or key on the keyboard automatically moves the edit to that position. When any trim box is selected, the white timecode box displays the number of frames trimmed. The two numerical values indicate the length of tails; on the left for the outgoing clip, and on the right for the incoming clip. If you press the white timecode box, an inc/dec pop-up appears allowing you to change the value.
Complex Trims When different edit points on different tracks need to be trimmed at the same time complex trims can be performed. Place the timeline cursor on the main edit point (normally the video track) that is to be adjusted and select the centre trim box. This selects the nearest edit point (highlighted in yellow) on each of the currently enabled tracks. Hold down the <ñ> key and then select the subsidiary edit points to be trimmed by pressing the cursor on their specific edit points. These also turn yellow to indicate that they have been selected. Edit points on tracks that are not to be included in the trim can be deselected by pressing on their yellow edit points. Press and drag the centre trim box to move the edit point to the required position and all selected edit points move together. Pressing the left trim box
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Using the Trim/Transitions Window Drag the cursor from top-right to bottom-left over the required edit point (the lasso outline highlights yellow) to show the ‘trim’ window on the desktop instead of the Edit Window, Clips Bin and any Floating Clips. The window can be closed by pressing the hidden X box in the top-right corner or by pressing in an empty area.
Flat Timeline
(for under) and right trim box (for over) and then dragging adds or removes frames according to the direction in which the boxes are dragged.
At any time a transition can be changed by selecting the edit and making the required changes. The required transition can be selected from within the trim window by using prev or next or and to step through to it. The duration of each clip segment is shown here and in each segment’s top-right corner in white. The green numeric boxes above the clips of video are used to change the out point of the first clip and the in point of the second clip. The arrow boxes correspond to the trim boxes on the timeline, described previously. The image area of the window displays the last few frames of the outgoing shot on the left and the first few frames of the incoming shot on the right. The resize button on the right of the window can be used to increase or decrease the number of frames displayed.
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The horizontal yellow lines indicate the tails (ie the unused frames attached to each shot). If there are no horizontal lines, then all of the frames in the clip are being used. Press the and keys to trim one frame, or the and keys to trim 10 frames.
Moving the Edit Point (Centre Trim) Moving the edit point is also known as a ‘centre trim’. When ten frames are added to the outgoing clip segment, ten frames are subtracted from the incoming clip segment, so that the overall duration of the edit does not change. This type of trim does not affect the synchronisation between video and audio. The vertical line in the centre of the window is the edit marker and shows the edit point. The edit point can be moved to an earlier or later position. Press on the edit marker (not the image area) and drag left or right. The edit marker changes colour from yellow to white. The centre box above the edit marker shows the new position of the edit point and this can also be used to move the edit point by entering a specific timecode. prev
6:20
-18
<
>
00:00:03:27
<
>
21
<
3:12
next
Press Xon the arrow boxes directly below the edit marker, to move the edit point back or forward by one or ten frames.
>
review
The edit point can only be moved if there are tails available.
Split Edits You can also move individual video and audio tracks, often referred to as a ‘split edit’. Use the filters to select the track that needs to be extended. Only the tails
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prev
6:20
-18
<
>
00:00:03:27
<
>
21
<
3:12
next
>
review
First Clip
Second Clip
First Clip
Second Clip
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on the selected tracks remain yellow. The centre boxes or edit marker can now be used to advance or delay the video or audio segments.
X
Press the review box to play the trimmed edit. Press review and drag left to increase the preroll for the review. Using the left or right trim boxes breaks the synchronisation between video and audio.
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Cuts, Dissolves & Wipes To set-up new transitions or amend previous ones, you can either use the Trim/ Transitions Window described in the previous section, or the Video Transitions Menu. Access this menu by placing the timeline cursor at an edit point then press or double-click on the video track. You can close the menu by pressing the hidden X in the top-right corner or pressing again.
Note that creating a video transition does not automatically produce an audio fade. Do this by double-clicking an edit point on an audio track to display the Audio Transitions Menu; see ‘Audio Fades’ later in this chapter. Simple transitions can be rendered automatically if selected in the Configuration Window’s UI – Auto Render menu; see ‘Rendering’ in this chapter for details. When clips of different aspect ratio are assembled on the timeline, the way that the transition frames (ie during a dissolve or wipe) are created is determined by the box and cut settings in the Configuration Window and by the current render format settings.
Video Dissolves To produce a dissolve between 2 clips do the following: 1 Select the Dissolve box in the menu and enter a suitable duration in the length box. This value must be smaller than the total length of the tails available.
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centred
produces a transition centred around the edit point.
before produces a transition that starts and ends in the first clip. after produces a transition that starts at the edit point and continues into the second clip. any allows the start point to be adjusted to provide an offset dissolve. The dissolve is produced immediately after the dissolve parameters have been set-up. To clear a dissolve, press the Cut box.
Video Wipes Cut Dissolve Wipe Custom
V2 before length 24 offset -12
Push On empty empty
empty empty empty
Wipe soft in 0.0% out 0.0% invert field 15.0% border position 0.01 x 0.01 y
To produce a wipe between 2 clips, do the following:
Flat Timeline
2 If required, adjust the position of the dissolve around the edit point using the blue scroll box:
1 Select the Wipe box and enter a suitable duration in the Length box. This value must be smaller than the total length of the tails available. 2 If required, adjust the position of the wipe around the edit point using the blue scroll box (as described for dissolves). 3 Select the required wipe shape by clicking on the shape box to the right and selecting a shape from the pop-up. 4 On some wipes, the centre of the wipe shape can be repositioned as required by selecting the position box and adjusting the X and Y values accordingly. 5 The border box adds a border to the wipe shape. Border width can be controlled by the green numerical box on the right and the colour can be selected from the box below. 6 Both inside and outside edges of the wipe shape can be softened by
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increasing the values in the soft in and out numeric boxes. 7 You can reverse the animation of the wipe by pressing invert. The wipe is produced immediately after the wipe parameters have been set-up. To clear a wipe, press the Cut box.
Custom Transitions Custom transitions are created inside the Effects application but can be applied on the timeline by platforms (eg seats) without the Effects option. To save and apply a previously created custom transition from within the Edit application, do the following: 1 With the correct video track filter selected, double click (or tap) on the transition on the video track or place the cursor at the edit point and press to display the Video Transitions Menu. 2 Open the Settings Bin by pressing the Settings tab on the Application Bar. 3 Select save at the bottom of the bin and enter a name for the transition. Press end on the soft keyboard to transfer the setting into the bin. 4 The transition setting can now be dragged and dropped as required from the bin to any of the six boxes at the bottom of the transitions menu (they will overwrite if placed on a box with a previously stored transition). 5 The transition can be applied by opening the Video Transitions Menu at another edit point and clicking on the box displaying the transition name. Duration and position can be changed as long as there are tails available on the clips. The currently selected custom transition can be renamed if required by pressing rename on the top-right of the custom menu then entering a name.
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To move the position of a segment, drag the cursor from top-right to bottom-left over the segment’s in and out points (ie without lassoing an edit point) and the ‘slip & slide’ window appears instead of the trim window. Alternatively you can use the yellow lasso’s slip and slide functions on the timeline, described previously in this chapter. Three clip segments are now displayed in the slip & slide window; the lassoed segment should be in the centre between the two yellow bars. Press on the frame before the left yellow bar and drag left to slide the segment to an earlier position. Press on the frame after the right bar to drag it to a later position. X
slip
slide
Flat Timeline
Using the Slip & Slide Window
review
First Clip
Second Clip
First Clip
First Clip
Second Clip
First Clip
This doesn’t change the overall duration of the edit. The duration of the segments on both sides changes as the clip segment is moved. To slip the segment’s in and out points, drag left or right on the central clip or the yellow bars. The duration of the central segment does not change. Instead of dragging, a value can be entered in the slide or slip box above the images.
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Video/Audio Sync ‘Show Sync’ Indication When audio and video tracks are edited independently of each other (eg when the track filters have been selected) there is always a danger of breaking the relationship between them. For example, if frames are added only to the video track, all the following frames move along to make room for the new ones. The audio track however, remains where it is and the audio is heard before the images that match it are seen.
The timeline can display the synchronisation of the video and audio segments by displaying sync loss indicators. These indicators can be turned on or off from the Configuration Window’s Editor – Show sync menu. Selecting all provides a full display of warnings. Selecting simple displays only red lines under the clip segment that has lost video/audio sync. When video and audio from the same original clip are split during editing, the affected audio segments are shown with either a red underscore or a red parallelogram with an audio slip value (see previous screen shot). There is no red line where video and audio segments have no real relationship.
Sync Lock Typically when the content of recorded video and audio are matched (eg a person talking to camera), sync lock must be maintained at all times. Other material such as audio effects tracks, or commentaries from other sources, may need to be slipped to correspond with events on the edit timeline.
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del addVG
Video Format Audio Input Channel Selector 1 2
720 x 576
V1
out to ch 1
A1
out to ch 2
A2
Track Sync Locks Logging
Dest. Timecode
10:00:00:00
Master Video/Audio Sync Lock
Audio Track Filter (track 1) Track Sync Locks Audio Tools
Audio Output
1 2
Video Filter + 'Handle'
25.00
Frame Rate
add audio
Sync lock can be maintained automatically by selecting the Master Sync Lock button in the bottom-left corner of the timeline display next to the FPS indicator. The larger buttons to the left of the audio track buttons allow sync lock to be added or removed from specific tracks.
When the tracks that have been sync locked are edited, the system automatically forces the audio or video to follow. For example, if a video-only segment is inserted into the video track then the audio tracks that are locked to it have silence inserted to maintain video/audio synchronisation. Likewise if a segment of video is removed then the corresponding audio track segment is also removed.
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Delete Track
Correcting Broken Sync When audio/video sync is lost it can be corrected by noting how many frames the track is out of sync by and then sliding the segments correspondingly to regain sync.
Audio Processing Audio Transitions (Fades) To set-up an audio fade, you can either use the Trim/Transitions Window described previously in this chapter, or the Audio Transitions Menu. This menu is accessed by double-clicking an edit point on the audio track or by pressing .
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Note that any changes will affect all audio tracks, so use the audio track filter boxes (A1, A2 etc) as required. The green numeric box defines the total duration of the audio fade either in frames or milliseconds (select frm or mS from the scroll box) and the type and position of the fade is controlled by the following boxes: L The fade starts before the edit point (at a point within the in tail of the second clip) and stops at the edit point C The fade is centred around the edit point (starting and stopping within the audio tails). R The fade starts at the edit point and stops after the edit point (at a point within the out tail of the first clip). V The first clip is faded-down before the second clip is faded-up. X
This is an audio cross fade.
^
The second clip is faded-up before the first is faded-down.
The type of fade and its position is represented visually by the highlighted shape around the edit point on the timeline, as in the examples on the left. Press set to confirm the audio fade or clr to clear it.
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You can change audio levels and create fades with audio tools on the timeline. Switch on the audio tools by selecting the small grey box below the audio track filter (eg below the A1 box), or by holding down . Now when you move the cursor over an edit point, a red bar is displayed on the outgoing shot, and a green bar on the incoming shot:
Making sure the bar is a solid colour, press in the middle of a single coloured bar and drag it left or right to advance or delay the audio.
Fades Making sure the bar is a graduated colour, press and drag the top corner of the bar upwards to create a fade.
Flat Timeline
Audio Tools
a
Crossfades Press between the red and green bars and drag upwards. You can also adjust the red and green bars individually, or click on the crossfade and slide it along the track to change the position of the fade.
To clear an audio fade, click and drag downwards or right-click and select del seg fades from the list.
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Audio Waveform Display The audio waveform display can be used to accurately edit the audio track between video frame boundaries. The vertical scale of the waveform can be adjusted using the hidden green boxes on the right of the timeline when the timeline is expanded vertically. Note that on server held clips, waveform only displays after the clip has been locally cached, ie played through once. Purging the cache removes the waveform until the clip has been played through again.
Setting Audio Levels Values below indicate EBU digital scale (IEC 50288-18) and UK PPM scale -6db (ppm 7) compressor/limiter waveform scale
pan control mute solo segment level
0.0db
0.0db
0.0db
0.0db
-10db (ppm 6) -18db (ppm 4)
-26db (ppm 2) track level centre playhead
seg fader track
equaliser
timeline zoom
-40db (ppm 0)
Audio level indicators are available on the right of the timeline allowing the audio levels to be adjusted for each audio track and audio segment. The hidden menu (see previous diagram) is displayed by dragging a mute or solo button to the left. To adjust the level, place the cursor on the audio level indicator and slide up to increase the volume or down to decrease the volume. A1
Audio Filter Audio Tool Button
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Audio levels can also be controlled directly on timeline segments by holding down and clicking on the orange highlight then dragging up or down to increase or decrease levels.
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If the seg button is selected, the audio level of the current segment in the selected audio track (enabled by the audio track filter boxes A1, A2, A3 etc on the left of the timeline or Floating Clip) can be changed by using the corresponding green numeric boxes or the corresponding track slider on the fader panel. If the fader button is selected, the track can be changed dynamically as it is played using the corresponding track slider on the fader panel. This is indicated by white nodes on the audio track. If the track button is pressed, the level for the whole audio track can be increased or decreased by the amount entered in the corresponding green track level box or the corresponding track slider on the fader panel.
Flat Timeline
You can also change audio levels by selecting the rectangular audio tools box under the required audio track filter box (eg the A2 box), and then adjusting segments on this track only.
The green audio level boxes are calibrated in decibels. A value of 0.0 indicates that the audio level is the same as when recorded, a positive value indicates that the level has been amplified with respect to the original and a negative value indicates that the level has been reduced with respect to the original. The red buttons mute specific audio tracks so that they do not contribute to the overall output during monitoring. The green buttons allow a single track to be heard. These do not affect the clip if it is saved, played-out or published.
Audio Rubber Banding The audio level at any point on the audio track can be controlled by a keyframe or ‘rubber band’. To add a keyframe, place the cursor at the position required, then right-click and select ins level from the list. Alternatively, a keyframe can be inserted on all audio tracks at the same time by pressing the < / > key. Use the audio track filter boxes to control where keyframes are inserted. A1
Audio Filter Audio Tool Button
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Keyframes can be placed along the audio track and modified when the audio tools box is enabled on the audio track (or by holding down ).
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out to ch 1
out to ch 2
o
rushes 10:47:21:18
10:46:52:04
10:00:00:00
Edit
A2
A2
Second Clip
First Clip
stereo rushes 10:46:52:04
stereo
The audio level at each keyframe can rushes 10:47:21:18 be adjusted by placing the cursor on Clipand the white keyframe Second of the audio dragging up or down. The audio level stereo rushes is between these keyframes 10:47:21:18 interpolated smoothly. 00:00:15:00 in seq out 00:00:20:00
First Clip
stereo rushes 10:46:52:04
25.00
00:00:10:00
add audio
The audio level of individual segments can be set as required by placing the cursor over the audio track (until the audio envelope is highlighted in yellow) and by dragging the top edge of the envelope up or down to adjust the volume.
Effects
Utility
Io
Scribe
clips files
With the audio tool button selected, any keyframe can be moved by placing the cursor on it and dragging it left or right along the track. The level between 2 keyframes can be adjusted by dragging up or down between them on the audio track. Any keyframe can be deleted by selecting the delete box on the top-left of the timeline and then pressing on the white keyframes on the audio track. Alternatively, right-click on the keyframe to be deleted, then select del level from the list. If the fader button is selected from the hidden menu on the right, the level of the track can be changed dynamically as it is played using the corresponding track slider on the fader panel. This is indicated by white nodes on the audio track.
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Right-clicking on the audio track filter box or on the audio track itself displays 2 different hidden menus. If you right-click on an audio track filter box, the following appears:
Pressing reset restores the vertical size of the tracks.
Flat Timeline
Hidden Audio Track Menus
Pressing rename allows you to enter a new name for the track (note that this name cannot be saved or stored after the session ends). Pressing copy copies the track plus its audio settings onto the timeline as a new track. Pressing add audio adds a new audio track at the bottom. Pressing split audio separates the audio channels of the selected track into additional tracks with enabled/disabled audio channels. Pressing the delete box deletes the currently selected audio track. If you right-click on an audio track segment, the following appears:
Pressing ins level adds an audio keyframe at the point on the track that the cursor was pressed. Pressing split audio separates the audio channels of the selected segment into additional tracks with enabled/disabled audio channels.
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Pressing del seg levels deletes all audio keyframes within the segment and all level adjustments. Pressing del seg fades at either end of the segment deletes audio fades.
Stereo to Mono Audio Split A single stereo pair track can be masked to behave as two mono tracks. This can be done by selecting the split audio function on the hidden audio track menus. This will create individual audio tracks with the appropriate channel enabled. The audio channel output selection boxes can be used to enable/disable audio channel on ouput. So for example a stereo audio track could be output as a mono channel by selecting either the 1 or 2 audio channel selectors. Or a quad channel could be output as stereo by selecting two audio channel output selectors on a quad track.
Graphic Equaliser When the graphic equaliser is selected from the hidden menu on the right, it increases in size to allow accurate adjustment. The graphical display can be closed by pressing the X box on the right.
save
restore
clear
bypass X
Q 16kHz
8kHz
4kHz
2kHz
1kHz
500 Hz
250 Hz
125 Hz
60 Hz
0 Hz
+16 dB +12 dB + 9 dB + 6 dB + 3 dB 0 dB - 3 dB - 6 dB - 9 dB -12 dB -16 dB
A three band graphic equaliser is provided for Loweach Bandaudio Node track on the timeline. This is Mid Band Node controlled directly using the graph display under High Band Node the hidden menu on the right.
This graph displays gain along the vertical axis and frequency along the horizontal axis. The frequency response of the graphic equalizer is shown by the white curve intersecting the 3 white square nodes that indicate the 3 frequency bands. The centre frequency and gain/attenuation for each of the 3 bands (low, mid and high) can be changed by selecting the individual white nodes on the graph and dragging. Placing the cursor on the white nodes displays their current values.
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The nominal width of each of the 3 bands is 1000hz, but each band can be adjusted between 100hz and 4000 Hz by selecting the Q box and sliding the white node up and down. By moving the white nodes closer together, you can create high pass, low pass and band stop filters for the audio. The graphic equalizer settings can be reset by holding the key on the keyboard and pressing on the graph with the cursor. To hear the effect of the 3 band equaliser during set-up it may be necessary to mute or solo individual audio tracks on the timeline.
Flat Timeline
Dragging a white node left or right decreases or increases the centre frequency for that band. Dragging the white node down or up attenuates or amplifies the frequencies in the band.
save Pressing the save box saves the settings of the currently selected graphic equaliser in a buffer. restore Pressing the restore box applies the settings currently held in the buffer to the currently selected track graphic equaliser. clear Pressing the clear box clears the settings of the currently selected track graphic equaliser. bypass Pressing the bypass box disables the effect of the graphic equaliser. Q Pressing the Q box then selecting a node on the graph allows the size of the band to be adjusted. X Pressing the X box in the top-right corner on the graphic equaliser closes the menu.
Audio Compressor/Limiter The Audio Compressor/Limiter is accessed by pressing in the hidden audio menu below the green track level box and closed by pressing the X box in the corner of the menu. The menu controls the currently selected track only but the settings can be transferred from one track to another.
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save
gain
restore
thresh
clear
bypass X
amount attack release
The values in the dials can be controlled directly using the cursor or by tapping on the dials to display green numeric boxes.
The compressor provides a form of automatic level control. It attenuates high levels by reducing the dynamic range, making it much easier to control signals and set appropriate audio levels. Limiting is an extreme form of compression, where the output signal is sharply attenuated so that it cannot exceed a particular level. save Pressing the save box saves the current settings in a buffer so that they can be applied to other tracks. restore Pressing the restore box applies the settings currently held in the buffer to the currently selected track. clear Pressing the clear box clears the settings of the currently selected track. bypass Pressing the bypass box disables the effect of the compressor/ limiter for the selected track. X Pressing the X box in the top-right corner closes the menu. Compression is expressed in terms of a ratio which defines how much of the output audio level is produced for any given input level. A ratio of 1 : 1 means that the audio is unaffected by compression.
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“threshold”
Threshold “attack”
0
“amount”
Output Audio Level
2:1 Compression
save
gain
restore
thresh
clear
bypass X
amount attack release
Input Audio Level
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1:1 No Compression
The gain control sets the overall output audio level to compensate for the apparent loss due to the compression of audio with a large dynamic range. The thresh (threshold) controls set the level above which compression starts. The amount value sets the compression ratio. The attack control sets how quickly the compression takes place after the audio level has exceeded the threshold level. The release control sets how quickly the compression is turned off after the input audio level has dropped below the threshold level.
Audio FX Loop This is applicable only for hardware seats where audio needs to be processed externally, eg through a mixer or graphic equalizer, an FX Loop can be set to do this. The line output from the sound blaster card can be connected to the input of the external device and the output of the external device is connected back to the line input (or other sound blaster input selected in the Configuration Window). The audio track to be processed is selected using the green ‘solo’ button on the right of the timeline. When the FX Loop - Record box is pressed the clip is
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played from the current frame on the timeline, the selected audio track is routed through the external device and a new audio track will be created. Pressing the Record box again stops the process. The clip continues to be played and subsequent selections of the Record box places the processed audio on new audio tracks. The value in the green delay n frames box can be used to compensate for the static delay in the audio process path to avoid manually matching the new audio position with that of the original. If the Bin box is selected before Record is pressed, a copy of the processed audio is automatically saved in the Clips Bin (with the title ‘FX loop clip’) as well as on the timeline.
One Shot (F8) Menu Within the Edit application there is a set of simple correction tools called the ‘F8’ or ‘One Shot’ menu.
To use this menu, place the timeline cursor on the shot you want to amend and press on the keyboard. The One Shot menu now appears on the top-left of the menu area and the current clip segment on the timeline turns yellow (it remains this colour until you render or cancel the settings).
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Press cancel at any time if you want to close the One Shot menu without applying any changes. No history is saved with the effect after rendering, so making changes to the effect after returning to the timeline is not possible.
White Balance Select white balance if you want to correct the current clip segment’s white balance. Click on any area of the image and a white balance correction is applied to the whole clip segment.
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After parameters such as white balance, video level etc have been amended satisfactorily, press render then commit to apply the changes and return to the timeline.
Try sampling an area that is known to be pure white or pure black. To change the white balance select a different sample point on the image until you are satisfied with the result.
Video Level Select video level to adjust the luminance levels of the current clip segment. Do this by clicking and dragging up or down on the image to change the white level. Holding down and dragging adjusts the black level, whereas holding down and dragging adjusts gamma.
Tracker Select tracker to allow a specific point to be tracked with an obscuring shape on the current clip segment. The shape can be a rectangle or ellipse and can be used to blur, mosaic or spotlight the specific point. Click on the image to set the track point and shape. Click on a different part of the image to change the track point. To change the size of the shape, hold down the key and drag diagonally from the top-left of the image to the bottom-right. A short drag reduces the size and a long drag increases the size.
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The best targets for a track should contain both vertical and horizontal components, ie a cross or intersection of two lines. Any constant pattern (circles, squares, curves) that is clearly visible within the target area also works well. Press track when you are happy with the position and size of the shape. If the shape drifts off target you can reposition and track again from that point by pressing recover. If you want to keep the result, press commit. Press clear to reset any changes you have made. You can also save the clip settings into a buffer so that they can be applied to other clip segments. Press restore to apply any previously saved settings to the current clip segment.
Resize Select resize to resize the current clip segment; eg to remove unwanted blanking from the image. Click and drag up or down on the image to zoom in or zoom out. Hold down and drag the zoomed image to move the image within the frame.
Clip Logger The clip logger allows the original recorded source clip to be marked at different events with a visual flag plus a description of the event. The duration of the event can also be flagged with different coloured flags to highlight up to 4 event types (eg goals, penalties, red cards and yellow cards in a football match). These marked events can be seen wherever the source clip is viewed, whether it is the source clip that is viewed, or an edited clip that contains part or all of the source clip. It is not possible to add events to a source clip that has been trimmed or edited with other clips. However, it is possible to add events to the original source clip, which then display in a sub-clip or edit.
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i start source timecode ii end source timecode iii type of event (4 user defined types available per logging role) iv comment (multiple line text)
Viewing Events Log events can be viewed below the main image window in the Edit application, on Floating Clips and in the Clips Bin. Video Filter + 'Handle'
V1
Video Tool Button 10:25:08:00 breaking wave
V1
A1
A2 25.00
beach rushes 720x576 16:9 cuban rushes 10:16:52:04
beach rushes stereo cuban rushes 10:16:52:04
beach rushes stereo cuban rushes 10:16:52:04 00:00:10:00
in
seg out
00:00:15:00
10:25:08:00 breaking wave
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The display of log events is enabled by pressing the Video Tool button under the V box on the left of the timeline (see screen shot on left).
Flat Timeline
Each log event contains the following detail:
Log events 30:06:02 are displayed as a text window under the video window of the Floating Clip. This displays the source 10:46:58:06 30:06:02 timecodes and text of the most recent log event in the clip. It updates during 10:46:58:06 navigation of the clip. Each event is 30:06:02 indicated on the video timeline with a 10:46:58:06 vertical bar of the event colour, followed by a highlight of the same colour for the duration of the event. 00:00:25:00
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Entering Events Log edit mode is enabled by holding down the key and pressing . V1
A1
A2 25.00
In this mode30:06:02 the text window has a white border and a blue LOGGING ON 10:46:58:06 box appears.
beach rushes 720x576 16:9 cuban rushes 10:16:52:04
beach rushes
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If the timeline cursor is positioned before any10:46:58:06 existing events, or if there 30:06:02 are no log events on the clip the timecode10:46:58:06 on the top line is blank (--:--:--:--).
stereo cuban rushes 10:16:52:04
beach rushes stereo cuban rushes 10:16:52:04 00:00:10:00
10:25:08:00 10:25:21:02 breaking wave
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F6
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LOGGING ON
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To mark a log event press , , or for the appropriate event type. Comments can then be typed using the keyboard.
The text can contain multiple lines and can be navigated with the cursor keys. Text selection techniques using mouse or cursor and editing keys (, , +, +, +) allow cut and paste between the log window and other applications. Events can be a single frame duration (this is the default) or can be given a duration by terminating the event by pressing . When in Log edit mode, clip navigation must be performed using the Active Area as the whole of the keyboard is devoted to text entry. New events can be entered while the clip is playing or stationary. Note that it is not possible to enter an event that overlaps another. The current event can be deleted by holding down the key and pressing . To exit Log edit mode, hold down the key and press . This releases the keyboard to allow normal operation such as clip navigation.
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Each of the 4 event types can have a line of default text associated with it, which gets entered automatically when an event is added; this text is editable. Note that this information is set by the ISA Manager.
Navigation Between Events Positioning the cursor above an event displays the source timecode and the first part of its text. Clicking on the event moves the timeline cursor to that event making it the current frame. The up and down keys (in view mode, not edit mode) move between log start and end locations in addition to the other clip events.
Printing a Clip Log It is possible to output the log of the currently viewed clip (white border on video), by holding down the + keys and pressing . This creates a text file in the C:/Data/Clip Logger/ directory with a title matching that of the clip (‘clip name.txt’). The file name may differ from the clip name in order to remove any characters not supported by the operating system.
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Flat Timeline
Event Prefix Text
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Pan & Scan Edit Window Functions Keyframeable Pan & Scan (not available on all platforms) allows the image to be resized and repositioned along the timeline. When the edit is played on the timeline the Pan & Scan occurs in real time. If you hover the cursor over the top-right of the Edit window, a grey box appears. If you press this box the Pan & Scan menu is displayed below the image area, as shown in the following screen shot. Note that this box remains in the top-right corner of the Edit window for the current segment if you change an associated setting.
Pan & Scan settings are keyframed with respect to the first frame on the timeline. A single entry is applied to the whole timeline. The movement between multiple keyframes is interpolated even across segment edit points and transitions. The movement up to the first keyframe and after the last keyframe is retained. The safe area can be displayed in the Edit Window by pressing the key on the keyboard.
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If track is selected, all changes to position and size are made to the whole track. When a Pan & Scan setting is made at any point in the edit the setting is applied to all segments within the edit, except those that have had individual segment settings applied. You can control x & y zoom and x & y offset from the numeric boxes. The x and y boxes lock the axis so that its value is not changed. You can also press or while dragging the cursor in the Edit Window to zoom and offset. By default the transitions between any size or position changes are cushioned (curved). With the linear box enabled before any changes are made, the transitions will be linear. The load box allows the currently held Pan & Scan settings from the temporary buffer to be applied from the current frame.
Flat Timeline
If seg is selected, any changes to position and size are made to the currently selected clip segment only.
The store box allows the current Pan & Scan settings to be held in a temporary buffer so that they can be applied elsewhere on the edit. The clear box clears all Pan & Scan keyframes. Selecting reset followed by seg resets the Pan & Scan settings of the currently selected segment. Selecting reset followed by track resets the Pan & Scan settings for the whole track.
Saving & Transferring Settings Pan & Scan keyframes for the whole edit can be saved in the Settings Bin so that they can be transferred to another project. Any saved settings can be dragged from the Settings Bin and dropped on the timeline where they will be applied to the new project. See chapter 1 ‘Using Bins – Settings Bin’ for more details.
Video Track Controls Pan & Scan keyframes are indicated on the video track as white keyframe markers. They can be moved along the timeline by holding down the key and moving the cursor along the video track until a vertical yellow bar appears
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and then dragging this to the required position. Pan & Scan keyframes can be deleted by pressing delete followed by the keyframe marker. You can select a track, eg V1, then use the next and previous keyframe buttons on the Edit Window to jump to specific Pan & Scan keyframes where you can right-click and select one of the following:
ins pan&scan This allows a Pan & Scan keyframe to be inserted at the current frame in the current clip segment. load pan&scan This allows the currently held Pan & Scan settings to be applied from the current frame onwards. linear pan&scan This allows the change in size and position to be linear for the current clip segment. cushion pan&scan This allows the change in size and position to be cushioned (curved) for the current clip segment. store pan&scan This allows the current Pan & Scan settings to be stored in a temporary buffer so that they can be applied elsewhere on the edit. reset pan&scan This resets the Pan & Scan from the current frame onwards. clear pan&scan This deletes all the track’s Pan & Scan keyframes.
Stereo3D Functions On platforms with the Stereo3D option, push and convergence controls are also available from the Pan & Scan menu; see Stereo3D User Guide for details.
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Quantel’s templating tools are available in two forms within the Edit application in flat timeline mode. The ‘User’ mode (accessed by pressing the key) and the ‘Designer’ mode (accessed by holding down with the key). Templates are a form of effects clip or pack that originated from within the Effects application on any Quantel platform. Any effects clip can be converted into a template by using the Template Designer menu. Any template created in Designer mode can then be used on any platform that has the Template User licence.
Template Designer Mode A template is created by a designer, editor or anyone with access to the Effects application on a platform that has the Template Designer licence installed. Here it can be decided which layers in the template will be updated by the end user. Layers, such as the background or main title, can be locked so that only the layers that need to updated on a daily basis can be changed by the end user. Templates can be used to create many different styles of graphic; full frame stills, full frame animations, over the shoulder/inserts with associated keys or to create a graphic effect in an edit.
Flat Timeline
Templating
Any effects clip created in the Effects application can be converted into a template in the Edit application in Template Designer mode (+). Here the user-changeable elements (such as video layers and text) can be enabled and renamed and non-changeable elements can be locked.
The large boxes on the right of the menu allow each individual layer in the effects clip to be selected. The small box to the right of each layer allows the layer to be enabled for the end user to change.
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On video layers the green numeric boxes to the right of the pos box allow the content of the video within the layer’s container to be re-positioned. The green numeric box to the right of the size box allows the image to be re-sized within the layer’s container. These controls allow the image to be scaled and repositioned within the original extents of the effects clip. The reset box resets the values of size and position back to those of the original effects clip. The close box allows the template to be displayed in User Mode. The setup box, which replaces close, allows Designer Mode to be re-selected. The rename box allows the selected layer to be renamed more appropriately than the defaults (eg Video 0, Video 1, etc). Pressing the rename box displays the soft-keyboard allowing the layer to be renamed. Select the end box to close the soft-keyboard and make the change. The context box is used in conjunction with layers that may appear at some point through the effects clip (ie not present on the first frame). Selecting the layer box, moving to the first frame where the layer becomes visible and then pressing the context box stores this information. This allows the end user to see this point in the effect when a layer is to be substituted. The Up and Down boxes change the order in which the end user is presented with layers to substitute. There are 3 template types that can be applied to an edit in Designer mode. Templates in media bins have different icons to indicate the type of template: (Top) Where any effect within the template starts at the first frame of the clip segment and continues until it completes. (Whole Segment) Where the template is applied to the whole segment. Any effects within the template start at the first frame in the clip segment and continue for the duration of any effect within the template. (Tail) Where any effect within the template finishes on the last frame of the clip segment and is back-timed to start within the clip segment. The K box creates a key channel for the template clip. To apply the template type and any other changes, the effects clip has to be rendered (press render) to create a template.
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The following is done in Template Designer Mode: 1 Create an effects clip in the normal way using the Effects application. Create text on blank, non-video layers. 2 Render and save the effects clip. 3 Drop the effects clip onto the Edit timeline (in Template Designer Mode). 4 Hold down the key together with to select Template Designer mode. 5 Decide which layers and text are to be user-defined and which are to be locked by enabling/disabling the layer selection boxes on the left of the menu area.
Flat Timeline
Template Creation Procedure
6 Choose a type of template (whole segment, top or tail) and whether a key channel is required. 7 Press the render box. 8 After the template has been rendered, select Save to save the template in the Clips Bin, or publish it to the server. It should now appear with a green template icon.
Template User Mode Templates can be applied to a flat timeline in 2 different ways: a Drag a template from the Clips Bin and drop it on the empty timeline and then press to enable Template User mode. b Or, with an existing edit on the timeline, enable Template User mode when the timeline cursor is on an existing clip segment by pressing , then drag and drop the template into the templating window. The Template User menu allows pre-definable elements to be changed.
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There are 3 template types (with distinctive bin icons) that can be applied to an edit in User mode; these are created in Designer mode (see previous section). The blue scroll box on the left of the menu displays the layers that can be substituted in red letters. The orange box (# left) indicates how many layers can be substituted (you do not have to change every layer).
Video layers can be substituted by dragging new clips and dropping them on the video thumbnail. Text layers can be changed by selecting the layer from the scroll box and pressing the edit box to display the soft-keyboard. Make the required changes and press the end box. If the video needs slightly repositioning or resizing, eg to resize a head shot, the template menu has simple size and position controls. The green numeric boxes to the right of the pos box allow the content of the video within the layer’s container to be re-positioned. The green numeric box to the right of the size box allows the image to be re-sized within the layer’s container. The reset box resets the values of size and position back to those of the original effects clip. When updated with the new content, the clip segment can be rendered by pressing the render box in the middle of the menu area. The turquoise line above the segment on the timeline indicates that a template has been applied. A beige highlight indicates that the segment is unrendered. A chequered ‘T’ in the Edit Window indicates that there is an unrendered segment with an applied template.
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The edit can be previewed at any stage on the clean SD and HD monitor outputs provided. The blue box on the right of the Application Bar shows the specific output/play preview format currently being used. For workstations with the stereo option, both outputs can be locked together using the single sdi stereo out control.
The aud box in the bottom-right corner controls the output to speakers. The vid box controls output to another video output.
Rendering
0 0
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Unrendered clip segments display a different colour on the timeline. The colour horizontal method combine depends on the history of the clip; see ‘Timeline Segment Colours’ in chapterzoom 1 for details of all segment colours and descriptions. wire When rendering is required, the small box on the top-right of the timeline (above the red and green solo and mute buttons) turns orange (see below screen shot). Fourth Clip
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When an edit is assembled on the V1 track on the timeline, no new video frames need to be created and therefore no rendering needs to be performed. However, as soon as a transition between 2 clip segments is introduced, new frames will need to be created by rendering. Likewise if anSD MLT FX process is applied to clipclear 576 yuv V K reel bank segments on the V1 track, then rendering is required. blend flip
Third Clip
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Play-out Preview
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Pressing this orange box starts rendering all unrendered clip segments and Fourth Clip transitions; rendering can be a background process on some platforms if 10:00:27:05
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required. During the render process, a progress bar appears above the clip segments being rendered. Simple transitions can be rendered automatically (if selected in the Configuration Window’s UI – Auto Render menu), where a ‘simple’ transition is defined by the following rules: 1 It has no overlaps with unrendered segment effects. (If the segment effect has been rendered then it is considered ‘simple’ and will render) 2 It has no overlaps with any Track Effect (rendered or unrendered). 3 It has no overlaps with any Clip Effect (rendered or unrendered).
Rendering Soft Mounted Media Soft mounted media can be edited in the same way as any other media, but it is at preview resolution and not the full render/localise resolution. If soft mounted media is rendered, only the rendered frames are written to the local workspace. If media needs to be re-edited and its history accessed, the original media needs to be available online or the original rushes localised first (see ‘Localising Material’ for details).
Unrender Effects & MLT FX Rendered Effects history can be unrendered from the Edit timeline. This is useful for reducing the size of archives so that only the original media with its Effects metadata is stored; therefore saving disk space. First check that in the Configuration Window you have ticked Highlight changes in the Highlight menu. If you now press +click or right click over the rendered segment, the unrender Effects option appears on the pop-up. When you press this, the segment unrenders and turns orange (if single layer) or green (if multiple layers). You can now extend tails or adjust the edit as required. If you have used MLT FX, delete seg fx appears in this pop-up; press this to reset all MLT FX processes (eg blur, colour etc). Rendered Effects or MLT FX history can also be unrendered from the Clips Bin.
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Saving The contents of the timeline can be saved locally in the Clips Bin by pressing the save box in the bottom-left corner of the menu area. owner cat
The save box displays a pop-up allowing the name, owner and category to be entered for the current timeline edit.
current edit - 007 alan work in progress
end
Press the end box or the X in the top-right of the pop-up to action the save, or re-select the save box to close the pop-up without saving. Note that with each successive save the title’s numeric suffix increments so that previous versions are not accidentally overwritten in the Clips Bin.
Flat Timeline
From the open Clips Bin, select the clip you want to change then press unrender – confirm from the column on the right.
If you press and hold on save then drag to the desktop, a Floating Clip is created.
Localising ‘Localising’ is the process of making a copy of a clip segment in its native video format within the Clips Bin. This is useful where material is held remotely on a server or locally on an XDCam or P2 device and could become unavailable if deleted or the device is removed. The localise box on the bottom-left of the Edit menu area localises all timeline clip segments to ensure that they are always available.
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If you don’t want to localise all the timeline contents, you can mark in and out points beforehand to localise only a selected part of the timeline. A progress bar in % appears during the localisation process. Press cancel at any point to stop the process. Localised clips appear in the Clips Bin with white icons. You can also localise media using the Clips Bin or Floating Clip as follows: A Open the Clips Bin, select the required clips and press localise from the list of options on the right. B Place the clip on the Desktop to form a Floating Clip then press localise from the more menu on the top-right of the clip.
Setting Tail Frames In the Configuration Window’s Localise menu, you can enter a localise tail length value in the green Tail frames box. This value is then referenced when localising media via the localise functions on the timeline, Clips Bin or Floating Clip.
Publishing When the workstation is connected to an sQ Server (ie as a seat), a publish box appears at the bottom-left of the timeline. Selecting the publish box opens a pop-up allowing the timeline Edit to be named and categorised before being transferred to the sQ Server. new clip name owner Andy cat News first free from 400 Area to Publish to check publish
Controls are provided to give the Edit a new name, category, owner and number (for play-out and automation control). Note that a default name and owner can be set in the Clips menu in the Configuration Window (if enabled in the Registry).
Clips can also be published by using the more – publish function on a Floating Clip; see chapter 2 for details of this and points to consider when publishing.
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Multilayer Timeline Multilayer timeline (MLT) mode is an extension of the flat timeline mode and allows multiple video tracks to be managed on a single timeline.
Multilayer Timeline
4
The majority of the flat timeline functions can also be used on the multilayer timeline, but there are some differences when working in this mode. These are detailed in this chapter.
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MLT Editing Working with Multiple Video Tracks Note that most of the flat timeline functions and workflows also apply to the multilayer timeline. Any differences are detailed in this chapter. See chapter 3 for general timeline functions.
Adding Tracks (V1, V2, V3 etc) The multilayer timeline (MLT) mode of working adds to the classic ‘flat’ way of using the Edit timeline. By default the Edit timeline has a single video track or layer (named V1). Press the add video box on the top-left of the menu area to add as many subsequent video tracks as required. Alternatively right-click (or press and tap for pens) on the V1 box and select add video from the pop-up. If required, you can also press rename from this pop-up to rename the track (however, note that the name is not saved or stored with the clip). add VG
add video
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Each new track is placed above the previous one and they increment accordingly; indicated in the video filter boxes on the left of the timeline, eg V2, V3, V4 etc.
Assembling Clips on Tracks By default the Edit Application timeline has a single video track and therefore any clips dropped on the Edit Window or onto the timeline are assembled at the current timeline cursor position on V1. When there is more than one video track, a video filter box (eg V3) can be pressed before loading a clip so that it will then be placed onto this track.
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Alternatively, drag and drop a clip onto the add video box, which places the clip on a new video track at the current timeline cursor position.
Selecting Tracks Press one of the video filter boxes (eg V3) to select an individual video track. Any clips subsequently loaded are placed on this track. This is also the track affected during any subsequent transitions or processes, eg a colour change using the MLT FX colour functions.
Squashing & Hiding Tracks Pressing and dragging the top video track V# box down or up squashes or expands the video tracks. Pressing and dragging the A1 box down or up squashes or expands the audio tracks. Pressing the hide box hides the audio tracks. Holding down the key and selecting any of the track filter boxes resets the vertical size of the timeline tracks. The separator line above the video/audio tracks squashes the track display vertically if you rightclick on the line (or press and tap for pens). Right-clicking again toggles it to its previous state. You can also drag the line manually.
Multilayer Timeline
Select the required V# box (it turns pink), place the timeline cursor in the required position and drop the clip on the timeline or in the Edit Window.
If MLT FX is open, a second line appears above the first. This can be moved as described above and allows you to view keyframe graphs. If you right-click (or press and tap for pens) on a track filter box and select reset from the pop-up, the vertical display scale resets.
Moving & Copying Tracks The vertical order of video tracks can be changed by selecting the key then dragging the appropriate V# box to the required position. If and are pressed, the track is copied to the new position. Alternatively rightclick (or press and tap for pens) on the track filter box and select copy from the pop-up to copy the track to a new layer above.
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Deleting Tracks Any video track except V1, can be deleted from the timeline by selecting the delete box then pressing on the appropriate video filter box. Alternatively rightclick (or press and tap for pens) on the track box and select delete from the pop-up.
Clip Segments Copying Lasso the segment from top-left to bottom-right then use the copy function by dragging the video track to the required new position. This copies video clips and any timeline effects. The existing video tracks are then moved and renumbered accordingly. Selecting a video filter box and pressing and copies the currently selected video segment on that video track (determined by the current timeline cursor position). Select frame 1 of the clip if you want to match the position of clip segments on different video tracks. Selecting a video filter box and pressing and places the copied clip segment (without any effects or transitions) at the current timeline cursor position on the selected video track.
Moving Any clip can be edited onto the timeline anywhere without being constrained by the cursor position. This is done with a ‘snap’ to any existing segment’s start/ end or timeline cursor position. The yellow preview indicates the correct clip length. Double tapping on one segment resulting in a ‘yellow select’ deselects any other segment on the timeline, unless the key is used as a modifier to group segments. When selected, any segment can be freely moved to any point on any track on the timeline. Timeline ‘black’ is ignored in any copy or move process. For example, if two segments are selected with timeline black inbetween them and they are then moved to the track below, only the segments are moved and not the black.
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Adding & Deleting Key Keys can be added to any segment on the timeline by dropping onto the segment while holding down on the keyboard. The key can be deleted by pressing + tapping (or right clicking with the mouse) and then selecting the delete seg key.
Video Format Management
Multilayer Timeline
When a clip is dragged into the main clip window, the edit preview on the timeline highlights to show which clip it actually is.
When clips are assembled on the multilayer timeline, the following should be considered: i Video format (resolution, frame rate, aspect ratio, bit depth, colour space etc) of the individual clips segments ii Render format to be used iii Display format (ie the video monitor being used to view the material). The format of the individual clip segments is pre-defined as they are recorded or imported into the system. The display format is determined by the current settings in the pop-up on the right of the Application Bar. This determines how material is played-out to the monitor.
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Rendering (MLT) Render Format Controls & Transition Settings The ‘render’ process is described in the previous chapter; ‘Flat Timeline – Rendering’. However, note that in multilayer timeline mode when additional clip segments are placed on other video tracks, rendering is required to composite the foreground video tracks (V2, V3, V4 etc) into the background track (V1). desk
Edit
Effects
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The render format controls determine how mixed aspect ratio clips on the timeline are processed and the video format of the rendered result. The render format is selected using the render format controls within the mlt fx menu (under the Edit Window). SD 576 yuv
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In mlt fx when clips segments are placed on video tracks, they are automatically re-scaled to match render format. However, when assembling clips on the Edit timeline, the render format is locked to that of the timeline. This is to ensure that layer dissolves are rendered correctly for display format. This can be changed in the mlt fx menu. Alternatively when replacing or swapping onto the timeline, render format is determined by the first clip on the timeline. When clips of different aspect ratio are assembled on a mulitilayer timeline, the way that the transition frames (ie during a dissolve or wipe) are created is determined by the box and cut settings in the Configuration Window and by the current render format settings. Using a 16:9 aspect ratio monitor while rendering a 4:3 aspect deliverable, (or the other way around) can be confusing as the monitor display does not match the clips being rendered. format size pixel aspect scan colour depth
SD 576 4:3 720 x 576 1132 : 1035 interlaced yuv 8-bit
By default, the render format matches the first clip placed on the V1 video track. This however, can be changed by selecting the video format box under the Edit Window. A pop-up with the following options now appears:
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The values under size and pixel aspect ratio are normally fixed, but are adjustable if custom is selected. The scan scroll box can be used to set interlaced or progressive. The colour scroll box determines the colour space of the rendered material. The depth scroll box determines the bit-depth of the rendered material. These should be set to match the required format for the final clip and will depend on the type of deliverable being produced. The Auto Render function in the
