) to Out(C1) etc.).
96 Compositions The available audio channels for the composition are in the In column and labelled : Track : Channel e.g. "A1:C2" is Audio Track A1, Channel 2. The menu selector drop-down lists allow patching the available input track and channel to an output channel : Com position audio patching - input selection.
Composition Elements 97 Timecode versus Frames You can choose to display fields as timecodes or frames via the drop-down button to the left of the indicator boxes : Play Heads Every composition includes four independent play-heads labelled A, B, C and D. There is an active play-head, a secondary (last-active) play-head and two auxiliary play-heads. Multiple play-heads can be used for shot comparison operations. Icon Description The A play-head. Yellow means it is the secondary head (last active).
98 Compositions Limit clip insertion to a marked region Playback only a marked region etc. Starting marks are called In marks, ending marks are called Out marks. The timeline position indicators will reflect any marks set on the timeline. Mark In and Out set w ith dotted line indicators.
Composition Elements 99 Mouse : You can also use the mouse Right-Click on the timeline timecode row at the top of the composition : Right Click to open Add Bookm ark dialog The bookmark dialog window opens : Add Bookm ark dialog The Type drop-down list lets you select a segment or timeline bookmark (see below). Add your descriptive text to the Note field. Choose a colour for t he bookmark. Then press the Create button to create the bookmark.
100 Compositions Timeline Bookmark A timeline bookmark is attached to a specific timecode on the composition timeline itself and stays in the same place on the timeline. A timeline bookmark is displayed above the timeline. Segment Bookmark A segment bookmark is attached to a specific segment and moves with the segment. A segment bookmark is displayed within the segment.
Composition Elements 101 Valhall Control Panel Use the UP/DOWN arrows to navigate and ENTER to cue to the selected bookmark. Exporting Bookmarks You can export timeline bookmarks (not segment) using a utility tool called Bookmarks Assistant supplied with the distribution. This is documented in the Bookmarks Assistant appendix. Adjustment Segments An adjustment segment is a special kind of segment we can create that has no associated material.
102 Compositions Creating an Adjustment Segment To create an adjustment segment, use marks to select the timeline area for the segment and then use splice or overwrite with no library material selected : Set a Mark In mark Set a Mark Out mark Press SHIFT + v (splice) or SHIFT + b (overwrite) Segment Status Colours Various colour codes are used to identify the cache and render status of timeline segments. The colours shown below are the defaults. They can be changed by editing the preference file colour.
Composition Elements 103 No processing required. No timeline colour means the segment requires no rendering e.g. no applied effects or no source caching/generation needed. Cached The first segment above has been cached (and note it has no applied effects). This segment may be a cached MXF source (or some other cacheable media) or a generated proxy (2:1, 3:1 etc.) and is shown in dark green. Rendered The second segment has been rendered (i.e. it has an applied effect) and is shown in lighter-green.
104 Compositions Unrendered The second segment needs rendering. This segment has an applied effect and requires rendering. It is shown in a lighter red. Caches Missing Segment has missing caches. Missing caches are shown in yellow. You will be prompted to fix these (which will render them). Caches Fragmented Segment has fragmented caches. Fragmented caches are shown in bright red. You will be prompted to fix these (which will re-render them).
Composition Elements 105 manually splice BL or AUX segments using the keyboard : BL SHIFT + CTRL + b (or v) AUX CTRL + ALT + b (or v) The actual black-level value used by BL will be taken from the project setting. The AUX colour will be taken from the general.prefs preference file and will be set once on project creation. The general.prefs setting for AUX colour is auxColour and defaults to black. Parameters are given for red, green and blue where values are 0.0 to 1.0.
106 Compositions You may need to change from the effects to the editing toolbar using the switch button : The following sections relate to both video and audio material. Adding Media You can manually add shots to the composition timeline by using drag and drop from the library or by using the splice or overwrite tools (from the keyboard or GUI buttons). Clip insertion will obey the current ripple mode and will be inserted at either : a) The active play-head position or b) Any Mark In location set.
Manipulating Compositions 107 Overwrite Hotkey : b This operation will not move existing clip segments out of the way so the overall length of time used on that track will not change. Any existing clip segments will be overwritten. Once a media clip has been added to the timeline we refer to it as a media segment. The source clip remains the same but a segment can be edited. Drag and Drop You can select one or more library clips and drag them to the composition timeline.
108 Compositions Editing and Selection An edit mode defines the behaviour of the timeline manipulation tools, including editing, moving, slipping, sliding and selection. There are four modes, the default being a direct selection tool. Icon Description Direct Select mode Region Zoom mode Move segments mode (segment editing) Trim mode Direct Select This is the default mode. Use the mouse to left-click a segment to select it (it turns orange).
Manipulating Compositions 109 Region Zoom You can use the mouse to drag a selection box around a section of the timeline. On mouse release, the timeline will zoom to fit the selected segments. Drag select a box and tim eline w ill zoom to display segm ents. Segment Editing This mode lets you move or copy one or more segments on the timeline. Select one or more segments as per the direct select mode described above.
110 Compositions Before : tw o segm ents selected During : segm ents being m oved by dragging. A vertical bar and arrow show s the dragged segm ents snapping to any cuts they cross. After : segm ents m oved to new position. To position segments freely, with no snapping to cuts, hold down the CTRL key while dragging. Copying Segments Use the keyboard to copy the selected segments to a different location on your timeline.
Manipulating Compositions 111 between them, and clipped if longer. Trim Mode For discussion of trim mode, see Trim Modes below. Marking Regions When adding clips to the composition timeline, we take account of any timeline marks set (see Timeline Marks). No Marks With no marks, a clip is inserted full length at the active play-head position. No m arks - splice to active play-head Mark In With a Mark In only, a clip is inserted full length at the Mark In position.
112 Compositions Mark In and Mark Out With both a Mark In and a Mark Out, the clip is inserted at the Mark In position. If the clip extends beyond the Mark Out point, it is truncated.
Manipulating Compositions 113 Ripple Mode Ripple mode is a state that affects the behavior of all delete, move and trim operations, it can be toggled on/off via the button on the timeline toolbar : Any operations performed while ripple mode is on are rippled throughout the rest of the timeline so that any gaps created by the operation are closed. If ripple mode is turned off then a gap/filler will be left on the track in place of any segments that have been removed or trimmed down. See below.
114 Compositions Ripple Off - gap rem ains Ripple Mode On With ripple mode on, the segment to the right is shifted left and closes the gap. Ripple On - segm ents collapse and fill gap Trim Modes A timeline segment can be considered a "window" on the sequence as it exists on disk and there may be frames both before and after those we can see in the monitor window. Using the trim toolset, we can adjust the portion of the shot we see, including the visible start and end frames.
Manipulating Compositions 115 Trim Mode You can enable trim mode via a shortcut key or a GUI button : CTRL + u (this toggles trim mode) . To enter Trim Mode, the timeline area of the GUI has to be in focus. You can focus it by left-clicking once with the mouse. In trim mode, if a segment has head or tail handles, these will be indicated visually in yellow. Any available shot handles will be shown inside the shot itself : Centre shot has both head (left) and tail (right) handles, show n in yellow .
116 Compositions With a drag bar selected, you can trim a shot by : Dragging with the mouse Using the keyboard shortcut keys (see below) Typing in a trim value The keyboard shortcuts are as follows : Key Description < Trim left one frame > Trim right one frame M Trim left 10 frames / Trim right 10 frames See the Hotkeys guide distributed with the software. Note that these keys refer to the Digital Vision application keyboard and the key names may be different on a normal keyboard.
Manipulating Compositions 117 Slip Mode Slipping allows you to change the range of source frames that are used in a segment, changing the start and end frames, without changing the position of the segment within the timeline or its overall length. This is useful for synchronizing video segments to audio. Slip Mode : Segm ent stays fixed on tim eline but start and end fram es change. To activate slip mode, select the head and tail trim handles of the same segment.
118 Compositions CTRL + y Slide Mode handles outside segm ent You can slide the shot by typing a value into the trim edit box or using the keyboard short-cut keys, as described above. Cuts A cut (or edit point) splits a timeline segment up into two parts. There are two types of timeline cuts defined, a scene cut and a normal cut.
Manipulating Compositions 119 Normal cuts will (normally) have handles and allow head and tail trimming. Creating a Field Edit Short-cut : Shift + c GUI : N/A In a field based project, you can insert an edit on a field boundary. Field edits are displayed with a "stitched" line as shown below : Field Edit is "stitched". You will need to be in Field Mode to insert a field edit.
120 Compositions Toggle Scene Cut to Normal Cut Short-cut : N/A GUI : You can toggle a scene cut to a normal cut (and vice-versa) by pressing the toggle edit button. Joining Contiguous Segments Short-cut : N/A GUI : You can join two contiguous segments together by selecting them both and pressing the Remove Matched Edit button : The segments you are joining have to be from the same media source, adjacent to each other in the timeline, and in increasing source time order.
Shots View 121 The two illustrations below show the timeline view and its associated Shots view. Tim eline view . Shots view of tim eline above. The frame displayed is from the middle of the segment. This is not configurable currently. Shots View Switches To the left of the shots themselves are some buttons that affect the display and ordering of the shots. Thumbnails This toggles the size of the displayed thumbnails. Play-heads Toggles the display of all play-heads or only the active play-head.
122 Compositions Effect Bars Toggles the display of the effects bars above the shot. Src / Rec Switch Toggles the display of the shots in record timecode order (default) or source timecode order. This will affect VTR layoff and is linked to Tapename Sort (below). Set to SRC for a Source Order (C) VTR layoff. Handles Mode Toggles handles mode. Normally, we can only play the visible (non-handle) portion of a segment.
Shots View 123 Effect Indicators Any applied effects are indicated above the shot using coloured bars : Base layer, CC/FX layer, Master layer and Pan/Scan. If multiple FX or CC layers are present, these are indicated by small boxes in the LY bar : In the illustration on the right, the shot on the left is the active shot (blue outline). All effect layers have an applied effect (coloured bars) and there are two CC/FX layers indicated (two boxes on LY bar).
124 Compositions © 2014 Digital Vision F Fit the whole timeline into the viewing area none +/- Zoom timeline in/out none mouse wheel Zoom timeline in/out none Ctrl + drag mouse left/ right Pan the timeline left/right none Ctrl + Shift + drag mouse up/down Zoom tracks in/out, showing bigger/smaller thumbnails none Ctrl + F2 none Ctrl + HOME Switch to the next play-head making it the active play-head none HOME Jump play-head to the start of the composition none END Jump play-head to
Handy Hotkeys 125 Remove marked region from the timeline C Insert an edit/cut Shift + C Insert a field edit/cut Ctrl + C Remove an edit/cut, rejoining two adjacent segments Ctrl + U Toggles between Direct Select Mode and Trim Mode none Ctrl + T Toggles slip mode on/off, when in Trim Mode, and activates the segment trim handles none Ctrl + Y Toggles slide mode on/off, when in Trim Mode, and activates the segment trim handles none M Trims the active handle back 10 frames.
Versions 8
127 When adding a media clip to a composition timeline it is possible to add it as a version of an existing clip segment instead of as a new segment. By adding a version you preserve the underlying clip segment in the composition along with all the changes you have made to it (e.g. trimming or effects). Versions therefore allow you to experiment with different clips, or to make gradual changes to a clip segment and save each one as a separate version until you decide which version you want to keep.
128 Versions Delete current version. Hotkey : SHIFT + N Adding Versions To add a version you have to first determine which segment on the timeline you want to version. A single selected segment (orange) takes precedence Otherwise, the active segment is versioned When you're versioning it is not necessary to activate the track because we are explicitly selecting a segment to version. However, if the track that the selected segment is on is locked, then versioning will not work.
Adding Versions 129 2. Select the timeline segment to add the version to 3. Press the A dd Ve rsion button : The media clip that you select to add as a version has to be at least as long as the timeline segment used. You cannot add a media clip to a segment if the clip is shorter than the segment.
130 Versions Tw o versions visible in dropped-dow n view . You can change the active version by selecting any other version from the list. Versions are numbered Version 1 (original), Version 2 etc. To the right of the version number is the Material Name. Approving Versions If you want to mark a version to denote that it is the preferred version, you can do so by approving it. To do this: 1.
Managing Versions 131 Deleting Versions Hotkey : SHIFT + N To delete a version at any time: 1. select the version to be deleted so that it is the active version on the timeline 2. select the segment on the timeline so that it turns orange 3. press the De le te Ve rsion button on the timeline toolbar : The active version will be removed from the list and the next version in the list will become the active version.
Rendering 9
133 Adding effects to segments, or transforming sources for output, will require CPU processing: rendering. This rendering normally happens transparently in the background as you work, and in most circumstances requires no explicit intervention. Master layer effects are rendered in realtime on the graphics card GPU and do not require system CPU processing. You will have to render your composition if you : Add effect layers or Add adjustment segments Create and use proxy sources (1:1 Clone, 2:1 etc.
134 Rendering The following buttons control the rendering process in your project: Render Controls The automatic render controls toggle between different rendering behaviour, and the manual render controls let you set off specific rendering tasks. Automatic Render Controls These controls are automatic in that they are toggled on or off, and affect the render processing from then on.
Automatic Render Controls 135 Render BG can greatly reduce rendering requirements with little impact on your interactive work. It is generally a good idea to leave it enabled. Render FG Default : On This will cause unrendered portions of the timeline to be rendered for display when playing timeline. If this button is disabled, playback of unrendered timeline areas will display grey "not generated" frames : Cache Default : Off The Cache button is relevant to composition playback only.
136 Rendering Transition Default : On The Transition button enables the rendering of transition effects (e.g. dissolves). Manual Render Controls These controls are in the project library and let you set off specific render tasks, such as rendering a specific portion of the timeline, or rendering and exporting media. Render Output Pressing the Render Output button will start (or queue) a render task for the currently active composition. Only visible video tracks are rendered (we render a "mix-down").
Task Queue 137 Task Manager Render tasks include both Render Output, Render BG and Export Media tasks. Suspend Tasks The Suspend button will suspend all running tasks. Delete Tasks You can delete one or more tasks by selecting them and pressing the Delete button. © 2014 Digital Vision UM-2014.
Exporting 10
139 There are two export options available from the Library : Library / Export buttons Export Media renders and exports a composition to a chosen file format (DPX, TIFF, MXF etc.). Export Composition exports the active composition as a list file e.g. an EDL Version 2014.1 also lets you export to an AAF composition via .. Export Media. This requires the composition you export as AAF to have been created from an AAF.
140 Exporting The Export Browser The Export Browser consists of a number of separate elements that let you : Navigate to the base folder you wish to write the exported frames to Choose the desired file format and format options Choose the export mode (default is record timecode order, as a single clip) Choose any global options to set (some depend on export mode chosen) Choose the filename (if any - default to numeric names only) The various component parts of the Export Browser are shown below.
Export Media 141 Export Path Preview A preview of the path and filename we will create using the current settings is displayed at the bottom on the browser window. The following settings : Current folder : Z:\projects\SH_77TH\exports\van3d\ Filename typed : $c_outputcc.. Folder Hierarchy set : $c_$o\$r will preview as shown below : File Format and Options Use the drop-down list to select a file format for your export.
142 Exporting be the base name for every exported shot (even when multiple shots are created on export). If you do not type in a base name, file names will be numeric only e. g. 007845.dpx Numbers are added automatically to exported sequences and correspond to the frame timecodes.
Export Media 143 Examples Filename Pad Sample File Created Note (nothing typed) 6 078456.dpx 4883 7 0004883.dpx A Rec TC export mode 4883 7 0000096.dpx A Src TC export mode testexport 7 testexport0006734.dpx Frame Padding = 7 $c_graded.. 0 shot677_graded.89345.dpx Global Options The Global Options panel displays options available to all file formats. Export Mode The export mode determines how a composition is exported. See Export Modes below.
144 Exporting Number Frame Padding Result 789 0 789 789 6 000789 456789 4 456789 Target Export graded material or source (ungraded) only. Target: Output Output graded material (as per timeline Play Output view) Target: Source Output source (ungraded) material (as per timeline Play Source view). Handle Size This sets how many head and tail handles frames are exported with each shot. You can only set handles when using a Multi mode export (see below).
Export Media 145 SMPTE Level Clip The SMPTE Level Clip toggle button will clip the exported frame colour data to a SMPTE legal range (64-940 for 10 bit data). This is only available inside a Linear (SMPTE) colour space project. See the Colour Scaling section of the Setup Manual for a discussion on colour space and scaling. Export Modes The export mode determines which shots we export, what timecodes we use, how we order the shots and (usually) whether to create any folder structure.
146 Exporting Tracks Shots are exported per track. In this mode, clips are exported even when fully hidden by other clips. Src / Rec Clips are exported in source or record timecode order. This also affects the timecodes used (header and filename). Track Monitoring Every mode obeys track monitoring. An un-monitored track never takes part in any export mode. Multi-Mode Exporting Care needs to be taken when using multi-mode export. Multi-mode exports can cause shots to be overwritten on export.
Export Media 147 Mixdown Rec TC Exports as : Single clip - a flattened, mixed-down contiguous sequence into one folder. BL, AUX and filler included in export No handles allowed Record order and timecodes Filler will be exported as black frames at the level defined by project colour space. Example No folder hierarchy or variables required. © 2014 Digital Vision UM-2014.
148 Exporting Visible Multi Rec TC Exports as : Multiple clips created No BL, AUX or filler Handles allowed. Adjust via Handle size slider : Record order and timecodes Clips are only exported if they are visible (even partly) Example Here, we use event folders (see Folder Hierarchy and Variables) to ensure exported shots do not overlap. See Multi-Mode Exporting for a description of why multi-mode might cause exports shots to be overwritten sometimes. © 2014 Digital Vision UM-2014.
Export Media 149 Tracks Multi Rec TC Exports as : Multiple clips created No BL, AUX or filler Handles allowed. Adjust via Handle size slider : Record order and timecodes Clips are exported even if hidden by other clips. Example Here, we use event folders (see Folder Hierarchy and Variables) to ensure exported shots do not overlap. See Multi-Mode Exporting for a description of why multi-mode might cause exports shots to be overwritten sometimes. © 2014 Digital Vision UM-2014.
150 Exporting Visible Multi Src TC Exports as : Multiple clips created No BL, AUX or filler Handles allowed. Adjust via Handle size slider : Source order and timecodes Clips are only exported if they are visible (even partly) Example Here, we use event folders (see Folder Hierarchy and Variables) to ensure exported shots do not overlap. See Multi-Mode Exporting for a description of why multi-mode might cause exports shots to be overwritten sometimes. © 2014 Digital Vision UM-2014.
Export Media 151 Tracks Multi Src TC Exports as : Multiple clips created No BL, AUX or filler Handles allowed. Adjust via Handle size slider : Source order and timecodes Clips are exported even if hidden by other clips. Example Here, we use event folders (see Folder Hierarchy and Variables) to ensure exported shots do not overlap. See Multi-Mode Exporting for a description of why multi-mode might cause exports shots to be overwritten sometimes. © 2014 Digital Vision UM-2014.
152 Exporting Folder Hierarchy, Presets and Variables The Folder Hierarchy panel lets you create a folder structure as part of an export process. The Folder Hierarchy panel does not create filenames, only folders. See the Filenaming section for naming exported files. Folders are created automatically below the current file browser folder (the "base" folder) and can include shot names, tapenames, project name and many other metadata elements (see the Variables section below).
Export Media 153 Presets Presets are pre-defined folder structures available in a drop-down list for ease of selection and re-use. When selected, the preset will also be written into the text box and can be edited as required. A back-slash character ("\") delimits folders. Manual Entry or Edit You can create your own folder structure by typing in preset variables and other text strings in the Folder Hierarchy text box.
154 Exporting Variables The following variables are available : Var Description Note $n Material name NONAME used if material name empty. $e Event number See below for the event number format. $o Composition name NOCOMP used if composition name empty. $p Project name $r Resolution. This will be represented as WidthxHeight in pixels e.g. 2048x1556 $t Tape name NOTAPE used if tape name empty. $c Clip name NOCLIP used if clip name empty.
Export Media 155 Export File Formats Choose a file format to export to, via the format drop-down list at the bottom of the window. Each available format will offer its own independent set of options via the Options button. Drop-dow n form at list For a full list of supported formats see the appendix Format Support. Export Composition This exports the entire composition as a list file (i.e. metadata, not media). In the Library, press the ..
156 Exporting Export Com position dialog Note that the export ignores : Marks Track enable Track visibility If you want to export some shots, not the entire composition : copy the composition (Library/Copy) delete unwanted shots (with ripple mode off) export the copy. You can export a mixdown of all tracks, or a specific track only via the options dialog. File extensions are added automatically.
Export Composition 157 See the appendix for a description of the list formats. EDL/CTL Options The ..O ptions button is available for the EDL and CTL formats. This will open a new dialog window and let you set various options for the chosen output list format. EDL Options Video Mix Down Selecting Video Mix Down will export shots from all tracks with "mixed" down view i.e. shots/cuts as seen from the top track downwards.
158 Exporting A legal CMX tapename will have : no spaces eight characters or less. If you disable the CMX Legal option, you will be limited to 36 character tapenames. However, the tapename must still contain no spaces. When you have adjusted the export properties, close the options dialog and press the Export button on the bottom right of the file browser window. The export progress report will be shown in the main Library screen or via the library T asks window.
Scene Detection 11
160 Scene Detection The Scene Detect module can perform an automatic detection of scene changes in a contiguous segment, adding scene edits where found. When enabled, the detection will begin from the current location of the active playhead. Setup To configure scene detection, switch to the S ce ne De te ct tab. Parameters Sensitivity This numeric slider is for adjusting the sensitivity towards detecting scene changes.
161 this option you allow the scene detector to insert edits where the scene change actually occurs. If this options is turned off, then the edits will be inserted on the frame boundary rather than where the scene change actually takes place. Colour Scene detection is dependent on the material colour format and especially whether the input is linear or logarithmic. The default setting will be taken from the project colour scaling setting.
Viewer Tools 12
163 The viewer tools menu is opened from the project desktop by : Pressing the F12 hot key or Clicking the up-arrow button on the bottom-right of the viewer panel as shown below.
164 Viewer Tools Tool Configuration The available options are user configurable for the following tools : HUD Grids Masks Graphs Head-up Display (HUD) Hot key : F7 The head up display (HUD) overlays information about the frame/shot being viewed on top of the displayed frame. The information that is displayed is user configurable (content and position). The display of the HUD can be toggled on/off using the H U D button in the viewer options menu or the hot key S.
Head-up Display (HUD) 165 Options This drop-down list defines what HUD information to display over the image. Sample HUD definitions available are: location - source and timeline (record) information, in both frames and timecode full info all - full information available full info BI - full information available inside image area (burnt into image) full info all location logo Hud Specifications For the HUD format and specification, see Appendix HUDs Specification. © 2014 Digital Vision UM-2014.
166 Viewer Tools Grids Hot key : F8 The grids functionality allows you to apply preset grid overlays to your image. Grids are displayed over the viewed image and are useful for displaying lines, borders and layout information. This is display only and is not rendered into any final output. Options This drop-down list defines the grids available to display over the image. © 2014 Digital Vision UM-2014.
Grids 167 Sample grids included are: full border 16:9 grid 16:9 blank 1.85 grid 2.35 grid Grid Specifications For the Grid format and specification, see Appendix Grids Specification. © 2014 Digital Vision UM-2014.
168 Viewer Tools Masks Hot key : F9 Masks crop (black out) rectangular areas of the displayed image. Press the masks button to activate the picture mask function and then select the mask that you want to apply from the drop-down menu. This is display only and is not rendered into any final output. Options This drop-down list defines which mask to apply to the image. Sample masks included are: user 4:3 16:9 1.85 2.35 © 2014 Digital Vision UM-2014.
Masks 169 2.35 m ask set User mask The user mask allows you to interactively draw your own mask over the image. In U se r mask mode, press the mask edit button : A rectangular overlay will appear over the image with handles on each corner. You can interactively resize the rectangle to create your mask by dragging each of the corners. Edit User Mask Use m ouse to drag rectangle corners to resize m ask. Move m ask by picking and dragging center point. © 2014 Digital Vision UM-2014.
170 Viewer Tools Disable Edit Mode Turn off edit m ode to see m ask applied to im age. Mask Specifications For the Mask format and specification, see Appendix Masks Specification. Graphs Hot key : F10 The graph tool serves three purposes : It shows the RGB response curves of your shots It shows the value ranges using dotted lines on the graph (including important value levels) It defines how and where the histogram graph will be displayed when enabled © 2014 Digital Vision UM-2014.
Graphs 171 This is display only and is not rendered into any final output. Options This drop-down list defines available graphs and histograms. Note that graphs ignore the "hist" and "parade" settings, using only the location (e.g. center), size (e.g. PAL) and scaling information (e.g. cineon). These options are configured via plain text files (*.graphs) located inside the folder specified inside the general.prefs file (variable monitorGraphDir).
172 Viewer Tools Graph Specifications For the Graph format and specification, see Appendix Graphs Specification. Histogram Hot key : F11 The histogram tool displays a graph of RGB colour information : For the entire image or A selected area of the image This can be useful in helping identify how much colour correction is needed. The button on the left activates the histogram, which will be displayed in the manner and location defined by the current graphs setting.
Histogram 173 Options The available graph positions and types are as per the graphs. Unlike the Graphs settings, the Histogram settings can be set in a histogram mode (RGB values overlaid) or a parade mode (RGB values separated in columns). Setup Graph Setup Toggle display of graph. Reset graph active area to default (whole image) Set the scale to use for the reported graph values. Values : 8,10,16 bit or 0-1. Default : 10bit © 2014 Digital Vision UM-2014.
174 Viewer Tools Area Selection By default, the histogram will display RGB values related to the entire image. You can select a region of interest with the mouse interactively. You can also click anywhere on the image to display information about a single pixel. Display Modes Histogram Parade Note that you can display graphs (colour curves) and histograms (or parades) simultaneously. © 2014 Digital Vision UM-2014.
Histogram 175 Audio Waveform The Audio Waveform button displays the audio segment waveform overlaid on your monitor output. The waveform will update dynamically as the segment plays. © 2014 Digital Vision UM-2014.
176 Viewer Tools Audio segm ent w aveform show n overlaid on m onitor Handy Hotkeys icon hotkey function Toggles the viewer options panel on/off.
Handy Hotkeys © 2014 Digital Vision 177 UM-2014.
Comparison Mode 13
179 Hot key : F6 The compare function allows you to compare the frame you are viewing against other instances in your timeline, against a reference frame, or against different versions of the frame itself. Compare Modes The Compare options are selected via the drop-down list on the right-hand menu. Show this menu using the F12 hot key. The options listed inside a project may be a subset of the total available because you may want to limit those you can cycle through.
180 Comparison Mode Split m ode. You can interactively change the Dual m ode. Com parison side-by-side. split using the m ouse or panel. Split Selecting split mode will allow you to wipe between the currently active frame in the viewer and your comparison image. An overlay control will appear in the viewer, separating the two frames. This control can then be manipulated interactively by dragging it in any arbitrary direction, to make comparisons between the two images.
181 Difference Modes There are 3 difference modes: Diff red Diff luma Diff monochrome Each one will show you the difference between the current frame and the comparison frame in the specified colour. Comparison Image Once you have selected your compare mode, you can close the viewer tools menu (F12) and bring up the Memories screen to select what we will compare against. Select the ..
182 Comparison Mode You can compare against targets : Track - the track below Head - the secondary play-head Event - a selected event Revert - the previous grade on the shot Source - the segment source Groups - a selected group member © 2014 Digital Vision UM-2014.
Stereo Multitrack 14
184 Stereo Multitrack A Stereoscopic mode can be enabled on a per project basis. This allows both the display and the grading of stereo left and right channels. Setting Up Stereo For stereo support, you need to : 1. Enable a project setting and 2. Choose your stereo mode (if using an interlaced DVI device). DVS Centaurus II Licensing You will need the DVS Centaurus II license option Multidevice to use stereo multitrack mode SDI output.
Setting Up Stereo 185 Preferences / Monitoring/VideoIO : Enable SDI I/O Card Interlaced DVI Output of interlaced stereo through DVI to a supported display device. If your stereo display device uses an interlaced DVI signal, enable this via : Preferences / Monitoring/VideoIO : Interlace Stereo DVI Output Interlaced Stereo mode is incompatible with OpenGL readback and will be hidden if read-back is enabled.
186 Stereo Multitrack Track Stereo SDI Output V1 Left A V2 Right B You can reverse this order via the toolbar button : or by changing the general.prefs parameter : reverseStereoOutput This parameter is inside the IOCard section of the preference file. Viewing You can view and compare the two stereo channels by choosing a compare mode between the two tracks. Compare modes are described in the Comparison Mode section.
Using Stereo 187 Shots that are grouped into multitrack mode are shown with green triangles on their right-hand edge : Multitrack shots show n in group Note that multitrack mode will only enable (on both tracks) if the two tracks are the same length. The render indicator bar also shows the render status of each track separately : Each track now has an independent render status bar Grades will now be applied to both the top and bottom tracks.
188 Stereo Multitrack Stereoscopic Depth Grading The Stereoscopic Depth Grading button will cause Pan, Tilt and Rotate Pan/ Scan transforms to be applied normally on the top track but in reverse on the track below. This can easily be seen in the track thumbnails as shown below : Track thum bnails show that top track has positive pan. This is reversed on the bottom track. © 2014 Digital Vision UM-2014.
Colour Management 15
190 Colour Management Hot key : CTRL + F12 The Colour Management System (CMS) lets you apply colour transformations to your shots. These transformations are user configurable and defined in a 3D colour cube file which is loaded into the application on demand, or specified as part of an project output format. To use a CMS Look Up Table (LUT), you need to define the project LUT type on the main project setup screen. Some samples colour cubes have been provided.
Effects 16
192 Effects A variety of colour correction tools and effects are available, each of which can be applied independently to individual segments on the timeline. Since each segment can have a different set of effects, the effects tree to the left of the composition editor will always show all the colour correction layers and effects that can be applied to the active segment on the timeline: As the active segment changes, the effects tree will change to show only the effects corresponding to that segment.
193 The following effects operations will be covered in the next sections: colour correction layers editing effects managing effects layers adding user effects transition effects Colour Correction Layers Every segment has two colour correction layers available by default, the Base and Master layers. The Base layer is a fixed colour adjustment layer at the beginning of processing The Master layer is a fixed colour adjustment layer at the end of processing.
194 Effects effects from either layer by adding/removing the appropriate IDs from the preferences file. See appendix Effect Identifiers for a list of available effect you can use in these preference settings. Effects Layer The Effects layer, at the top of the effects tree, contains no effects by default. When you add user effects to a segment they will be listed here.
Colour Correction Layers 195 Layers are always added to the active segment only, they are not added to selected segments or any other segments. Rename a CC Layer by selecting it and pressing the F2 key. Layer Router It is possible to use the layer router (at bottom of every layer) to set various layer specific parameters, including how layers are composited (blended) on top of each other. The Router has an effect tab containing the parameters available.
196 Effects Lighten Darken Hardlight Softlight Screen Overlay These modes will be familiar to Adobe Photoshop users. Managing Layers and Effects Re-ordering Layers You can re-arrange any layers and effects that you have added to the effects tree, not including the default 'effects', 'base', or 'master' layers. Effects are processed top-down as they appear in the effects tree, so by re-ordering effects you are changing the order that they are processed in.
Managing Layers and Effects 197 automatically shuffle down and be renumbered accordingly. You cannot place any effects after the 'master' layer. The master layer is always the last layer in the pipeline. Renaming Layers To rename a CC layer : 1. Select the layer (it is highlighted) 2. Press the F2 hot key to edit the layer name 3. Rename the layer and press ENTER when done. You cannot rename the Base or Master layers. Deleting Layers To delete a layer : 1. Select the layer (it is highlighted) 2.
198 Effects You can use the control panel Undo button, or press CTRL+Z on your keyboard to revert mistakes. If you have multiple colour correction layers, numbered 1 - N, and you remove one of them, the remaining layers will be renumbered to reflect their position within the effects tree.
Applying and Editing Effects 199 View Selected Hot key : e You can change the view mode from Play O utput to Play S e le cte d by Using the drop-down list selecting the option from the view mode drop-down list or by holding down the CTRL key when you double-click on an effect to edit it. In this mode, you will not see the cumulative result of all the effects in the effects tree but will see only the cumulative result up to the effect that you are currently editing.
200 Effects The bold indicator in the effects tree signals that the effect has been edited, not that the effect is active. User effects can be active by default and will not appear bold unless the effect parameters are edited. You can reset an effect back to its original parameters by selecting the effect, so that it's highlighted, and pressing the R e se t Effe ct button on the effects toolbar. You can also reset an entire layer, which will recursively reset all the effects within the layer.
Applying and Editing Effects 201 Adding User and Layer Effects You can add individual effects to any segment in your composition in addition to the existing colour correction layers. These effects can be added in two ways, as user effects or as layer effects: User effects are added to the Effects layer at the top of the effects tree. Except Composite effects which are added at the bottom of the effect tree (below the Master layer). Layer effects are added as new layers in the effects tree.
202 Effects active segment. This is because the effects tree of each segment can be different, i.e. have a different number of layers and effects, and layers are added at a specific position within the tree, i.e. under the currently selected layer. However, User Effects on the other hand are added to all selected segments, and only when no segments are selected is the effect added to the active segment.
Adding User and Layer Effects 203 To select multiple effects, hold down the CTRL key on the keyboard while clicking them (refer to the section on selecting timeline segments for alternative methods). By selecting segments you are overriding the active segment, so if you want to also add the effect to the active segment you have to select it. Selected segments are in orange. If any segment is selected on your composition, the scrollbar is also shown as orange.
204 Effects Add User Effect (to Effect layer at top) Add Restoration Effect. This is a DVO Dust+Fix Effect layer Delete Effect or CC/FX Layer Reset Effect or CC/FX Layer parameters User Effects Adding the effect as a user effect will add the effect to all the selected segments. The effect will appear in the Effects layer of the effects tree: Layer Effects Adding the effect as a layer effect will add the effect only to the active segment, ignoring other selected segments.
Adding User and Layer Effects 205 Composite Effects Like an normal Effect, a Composite effect is added to all the selected segments. It appears at the bottom of the effect tree. Transition Effects Transition effects can be added manually between two adjacent segments on the timeline. An imported EDL may also include transitions between shots. Enable the T ransition button - transitions will not be rendered and displayed unless the T ransition button is enabled.
206 Effects Valid Transition A valid transition will be shown in white, as a diagonal line between the two segments, with a vertical line on the start and end frames. Invalid Transition If there is not enough material for the transition as set (insufficient handles), then that part of the transition will be displayed as red : You can fix an invalid transition by going into trim mode and either : Trimming the shot that requires the extra handles for the transition.
Transition Effects 207 Selected Transition A selected transition is displayed as orange. If the transition is fully valid, i.e. there are sufficient handles in the tail of the first segment and head of the second segment to carry out the transition, then the line denoting the transition will be white, as in the image above. If there are insufficient head or tail overlap frames then the line be red, instead of white, over those frames which have insufficient underlying material.
208 Effects editing the dissolve now : A blue box will now appear around the transition to show that it is the active selection, and the effects tree panel will change to display the transition effect: To edit the parameters of the transition effect you simply have to double-click on the effect in the effects tree panel, as when editing any effect. Retime The retime effect allows you to change the duration of a shot, either adding or discarding frames as necessary.
Retime 209 Parameters Mode The retime Mode determines the accuracy of the retime calculation for the final output sequence. It can be set as : Nearest Neighbour Bilinear Interpolate - more accurate Scale The Scale determines a percentage retime speed. Note that setting a scale to zero (0) lets you adjust a clip duration manually by stretching it using the cursor. Frame Pin The Frame Pin determines which frame in the source stays constant for the output sequence. © 2014 Digital Vision UM-2014.
210 Effects Brightness Regions The Brightness Regions effect allows separate adjustness of the shadows, midtones and highlights. It is available as a CC Layer, an Effect Layer or a User Effect. From the Control Panel, the trackballs adjust black, mid and highlight Brightness Regions when the Color panel is set to Brightness Regions. The thresholds for black, mid and white can be altered from the top menus by pressing B.M or W respectively.
Brightness Regions 211 Printer Lights Printer Lights are named after the laboratory process of filtering light during the film printing process, to control the colour of the film. The numeric values displayed in the GUI and on the panels can be calibrated in the Preferences pages, so that they match a local film lab. The number of points per f-stop can also be calibrated.
212 Effects Use Density with a dynamic to grade a fade to black. Gamma Matrix The Gamma Matrix tool applies a matrix colour transformation to your image sequence. A gamma correction factor can also be set before and after this transformation is applied. You can define and apply presets for both the gamma correction and the colour matrix. The gamma function applied here is based on a standard power law mathematical expression.
Gamma Matrix 213 Switch to the Gamma settings using the Gamma button. Pre/Post Gamma A gamma correction can be applied to the sequence before (pre) and/or after (post) any colour matrix is applied. Pre Gamma The Pre Gamma slider applies the specified gamma to the image before the colour matrix is applied. Post Gamma The Post Gamma slider applies the specified gamma to the image after the colour matrix is applied. Pre/Post Gamma Presets Below each gamma slider are gamma preset buttons.
214 Effects preserve The preserve setting leaves negative values as they are. The processing chain is : -val -> process -> result clamp The clamp setting clamps negative values to zero (0). The processing chain is : -val -> 0 -> process -> result process The process setting causes negative values to be processed as if positive. The processing chain is : -val -> +val -> process -> -result Clamp at 1.0 The Clamp at 1.0 button causes values greater than 1.0 to be clamped to 1.0.
Gamma Matrix 215 Switch to the Matrix settings using the Matrix button. The Matrix page consists of three sections : Presets on the left Matrix settings Matrix configuration on the right Matrix Presets Any matrix presets you have defined will be listed in the first column. Pressing any preset button will load the preset values into the matrix. See the Presets section for details on configuring and positioning preset buttons.
216 Effects each component value stays the same relative to the others, thus keeping the output luminance the same. Transpose Setting Transpose causes the matrix to be transposed before being processed. Note that the matrix settings will not change when Transpose is enabled. However, it is transposed internally before use. Presets You can define presets for both the gamma settings (pre and post) and the colour matrix settings. These can be made available inside the Gamma Matrix tool as preset buttons.
Gamma Matrix 217 ParamPresets { ... GammaMatrix { PresetID1 { ... } PresetID2 { ... } ... } } Each preset has a unique identifier, shown above as PresetID1, PresetID2 etc. These unique names are used to reference the preset when placing it as a button in the tool interface (see the Preset Layout section). By convention, these preset identifiers are named in a style that identifies their usage i.e. preGamma16 postGamma20 matrixIdentity matrixRGBtoXYZ etc.
218 Effects Matrix Presets A matrix preset specifies each red, green, blue and alpha column value as follows : matrixID { red { red green blue alpha } green { red green blue alpha } blue { red green blue alpha } alpha { red green blue alpha } transpose } Where defines a floating point value e.g. matrixTestSample { red { red 0.782000 green 0.366000 blue 0.
Gamma Matrix 219 Preset Layout Location : C:\Phoenix\2014_1\root\ParamLayout.configs The ParamLayout.configs file arranges various tool interface elements parameters, pages, buttons etc. File Format All layouts are wrapped inside the paramConfigurations tag. The Gamma Matrix effect layout is defined in a section wrapped with the tag GammaMatrix. Note that each tool (e.g. GammaMatrix, HLS, DvoRegrain etc.) has parameters delimited by square brackets ([,]).
220 Effects Hue Curves Hue Curves is a powerful effect that allows you to modify the hue, lightness or saturation (HLS) of a shot using an interactive graph. Parameters Hue / Lightness / Saturation The Hue, Lightness and Saturation toggle buttons on the left of the graph select how the graph affects the image. Hist The Hist button shows or hides the histogram display in the graph window.
Hue Curves 221 Add Point / Delete Point You can Add or Delete points from the graph by toggling these buttons on, and then clicking on the graph. This allows finer manipulation of the area of the image affected by the effect. Scale The Scale slider adjusts the scale of the graph shown. Discussion Hue Curves is the only tool that utilizes the top menu of both the Color and the Image panels. The top buttons on the Image panel select one of six preset points on a spectrum.
222 Effects one color retained.Color panel [Menu 1], labeled All, selects all six points and configures the Hue Curves to work the same as the HLS tool. This might seem redundant but the default processing path puts Hue Curves first in a layer and HLS as last. Hue Curves All is useful for creating duotone and split tone effects in one layer, whilst HLS modifies the layer correction as well as the natural color.
Soft Clip 223 The clips are useful for removing colors introduced by clip settings in a telecine or camera as well as creating color offsets in the highlights and shadows. Effect Notes You can store all, or a chosen subset, of the effects on a segment (including any keyframes) using effect Notes. This is available via the ..Memories button (at the bottom right of main screen). Storing and Recalling a Note In Memories/Notes view, store a note for the current shot by pressing the Store button.
224 Effects Notes are placed in the the notes library and display a thumbnail. Hovering your mouse cursor over a note will display the note contents : Selecting a note will display the note effects in the note effect tree (top-right). © 2014 Digital Vision UM-2014.
Effect Notes 225 Lens Distort The Lens Distort tool can fix and undo camera lens distortion. A number of presets are included for various GoPro cameras. Presets Presets are predefined settings organised as easy to apply button actions. A preset exists for some commonly used GoPro camera formats e.g. GoPro Hero at 1280x960 etc. Each preset will set up the Distort parameters described below. Unity This removes all correction and disables Lens Distort.
226 Effects GoPro Hero 1920x1080 This preset is the tool default. This means that when we reset the tool, it resets to the default value as per the GoPro Hero 1920x1080 preset. Distort Parameters Application Choose to disable tool, add or remove distortion. The default is Remove Distortion. The Off setting (tool disabled) is equivalent to the Unity preset. Amount The amount of correction to apply (strength). © 2014 Digital Vision UM-2014.
Lens Distort 227 Radius The Radius determines the distance before we see distortion. Scale This scales the source image from its center. Center X/ Center Y The center point of the distortion. Default to image center point. A1 A2 A3 / B1 B2 These define the lens distortion coefficents. A1 deals with the major "fish-eye" style distortion while A2 and A3 are more distant, edge distortion. B1 and B2 deal with distortion considered as pans in Z space (or up and down).
Warper 17
229 Warp 4 and Warp 9 are sophisticated image warping tools. They can be used to fix geometric issues and distortion within image sequences. Both have a broad application but are of particular use when working with Stereoscopic 3D sequences. The two Warp tools are : Warp 4 The Warp 4 warper is a classic four point warper and allows warping through the manipulation of the four image corner points.
230 Warper The Warp 9 warper makes it very easy to bend the image forward or backwards in depth. This is done by moving the control points in X only. By moving selected areas you can minimise frame violation (where objects are too far forward in space), thus limiting the effect on the rest of the image. Warper Basics Both Warp 4 and Warp 9 warpers share common features. A warp is created by selecting and moving one or more control points.
Warper Basics 231 Control points change their look when used : An unselected control point. A selected control point A control point with a mouse cursor proximity indication. Mouse Control A control point is indicated in red when your mouse cursor is within range.
232 Warper The Warp 4 GUI controls The Warp 4 GUI controls are shown above, and include separate sliders for the X/Y movement of each Warp 4 control point. Four points leading to eight sliders. The Warp 9 GUI controls are similar but have eighteen sliders corresponding to X/Y for all nine control points.
Warper Basics 233 The Precision Panel has a 4 Points toggle to enable this mode. In effect, the Warp 9 tool changes to a Warp 4 : Frame Violation For frame violation issues, the Precision Panel has mode that lets you modify all left points in X, all right points in X, all top points in X etc. Use the Left, Top, Right, Bottom buttons to select the row of affected control points Then move all the selected points in the X or Y axes using the All Left X or All Left Y, or All Top X, All Top Y etc.
234 Warper You may want to hide warper boundary artifacts in some circumstances and the Scale control can push these outside the visible frame. Channels Values : Default : RGB , R , G , B RGB You can choose to warp only a single RGB channel or (by default) all three. This can be useful for cases (e.g. stereoscopic sequences) that have distortion that differs in one or more colour channels. Reset Selected Points This button will reset any selected control points.
DVO Effects 18
236 DVO Effects DVO stands for Digital Vision O ptics, a collection of image processing tools running in software on generic computer platforms. DVO effects are optimised to make use of the latest multithreading, CPU and GPU computer technology. With the DVO toolset, Digital Vision brings twenty years of experience in developing high performance image processing algorithms to the world of data-centric restoration, digital intermediate and commercial work.
Introduction 237 The selector displays the groups and effects as a drop-down list : Applying a DVO Effect Once you select the DVO effect, you can add it to the active timeline section as : Part of the Input FX group or A new FX Layer Adding the DVO effect inserts the selected DVO tool at the appropriate place in the Effects Tree to the left of the timeline. Input FX Press the Input Fx button to add the selected effect to the Input FX group : © 2014 Digital Vision UM-2014.
238 DVO Effects In the example below, the selected effect (here DVO Flicker) is added at the top of the effects stack in the Input FX group. Action : Effects Tree Result : FX Layer Press the FX Layer button to add the selected effect to the FX Layer group : In the example below, the selected effect (here DVO Flicker) is added to the FX Layer group. An FX Layer gives you extra layer tools such as a Keyer and Shapes.
Introduction 239 Additionally, a segment with effects applied is displayed in a different colour to a segment with no effects applied. See the Compositions section. © 2014 Digital Vision UM-2014.
240 DVO Effects DVO Stereo Fix DVO Stereo Fix is an advanced stereo enhancement tool designed to resolve colour matching and geometry alignment issues with stereo sequences. The tool can address problem areas when they appear over the entire image frame (global correction) or in different areas inside a frame (local correction). The tool will be able to correct most problems automatically but where this is not possible, controls are available that allow straightforward manual correction.
DVO Stereo Fix 241 A clip with Multi-track enabled will display edge markers as shown below : Adding the Tool DVO Stereo Fix must be added as an Input FX tool : Overview The tool has the following basic control layout, with the two primary tool areas being : Colour matching controls Alignment (geometry) controls © 2014 Digital Vision UM-2014.
242 DVO Effects View Controls Mute Mutes both the colour match and the align match, as well as any associated border/blanking modes. The parameters in this section regarding view and orientation remain active i. e. SwapEyes/ViewMode/Mirror/Flip. This can be used to compare before and after while correcting any necessary mirror/flip. Swap Eyes Swaps left and right eye on output. All parameters referring to either left or right are associated with the source left and right tracks.
DVO Stereo Fix 243 Mirror Controls The Mirror Controls will automatically determine and correct for a mirrored left or right eye. If required, manual correction can also be set here. Auto Mirror Values : Default : Disable , Left , Right Right Automatically determines mirror and flip between left and right eye. If we detect a requirement to mirror or flip, it is applied to the specified eye. This automatic correction will follow any manual mirror or flip settings applied to the other eye.
244 DVO Effects Colour Matching These controls allow us to correct the colour match between the left and right eyes. Colour Match Values : Default : to Left , to Right to Left Sets colour processing to match the specified eye. Setting this to "to Left" will process the right eye to match the left. Scene Mode Values : Default : Disable , Uniform , Non-Uniform Non-Uniform Sets the colour matching mode for a scene such that the scene is analysed and processed equally throughout (all frames).
DVO Stereo Fix 245 Scene Mode requires proper scene edits as normally one scene will behave very differently to another. Frame Mode Values : Default : Disable , Uniform , Non-Uniform Disable Sets the colour matching mode which is applied per frame individually. The processing and modes are the same as described above for Scene Mode. This option can be used as an alternative to Scene Mode processing if it appears that colour differences change on a frame by frame basis.
246 DVO Effects Colour Match Safety Values : Default : 0.0 - 1.0 0.5 This parameter sets a general safety level for the Scene and Frame Mode colour matching. Colour Match Safety applies to black levels as well as the analysis and variability of the spectrum transform applied. This does not include Local Mode, which uses Area Size and Sensitivity. Alignment These controls allow us to correct the alignment (or geometry) between the left and right eyes.
DVO Stereo Fix 247 Morph Spatially variable adjustment with linear variability over the image. Like Scene Mode colour matching, Align Mode requires proper scene edits as normally one scene will behave very differently to another. Manual V-Offset Values : Default : 0 - 128 0 Manual adjustment of the alignment. Borders The Borders controls let us correct any effect alignment has on frame borders. Border correction also depends on the Blanking configuration (see below).
248 DVO Effects Blanking Blanking is closely linked to the Borders control and allows us to control how the frame borders are blanked. Blank Setup Values : Default : Auto , Source , Output Auto Blank Setup lets us choose if blanking is setup by automatic analysis or manually in relation to the source or the output. Blanking affects the border processing and and its effect will depend on the Borders mode. Auto Use automatic analysis to define the blanking amount. Source Allow manual blanking setup.
DVO Stereo Fix 249 DVO Dust DVO Dust is a fully automatic and highly accurate film dirt, dust and random scratch concealment and video drop-out removal system. It can remove around 90% of visible imperfections without introducing unwelcome artifacts. DVO Dust utilises a pioneering set of processing algorithms and new filters with the Digital Vision Emmy award-winning PHAME motion compensation technology.
250 DVO Effects Enable Basic The Enable Basic toggle button allows you to enable/disable basic mode. This mode uses presets to automate and hide much of the effect complexity. When you edit any of the settings in the processing or setup tabs the basic mode becomes automatically disabled. Similarly, when you select a mode from the basic modes, all settings will be automatically adjusted to fit the selected mode and basic mode will be automatically enabled.
DVO Dust 251 Enable Black - for black/dark spots Enable White - for white/light spots Both can also be enabled at the same time. Default : On These options also appear in the Processing tab and they are linked (changing one location affects the other). Note that if neither button is enabled then DVO Dust will not filter at all! Processing Filters The filters used by the process are very important in determining the final processed quality.
252 DVO Effects Spatial / Temporal / Mixed Filters Values : Default : Spatial, Mixed 1, Mixed 2, Mixed 3, Mixed 4, Temporal 1, Temporal 2, Copy Prev, Copy Next, Bypass Mixed 3 The following generic filter groups are defined. Spatial All filters named Spatial are filters that work only within the current frame (or field if the material is interlaced), i.e. it has taps only in the current frame. These filters are intended for very small spots.
DVO Dust 253 Temporal Filters named Temporal have both spatial and temporal taps but with more temporal than spatial. This will enable the DVO Dust to remove any size of spots. These filters may need more careful use, to not give unwanted artefacts. The filter called 'Temporal 2' is a special temporal filter that uses minimum amount of information from the current frame. This means that the processed signal will not vary as much as the normal temporal filter in terms of luminance/intensity.
254 DVO Effects Filter Size This sets the size of the filter on the current frame, so it is only required for spatial and temporal filters. Use the numeric slider to define the filter size when adaptive filter sizing is not enabled. The larger the size of the dirt the larger this value should be. Range : Default : 0 to 15 7 Adaptation The A daptation toggle button allows you to turn the adaptation processing on/off.
DVO Dust 255 current, and next field/frame. Default : On Having this option on ensures higher sensitivity and reduces artefacts down to a minimum. For maximum filtering, the control may be set to off. MDC filter configuration is done inside the Setup section. Edge This controls material edge protection. Edge protection acts as a safety measure and reduces the possibility of false scratch detection. Some material may require this protection e.g.
256 DVO Effects Enable Black / Enable White White/black dirt removal can be enabled via the corresponding toggle button. Enable Black - to remove black/dark spots Enable White - to remove white/light spots Both can also be enabled at the same time. Default : On Note that if neither button is enabled then DVO Dust will not filter at all! Use Adaptive If on, sets white/black contrast to be adaptive.
DVO Dust 257 or set the contrast threshold to a low value or set the contrast threshold to a high value Contrast Adaptation Limits The contrast adaptation low and high limit controls only work in the adaptive mode and are used to specify the range of contrast settings that the adaptation is allowed to work in. The upper limit is normally set to the non-adaptive contrast setting you normally use. If both limits are set to the same value the result is exactly the same as when using non-adaptive contrast.
258 DVO Effects Other Settings Signal This selects the signal (channel) within which scratches/dirt will be detected. Values : Default : Y,U,V,R,G,B,Y+U+V Y The adaptation works on one channel only, normally 'Y'. By setting the signal to 'R', for example, when only red scratches are visible, the DVO Dust will more precisely detect the dirt, minimizing the risk of affecting actual picture content. Motion Estimation This drop-down button allows you to choose the motion estimation.
DVO Dust Values : Default : 259 Inside, Across, Bypass inside Channels This control is for selecting the channels from which dirt will be removed. Normally the processing should be set to all channels, but in some cases, especially with small dirt, better results can be achieved by processing only one or two of the channels. Values : Default : Any combination of R,G and B. R,G,B Setup View Turning on the Vie w toggle button will provide an overlay/preview showing detected dirt.
260 DVO Effects Values : Default : Dirt On Luma, Dirt On Red Input, Dirt On Red Output, Difference Dirt On Luma Where : Dirt On Luma - The detected scratches/dirt are high-lighted on a monochrome input picture with lowered luminance. Dirt On Red Input - The detected scratches/dirt are shown with red on the unprocessed input signal. Dirt On Red Output - The detected scratches/dirt are shown with red on the processed output signal.
DVO Dust 261 handles of a scene/shot. Normally, the history frames accumulated will terminate on a shot edit/event (start/end edit). There may be extra frames available (handles) before or after the start and end edit points of a shot however and these will be included as history if Use Handles is set. If handles exist, full and precise processing will be available from the first frame of a clip. Default : On The remaining controls on the Setup page are used to optimize the processing further.
262 DVO Effects Values : Default : Spatial, Mixed 1, Mixed 2, Mixed 3, Mixed 4, Temporal 1, Temporal 2, Copy Prev, Copy Next, Bypass Temporal 1 When the Max Filter is enabled, the normal filter used for the adaptive filter sizing will take care of the small dirt. When the upper size limit is reached it will automatically switch over to the filter selected here. The filter used here would typically be a larger temporal filter.
DVO Dust 263 MDC Scale The M DC (Motion Detection Current) toggle button in the Processing section determines whether to look at just the previous and next field/frame, or to look at all of the previous, current, and next field/frame. Only used if MDC (Motion Detection Current) control enabled in the Processing section. The higher the scale setting, the more filtering (less impact of the MDC algorithm).
264 DVO Effects Temporal The temporal settings apply only if Temporal Adaptation has been enabled in the Processing tab. The purpose of temporal adaptation is to exclude falsely detected dirt from processing by comparing it with the previous frame's detected dirt within a sizable window. Strength The strength level determines the amount of influence that the previous frame's detected dirt will have on exclusion of dirt detection in the current frame.
DVO Dust 265 By increasing the hit growth the processor is told that the dirt is bigger than it actually appears. The result is that the soft edges also are processed. Mode Absolute U se R e lativ e button off. The hit mask for all sizes of scratches are grown by the same amount as specified with the strength control Range : Default : 0 to 4 4 Relative U se R e lativ e button on (default) In relative mode large scratches cause a larger growth.
266 DVO Effects DVO Fix DVO Fix facilitates the repair of specific areas and imperfections in a single frame, such as scratches, hairs and blotches. It also works for repairing larger damage such as punch holes, film tears and full frame reconstruction. Using a brush or shape tool to select the damage, DVO Fix automatically repairs the selected area by comparing it to adjacent frames and applying motion compensation to recreate missing detail plus grain compensation to blend-in the recreated information.
DVO Fix 267 Rate The rate tool applies to when you drag the brush, affecting how many brush 'stamps' are performed during the dragging motion. Range : Default : 2 to 1000 10 Rect Menu The rectangle tool displays a cross-hair in the viewer, allowing you to draw a rectangle around the area that you want to fix. As soon as the rectangle has been drawn the DVO Fix effect will start processing.
268 DVO Effects Erase The Erase button becomes enabled as soon as a fix is made to the current layer. Default : Off Turning on the Erase button will turn the brush into an eraser and applying this to the fixed area of your image will 'undo' previous fixes. You cannot erase changes to a mixed-down layer. Mixdown The Mix Down button becomes enabled as soon as a fix is made to the current layer. Pressing Mix Down will make the changes to the current layer permanent, "burning" them into the image.
DVO Fix 269 Enable Grain will turn on the grain compensation. This adds grain to the 'fixed' area as appropriate, blending the changes into the scene. Default : Off The parameters are the same as for the DVO Regrain effect. Colour The drop-down list will default to the project setting for the input format. You need to set this control according to the material that you are working with. If the footage was shot with a video camera, select a linear format.
270 DVO Effects DVO Flicker DVO Flicker analyses the image sequence to remove brightness and chrominance fluctuations. These may be caused by varying exposure time, unsynchronised light sources, telecine tranfer, aging film stock and/or film chemical related issues. Chrominance flucuations are often termed chroma breathing. The effect is enabled and the colour mode of the input set via the basic setup options : Setup The main configuration options are described below.
DVO Flicker 271 Variation Control Numeric slider, value range 0-1. Range : Default : 0 to 1 0.5 The Variation Control parameter sets how precise and controlled we are when we make adjustments for flicker. The higher the value we use, the more care is taken. Lower values allow for larger adjustments (less control). Lower values (allowing larger adjustments) are best for simple scenes.
272 DVO Effects Black Level Save Black Level Save lets us enable specific processing to preserve black levels in the sequence. If enabled, the Low and High parameters are used to assign the level of processing performed at the lower (blackest) end of the input sequence. Both Low and High are 10 bit numbers and limited to values between 0 and 100 (out of the full 10 bit range, 1024).
DVO Flicker 273 DVO Print Align DVO Print Align uses a fully automatic process to align RGB separation prints, even if the offset varies over time. Basic Setup Enable This toggle button allows you to enable/disable the effect. By default, as soon as the effect is added it is applied/enabled. Colour The drop-down list will default to the project setting for the input format. You need to set this control according to the material that you are working with.
274 DVO Effects This is normally set to Green as more luminance (detail) is available in the component. Fixed Colour Select the component (Red, Green or Blue) to which all other should be locked. Values : Default : Red, Green, Blue Green Normally select the component that is most aligned/stable. Max Offset Set the maximum adjustment that can be done in pixels. Range : Default : 0 - 1000 100 pixels Analyze Mode Determines how extensive an analysis is performed.
DVO Print Align 275 DVO Scratch DVO Scratch processes vertical/continuous scratches. These are typically those not being detected by dust/dirt removers, which are looking for random defects in the picture. The process is fully automatic and has an advanced detection algorithm with a fill-in result far superior to the normal process of hiding the defect using information from both sides of the scratch. Basic Settings Enable This toggle button allows you to enable/disable the effect.
276 DVO Effects Y Luminance detection only (fastest). R+G+B Separate detection in R, G and B channels. Processing of each channel is based on the combined result from the detection. R,G,B Separate detection in R, G and B channels. Each detection channel affects the corresponding processing channel. Column Aggressiveness First stage detector aggressiveness, which determines what columns (and pixels) are selected as scratch candidates to be processed. The higher the setting, the more aggressive.
DVO Scratch 277 Scratch Width Sets the width-profile for scratches. Values : Default : Thin, Normal, Wide Normal If detection/processing is insufficient in areas which have many scratches close by, a Wide setting is recommended. Image Noise Level Characterises the level of noise in the image. Image noise will affect the accuracy of detection. Range : Default : 0.0 - 1.0 0.3 Processing Parameters Colour Mode This determines the colour mode of scratches we detect and process.
278 DVO Effects Base Strength Determines base strength of the processing. This affects properties such as smoothness (as might be noticed in wide scratches). Range : Default : -3 to +3 0 Residual Strength Determines the strength of processing the "residuals" e.g. very jagged scratch may need additional processing. Range : Default : © 2014 Digital Vision 0.0 - 1.0 0.5 UM-2014.
DVO Scratch 279 DVO Steady DVO Steady is used to reduce unsteadiness due to film weave during scanning or camera shakes during capture of footage. A two pass solution, including advanced motion estimation, provides better separation of random instability and pan/tilt movements. DVO Steady can be used for both film and progressive video material. The two passes are : Analyze - data collection Processor - actual processing Analysis The first pass collects analysis data from the pictures.
280 DVO Effects Mode, Size and Density Mode The analysis looks at the complete frame with selectable focus instead of locking to a single point. This has several advantages, especially in archiving/ restoration applications with time constraints and problems like camera shake and film stretching. The Mode control determines where the analyzer focuses within the frame.
DVO Steady Size Setting Suitable For Small SD - low/normal motion HD/2K - low motion Frame Only mode (any format) Medium SD - normal/high motion HD/2K - normal motion Default Large HD/2K - high motion 4K - low/normal motion 281 Density Determines the amount of analysis within the frame. Values : Default : Small, Medium, High Medium Low - Lowest safety margin - less accurate Medium - Normal safety High - Increased safety margin, more accurate Processing time increases with the density.
282 DVO Effects ROI Size This is the number of pixels from each edge where the frame (active area) starts. Range : Default : 0 to 2048 0 pixels Only borders which have visible “non-clipped" film frame edges must (can) be used and Region of Interest must be set to include those. Processing Processing parameters are applied to the pictures in accordance with the result from the analyze pass. Basic Setup Enable This toggle button allows you to enable/disable the effect.
DVO Steady 283 the footage was shot with a video camera, select a linear format. If this control is not set correctly the material may not be processed properly. Default : From Project Analyze This toggle button enables the analysis function. Currently, once analysis is complete, it should be turned off to enable rendering. After analysis, if you change any of the processing parameters you will need to re-run the analyse step.
284 DVO Effects Used to set how much the unsteadiness should be decreased, with separate controls for horizontal (X) and vertical (Y) reduction. Range : Default : 0 - 100 100 % Reduction is typically set to 100% to achieve maximum correction. A bit of residual unsteadiness might be necessary to create a more natural result sometimes e.g. a camera shaking during frame capture resulting in motion blur.
DVO Steady 285 Quality Safety Adaptively reduces the unsteadiness correction in accordance with an analyze quality measure recorded during the analyse pass. Range : Default : 0 - 10 3 Under certain circumstances, the analysis may be complex and more difficult. This is signaled by a quality value. When the analysis quality is low, errors are more likely to occur.
286 DVO Effects Specific - use settings as per Max Size parameter Size Sets the mask size for Specific mode. Range : Default : 0 - 100 20 Soft Border When Enabled (default), creates a soft border where the picture has been clipped. A soft border can give a more natural look. Zoom Enlarges the picture according to selected mode.
DVO Steady 287 The Blanking Mode determines whether to use a masked or a full image. Set blanking mode to Specific and specify Blanking Size if blanking (mattes) should be added to the processed pictures. Disable - Use complete image Specific - Apply blanking (mattes) according to Blanking Size controls - Default Border Size Range : Default : 0 - 2048 0 pixels This specifies the number of pixels from the each edge of the picture.
288 DVO Effects DVO Alias DVO Alias takes care of the negative side effects of out-of-band vertical frequencies that show up on-screen as line flicker or “twitter”. This is commonly seen in footage containing venetian blinds or car grills. Parameters Enable This toggle button allows you to enable/disable the DVO Alias effect. By default, as soon as the effect is added it is applied/enabled.
DVO Alias 289 DVO Aperture The DVO Aperture tool is a high quality frame-based spatial filter that increases the apparent sharpness of the picture. This is a critical function when dealing with film scans and compensates for the loss of high frequency information generated in the film scanner.
290 DVO Effects DVO Brickwall DVO Brickwall helps reduce signal entropy making compression easier. It provides an extremely sharp cut-off beyond a user defined frequency, enabling you to create an accurately defined spectral content of material for various types of compression pre-processing. This means that compression artefacts can be reduced and the quality of the compressed image can usually be greatly improved. Enable This toggle button allows you to enable/disable the DVO Brickwall effect.
DVO Brickwall 291 Size Values : Default : Small, Normal, Large Normal Cutoff This numeric slider allows you to precisely control the horizontal filtering of the luminance, as a percentage of the maximum bandwidth. A setting of 100% equals a full bypass. Horizontal Range : Default : 10 to 100 70 Vertical Range : Default : 10 to 100 70 Sharpness Range : Default : © 2014 Digital Vision 0 to 15 0 UM-2014.
292 DVO Effects DVO Clarity DVO Clarity is the fifth generation noise and grain reducer from Digital Vision and is designed to automate as much configuration as possible while still producing the highest quality output. The new DVO Clarity algorithms are designed to preserve detail and keep the original image sharpness, while being artifact free.
DVO Clarity 293 Process The Process group sets the basic processing parameters for the DVO Clarity algorithms. Amount Range : Default : 0 to 100 75 The Amount parameter sets the overall level of noise/grain reduction. Aggressiveness Range : Default : 0 to 100 50 Aggressiveness sets how far and how strongly we attempt to reduce noise/ grain taking motion into account. The higher the value the more motion we ignore.
294 DVO Effects Less - try and preserve less detail More - try and preserve more detail Preservation Range : Default : 0 to 100 75 Given the Base Level, the Preservation parameter will fine-tune detail preservation. Higher settings preserve more detail. Detail Preservation Workflow Analyse the shot and note the amount and size of any noise artifacts (e.g. grain size). Based on this and the level of detail in the shot, we can choose settings for the Details parameters.
DVO Clarity 295 Intensity per Channel The intensity of noise and grain might be very different in the low, mid and high-lights of the picture. As part of the automatic analysis undertaken for each shot, DVO Clarity calculates the intensity distribution of noise/grain in each component (red, green and blue). The calculated distribution is displayed as a graph. The graph is calculated per shot. © 2014 Digital Vision UM-2014.
296 DVO Effects DVO Grain Digital Vision DVO Grain algorithm is specifically designed to manage the look of film grain and to reduce unwanted electronic noise in film or video originated material. Uses include restoration, compression pre-processing, and image processing of new feature film, television and commercial material.
DVO Grain 297 Enable Basic The Enable Basic toggle button allows you to enable/disable DVO Grain basic mode. When you edit any of the settings in the Processing or Setup tabs basic mode becomes disabled automatically. Similarly, when you select a Mode from the basic modes, all settings in the Processing or Setup tabs will be adjusted automatically to fit the selected mode and basic mode will be automatically enabled.
298 DVO Effects This makes it possible to mix in some of the original grain into the processed picture for a better film look. Range : Default : 0 to 100 100% The default value of 100% results in an output with full grain removal, whilst a setting of 0% results in an output equal to the input image. This control is also available in the Processing section and changes here are mirrored there. Processing Filters Temporal and spatial filters are available on the Processing screen.
DVO Grain 299 Temporal Filtering The temporal or recursive filtering is the most effective filter in terms of reducing grain/noise. Temporal Strength Use the numeric sliders to set the amount/level of temporal recursive filtering in each channel. Range : Default : 0 to 15 7 Do not use higher settings than 11-12 except in extreme situations. Also note that both Chroma trim and Pos/Neg trim (see below) will add their values to these set strengths.
300 DVO Effects In addition to the above controls, the motion sensitivity control on the Setup section adapts the temporal filtering in respect to grain size and intensity Spatial Filtering Edge-preserving spatial filtering complements the adaptive temporal filters by processing grain and noise in portions of the image that are detected as being in motion, while leaving non-moving areas unaffected.
DVO Grain 301 Use the spatial threshold sliders to adjust the setting for each channel. If there is a high enough intensity/contrast (e.g. an edge) between the grain/ noise and surrounding pixels, filtering will not occur. A low setting will only affect low intensity pixels (flat areas). A high setting will start to affect high intensity pixels (edges) Spatial Global This enables filtering of the whole picture by switching off the motion adaptation.
302 DVO Effects Starting with enabling Basic mode and selecting one of the available preset modes will automatically set up spatial threshold/size Chroma Trim The Chroma Trim controls are used to adjust the grain/noise reduction on each selected colour. This allows for the boosting or cutting of both the spatial and temporal filter settings within the selected colour. Range : Default : -8 to 7 0 The colours 1, 2, 3, are selected via the key tab, as described in the Chroma Adaptation section below.
DVO Grain 303 in the Setup section, use the Pos/Neg Trim control to adjust the noise reduction levels equally for all RGB channels in highlights (Neg) or lowlights (Pos). Range : Default : 0 to 7 0 Having a temporal strength of 7, setting up neg mode to neg and the pos/neg trim to +2, will set the temporal strength to 7+2=9 for highlights. Processing is slower using trims.
304 DVO Effects The motion estimation drop-down button allows you to set the motion estimation to : Range : Default : Off, Normal, Best Normal The Best setting is good for fast motion but is slower than Normal. In almost all cases, Normal or Best should be used. Key (Chroma Trim) The Key (chroma adaptation) function can be used to adjust the levels of grain/noise reduction in user selectable colour regions.
DVO Grain 305 Click a colour picker toggle button to enable/disable colour picking from the displayed monitor image : Enable picker Pick area of colour from image using the mouse You can also select the selected hue by clicking on the hue bar with the left mouse button and dragging the hue bar left and right : Drag on hue bar and/or orange box indicators to alter hue selection.
306 DVO Effects Setup The Setup screen allows various other effect parameters to be configured. Colour The drop-down list will default to the project setting for the input format. You need to set this control according to the material that you are working with. If the footage was shot with a video camera, select a linear format. If this control is not set correctly the material may not be processed properly. Default : From Project History Required The DVO Grain effect is recursive.
DVO Grain 307 Use Handles The Use Handles button controls whether the history includes available handles of a scene/shot. Normally, the history frames accumulated will terminate on a shot edit/event (start/end edit). There may be extra frames available (handles) before or after the start and end edit points of a shot however and these will be included as history if Use Handles is set. If handles exist, full and precise processing will be available from the first frame of a clip.
308 DVO Effects Spatial Filter Spatio - Temporal Enabling this extends the spatial filter to become a 3D spatio-temporal filter, by including the use of temporal taps. This can enhance the noise reduction achieved. Default : On Temporal Mix The temporal mix controls the balance between the spatial and temporal taps of the spatio-temporal filter.
DVO Grain 309 A high setting (e.g. Wide) is suitable for larger grain/noise and/or more pronounced variations in amplitudes. Setting spike to Narrow in conjunction with setting Motion Sensitivity to High and Motion Estimation (in the Processing screen) to Best can help avoid motion estimation errors caused by noisy / grainy material.
310 DVO Effects Luma Thresholds The range of luminance values affected by the Pos/Neg Trim can be set by two luma thresholds. Luma Threshold Low Range : Default : 0 to 50 0% Luma Luma Threshold High Range : Default : 50 to 100 100% Luma These two thresholds determine the point in highlights and lowlights where the Pos or Neg trim is at its maximum. The effect of the Trim will gradually decrease between these two points.
DVO Grain 311 DVO Regrain DVO Regrain allows you to quickly set up and generate natural looking film grain. The intuitive controls enable you to match almost any type of film stock by setting the grain size and sharpness as well as matching the characteristics of highlight and lowlight intensity behaviour. Before After Enable This toggle button allows you to enable/disable the effect. By default, as soon as the effect is added it is applied/enabled.
312 DVO Effects Parameters Size Desired pixel size of the grain. Range : Default : 0 to 3 1 pixel Sharpness Determines the sharpness of the edges of the grain. Range : Default : 0 to 100 50% Saturation Determines the colour saturation of the grain. Range : Default : 0 to 100 50% Overall Overall amount of grain added. Range : Default : 0 to 400 100% Low Specifies the amount of film grain to be added in low light (dark) areas.
DVO Regrain 313 High Specifies the amount of film grain to be added in high light (light) areas. The film grain added is in addition to the overall film grain, as specified in Overall Amount (above). Range : Default : 0 to 400 100% Midpoint Midpoint Balance controls the amount of the frequency range considered to be high light and low light, and thus affects how the low light and high light amounts are applied.
314 DVO Effects DVO Sharpen DVO Sharpen is an advanced sharpening tool that greatly enhances out-offocus shots. It uses adaptive picture analysis and processing to yield excellent results without the common side effects associated with standard algorithms (such as amplified grain, noise, or halos around areas that were already sharp). Before After Enable This toggle button allows you to enable/disable the DVO Sharpen effect. By default, as soon as the effect is added it is applied/enabled.
DVO Sharpen 315 Parameters Overall Strength Numeric slider, value range 0-200. Range : Default : 0 to 200 100 Spatial Strength Numeric slider, value range 0-200. Range : Default : 0 to 200 100 Crispness Numeric slider, value range 0-200. Range : Default : 0 to 200 150 Low Detail Sharpening Numeric slider, value range 0-200. Range : Default : 0 to 200 100 High Detail Sharpening Numeric slider, value range 0-200. Range : Default : 0 to 200 100 Image Noise Level Numeric slider, value range 0-2.
316 DVO Effects Range : Default : 0 to 2 1 Low Light Trim Numeric slider, value range -25 - 0. Range : Default : -25 to 0 0 High Light Trim Numeric slider, value range -25 - 0. Range : Default : © 2014 Digital Vision -25 to 0 0 UM-2014.
DVO Sharpen 317 DVO Cross Colour Cross Colour (also known as Chroma Crawling) is a defect that results from crosstalk between the chrominance and luminance components of a composite video signal (PAL or NTSC). Once a video signal has been in the composite domain, this defect is not easily removed. Parameters Enable When enabled, DVO Cross Colour will process the input as per the settings described below. Aggressiveness Allows the tuning of the degree of removal.
318 DVO Effects DVO Line Sync Line sync or line jitter is a very common problem with archived analog video tape. It is typically caused by the lack of (or disturbances with) line synchronization pulses which prevents the the video tape recorder from locating the actual start and end of each line. This causes random line displacement (jitter). The most visible effect is that vertical edges appear to be jagged. The jitter can range from +/-1 pixel to more than +/-5 pixels in severe cases.
DVO Line Sync 319 Processing Shift Enables correction of pixel shifting (left/right) Stretch Enables correction of stretched/shrunken lines. Noise Reduction This is Adaptive Noise Reduction with non-recursive spatio-temporal filtering so ghosting will not occur. Note that processing time will be considerably higher when active since all lines have to be processed. NR Enable Enables Noise Reduction, independent of shift/stretch detection and correction.
320 DVO Effects DVO Deinterlace DVO Deinterlace accurately creates progressive frames from interlaced video originated material. The de-interlacer can maintain the fluid motion present in video (e.g. 50p delivery from a 50i source) or create a film look (e.g. 25p delivery from a 50i source). DVO Deinterlace uses advanced motion adaptation techniques to preserve sharpness while also avoiding jaggedness typically associated with similar processes.
DVO Deinterlace 321 align to f1 Keep field 1 and align the missing information in the new frame to the contents of the original field 1 align to f2 Keep field 2 and align the missing information in the new frame to the contents of the original field 2 double rate f1 Make a complete progressive frame using every single + f2 field using the above methods. This doubles the number of frames. Top (f1) field first.
322 DVO Effects DVO Twister DVO Twister is an advanced software standards conversion tool. To use DVO Twister, you should set up a project and composition configured for your target format. Parameters Enable This toggle button allows you to enable/disable the DVO Twister effect. By default, as soon as the effect is added it is applied/enabled. Mode The mode option lets you choose the source and target format for the conversion. Available modes include : © 2014 Digital Vision UM-2014.
DVO Twister 50i to 23.98p 50i to 24.00p 50i to 29.97p 50i to 59.94i 50i to 60.00p 59.94i to 23.98p 59.94i to 24.00p 59.94i to 25.00p 59.94i to 50i 59.94i to 50p 50p to 60p 60p to 50p 16.00p to 24.00p 16.00p to 25.00p 23.98p to 29.97p 23.98p to 50.00i 18.00p to 24.00p 18.00p to 25.00p 29.97p to 23.98p 29.97p to 50.00i 20.00p to 24.00p 20.00p to 25.
324 DVO Effects motion). Try if Motion Comp fails. Nearest Frame This uses no processing other than skipping or repeating frames to output the same clip duration. Cut Mode Values : Default : Across Scene, Inside Scene, Inside Scene Frame Aligned Inside Scene DVO Twister has an internal scene detector and the Cut Mode determines how images adjacent to a scene cut are aligned. Across Scene This ignores the cut and blends the images.
DVO Twister 325 DVO Upscale DVO Upscale provides optimised up-scaling of material and is of specific value when converting from SD to HD. The algorithm maintains the high quality of edges, including diagonals, and is especially useful for graphics. Basic Parameters Enable The Enable button must be on to enable processing. Optimisation Values : Default : Fast , Advanced Advanced Optimisation determines the balance between speed and quality.
326 DVO Effects The setting of progressive or interlaced here is not the same as video/image format (e.g. HD 1080i 50). It only describes how pictures were captured and whether to maintain this. The project must set up to render frames even if the output mode is interlaced. Internally, the effect needs to use a progressive (frame based) format for optimal results when both input and output are interlaced.
DVO Upscale 327 Data Values : Default : Linear , Log From project Set the clip data format. Other Parameters Repos X and Y repositioning after Fill mode is chosen. Centre Values : Default : On , Off On This centres the scaled image on the output picture. If disabled it maps the scaled image on the output picture from the lower left corner. Field Order Values : Default : Follow Clip , f1:f2 , f2:f1 Follow Clip The Field Order parameter sets the input field order in time for interlaced input.
328 DVO Effects Resize X and Y scaling after Fill mode is chosen Sharpen Adjusts post-scale crispness. The controls differ between Advanced and Fast modes. Size Values : Default : 0.5 - 2.0 1.5 Adjusts the sharpening radius. Amount Values : Default : 0 - 100 50 In Fast mode, this is the overall sharpness amount. In Advanced mode, the flat area sharpness amount. Edge Values : Default : © 2014 Digital Vision 0 - 100 50 UM-2014.
DVO Upscale 329 Advanced mode only Edge sharpening amount Texture Values : Default : 0 - 100 100 Advanced mode only Balances flat area texture and sharpening noise. Recommended settings are 100 for normal images and 0 for graphics. If flat area noise is intrusive a setting lower than 100 will give less noise at the expense of texture definition. Deinterlace Control In an analogue video signal there may be a visible half lines (unless removed when captured) i.e.
330 DVO Effects © 2014 Digital Vision UM-2014.
Shapes 19
332 Shapes You can use an unlimited number of editable shapes for isolation (mattes) or as an effect themselves. Shapes are available as separate (user) effects, as part of an Effect Layer and as part of any Colour Correction Layer (CC Layer). Available Shapes There are four basic shapes available : Four points define rectangle. User clicks and drags to set dimensions. Points are not bezier spline style. Four points define ellipse. User clicks and drags to set dimensions.
Available Shapes 333 User clicks to add points (minimum three) and define shape. Points are bezier spline style. Valhall Control Panel You can add a shape using the Control Panel using the Image Panel {Iso} menu, and pressing the corresponding shape button e.g. {Ellip} : You can also use the Image Panel Quick Shape buttons above the trackball (mouse) : Im age Panel The ESC key on the keyboard closes a polygon and bezier shape.
334 Shapes controls : Transform controls on shape. You can use your mouse to scale, move or rotate the shape by dragging an overlay element on-screen interactively. You can perform the same transformations by using your mouse to modify the Position, Scale and Rotation parameters directly via their sliders : Pivot Points The Pivot X/Y points define the center of the shape for scaling and rotation.
Transforming Shapes 335 Valhall Control Panel On the Valhall Panel, you can manipulate and transform shapes (move, rotate, scale etc.) using the Image panel {ISO} menu on button {2} and {3} e.g. Manipulating Shapes Shapes are defined by control points. A point is selected when it filled (white) i.e. To select multiple points, use CTRL + Click To de-select a point, CTRL + Click it again To de-select all points, click outside the shape You should be in Shape mode (not Transform mode).
336 Shapes Adding Points To add a point to a shape, enable the Add Point button and click on the shape edge. Points added behave as bezier points for all base shape types. Bezier Control A bezier shape is a spline and is defined by a number of bezier control points. Each control point has tangent handles on each side of the point that allow fine control of the curve of the shape at the point. Shape showing bezier-style control point and tangent handles.
Manipulating Shapes 337 Breaking a Shape You can break a corner of a shape by holding down the keyboard SHIFT + CTRL keys while dragging the point. To re-join the two points, hold down SHIFT+CTRL and drag one point on top of the other. The two points should snap together when close. Shape Softness Shape softness controls are as follows : Outer Softness sets the amount of softness to create inside the shape boundary edge.
338 Shapes Increase Inner and Outer Softness Enable Variable Softness Vary the softness by m anipulating the variable softness controls If view ing shape is difficult - Press the keyboard "p" key to change the shape colour You may get unwanted artifacts if points and/or handles overlap or cross. Del Outer / Del Inner Del Outer will reset any outside/outer softness variation change Del Inner resets any inside/inner softness variation change © 2014 Digital Vision UM-2014.
Shape Softness 339 Valhall Control Panel On the Valhall Panel, you can manipulate Inner and Outer Softness using the Image panel {ISO} menu on button {3} e.g. Shape Overlay Colour The shape overlay colours are defined in the Shapes section of the file : C:\Phoenix\2014_1\root\colour.prefs Two sets of colours are defined : a normal and an alternative set of colours. The alternative set are tagged with Alt.
340 Shapes Tracking Shapes You can attach tracking information to shapes via the ..T rack Points button. © 2014 Digital Vision UM-2014.
DVO Tracker 20
342 DVO Tracker Version 2009 introduces a sophisticated new tracker called the DVO Tracker. The tracker automates the selection of optimal tracking points within a user specified area of a shot. The DVO Tracking controls are available inside every Shapes layer and become active when a shape is selected. DVO Tracker controls inside a Shapes control pane. Tracking Basics Any Shapes layer inside a CC Layer (including Base) or F X Layer can be used to create a track for a shot.
Tracking Basics 343 We draw our shape around the feature we wish to track : Ellipse shape draw n around our car "feature" w e w ill track Shape Tips It is often possible to keep the shape simple (rectangle, ellipse). Any matte/mask the track creates will usually be softened such that it properly merges into our shot and does not stand out in an artificial way. Create the shape to cover the entire feature area of interest with some head-room. Try and extend the shape a bit beyond the feature area.
344 DVO Tracker Tracking forw ards, feature points used appear in green. While tracking is in progress, the shape is drawn with a thick border. Once tracking is complete (or stopped), the shape reverts to its normal outline. If the shape turns red, feature points can not be matched in this frame. In the first instance, let the tracker continue because it will attempt to match new points. If this continues to fail : Turn on Image Enhance and retry.
Using Other Tracks 345 Using Other Tracks One shot may have any number of effect layers, each including a Shapes layer. CC Layers 1-2 all contain tracked shapes. Layer 3 (rear w indow ) is new .
346 DVO Tracker Offset Tracking Offset Tracking lets you use a different area of a shot for generating the track compared to the position of the shape itself. If a different area of the shot becomes the best candidate for generating the actual tracking data, we can use it by creating an offset shape and positioning it over this better area. Enabling the Offset button will activate a copy of the tracking shape : Norm al shape tracking Offset enabled - shape copied (green) The copy is green.
Offset Tracking 347 Once in place, we can switch back to the Shape menu : and continue our tracking. The tracking data is calculated from the offset shape and applied to the original. When the Offset button is enabled, the offset shape is used to generate the track. You can set the offset shape to any suitable position in the frame. If a better position becomes apparent, you can re-position it again.
348 DVO Tracker If tracking fails because our tracked feature loses definition or goes out of camera, we can enable Predict Tracking at this point. When we resume tracking, the track path is calculated such that it smoothly continues along the same path as calculated previously. 1: Tracking ... 2: Feature reaches edge of fram e. Turn Predict Tracking ON. 3: Feature off cam era but track path is extrapolated. Track path extrapolation continues.
Reference 349 Every Shapes parameter pane includes the new DVO Tracker control parameters as shown in the figures below. The DVO Tracker controls become available once a shape is drawn. Shape controls and new DVO Tracker controls highlighted Track Buttons These buttons start the tracking process. You can track forwards or backwards in a shot, to the shot end or start (respectively) or a frame at a time. From left to right we have : Track backwards from current frame to start of shot.
350 DVO Tracker Track backwards one frame from current frame. Track forwards one frame from current frame. Track forwards from current frame to end of shot. Feature Points The Feature Points button toggles display of the feature points used by the DVO Tracker at each frame. Feature Points are points inside our shape that are calculated to be good patterns to use when tracking. They are chosen automatically and appear inside the shape we have defined.
Reference 351 pans. Rotation Enable to calculate feature rotation. Scale X Enable to calculate scale changes in the Xaxis. Scale Y Enable to calculate scale changes in the Yaxis. Offset Button The Offset button creates an offset shape from the currently selected shape. This offset shape can be moved (offset) to a new position in the shot from where new feature points are calculated. The feature points calculated using the offset shape are applied to the original shape.
352 DVO Tracker From left to right we have : Reset all track key-frames from current position to start of shot. Reset all track key-frames. Reset all track key-frames from current position to end of shot. The tracker key-frames are shown below the Shapes panel as green diamonds : Key-fram es show n in green, and current key-fram e in blue. Pressing the reset all left button will result in all key-frames to to the left of the play-head being reset (inclusively).
Reference 353 Predict Tracking The Predict Tracking toggle button lets you carry on the track even if all tracked feature points have moved outside the image frame and tracking has terminated. Turning Predict Tracking on will extrapolate the track to the end (or start) of the shot such that the track is contiguous and smoothly extended. See Predictive Tracking.
354 DVO Tracker © 2014 Digital Vision UM-2014.
Video I/O 21
356 Video I/O You can capture and lay off video via the Library modules : Capture video Layoff video These options will only be enabled when your system has a video I/O board installed.
357 Timecode Box / Cue This field displays the current tape position. If you enter a timecode in the box and press the Cue button, the tape will cue to this location. VTR Settings The VT R /Vide o C apture S e ttings tab contains a variety of configuration settings - including VTR status, video format used, and audio channels active. The available settings are similar between the capture and layoff modules. Always check these settings carefully before proceeding with any video I/O.
358 Video I/O VTR Deck Status Feedback The four deck status fields are read-only display fields and provide feedback on : Model of VTR attached (e.g. HDW-F500) Status of the VTR (still,stop,play etc.) Reported VTR frame rate Record inhibit status (REC Lock). Note - if the deck and project frame rates do not match you will get a warning message. This message can be turned off by setting the general.prefs frameRateWarning parameter to false.
VTR Settings 359 SDI Output This shows the video format (resolution and frequency) of the video output signal Video Format settings capture output Colour Space control The first drop-down button allows you to set the colour space mode for your material.
360 Video I/O Use 5.00 FPS (4K) Blanking VTR Output only This setting will blank out the top and bottom video lines. This may be useful to hide any edge artifacts pushed into the video active area by certain effects (e.g. blurs). Audio I/O Note - the audio settings on the right are only available in the Capture m odule. The audio channel buttons give feedback and also act as controls.
VTR Settings 361 Roll and Trim controls Pre-roll How many seconds the deck should allow the tape to roll before capture/layoff starts. When capturing or laying off the deck will cue to the VTR in point minus the value set in the pre-roll field. No actual capture/layoff takes place during a post-roll. Post-roll How many seconds the deck should allow the tape to roll for after capture/ layoff ends. No actual capture/layoff takes place during a post-roll.
362 Video I/O Project Settings for Video Output If you intend to lay off video from your project, make sure you enable the Video Output setting on the project output format. See Cache Output. Video Capture The VTR Capture screen is accessible from the library screen via the ..L ist C apture button. This brings up the list capture screen, with two options on the bottom left: Data Capture - this is the mode used for batch capturing digital media .
Video Capture 363 Prior to attempting any capture you should always review and adjust all the values in the settings tab as appropriate for your material and composition. Capture Locations Defaults : As per general.prefs preference file. Use the tick boxes to choose which data streams to capture - video, audio or both. The capture paths are shown and can be edited in place, or set via the file browser (click the icon). If you change a path here, the new location will be saved to the general.
364 Video I/O Capture Methods There are three main methods for performing a video capture: Capture Marked - specify an in and an out point, then capture this marked region. Capture Live - start recording as the VTR plays Capture List - import and then capture from a list (e.g. an EDL). The Capture Single operation is discussed as part of the Capture List section.
Video Capture 365 If you do a 'Capture Live' without having pressed play, i.e. with no footage being displayed in the viewer, you will capture blank (black) frames for the duration of the capture. Once capture has stopped, the captured footage will automatically be added to your project library. Capture Marked This capture method will capture the footage defined between the marked in and marked out timecodes.
366 Video I/O During capture, the Capture marked button will turn red and the VTR deck will cue to the pre-roll point before the marked timecode in-point. Once the mark-in position is reached the capture will commence and at this point the S top C apture button will become enabled. Once complete, the capture will stop automatically. You can interrupt the capture at any time by pressing the S top C apture button.
Video Capture 367 Event List The event list table is composed of a number of fields per event. The Event List is displayed a standard table. For more detail on tables and their use, see the Tables section. Each event listed has a status assigned to it. This status will update as the capture proceeds. Event Status The status fields are : Needed - the media for this event has not yet been captured and the event is enabled for capture.
368 Video I/O Material Once an event has been captured (Found), the path to the stored media will be shown in the Material column for that event. Tape Name Events in the list may need to be captured from different tapes, as indicated by the Tape Name column. You will be prompted to insert each tape (or to skip it). This will continue until all the media from the different tapes has been captured.
Video Capture 369 Event Handles This numeric slider specifies whether to capture more frames than the events require i.e. handles. Setting the Event Handles to 5, will capture 5 frames of head and 5 frames of tail for each enabled event. The addition of handles might be applied in order to capture as much of each media clip as might be later needed and to allow later trimming of the media clip within the composition.
370 Video I/O Buttons S kip Ev e nt, S kip T ape and S top C apture are also enabled now. In-between capturing each event, whilst the deck scans to find the correct position, these interactive buttons will become disabled. Once capture is complete (or stopped), you should look at the status of each event in your list to check that it was captured correctly and that the Material location is given.
Video Capture 371 You can export as a CMX3600 EDL or a CUT style list. There are three options for export : Export all - This will export the full list of events as displayed onscreen. You may want to do this if you've altered the original list in some way, e.g. by adding handles or using the consolidate events function. Export found - This will export a list containing only the events that you captured. Export not found - This will export a list of all the events that were not captured.
372 Video I/O Event List The events to be output are shown on the right-hand side and correspond to the events on your timeline. The number of events in the list matches the number of events on your timeline. Gaps in the timeline are ignored. Though gaps in the timeline do not show up in the event list, they will in fact be laid off to tape as black frames for the duration that they occur on the timeline. Status Before output, each event is checked and rendered if necessary.
Video Layoff 373 in Source Order. Material This column shows the location of the rendered material on disk. This may or may not correspond to the location of the source material shown in the library screen. Tape Name This column shows the tape name corresponding to the source material for that event. Event Handles If a source order mode (e.g. Source Order Tape) is selected, the Event Handles option is enabled.
374 Video I/O Output Controls The VTR Output Controls are shown below. The Actions buttons in the centre perform the specified output operation e.g. O utput L ist, S top O utput etc. Status Fields VTR VTR Deck status is shown in the VTR row. If the tape is record inhibited, it will show REC Lock. List During processing or output, this row will show the list status and output progress. Buffer The Buffer row will display how many frames are buffered and ready for output.
Video Layoff 375 Record Edit Mode This drop-down list allows you to select the edit mode, which determines how material is written to tape. The following modes are available. Insert Edit Each event is recorded at the record in-point timecode. This mode requires a tape pre-striped with the right record timecodes. Assemble Edit This locates the record in-point timecode of the first event and starts recording. From here, timecodes are generated (assembled) as the output proceeds.
376 Video I/O Timecode Output Order This drop-down list allows you to select which timecode order is to be used when writing the events to the tape: Source Order TC (C) Record each event to tape at its original location (i. e. its source timecode), ignoring its location on the composition timeline (record timecode). Event handles : enabled. Source Order Tape (C) This is the same as Source Order TC except the list is sorted by tape first, then source timecode. Event handles : enabled.
Video Layoff 377 Pad Events controls whether padding is to be applied during output. Padding consists of black frames with contiguous timecode being written before and after the events being laid off. How much padding is written is controlled by the In and Out timecode fields. The timecode given to the padding will always precede the timecode of the 1st event being laid off, and if a Mark-In Timecode has been supplied the timecode of the padding will precede the Mark-In TC.
378 Video I/O Output Single This button is enabled whenever a single event is selected/highlighted in the event list. Pressing it will layoff that specific event only. Stop Output This button is only enabled when there a layoff is in progress. Pressing it will halt the layoff. Output List O utput L ist will layoff the entire event list. Checking the List Before the list is output to video, the events are first checked to ensure they are fully rendered and available.
Video Layoff 379 Output Single Output Single will layoff a single selected event only. The Output Single button is only enabled when a single event is selected in the event list. Before the layoff starts, the event is rendered (if required) and a final output validation check is performed (if Validate Output is enabled - see Validate Output). Once layoff starts, the button will turn red and the S top O utput button will become enabled and turn green.
Command Line 22
381 The Command Line Interface (CLI) lets you run application commands without starting up the application interface (GUI). The CLI is therefore useful for automating tasks that do not require an operator to be present.
382 Command Line Conventions Required parameters are given in angled brackets <> i.e. --format-spec Optional parameters are given in square brackets [] i.e. --timecode-header [1|2] Possible values are separated with a vertical bar (| as above). Splitting Long Lines This document sometimes splits long command lines over multiple lines to make the command easier to read. The split if delimited by a line-continuation character "\" i.e. --export S:\exp\$o\$c..
383 User Login --user Log in as named user To use the command line interface as a specific user, use the --user option and specify the username to login to the application as. Command : $ nucoda_film_master --user steven --list Projects: 1: test1 2: Check Danger 002 3: Check Danger 003 - C:\Nucoda\... - C:\Nucoda\... - C:\Nucoda\... Without the --user option, the last user we logged in as is used.
384 Command Line including both outputs and sources. The output and source sections are specified using the section tags: [output] [source] The basic format is as follows : [output]
Creating a Project 385 # one or more output sections [output] key=value ... # zero or more source sections [source] key=value ... © 2014 Digital Vision UM-2014.
386 Command Line Data Types The various data types we can use in the specification are as shown in the table below. Data Type Description Examples A boolean true/false Integer number Floating point number true, false 1556 29.97 Global Parameters These parameters appear outside an output or source section, at the start of the file. We underline required options. colourScaling Required Values : SMPTE CGR FilmLog VideoLog Default : Project colour scaling mode.
Creating a Project 387 height Required Values : Default : The height (y resolution)of the output format in pixels. fps Required Values : Default : The frames per second. If no decimal point set, we add a .0 automatically e.g. 29.97, 25 aspectRatio Required Values : / Default : The output format image aspect ratio. Specify as M/N e.g. 1316/1000 dropFrame Values : Default : false Set if output format is drop-frame.
388 Command Line channels Values : RGB RGBA Default : RGB Colour channels bitDepth Values : 8,10,16,half Default : 10 Output colour depth per colour channel, in bits per pixel. convertMode Values : none fit crop center Default : none Output format conversion from source.
Creating a Project 389 bitDepth As output section above. convertFilter As output section above. Only applicable if scale > 1. Notes The key values are case-sensitive. Values are case-insensitive (e.g. use "rgb" or "RGB").
390 Command Line Command : $ nucoda_film_master --detach-project project-x INFO Detached project "project-x". Removing Project Caches --remove-cache When attaching projects, specify this argument to have their caches removed after attachment. Command : $ nucoda_film_master \ --attach-project D:\archived\project-x \ --remove-cache INFO Imported "D:\archived\project-x" \ (project name is "project-x") and removed cache.
Creating a Composition Command : $ film_master --composition INFO Creating INFO Creating 391 --project PROJ2 --format-spec FORMAT \ COMP2 new project "PROJ2". new composition "COMP2". Create a New Composition with Multiple Video Tracks --num-tracks The following command creates a new composition "COMP3" containing 3 video tracks (V1,V2 and V3) inside project "PROJ1". Command : $ film_master --project PROJ1 --composition COMP3 \ --num-tracks 3 INFO Opening project "PROJ1".
392 Command Line The default name will be taken from the two containing directories i.e. "images train". See below. Command : $ film_master --project PROJ1 \ --import-clip Z:\shots\056\056_001.001.dpx INFO Opening project "PROJ1". INFO Found range (1, 15). The clip will be given a name taken from the filename, i.e. "056_001". See below. This command only imports one clip. To import multiple clips, see Importing Folders. If you perform the same import operation twice, the clip will be imported again.
Importing Clips 393 To specify a clip description in the library on import, use the --description option. Command : $ film_master --project PROJ1 --import-clip \ Z:\shots\1002\shot1002.001.dpx \ --description "clip desc" INFO Opening project "PROJ1". INFO Found range (1, 99). INFO Set clip description to "clip desc". The description can only be set on import, not afterwards.
394 Command Line Importing Folders --import-folder Import clips found in named folder (and all sub-folders) --filter-format Filter clips we import by file format --filter-res Filter clips we import by image resolution --splice-order Splice clips found to composition in specified order --timecode-header [1|2] Take timecodes from file headers --timecode-filename Take timecodes from file names/paths --tapename-header Take tapenames from file headers --tapena
Importing Folders 395 Filtering We can filter the sequences the command selects to import on image resolution (e.g. choose only HD sequences) and image format (e.g. choose only TIFF sequences). Filter on Resolution --filter-res This option will select only images that match the given resolution (width x height) in pixels. Command : $ film_master --project code2 \ --import-folder z:\scans\reel4\ \ --filter-res 2048 1556 INFO INFO INFO ... ... INFO Opening project "code2" from ... Batch .
396 Command Line If you do not specify these options, the default settings will be used as set up in your preferences. Command : $ film_master --project code2 \ --import-folder z:\scans\reel4\ \ --filter-format tif --tapename-filename 1 INFO INFO INFO ... ... INFO Opening project "code2" from ... Batch ... importing directory 0 of 1 (0) Batch ... importing directory 1 of 5 (20) Batch Import (completed) ...
Importing Folders 397 Splicing to a Composition --splice-order This option imports the shots found from the folder import and also splices them to a named composition. The composition must be specified via the --composition option. A splice order (file or timecode) is required file This splices the found shots to the timeline in the order they are found. Note that shots are currently spliced from timecode 00:00:00:00.
398 Command Line Command : $ film_master --project PROJ1 --composition COMP1 \ --add-version M:\images\shots\009\056_009.001.dpx \ --clip-name VERSION2 --record-in 100 INFO Opening project "PROJ1". INFO INFO INFO INFO Opening composition "COMP1". Found range (1, 54). Set clip name to "VERSION2". Clip added to composition. This will import the clip at the specified path (giving it a name "VERSION2"), setting it as a version of the clip at the record position 100.
Replacing a Source 399 Command : $ film_master --project PROJ1 --composition COMP1 \ --replace-source M:\images\shots\009\056_009.001.dpx \ --record-in 100 INFO Opening project "PROJ1". INFO INFO INFO INFO Opening composition "COMP1". Found range (1, 54). Set clip name to "VERSION2". Clip added to composition. The source will be replaced. Grades will be retained on the shot. You need to have at least the same amount of source material in the new version as the old or an error will occur.
400 Command Line Note that the timeline is assumed to start at 00:00:00:00. Clips will be placed at the end of the timeline (or 00:00:00:00 if timeline empty) unless a record-in point is set with the --record-in option.
Splice and Overwrite Clips 401 Splice/Overwrite By Clip Name Command : $ nucoda_fuse --project PROJ1 --composition COMP1 \ --name "train" --splice INFO Opening project "PROJ1". INFO Opening composition "COMP1". INFO Clip added to composition. Splice/Overwrite By Clip Path This will do an import to library followed by a splice. Command : $ nucoda_fuse --project PROJ1 --composition COMP1 \ --splice M:\shots\004\300000.dpx INFO Opening project "PROJ1". INFO Opening composition "COMP1".
402 Command Line Splice/Overwrite to a Specific Record Position We can splice or overwrite to a specific position on the composition timeline using the option --record-in. Original timeline video track with clip "alex one": Command : $ nucoda_fuse --project PROJ1 --composition COMP1 \ --overwrite --name "train" --record-in 100 INFO Opening project "PROJ1". INFO Opening composition "COMP1". INFO Clip added to composition.
Splice and Overwrite Clips 403 Command : $ nucoda_fuse --project PROJ1 --composition COMP1 \ --overwrite --name "slate" \ --record-in 100 --source-in 10 INFO Opening project "PROJ1". INFO Opening composition "COMP1". INFO Clip added to composition. Clip Frame Instead of using the --source-in option to select the first frame of the source to splice, we splice the source clip from the frame we pass in. If we have a clip : 008[200-300].
404 Command Line Command : $ nucoda_fuse --project PROJ1 --composition COMP1 \ --splice --name "slate" \ --record-in 100 --length 10 INFO Opening project "PROJ1". INFO Opening composition "COMP1". INFO Clip added to composition. Applying a Note to a Shot --set-note Apply note to shot we splice (or overwrite). Note can be specified by name or path. Apply Note Use the --set-note command to apply a note to a shot.
Applying a Note to a Shot 405 Apply the note found at the given path to the shot. Command : $ film_master --project PROJ1 \ --composition comp --name SHOT \ --overwrite --record-in 90673 \ --set-note S:\Temp\lowerlevels.note INFO Opening project "PROJ1". INFO Opening project "PROJ1" from "D:\Nucoda\2013_1\projects\PROJ INFO Opening composition "comp". Successfully applied note s:\Temp\lowerlevels.note. INFO Clip added to composition.
406 Command Line layer --cdl-layers Create an ASC CDL and CDL base layer Note : track numbers are indexed from 1. Use the --help-import option to the application to see some basic usage for the EDL import functionality. Importing --import-edl < --new | --add | --mark > To import an EDL or AAF list, use the --import-edl option with the path to the file. Requirements : One of the options --new, --add or --mark is required to fully specify the operation. See below.
EDL Import and Conform 407 Command : $ nucoda_film_master --project "PROJ1" \ --import-edl S:\edl\ttt.edl --new \ --name compname INFO Opening project "PROJ1" from "D:\Nucoda\2014_1\projects\PROJ INFO ttt.edl imported. Adding to an Existing Composition --import-edl --add The --add option will import the named EDL and add it to the named composition. Requirements : Name the composition we are operating on using the --composition option.
408 Command Line Command : $ nucoda_film_master --project "PROJ1" --composition "compname" \ --import-edl S:\edl\ttt-mark.edl \ --mark --track-target 1 INFO Opening project "PROJ1" from "D:\Nucoda\2014_1\projects\PROJ INFO Opening composition "compname". INFO ttt-mark.edl marked. The target track must exist.
EDL Import and Conform 409 Conforming --conform-material Conform (link) any material referenced when importing the EDL. The material is assumed to be in the project library unless the option --import-material is also used. Command : $ nucoda_film_master --project "PROJ1" \ --import-edl S:\edl\ttt.edl --new \ --import-material --conform-material INFO Opening project "PROJ1" from "D:\Nucoda\2014_1\projects\PROJ INFO ttt.edl imported.
410 Command Line To ensure that any EDL referenced material is imported and conformed, you will also need to use some combination of the conform options above e.g. - - aut oc onf or m Requirements : The --composition option is required to specify the current composition we merge from. The --match option is required to specify how to match the shots. Use a conform option (e.g. - - aut oc onf or m) to link referenced material.
EDL Import and Conform 411 Other Options Tapename Translation --no-translate This option disables the automatic tapename translation on import. Some EDL files contain a tapename translation table. This table can be used to translate illegal tapenames (e.g. containing spaces) to legal ones (e.g. spaces replaced with underscores). Normally we use this translation table to create correct tapenames once imported. We support two types of translation table : Avid and Final Cut Pro style.
412 Command Line Capturing and Conforming --capture --capture-list --match-name <0|1> --exact-timecode --conform --handle-length Capture material from top-level path specified Print out the internal capture list created. Whether to use tapename, clipname or filmname when conforming. When capturing, expect source clips to match the EDL timecode exactly.
Capturing and Conforming 413 Command : $ film_master --project PROJ1 \ --import C:\edls\test.edl INFO Opening project "PROJ1". INFO /edl/test.edl imported. Results in the composition title "Test EDL" from the EDL "TITLE" parameter. At this point, we will have a composition called "Test EDL" in the library. Making it active would show us a timeline consisting of four clips (as per EDL) on a single video track. These clips will be Offline if we view them using the application monitor.
414 Command Line To perform the capture, use the --capture option, with an argument of a file path to search : Command : $ film_master --project PROJ1 --composition "Test EDL" \ --capture Z:\server\shots INFO Opening project "PROJ1". INFO Opening composition "Test EDL". Clip | Start | End | Tape | Status ------------------------+-------------+-------------+------------+---721A.[160447-160462] | 01:51:25:07 | 01:51:25:22 | 721A | Found 722A.[226197-226236] | 02:37:04:21 | 02:37:06:12 | 722A | Found 721A.
Capturing and Conforming 415 Command : $ film_master --project PROJ1 --composition "Test EDL" \ --capture Z:\server\shots \ --match-name 0 INFO Opening project "PROJ1". INFO Opening composition "Test EDL". Clip | Start | End | Tape | Status ------------------------+-------------+-------------+------------+---721A.[160447-160462] | 01:51:25:07 | 01:51:25:22 | 721A | Found 722A.[226197-226236] | 02:37:04:21 | 02:37:06:12 | 722A | Found 721A.[161937-161965] | 01:52:27:09 | 01:52:28:13 | 721A | Found 722A.
416 Command Line Command : $ film_master --project PROJ1 --composition "Test EDL" \ --capture Z:\server\shots \ --exact-timecode Conform --conform After the capture stage, we can do a conform. This will link captured material to the composition timeline where the capture status is Found. Command : $ film_master --project PROJ1 --composition "Test EDL" \ --conform INFO Opening project "PROJ1". INFO Opening composition "Test EDL". INFO Conforming material...
Generating Local Proxies 417 Generating Proxies for a Clip --clip-name N --generate-proxies To generate proxies for a specific clip in a composition, give the clip name: Command : $ film_master --project PROJ1 --clip-name CLIP2 \ --generate-proxies INFO INFO INFO INFO INFO INFO ... INFO Opening project "PROJ1". Generating proxies for clip... Creating new composition "CLIP2". gen ... generated 0 frames of 15 (0%) gen ... generated 1 frames of 15 (6%) gen ... generated 2 frames of 15 (13%) gen ...
418 Command Line Command : $ film_master --project PROJ1 --composition COMP1 \ --range 30 50 --generate-proxies INFO INFO INFO INFO INFO ... INFO Opening project "PROJ1". Opening composition "COMP1". Generating proxies for composition... gen ... generated 0 frames of 21 (0%) gen ... generated 1 frames of 21 (4%) gen ... generated 21 frames of 21 (100%) If you only give a start frame for the range (e.g. --range 60), then the proxies will be generated from this frame to the end of the composition.
Exporting Shots 419 The argument should be the full path, including the drive letter, filename and extension. The export mode option is required. Command : $ film_master --project PROJ1 --composition COMP1 \ --export-mode single \ --export Z:\jobs\001\graded_m.dpx INFO INFO INFO ... INFO Opening project "PROJ1". Opening composition "COMP1". export ... exported 0 frames of 60 (0%) export ... exported 60 frames of 60 (100%) Exporting shots on the command line will not generate caches.
420 Command Line --multi-mode --export-handles You can export your composition as a single contiguous clip (single), in multiple shot chunks (multi), using source timecode (src) or using record timecode (rec). There is one single mode and four types of multi mode, each multi mode laying out the exported shots slightly differently.
Exporting Shots 421 --export-handles In multi-mode export, set how many handles to export per shot. This is required in multi-mode. SMPTE Level Clip --smpte-level-clip This setting will clip the exported shot to a SMPTE video level (i.e. 64-940 for 10 bit data). This is only applicable to SMPTE colourspace projects.
422 Command Line TITLE: comptest FCM: PAL 001 tape-1 V C 05:04:46:13 05:04:56:03 01:03:16:04 01:03:25:19 * FROM CLIP NAME: * FROM FILE: S:\media\images\mazda-2k\OE5012A\438877.dpx * FROM COMMENT: Exporting with Frame Numbers --use-frame-numbers When exporting an EDL, use --use-frame-numbers to include frame numbers instead of timecodes in the output EDL. Command : $ nucoda_film_master --project project-x --composition comptest \ --export-edl S:\edl1.
Saving and Loading Compositions 423 The argument should be the full path, including the drive letter, filename and extension. Composition content files saved through the GUI are given an extension .content. Command : $ nucoda_film_master --project project-x --composition comptest \ --save-composition S:\output\comp1.content INFO Opening project "project-x" from "D:\Nucoda\2014_1\projects\project-x". INFO Opening composition "comptest".
424 Command Line Running Batch Operations --batch-mode --ops-file Run CLI commands from file Run some commands from file Both these options run application commands from the given text file. The advantage of this is that the commands complete much more quickly than if run separately on the command line because the application only needs to startup, initialise and open projects or compositions once. The "ops-file" command is left for backwards compatibility.
Running Batch Operations 425 Command : $ nucoda_film_master --project PROJ1 \ --composition COMP1 \ --ops-file ops.txt INFO INFO INFO INFO INFO INFO INFO INFO INFO INFO ... Opening project "PROJ1". Opening composition "COMP1". Found range (1, 5). Clip added to composition. SPLICE : /server/shots/shot1/clip.00001.dpx (0.03 secs) Found range (1, 5). Clip added to composition. SPLICE : /server/shots/shot2/clip.00001.dpx (0.01 secs) Found range (1, 3). Clip added to composition.
426 Command Line Interactive Mode --interactive-mode Interactive Mode lets you type command-line commands to the application from the Windows CMD prompt interactively. This mode only needs to start the application once and is therefore faster. Interactive Mode is useful for testing out the command-line. Command : $ nucoda_film_master --interactive-mode INFO Set current user to "Default". Interactive mode. Type --quit to exit. > >--list Projects: 1: PROJ1 - D:\Nucoda\2014_1\projects\PROJ1 2: PROJ1.
Listing Information 427 Command : $ film_master --list Projects: 1: test1 - C:\Nucoda\... 2: Check Danger 002 - C:\Nucoda\... 3: Check Danger 003 - C:\Nucoda\... 4: Road Less Travelled Part 1 - C:\Nucoda\... 5: Who Goes Here - C:\Nucoda\... 6: Mist Snow Fog and Rain 1 - C:\Nucoda\... 7: Mist Snow Fog and Rain 2 - C:\Nucoda\.... 8: Road Story 002 - C:\Nucoda\2009_1\.... 9: et - C:\Nucoda\2009_1\.... 10: et2 - C:\Nucoda\2009_1\....
428 Command Line This option lists details of all clips in specified composition, including : The clip material name The clip date and time of import If you include the argument "s", the clip .Material GUID is also displayed. Command : $ film_master --project et2 --composition Comp \ --clip-list INFO Opening project "et2" from "C:\Phoenix\2014_1\root\projects\et2". INFO Opening composition "Comp".
Removing Items 429 Command : $ film_master.exe --project et --remove-indexed-composition 2 INFO Opening project "et" from "C:\Phoenix\2014_1\root\projects\et". INFO Deleting composition indexed 2 "Graded 002" from \ project "et" of "C:\Phoenix\2014_1\root\projects\et". Removing Projects --remove-project --remove-indexed-project To remove a project by : Name : Command : $ film_master.
430 Command Line Command : $ film_master.exe --project et2 --composition Comp \ --remove-clip "tc first" INFO Opening project "et2" from "C:\Phoenix\2014_1\root\projects\et2". INFO Opening composition "Comp". INFO Deleting clip "tc first" from project "et2" of "C:\Phoenix\2014_1 \root\projects\et2".
Counting and Adding Tracks 431 Command : $ film_master --project PROJ1 --composition COMP1 \ --add-track video INFO Opening project "ttt". INFO Opening composition "COMP1". INFO New video track added number : 4 We will now have a new track "V4" in the composition "COMP1" above. Testing for a GUI Lock --testlock Test if the GUI has a lock (and therefore GUI is open) Testing if the GUI is Running --testlock This command will test if the GUI is open (and the application is holding a lock file).
432 Command Line © 2014 Digital Vision UM-2014.
Appendices 23
434 Appendices © 2014 Digital Vision UM-2014.
435 Application Preferences To access the application preferences, from the main project screen, click the Pre fe re nce s button. Here you can adjust the default system-wide preferences. Changes will apply to all new and existing projects. Note that many of these settings can be overridden within a project.
436 Appendices The ROOT folder is set in the environment variable : PHOENIX_ROOT_V2014_1 Some application preferences can only be changed by editing the general. prefs file. General The general preferences screen specifies global configuration settings. Location display Select whether you want the default location display across your project to show frame numbers or timecodes.
Application Preferences Values : Default : 437 Still store, Live memory Still store Select whether comparisons against the reference frame should be carried out in still store or live memory mode. Keycode A keycode allows the unique identification of any frame on a reel of film. For a film reel, these settings define : Perfs per frame - how many perforations in one film frame Perf per count - how many perforations make up one keycode count increment See Appendix Keycode.
438 Appendices Warn when playback sync is lost This controls the display of a warning indicator (red arrow) on your monitor when playback drops below realtime (as defined for currently selected output format). If off, this warning will not be shown, even if playback is less than realtime. Changing this setting requires an application restart. Ripple Mode on Whether ripple mode should default to off or on in new projects.
Application Preferences 439 Capture/Conform The Capture/Conform preferences screen specifies global configuration settings and conventions used when naming and conforming imported and captured material. See Appendix Extracting Names for more detail on how we extract names from files and folders. Auto Assign Name Defines what library Material Name we give imported files/sequences. This name is extracted from the file name and/or folder structure according to rules defined here.
440 Appendices Material Name : clip two one append filename Place filename after the concatenated folders we use. Material Name : two one clip ignore filename Just use the concatenated folders, no filename. Material Name : two one See : Appendix Extracting Names for details on the naming rules for the concatenated folder. Folder Up Which folder we start counting from. The folder containing the imported file/ sequence is index 0.
Application Preferences 441 no auto folder Do not create library folders automatically. Material is imported into current library folder. Folder : none created tape name Name the folder from the tapename extracted on import. The tapename is extracted as per the Conform tape name settings below. This ignores any basic name file/folder calculations (folder up/ additions). If the tapename cannot be determined, the folder is named "NOTAPE".
442 Appendices Start from Selected This sets whether we create the folders under our currently selected library folder. If off, the folders are created under the library root folder. Capture and Conform Here we are configuring how we assign and set some other important information when importing/capturing material into our library. Timecode / Keycode The C apture tim e code /C apture ke y code drop-down list specifies where we extract the timecode information from.
Application Preferences 443 Keycode A keycode can only be extracted from a DPX file header. A keycode will give us both the keycode field in the project library and the timecode field. See Appendix Keycode.
444 Appendices To differentiate these multiple shot matches, we can extend our comparison to include tape name (or film name, or clip name). The extra level of conform differentiation is performed if M atch Nam e is enabled. A drop-down list assigns the method used to differentiate multiple event/shot matches in a conform. Conform tape name Conform film name Conform clip name We take the associated names from the list (EDL,CTL etc.).
Application Preferences 445 The default DPX image format used for DPX exports. Values : Default : Big endian, Little endian Big endian Big endian ("cineon" format) Little endian ("OpenGL" format) A big endian DPX file has header magic SDPX (ascii). A little endian DPX file has header magic XPDS (ascii). This specifies the byteorder used in the file and has an impact on DPX compatibility. The default should be most compatible.
446 Appendices These settings are dependent on the system type. See the Install and Configuration Guide for configuration settings for various supported systems. Image Memory This setting defines a "pool" of memory the application will allocate for storing and rendering image sequences. Leave this at the default setting unless instructed to change it by a Digital Vision engineer. Cache Rendering Setup These parameters setup some options on how cache renders are generated.
Application Preferences 447 Fragmented cache files are displayed in bright-red on the timeline : Memories Display Ungraded as Greyscale Default : Off If on, ungraded shots are shown in greyscale in the Memories Window. Ungraded Graded Generate Thumbnails Default : Values : First frame First frame, Middle frame, Last frame This option selects the default thumbnail displayed for each event in the Memories view. © 2014 Digital Vision UM-2014.
448 Appendices Cue Method Default : Values : Timecode First frame, Middle frame, Last frame, Timecode This option sets which frame we will cue to in a shot using CTRL+Cue on the Media Panel. CTRL + Cue : First frame : cues to the first frame of the shot Middle frame : cues to the middle frame of the shot Last frame : cues to the last frame of the shot Timecode : cues to the event thumbnail timecode for the shot i.e. the timecode shown below the Memories/Event itself.
Application Preferences 449 The Control Panel tab configures global settings used as defaults for various control panel parameters. Trackball Orientation See : Colour Preferences Modifier Timeout Default : 3 seconds This specifies how long a modifier key will stay active ("locked") before timing out when no other key is pressed.
450 Appendices The choices relate to the control panel menus visible under Shapes on the Image panel. Values : Default : Aspect - Scale, Scale X - Scale Y Aspect - Scale Aspect - Scale This is the default. On the control panel Shapes menu, we have an Aspect parameter and a Scale parameter. Scale X - Scale Y On the control panel Shapes menu, we have Scale X and Scale Y parameters.
Application Preferences Default : 451 1 second This refers to the length of time, in seconds, that you need to hold a button down before it goes into repeat keystroke mode. Display Timeout Values : Default : User Set 15 minutes How many minutes of inactivity before the panel displays are turned off. Display Brightness Values : Default : User Set (0 - 255) 255 (brightest) The brightness of the LED display screens on the panel.
452 Appendices Default : 5 This setting controls how fast the trackball "starts". This parameter is deprecated and should not be changed. Ring Timeout Default : 200 This setting controls how fast the rings "stop". This parameter is deprecated and should not be changed. Ring Trigger Default : 1 This setting controls how fast the rings "start". This parameter is deprecated and should not be changed. Speed Settings These speed settings control the overall sensitivity of the panel controls.
Application Preferences 453 Higher values give more sensitivity. Fine Sensitivity Ticking this box will make the rings and trackballs sensitive to very small changes, without affecting the sensitivity for larger changes. This means tiny changes can be applied via tiny movements of controls. Compare Modes These parameters are on the next page of the Control Panel settings. Go to the next page by pressing the M ore button. Enabled (ticked) items are available as compare modes inside the application.
454 Appendices the control panel and the GUI interface.This configures the colour arrangement on the trackball. Values : Default : Vector. Offset, Offset 30, Offset 330 Vector Offset corresponds to the old Rank system As you change this setting the trackball image next to the drop-down will update, indicating the current colour orientation : The Trackball Orientation setting also appears in the Control Panel preferences screen.
Application Preferences 455 Default Layer Show Mode Values : Default : Red,Green,Blue,Cyan,Magenta,Yellow,White, Black,Grey,Saturated Grey Values : Default : Inside Area, Outside Area Outside Area These settings correspond to : Show As Show Area (In/Out) in the Router settings for each CC/Effect layer. Default Keyer Input Values : Default : Previous, Base, Start Start This configures which layer a Keyer effect will use as input and corresponds to the layer Router setting Key Input.
456 Appendices This parameter controls the default scaling mode used on a new project. See Project Colour Scaling. For a discussion of colour scaling modes, see the Colour Scaling section in the Setup Manual. © 2014 Digital Vision UM-2014.
Application Preferences 457 Monitoring / Video IO The Monitoring/Video IO preference tab configures global settings for display modes, timeline monitoring and video and audio I/O. Note that changing many of these settings requires an application restart. Enable Dual Display If Enable Dual Display is on, the application assumes a two display configuration and configures its screen layout appropriately.
458 Appendices DVI Order Values : Default : UI(1) - Monitor(2), Monitor(1) - UI(2) UI(1) - Monitor(2) Use : All dual-display configurations. This setting controls the orientation of the displays, where : UI - the graphical user interface (menus, buttons etc.) Monitor - the player, image display If the dual screen mode you configure is invalid and causes problems, you can always set the general.prefs preference file parameter dualScreenMode to false before restarting.
Application Preferences 459 The Enable Dual Display checkbox should be on when using NVIDIA SDI direct output NVIDIA direct SDI is our term for the application taking direct control of the NVIDIA card SDI monitoring signal. This means that no configuration is needed in the NVIDIA display control panel. SDI Link This specifies the default NVIDIA SDI colourspace and format.
460 Appendices Always use default format for monitoring When enabled, the monitor is locked to the format set above and will not try and switch to a new format, even if its input changes. This is useful if your output monitoring device does not support some output formats and you wish to lock it to a supported format. Enable OpenGL readback to Video This setting enables the OpenGL graphics on your display monitor to be sent to the video board output for display in realtime.
Application Preferences 461 SDI Link This specifies the default video card SDI colourspace and format. Values : Default : YCrCb 422, RGB 444, YCrCb 444, Dual YCrCb 422, 12 bit YCrCb 422, 12 bit YCrCb 444 YCrCb 422 Default Format This specifies the default video card SDI video format to use.
462 Appendices Values : Default : Match p format Match psf format RS422 COM Port Default : 1 This sets the workstation serial (COM) port to use for VTR control. On a DVW workstation with built-in RS422 ports, this setting is not used if the environment variable USE_DVS_VTR_IF is set. Output Sync This setting specifies the sync signal the video I/O card uses.
Application Preferences Values : Default : 463 16 Bit, 32 Bit 16 Bit Use Video IO Card as Audio Monitor This setting will enable the video I/O card as the main audio monitoring device (rather than the computer workstation audio device). This is a Centaurus2 video card option only. This is a DVS Centaurus2 video board option only. © 2014 Digital Vision UM-2014.
464 Appendices Preferences Assistant The Preference Assistant is a utility tool for display and edit of the general. prefs file. Run the main application at least once before using this tool. Hitting the UPDATE button on any tab will update your general.prefs file at that time. If you want to create multiple preferences, first go to the Users section and create a Default general.prefs file and then additional user files to update.
Preferences Assistant 465 Re-order Master Layer Tools Re-order or remove colour tools available on your Master layer. The inactive tools can not be changed and have to remain in the given order. Re-order CC Layer Tools As the Master layer tab but operating on the CC Layers. © 2014 Digital Vision UM-2014.
466 Appendices Re-Order Panel Tools Re-order or remove tools available on your Control Panel. Using None will leave a gap. Media Locations Show and set the various media folder locations. Avid Mediafiles locations should still be set in general.prefs © 2014 Digital Vision UM-2014.
Preferences Assistant 467 Monitoring and Video I/O Monitor setup with presets for often used configurations. This is a mirror of what is in the Application Preferences. License View and update your license file. Copy the new license string into the text box and press the Update button. © 2014 Digital Vision UM-2014.
468 Appendices If the string entered starts with "Panel", the rest of the string is taken as the Control Panel "welcome" string e.g. Panel Grading System Sets the Control Panel welcome string to Grading System. This is the general.prefs option panel.welcomeString. Users The Users tab lets you create separate preference files for multiple users and easily switch between them. Recommendation : Once you have set the basic configuration files, use this tool to save the current preference as Default.
Preferences Assistant 469 Keycode Keycodes sre numbers appearing on the edge of film, incrementing once per foot, used to uniquely identify frames for negative cutting. Also known as edgecodes, they are the film equivalent of timecode. The key numbers identify certain traits of the film, including the manufacturer, the stock type, a prefix identifying the roll and a footage count.
470 Appendices Automatic Naming Some parts of the application assign names to items such as library material or folders based on a set of predefined rules. These rules are defined in the application preferences Capture/Conform tab. These rules are used for : Auto assign name Auto create library folder Library tape name Both Auto assign Name and Auto create library folder use the following interface convention when building a filename/folder structure : i.e.
Automatic Naming Calculation Basic Name String 4 up, adding 2 four three 2 up, adding 1 two 2 up, adding 3 two one no more folders 1 up, adding 2 one no more folders 0 up, adding 2 471 Note empty (no folders) The result here can be used as a name, or as part of a name. How we use this resulting basic name, and whether we use it at all, depends on other parameters.
472 Appendices Choice Material Name result Note replace with filename clip Use filename only, ignore above calculation prepend filename clip four three append filename four three clip ignore filename four three throw filename away Auto Assign Library Folder This setting defines whether we create named library folders automatically on material import. The folder names are created according to rules defined here.
Automatic Naming 473 Tape Name The tape name field in the library can be assigned from both the file header and the file path. If we take the tape name from the file path, our choice is a single value extracted from the filename/filepath : M folders up e.g. Example : five | 5 up / four | 4 up / three | 3 up / two / | 2 up one / clip.0001.dpx | | 1 up 0 up Result : Folders Up Tape Name Result Note 0 clip Use filename at level 0 1 one 2 two © 2014 Digital Vision UM-2014.
474 Appendices Effect Identifiers Effect Identifiers are unique names for application effects and are used to uniquely specify an effect in the general.prefs preference file. Master layer The following table lists the effects available for the master layer and their corresponding IDs in the general.
Effect Identifiers soft clip SoftClip HLS HLSColorCorrect blur Blur © 2014 Digital Vision 475 UM-2014.
476 Appendices Effect Selector Configuration The Effect Selector is the drop-down list that displays all available effects. These can be selected and added to a segment on the current composition. The Effect Selector drop-dow n list. Interacting w ith the Effect Selector dropdow n list and choosing an effect to add to the current com position. Effects are placed within Effect Groups. Above, we see the group Colour containing the effects Channel Mixer, Saturation, SOP and other tools.
Effect Selector Configuration 477 User Configuration File Name : userEffectList.prefs Location : C:\Phoenix\2014_1\root This file does not exist by default. If it exists, it will over-ride the default settings in the defaultEffectList.prefs file. An example userEffectList.prefs file exists in the example_files folder.
478 Appendices The effect names used are the "effect id". You can list all the "effect id"'s by running the application with the argument --effect-ids e.g. cd \Program Files\Nucoda\2014_1\ nucoda_fuse.exe --effect-ids You can have multiple "effects" lines. You can use multiple "effects" tags. An "effects" tag at the top-level is displayed at the top-level of the Effect Selector. An "effects" tag in a GROUP is displayed within the named ("name") GROUP.
Effect Selector Configuration 479 Hidden Hide the effects set in the "effects" list given. This means they do not appear anywhere in the Effect Selector, even if placed in a GROUP or a top-level "effects" list. This means they cannot be added.
480 Appendices Output Format Confguration Every project a main output format defined and may also have one or more secondary formats configured. Available formats appear as a drop-down list on the project screen with a name Setup. The Output Form at Selector drop-dow n list. Interacting w ith the Output Form at Selector drop-dow n list and choosing a form at. The output formats available can be defined through the use of text configuration files.
Output Format Confguration 481 User Configuration File Name : userOutputFormats.prefs Location : C:\Phoenix\2014_1\root This file does not exist by default. If it exists, it will over-ride the default settings in the defaultOutputFormats. prefs file. An example userOutputFormats.prefs file exists in the example_files folder.
482 Appendices Definitions Some configuration file parameters are of a specific type : Rational : A Rational number is a fraction and is composed of a numerator (top) and a denominator (bottom). Rather than using a floating point number (and decimal places), a rational number can more accurate reflect a parameter such as aspect ratio, or frames per second. Boolean : A Boolean value is either true or false.
Output Format Confguration 483 size W H Type : Rational The size parameter specifies the pixel width and height as a rational number. Example : size 2800 1800 aspect N M Type : Rational The aspect parameter specifies the aspect ratio as a rational number (fraction with a numerator and a denominator). A 1:1 aspect can always be chosen by setting the aspect values the same as the size values. Example : aspect 37 20 // 1.
484 Appendices Example : fieldOrder "Progressive" dropFrame B Type : Boolean The dropFrame parameter specifies if the format uses drop-frame timecode (true) or not (false). Example : dropFrame false initial B Type : Boolean This parameter is optional. The initial parameter specifies that the format it appears in will be selected on application start (for a completely fresh installation).
Output Format Confguration 485 Colour Tool Order Colour tools are effects such as Keyer, Channel Mixer, RGB Curves and SOP. They exist inside the Master and CC Layers. The default order of the tools can be changed in both the GUI and the Control Panel by editing the main application preference file general.prefs : C:\Phoenix\2014_1\root\general.prefs The recommended way to change the tool order is via the utility program Preferences Assistant. Always make a backup if you choose to edit the general.
486 Appendices Control Panel Tool Order Two preference file options are in the "panel" section : defaultMasterFX - Master Layer tool order defaultLayerFX - Base and CC Layer tool order Format Note that each option should be on a single line in the preference file. defaultMasterFX "CMix" "Bal" "ColC" "BReg" "Clip" "SOP" "Lev" "RGB" defaultLayerFX "CMix" "Bal" "ColC" "BReg" "HCurv" "Clip" "SOP" "Lev" "RGB" "None" "HCurv" "HLS" The Valhall Control Panel has space for six options on the display at once.
Colour Tool Order 487 3D LUT File Format LUT format v3 extends support to High Dynamic Range (HDR) images (e.g. OpenEXR) and allows the transformation of extended range inputs. This means LUT data values can exist outside the range 0.0 to 1.0. Example LUT files are distributed in the folder : C:\Phoenix\2014_1\root\cms\ In addition, example C programs are included to generate sample LUT files. These are found in the Example Code folder alongside some sample program outputs.
488 Appendices NUCODA_3D_CUBE Format : INT Integer format version of LUT file. Example : NUCODA_3D_CUBE 3 LUT_1D_SIZE Format : INT Size of 1D LUT. Example : LUT_1D_SIZE 1024 LUT_1D_INPUT_RANGE Format : FLOAT FLOAT Minimum and maximum 1D input values allowed: min1D max1D Optional (defaults to 0.0 1.0). LUT Format v3 Only Example : LUT_1D_INPUT_RANGE 0.0 1.0 LUT_3D_SIZE Format : INT Size of 3D LUT. Example : LUT_3D_SIZE 17 © 2014 Digital Vision UM-2014.
3D LUT File Format 489 LUT_3D_INPUT_RANGE Format : FLOAT FLOAT Minimum and maximum 3D input values allowed: min3D max3D Optional (defaults to 0.0 1.0). LUT Format v3 Only Example : LUT_3D_INPUT_RANGE -1.000 4.000 Note that min1D and max1D are the minimum and maximum input values that can be transformed by the 1D LUT. Similarly for the 3D LUT and min3D and max3D input values. Input values outside these ranges are clipped to these ranges before lookup. There is no constraint on the LUT outputs.
490 Appendices An example of the RGB values in an EXR pipeline is shown in the diagram below : Exam ple EXR RGB values pipeline. File Format From a sample file included : lut3d_2xN_noinvert_1D_only.cms # Lut3D.exe <1D-size> <3D-size> <1d-3d-test> # see Lut3D.cpp for details on optional arguments NUCODA_3D_CUBE 2 TITLE "Identity Lut, 1D Only, Version 2 format" LUT_1D_SIZE 2 0.000000 1.000000 0.000000 1.000000 0.000000 1.000000 Comments start a line with '//' or '#' characters.
3D LUT File Format 491 Format Description // version, title and sizes of LUTs: NUCODA_3D_CUBE version-number:int // version number TITLE "colour-conversion-title:string" // optional title (in quotes) LUT_1D_SIZE size-of-1D-LUTs:int // call this N LUT_1D_INPUT_RANGE min1D:float max1D:float // optional LUT_3D_SIZE number-of-levels-per-axis-in-3D-LUT:int // call this M LUT_3D_INPUT_RANGE min3D:float max3D:float // optional // specify 1D LUT: comes directly after the header specifications red[0]:float green[0
492 Appendices Icon Tools Reference File Browser Navigation icon function User preset directories - Opens the preset directories configuration panel Back to previous directory - Navigate backwards by one folder level Directory rename - Renames the selected folder Add folder - Adds a new folder as a sub directory of the current one Open / Close Panels - Opens/closes the multiple panel display Move panels right - Navigates forwards through multiple panels Move panels left - Navigates backwards through multi
Icon Tools Reference 493 Step Forward a frame Scene Detect - Applies scene detection on next playback Viewer Tools icon function Apply monitor Aspect Ratio correction Show Video Fields - Shows individual video fields of interlaced footage Show monitor Overlay tools View Full Screen Reference Lock Compare Mode Show HUD (Head Up Display) Show Grid Show Mask Edit Mask Show Graph Curves Show Histogram Reset Histogram Apply CMS Show monitor output Show video output Shape Transform Tools icon function Transla
494 Appendices Invert Tracker Tools icon function Track Forward - Plays through the shot tracking as it goes Track Backwards - Plays backwards through the shot tracking as it goes Track Step Forward - Tracks forward one frame Track Step Backwards - Tracks backward one frame Format Support The following sections describe media formats supported by the main application.
Format Support 495 Cineon Cineon File Format Extensions : cin Read / Write Options : None © 2014 Digital Vision UM-2014.
496 Appendices TIFF Tagged Image File Format Extensions : tiff tif Read / Write Options : Bit Depth 8 / 16 bit SGI SGI Image Format Extensions : sgi rgb Read / Write Options : Compression None / RLE Bit Depth 8 / 16 bit JPEG JPEG Image Format Extensions : jpg jpeg Read / Write Options : Quality 0-100% (default : 75) © 2014 Digital Vision UM-2014.
Format Support 497 PIC Softimage PIC Format Extensions : pic Read / Write Options : Compression None / RLE MPEG MPEG-1 Video Extensions : mpg mpeg Read / Write Options : Width/Height Slider I-Frame 0-10 (default : 8) Interval Bitrate (Kb/s) Slider (default : 400 Kbps) Tolerance (% ) Slider See the MXF Formats section.
498 Appendices EXR OpenEXR High Dynamic Range Format Extensions : exr Read / Write Options : Compression None / RLE / ZIPS / ZIP / PIZ / PXR24 / B44 / B44A The EXR format is based on the industry standard OpenEXR format [1]. It is the default cache format for half-float projects. For optimal performance reading and writing EXR files to/from disk on the Windows NTFS filesystem, EXR frames should be padded to an NTFS volume sector size. This is usually 512 bytes but may be different on some systems (e.g.
Format Support 499 List Formats EDL This is the Edit Decision List. CMX3600 Standard Format Support : Dissolves Retimes Black (BL) and AUX (AX) events EDL export (Export Composition) supports both standard CMX3600 format and an extended EDL format that includes : Long tapenames Clipname detail File path detail per event. Comment fields are parsed for clipname and event material (file path) information. Clip Names If an event followed by a clip-name specifier e.g.
500 Appendices See the Export Composition chapter for details of EDL export options. AAF This is the Advanced Authoring Format. Extensions : aaf Read / Write (see note below) Options : Format See MXF Formats section. Export to Off / On (default : off) Interplay Exporting an AAF requires the composition to have been created from an imported AAF. CUT This is a film cut list file. Extension : .
Format Support 501 lines that start with a string of asterisks (*). blank lines. A Title line becomes the title of the created composition.
502 Appendices The ALE format is ascii text and usually tab-delimited (delimiters are specified in the header). It consists of : A header containing various global settings (e.g. project format, fps etc.) A column specification One or more lines encoding metadata for a shot Header Heading FIELD_DELIMTABS VIDEO_FORMATPAL FPS25 Column Specification Column NameFPSProjectTapeStart ...
Format Support 503 Content Data ... Each shot includes and encodes the fields as shown above. Each field in each shot is delimited as per the header specification (e.g. usually a TAB). © 2014 Digital Vision UM-2014.
504 Appendices MXF Formats Read Support Codec On Avid Format Bits Notes DV25 DV 25 MXF 720x576 50i 720x486 59.94i 8 [1] DV50 DV 50 MXF 720x576 50i 720x486 59.94i 8 [1] DVCPRO100 DVCPRO HD MXF 720p 59.94 1080i 50 8 [2] MPEG IMX30 MPEG 30 MXF 720x576 50i 720x486 59.94i 8 [3] MPEG IMX 40 MPEG 40 MXF 720x576 50i 720x486 59.94i 8 [3] MPEG IMX 50 MPEG 50 MXF 720x576 50i 720x486 59.94i 8 [3] DNxHD 40 DNxHD 36 MXF 1080p25 8 [5] DNxHD 36 DNxHD 36 MXF 1080p 23.
Format Support 505 [1] DV25/DV50. For NTSC DV, sample height is actually 480. These formats are DVPRO, not consumer DV (4:2:0). [2] DVPRO100. The 1080 i50 format is actually sampled 1440x1080. [3] IMX. Samples are actually 16 lines greater (vertical blanking), making the formats 720x608 and 720x512. [4] Actually a YUV 4:2:2 format. Will offer a 10 bit version if using 10 bit output depth. [5] Avid will treat and label DNxHD 40 as DNxHD 36.
506 Appendices Camera Formats Red The Red digital camera format. Read only Extension : .R3D See the Red chapter for details. ARRI D-21 The ARRI D-21 camera is an advanced digital camera from ARRI. The camera has a 3K sensor and generates ARRIRAW data (an uncompresssed 12 bit RAW format) as well as a variety of HD output formats. Read only. Extension : .ari We support the .ari (ARRIRAW) file format only. Timecode The timecode can be retrieved from : The file header or The filename.
Format Support 507 LUT A LUT is important in an ARRI D-21 workflow. We include a standard set of ARRI LUT files in our cms folder : C:\Phoenix\2014_1\root\cms\ArriD21-LUTS\ You can also download LUT files directly from ARRI by going to the URL : http://www.arridigital.com/technical/luts/ Properties The application exposes the following shot properties via the Library/ Properties dialog. Scale Set the resolution we decode to.
508 Appendices High Brightness Slider : -100 to 100 Contrast Slider : -100 to 100 Gamma Gamma correction used to transform the camera data for display. Slider : -0.1 to 10 Saturation Slider : 0 to 2 Extra Metadata All available metadata is also displayed in a raw format : Silicon Imaging SI-2K The Silicon Imaging SI-2K camera is an advanced 2K digital cinema compliant camera from Silicon Imaging Inc. The camera records directly to the CineForm RAW™ format. Read only. Extension : .
Format Support 509 Timecode The timecode can be retrieved from : The file header or The filename. Tapename The tapename is from filename only. Properties The application exposes the following shot properties via the Library/ Properties dialog. Look File The Look File option lets you select and enable an SI-2K CineForm RAW™ LUT file. SI-2K Look Files have a .look extension. To select a LUT, click on the file browser icon, navigate to your LUT file location and press OK.
510 Appendices SI-2K Look File LUTs have to be installed before use. See below. Decode Resolution Set the resolution we decode to. Options 1/1 1/2 1/4 Decode Quality Set the RAW camera data decode mechanism. Options Automatic Advanced Bilinear Advanced Matrix5x5 Advanced Smooth Advanced Detail 1 Advanced Detail 2 Advanced Detail 3 Gamma Curve Gamma correction used to transform the camera data for display. Options Log 90 Gamma 2.2 Cineon 1.7 Cine985 1.7 Cineon 1.
Format Support 511 Extra Metadata All available metadata is also displayed in a raw format : Installing Look File LUTs SI-2K CineForm RAW™ Look File LUTs have to be compiled and installed before they can be used by the application. If you do not install the .look files before trying to use them, you will get an error "Could not find .cflook file for selected look file." The Look Files have a .look extension and are installed by a program called LookI nstaller.exe.
512 Appendices The LookInstaller program compiles the .look file and installs it as a . cflook file to the folder : C:\Program Files\Common Files\CineForm\LUTs To use the LUT, you can select either the original .look file or the installed .look file (in above folder). Because the files are installed to the same location, the names have to be unique. Vision Research Phantom The Vision Research Phantom camera is an advanced digital camera supporting both RAW data and various HD output formats.
Format Support 513 CINE Properties Options CINE Custom Scale Set the resolution we decode to. Options 1/1 1/2 1/4 1/8 Decode Quality Set the RAW camera data decode mechanism. Options Low Medium High WB Red Gain Slider : 0 to 2 WB Blue Gain Slider : 0 to 2 Brightness Slider : -100 to 100 © 2014 Digital Vision UM-2014.
514 Appendices Contrast Slider : -100 to 100 Gamma Gamma correction used to transform the camera data for display. Slider : -100 to 100 Saturation Slider : -100 to 100 Extra Metadata All available metadata is also displayed in a raw format : Audio Formats WAV Audio Uncompressed WAV audio files. Extension : .wav Broadcast WAV Audio An extension to the WAV file format to include extra metadata. Extension : .wav .bwf © 2014 Digital Vision UM-2014.
Format Support 515 Audio Interchange Format The audio interchange format. Extension : .aiff .aif .aifc Compressed and uncompressed variants. © 2014 Digital Vision UM-2014.
516 Appendices OFX Plugins OFX is an Open Source standard for visual-effect plugins. We support the full OFX API (Application Programming Interface) and a variety of plugins. Plugin support includes : The Foundry - Tinder, Furnace and Keylight GenArts - Sapphire (New) IMAGICA Corp. of America - Primatte The OFX API and documentation can be found online : http://openfx.sourceforge.net/ © 2014 Digital Vision UM-2014.
OFX Plugins 517 Configurable Viewer Tools Viewer tools let you display various pieces of information and guide elements on top of your monitor image. This includes various metadata items, grids/ shapes, logos, masks and colour information graphs. The following viewer tools are user configurable : Grids Overlay lines, rectangles and layout information. HUD (head Up Display) Overlay text or graphics inside monitor area or image. Masks Mask/Blank areas of the image. © 2014 Digital Vision UM-2014.
518 Appendices Graphs Display a graph or histogram of image colour map. The displayed information and its position can be customised via one or more specification files. The search path for the specification files is given in the main preference file general.prefs. Configuration Grids, HUDs, Masks and Graphs are configured via plain text files searched for in folders specified in the main configuration file general.prefs. Parameter Default File Extension monitorMaskDir monitorMasks/ .
Configurable Viewer Tools 519 ProjectName/monitorGraphs/private.graphs Grids Specification Overlay lines, rectangles and layout information. The HUD specification also use Grid files (.grids) but with a location set as per the general.prefs monitorHeadUpDisplayDir parameter. File Specification A grids file must end in the extension '.grids', e.g. test.grids It should be a plain text file Each specification file specifies one or more grids, each identified by unique name (a name parameter).
520 Appendices NOTE Grid specification lines must end with a semi-colon ";" character. A '#' character at line start delimits a comment. Rest of line is ignored. Strings should be quoted i.e. "string". There should be a space between each identifier and before the terminating semi-colon. Grid Specification The following identifiers are used. name name "" ; This is the name of the grid as shown in the GUI drop-down list. Grid names should be unique.
Configurable Viewer Tools 521 line line ; Draws a line from coordinates x0,y0 to coordinates x1,y1 using the current coordinate system and draw style. lineWeight lineWeight ; How wide to draw lines, in pixels. ellipse ellipse ; where Rx is X radius and Ry is Y radius. Draws an ellipse with centre at coordinates (x0,y0) and size 2*Rx by 2*Ry, using the current coordinate system and draw style.
522 Appendices textSize textSize ; Set the size of text drawn. color color ; Set the color (Red Green Blue Alpha) for drawing. fill fill "" ; where FILL is solid or open. Set the fill mode.
Configurable Viewer Tools 523 origin origin "" "" ; where : String Values VERT HORIZ bottom , top left , right Define the coordinate origin for all drawing operations. Macro Expansion Macros are available for use with the text operator and will be expanded to the associated information. Macro Format To specify a macro, use a text element e.g.
524 Appendices ##segmentVersion Version number of segment Audio Information ##audioName Audio material name ##audioOriginator Audio originator/creator (e.g.
Configurable Viewer Tools 525 monitorGrid 1.0 -1 { name "Poly" ; units "normalised" ; fill "solid" ; color 1.0 0.0 0.0 0.33 ; lineWeight 3.0 ; polygon 0.5 0.0 1.0 0.5 0.5 0.5 ; } monitorGrid 1.0 -1 { name "Poly2" ; units "normalised" ; fill "open" ; color 0.0 0.0 1.0 1.0 ; lineWeight 3.0 ; polygon 0.5 0.0 1.0 0.5 0.5 0.5 ; } monitorGrid 1.0 -1 { name "AS Rect" ; units "normalised" ; fill "solid" ; color 1.0 0.0 0.0 0.33 ; rectExtraction 0.25 0.25 0.75 0.75 ; } © 2014 Digital Vision UM-2014.
526 Appendices monitorGrid 1.0 -1 { name "Center Cross" ; lineWeight 3.0 ; units "normalised" ; color 1.0 1.0 1.0 1.0 ; polygon 0.0 0.0 0.0 1.0 1.0 1.0 1.0 0.0 ; polygon 0.0 0.0 0.0 0.5 1.0 0.5 1.0 0.0 ; polygon 0.0 0.0 0.0 1.0 0.5 1.0 0.5 0.0 ; } monitorGrid 1.0 -1 { name "Safe Areas" ; lineWeight 2.0 ; units "normalised" ; color 1.0 1.0 1.0 1.0 ; polygon 0.05 0.05 0.05 0.95 0.95 0.95 0.95 0.05 ; polygon 0.1 0.1 0.1 0.9 0.9 0.9 0.9 0.1 ; polygon 0.0 0.0 0.0 1.0 1.0 1.0 1.0 0.0 ; lineWeight 3.0 ; line 0.
Configurable Viewer Tools 527 monitorGrid 1.0 -1 { name "Greyscale" ; units "pixels" ; color 1.0 1.0 1.0 1.0 ; anchor "bottom" "left" ; origin "bottom" "left" ; image 0 0 "greyscale2.png" ; } monitorGrid 1.0 -1 { name "full info all" ; units "pixelsFullWindow" ; anchor "top" "left" ; origin "top" "left" ; textSize 14.
528 Appendices HUDs Specification The Head Up Display (HUD) configuration is the same as for the Grids. Masks Specification Mask/Blank areas of the image. This is a view only mode and is not exported or rendered. 2.35 extraction. User defined. File Specification A masks file must end in the extension '.masks', e.g. test.masks It should be a plain text file Each specification file specifies one or more masks, each identified by unique name (a name parameter).
Configurable Viewer Tools 529 NOTE Mask specification lines must end with a semi-colon ";" character. A '#' character at line start delimits a comment. Rest of line is ignored. Strings should be quoted i.e. "string". There should be a space between each identifier and before the terminating semi-colon. Mask Specification name name "" ; This is the name of the mask as shown in the GUI drop-down list. Mask names should be unique.
530 Appendices system. The area outside this rectangle will be blanked. User Masks A special mask named "User" will also appear in the GUI list. This allows us to set the mask size and position interactively. Example Mask Specifications monitorMask 1.0 -1 { name "1920x1080" ; units "pixels" ; rect 0 0 1920 1080 ; } monitorMask 1.0 -1 { name "10% in" ; units "normalised" ; rect 0.1 0.1 0.9 0.9 ; } monitorMask 1.0 -1 { name "4:3" ; units "normalised" ; unitsImageAspect 1.333 ; rect 0.0 0.0 1.0 1.
Configurable Viewer Tools 531 Graphs Specification Display a graph or histogram of image colour map. Parade style centred. Fill style south-w est. File Specification A graphs file must end in the extension '.graphs', e.g. test.graphs It should be a plain text file The format used for a Graph file is simpler than that used for Grids and Masks. Each specification file specifies one or more graphs, each identified by unique name (a GraphID string) and containing a list of drawing instructions.
532 Appendices Main Parameters GraphID The unique identifier for the graph e.g. NameOfGraph { .... } This identifier is not displayed. This identifier must not contain any spaces. name name "" This is the name displayed in the GUI Graph drop-down list e.g. © 2014 Digital Vision UM-2014.
Configurable Viewer Tools 533 Graph name in drop-dow n list intervals intervals The intervals parameter defines the total number of solid lines drawn to mark intervals on the graph. See overview diagram above. black black The black parameter specifies the position of the dashed line representing the black point. See overview diagram above. It is given in normalised coordinates (0.0 to 1.0).
534 Appendices Where : STRING V Vertical alignment. Values : bottom center (or centre) top STRING H Horizontal alignment Values : left center (or centre) right offset offset This is the (x,y) position of the graph inside the monitor display area. (0,0) is bottom-left. size size This is the (width,height) in pixels of the graph. style style "" Where : STRING S Style chosen Values : parade fill line This defines the type of graph to display.
Configurable Viewer Tools 535 Example : current { origin "bottom" "left" .... } compare { origin "top" "right" } Dual Com parison Mode w ith Graphs © 2014 Digital Vision UM-2014.
536 Appendices Legal Notices The software described in this document is furnished under a license agreement. This license is available in the docs/licenses folder once the software is installed. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement.
Legal Notices AAF http://aaf.sourceforge.net/ [12] OpenEXR http://www.openexr.com/ [13] libsigc http://libsigc.sourceforge.net/ [1] libsndfile http://www.mega-nerd.com/libsndfile/ [1] libpng http://www.libpng.org/pub/png/libpng. html [14] zlib http://www.zlib.net/ [15] Boost http://www.boost.org/ [16] Protocol Buffers http://code.google.com/apis/ protocolbuffers [18] ACES http://github.com/ampas/aces-dev [19] 537 Notes [1] http://www.gnu.org/licenses/old-licenses/lgpl-2.1.html.
538 Appendices THE SOFTWARE IS PROVIDED "AS-IS" AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
Legal Notices 539 THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED.
540 Appendices Copyright (c) 2003-2004, The Foundry Visionmongers Ltd. All rights reserved. Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met: * Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
Legal Notices 541 PURPOSE ARE DISCLAIMED.
542 Appendices copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution. * Neither the name of Google Inc. nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.
Legal Notices 543 "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT ARE DISCLAIMED. IN NO EVENT SHALL A.M.P.A.S.
