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{"title":"Autodesk® Flame® Premium 2013",
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"description":"© 2012 Autodesk, Inc. All rights reserved. Except as otherwise permitted by Autodesk, Inc., this publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose.",
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{"title":"What\'s New in 2013",
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{"title":"What\'s New in Action",
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"description":"Alembic Format Support You can now import and work with Alembic geometries in Action. The Alembic (.abc) file format is an open-source format developed for exchanging complex 3D geometry data. Alembi",
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"description":"Export: Support for XDCAM You can now export clips at PAL frame rates as XDCAM HD 422 material. Export: Support for H.264 in QuickTime You can now export clips as H.264 in a QuickTime file. Togethe",
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"description":"Archive Integrity Checks You can now have the application verify the source media of clips before adding them to an archive, or perform integrity checks on the data being written to the archive. Wit",
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{"title":"What\'s New in Video I/O",
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"description":"New Capture and Output Timings for AJA Kona 3G You can now fully use the 3G feature of the AJA Kona 3G to input or output material using 3G connections to 3G SDI-capable devices, replacing the need f",
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{"title":"About Smoke Advanced Feature Differences",
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"description":"The following is available in Smoke Advanced:",
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{"title":"About Smoke in Flame Premium Feature Differences",
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"description":"The following is available in Smoke in Flame Premium.",
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{"title":"About Backdraft Conform Feature Differences",
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{"title":"Starting and Exiting the Application",
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{"title":"Starting Smoke",
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"description":"To start Smoke:Double-click the application icon on your desktop. The Project Management menu appears. Select the project and user you want to use or create new ones. Click Start. When the applicatio",
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"description":"At any time, you can choose to exit Smoke. Any clips, along with the effects and edits that you applied, are automatically and continually saved throughout your Smoke session, so there is no need to save before exiting.",
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{"title":"The EditDesk",
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"description":"The EditDesk provides the primary working space for performing edits and applying effects. When you first enter Smoke, the EditDesk appears. The EditDesk is divided into four regions: the EditDesk list, the Source Area, the EditDesk menu, and the Record Area.",
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"description":"Use the EditDesk list to organize your clips. You can create folders, Source Areas, and Record Areas inside an EditDesk Library, save these items individually to the clip library, or save the entire EditDesk list to the clip library. You can also load these items from the clip library to the EditDesk list.",
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"description":"The Source Area acts as a holding bin for clips that you use in Smoke. When you start Smoke for the first time, the Source Area does not contain any source clips. To add clips to this area, you load them from the clip library.",
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{"title":"EditDesk Menu",
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"description":"All Smoke features are accessed through the EditDesk menu (broken into four parts as follows).",
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"description":"The Record Area contains all the views you need for editing clips. For example, use reel mode views such as Storyboard for performing basic editing tasks; timeline views for performing core editing operations; and list views for viewing detailed information about timelines.",
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"description":"When a clip is selected, it is said to be the focus clip. Keyboard commands such as editing operations are applied to the focus clip. The focus clip is also the clip that appears in the Player and the timeline.",
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{"title":"Navigating on the EditDesk",
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"description":"All Smoke systems come with a mouse and a pen and tablet for navigating and performing tasks. As you work with these devices, the appearance of the cursor changes according to the operation you are performing.",
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"description":"The pen is the recommended pointing device for using Smoke. Use the pen as you would a mouse—to move the cursor around the screen and select buttons and objects. As you move the pen over the tablet, the cursor on the screen follows the same path.",
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"description":"To select a clip or other object, or to enable a menu button, click that item. Some functions are pressure-sensitive, such as the brush density in Paint, and the rate of change when dragging in numeric fields and sliders. When using the mouse, there are three levels of pressure.",
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"description":"There are four basic cursor actions: pointing, clicking, pressing, and dragging. When Smoke starts, the cursor is a yellow cross. The shape and colour of the cursor change depending on the action you are performing.",
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{"title":"Fields, Buttons and Hotkeys",
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"description":"Use alphanumeric fields, buttons, and hotkeys to enter commands and perform most operations.",
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"description":"There are several button styles on the Smoke interface. The following table illustrates the button types and fields, and describes their functions and purpose.",
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"description":"Use numeric fields to enter numeric values. For example, in the Text module, you use the Font Size field to increase or decrease the size of the current font.",
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"description":"When you are required to enter text in an alphanumeric field, you can use an on-screen keyboard or enter the text directly in the field. Set this preference in the User Interface section of the Preferences menu:",
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"description":"Most menu buttons and operations have a hotkey equivalent. Smoke employs a robust hotkeys arrangement, including a Hotkey Editor that allows you to customize existing hotkeys and create new ones.",
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{"title":"Managing EditDesk Clips",
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"description":"The EditDesk provides numerous tools for keeping clips organized. You can resize Source Area clip proxies, arrange them in different ways, sort them into multiple Source Areas using the EditDesk list, and rename clips.",
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"description":"The EditDesk supports clips with different resolutions, bit depths, framerates, scan mode, and aspect ratio. Information about these characteristics is displayed on the clip proxy and in the clip information window. Clips that have a resolution, framerate, or bit depth that differs from the project\'s default resolution are easy to identify—the information on the proxy is in blue text.",
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{"title":"Clip Information",
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"description":"Source Area clip proxies and timeline segments contain information about the clip or segment such as its name and length in frames or timecode.",
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"description":"You can display detailed information about clips in the Source Area and elements on the timeline by Alt-clicking the clip or segment. You can also hold down Alt and drag the cursor over proxies or elements to view information on several clips.",
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{"title":"Icons on Clip Proxies",
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"description":"The following icons can appear on clip proxies.",
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{"title":"Accessing the Source Area Menu",
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"description":"Many tools for managing Source Area clips are located in the Source Area menu.",
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{"title":"Selecting Clips",
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"description":"There are several methods you can use to select clips in the Source Area.",
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{"title":"Arranging Source Clips",
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"description":"You can arrange selected clips in the Source Area.",
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{"title":"Setting a Default Proxy Height",
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"description":"Use the Proxy Height field to set a default size for proxies when they are loaded into the Source Area. The size range is from 100 pixels to the full resolution height of the clip that the proxy represents. Once in the Source Area, proxies can be resized gesturally.",
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{"title":"Resizing Source Area Proxies",
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"description":"Resize proxies in the Source Area individually or as a group. You can reduce the size of proxies if your Source Area contains many clips, or enlarge a selected few that you might want to compare.",
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{"title":"Searching for Clips",
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"description":"The search tool in the Source Area menu allows you to easily find clips located in any Source Area of your EditDesk.",
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{"title":"Ganging Source Clips",
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"description":"You can gang source clips or record clips together so that when you jog one, they are all jogged. This is useful for multicam setups. When you play a clip that is part of a gang, the current frame of all other ganged clips is updated once playback has stopped.",
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{"title":"Copying Clips on the EditDesk",
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"description":"You can copy proxies on the EditDesk; you cannot copy a clip while in the Player. You can also use the pen button to copy a clip. The copied clip becomes the current clip.",
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{"title":"Deleting Items from the EditDesk",
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"description":"You can delete items from the Source Area and Record Area gesturally or using a hotkey. You delete clips from the Source Area, and tracks, layers, and elements from the timeline in the Record Area.",
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{"title":"Naming Items on the EditDesk",
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"description":"You can name clips, the Source Area, the Record Area, the EditDesk, the EditDesk list, and timeline elements.",
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"description":"You can add notes to clips on the EditDesk using the built-in notepad, which is a simple text editor. Each entry is annotated with the creation date and time of the note and the user who entered it, so you can use the clip notepad as an informal discussion area for clips in progress.",
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{"title":"Managing the EditDesk List",
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"description":"An EditDesk list is a set of Source and Record Areas. Use the EditDesk list to organize your clips by creating Source and Record Areas and sorting related clips into them. The EditDesk list optimizes the use of an otherwise relatively small area by providing access to multiple folders, Source Areas, and Record Areas. Folders can be collapsed and expanded if they contain Source Areas and Record Areas. Similarly, Source Areas and Record Areas can be collapsed and expanded if they contain clips. Entries can be reorganized and moved within the EditDesk list.",
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{"title":"Controlling the Display of the EditDesk Library",
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"description":"The EditDesk list appears on the left or right side of the Source Area. You can modify the display of the EditDesk list and set the side of the screen on which you want it to appear:",
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{"title":"Using List View",
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"description":"The List View is an expanded view of the EditDesk list. It contains extra columns of information about your clips. All the same functionality as the EditDesk list is available, along with some additional features.",
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{"title":"Working with Folders",
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"description":"Folders can contain Source and Record Areas. Use multiple folders to help you organize your work. The hierarchy of EditDesk list entries is indicated by indentation. The EditDesk list default folder is the grey entry at the top of the EditDesk list",
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{"title":"Working with Source and Record Areas",
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"description":"You can create multiple Source Areas to hold the clips that you use for each scene. You can also create multiple Record Areas to sort the multitrack clips you are editing. These areas can contain any number of clips. The number of clips they contain is indicated by the number to the right of the area name in the EditDesk list.",
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{"title":"Showing or Hiding the Contents of Folders and Areas",
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"description":"Expand or collapse a folder, Source Area, or Record Area to show or hide its contents.",
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{"title":"Selecting Areas and a Focus Clip to Display on the EditDesk",
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"description":"The View label indicates which Source Area, Record Area, and Record Focus clip are currently displayed on the EditDesk.",
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{"title":"Selecting Entries in the EditDesk List",
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"description":"You can only select one folder or area at a time. Selected folders or areas are indicated by a yellow border. Selecting areas does not affect Source and Record Focus.",
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{"title":"Editing in the EditDesk List",
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"description":"Perform editing actions in the EditDesk list using editing hotkeys. For example, perform insert and replace operations by selecting a current Source Area clip and pressing the appropriate editing hotkey. You can also copy clips using the F (copy) key and dragging the copy away from the list. For example, you can drop the copy back onto the list, into the Record Area, or into another Source Area or Record Area in the EditDesk list.",
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{"title":"Moving Entries in the EditDesk List",
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"description":"Move entries in the EditDesk list by clicking and dragging them. Move clips into areas, and areas into folders. Move folders and areas up or down in the EditDesk list. When dragging entries in the EditDesk list, the cursor turns green when it is over a valid drop area; otherwise, it is white.",
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{"title":"Renaming, Deleting, and Clearing Entries in the EditDesk List",
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"description":"You can rename entries in the EditDesk list. You can also delete entries, or clear entries of their contents.",
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{"title":"Saving to the Clip Library",
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"description":"You can save the following components of the EditDesk list to the clip library:",
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{"title":"Accessing the Effects Modules",
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"description":"To access effects modules such as Action or the Colour Corrector, you must first select the clips that you want to modify with the module. Some modules only require a front clip, while others accept various combinations of front, back, and matte clips. The clips you select when entering a module must all be of the same resolution.",
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{"title":"Using the Same Clips Option",
"href":"./files/GUID-21BC2710-2020-41E7-9F48-C621190C5C69.htm",
"description":"The Same Clips option is a shortcut for selecting clips from the EditDesk when you want to access Smoke modules. When you use the Same Clips option, the same clips that you selected the last time you used that module during the current work session are automatically used—you do not have to manually select the clips.",
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{"title":"Using the EditDesk Module Editor",
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"description":"The EditDesk Module Editor lets you preview an effect before it is applied to the clip. The option is only available to certain tools, and is indicated by an “E” that appears on the button prior to selecting the clip destination.",
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{"title":"Undoing and Redoing Operations",
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"description":"You can undo and redo operations you perform in the EditDesk, the Player, the Triptych Player, the full-screen Player, and in modules such as Action and the Stabilizer, using the Undo and Redo buttons. For example, you can undo most editing actions, as well as operations made to Source Area clips such as clip deletions.",
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{"title":"Using Local Undo",
"href":"./files/GUID-4E01E0D3-640C-4436-B7B2-95EB3C253D2B.htm",
"description":"The Preferences menu contains a Local Undo button that applies to the Timewarp Editor, Colour Correction Editor, and Blend Editor. When Local Undo is enabled, all events in these editors are added to the undo buffer in a linear sequence.",
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{"title":"Accessing System Messages",
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"description":"The message bar that appears on the EditDesk and in many modules provides feedback from the system as it is performing an operation. You can also access a log of the system messages in the message history at any time during the current session. The next time you start a session, the message history is cleared and the system begins logging messages for that session.",
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{"title":"Colour Picker",
"href":"./files/GUID-448BBF1F-4E9A-49D1-A797-EF6DB2888A99.htm",
"description":"Use the colour picker to pick and mix colours from the image, and to display or change the colour values of any colour. It is available in many modules.",
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{"title":"Using the Colour Picker with 16-bit Floating Point Colours",
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"description":"The colour picker allows you to pick colours from a 16-bit floating point media. And to accomodate the wide range of possible values in 16-bit floating point, the colour picker displays additional information.",
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{"title":"Picking Colours by Setting Colour Model Channel Values",
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"description":"You can pick colours by adjusting colour model channel sliders. You can also enter channel values directly into the fields below each slider.",
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{"title":"Sampling Colours in a Clip",
"href":"./files/GUID-CCF4F446-D4D6-4071-84AE-423B31579EAE.htm",
"description":"Sampling pixels in a clip is often the best way of setting the colour you need. For example, to suppress colour spill when keying a clip, the best way to set the colour suppression target is to zoom in on the result clip and then sample the colour spill directly.",
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{"title":"Selecting a Colour from the Colour Pots",
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"description":"Select from 1 of 18 preset colours in the colour pots. You can also store custom colours in the colour pots.",
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{"title":"Mixing Colours Using the Colour Palette",
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"description":"You can use the colour picker to mix colours on a palette.",
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{"title":"Browsing the File System",
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"description":"Use the file browser to import or export files to the UNIX file system. For example, when you load a file from the Import Image menu in the clip library, the file browser appears.",
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{"title":"Using Bookmarks",
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"description":"You can save frequently visited paths in the Bookmarks list. These bookmarks, which are stored with your user settings, can be recalled for quick directory navigation.",
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{"title":"Using the Filter Tool",
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"description":"When there are many files in a directory, it can be cumbersome to search for a particular file. You can use the Filter tool to display a particular subset of the existing files.",
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{"title":"Selecting and Loading Files",
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"description":"To load a file into Smoke, you must select it in the File list. You can load a single file, a range of files, or all the files in a sequence.",
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{"title":"The Player",
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{"title":"About the Player",
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"description":"You can play clips that you work with on the EditDesk in the Player module.",
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{"title":"Displaying Player Views",
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{"title":"Viewing Clips in the Source/Record Player",
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"description":"Use the Source/Record Player to view the source clip and record clip in the same view. The Source/Record Player is only accessible from the EditDesk, and it does not exist in module players.",
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{"title":"Viewing Clips in the Triptych Player",
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"description":"Use the Triptych Player to view three different shots while you adjust your clips, view clips at various points in time, or view up to three different layers simultaneously. You can switch the focus track and focus layer using the positioners and view the changes in the Triptych Player.",
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{"title":"Viewing Clips in the Standard Player",
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"description":"Load clips from the Record Area or Source Area into the Player. The standard Player provides the controls you need to play a clip of any resolution, navigate clips, and identify dropped frames during playback.",
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{"title":"Controlling Playback in the Player",
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"description":"You can play a clip in the Player using the playback controls that appear below the image window. The following image represents the backward playback controls and the Stop button.",
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{"title":"Changing the Play Speed",
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"description":"While you play a clip, you can speed up or slow down the play speed in the Player using the up arrow and down arrow keys on your keyboard.",
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{"title":"Synchronizing Audio and Video Playback",
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"description":"In the Clip tab, the Output Audio Rate field displays the output audio rate set in the Output Clock box of the Audio Preferences. The Output Clock should have a 48-Khz sync reference to prevent drift between audio and video signals during playback.",
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{"title":"Cycling through Multiple Clips",
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"description":"If you have multiple clips in the Source or Record Area, you can use hotkeys to cycle the currently selected focus clip to the next or previous clip. The Player updates to display the current focus clip.",
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{"title":"Identifying Dropped Frames",
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"description":"As you play clips, the positioner in the image window time bar changes colours if frames are dropped. The colours indicate the following.",
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"description":"The Player provides display options that you can use to customize the playback and monitoring environment. You can adapt the playback environment to your needs throughout the course of your project, whether you are reviewing a clip in progress or showing clips to your clients.",
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"description":"Use the playback mode and resolution options to define how you want clips to play and at what resolution. The resolution options are active only if the clip you loaded into the Player has proxies or a Deliverable. They are available from both the standard and fullscreen Player. To load clips into the Player using proxies, see .",
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{"title":"Reversing Player Dominance on the Broadcast Monitor",
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"description":"You can toggle between default Player dominance and reversed Player dominance on the broadcast monitor. For example, when playing a PAL clip, which is field 1 dominant, reversing the Player\'s dominance results in the clip playing on the broadcast monitor with field 2 dominance. See .",
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{"title":"Playing Clips at Their Native Framerate",
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"description":"The Player can play a clip at its native framerate regardless of the default project framerate, or it can play all clips at the project framerate. You set the playback speed using the Native Framerate option in the Player section of the Preferences menu. When this option is enabled, the Player plays clips at their proper speed on a “best effort” basis, meaning that the result is a close approximation of the actual framerate. Use this option to preview, for example, a PAL clip in a project with an NTSC default resolution. See .",
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{"title":"Setting Preview Options",
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"description":"When working with clips that have multiple soft effects on one or more layers, there are preview options you can use to view clips in the Player. Depending on the number of soft effects on the timeline, you may need to process often as you make changes. In the Clip tab, select an option from the Preview box.",
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{"title":"Viewing Safe Action and Safe Title Overlays",
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"description":"When you view a clip using the Player, the entire frame appears from edge-to-edge. Most video monitors, such as home television sets, crop the edges of the image slightly. Overlays are used to help you visualize how much of the video in the Player may be lost on other monitors.",
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{"title":"Applying a Letterbox Format to a Clip",
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"description":"Use the Letterbox options to change the visible part of video clips. This is achieved by masking the top and bottom or left and right edges of the image in the Player (and not by applying an anamorphic effect to the image).",
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{"title":"Comparing Tracks and Layers",
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"description":"Use the View options to display images from two video tracks simultaneously. The tracks can be stereo or mono. You can select which layer of the track that you want to display. You can view the two tracks in a split screen. Alternatively, the two tracks can be viewed as a transparency blend or with a clamped or non-clamped difference. The two tracks viewed are the Primary and Secondary tracks.",
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{"title":"Navigating Clips Using the Timesmear",
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"description":"Timesmear provides a visual “snapshot” of the contents of the focus clip. A timesmear is comprised of one vertical line of pixels scanned from each frame in the clip; the lines are arranged sequentially and displayed horizontally below the image window in the Player. The timesmear gives you an idea of the contents of the clip or track, and shows the relative location of different parts of it. You can use the timesmear to navigate the clip or track, and you can set in and out points and cue marks directly on it. You can also use it to verify the colour or luminance consistency of a clip.",
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{"title":"Toggling Pixel Aspect Ratio Display",
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"description":"When you work with clips that have a resolution that does not use square pixels, such as NTSC or PAL, Smoke can adjust the display so that it appears with the correct aspect ratio. By default, the adjusted image is sent to the broadcast monitor. You can switch the adjusted display from the broadcast monitor to the Player.",
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{"title":"Changing Playback Scan Mode Options",
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{"title":"Using 3D LUTs in the Player",
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"description":"If you configured Smoke to initialise more than one 3D LUT, you can toggle the Player to use these LUTs instead of the default one defined in the Preferences menu. See .",
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{"title":"Using the Image Display Viewer in the Player",
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"description":"You can change the display of an image based on the exposure and contrast settings, and the type of image data you are working with. By default, all images are displayed in RGB mode with a transformation for video images. You can apply transformations to the image to display an optimal view of logarithmic and linear images.",
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{"title":"Synchronizing Audio with the Broadcast Monitor",
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"description":"To view a clip on the broadcast monitor, play the clip in the Player.",
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{"title":"Modules",
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{"title":"About the Module Editor",
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"description":"From the EditDesk, you can enter modules - discrete areas where you can modify relevant parameters or perform a group of related operations, and then return to the EditDesk with a processed clip.",
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"description":"When you enter a module from the EditDesk, you select the input clips that you want to work with. Each module allows for different variations of input clips, but the loading order is the same: front first, back second, matte third, and destination fourth. The only exception to this is the Action module.",
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{"title":"Using the EditDesk Module Editor",
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"description":"The EditDesk Module Editor lets you preview an effect before applying it to the clip. When this feature is available for a tool, it is indicated by an “E” that appears beside the button prior to selecting the clip destination. In most cases, you can modify the effect before applying it to the clip.",
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{"title":"Accessing Modules with Previous Clips",
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"description":"The Same Clips option is a shortcut for selecting clips from the EditDesk when you want to access Smoke modules. When you use the Same Clips option, the clips that you selected the last time you used that module during the current work session are automatically used—you do not have to manually select the clips.",
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{"title":"Viewing Clips in the Image Window",
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"description":"When working on clips in modules, you view the effects of your work in the image window. The image window is similar to the Player except it renders uncommitted effects on-the-fly. As a result, real-time playback is frequently unsupported; however, the system plays back as many frames per second as it can render.",
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{"title":"Controlling Playback in the Image Window",
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"description":"Use the playback controls below the image window to play and navigate the clip. You can also use the playback controls to change the frame displayed in the image window.",
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{"title":"Zooming and Panning the Image Window",
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"description":"The zoom and pan controls are located to the right of the image window controls. Use these controls to zoom in, zoom out, and pan the image. If more than one viewport is displayed in the image window, select the viewport you want to pan or zoom.",
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{"title":"Displaying Clip Views",
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"description":"When you enter a module from the EditDesk, the image window usually displays the result clip. In Batch and the Modular Keyer, the default view is the schematic.",
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{"title":"Accessing the Player from Modules",
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"description":"When you process a clip in a module, a Player button appears. Click Player to load the processed clip into the Player for real-time playback (or, depending on your hardware configuration and the clip\'s resolution, best-possible). Click Delete to delete the most recently processed clip.",
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{"title":"Scrubbing Audio in Modules",
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"description":"When you load a clip with audio into a module, you can scrub the audio; you can perform both locked rate and free form scrubbing. The level heard when scrubbing in modules is affected by the level set for the channels using the level meters in the AudioDesk (in Batch, the Audio menu contains the same level meters as the AudioDesk).",
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{"title":"Displaying Audio Waveforms in Modules",
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"description":"If you load a clip that has audio tracks into a module, you can display the tracks as waveforms as long as real-time playback is possible.",
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"description":"The image window provides display options for your clip. You can display grids and guides, overlays, compare the current result against a reference area, and control RGB channel display.",
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"description":"Grids and guides are reference overlays that appear over the image window in modules.",
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{"title":"Using a Viewport Navigator",
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"description":"You can enable a viewport navigator in any module that supports multiple viewports. The navigator displays an overlay of the viewport\'s area of interest. You can adjust the area of interest gesturally as an alternative to zooming and panning the view.",
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{"title":"Monitoring RGB Channels Independently",
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"description":"When working in a module that supports multiple viewports, you can monitor the red, green, and/or blue channels of clips, or a greyscale representation of any channel, in the image window.",
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{"title":"Displaying the Proper Aspect Ratio",
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"description":"Some video and film formats use rectangular instead of square pixels. This explains why NTSC and PAL video formats have a different frame dimension in terms of pixels, but are ultimately broadcast to the same 4:3 aspect ratio screen.",
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{"title":"Monitoring Full Frames and Dominant Fields",
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"description":"When you are working in Resize, the Colour Corrector, the Modular Keyer, Batch, or Action, the full frame of an image is displayed in the image window by default. When working with interlaced video, you can set the image window to display only the dominant field. In this case, the lines representing the dominant field are doubled.",
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{"title":"Multiple Viewport Categories",
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"description":"The view options in modules that support multiple viewports are divided into categories, subcategories, and type. This classification makes it easier to scan the available options for your viewport selection.",
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"description":"If you bring a clip containing a stereo track into Batch FX or Action, you can display multiple viewports in a stereo mode. You can apply a stereo mode to the entire clip or specifically to its left or right eye output.",
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"description":"You can change the display of an image in the current viewport based on the type of image data you are working with. By default, all images are displayed with a transformation for video images in RGB mode. You can apply transformations to the image to display an optimal view of logarithmic and linear images. Enable the Apply All button to apply the transformation settings to all viewports using the same Preset mode as the current viewport.",
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"description":"You can use the options in the View menu to apply a gamma or 1D LUT to the monitor. You can apply 3D LUTs to the image window (in modules that support multiple viewports), the reference area, and the reference overlay.",
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"description":"In the image window of modules that support multiple viewports, you can view the reference area with the currently displayed clip. A split bar divides the view between the current clip display (above the bar) and the reference area. The reference area can display one of the reference frames that you grab on-the-fly.",
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"description":"The View menu displays options for broadcast monitor settings if your workstation includes one.",
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"description":"There are two types of schematic in Smoke: a flow graph schematic and a scene-based schematic.",
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"description":"In the Batch and Modular Keyer flow graph schematics, you build process trees of clips and nodes to create an effect. A node represents a function or module that affects a clip or another node in the process tree. The result of each operation serves as the source for the next one.",
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"description":"In the Wipe Editor and Garbage Mask, you add nodes to the schematic from the Node box. You use Axis and Geom nodes to create wipes and garbage masks.",
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{"title":"Connecting Nodes",
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"description":"The relationship between objects is referred to as a parent-to-child relationship. When you add certain objects to the scene, a parent-to-child relationship is created automatically. For example, when you add a surface in Action, it is automatically parented by an axis. You can also manually connect nodes to create and change relationships between objects. You can create complex animations where movements applied to a parent node are passed down to all connecting child objects.",
"ancestors":[{"title": "Getting Started","href":"./files/topichead_d3e3399.htm"},{"title": "Schematic Basics","href":"./files/topichead_d3e11191.htm"}]},
{"title":"Selecting Nodes",
"href":"./files/GUID-56354791-64C7-45E0-B428-8EA94EB0A7A1.htm",
"description":"You must select a node before you can edit any of its properties. Conversely, selecting an object in the scene of some modules, for example, an axis in the Action scene, also selects the corresponding node in the schematic. A menu appears for each node selection.",
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{"title":"Moving Nodes",
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"description":"Move nodes to organize your schematic. Moving nodes has no effect on the relationship between objects. It does not affect the position of the objects in the scene.",
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{"title":"Removing Nodes",
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"description":"You can delete nodes from an entire schematic or remove them from an existing branch. Delete a node to delete its corresponding object from the scene. For example, delete a Geom node in the Garbage Mask schematic to delete its garbage mask from the scene. Remove a node from a branch to use it elsewhere in the scene.",
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{"title":"Breaking the Link between Nodes",
"href":"./files/GUID-B722BBBF-1C2F-4F43-9B96-CE0B6F0CC410.htm",
"description":"Break the link between nodes to undo the parent-to-child relationship between objects.",
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{"title":"Naming Nodes",
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"description":"Each node added to the schematic is assigned a default name. The name identifies the type of node and the order in which it was added. For example, Axis nodes are named axis1, axis2, axis3, and so on.",
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{"title":"Copying Nodes",
"href":"./files/GUID-978344DF-378D-4D84-8472-B200A6B3A4AC.htm",
"description":"When you copy a node, all node information is copied as well. Copy nodes when you want to apply the same settings to another clip.",
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{"title":"Hiding Parts of an Image",
"href":"./files/GUID-E711777F-7243-48C9-BEDD-A765EE13ED39.htm",
"description":"In the Wipe Editor, Garbage Mask, and Action scene-based schematics, you can hide selected objects. For example, if you are working on a specific surface, you may want to temporarily hide other objects from the scene.",
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{"title":"Stereoscopic Workflow",
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"description":"",
"ancestors":[]},
{"title":"Stereoscopy in Smoke",
"href":"./files/GUID-E61B87ED-1B4A-4587-AA5D-480223159E03.htm",
"description":"Using the Smoke stereoscopic workflow, you can edit, conform, visualize, and composite stereo material. Clips that you use in the Smoke stereoscopic workflow can contain stereo tracks or both stereo tracks and monoscopic tracks.",
"ancestors":[{"title": "Stereoscopic Workflow","href":"./files/topichead_d3e12056.htm"}]},
{"title":"Assembling and Preparing Stereo Tracks on the EditDesk",
"href":"./files/GUID-181E843B-4EC9-4155-A4A8-828DF02DA063.htm",
"description":"You can assemble imported images into a clip containing a stereo track directly on the EditDesk. Do this, for example, when your left and right eye images are imported as separate clips.",
"ancestors":[{"title": "Stereoscopic Workflow","href":"./files/topichead_d3e12056.htm"}]},
{"title":"Editing Stereo Tracks",
"href":"./files/GUID-21FD7161-737D-4FEC-970F-3CF1155A6970.htm",
"description":"Depending on how the stereo footage was filmed, you may need to edit the left or right eye image after you create a clip containing a stereo track. For example, you may need to flip one of the images or fix brightness or colour discrepancies between the left and right eye images. You can do this cleanup in a Record Area view. If you already brought your clip into BatchFX, you can edit the stereo track from the BatchFX timeline.",
"ancestors":[{"title": "Stereoscopic Workflow","href":"./files/topichead_d3e12056.htm"}]},
{"title":"Stereo Compositing in BatchFX",
"href":"./files/GUID-42AD4B70-0428-4753-BFA5-8C3F043675CF.htm",
"description":"Bring clips containing stereo tracks into BatchFX to do compositing and effects work.",
"ancestors":[{"title": "Stereoscopic Workflow","href":"./files/topichead_d3e12056.htm"}]},
{"title":"Stereo Compositing in Action",
"href":"./files/GUID-8AA309F6-E465-4766-8980-54312C8F2B9D.htm",
"description":"Note the following when working with stereo in Action:",
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{"title":"Inputting and Outputting Media",
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"description":"",
"ancestors":[]},
{"title":"Clip Input/Output Using a VTR",
"href":"./files/topichead_d3e12405.htm",
"description":"",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"}]},
{"title":"About Clip Input and Output Using a VTR",
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"description":"Inputting and outputting clips using various VTR devices is the most common means of handling AV material. Smoke allows you to perform numerous VTR-based clip input and output operations in a fast and efficient manner. You can capture individual clips or frames, or log clips for capture using an EDL. Similarly, the application allows you to output single clips or frames, as well as multiple clips to a VTR device.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"}]},
{"title":"Configuring Hardware For Clip Input and Output Using a VTR",
"href":"./files/GUID-985FCB41-81BF-4F05-B97F-9CE519280E57.htm",
"description":"When preparing for a clip input and output session, confirm the following:",
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{"title":"Configuring Software For Clip Input and Output Using a VTR",
"href":"./files/GUID-B5FB9A38-3FD6-4C60-BB37-912DE114CC11.htm",
"description":"Software configuration in preparation for clip input and output session involves editing the software initialisation configuration file. The procedures for enabling devices in the software initialization configuration file are described in the “Configuration Files” and “Configuration Keywords” chapters of the Autodesk Visual Effects and Finishing Configuration File Reference Guide.",
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{"title":"Inputting Clips From a VTR",
"href":"./files/GUID-6621B7EB-D6CC-4D1A-BFCF-8DCFB8CBA77C.htm",
"description":"Once you have set up your hardware devices and configured the software initialization file, you are ready to perform clip input and output. The Input Clip menu contains various controls to help you perform operations, such as capturing a single frame, capturing a single clip, capturing and logging multiple clips.",
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{"title":"Accessing the Input Clip Menu",
"href":"./files/GUID-5A055B37-08E7-49E1-88B8-27A3274406BF.htm",
"description":"Use the Input Clip menu to adjust the settings for the clip you want to input.",
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{"title":"Input Clip Menu Options",
"href":"./files/GUID-75315AB3-010C-438D-A015-629F84E98B67.htm",
"description":"The basic Clip Input controls are described as follows.",
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{"title":"Selecting a VTR Device For Input",
"href":"./files/GUID-E9C1B9C3-C414-442F-9AF4-C9BE570099F0.htm",
"description":"The VTR devices available depend on the VTR keyword lines uncommented in the software initialisation configuration file. Make sure the VTR you select is appropriately connected using the corresponding audio, video, and RS-422 connections.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"},{"title": "Inputting Clips From a VTR","href":"./files/GUID-6621B7EB-D6CC-4D1A-BFCF-8DCFB8CBA77C.htm"}]},
{"title":"Naming Tapes and Clips",
"href":"./files/GUID-6B15AB57-019B-4418-BADE-E7B9F82C3D9E.htm",
"description":"Proper media management is an essential part of the clip input and output process. One of the elements of efficient media management is methodical and consistent naming of the clips you capture and the tapes from which they originate. Before capturing a clip, assign a name to the tape and the resulting clip. This assignment makes it easier to organize your clips, trace them back to the source tape, and, when necessary, recapture them.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"},{"title": "Inputting Clips From a VTR","href":"./files/GUID-6621B7EB-D6CC-4D1A-BFCF-8DCFB8CBA77C.htm"}]},
{"title":"Selecting Tracks and Channels to Capture",
"href":"./files/GUID-B8FEF6AD-4315-460A-AE46-4E7DC0BC4B80.htm",
"description":"Whether you are inputting single frames, single clips, multiple clips or conforming EDLs, you must select the tracks and channels you want to capture from the VTR.",
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{"title":"Capturing Single Frames",
"href":"./files/GUID-120E58A3-205B-4FD4-BB3A-0DBB5CB00293.htm",
"description":"A single frame capture, or a frame grab, is the simplest clip input operation. This is useful for extracting snapshot frames for a preview or promotion piece.",
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{"title":"Capturing Single Clips",
"href":"./files/GUID-680A12CE-4BE1-4BF0-B553-8C4675BFCE9E.htm",
"description":"You can capture a single clip from a VTR. You can capture on the fly with your in and out points determined by mouse clicks during playback, or be more precise by setting in and out points in the corresponding fields.",
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{"title":"HDCAM SR Double-Speed and Stereo Tape Capture",
"href":"./files/GUID-F8D009D9-9AB2-4201-9EF0-2F4502148469.htm",
"description":"Using an HDCAM SR, you can capture material from specially formatted double-speed and stereoscopic tapes.",
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{"title":"Outputting Clips To a VTR",
"href":"./files/GUID-1B3FEF98-10C4-40C3-9E57-5AB5F7982BC3.htm",
"description":"Once you have clips that are ready for output to tape, you can use the Output Clip menu to perform this operation. Like capturing, you can output single clips or multiple clips, and enable a split view to preview the clip you want to output alongside the media on the tape simultaneously.",
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{"title":"Accessing the Output Clip Menu",
"href":"./files/GUID-344159D1-B255-47E4-8C02-0CE807E371C8.htm",
"description":"You access the Output Clip menu from the clip library that contains the clips that you want to output, from Output Clip menu directly from the EditDesk, or from the Player if you are also using Real-Time Deliverables.",
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{"title":"Output Clip Menu Controls",
"href":"./files/GUID-967B14A4-0B95-4F3C-B36D-A4A1DFA6EE69.htm",
"description":"You can view the Output Clip menu in large or small form depending on which tab is selected.",
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{"title":"Selecting a VTR Device For Output",
"href":"./files/GUID-F4052C14-4D92-4E76-A2B9-5E31EF476CE7.htm",
"description":"The VTR devices available depend on the VTR keyword lines uncommented in the software initialisation configuration file. Make sure the VTR you select is appropriately connected using the corresponding audio, video, and RS-422 connections.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"},{"title": "Outputting Clips To a VTR","href":"./files/GUID-1B3FEF98-10C4-40C3-9E57-5AB5F7982BC3.htm"}]},
{"title":"Outputting a Single Clip",
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"description":"To output a clip to a VTR, load a clip into the Output Clip menu and then set the in and out points for clip output. If necessary, enable the options to offset the start frame for output and to apply a letterbox overlay. See .",
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{"title":"Outputting Multiple Clips",
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"description":"You can output more than one clip to a VTR in a single pass. When you load multiple clips into the Output Clip menu, you must define in and out points (and any other output clip options) for each clip before starting the clip output process.",
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{"title":"Outputting Clips With a Letterbox Overlay",
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"description":"When you load clips on the EditDesk into the Player, you can enable a letterbox overlay using the Player View options. This letterbox view option is saved with the clip. You can output the clip with the same letterbox setting. You can also add a letterbox on output.",
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{"title":"Outputting Clips with a Logo Overlay",
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"description":"You can add a logo overlay on output, in real time. This feature is available only if your workstation is equipped with an NVIDIA Quadro FX 5600 SDI graphics card. The configuration for using this card is described in the Hardware Setup Guide for your workstation.",
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{"title":"About the Logo Controls",
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"description":"The logo controls are found in the Output Clip menu, under the Logo tab.",
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{"title":"Inserting Logos for Real-Time Output",
"href":"./files/GUID-7253D242-C159-4442-8B04-DFD963EA0326.htm",
"description":"Keep in mind the following when selecting clips to use as logos:",
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{"title":"Outputting Clips in Assemble Mode",
"href":"./files/GUID-CD6C7E31-78F0-4D60-8D6C-E933064C3D55.htm",
"description":"If you do not have time to black an entire tape, you can black a small portion of the tape and output clips to the tape in assemble mode. In this mode, the timecode on the tape is generated by the VTR as part of the recording process. Make sure that timecode regeneration is properly configured on the VTR. Autodesk recommends blacking one minute at the beginning of the tape.",
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{"title":"HDCAM SR Stereo Tape Output",
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"description":"Using an HDCAM SR, you can ouput material to specially formatted stereoscopic tapes. Stereoscopic tapes essentially stores in an interlaced timing two progressive clips; a 60i (50i) “clip” contains two 30p(25p) clips.",
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{"title":"Monitoring Video During Clip Input and Output Operations",
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"description":"When you output a clip to a tape that already has media on it, you can enable a split view to compare a clip with a portion of tape, in much the same way as split view allows to compare two video segments in the player. This can be especially useful if you are outputting a clip to seamlessly overwrite a section on the tape.",
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{"title":"Setting Input and Output In and Out Points",
"href":"./files/GUID-0A63AB60-1CB0-4DAA-A7AD-9E9F5F9BF708.htm",
"description":"You can enter timecode values directly in the In, Out, and Dur fields to set in and out points for clip input and output. However, there are other methods of setting the in and out points that are more convenient if you are scrubbing the tape in the VTR to locate reference frames for clip input and output. For example, if you output a clip to overwrite a segment on a tape, you scrub the tape to locate the frame that matches the first frame of the clip you are outputting.",
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{"title":"Inputting and Outputting a Live Video Signal",
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"description":"If you uncomment a Live Video VTR keyword you can capture a live video signal or crash-record a clip using the pen to start and stop the clip input or output process.",
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{"title":"Working with Multi-Format Input and Output",
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"description":"The following sections describe important information about working with multi-format video material in Smoke projects.",
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{"title":"About Working with Multi-Format Input and Output",
"href":"./files/GUID-D662A155-7A2E-45D9-8E3A-1FD9A38E20D2.htm",
"description":"You can work with clips of any resolution in your project. You can process images of differing resolutions in Smoke. The video I/O procedures that you perform to input and output clips to and from Smoke using a VTR, as well as capture and assemble EDLs, are not restricted to your project\'s default resolution. You can input and output clips of another video resolution to and from your project.",
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{"title":"Detection of Sync and Timing",
"href":"./files/GUID-F7E82D08-623E-47E8-B44E-EC12D000FF5D.htm",
"description":"In the following circumstances, Smoke checks whether or not your incoming sync matches the project timing you are working on:",
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{"title":"Changing Resolutions for Clip Input",
"href":"./files/GUID-33BA4D68-C71D-4FF2-B8CB-752F93E5E21D.htm",
"description":"The following steps describe how to change resolution and timing when performing clip inputs.",
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{"title":"Things to Remember",
"href":"./files/GUID-1983841B-4633-43FE-A0C9-9C49B4726782.htm",
"description":"When working with multi-format video material in the same session, consider the following:",
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{"title":"Supported HD Formats for Video I/O",
"href":"./files/GUID-792809CC-97F5-460F-8765-DDB45EEB55DC.htm",
"description":"You can input and output clips in the following HD formats.",
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{"title":"Generating Proxies",
"href":"./files/GUID-E74C5FDF-4F60-4787-AB34-43F3CE9E131C.htm",
"description":"With sufficient processing power, proxies are generated in real time. Otherwise, this occurs as a post-process. To achieve better performance, or to use higher quality proxy types, you might want to perform clip input without proxy generation, then edit project settings to generate proxies overnight.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"}]},
{"title":"Capturing Proxies Only",
"href":"./files/GUID-3C0F0FD9-68D0-4785-818E-F342E02A274C.htm",
"description":"On HD-capable workstations, you may create projects with proxy management options set to generate proxies for HD clips. One finishing or digital intermediate workflow is to capture HD video and then unlink the high-resolution media. This workflow provides lower-resolution media that you can interact with more quickly while creating effects and editing sequences. Once your effects and sequences are complete, you relink the high-resolution media so you can output your high-resolution masters.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"}]},
{"title":"Capturing Material with Variable Frame Rate",
"href":"./files/GUID-BF277A22-78E3-44E0-BABB-762EAFDDE202.htm",
"description":"To perform frame-accurate video input and output using Panasonic variable frame rate VTR decks, you must use the following firmware versions:",
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{"title":"Controlling a VTR",
"href":"./files/GUID-114D7FD9-08B5-4961-BE49-803722966753.htm",
"description":"The RS-422 serial connection between the VTR and your workstation enables full remote control of the device from Smoke. Connected VTR devices send their current status to Smoke, and this status is displayed in the Input Clip and Output Clip menus.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"}]},
{"title":"Verifying the VTR Status",
"href":"./files/GUID-C47BA218-D435-486E-B923-D2773CB8A03E.htm",
"description":"The following illustration shows a VTR status display.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"},{"title": "Controlling a VTR","href":"./files/GUID-114D7FD9-08B5-4961-BE49-803722966753.htm"}]},
{"title":"Using the VTR Transport Controls",
"href":"./files/GUID-3A1F301A-F550-4936-9FBB-4AFA673E9295.htm",
"description":"The current frame on the cassette in the VTR appears in the image window and the Current Timecode field (the uppermost timecode field in the Clip Input and Output menus) displays the timecode of the current frame.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"},{"title": "Controlling a VTR","href":"./files/GUID-114D7FD9-08B5-4961-BE49-803722966753.htm"}]},
{"title":"Adjusting Audio Gain on Output Clip",
"href":"./files/GUID-9AEDC10B-8AD4-4F80-B1A1-0A01599D13E1.htm",
"description":"Audio gain adjustment is a part of the clip output process only. The clips you are outputting are unaffected by audio gain adjustments made using the Output Clip menu.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"}]},
{"title":"Setting Video Input and Output Engineering Menu Controls",
"href":"./files/GUID-276961B7-B903-43CD-83D3-E2F7D5147E6D.htm",
"description":"Clip input and output engineering options include video I/O settings such as pre-roll, post-roll, play delay, colour space conversion, and settings that define the process by which YUV video material on a tape is converted to the RGB format used by Smoke, and vice-versa.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"}]},
{"title":"Inputting and Outputting with Headroom",
"href":"./files/GUID-D9916C4E-67B3-4DF7-9153-EB6AA06DB6E2.htm",
"description":"With 4:2:2 serial digital interface (SDI) input and output connections, the colour components of video signals are Y (luma), Cb (blue colour difference), and Cr (red colour difference). For standard video signals in 10 bits, black has a luma value of 64 and white has a luma value of 940. When performing standard captures to RGB values on Smoke systems, black YCbCr (64,512,512) maps to RGB (0,0,0) and white YCbCr (940,512,512) maps to RGB (1023,1023,1023). SDI values 0 to 3 and 1020 to 1023 are reserved values for synchronization purposes.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"}]},
{"title":"Capturing 60i Material with 2:3 Pulldown Removal",
"href":"./files/GUID-BC35DB64-DFA4-4719-A854-2745DE6A5501.htm",
"description":"Using the Input Clip menu, you can capture 30 fps film-based material and convert it to 24 fps material in real-time as you capture. The procedure for enabling automatic 2:3 removal differs depending on whether your tape uses non-drop or drop 60i timecode.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/topichead_d3e12405.htm"}]},
{"title":"Configuring Dual-Serial Link I/O on Linux Workstations",
"href":"./files/GUID-046C29A5-8385-4BFA-911D-3F247A43E3AA.htm",
"description":"Smoke supports dual-serial link input and output connections for 4:4:4 clip I/O on Linux workstations. Configure the type of I/O connection (single- or dual-link serial) using the Input Connection and Output Connection boxes in the Engineering menu. See . When you select an input or output connection for clip I/O, you usually also select the colour space conversion method using the Colour Space box on the Engineering menu. The conversion methods that appear in this box depend on the type of I/O connection used. The following table shows the colour space conversion methods that are available for single-link and for dual-link I/O connections on Linux workstations.",
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{"title":"Clip Output Using Real-Time Deliverables",
"href":"./files/topichead_d3e15680.htm",
"description":"",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"}]},
{"title":"About Real-Time Deliverables",
"href":"./files/GUID-27B2FC19-8CD0-49A3-AF01-A2A4C201B7EB.htm",
"description":"The Real-Time Deliverables mastering solution allows you to perform certain types of operations on material during clip output without having to first render the clips. For example, you can output from a master source format to many output formats directly to tape without rendering. Using the concept of the Deliverable—a virtual clip containing real-time operations and linked to its original source clip—you can create and manage multiple real-time output formats from one clip.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Output Using Real-Time Deliverables","href":"./files/topichead_d3e15680.htm"}]},
{"title":"What Is a Deliverable?",
"href":"./files/GUID-EF05760F-AE0A-4432-A0FA-F0E9F742E650.htm",
"description":"The settings created in the Deliverables menu are saved as a Deliverable, which is central to the Real-Time Deliverables workflow.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Output Using Real-Time Deliverables","href":"./files/topichead_d3e15680.htm"},{"title": "About Real-Time Deliverables","href":"./files/GUID-27B2FC19-8CD0-49A3-AF01-A2A4C201B7EB.htm"}]},
{"title":"Hardware Requirements for Real-Time Deliverables",
"href":"./files/GUID-7509C986-5F9E-4FC0-B33B-684CDDD552AF.htm",
"description":"To follow the Real-Time Deliverables procedures, you must be using an NVIDIA Quadro FX 5600 SDI graphics card. The configuration for using this card is described in the Hardware Setup Guide for your workstation.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Output Using Real-Time Deliverables","href":"./files/topichead_d3e15680.htm"}]},
{"title":"Real-Time Deliverables Use Cases",
"href":"./files/GUID-873700E5-1C19-4D7C-A3A8-830269ECF87D.htm",
"description":"This section provides two examples of how Real-Time Deliverables can be applied.",
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{"title":"Film Master 24p, HD, or 2K Logarithmic Timeline, to Video",
"href":"./files/GUID-07E1EB26-41BE-4866-8F2B-6A8FA63912CF.htm",
"description":"An important case addressed by Real-Time Deliverables is when an organization wants to take a 24p film master with an HD or 2K logarithmic timeline, and create real-time output to PAL and NTSC video format.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Output Using Real-Time Deliverables","href":"./files/topichead_d3e15680.htm"},{"title": "Real-Time Deliverables Use Cases","href":"./files/GUID-873700E5-1C19-4D7C-A3A8-830269ECF87D.htm"}]},
{"title":"PAL Telecinema to Video",
"href":"./files/GUID-F0594062-110C-4AC9-8E78-7FCB24E891D1.htm",
"description":"In this example, NTSC and PAL video are output, but the source material is a PAL Telecinema clip. Because a PAL Telecinema clip is not field-based, the resulting video can be treated as progressive. Its video fields are spatially complementary.",
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{"title":"Accessing the Deliverables Menu",
"href":"./files/GUID-24DBD336-1DB9-4C52-8174-C5DB33200901.htm",
"description":"Use the Deliverables menu to manage Real-Time Deliverables, and to configure real-time operations such as resize, pulldown, and so on. Many of these settings can also be altered in the Output Clip menu.",
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{"title":"Previewing and Processing Material for Real-Time Output",
"href":"./files/GUID-C9B8101B-FAEC-418D-A7EE-1B44C267D607.htm",
"description":"Preview Deliverables to verify your settings. If necessary, process source clips or Deliverables before outputting in real time.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Output Using Real-Time Deliverables","href":"./files/topichead_d3e15680.htm"}]},
{"title":"Previewing Deliverables",
"href":"./files/GUID-41FEDD28-80DD-463B-850A-CD1895D871F8.htm",
"description":"The real-time operations you create in the Deliverables menu can be previewed in the Player.",
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{"title":"Processing Source Clips and Deliverables",
"href":"./files/GUID-99DF926A-581D-459A-BB3D-E9D1E3A4F960.htm",
"description":"The purpose of Real-Time Deliverables is to be able to output material without having to process first. However, there are exceptions where, before outputting, you must process:",
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{"title":"Outputting Deliverables",
"href":"./files/GUID-6C3C621D-5903-467B-98D0-BA349E40E0A4.htm",
"description":"The workflow for outputting Deliverables is like the standard clip output workflow described in .",
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{"title":"Managing Deliverables",
"href":"./files/GUID-040947A7-8DCA-47D9-ACD5-409E747141D4.htm",
"description":"A Deliverable results when you create real-time settings for a clip, in the Deliverables menu. Deliverables are virtual clips associated with the original clip. You can:",
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{"title":"Creating and Modifying Deliverables",
"href":"./files/GUID-6B260715-E7CC-452E-B45D-EE18F1878C98.htm",
"description":"From the Deliverables menu, you can create, rename, and delete Deliverables.",
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{"title":"Exporting and Loading Deliverables as Templates",
"href":"./files/GUID-CAF9FFE7-E520-438C-8D01-12CF9C362F85.htm",
"description":"Use the Save and Load buttons in the Deliverables menu to export a Deliverable as a template and load it on another clip.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Output Using Real-Time Deliverables","href":"./files/topichead_d3e15680.htm"},{"title": "Managing Deliverables","href":"./files/GUID-040947A7-8DCA-47D9-ACD5-409E747141D4.htm"}]},
{"title":"Viewing Deliverables in the EditDesk and Library",
"href":"./files/GUID-DCD89EF3-C681-4ECB-8EB0-0148D185940E.htm",
"description":"Clips with Deliverables are indicated by a “D” overlay on their proxies.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Output Using Real-Time Deliverables","href":"./files/topichead_d3e15680.htm"},{"title": "Managing Deliverables","href":"./files/GUID-040947A7-8DCA-47D9-ACD5-409E747141D4.htm"}]},
{"title":"Copying and Loading Deliverables from the Library",
"href":"./files/GUID-07D3F43A-59B9-4DEA-9180-89DEE57FCE15.htm",
"description":"You can copy, load, save, and delete Deliverables from clips in the library. This is useful for rapidly assigning and removing Deliverables just before loading them to the EditDesk, or before accessing Output Clip.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Output Using Real-Time Deliverables","href":"./files/topichead_d3e15680.htm"},{"title": "Managing Deliverables","href":"./files/GUID-040947A7-8DCA-47D9-ACD5-409E747141D4.htm"}]},
{"title":"Searching for Clips with Deliverables",
"href":"./files/GUID-592A256F-DC9F-44C2-A3D0-422173EE4C62.htm",
"description":"You can search for clips with Deliverables on the EditDesk or in the clip library. The Search tool provides an easy way to find and manage Deliverables.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Output Using Real-Time Deliverables","href":"./files/topichead_d3e15680.htm"},{"title": "Managing Deliverables","href":"./files/GUID-040947A7-8DCA-47D9-ACD5-409E747141D4.htm"}]},
{"title":"Transferring Deliverables to Other Systems",
"href":"./files/GUID-A922E4EF-C311-44A9-9B5D-38030014F729.htm",
"description":"When a clip is transferred to an Autodesk Visual Effects and Finishing system using Wire, its Deliverables are also transferred.",
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{"title":"Real-Time Deliverables Timing Specifications",
"href":"./files/GUID-693CC977-3D40-49DC-B779-44AA3EF6B015.htm",
"description":"When you set up a Deliverable to modify the timing of a clip during real-time output, the timing is changed according to the following tables.",
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{"title":"Clip Input/Output Using HSDL Devices",
"href":"./files/topichead_d3e17271.htm",
"description":"",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"}]},
{"title":"About HSDL Input and Output",
"href":"./files/GUID-DFCDA4A5-68F5-4E75-AFF2-4337AB322FD5.htm",
"description":"HSDL (High Speed Data Link) is a software-based transport mechanism for moving data between applications. It encapsulates 2K film frames in a video format for transfer. Put another way, HSDL is essentially another video input/output timing, without audio. As a result, the need to read header information for each file is eliminated. Also, frames can pass through most HD devices, such as routers, transparently.",
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{"title":"Setting Up Hardware for HSDL Input and Output",
"href":"./files/GUID-0553DF14-A6CC-4896-9FDF-CD24B3F4607A.htm",
"description":"Connect the HSDL device using the same method for serial dual RGB 4:4:4 video I/O. To control the HSDL device remotely, connect the device using an RS-422 cable to the serial port on the workstation that corresponds to the port defined in the software initialisation configuration file. See the Autodesk Visual Effects and Finishing Configuration File Reference Guide.",
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{"title":"Configuring Software for HSDL Input and Output",
"href":"./files/GUID-4B37F2C7-9F9E-4A4D-8F5D-C167857CF125.htm",
"description":"Enable the HSDL keywords that correspond to the HSDL device you want to work with.",
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{"title":"Inputting Clips From an HSDL Device",
"href":"./files/GUID-4B4F87F5-FF3F-4840-9486-A72F316B10D9.htm",
"description":"Input an HSDL stream of 2K frames as if you were inputting HD video. Use the tools in the Input Clip menu.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Clip Input/Output Using HSDL Devices","href":"./files/topichead_d3e17271.htm"}]},
{"title":"Outputting Clips To an HSDL Device",
"href":"./files/GUID-BAE395B0-AA24-49EE-B8D7-E4207CA17A7F.htm",
"description":"Output an HSDL stream of 2K frames as if you were outputting HD video. Use the tools in the Output Clip menu.",
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{"title":"Setting Video Input and Output Engineering Menu Options",
"href":"./files/GUID-4C947BB1-ADFC-49FD-90B9-58EEEFDF43A8.htm",
"description":"Default values in the Video I/O Engineering menu are defined by the uncommented HSDL keywords in the software initialisation configuration file. See .",
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{"title":"VTR Emulation",
"href":"./files/topichead_d3e17546.htm",
"description":"",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"}]},
{"title":"About VTR Emulation",
"href":"./files/GUID-35E09863-BF68-4347-B8E9-EABDA7AD6A2F.htm",
"description":"You can use Smoke to emulate a VTR for both input and output in real time. When configured to emulate a VTR, Smoke can be controlled, using an RS-422 interface, by a third-party application or device allowing you to:",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "VTR Emulation","href":"./files/topichead_d3e17546.htm"}]},
{"title":"VTR Emulation Workflow",
"href":"./files/GUID-B74E8BFD-C6A5-4263-8877-C9191DDE9F2C.htm",
"description":"A typical VTR emulation workflow involves the following steps:",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "VTR Emulation","href":"./files/topichead_d3e17546.htm"}]},
{"title":"Configuring Hardware for VTR Emulation",
"href":"./files/GUID-6B72D4DE-B6CE-4D5C-A89A-46995E399D95.htm",
"description":"The following procedure contains the steps required to configure hardware for clip input and output procedures using VTR emulation.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "VTR Emulation","href":"./files/topichead_d3e17546.htm"}]},
{"title":"Configuring Software for VTR Emulation",
"href":"./files/GUID-B3C6E2FB-A51A-4D20-9DD8-106D119346A5.htm",
"description":"Once your hardware is configured for VTR emulation, uncomment the Emulator keywords in the software initialisation configuration file that correspond to the emulators that you want to enable.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "VTR Emulation","href":"./files/topichead_d3e17546.htm"}]},
{"title":"Starting a Session with VTR Emulator",
"href":"./files/GUID-3E6B1A79-DFAE-464D-B5AC-712899DF969F.htm",
"description":"VTR emulation procedures are similar to procedures that you perform during clip input and output operations. When you create a project at the start-up, you select the initial video I/O timing for your project. All the clip I/O operations, including VTR emulation, are restricted to this timing until you change its value.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "VTR Emulation","href":"./files/topichead_d3e17546.htm"}]},
{"title":"Using VTR Emulation to Output Clips",
"href":"./files/GUID-8CB25DF2-EE72-4E3D-AF81-5408BC9DA712.htm",
"description":"When you load a clip into the Output Clip menu and select an emulator, the clip becomes a virtual source tape, the material that can be output to an external application or device with capture capabilities. The output process is controlled by the external application or device.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "VTR Emulation","href":"./files/topichead_d3e17546.htm"}]},
{"title":"Using VTR Emulation to Capture Clips",
"href":"./files/GUID-FD3A497C-2645-4824-8A86-ABA9C4B0D5FA.htm",
"description":"When you select an emulator in the Input Clip menu, Smoke acts as a VTR to which video clips from other applications or devices can be recorded. In this case, your workstation\'s framestore is a virtual blank tape. Clips sent to the emulator from the external application or device appear in the current clip library. The capture process is controlled by the external application or device.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "VTR Emulation","href":"./files/topichead_d3e17546.htm"}]},
{"title":"Supported Media Files Formats",
"href":"./files/topichead_d3e17804.htm",
"description":"",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"}]},
{"title":"Import Formats",
"href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm",
"description":"You can import and soft-import image files using a number of industry-standard file formats. Each file format uses a default file extension. You can use the default extensions as you import and soft-import images.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"}]},
{"title":"Import: Supported Image File Formats",
"href":"./files/GUID-30F27EF3-FE64-467A-B49A-9CD9527BE759.htm",
"description":"Smoke supports managed and unmanaged imports of the following still image file formats.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Import Formats","href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm"}]},
{"title":"Import: Supported Audio File Formats",
"href":"./files/GUID-F324E9A9-1DBD-46C6-A37B-B78BF0BD281F.htm",
"description":"Smoke supports import and soft-import of the following audio file formats.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Import Formats","href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm"}]},
{"title":"Import: Supported QuickTime File Codecs",
"href":"./files/GUID-5216B444-A0F1-4526-86BB-13C60384A2CE.htm",
"description":"The Wiretap Gateway supports import of QuickTime files encoded with any of the following codecs.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Import Formats","href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm"}]},
{"title":"Import: Supported P2 MXF File Codecs",
"href":"./files/GUID-ED3D41F4-30E7-4BC7-8D8E-ED4C43C7D4F9.htm",
"description":"The Wiretap Gateway supports import of Panasonic P2 MXF files encoded with any of the following codecs.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Import Formats","href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm"}]},
{"title":"Import: Supported XDCAM File Codecs",
"href":"./files/GUID-DB9415E5-C203-4A71-9258-A33543C44618.htm",
"description":"The Wiretap Gateway supports import of Sony XDCAM files encoded with any of the following codecs.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Import Formats","href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm"}]},
{"title":"Import: Supported DNxHD MXF File Codecs",
"href":"./files/GUID-79148AEC-9984-48E7-8F0F-C945B05A03CD.htm",
"description":"The Wiretap Gateway supports the import of MXF files encoded with Avid DNxHD codec.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Import Formats","href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm"}]},
{"title":"Import: Supported RED Files",
"href":"./files/GUID-19C61023-187B-48FE-9DD8-312596A04C06.htm",
"description":"Smoke can import RED media (R3D files) encoded with codec versions 2 and 3, whether they are regular R3D raw files or HDRx-enhanced R3D files.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Import Formats","href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm"}]},
{"title":"Import: Supported ARRI Files",
"href":"./files/GUID-1CA1ACAF-58BD-4A02-8C68-C4625617853B.htm",
"description":"The Wiretap Gateway supports the import of ARRIRAW media files produced by D-20, D-21, and ALEXA cameras.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Import Formats","href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm"}]},
{"title":"Import: Supported AVCHD Files",
"href":"./files/GUID-8CB988DC-7EF9-4DF9-8AB8-F9AC42248B70.htm",
"description":"Smoke supports the import of AVCHD media files with the .mts or .m2ts extensions, with or without audio encoded as Linear PCM.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Import Formats","href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm"}]},
{"title":"Import: Supported Apple ProRes Files",
"href":"./files/GUID-1D85E73A-1FC7-44E5-ACA3-035631AE3C3E.htm",
"description":"The Smoke on Mac application imports ProRes files directly.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Import Formats","href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm"}]},
{"title":"Import: Supported GoPro HD MP4 Files",
"href":"./files/GUID-936BC80E-655B-4FD0-A712-11285CBA12A7.htm",
"description":"GoPro camera records H.264 files with an .mp4 extension. The following frame rates and resolutions are supported.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Import Formats","href":"./files/GUID-F7656789-A319-4F76-8403-3A932F166436.htm"}]},
{"title":"Export Formats",
"href":"./files/GUID-360B1FF4-C2F5-4621-91B4-F2B9F80D2811.htm",
"description":"You can export image files using a number of industry-standard file formats. Each file format is exported using a default file extension.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"}]},
{"title":"Export: Supported Image File Formats",
"href":"./files/GUID-E9F078F3-5635-44F0-B2E1-3F970E7FCBE6.htm",
"description":"Smoke supports export of the following still image file formats.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Export Formats","href":"./files/GUID-360B1FF4-C2F5-4621-91B4-F2B9F80D2811.htm"}]},
{"title":"Export: Supported Audio File Formats",
"href":"./files/GUID-AC46C58F-20D3-4409-9F56-AA7C1AAB5C0F.htm",
"description":"Smoke supports export of the following audio file formats.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Export Formats","href":"./files/GUID-360B1FF4-C2F5-4621-91B4-F2B9F80D2811.htm"}]},
{"title":"Export: Supported QuickTime File Codecs",
"href":"./files/GUID-78BE9439-488A-4442-BDFB-480D7C76F1FD.htm",
"description":"Smoke supports export of QuickTime files (including the timecode) encoded with any of the following codecs.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Export Formats","href":"./files/GUID-360B1FF4-C2F5-4621-91B4-F2B9F80D2811.htm"}]},
{"title":"Export: Supported MXF OP-1a File Codecs",
"href":"./files/GUID-F7BC9D65-3397-4094-9366-DE7C7F9ECF63.htm",
"description":"Smoke supports the export of MXF OP-1a files (including the timecode) encoded with audio encoded as PCM, 16-Bit or 24-Bit, using any of the following codecs.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Supported Media Files Formats","href":"./files/topichead_d3e17804.htm"},{"title": "Export Formats","href":"./files/GUID-360B1FF4-C2F5-4621-91B4-F2B9F80D2811.htm"}]},
{"title":"Importing Media Files and Sequences",
"href":"./files/topichead_d3e19604.htm",
"description":"",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"}]},
{"title":"Importing Media Files",
"href":"./files/GUID-35BA4356-3A2F-4CF7-8A71-87DBDA03BAF5.htm",
"description":"Import graphic image files, film scans, or video files by dragging them from a Gateway library and dropping them into a local library, or loading them directly to the EditDesk. Rules allow you to control how imports are handled.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"}]},
{"title":"Importing Specific Tracks From Multitrack Files",
"href":"./files/GUID-35B5B856-164F-42B3-B86B-8803F91CAA9F.htm",
"description":"In a Gateway library, files with multiple tracks (audio and video) display the multitrack indicator and are considered container clips. OpenEXR, XDCAM, and QuickTime files with audio are examples of such files. You can expand those clips to reveal the underlying tracks to import specific ones.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Importing Media Files","href":"./files/GUID-35BA4356-3A2F-4CF7-8A71-87DBDA03BAF5.htm"}]},
{"title":"Importing AAF & FCP XML Sequences",
"href":"./files/GUID-4FE94F41-030B-4AAC-B3AA-50FC8EF990B7.htm",
"description":"Drag & drop XML and AAF files linking to file-based material to import a sequence and related sources.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"}]},
{"title":"Relinking a Sequence to its Media",
"href":"./files/GUID-602AC9BD-D530-40C7-B480-9CE28D51CA8B.htm",
"description":"If some media files were not found according to the settings defined in the FCP XML/AAF menu, you can relink the source files to the sequence.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Importing AAF & FCP XML Sequences","href":"./files/GUID-4FE94F41-030B-4AAC-B3AA-50FC8EF990B7.htm"}]},
{"title":"Setting Global Import Preferences",
"href":"./files/GUID-E8C80D6B-090E-436C-BF90-F17FAA585A68.htm",
"description":"Four global preferences manage how all clips are created when media is imported. These preferences are not attached to any format import preferences, and are either on or off for all import operations performed with a Gateway library.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"}]},
{"title":"Managing Media Files Import Preferences and Rules",
"href":"./files/GUID-6CE8C88E-F5E0-4F5A-8A2B-3B89ABAB3728.htm",
"description":"Import Preferences define how files are imported into Smoke. When importing a file from a Gateway library, the current preferences for that file type sets the import options. Sets of preferences for a file format can be saved as a rule, to quickly reload or switch between preferences. Import and Import History use the same settings. See .",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"}]},
{"title":"Media Files Import Preferences and Import History Options",
"href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm",
"description":"Use the Import Preferences to define how files are imported in Smoke. See .",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"}]},
{"title":"RED-Only Preferences",
"href":"./files/GUID-2516EDA0-67A5-43E6-A3B0-2A4A5E858B95.htm",
"description":"RED media files can be processed a number of ways at the time of the import. Use the Debayering, Colour, Image, Gain and Curve menus to modify the look or the size of the imported media file.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"}]},
{"title":"Debayering Menu",
"href":"./files/GUID-21A120AB-49AB-4AC2-AADB-9CEA86429A2A.htm",
"description":"Debayering box Select the level of quality required from the debayering algorithm. Higher resolutions are significantly more processing intensive. The debayering setting is the most resource-intensive",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"},{"title": "RED-Only Preferences","href":"./files/GUID-2516EDA0-67A5-43E6-A3B0-2A4A5E858B95.htm"}]},
{"title":"Colour Menu",
"href":"./files/GUID-774A55CB-A9ED-479A-BDFD-3FFC3402431A.htm",
"description":"Colour Settings box Select how Smoke uses the colour information stored within a R3D file. Select: To have: User Smoke import RED clips using the options you set in the Image, Gain, and Curve menus.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"},{"title": "RED-Only Preferences","href":"./files/GUID-2516EDA0-67A5-43E6-A3B0-2A4A5E858B95.htm"}]},
{"title":"Image Menu",
"href":"./files/GUID-A2B9A012-C7C0-43F6-B5F3-5224E536A605.htm",
"description":"ISOSelect the value of the linear gain operation.SaturationSet the saturation value.DRXSet the Dynamix Range Extension, which sets how much pixel data is copied from non-saturated channels into satura",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"},{"title": "RED-Only Preferences","href":"./files/GUID-2516EDA0-67A5-43E6-A3B0-2A4A5E858B95.htm"}]},
{"title":"Advanced Colour Menu",
"href":"./files/GUID-835C14A6-DF4F-40AC-B9DD-35032380F334.htm",
"description":"Use the Advanced Colour menu to set the RGB Lift, Gamma, and Gain of RED clips.",
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{"title":"Curve Menu",
"href":"./files/GUID-4CAAB036-D247-4041-975F-F98C1C0215FD.htm",
"description":"Use this menu to set the RGB and Luma curves for RED clips.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"},{"title": "RED-Only Preferences","href":"./files/GUID-2516EDA0-67A5-43E6-A3B0-2A4A5E858B95.htm"}]},
{"title":"ARRI-Only Preferences",
"href":"./files/GUID-3885D412-F6F5-4D82-80CB-2443F62671F0.htm",
"description":"ARRIRAW media files can be processed a number of ways at the time of the import. Use the Resolution, Colour, and Image preferences to modify the look or the size of the imported media.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"}]},
{"title":"Resolution",
"href":"./files/GUID-28D8C215-E118-4FA9-885F-478AF2B02D73.htm",
"description":"Debayering boxSelect the resolution for imported media. Higher resolution is more processing intensive —Full being the full resolution of the media. Resolutions marked as Draft offer better performanc",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"},{"title": "ARRI-Only Preferences","href":"./files/GUID-3885D412-F6F5-4D82-80CB-2443F62671F0.htm"}]},
{"title":"Colour Menu",
"href":"./files/GUID-C60177D6-0DE4-4D3E-AFFD-32F61245A4F8.htm",
"description":"Source Camera box Select the camera that created the file, or have Smoke read from the file header the camera used. Leave at Camera from File Header unless you are troubleshooting a file. Colour Setti",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"},{"title": "ARRI-Only Preferences","href":"./files/GUID-3885D412-F6F5-4D82-80CB-2443F62671F0.htm"}]},
{"title":"Processing Menu",
"href":"./files/GUID-C13F8C10-47ED-4C33-AE96-90AE1C880530.htm",
"description":"Processing Version boxSelect the version of the colour science used to process the file, or use From File Header to have Smoke read the version of the colour science from the header of the imported fi",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"},{"title": "ARRI-Only Preferences","href":"./files/GUID-3885D412-F6F5-4D82-80CB-2443F62671F0.htm"}]},
{"title":"Image Menu",
"href":"./files/GUID-E695DA43-CCFE-42B8-88DF-86E1C6F1012E.htm",
"description":"Exposure boxSelect how the file\'s exposure is set. Select Exposure From File to use the camera settings burnt in the clip.ISOSelect the value of the linear gain operation.White Balance boxSelect how t",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"},{"title": "ARRI-Only Preferences","href":"./files/GUID-3885D412-F6F5-4D82-80CB-2443F62671F0.htm"}]},
{"title":"Metadata Menu",
"href":"./files/GUID-3EBCE456-21F1-4E67-A24B-EB7A624D3249.htm",
"description":"The options described below are not used by every format. Only the ones relevant to the selected format are accessible.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"}]},
{"title":"Clip Options Menu",
"href":"./files/GUID-E6084918-9143-4126-9F99-3C0C18FC22A2.htm",
"description":"The options described below are not used by every format. Only the ones relevant to the selected format are accessible.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"}]},
{"title":"Keycode Menu",
"href":"./files/GUID-18555E6F-4633-4E6F-B92B-9BB70C82F153.htm",
"description":"The Keycode menu is available to the DPX format.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"}]},
{"title":"Layer Menu",
"href":"./files/GUID-9BA6D4E5-9DEC-436F-AE22-FF3A2E76EB4C.htm",
"description":"The Layer menu is available to the Phostoshop format.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"}]},
{"title":"Image Menu",
"href":"./files/GUID-39042536-A7BD-410C-9A90-CF2E868C9FE2.htm",
"description":"The Image menu is available to a limited range of formats, and those formats might use only a subset of the following options.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"}]},
{"title":"Browsing Menu",
"href":"./files/GUID-E311D825-5459-4EFA-B36D-C6B68A503CAB.htm",
"description":"The Browsing menu is available to the following formats:",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Media Files Import Preferences and Import History Options","href":"./files/GUID-DD8153AB-D2FB-48A9-A2AC-4E1E81A558F7.htm"}]},
{"title":"Setting FCP XML & AAF Preferences",
"href":"./files/GUID-5F61B3AE-4C13-41C8-91F6-D3FD2CD3D992.htm",
"description":"You define sequence import preferences like you do for media files, with the exception that there is only one rule for all XML and AAF files.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"}]},
{"title":"FCP XML & AAF Metadata Options Menu",
"href":"./files/GUID-416485C4-579E-4C4A-B141-A51BDE8D438B.htm",
"description":"(a) Clip Name box (b) Clip Name field (c) Resolution box (d) Resolution Presets box (e) Width and Height fields (f) Aspect Ratio Presets box (g) Bit Depth box (h) Aspect Ratio field (i) Scan Mode box",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Setting FCP XML & AAF Preferences","href":"./files/GUID-5F61B3AE-4C13-41C8-91F6-D3FD2CD3D992.htm"}]},
{"title":"FCP XML & AAF Media Options Menu",
"href":"./files/GUID-15A6ECB1-6F2C-4369-B835-F018B517A790.htm",
"description":"Be careful when using the Use Framerate search option with FCP XML files, especially if the FCP sequence is using multiple frame rates. With Use Framerate enabled, Smoke uses the frame rate of the sequence\'s edits as a match criteria to relink to the correct sources: if the frame rate of the considered source is 24fps while the edit is at 30fps, that source is not a potential candidate. So whether or not Smoke relinks the considered source to the edit has nothing to do with the frame rate of the sequence.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "Setting FCP XML & AAF Preferences","href":"./files/GUID-5F61B3AE-4C13-41C8-91F6-D3FD2CD3D992.htm"}]},
{"title":"Editing the Import History",
"href":"./files/GUID-C6940548-2FEF-4B8B-A335-836A0CE141A7.htm",
"description":"The Import History allows you to view and edit the settings used to import a file into Smoke, for a specific instance of a clip.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"}]},
{"title":"About Media Management",
"href":"./files/GUID-C75C0C56-140B-4273-9E8C-DAA3384D0750.htm",
"description":"When you import media that resides on an external storage device, all the media is copied to Autodesk storage. Any changes that you make to this media are protected, and exclusive to this stored copy. However, it can take a long time to load large files and all of this stored media can take up a lot of space in Autodesk storage.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"}]},
{"title":"Managing Media Files Import",
"href":"./files/GUID-545E3554-50F3-467D-A2F4-61FF435C9C3F.htm",
"description":"In the Import Preferences menu of the File I/O menu, use Store Local Copy to toggle between creating a clip with managed media and a clip with unmanaged media.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "About Media Management","href":"./files/GUID-C75C0C56-140B-4273-9E8C-DAA3384D0750.htm"}]},
{"title":"Recognizing Types of Clips",
"href":"./files/GUID-3537FD9A-055A-4851-B29E-9C3C81F9BE39.htm",
"description":"Soft-imported clips in the clip library display an icon in the lower-right corner of the clip. The type of indicator depends on whether the clip is a hybrid clip or a completely soft-imported clip. A hybrid clip has some frames that are soft-imported and some that are not, or it may consist of multiple soft-imported sources of different formats.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "About Media Management","href":"./files/GUID-C75C0C56-140B-4273-9E8C-DAA3384D0750.htm"}]},
{"title":"About Proxies",
"href":"./files/GUID-66312F78-26A7-4561-A204-99F652A2C076.htm",
"description":"A proxy is a low-resolution copy of a high-resolution image. There can be one proxy for each frame in a clip. Proxies are used to provide real-time playback of processed results and to supply low-resolution clips so that composites can be quickly created. When importing files as clips with unmanaged media, use proxies when the connection speed to your media storage location is not fast enough to support real-time streaming of the full-resolution media. When proxy generation is enabled, proxies are generated upon import of media.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Importing Media Files and Sequences","href":"./files/topichead_d3e19604.htm"},{"title": "About Media Management","href":"./files/GUID-C75C0C56-140B-4273-9E8C-DAA3384D0750.htm"}]},
{"title":"Exporting Media Files",
"href":"./files/topichead_d3e21877.htm",
"description":"",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"}]},
{"title":"About Exporting Media Files",
"href":"./files/GUID-C392AE55-A365-4EF9-9F98-F82BCF033FB9.htm",
"description":"At various times during the post-production process, you may need to export media files from Smoke. You can export still images (for example, TARGA, JPEG, TIFF), QuickTime video files, and audio files (for example, AIFF, MP3, WAV) from your Smoke project.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"}]},
{"title":"About the Export Image Menu Options",
"href":"./files/GUID-2754EC61-1A4D-49BB-9F4B-7407FD63D229.htm",
"description":"The Export Image menu contains a large variety of options that can be used when exporting image or video files. The menu is divided into seven functional groups:",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"}]},
{"title":"File Operations Group",
"href":"./files/GUID-CEFF6558-EA15-4680-9282-82E4A7AB5119.htm",
"description":"Use the options in the File Operations group to select the File Format of the exported image and to set background output operations.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"},{"title": "About the Export Image Menu Options","href":"./files/GUID-2754EC61-1A4D-49BB-9F4B-7407FD63D229.htm"}]},
{"title":"Export Options Group",
"href":"./files/GUID-BD25169F-FC3B-4BD9-B62E-65F97C2A4BE9.htm",
"description":"When you export a clip, you have a number of options for naming and numbering the sequence of image files that are generated. Image files can be numbered sequentially so that the order of frames in the clip can be maintained if you later import the clip. You can also specify the start number in a sequence of images.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"},{"title": "About the Export Image Menu Options","href":"./files/GUID-2754EC61-1A4D-49BB-9F4B-7407FD63D229.htm"}]},
{"title":"Quality Group",
"href":"./files/GUID-967DE507-C3D7-45F7-8C25-90D8DD4683FD.htm",
"description":"Depending on the file format you are exporting, you may have the option of applying image compression to the exported frames to create smaller files. When compressing files, keep in mind that as you increase the compression, you decrease the quality of the image.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"},{"title": "About the Export Image Menu Options","href":"./files/GUID-2754EC61-1A4D-49BB-9F4B-7407FD63D229.htm"}]},
{"title":"Resizing Group",
"href":"./files/GUID-D39B427D-387D-4B11-8054-01279F8BE844.htm",
"description":"You can change the size, aspect ratio, bit depth, image quality, and border colour when exporting images.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"},{"title": "About the Export Image Menu Options","href":"./files/GUID-2754EC61-1A4D-49BB-9F4B-7407FD63D229.htm"}]},
{"title":"DPX Transfer Characteristics Group",
"href":"./files/GUID-2181C0D2-E806-4AF4-B5F3-B24A67FE9673.htm",
"description":"When exporting DPX files, you can choose a DPX Transfer Characteristic. A DPX Transfer Characteristic is information that is stored in the DPX image file header. It identifies the attributes associated with a particular film or video format, such as resolution, frame rate, and colour space.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"},{"title": "About the Export Image Menu Options","href":"./files/GUID-2754EC61-1A4D-49BB-9F4B-7407FD63D229.htm"}]},
{"title":"Proxies Group",
"href":"./files/GUID-38F30FD2-1546-4752-A58E-9B1CDF5CC707.htm",
"description":"You can generate proxies when you export a clip. You can see the proxies when viewing the image files in the file browser using Proxies mode. If a proxy has not been generated for an image file, the proxy appears grey.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"},{"title": "About the Export Image Menu Options","href":"./files/GUID-2754EC61-1A4D-49BB-9F4B-7407FD63D229.htm"}]},
{"title":"Export Video Options",
"href":"./files/GUID-F8CFA744-1F1E-4FCB-B26C-28807B55D0F0.htm",
"description":"Export Video options are active only when you are exporting a QuickTime video. You can export video files of almost any size. You can apply different compression rates to create files with a suitable trade-off between image quality and file size.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"},{"title": "About the Export Image Menu Options","href":"./files/GUID-2754EC61-1A4D-49BB-9F4B-7407FD63D229.htm"}]},
{"title":"Exporting Image Files",
"href":"./files/GUID-C8DFC757-2821-4887-A72D-29437BBE4C1B.htm",
"description":"You can export a clip or a single frame a clip library to the filesystem or a storage device. After you have exported a clip, you can use it on other platforms (for example, Macintosh or Windows).",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"}]},
{"title":"Exporting RGBA Image Files",
"href":"./files/GUID-6BFD1074-F677-4E02-A417-D1A88FE813E6.htm",
"description":"You can export two clips (a Front clip and a Matte clip) as a single file with an embedded alpha channel. This exported file can then be used as a layer in other compositing or editing applications.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"}]},
{"title":"Exporting DPX Files",
"href":"./files/GUID-834D2368-A623-4BBD-9A22-E72F29A2AACA.htm",
"description":"You can export DPX files while taking advantage of all their inherent properties, such as LUTs and DPX Transfer Characteristics.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"}]},
{"title":"Exporting Video Files",
"href":"./files/GUID-D17988FC-717D-4EF6-9503-5A06D4D52EF4.htm",
"description":"You can encode clips into QuickTime. You can export files of almost any size and, depending on the QuickTime file format, you can apply variable compression rates to create video files with a suitable trade-off between image quality and file size.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"}]},
{"title":"Working with Codec Profiles",
"href":"./files/GUID-065E8857-82E7-430A-8AD6-8E0218086D6F.htm",
"description":"You can create a custom profile for a particular codec to use for specific jobs. Using the Codec Profile Editor, you can customize parameters, such as compression settings, and create a library of different codec settings that you can use anytime. Depending on the codec, the settings of some parameters may be dependent on others. In some instances, a particular field may, therefore, revert to its original setting. The codec profiles appear only for the codec for which the profile was created. You can also delete any codec profile, or load codec profiles created in another application.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"}]},
{"title":"H.264 Codec Export Profiles",
"href":"./files/GUID-2223B8E7-086B-472E-98A3-5DA2D612D489.htm",
"description":"When exporting a clip as an H.264 in QuickTime, you can use the Default settings or one of the pre-configured H.264 codec profiles.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"},{"title": "Working with Codec Profiles","href":"./files/GUID-065E8857-82E7-430A-8AD6-8E0218086D6F.htm"}]},
{"title":"Exporting Image Files in the Background",
"href":"./files/GUID-2D69D670-E599-4441-9F2C-D63F64B0403E.htm",
"description":"You can export one or more image files in the background while you perform other tasks. You can export several files at once by selecting them and then processing them as a batch. You can assign different clip options to each file that you add to the queue.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"}]},
{"title":"Exporting Audio Files",
"href":"./files/GUID-14FFF043-3AB0-43E4-A803-0A716105511A.htm",
"description":"You can export audio from the current clip library to the filesystem as a multichannel audio file. This can be an audio-only clip or a video clip with audio. When you export audio, any uncommitted material is temporarily hard-committed (processed) and included in the exported file.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"}]},
{"title":"Exporting Media to Cleaner XL for Encoding",
"href":"./files/GUID-82A001CF-04BB-4C27-8E40-3E12115CF7A4.htm",
"description":"You can export clips containing images, video, and audio to be encoded by Cleaner XL into one of a variety of formats, using the Export Image menu. You can export clips containing soft-imported segments as well.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"}]},
{"title":"Deleting Media Files From the Filesystem Via Export Image",
"href":"./files/GUID-749AC874-08B4-4ABF-82A3-5DF17627AB18.htm",
"description":"You can use the file browser in the Export Image menu to remove image files, including soft-imported image files, from the filesystem.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Exporting Media Files","href":"./files/topichead_d3e21877.htm"}]},
{"title":"Processing and Publishing",
"href":"./files/topichead_d3e23620.htm",
"description":"",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"}]},
{"title":"About Processing and Publishing",
"href":"./files/GUID-818B9D19-A2F3-489D-975E-91C94150BFC0.htm",
"description":"Processing is a convenient means of ensuring real-time playback when creating complex effects. Publishing allows you to share media with other applications and users. Before using the process and publish features, it is important to understand some underlying concepts and principles.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"Types of Publishing",
"href":"./files/GUID-0360CA01-9ACA-4E81-9A47-DD64116041C5.htm",
"description":"You can perform three types of publishing: Simple, Complex, or Flatten. You select the type of publishing you want to perform from the Type Group in the Publishing Menu. See .",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"Accessing the Publish Menu",
"href":"./files/GUID-9B09C504-6EF1-4F19-98A5-D5AF89E7DF64.htm",
"description":"Access the Publish menu from the clip library.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"About the Publish Menu Options",
"href":"./files/GUID-875DABD4-063F-4322-A29C-7F38FCEAA9C0.htm",
"description":"Use the options in the Publish menu to specify the attributes for the published file.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"File Operations Group",
"href":"./files/GUID-1A3B73B8-290F-491D-8EB3-83DD66D67EEF.htm",
"description":"Use the File Operation options to publish your media.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"},{"title": "About the Publish Menu Options","href":"./files/GUID-875DABD4-063F-4322-A29C-7F38FCEAA9C0.htm"}]},
{"title":"Type Group",
"href":"./files/GUID-3FFD53E7-2880-4960-9985-09029E51F8C7.htm",
"description":"Use the Type Group options to control the output of the Publish tool.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"},{"title": "About the Publish Menu Options","href":"./files/GUID-875DABD4-063F-4322-A29C-7F38FCEAA9C0.htm"}]},
{"title":"Source Media Group",
"href":"./files/GUID-0A193933-E915-42DF-9C63-40F154A64379.htm",
"description":"Use the Source Media Group options to control whether you want to publish video or audio.",
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{"title":"Output Media Group",
"href":"./files/GUID-89207E8C-7CA0-4314-BAE7-70FFEADB56A6.htm",
"description":"Use the Output Media options to control the format of the published media.",
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{"title":"File Naming Group",
"href":"./files/GUID-2758FA92-5D2D-48CF-98B2-9116F66A27E3.htm",
"description":"Use the File Naming options to control the naming of published media.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"},{"title": "About the Publish Menu Options","href":"./files/GUID-875DABD4-063F-4322-A29C-7F38FCEAA9C0.htm"}]},
{"title":"Output File Management Group",
"href":"./files/GUID-BD718A7F-4C56-4546-9A43-06F4010CCB45.htm",
"description":"Use the Output File Management options to control the destination of published media.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"},{"title": "About the Publish Menu Options","href":"./files/GUID-875DABD4-063F-4322-A29C-7F38FCEAA9C0.htm"}]},
{"title":"Naming Published Files",
"href":"./files/GUID-1E8FDDC6-B26E-4632-8B45-6629E34C907D.htm",
"description":"The Publish Type and File Naming options you select determine how exported files are named.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"Publishing a Clip Using the Publish Tool",
"href":"./files/GUID-D250A484-5DA7-436A-BE34-3ADA2D331107.htm",
"description":"Publish a clip so that you can collaborate with others on the same media.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"Publishing in the Background",
"href":"./files/GUID-C05939FF-3A3C-46E0-911A-C923C936E802.htm",
"description":"You can perform some file management tasks, such as publish, import, export, and use the Store tool, in the background while you perform other tasks with your application.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"Managing the Background Import/Export Queue",
"href":"./files/GUID-87A288CD-6236-4BDF-BF6F-C147FA64D767.htm",
"description":"Use the Background Import/Export Queue to manage import, export, proxy generation, and publish jobs. You can also simultaneously generate proxies, and import, export, and publish any number of jobs.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"Processing Soft Effects and Batch FX",
"href":"./files/GUID-942A5948-1D65-43AB-87EB-F79DE145D3FA.htm",
"description":"Processing is a convenient means of ensuring real-time playback when creating complex effects. If you are not achieving real-time playback, you can selectively process elements in the timeline (or the whole timeline) to restore it. Unlike committing, the effects remain editable after processing. If you have a Burn license, you can Burn clips containing soft effects, timewarps, and dissolves and process them on a remote rendering system.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"Processing Clips and Proxies",
"href":"./files/GUID-807F8F25-BAE5-4EC6-8B8F-A654B5CFC31D.htm",
"description":"You can process clips in the clip library. If you have a Burn license, you can burn clips containing soft effects and transitions from the clip library to a remote rendering system. You can also choose to only process proxies rather than full-resolution versions of the selected clips when rendering both locally and remotely with Burn.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"Processing in Modules",
"href":"./files/GUID-9B43D77A-ED74-4FB5-B775-D3F53D50CA0D.htm",
"description":"You can process or, if you have a Burn license, burn new renders in a number of modules. The resulting clips are placed on the EditDesk. You can also process or burn multiple clips from the same module, and manage these tasks in the background.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"Managing Media Using the Store Tool",
"href":"./files/GUID-945C825C-6F68-4DD5-8B64-1729D6E11FAB.htm",
"description":"Use the Store tool to manage how media are stored by Smoke.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Processing and Publishing","href":"./files/topichead_d3e23620.htm"}]},
{"title":"Consolidating Clips in the Clip Library",
"href":"./files/GUID-308A0A4E-EAD6-446B-B66E-B0DFFBA06C34.htm",
"description":"If you want to limit the number of head and tail frames on a clip, you can consolidate the audio and/or video on the clip. When several soft effects exist on a clip, the intermediate renders of these effects are kept. This procedure deletes media and frees up space on the framestore.",
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{"title":"Committing Soft Clips, History, or Audio in the Clip Library",
"href":"./files/GUID-4625BE7C-B65C-4886-9B01-42FD4B9C94D9.htm",
"description":"Use the Commit command to commit a soft clip, the history of the clip, or the audio of the clip. When you commit a soft clip, its soft properties are removed. Any history and audio of the clip is also committed. As well, head and tail frames are removed. If an element such as a timewarp has not been rendered, it will be rendered automatically before the commit. Commit a soft clip when you archive the clip or when you have completed the edit.",
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{"title":"Legacy File Import",
"href":"./files/topichead_d3e25014.htm",
"description":"",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"}]},
{"title":"About Using Import Media",
"href":"./files/GUID-96EEA218-CD86-4CDD-97E3-8186A84CCF7A.htm",
"description":"At various times during the post-production process, you may need to import files into Smoke from other applications where you must resize or apply a LUT on import, or import external DPX proxies, use the Import Media menu method.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Legacy File Import","href":"./files/topichead_d3e25014.htm"}]},
{"title":"About Proxies in Import Media",
"href":"./files/GUID-00A28EB6-83FB-4351-8E18-F06C4C51CE9B.htm",
"description":"A proxy is a low-resolution copy of a high-resolution image. There can be one proxy for each frame in a clip. Proxies are used to provide real-time playback of processed results and to supply low-resolution clips so that composites can be quickly created. When importing files as clips with unmanaged media, use proxies when the connection speed to your media storage location is not fast enough to support real-time streaming of the full-resolution media. When proxy generation is enabled, proxies are generated upon import of media, of high-resolution media, or imported for DPX or Cineon media.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Legacy File Import","href":"./files/topichead_d3e25014.htm"},{"title": "About Using Import Media","href":"./files/GUID-96EEA218-CD86-4CDD-97E3-8186A84CCF7A.htm"}]},
{"title":"About the Import Media Menu Options",
"href":"./files/GUID-B0374A9F-10F1-411A-9A97-236FF5D18974.htm",
"description":"The Import Media menu contains a large number of options that are available for importing graphic image files, film scans, or video files. The menu is divided into six functional groups:",
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{"title":"File Operations Group",
"href":"./files/GUID-1EF3AE14-EC5E-4972-AFB0-AE20BD0BC413.htm",
"description":"Use these options to perform file input and processing operations.",
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{"title":"Clip Media Group",
"href":"./files/GUID-AB0CA66F-3F85-481B-AA89-6A640E2A7F3D.htm",
"description":"Use these options to select how clip media is handled on import.",
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{"title":"Clip Metadata Group",
"href":"./files/GUID-614FE3FE-6FBB-4820-9597-6E981FCEF3EE.htm",
"description":"Use these options to select how clip metadata is handled on import.",
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{"title":"Processing Group",
"href":"./files/GUID-D2A84394-0414-4DCC-9BAD-2C0F380081CA.htm",
"description":"Use these options to change resolution, aspect ratio, bit depth, and field dominance. See .",
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{"title":"File Attributes Group",
"href":"./files/GUID-597BC0E6-B57F-40CE-9CCF-FD28E114A10D.htm",
"description":"The File Attributes group displays the attributes that are available for a file, when its filename is selected in the file browser. These attributes may include any of the following: file type, pixel width, pixel height, colour model, timecode, keycode, aspect ratio, bit depth, and codec.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Legacy File Import","href":"./files/topichead_d3e25014.htm"},{"title": "About Using Import Media","href":"./files/GUID-96EEA218-CD86-4CDD-97E3-8186A84CCF7A.htm"},{"title": "About the Import Media Menu Options","href":"./files/GUID-B0374A9F-10F1-411A-9A97-236FF5D18974.htm"}]},
{"title":"Movie Attributes Group",
"href":"./files/GUID-1476D4A9-8D75-4116-8FFF-3FF8B8BB1B8E.htm",
"description":"The Movie Attributes group displays the attributes that are available for a movie file. They appear when a QuickTime or MXF file is selected in the browser.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Legacy File Import","href":"./files/topichead_d3e25014.htm"},{"title": "About Using Import Media","href":"./files/GUID-96EEA218-CD86-4CDD-97E3-8186A84CCF7A.htm"},{"title": "About the Import Media Menu Options","href":"./files/GUID-B0374A9F-10F1-411A-9A97-236FF5D18974.htm"}]},
{"title":"Library Operations Options",
"href":"./files/GUID-B2F55171-6CDE-47A9-8466-D8D7815FC113.htm",
"description":"Use these options to select what and how files are displayed for import.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Legacy File Import","href":"./files/topichead_d3e25014.htm"},{"title": "About Using Import Media","href":"./files/GUID-96EEA218-CD86-4CDD-97E3-8186A84CCF7A.htm"},{"title": "About the Import Media Menu Options","href":"./files/GUID-B0374A9F-10F1-411A-9A97-236FF5D18974.htm"}]},
{"title":"About the Proxy Import Settings",
"href":"./files/GUID-490967EB-8D49-4A96-950C-56D59334B86E.htm",
"description":"Use the Proxy Import settings to configure where the proxy scans are found for the selected Cineon or DPX full-resolution scans. The Proxy Import settings appear when, in the Clip Media Group, you enable the Proxy Import button and click Settings. The options are divided into three functional groups:",
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{"title":"Full Resolution Root Path Group",
"href":"./files/GUID-10C57E78-386F-4DDB-B8CE-BA76F89D066E.htm",
"description":"Use these options to determine the directory location of the full-resolution scans.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Legacy File Import","href":"./files/topichead_d3e25014.htm"},{"title": "About Using Import Media","href":"./files/GUID-96EEA218-CD86-4CDD-97E3-8186A84CCF7A.htm"},{"title": "About the Proxy Import Settings","href":"./files/GUID-490967EB-8D49-4A96-950C-56D59334B86E.htm"}]},
{"title":"Proxy Root Path Group",
"href":"./files/GUID-30461961-65B0-492E-8AD4-73AF9E698477.htm",
"description":"Use these options to determine the directory location of the proxy scans.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Legacy File Import","href":"./files/topichead_d3e25014.htm"},{"title": "About Using Import Media","href":"./files/GUID-96EEA218-CD86-4CDD-97E3-8186A84CCF7A.htm"},{"title": "About the Proxy Import Settings","href":"./files/GUID-490967EB-8D49-4A96-950C-56D59334B86E.htm"}]},
{"title":"Proxy Search Criteria Group",
"href":"./files/GUID-897FD7B9-DFA4-4199-802E-F32E96E51192.htm",
"description":"Use these options to specify the search criteria for finding proxies, including the relative directory location and file name.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Legacy File Import","href":"./files/topichead_d3e25014.htm"},{"title": "About Using Import Media","href":"./files/GUID-96EEA218-CD86-4CDD-97E3-8186A84CCF7A.htm"},{"title": "About the Proxy Import Settings","href":"./files/GUID-490967EB-8D49-4A96-950C-56D59334B86E.htm"}]},
{"title":"Importing and Soft-Importing Image Files",
"href":"./files/GUID-7326125A-A2B9-491D-B38B-25BD27952D38.htm",
"description":"Import images created in other applications, such as 3ds Max, as well as images previously exported, using the Export Image menu. You can also import images from CD-ROM, USB or FireWire drives, or another platform (for example, a Macintosh or PC).",
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{"title":"Importing DPX File Sequences for Data Conform",
"href":"./files/GUID-A1332C35-1D89-4830-BDA7-65D1D715A931.htm",
"description":"The following workflow is designed specifically to accommodate importing or soft-importing DPX sequences generated from a film scanner. This allows you to import DPX sequences originating from different film reels in a single step. You can efficiently batch-capture file-based media in preparation for data conform from an EDL. The imported clips all have the correct source keycode, timecode, and tape name, making it easy to load your EDL and assemble the timeline for conforming and finishing.",
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{"title":"Importing OpenEXR Files",
"href":"./files/GUID-D72B610C-37B7-4FCB-92AC-BF5BEB0D4CEC.htm",
"description":"When importing OpenEXR files into Smoke, select the import method based on the type of data contained within: multiple channels or high dynamic range images.",
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{"title":"Importing RGBA Files",
"href":"./files/GUID-35259AAB-4AD2-4814-8A59-62B37D844B8A.htm",
"description":"When you import an RGBA file into Smoke, you can import the RGB image and the alpha channel as separate clips. The alpha channel can be imported as is or inverted. You can also import the RGB image and alpha channel and place them in a matte container.",
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{"title":"Importing Adobe Photoshop Files",
"href":"./files/GUID-42E41883-B5A1-47BC-95B2-4C779556258C.htm",
"description":"You can import Adobe Photoshop format files into your project without having to convert them. Photoshop files are usually created with multiple layers, each with its own image, matte, or blending effect. You can use the imported file\'s layers and effects, or you can import the file as a flat image so it appears as a single layer or frame.",
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{"title":"Importing and Soft-Importing Video Files",
"href":"./files/GUID-7B7AB8AD-2504-42A1-BAC2-C948F927CB57.htm",
"description":"Use the Import Media menu to import or soft-import one or more QuickTime movies or MXF media files to the current clip library. Both video and audio tracks are supported.",
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{"title":"Importing and Soft-Importing in the Background",
"href":"./files/GUID-4CD039FD-D8E5-4DE0-96C8-3FD37EDF18E0.htm",
"description":"You can import one or more image or video files in the background while you perform other tasks. When soft-importing one or more image or video files, you can generate the proxies in the background.",
"ancestors":[{"title": "Inputting and Outputting Media","href":"./files/topichead_d3e12401.htm"},{"title": "Legacy File Import","href":"./files/topichead_d3e25014.htm"},{"title": "About Using Import Media","href":"./files/GUID-96EEA218-CD86-4CDD-97E3-8186A84CCF7A.htm"}]},
{"title":"Importing and Soft-Importing Audio Files",
"href":"./files/GUID-14B1B547-5920-4013-817F-0B65B3DBAB29.htm",
"description":"You can import or soft-import one or more audio files to the current clip library using the Import Audio menu.",
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{"title":"Deleting Media Files From the Filesystem Via Import Media",
"href":"./files/GUID-94E0DD32-643B-430C-B88D-B1DFB257FEA6.htm",
"description":"You can use the file browser in the Import Media menu to remove image files, including soft-imported image files, from the filesystem.",
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{"title":"Managing Projects and Media",
"href":"./files/topichead_d3e27048.htm",
"description":"",
"ancestors":[]},
{"title":"Managing Projects and Users",
"href":"./files/topichead_d3e27052.htm",
"description":"",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"}]},
{"title":"About Projects and Users",
"href":"./files/GUID-FAC85F1D-BC0A-4A5D-8E26-905BA5842AE3.htm",
"description":"Create projects and users to define your working environment in Smoke. Projects define the display environment and provide a home directory where you keep setups and other resources. Also, clip libraries, where clips are stored, are associated with projects.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Managing Projects and Users","href":"./files/topichead_d3e27052.htm"}]},
{"title":"Projects",
"href":"./files/GUID-4920AE2F-8134-4090-BF1A-A85CDD45FF33.htm",
"description":"In Smoke, a project is a job-based working environment that provides:",
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{"title":"Users",
"href":"./files/GUID-EE780039-4240-460E-8672-89C7CC585DA6.htm",
"description":"A user is a profile that provides:",
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{"title":"Selecting a Project and User on Start-up",
"href":"./files/GUID-43A0B740-3B5E-486C-BCF3-F9C7AF8FCF2F.htm",
"description":"When you start Smoke, the Project Management menu appears. Use the Project Management menu to select a project and user for the current session, to create projects and users, or to manage existing projects and users.",
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{"title":"Creating a Project",
"href":"./files/Creating_a_Project.htm",
"description":"You can create a project on start-up from the Project Management menu or during a session from the Preferences menu.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Managing Projects and Users","href":"./files/topichead_d3e27052.htm"}]},
{"title":"Setting a Project\'s Home Directory",
"href":"./files/GUID-D20EAE80-CB1A-4949-AD63-4FE9B9DC00DC.htm",
"description":"When you create a project, a project home directory is created on the system disk in the /usr/discreet/project/ directory. File-based resources such as effects setups, EDLs, and LUTs are usually managed in a set of subdirectories in this home directory, by module.",
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{"title":"Setting the Default Resolution",
"href":"./files/GUID-BB2E0684-B2FB-4BEB-AB0D-18EAE5EB9083.htm",
"description":"Setting the default resolution of a project involves selecting frame resolution, aspect ratio, bit depth, and scan mode.",
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{"title":"Setting Proxy Management Options",
"href":"./files/GUID-3FC532CB-8B83-4557-8987-C9E146BE5FE0.htm",
"description":"Proxies are low-resolution copies of high-resolution images, one for each frame. Set proxy management options to specify how and when proxies are generated for clips used in the project.",
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{"title":"Setting the Graphics Processing Bit Depth",
"href":"./files/GUID-356D8BB3-FF5D-418A-9A0F-7BF8FC711826.htm",
"description":"Depending on your system, you can specify the bit depth for images that are processed using the frame buffer in the graphics card. The bit depth affects the quality of the resulting clip. Images can be processed with 8-bit or 16-bit FP precision.",
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{"title":"Enabling Lustre Interoperability Options",
"href":"./files/GUID-F3FA2DC4-C881-473D-8402-F91DAF4A2ECD.htm",
"description":"When creating a project in Smoke, you have the option to create at a matching Lustre project. Use this option to simplify media exchanges between Smoke and Autodesk Lustre. This option ensures that, for example, the frame rate is identical in both Smoke and Lustre, or that the Lustre project Render directory is already set up as a library in Smoke.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Managing Projects and Users","href":"./files/topichead_d3e27052.htm"},{"title": "Creating a Project","href":"./files/Creating_a_Project.htm"}]},
{"title":"Selecting the Project Configuration Template",
"href":"./files/GUID-B483C97F-60AC-41EE-9032-94D9F89EA4B0.htm",
"description":"Each project has an associated project configuration file. When you load a project, its project configuration file is parsed. Information in the project configuration file determines project environment settings such as graphics monitor refresh rate, default timecode for clips, and default frame rate for clip playback.",
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{"title":"Modifying a Project",
"href":"./files/GUID-7C666277-AF96-48C1-A76E-0BAE603D2505.htm",
"description":"You can modify any project that appears in the Project box on start-up or during a session as long as it is not currently in use.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Managing Projects and Users","href":"./files/topichead_d3e27052.htm"}]},
{"title":"Deleting a Project",
"href":"./files/GUID-E7405FBC-3BE8-4704-B264-869A1B5CBF25.htm",
"description":"Projects are associated with setups and clips. You can delete a project, its setups, or its clips. When you delete a project, all its clips are deleted. Its setups are also deleted as long as they are not shared with a project already in use.",
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{"title":"Managing Proxies",
"href":"./files/GUID-BFA8EF32-04BC-430C-B745-F3C5841FC388.htm",
"description":"Proxies are low-resolution copies of high-resolution images, one for each frame. Proxies are used to provide:",
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{"title":"Proxy Playback",
"href":"./files/GUID-9F3552CA-A4C3-4D16-A5F5-726C5CC73CC2.htm",
"description":"A proxy is stored for every processed clip, provided proxy management options are enabled and the clip meets any conditional proxy generation criteria (see ). Because high-resolution images cannot always be played back in real-time, you can set the Player to play back proxies. Image quality is reduced, but real-time playback ensures you get a more accurate playback context.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Managing Projects and Users","href":"./files/topichead_d3e27052.htm"},{"title": "Managing Proxies","href":"./files/GUID-BFA8EF32-04BC-430C-B745-F3C5841FC388.htm"}]},
{"title":"Proxy Processing",
"href":"./files/GUID-FBB3E962-7F42-4101-8C39-784B9ABCDA74.htm",
"description":"If you are creating a composite of high-resolution images, you can enable proxy processing options. In this case, you work with proxies to create your composite, thereby demanding less of Smoke in terms of memory management and intermediate processing (such as previewing results in-progress). You can also process proxies for soft effects on the timeline.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Managing Projects and Users","href":"./files/topichead_d3e27052.htm"},{"title": "Managing Proxies","href":"./files/GUID-BFA8EF32-04BC-430C-B745-F3C5841FC388.htm"}]},
{"title":"Regenerating Proxies",
"href":"./files/GUID-DAAB13D3-62FD-4D7D-AEE1-42043EFDB9A3.htm",
"description":"If the current project is set to store proxies, you can regenerate proxies at any time. Regenerate proxies if you want to change the proxy quality.",
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{"title":"Extracting Proxies",
"href":"./files/GUID-61745C33-48FA-4AC1-8EDB-AA677F54A0F4.htm",
"description":"You can extract proxies from high-resolution clips to create a new clip. Extracting proxies can be a quick way to produce a low-resolution version of a high-resolution clip for intermediate review. The advantage of extracting a proxy rather than, for example, resizing the high-resolution clip, is that the process is instantaneous and there are no increases to storage requirements because the media has already been generated.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Managing Projects and Users","href":"./files/topichead_d3e27052.htm"},{"title": "Managing Proxies","href":"./files/GUID-BFA8EF32-04BC-430C-B745-F3C5841FC388.htm"}]},
{"title":"Auto-Connecting Clip Libraries Belonging to Other Projects",
"href":"./files/GUID-4F1D1A07-5B9B-480E-A1C5-43B4A1605DEA.htm",
"description":"Although projects are associated with their own clip libraries and clips, you can use Smoke to share clip libraries and clips belonging to other projects on the local system, or over the Wire network. Shared libraries can be set up on a session-to-session basis, or you can auto-connect shared libraries so that they automatically appear in the clip library box of the current project on start-up. See .",
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{"title":"Creating User Profiles",
"href":"./files/GUID-CB3ACEE1-555E-4AA6-B897-96275DDC7904.htm",
"description":"Create a user profile to manage your preferences. When you create a user, you have the option of copying preferences from an existing user. If the user whose preferences you want to copy was created on the same version of the application, you can copy all preferences. If the user was created on an older version of the application, you can only copy hotkey preferences.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Managing Projects and Users","href":"./files/topichead_d3e27052.htm"}]},
{"title":"Modifying a User",
"href":"./files/GUID-9D6D5623-D237-4F98-A4F9-835D9D941ACC.htm",
"description":"You can modify the name of an existing user. You cannot change the preferences directory or sharing mode of a user.",
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{"title":"Deleting a User",
"href":"./files/GUID-01F2A480-AEF8-4E16-B3EA-90CD56F0CCF9.htm",
"description":"You can delete a user when you no longer need the associated preferences. You can delete users from previous versions.",
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{"title":"Resetting a User",
"href":"./files/GUID-7C26178D-CCF3-42FA-84D8-8C7E26F290D7.htm",
"description":"You can reset the hotkeys and preferences of a user. This can be a useful step when troubleshooting user corruption issues.",
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{"title":"Loading Different Projects and Users during a Work Session",
"href":"./files/GUID-2BD4B464-C18C-402D-8546-10B94C64F93B.htm",
"description":"During a work session, you can load other projects and users.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Managing Projects and Users","href":"./files/topichead_d3e27052.htm"}]},
{"title":"Loading a Different Project",
"href":"./files/GUID-CB5D0852-DB1B-4CC1-BFE8-011D01E4A4D4.htm",
"description":"During a work session, you can load any another project. Doing so changes the display environment according to the configuration of the project you choose to load. If you are on a remote framestore, you cannot load a project that is already in use.",
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{"title":"Loading a Different User",
"href":"./files/GUID-B00D97B6-0E56-42C9-98AF-F2D83577297B.htm",
"description":"During a work session, you can load any other user.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Managing Projects and Users","href":"./files/topichead_d3e27052.htm"},{"title": "Loading Different Projects and Users during a Work Session","href":"./files/GUID-2BD4B464-C18C-402D-8546-10B94C64F93B.htm"}]},
{"title":"About Multi-Format Projects",
"href":"./files/GUID-7BFBE3CE-A2C4-470D-AEA8-E888BA470CB7.htm",
"description":"You can work with clips of any resolution in your project. You can process images of differing resolutions in Smoke. The video I/O procedures that you use to input and output clips to and from Smoke using a VTR, as well as capture and assemble EDLs, are not restricted to your project\'s default resolution. You can input and output clips of another video resolution to and from your project. See .",
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{"title":"Working with Remote Framestores",
"href":"./files/GUID-57BD1985-74EE-4EF2-9185-19D9825E8780.htm",
"description":"You can use a remote (network-accessed) framestore to store clips with Smoke. This allows you to use Smoke without local storage. You can select a remote framestore from the start-up menu. After start-up, use the Network Panel to connect to remote volumes.",
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{"title":"Clip Libraries",
"href":"./files/topichead_d3e28716.htm",
"description":"",
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{"title":"About Clip Libraries",
"href":"./files/GUID-C0B6AD2E-CBB7-4E34-BAC2-F60A84414989.htm",
"description":"Use clip libraries to store and organize the clips in your project. You can save individual clips, Source Areas, Record Areas, EditDesks, or EditDesk Libraries to a clip library. You can also load any clip, Source Area, Record Area, or EditDesk from a clip library for use in the current work session. You can delete saved items you no longer need from a clip library.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"}]},
{"title":"Creating Clip Libraries",
"href":"./files/GUID-D360D035-A2E8-48EC-82FA-B71C5C4DF449.htm",
"description":"You can organize projects by creating clip libraries and using them to store related clips, Source Areas, Record Areas, and EditDesks together. It is recommended that you use several small clip libraries instead of one large one. This helps to keep your projects organized, allows for more efficient transfers of data, and streamlines clip library performance.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"}]},
{"title":"Opening Clip Libraries",
"href":"./files/GUID-891BEE0D-9EA4-4214-AD23-BA01DF5F137F.htm",
"description":"Open a clip library from the EditDesk or from the current library. You can open any library belonging to the current project. If you accessed libraries through the network panel, you can also open libraries belonging to other projects.",
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{"title":"Available Libraries",
"href":"./files/GUID-7ABB4C4C-E299-4920-8AE0-1277D812ED77.htm",
"description":"You can open libraries that are read-write as well as those that are read-only. You can load clips from either type of library. However, you can save clips only to a read-write library.",
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{"title":"Order of Available Libraries",
"href":"./files/GUID-60781C09-2A52-4295-93F5-718EACC5198C.htm",
"description":"To make it easier to identify where libraries are located and whether they belong to the current project, libraries appear in the following order in the Clip Library box:",
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{"title":"Using the Dual Library View",
"href":"./files/GUID-321DD1F6-0E67-41BC-A94C-81F03007B637.htm",
"description":"The Dual Library View allows you to open, view, and work with two separate clip libraries at the same time. With Dual View you can:",
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{"title":"Saving to Clip Libraries",
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"description":"You can save the following items from the EditDesk to the current clip library:",
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{"title":"Shortcut for Saving Clips",
"href":"./files/GUID-AA2BDB5F-71E0-486F-B592-E0718BA8D0D8.htm",
"description":"To quickly save a clip or group of clips:Select the destination clip library from the Clip Library box. Select a clip on the EditDesk. Hold Ctrl to select multiple clips or drag a selection box aroun",
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{"title":"Viewing Entries in Clip Libraries",
"href":"./files/GUID-F683914F-A53C-4AEA-B09D-1D83750D1C31.htm",
"description":"The contents of clip libraries can be displayed in two panels: the Reels panel on the left, which displays the reels in the library, and the Clips panel on the right, which displays the clips associated with the selected reel.",
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{"title":"Expanding and Collapsing the Reels Panel",
"href":"./files/GUID-1EEF2718-06C3-4DC6-94BA-61D3FFF3B19C.htm",
"description":"The Reels panel of the clip library window displays the reels associated with a library. You may find it useful to display the Reels panel if you have many reels in your library. You use the Expand and Collapse arrows to expand and collapse the Reels panel.",
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{"title":"Viewing the Contents of a Specific Reel",
"href":"./files/GUID-B90D46A7-F824-4308-B41E-AF50A6168D95.htm",
"description":"You can view the contents of specific reels in the library.",
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{"title":"Scrolling a Clip Library",
"href":"./files/GUID-27B0003A-1AC3-4858-A49A-DDF0551053E8.htm",
"description":"Scroll the contents of the current clip library using the scroll bar. You can also press the up arrow or down arrow key to scroll. The scroll bar buttons are described as follows.",
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{"title":"Changing the View Mode",
"href":"./files/GUID-6F100481-DA2F-4777-ADEE-66628A74F792.htm",
"description":"You can view clip libraries in either Single, or Dual View mode. The libraries\' contents can be viewed in Proxies, Titles, or List View mode. Switch modes by selecting a view from the View Mode box or by pressing P (Proxies), T (Titles), or L (List View).",
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{"title":"About Information Displayed on Proxies",
"href":"./files/GUID-AE1A2BBF-85C6-41C7-ABF8-923B5ACC94E2.htm",
"description":"Proxies for source clips are identified by a dark grey border (proxies for regular clips have a light grey border).",
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{"title":"Jogging Proxies",
"href":"./files/GUID-9AFE6A5B-D5CA-4A08-9E79-2A2D61C9E635.htm",
"description":"To jog a proxy:Click the proxy in the jogging area and drag left or right. (a) Jogging area  (b) Position indicator (c) Play button Image courtesy of Technicolor (formerly Toybox) A yellow position i",
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{"title":"Sorting Entries in Titles and Proxies Mode",
"href":"./files/GUID-D6D39627-8D57-4B6E-B7A7-A0D09AF31872.htm",
"description":"You can sort entries in clip libraries in Titles and Proxies mode using the Sort button or the Name and Date Sort arrows. Sorted entries of the same type are grouped together. For example, clips are grouped together and Source and Record Areas are grouped together. You can sort all entries or top-level entries only. See .",
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{"title":"Expanding and Collapsing Entries in Titles and Proxies Mode",
"href":"./files/GUID-77A28E17-A687-431D-90EB-10C8096D182C.htm",
"description":"",
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{"title":"Expanding and Collapsing the Contents of a Clip",
"href":"./files/GUID-AFD10BF6-F318-426E-B7E5-DB72885278F2.htm",
"description":"You can expand or collapse selected clips with real-time settings, history, or soft edits from a clip libary. You can also display or hide selected clips. Select options from the Expand Options group of dropdown lists or click a clip indicator to toggle the display of the associated deliverable, history, or source clip display for the clip.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"},{"title": "Viewing Entries in Clip Libraries","href":"./files/GUID-F683914F-A53C-4AEA-B09D-1D83750D1C31.htm"}]},
{"title":"Listing Clip Information",
"href":"./files/GUID-F5A437D5-5B80-494D-8199-F267F6F97254.htm",
"description":"List View mode displays entries in the clip library as a list of clips. The list gives information about each clip, such as start and end timecode and keycode, clip duration, archive flag, and tape name.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"},{"title": "Viewing Entries in Clip Libraries","href":"./files/GUID-F683914F-A53C-4AEA-B09D-1D83750D1C31.htm"}]},
{"title":"Selecting Entries",
"href":"./files/GUID-06121F69-50E8-47BC-9303-0593E3C0E9B9.htm",
"description":"There are several methods for selecting and deselecting entries.",
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{"title":"Selection Order",
"href":"./files/GUID-B9DECD85-93B4-4256-974F-5838D0CAB0C5.htm",
"description":"When you select several EditDesks, Source Areas, Record Areas, and clips at once, the order in which they are selected is indicated by a number in the entry. The display of the selection order is useful when selecting multiple clips to perform a particular task. You can use the selection order numbers when joining multiple clips with Load and Join or changing the timecode of multiple clips with the Tools menu.",
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{"title":"Playing Clips from the Library",
"href":"./files/GUID-623B42DA-9E52-4C18-9A66-FBE7C721CB2D.htm",
"description":"You can play a selection of source clips and processed clips directly from the library.",
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{"title":"Preview Panel Information",
"href":"./files/GUID-06DCBD7F-1A42-4BC6-AE73-2C6580D9A43B.htm",
"description":"Use the Preview panel to display sequence and clip information. This includes:",
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{"title":"Searching for Clips",
"href":"./files/GUID-2036DC72-BB6F-40C5-8276-2E79749586BB.htm",
"description":"Use the Search menu to find a clip or a set of clips in the current clip library.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"}]},
{"title":"Organizing Clips",
"href":"./files/GUID-245520C5-9A06-4395-A2FE-0D5860C73435.htm",
"description":"As clips accumulate in a clip library, you can organize them according to your needs. You can:",
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{"title":"Adding Library Reels",
"href":"./files/GUID-1578CF22-42FE-4B14-8DD1-FB4D49F0FD6C.htm",
"description":"You can add library reels to a clip library to use as containers when you organize clips. You can load a library reel into the Source or Record Area.",
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{"title":"Moving Entries",
"href":"./files/GUID-450E70C2-07CE-4147-9D66-FB4DD7B058BC.htm",
"description":"You can move clip library entries within a clip library, or using the Dual Library View, between clip libraries. Entries are moved using drag and drop functionality in either Titles or Proxies mode. Drag and drop a single entry or multiple entries with the left mouse button or the pen.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"},{"title": "Organizing Clips","href":"./files/GUID-245520C5-9A06-4395-A2FE-0D5860C73435.htm"}]},
{"title":"Copying Entries",
"href":"./files/GUID-F9BC0141-77BC-4BB9-AC1C-375053990BAA.htm",
"description":"You can copy clip library entries within a clip library, or using the Dual Library View, between clip libraries. Entries are copied using drag and drop functionality in either Titles or Proxies mode.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"},{"title": "Organizing Clips","href":"./files/GUID-245520C5-9A06-4395-A2FE-0D5860C73435.htm"}]},
{"title":"Renaming Entries",
"href":"./files/GUID-A251CEEF-DC96-4816-9303-A1F12A8B3C11.htm",
"description":"You can rename an entry—a Record Area, a Source Area, an EditDesk, or the clip library itself, but not if it is located in a read-only library.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"},{"title": "Organizing Clips","href":"./files/GUID-245520C5-9A06-4395-A2FE-0D5860C73435.htm"}]},
{"title":"Deleting Entries from a Clip Library",
"href":"./files/GUID-38EC9A48-2C08-4A75-BA14-07B15270D109.htm",
"description":"Use the Delete button to delete EditDesks, Source Areas, Record Areas, or clip entries from either a local or remote clip library, but not if they are located in a read-only library.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"},{"title": "Organizing Clips","href":"./files/GUID-245520C5-9A06-4395-A2FE-0D5860C73435.htm"}]},
{"title":"Deleting Clip Libraries",
"href":"./files/GUID-F6023063-54C8-4FD7-A583-00C486B10EE2.htm",
"description":"You can delete either a local or remote clip library using the Delete button in the Library Management menu.",
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{"title":"Loading Clips to the EditDesk",
"href":"./files/GUID-CAF6EAE0-6863-4906-8B24-C9F1B3C71C79.htm",
"description":"You can load entries from a clip library to the Source Area, Record Area, EditDesk, or EditDesk Library. If a clip contains audio, you can load it with its audio tracks or as video only. You can load clips from clip libraries in the current project or in other local projects. Using Wire, you can load clips from remote projects. See . Or load clips directly from Gateway libraries.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"}]},
{"title":"Loading and Resizing Clips",
"href":"./files/GUID-BBF1FA5B-B245-45A9-97FA-9415E0D6017C.htm",
"description":"When you load clips to the EditDesk, you can change their resolution, bit depth, aspect ratio, and positioning using the Resize menu in the Clip Library menu. You can resize clips from clip libraries in the current project or from clip libraries in other projects.",
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{"title":"Copying Local and Remote Clip Libraries to Your Current Project",
"href":"./files/GUID-AE1C26D1-459D-4A87-A694-92F90BA31060.htm",
"description":"You can access the clip libraries residing in local or remote projects in order to share clips. When you want to use clips belonging to another project, copy and save them to a library belonging to the current project.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"}]},
{"title":"Network Library Structure",
"href":"./files/GUID-C9C9026E-DE8D-47FA-8302-F67243A2CB6B.htm",
"description":"The network library has a similar structure to a clip library. For example, the hierarchical relationship among groups of available remote systems, projects, and clip libraries is represented using indentation. All available framestores are listed alphabetically with the exception of the local framestore, which appears first.",
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{"title":"Network Library Entries",
"href":"./files/GUID-0BADEC59-5D47-4803-9D7A-A23AA71FD716.htm",
"description":"The network library can contain the following entries.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"},{"title": "Copying Local and Remote Clip Libraries to Your Current Project","href":"./files/GUID-AE1C26D1-459D-4A87-A694-92F90BA31060.htm"}]},
{"title":"Selecting Clip Libraries in Local or Remote Projects",
"href":"./files/GUID-A2455C11-5D9C-4B1E-A16D-7185AF5C5386.htm",
"description":"To make a clip library in a local or remote project accessible, select it in the network library. You can make local or remote clip libraries available for the current work session only, or each time you load the application.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"},{"title": "Copying Local and Remote Clip Libraries to Your Current Project","href":"./files/GUID-AE1C26D1-459D-4A87-A694-92F90BA31060.htm"}]},
{"title":"Disabling Auto-Connect from Outside the Application",
"href":"./files/GUID-10E1245C-B43C-4D23-BE52-2F913F91F6BE.htm",
"description":"Occasionally, a problem with a remote system that is auto-connected to your project can prevent Smoke from loading. When this happens, the local system will freeze as you try to launch it and a message will appear in the shell indicating which remote system is unreachable. If this occurs, you can kill the application and then temporarily disable auto-connect using the following procedure.",
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{"title":"Copying Clips from Other Projects",
"href":"./files/GUID-3EAE56D8-9A1D-4500-814C-31B9EEF07E16.htm",
"description":"You can copy clips to your project from other projects on the same system or from projects on other systems. When you copy clips from projects on other systems you use Wire.",
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{"title":"Wire Options",
"href":"./files/GUID-5B9F04F5-C92B-491D-8CA2-8AA6B0C4ACCB.htm",
"description":"Use the Wire options to determine how proxies are generated, whether to perform a background or foreground wire, and which workstation executes those wire operations.",
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{"title":"Aborting a Wire Transfer",
"href":"./files/GUID-EBCC7E2C-4ADB-4C40-B9B4-7F753A564C9C.htm",
"description":"To abort a transfer of video or audio clips using Wire, click the mouse button or tap the pen on the tablet and click Confirm.",
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{"title":"Accessing Gateway Libraries",
"href":"./files/GUID-520D1279-C98C-4B99-8FD1-164F6490CC66.htm",
"description":"Using a Gateway library, you can access media files residing on local or remote storage. When you want to use media from a source external to an Autodesk Visual Effects, Finishing and Grading application, drag and drop it from a Gateway libray to a library belonging to the current project.",
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{"title":"Gateway Library Structure",
"href":"./files/GUID-949418D3-63F2-444D-B4C3-1E78B0B798C2.htm",
"description":"A Gateway library displays the structure of the filesystem, while only displaying the directories in the Network panel.",
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{"title":"Selecting Gateway Libraries in Local or Remote Workstations",
"href":"./files/GUID-F3A94F2F-7070-4E40-A2C0-6E5EDD0EB2F3.htm",
"description":"To make a Gateway library in a local or remote workstation accessible, select it in the network menu. You can make local or remote gateway libraries available for the current work session only, or each time you load the application.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Clip Libraries","href":"./files/topichead_d3e28716.htm"},{"title": "Accessing Gateway Libraries","href":"./files/GUID-520D1279-C98C-4B99-8FD1-164F6490CC66.htm"}]},
{"title":"Using Selection Sets",
"href":"./files/GUID-077E16DA-1C1B-45C4-9677-634F2225C95D.htm",
"description":"Use selection sets to bookmark Gateway directories. You can then use selection sets to rapidly select locations to connect to.",
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{"title":"Troubleshooting Lock Files",
"href":"./files/GUID-612FCF20-FA23-48CE-8B5C-90D6C3F34B33.htm",
"description":"When a process accesses a file, it attempts to get a lock on the file so that it can have Write, as well as Read, access. (A process can be your Visual Effects and Finishing application or a remote application transferring media over Wire.) When a file is locked by one process, no other process can write to that file, which ensures that files do not get corrupted or accidentally overwritten by multiple users.",
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{"title":"Archiving",
"href":"./files/topichead_d3e32178.htm",
"description":"",
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{"title":"About Archiving",
"href":"./files/GUID-78138396-A15B-49C4-8977-71F3746D1A12.htm",
"description":"Archiving in Smoke provides an efficient way to save your media and project setups on external storage devices or in a filesystem. This frees up space for new projects. It is also a convenient way to store your projects offline in a fully restorable form, both long- and short-term.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Archiving","href":"./files/topichead_d3e32178.htm"}]},
{"title":"Choosing a Medium for Archiving",
"href":"./files/GUID-5611C311-7B0B-4EC5-87E3-FAEE14BD9061.htm",
"description":"Choosing a medium or device for your archiving needs largely depends on your technical resources and overall needs. There are certain advantages and disadvantages to using each medium/device.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Archiving","href":"./files/topichead_d3e32178.htm"}]},
{"title":"File Systems",
"href":"./files/GUID-244DAE6A-356E-4CFE-B57F-D18452E9E416.htm",
"description":"Using a file system to archive your material provides the quickest method of archiving and restoring your material, and offers full support for mixed-resolution projects.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Archiving","href":"./files/topichead_d3e32178.htm"},{"title": "Choosing a Medium for Archiving","href":"./files/GUID-5611C311-7B0B-4EC5-87E3-FAEE14BD9061.htm"}]},
{"title":"VTRs",
"href":"./files/GUID-7EC49E7B-5CE3-470E-9F09-77D22FD86B4F.htm",
"description":"Using a VTR to archive your material is an inexpensive and accessible way of storing archives. VTRs are easy to patch and tapes can store large amounts of media, and VTR archives are viewable outside of Autodesk Visual Effects and Finishing applications.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Archiving","href":"./files/topichead_d3e32178.htm"},{"title": "Choosing a Medium for Archiving","href":"./files/GUID-5611C311-7B0B-4EC5-87E3-FAEE14BD9061.htm"}]},
{"title":"Tape Drives",
"href":"./files/GUID-FF738EB9-A149-45C6-9B00-56ED0BDEDC8E.htm",
"description":"Using a tape device for archiving purposes allows for fast archiving and restoring. Tape drives are inexpensive and readily available. Tape provides fast and reliable read and write performance. And, contrary to VTR archives, tape archives can be of any bit depth.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Archiving","href":"./files/topichead_d3e32178.htm"},{"title": "Choosing a Medium for Archiving","href":"./files/GUID-5611C311-7B0B-4EC5-87E3-FAEE14BD9061.htm"}]},
{"title":"Supplementing Archives with System Drive Backups",
"href":"./files/GUID-F938E32C-4D51-47FD-B70F-D1208B5D2F8B.htm",
"description":"The recommended backup strategy for your Visual Effects and Finishing workstation is to archive project media and setups to a Video device, or as a data file that can be saved to a remote file server or storage device. Do this as often as necessary to protect your media from unlikely storage or system failure.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Archiving","href":"./files/topichead_d3e32178.htm"}]},
{"title":"Archiving and Restoring Mixed Resolution Projects",
"href":"./files/GUID-87DDB8E2-FC93-4F2E-A3B9-533001AD4C39.htm",
"description":"Generally, archiving to data tape or filesystem is easier for archiving mixed-resolution projects, as clips of any resolution can be archived on the same medium. It is also possible to archive multiple-resolution projects to a VTR. This operation, however, may require multiple tapes with different timing corresponding to each segment resolution. Alternatively, you can use the Unlink tool to unlink media from clips of any resolution, archive unlinked clips, and then relink the media at restore time. See .",
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{"title":"Archiving Clips Containing Sources with Different Bit Depths",
"href":"./files/GUID-5BEE863C-ECF7-4DE5-855F-FA33BD499C3B.htm",
"description":"If you want to archive a clip that contains sources with different bit depths, archive the clip to file or data tape. To archive the clip to a VTR, you must convert all sources to the same bit depth (less than 12).",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Archiving","href":"./files/topichead_d3e32178.htm"},{"title": "Archiving and Restoring Mixed Resolution Projects","href":"./files/GUID-87DDB8E2-FC93-4F2E-A3B9-533001AD4C39.htm"}]},
{"title":"8- and 10-bit VTR Archiving",
"href":"./files/GUID-AEB95415-5B66-4628-B078-A6D016EBF135.htm",
"description":"A VTR archive can contain 8- or 10-bit clips—although all clips in the archive must have the same bit depth. When archiving 8-bit material to 8- or 10-bit VTRs, the clip metadata remains in an 8-bit format.",
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{"title":"Media Archiving Workflow",
"href":"./files/GUID-1969B45B-4F8C-4471-8C31-CF7F8D31DEA5.htm",
"description":"There are several ways to archive. Depending on the archiving device that you choose, the steps might differ slightly. The basic workflow is as follows.",
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{"title":"Project Setup Archiving Workflow",
"href":"./files/GUID-19BD186C-AEA2-453E-917E-B83EC4C9D747.htm",
"description":"You can archive project setups to the file system. This procedure requires no dedicated hardware—but only a filesystem destination for a .tar file. When you archive setups, your project home directory, including images and audio files in the images and audio directories, are saved.",
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{"title":"Configuring Hardware",
"href":"./files/GUID-C6C0AF79-B683-4800-8D22-07DD70685B55.htm",
"description":"Many problems encountered during archiving processes are caused by improper hardware configuration. Before you proceed archiving your project, make sure you have performed all the initial steps to set up and configure your hardware.",
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{"title":"Configuring a VTR for Archiving",
"href":"./files/GUID-0F3FC531-DBAB-440A-95FD-AFEE10E49768.htm",
"description":"Before you start archiving to a VTR, make sure that:",
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{"title":"Configuring Tape Devices for Archiving",
"href":"./files/GUID-6BF226B3-1DD8-481B-A90E-F83A5A112A51.htm",
"description":"When archiving to tape devices, you must perform certain steps to ensure smooth operation.",
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{"title":"Configuring Software",
"href":"./files/GUID-7AEF03EB-F5F6-45DF-BFA3-B24E0AD94C7E.htm",
"description":"Before you start Smoke to perform archiving, edit the following keywords according to the software initialization configuration file. See the Autodesk Visual Effects and Finishing Configuration File Reference Guide.",
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{"title":"Accessing the Archive Menu",
"href":"./files/GUID-04ABB955-FD1E-42CB-A13F-30185AACED75.htm",
"description":"You can use the Archive menu to:",
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{"title":"Archive Structure",
"href":"./files/GUID-53633D67-D365-4415-B1B5-0508934F771A.htm",
"description":"The first entry of an archive is the archive itself. The archive entry is the parent entry for all other entries. Entries within the archive are structured in the same way as entries in a clip library. Indentation is used to indicate the parent and child relationship among the entries.",
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{"title":"Estimating Archive Size",
"href":"./files/GUID-912C786D-5D19-4FB4-B151-359ABFBEF940.htm",
"description":"You can display an estimate of the media space needed to archive selected material. The size estimation display for archiving or restoring procedures shows the file size in bytes, megabytes, gigabytes, or terabytes, depending on the file size. The space required is displayed in units appropriate for the archiving device. For example, when archiving to a VTR, the archive size is estimated both in VTR time (hh:mm:ss:ff) and in the most appropriate file measurement units (megabytes, gigabytes, or terabytes). When archiving to file or a tape device, file size in VTR time is not displayed. The size estimate takes header information into account.",
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{"title":"Creating a VTR Archive",
"href":"./files/GUID-2B4A2713-315D-443E-A292-5835EBA1996B.htm",
"description":"You can create a VTR archive for clips of any resolution supported by your video board and VTR device. To archive and restore at a particular resolution, you must specify the appropriate video timing, which sets the resolution and framerate for the video board. When you change projects without exiting Smoke, the video timing selected at start-up applies to the project you are switching to.",
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{"title":"Before You Begin",
"href":"./files/GUID-720CE614-0C1E-4913-B6F0-51AD35782FF5.htm",
"description":"Perform the following preparatory steps:",
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{"title":"Selecting a Device",
"href":"./files/GUID-C93CABF9-8533-4BA0-920C-AC1AF571A3A2.htm",
"description":"Only those VTRs with a timing that matches the video timing are available for use in the Archiving menu. When you want to archive or restore clips of multiple resolutions in one project, enable the VTR lines in the VTR keyword of the configuration file for all the resolutions you use on the project. This way, each time you change the video timing for archiving, the compatible VTRs are available in the Archiving menu.",
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{"title":"HD Board 1080 Line Video Timings",
"href":"./files/GUID-02AEF0EF-8E04-4427-8FA1-30E7025C40E1.htm",
"description":"If you are working with an HD board and you selected the 1920x1080 video timing option in the Video Timing box when you started your project, you should specify the exact 1080 line video timing (including framerate) that you are using in the 1080 Video Timing box in the Engineering menu. See .",
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{"title":"Archiving to the HDCAM SR device",
"href":"./files/GUID-B4409028-B562-46D1-A115-497F3F01DC59.htm",
"description":"The HDCAM SR device supports 4:2:2 and 4:4:4 archiving. The options required in the Engineering menu are as follows.",
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{"title":"Archiving to a Tape Containing Material",
"href":"./files/GUID-D693B71E-ED73-429C-B1F4-7E4BE5E45870.htm",
"description":"You can create a VTR archive on a tape that already contains material or add material to an archive on a tape. For example, on a 60-minute tape, you could allocate 20 minutes to an archive by setting its start timecode at 01:00:00:00 and defining the length of the archive as 20 minutes in the Length field. See . You can then add any material, starting after 01:20:00:00.",
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{"title":"Header Information Slate",
"href":"./files/GUID-2AE8BA5D-F830-46A5-904D-25ACBE2C2396.htm",
"description":"All VTR archives contain a Header Info Slate, which is a single frame providing information about the archive. Located in the archive before the table of contents, the Header Info Slate provides information such as:",
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{"title":"Tips for Better VTR Archiving",
"href":"./files/GUID-25A49A9F-A9DB-4FAE-8C36-64913A99A0C0.htm",
"description":"Use the following tips to get better results when archiving to a VTR tape:",
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{"title":"Creating an HDCAM Archive",
"href":"./files/GUID-7C4EC049-41C9-4556-92A0-0A5FCD5A800F.htm",
"description":"You can create an HDCAM device archive. The material archived to HDCAM devices is compressed significantly. As a consequence of HDCAM compression, the quality of the material in the HDCAM archive may be reduced.",
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{"title":"Creating a Tape Archive",
"href":"./files/GUID-03312103-067C-43AF-8EC1-AE1F998D6031.htm",
"description":"Before archiving to a tape device, make sure:",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Archiving","href":"./files/topichead_d3e32178.htm"}]},
{"title":"Creating a File Archive",
"href":"./files/GUID-15644133-4C57-4CC2-B63E-06FEC03CEF9C.htm",
"description":"You can create a file archive on any supported filesystem. When you format the archive, Smoke determines the available space and creates a table of contents file where this information is recorded. When you reformat an archive, you lose all previously archived entries within it. The archive itself is in a separate file.",
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{"title":"Archiving Clips With Unmanaged Media",
"href":"./files/GUID-4379600A-004E-41C4-8317-B57590EB365A.htm",
"description":"There are two ways to archive clips with unmanaged media:",
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{"title":"Archiving to Multiple Volumes",
"href":"./files/GUID-DE06DA14-CA4F-4E00-8400-4D2B35FBA4F7.htm",
"description":"If the items you select for archiving exceed the capacity of the archiving device (such as a VTR tape, data tape, or a file system), you can split the archive across multiple tapes, disks, or files. The splitting of archives is seamless and virtually transparent to the archiving process.",
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{"title":"Opening an Archive",
"href":"./files/GUID-6DDAC596-A864-49A1-BE84-752DC8FE562C.htm",
"description":"Once you create an archive, you can add entries to it at any time. For example, you can save entries to an archive after you create it, close it, and open the same archive later to add new entries.",
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{"title":"Opening Multiple Tape Archives",
"href":"./files/GUID-772E35B4-E625-4048-A896-15CE27B8D8DD.htm",
"description":"When you are creating large archives, you may want to use multiple tapes to store one archive. By splitting the contents of one archive onto separate tapes, you can keep similar types of material together in the same archive.",
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{"title":"Saving to an Archive",
"href":"./files/GUID-DA386169-CC2B-499A-B187-47607309D878.htm",
"description":"To save clips to an archive, you must open the archive using the table of contents on the medium. For VTR archives, you can also save clips using the OTOC. You can save material to multiple files, device tapes, or VTR tapes.",
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{"title":"Archiving Entries",
"href":"./files/GUID-AB35936F-2AFF-4397-AE15-A1660F61DAC1.htm",
"description":"You can archive entries from any local or shared clip library, including from the EditDesk.",
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{"title":"Closing an Archive",
"href":"./files/GUID-3FED4899-6521-42B1-AC4A-3FA6BBED55C3.htm",
"description":"When an archive is open, the Close button appears in the Archive menu. Click this button to update the table of contents, close the device, and eject the tape from the drive.",
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{"title":"Managing Archives",
"href":"./files/GUID-DB318753-4D10-495A-93BE-BCFD508F9FE3.htm",
"description":"In most cases you maintain an archive over the course of a project, appending clips, deleting clips, and restoring archived clips. Typically, the following procedures are performed:",
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{"title":"Browsing an Archive",
"href":"./files/GUID-2F306E8B-5A1D-433C-A8A0-885988A63EE3.htm",
"description":"Each archive includes a header file, which is located at the beginning of the archive and contains the metadata necessary for properly restoring the archive. When you create an archive, a table of contents is also created on the archiving device in case the header information becomes corrupted.",
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{"title":"Online Tables of Contents (OTOCs)",
"href":"./files/GUID-99221CC8-1F61-4867-B1B9-880359D6BD10.htm",
"description":"The table of contents lists the contents of the archive, as well as information such as the order in which clips are assembled on the archive, clip IDs, transitions, and timecodes. When you restore an archive with the table of contents, Smoke uses this information to restore the material.",
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{"title":"Using an ASCII TOC to View an Archive",
"href":"./files/GUID-1366C2D2-9606-4E45-A1EC-5983CD19FD55.htm",
"description":"Open the ASCII version of the table of contents using nedit to view the contents of an archive without opening it. ASCII TOC filenames have the following format:",
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{"title":"Using an HTML TOC to View an Archive",
"href":"./files/GUID-30A8BC8B-4220-447A-B915-CD8E50A8D130.htm",
"description":"To view the contents of an archive without opening it, open the HTML version of the table of contents using a Web browser.",
"ancestors":[{"title": "Managing Projects and Media","href":"./files/topichead_d3e27048.htm"},{"title": "Archiving","href":"./files/topichead_d3e32178.htm"},{"title": "Browsing an Archive","href":"./files/GUID-2F306E8B-5A1D-433C-A8A0-885988A63EE3.htm"}]},
{"title":"Deleting Tables of Contents",
"href":"./files/GUID-E059BD78-DE7F-49B3-BA0B-84476FD25C97.htm",
"description":"To prevent the loss of important data, Smoke never overwrites the previously created tables of contents. If the archive becomes obsolete or if you are sure that older versions of an archive OTOCs are obsolete, you can delete tables of contents. The following name formats are used for the tables of contents.",
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{"title":"Searching in an Archive",
"href":"./files/GUID-832865F2-A20E-432D-8AF4-F5E83D232BFD.htm",
"description":"You can use the Search menu to perform clip searches in an archive.",
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{"title":"Appending Entries to an Existing Archive",
"href":"./files/GUID-0DFBBEE9-6419-4087-91D8-ED903CDDBC65.htm",
"description":"You can add new material to an existing archive as long as there is space on the archiving medium. When opening an archive to add entries, use the table of contents on the archive. For VTR archives, use the OTOC to add entries.",
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{"title":"Deleting Entries from an Archive",
"href":"./files/GUID-D2D6E85B-7EAE-42A2-BEB5-FAE0FF6E20BE.htm",
"description":"To ensure data integrity and prevent archive corruption, deleting entries from an archive is not allowed.",
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{"title":"Restoring Entries from an Archive",
"href":"./files/GUID-109AB165-93DE-4731-A098-06C86DDE1F12.htm",
"description":"The procedure for restoring entries from an archive is the same for all devices. When you restore material from an archive, the items that you select to restore are copied directly from the archive into the selected clip library. You can restore entries into any local clip library.",
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{"title":"Setting Preferences To Restore Archives from Previous Versions",
"href":"./files/GUID-207B7C07-9EB6-467B-A6BE-28C02527CE4F.htm",
"description":"In earlier versions of Inferno, Flame, and Smoke, archives did not include all the metadata that the current version needs to restore archives with the correct scan mode and aspect ratio. The Default Resolutions menu makes it possible to assign the scan mode and aspect ratio preferences to older archives. The information you need to assign depends on the software version in which the archive was created. Assign the information using the Default Resolutions menu. Use the following table to determine which information you need to assign to your old archive.",
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{"title":"Recovering an Archive",
"href":"./files/GUID-3A00C816-8730-4E01-90DD-BC5F309FC531.htm",
"description":"If the table of contents of an archive on tape is corrupted, Smoke may not be able to read it. If this happens, open the archive using the OTOC.",
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{"title":"Archiving and Restoring Setups",
"href":"./files/GUID-D63D1D5E-DF24-4E11-B283-8E23E2E754BD.htm",
"description":"When you archive a project setup, you create a file archive of all setup, resource, and media files in your home directory of your project. If your project is primarily one resolution with a few custom resolution plates, consider exporting them to the images directory. Archive the standard-resolution material to VTR. Of course, you cannot export files and conserve potentially valuable metadata.",
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{"title":"Optimizing Archiving Operations",
"href":"./files/GUID-59A218CE-D821-4616-B451-13A9B908D0E6.htm",
"description":"Optimize archiving operations with the following guidelines.",
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{"title":"Organizing Archives",
"href":"./files/GUID-2A3F5B8D-A828-4568-86E6-64EA431AB3A0.htm",
"description":"Although the way you organize your archives is a matter of personal preference, the following guidelines may be helpful:",
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{"title":"Tips and Troubleshooting",
"href":"./files/GUID-7E94FECA-AA66-4798-83D5-5774B5920290.htm",
"description":"The following tips may help avoid some common archiving problems:",
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{"title":"Forcing an Archive To a Single Tape",
"href":"./files/GUID-DD024764-3C44-4EC4-BEAB-82AB8ABE6B71.htm",
"description":"In some cases, an archive on a single tape may be accidentally tagged as a multi-tape archive. This results in the application prompt to insert a second tape when there is no need for it.",
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{"title":"Managing Your Work Environment",
"href":"./files/topichead_d3e35333.htm",
"description":"",
"ancestors":[]},
{"title":"Saving Setups and Preferences",
"href":"./files/topichead_d3e35337.htm",
"description":"",
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{"title":"About Setups and Preferences",
"href":"./files/GUID-CCA6C4A3-4EE8-4A6F-A73B-D01193E45A30.htm",
"description":"In all Smoke modules, you can save the changes made to a clip (setups), LUTs and even monitor calibration setups. In most modules, you can save settings and user preferences to customize the way a module works (preferences). You can then retrieve and use the setups and preferences in a later work session.",
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{"title":"Setups",
"href":"./files/GUID-15DD4E6E-8B6F-4517-BCE5-5D758EFA36B5.htm",
"description":"A setup is a file that contains a record of all changes you make to a clip in a particular module. This record includes references to clips used—not the clips themselves. Setups let you save your work separately from clips, so you can load and work on the setup at anytime or apply the setup to other clips. You can create different setups during a single work session, including text setups, key setups, and layer transformations. For example, when you save an Action setup, all menu parameters, layers, clip references—everything you need to rebuild the scene—are saved in the setup.",
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{"title":"Preferences",
"href":"./files/GUID-7BD10120-58EF-401C-9F68-3618AFD6905D.htm",
"description":"Preferences are settings that let you customize the display or functioning of some module elements, hotkeys, the EditDesk, pen and tablet, and audio. You can save preferences to a file and retrieve them at a later time. Examples of preferences are grid and guide settings, default render mode settings, and default field dominance settings. Like setups, each type of preference is stored in a separate directory.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Saving Setups and Preferences","href":"./files/topichead_d3e35337.htm"},{"title": "About Setups and Preferences","href":"./files/GUID-CCA6C4A3-4EE8-4A6F-A73B-D01193E45A30.htm"}]},
{"title":"Accessing Directories",
"href":"./files/GUID-312E79C9-95B9-4A0D-B8D8-16D3BAEFAF2B.htm",
"description":"When you save a setup or preference in a directory, it is saved as a file in a directory in the filesystem. Each file and subdirectory in the filesystem has a path—a series of parent directory names separated by slashes (/)—that the operating system uses to locate the file or subdirectory. Each type of setup and preference has a different default directory, and therefore a different path.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Saving Setups and Preferences","href":"./files/topichead_d3e35337.htm"}]},
{"title":"Saving, Loading, and Deleting Items",
"href":"./files/GUID-F09D5201-A666-4319-81DA-981B6F929252.htm",
"description":"You can save, load, and delete setups and preferences from directories.",
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{"title":"Deleting Multiple Items",
"href":"./files/GUID-A59F4606-AC36-477B-A053-CDD0D5E61B05.htm",
"description":"To delete more than one item at a time, press Ctrl+Alt as you click the items you are deleting. Items are deleted with no Confirm message, and you remain in the Load menu. Click the Exit Load button to return to the previous menu.",
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{"title":"Remaining in the File Browser",
"href":"./files/GUID-0182F216-A242-4AC3-853C-3348C81697C5.htm",
"description":"You can stay in the file browser by pressing and holding the Ctrl key when saving, loading, or removing items:",
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{"title":"Setting the Default Preferences",
"href":"./files/GUID-471269D5-95CD-412D-9856-0E654FCF0501.htm",
"description":"In any module where preferences can be saved, you can save your preferences as the default so that they will be loaded each time you use the module. Each defined user can save default preferences. You can also return the default preferences to those that came with Smoke.",
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{"title":"Clip History",
"href":"./files/topichead_d3e35705.htm",
"description":"",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"}]},
{"title":"About Clip History",
"href":"./files/GUID-D0E64F6D-95BC-41CE-92B4-818961FA714F.htm",
"description":"The Clip History feature tracks and updates operations you have applied to a clip or element. It expands the clip, providing a view of your operations. To easily see all of a clip\'s operations, you can display the clip history as a list or schematic on the EditDesk, or in the Batch schematic.",
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{"title":"Identifying Clips with History",
"href":"./files/GUID-E3490D10-9011-4E2F-AE81-6BBEBFD0BBD0.htm",
"description":"Clips with history that you can modify on the EditDesk are indicated by an uppercase “H” icon. The following EditDesk views indicate if a clip has history:",
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{"title":"Clip History Workflow",
"href":"./files/GUID-69452CB8-D306-432B-B27F-F9EB4D665B93.htm",
"description":"The following table shows the recommended workflow for working with clips that you may need to modify using clip history on the EditDesk.",
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{"title":"Modifying and Displaying Clip History",
"href":"./files/GUID-EC11D13B-04F7-4F4E-8DE2-13D231F9BEA4.htm",
"description":"With clip history, you can access modules and soft effects that were used to create a clip or element. You can:",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"}]},
{"title":"Displaying Clip History",
"href":"./files/GUID-E1032042-C0D5-4A60-929E-4DD7E3E89D2A.htm",
"description":"History View displays the history of the selected clip. You can display History View in the Record Area, the Source Area, and in a soft effect editor.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"},{"title": "Modifying and Displaying Clip History","href":"./files/GUID-EC11D13B-04F7-4F4E-8DE2-13D231F9BEA4.htm"}]},
{"title":"Modifying the History of an Element in its Last Module or Soft Effect",
"href":"./files/GUID-F8708875-CF0C-4368-AB41-132B2916CD4C.htm",
"description":"You can load an element with clip history directly from the record timeline back into the most recent module or soft effect that was used to process the clip.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"},{"title": "Modifying and Displaying Clip History","href":"./files/GUID-EC11D13B-04F7-4F4E-8DE2-13D231F9BEA4.htm"}]},
{"title":"Modifying Clip History through History View",
"href":"./files/GUID-E7138AA3-D376-4694-8005-50AE15BF1BE5.htm",
"description":"From History View, you can modify a record clip by loading it into any module or soft effect editor used to process the clip.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"},{"title": "Modifying and Displaying Clip History","href":"./files/GUID-EC11D13B-04F7-4F4E-8DE2-13D231F9BEA4.htm"}]},
{"title":"Replacing Sources in a Clip’s History",
"href":"./files/GUID-6E50B027-80EA-44A4-8BBE-CF58BC159652.htm",
"description":"You can replace one or more sources in the history of record clips. The sources you swap must be of the same resolution and bit depth. You can render the swapped sources directly in History View.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"},{"title": "Modifying and Displaying Clip History","href":"./files/GUID-EC11D13B-04F7-4F4E-8DE2-13D231F9BEA4.htm"}]},
{"title":"Processing New Clips through Clip History",
"href":"./files/GUID-606F81DA-8A64-4FFE-B05E-11C46891C19A.htm",
"description":"You can process a new clip to the EditDesk from a clip’s history. The clip history can be that of a source clip or a record clip.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"},{"title": "Modifying and Displaying Clip History","href":"./files/GUID-EC11D13B-04F7-4F4E-8DE2-13D231F9BEA4.htm"}]},
{"title":"Accessing Action History",
"href":"./files/GUID-6D2CB12A-52DD-48B2-8FC8-09D60636BBA9.htm",
"description":"Note the following when accessing the history of Action clips:",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"}]},
{"title":"Modifying Clip History in Batch",
"href":"./files/GUID-744726BC-4536-4F4D-B482-EEE7EE37A1AD.htm",
"description":"For some clips, you may have to modify their clip history in Batch. Do this for any clip that you created using more than one effect or operation. To gain access to the original sources and effects settings, you expand the clip into a Batch process tree.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"}]},
{"title":"Managing Clips with Clip History",
"href":"./files/GUID-A210641C-7E99-4538-BC55-21A2F2E8C4CE.htm",
"description":"When creating clips with clip history, you can keep track of the intermediates used to build the final clips.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"}]},
{"title":"Searching for Clips with History",
"href":"./files/GUID-7D0DF5F0-4333-4375-9E97-7260224BA413.htm",
"description":"You can search for clips with history on the EditDesk or in the clip library. The Search tool provides an easy way to organize clip history sources and intermediates.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"},{"title": "Managing Clips with Clip History","href":"./files/GUID-A210641C-7E99-4538-BC55-21A2F2E8C4CE.htm"}]},
{"title":"Deleting Sources and Intermediates",
"href":"./files/GUID-871B2D2C-1AFD-4E5C-B1D1-EF66C6BADE2A.htm",
"description":"When you want to free up disk space or shorten the time it takes to perform a wire transfer or archive clips that have clip history, you can delete the sources or intermediates used to create the final processed clip. To delete intermediates that are used in multiple clips with clip history, you must delete them from all clips at the same time. You can do this from the EditDesk or a clip library.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"},{"title": "Managing Clips with Clip History","href":"./files/GUID-A210641C-7E99-4538-BC55-21A2F2E8C4CE.htm"}]},
{"title":"Committing a Clip with History",
"href":"./files/GUID-198906AF-CD94-4B84-A635-5307956C62F9.htm",
"description":"You can commit a clip with a history, or a clip segment with a history just as you would any other clip. When commiting a clip, you delete the clip history without removing the clip or element\'s soft properties.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"},{"title": "Managing Clips with Clip History","href":"./files/GUID-A210641C-7E99-4538-BC55-21A2F2E8C4CE.htm"}]},
{"title":"Saving and Archiving Clips with Clip History",
"href":"./files/GUID-A5112A83-70A2-4C68-AF54-817B1D8E2AF0.htm",
"description":"All clips are saved with their histories and setups embedded into them. A saved clip history includes the following attributes and parameters, which are available when a clip is restored:",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"}]},
{"title":"Compatibility between Autodesk Products",
"href":"./files/GUID-9194636A-16CB-47FD-902A-2114F36F5C7E.htm",
"description":"Because clip history provides a record of most operations performed during a project, project collaboration is facilitated. Multiple users can work on a single clip and then use the clip history to navigate through changes made to a clip.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"}]},
{"title":"Viewing Clip History from Smoke",
"href":"./files/GUID-D3253892-FF6B-4001-BF31-073C3CB150A6.htm",
"description":"The following sections illustrate clip histories that were created in Inferno, Flame, and Flint.",
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{"title":"Viewing Clip History in Inferno, Flame, and Flint",
"href":"./files/GUID-8934835D-9C31-4222-A407-C0A960B05A12.htm",
"description":"The following sections illustrate clip histories that were created in Smoke.",
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{"title":"Clip History Functionality",
"href":"./files/GUID-9311CD40-E847-4C9B-B18A-144E661E1CCB.htm",
"description":"When using clip history in an Autodesk Visual Effects and Finishing product, the following limitations apply:",
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{"title":"Clip History Features Per Product",
"href":"./files/GUID-D2EFDEF8-28D5-4B81-9D3D-6C3186C73A62.htm",
"description":"The following tables summarize the modules that are accessible in the clip history by product. The features are listed in alphabetical order.",
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{"title":"Clip History Accessibility",
"href":"./files/GUID-315ACFFD-1A39-4E04-A801-05B1087C6B9F.htm",
"description":"The following table summarizes the differences in module accessibility when a segment’s history is expanded on the EditDesk in Smoke or Backdraft Conform, and in Batch in Inferno, Flame, or Flint. Certain modules have limited accessibility. See .",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"},{"title": "Clip History Features Per Product","href":"./files/GUID-D2EFDEF8-28D5-4B81-9D3D-6C3186C73A62.htm"}]},
{"title":"Clip History Accessibility in Batch",
"href":"./files/GUID-4C326428-FF52-4405-B097-2169B8F38A96.htm",
"description":"The following table summarizes the differences in accessibility of Batch nodes in a segment’s history by product. Certain nodes have limited accessibility. See .",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Clip History","href":"./files/topichead_d3e35705.htm"},{"title": "Clip History Features Per Product","href":"./files/GUID-D2EFDEF8-28D5-4B81-9D3D-6C3186C73A62.htm"}]},
{"title":"Setting Preferences",
"href":"./files/topichead_d3e37655.htm",
"description":"",
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{"title":"About Preferences",
"href":"./files/GUID-09416290-4D3E-448F-9DCA-1A75935BE7EC.htm",
"description":"Use the Preferences menu to set up your work environment. Preferences that you set in the Preferences menu are either global preferences that apply no matter where you are in the application, or that are shared in two or more areas. Preference settings are maintained from session to session for each user. For information on saving preferences, see About Setups and Preferences.",
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{"title":"Accessing the Preferences Menu",
"href":"./files/GUID-85481289-98C5-4E52-A2F7-12BE6CE4F44A.htm",
"description":"Access the Preferences menu directly from the EditDesk.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"}]},
{"title":"Project Management Preferences",
"href":"./files/GUID-45E8B46E-F2E3-43AA-B7BC-5F339053E031.htm",
"description":"The Project Management preferences allow you to monitor or change the current project and user settings.",
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{"title":"Timing Preferences",
"href":"./files/GUID-F4C6A245-D34A-45A7-A171-A036A6D9B4FF.htm",
"description":"Sets the broadcast monitor timingpreference and indicates the incoming sync.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"}]},
{"title":"Pointer Preferences",
"href":"./files/GUID-5E8BDE85-6779-41C0-A151-3680986E5BC8.htm",
"description":"You can adjust the sensitivity of the pen and other pointer preferences.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"}]},
{"title":"User Interface Preferences",
"href":"./files/GUID-CC1029C1-E953-4E99-8E6A-CF80AF1134CB.htm",
"description":"The User Interface menu provides access to custom menu setups, and user interface settings.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"}]},
{"title":"Creating Custom Menus",
"href":"./files/GUID-914ED59C-E78B-4849-B5CC-CE28C3E29265.htm",
"description":"You can create a custom menu setup by changing the size and location of buttons, fields, and boxes on the interface using the User Interface menu.",
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{"title":"Documentation Preferences",
"href":"./files/GUID-E6B0ED3D-BE95-46BD-954A-359131A0659F.htm",
"description":"Use the Documentation preferences to find out more about Smoke.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"}]},
{"title":"Tooltips Preferences",
"href":"./files/GUID-DB7A800B-EC57-4823-B0B3-156ECFA57A7D.htm",
"description":"Use the Tooltips preferences to set how tooltips are displayed. Tooltips display the keyboard shortcut and a brief description for objects (such as buttons and fields) on the user interface.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"}]},
{"title":"Miscellaneous Preferences",
"href":"./files/GUID-BCAAEA6A-1A22-4A0C-B6CC-28244C8C5720.htm",
"description":"Use these preferences to access the message history log and the Hotkey Editor.",
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{"title":"General Preferences",
"href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm",
"description":"Use the General preferences to control clip information, clip loading, clip history, dual timecode display, and setup scaling.",
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{"title":"General",
"href":"./files/GUID-86699982-DB3E-4CF0-AD2E-007652BCF0CE.htm",
"description":"These settings display the project framerate and scan format, and allow you to set clip information.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"Timecode",
"href":"./files/GUID-223FC767-E023-4F30-9A16-9BC1C4BF4240.htm",
"description":"Use these Timecode preferences when working with 24 fps film material.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"Default Processing Options",
"href":"./files/GUID-1CC8CE72-1C8A-42C4-977B-AB9215250052.htm",
"description":"Use these preferences to select whether you want to include clip history when processing in a module. The default option is Process.",
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{"title":"History",
"href":"./files/GUID-5DEEDF2A-90E1-48C7-B114-E8A56E53188D.htm",
"description":"Use these preferences to set clip history preferences.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"EditDesk",
"href":"./files/GUID-26BD9111-DF01-4C02-8FF8-FAF19BD2A465.htm",
"description":"Use the preferences to help set your EditDesk working environment.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"Batch Cache Life Span",
"href":"./files/GUID-FC7532DB-4A10-411C-A578-1E62D9CE38E3.htm",
"description":"Batch Cache Life Span option box Select whether to set Batch setups for manual or automatic deletion. Batch Cache Life Span fieldDisplays the number of days of Batch setups that are cached.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"Untitled Clip Name",
"href":"./files/GUID-7B05D222-FD28-4400-9C64-2D241D87DC02.htm",
"description":"Set how untitled clip names are displayed in Smoke.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"Rendered Clip Name",
"href":"./files/GUID-CED986A1-8239-49F5-B78C-4AE0D861AFF8.htm",
"description":"Set how rendered clip names are displayed in Smoke.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"Stereo Naming",
"href":"./files/GUID-03CA81CC-5DB6-42A6-909C-E1E5554F6EB9.htm",
"description":"Set how to identify right eye and left eye clips resulting from a Stereo Split on the EditDesk.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"Streaming Media",
"href":"./files/GUID-D6E61F9D-E2F1-4C98-B4B0-B6208FAD97BB.htm",
"description":"Use the Streaming Media option to set the display options for P2 MXF DVCPro thin raster clips (1280x1080 and 1440x1080). Because clips imported with such a format display horizontally compressed in the Player, you can force Smoke to display such clips in their original format to see the clip as full HD.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"Autosave",
"href":"./files/GUID-388F36DC-1FB1-48D5-8C93-9B06373329BF.htm",
"description":"Use the Autosave fields to specify how often all clips currently loaded on the EditDesk are saved. If your work session terminates due to a software or hardware failure, you can recover all the work done up to the last time an autosave was performed.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"Undo",
"href":"./files/GUID-08FA6BFA-CB3D-41CD-BAC4-2EB55D81B5A9.htm",
"description":"Use the Undo Levels field to specify how many levels of information are saved to the undo buffer (the default is 10 levels). This value determines the maximum number of actions you can undo when working on the EditDesk. For example, if the Undo Levels value is set at 5 and you delete 6 clips from the EditDesk, you can click Undo once for every clip you want to restore to the EditDesk, except the first one. Since the Undo Levels value is set to 5, the first deleted file cannot be restored.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"Burn Update Interval",
"href":"./files/GUID-F5B75929-AAE3-48AF-8CCD-6AF5C37622C7.htm",
"description":"Enter a value to set the interval between which the Burn background rendering queue is checked.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"EditDesk Reels",
"href":"./files/GUID-F2AA2FBB-0A6C-45B1-9E58-FB5F4A748D83.htm",
"description":"Use this table to customize the extended List View of the EditDesk list. See .",
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{"title":"Image Data Type",
"href":"./files/GUID-3D9D6F72-4022-4EAC-8D2F-1D2A0DAEBFF9.htm",
"description":"Use these preferences to set image data type.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "General Preferences","href":"./files/GUID-2340D465-9582-455A-AAC9-F703152B1220.htm"}]},
{"title":"Player Preferences",
"href":"./files/GUID-A4E17EF6-8B69-49BF-B27B-4D24D9A38B73.htm",
"description":"Use the preferences in the Player tab to define the behaviour of the Player controls and displays.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"}]},
{"title":"Replay",
"href":"./files/GUID-E985AB54-539F-4961-AE13-0E440F20E126.htm",
"description":"Use these preferences to set preroll and postroll frames for use in the Player. See .",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Player Preferences","href":"./files/GUID-A4E17EF6-8B69-49BF-B27B-4D24D9A38B73.htm"}]},
{"title":"Playback",
"href":"./files/GUID-B573B17A-F916-48DB-AD5C-0A05482D66E4.htm",
"description":"Use these preferences to set Player playback options.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Player Preferences","href":"./files/GUID-A4E17EF6-8B69-49BF-B27B-4D24D9A38B73.htm"}]},
{"title":"Display",
"href":"./files/GUID-0085E6DA-135B-43FE-A13A-58F4EA042CBC.htm",
"description":"Use these settings to define the display of the Player.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Player Preferences","href":"./files/GUID-A4E17EF6-8B69-49BF-B27B-4D24D9A38B73.htm"}]},
{"title":"Timesmear",
"href":"./files/GUID-1EE449F6-6B16-4E6F-A5AA-C6A468E6456B.htm",
"description":"Use the Timesmear area to set preferences for working with the Timesmear.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Player Preferences","href":"./files/GUID-A4E17EF6-8B69-49BF-B27B-4D24D9A38B73.htm"}]},
{"title":"Timeline Preferences",
"href":"./files/GUID-2224D0D6-F859-47A0-81A6-5C680424EADF.htm",
"description":"Use the Timeline preferences to customize the behaviour of various timeline controls and to control the information displayed on timeline elements.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"}]},
{"title":"Editing",
"href":"./files/GUID-3675E2B9-7033-488B-9066-C65EF798C693.htm",
"description":"Use the preferences when editing on the timeline.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Timeline Preferences","href":"./files/GUID-2224D0D6-F859-47A0-81A6-5C680424EADF.htm"}]},
{"title":"Containers",
"href":"./files/GUID-0D80F8A1-AB63-438C-BCF7-37DD1D0B28EE.htm",
"description":"Use the following preferences when working with containers on the timeline.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Timeline Preferences","href":"./files/GUID-2224D0D6-F859-47A0-81A6-5C680424EADF.htm"}]},
{"title":"Display",
"href":"./files/GUID-FCFDB544-D6C2-403F-9306-D99D00FF9E6B.htm",
"description":"Use these setting to customize your timeline display.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Timeline Preferences","href":"./files/GUID-2224D0D6-F859-47A0-81A6-5C680424EADF.htm"}]},
{"title":"Navigation",
"href":"./files/GUID-754343C9-A2D9-4124-AD57-A1D3DDD1E371.htm",
"description":"Use these preferences to help navigate on the timeline.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Timeline Preferences","href":"./files/GUID-2224D0D6-F859-47A0-81A6-5C680424EADF.htm"}]},
{"title":"Transition Preferences",
"href":"./files/GUID-D2CDAC22-035E-4EC1-9E3D-EA2C8BB64106.htm",
"description":"Use the Transitions area to set defaults and other preferences for transitions.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"}]},
{"title":"Attributes",
"href":"./files/GUID-7C8B2EC7-1268-4B1F-B728-9C9E3A664D22.htm",
"description":"Set the following transition attribute preferences.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Transition Preferences","href":"./files/GUID-D2CDAC22-035E-4EC1-9E3D-EA2C8BB64106.htm"}]},
{"title":"Rendering",
"href":"./files/GUID-7F0D9897-7440-4694-B5AA-D6418D63F4E0.htm",
"description":"Set the render mode you want to use when you add a transition to a clip. You can select Interlaced, Progressive, or Clip Scan Mode. In Clip Scan Mode, Smoke automatically sets the render mode to that of the clip (either progressive or interlaced).",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Transition Preferences","href":"./files/GUID-D2CDAC22-035E-4EC1-9E3D-EA2C8BB64106.htm"}]},
{"title":"Editing",
"href":"./files/GUID-E57A179D-4171-46F2-B716-578372267FF3.htm",
"description":"When you lift or extract an element that is part of a dissolve or wipe, the dissolve or wipe either stays attached to the lifted or extracted element, or remains attached to the record element, depending on how the Link on Extract/Copy option is set.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Transition Preferences","href":"./files/GUID-D2CDAC22-035E-4EC1-9E3D-EA2C8BB64106.htm"}]},
{"title":"Wipe",
"href":"./files/GUID-30939329-C81C-4DAA-B32D-BB312BC303DC.htm",
"description":"You can either set a wipe or import a wipe file to be used as the default wipe for transitions. Click the Default Wipe button to access the file browser, or specify an SMPTE wipe number in the Default Wipe field.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Transition Preferences","href":"./files/GUID-D2CDAC22-035E-4EC1-9E3D-EA2C8BB64106.htm"}]},
{"title":"Modules/SoftFX Preferences",
"href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm",
"description":"Use the Modules/SoftFX area to set preferences for adding soft effects and working in modules.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"}]},
{"title":"Rendering",
"href":"./files/GUID-8CCFCAB8-A9EC-4231-A94A-40118687D253.htm",
"description":"Set render mode preferences for soft effects and modules.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Axis",
"href":"./files/GUID-AD9B704D-B5CB-41FE-B669-FB2FA6A87B40.htm",
"description":"Use the Axis area to set preferences shared by Action and Axis soft effects, such as default blur methods, default surface blend modes, and default surface types.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Blend",
"href":"./files/GUID-5AF35B3B-4E24-4583-8C6E-506B534EEE0D.htm",
"description":"Set the default blend mode.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Animation",
"href":"./files/GUID-336E11BA-28CC-42B1-A3F8-9B0C7D90B1E5.htm",
"description":"Use the Animation area to set the default interpolation and extrapolation modes for setting keyframes. See and .",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Audio Gain Animation",
"href":"./files/GUID-F9E3379E-6A2E-45BE-83E8-F73E8BEA0910.htm",
"description":"Set the default interpolation mode for setting keyframes on audio segments.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Soft Colour Correct",
"href":"./files/GUID-FC18934D-9C95-477F-8435-341FF9C68C74.htm",
"description":"Use the Colour Corrector preferences to set the default behaviour when adding a Colour Correction soft effect. From the Default Menu box, select an option to determine the default menu used when the Colour Corrector is accessed through a soft effect in the timeline.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Soft Resize",
"href":"./files/GUID-A2FFB11D-E439-43B3-9861-8109391007F7.htm",
"description":"Use the Soft Resize area to set the default resize behaviour.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Text",
"href":"./files/GUID-4129BD53-331F-43E3-9EBB-43A08A93AE0E.htm",
"description":"Use the Text area to set the default values to be used when you create new text in the Text module or Soft Text.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Timewarp",
"href":"./files/GUID-857DCEB7-548C-43B6-B4F9-FCF00CD8C6BC.htm",
"description":"Use the Timewarp area to set preferences for creating timewarps.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Setups",
"href":"./files/GUID-7FA0199F-587A-49BF-AB8F-EF163D5E344A.htm",
"description":"You can load setups (such as Text setups, Keyer setups, and colour correction setups) that were created in a resolution different from that of your current project. For the setups to work correctly in your current project, you must scale them when you load them. To scale setups when loading them, enable the Scale Setups button.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Batch Mode",
"href":"./files/GUID-620CE242-1B33-4729-90D3-6B3214F7F46C.htm",
"description":"Set No Media options to determine how to interpret missing information before (Head), during (Gap), and after (Tail) a clip. See .",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Batch Editing",
"href":"./files/GUID-0696712C-5FD9-4417-BD96-F3BC335F72FE.htm",
"description":"Use these preferences for saving source clips from a BFX level. See Managing Clips in a BFX Level.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Batch FX",
"href":"./files/GUID-52630D07-8E2A-40D5-9647-E9B20CF8A940.htm",
"description":"Use these preferences when working with Batch FX.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Batch FX Cache Life Span",
"href":"./files/GUID-B22DFF4A-6BB4-4E41-A27B-DF1FD72D0AE4.htm",
"description":"BFX Cache Life Span fieldDisplays the number of days of BFX setups that are cached. Batch Cache Life Span option box (Smoke in Flame Premium only)Select whether to set Batch setups for manual or autom",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Auto Key Button Look",
"href":"./files/GUID-C219644D-06FC-466E-AD1A-CB5B7F85EE09.htm",
"description":"Set the default look for the Auto Key button.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"},{"title": "Modules/SoftFX Preferences","href":"./files/GUID-6A7FB08C-21D5-4C92-9FA8-CC26126EBF25.htm"}]},
{"title":"Audio Preferences",
"href":"./files/GUID-999B540D-D4D4-4E81-A995-88166230B949.htm",
"description":"The Audio Preferences menu provides controls for synchronizing audio playback, setting audio I/O, controlling the Lucid ADAT converter (if applicable), and enabling audio waveforms.",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"},{"title": "Setting Preferences","href":"./files/topichead_d3e37655.htm"}]},
{"title":"Accessing the Audio Preferences Menu",
"href":"./files/GUID-A42BD87D-F9A8-42DD-A017-FF49AC24B03F.htm",
"description":"You can access the Audio Preferences from the EditDesk (or by pressing Ctrl+Alt+F6 from anywhere in the application) as part of the overall Preferences menu. You can also access Audio Preferences from the clip library and from the Engineering menu in the Input and Output Clip menus.",
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{"title":"Player",
"href":"./files/GUID-2A153AF7-AAD8-43D5-89BE-9E76CD8F79CD.htm",
"description":"The Player area contains settings to define audio sync during playback.",
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{"title":"Meters",
"href":"./files/GUID-30842973-B359-489D-B68E-8B372C9C5BF2.htm",
"description":"The Meters area of the Audio Preferences menu provides controls to configure the audio meters in the AudioDesk that you use to monitor inputs and outputs and ensure that audio does not exceed peaks.",
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{"title":"Waveforms",
"href":"./files/GUID-7BE4638D-2652-4C31-A949-F037340D1178.htm",
"description":"The Waveforms area contains settings you can use to enable waveforms for display in the timeline.",
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{"title":"Tone",
"href":"./files/GUID-63AAA26D-E7AA-4784-AB17-3F92C0141CF5.htm",
"description":"The Tone area allows you to set a default for creating an audio tone clip.",
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{"title":"General",
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"description":"Use these preferences to set audio head and tail behaviour, and to display supported audio tracks.",
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{"title":"Inputs/Outputs",
"href":"./files/GUID-7FA7D909-EFD8-4582-ADB2-5FA17D1FE2B0.htm",
"description":"Depending on how your audio is set up, different input and output settings appear.",
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{"title":"ADAT Converter",
"href":"./files/GUID-3120A170-FEDC-474F-B1DA-24F2DAE36D1C.htm",
"description":"The ADAT Converter area provides settings to configure the ADAT converter for audio I/O and monitoring. The ADAT Converter area and controls only appear if remote control of the ADAT converter is enabled in the software initialisation configuration file.",
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{"title":"Broadcast Monitor Preferences",
"href":"./files/GUID-70F90FE2-982D-467E-BA71-0245F8AF7CEC.htm",
"description":"The Broadcast Monitor preferences menu controls the behaviour of the broadcast monitor. These preferences apply globally for Smoke in the Player and modules that support multiple viewports. They are available only if a broadcast monitor is connected to the workstation.",
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{"title":"Broadcast Monitor",
"href":"./files/GUID-4D348CED-E65A-40C0-B8CC-3805AAC4A8B4.htm",
"description":"The broadcast monitor outputs a complete image or selected viewport. View output in different contexts, to suit multiple types of workflow.",
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{"title":"Displaying a Clip in the Broadcast Monitor",
"href":"./files/GUID-C9A8A5F9-0714-43C3-B437-9C3CC080DC8A.htm",
"description":"Use the Show Selected Item option in the Broadcast Monitor box to display the clip you selected in the broadcast monitor. Use the Broadcast Monitor buttons to resize and set the proportions of the clip. If the clip is zoomed in on the application monitor, the clip is still displayed in its entirety on the broadcast monitor.",
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{"title":"Displaying the User Interface in the Broadcast Monitor",
"href":"./files/GUID-13E13389-95BC-4674-BEF6-14FB1FD58AE1.htm",
"description":"Use the Screen Grab option in the Broadcast Monitor box to display content you select in the Player or module viewport in the broadcast monitor. The content is only displayed in the broadcast monitor when a module viewport or the Player are displayed in the application monitor.",
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{"title":"Broadcast Multiview",
"href":"./files/GUID-90D7A846-0305-4FE4-BB4E-578874BC0C00.htm",
"description":"This preference is active when Show Selected Item is selected in the Broadcast Monitor box. See .",
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{"title":"Image Data Type",
"href":"./files/GUID-32EFEEB0-F028-4B95-9C8F-D74255A09735.htm",
"description":"These preferences are active when Show Selected Item is selected in the Broadcast Monitor box and the Always Display Result button disabled. See and .",
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{"title":"Broadcast LUT",
"href":"./files/GUID-B6AB6AD8-687E-4C1A-BC63-4D8EF326D085.htm",
"description":"These preferences appear when Show Selected Item is selected in the Broadcast Monitor box. See .",
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{"title":"Broadcast Colour Space",
"href":"./files/GUID-EE714069-1D91-4CBF-8726-41EBE5D4CC31.htm",
"description":"These preferences appear when Show Selected Item is selected in the Broadcast Monitor box. See .",
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{"title":"Broadcast Overlay",
"href":"./files/GUID-666C61E3-DC72-41DC-92C7-12600C71D8E5.htm",
"description":"These preferences appear when Show Selected Item is selected in the Broadcast Monitor box. See . Use the Broadcast Overlay box to display content with grids, guides or a letterbox, in the broadcast monitor.",
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{"title":"Broadcast Stereo",
"href":"./files/GUID-79FB845A-5A46-480A-AC79-E81E476EFFA1.htm",
"description":"Use the Broadcast Stereo preferences to set how the broadcast monitor displays stereoscopic images.",
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{"title":"Storage Preferences",
"href":"./files/GUID-08509A32-D425-4C32-AA86-BE0BCF2A730C.htm",
"description":"Storage preferences allow you to test disks, view volume statistics, and calculate available space.",
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{"title":"Space Calculation",
"href":"./files/GUID-9822DFBE-8627-4ED6-A214-5C21252A27A3.htm",
"description":"Use these preferences to view free space and volume statistics.",
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{"title":"Framestore",
"href":"./files/GUID-84E74DBA-35F2-4579-9106-5A9E25961FE8.htm",
"description":"You can test the disk speed to verify the rate at which the framestore can read data.",
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{"title":"LUT Preferences",
"href":"./files/GUID-10956F25-4504-4220-B49C-897721FC3BFB.htm",
"description":"Use the LUT preferences to import and list the 1D and 3D LUTs you can use in Smoke. See .",
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{"title":"Support Preferences",
"href":"./files/GUID-EC86154C-10CE-41C8-B9CA-3F4579DD8FFF.htm",
"description":"Use these preferences to help Autodesk Customer Support diagnose problems with your system.",
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{"title":"Managing Hotkeys",
"href":"./files/topichead_d3e40793.htm",
"description":"",
"ancestors":[{"title": "Managing Your Work Environment","href":"./files/topichead_d3e35333.htm"}]},
{"title":"About the Hotkey Editor",
"href":"./files/GUID-22E503BF-F2E1-4371-BC46-83689F18E770.htm",
"description":"Use the Hotkey Editor to manage hotkeys (keyboard shortcuts). The Hotkey Editor allows you to view listings of the current hotkeys. You can also modify existing hotkeys or create new ones. New and modified hotkeys are saved as a user preference, and can be copied between user profiles on Smoke.",
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{"title":"Map-to-Button and Functional Hotkeys",
"href":"./files/GUID-EFFA454C-21E2-4D69-A8DF-71ED1C356B6F.htm",
"description":"There are two types of hotkeys: map-to-button and functional hotkeys.",
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{"title":"Hotkey Domains",
"href":"./files/GUID-1C0DF61B-B46D-4F7D-9487-2590E03C7165.htm",
"description":"There are three hotkey domains: global, shared, and local.",
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{"title":"Keystroke Conventions",
"href":"./files/GUID-D0773CBA-1C87-490A-B386-3AD77A23DFDC.htm",
"description":"When creating and editing hotkeys, the following keystroke conventions apply:",
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{"title":"Determining a Button\'s Current Hotkey",
"href":"./files/GUID-F5F8647A-2F90-4B27-9CD0-84734956AB08.htm",
"description":"You can determine the hotkey assigned to a button from anywhere within Smoke.",
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{"title":"Hotkey Errors",
"href":"./files/GUID-C3BB4251-2812-491F-A852-FCC63FCDC5C7.htm",
"description":"When you press a hotkey, a white keyboard appears in the lower-right corner of the screen. If a hotkey becomes stuck at any time, the white keyboard remains until you unstick the hotkey by pressing it. Click the white keyboard to display the name of the problematic hotkey in the message bar.",
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{"title":"Accessing the Hotkey Editor",
"href":"./files/GUID-618319BD-78D5-42DE-96B7-0EBD5C7F9693.htm",
"description":"Use the Hotkey Editor to view, modify, and create hotkeys.",
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{"title":"Hotkey Catalogue",
"href":"./files/GUID-E4754318-11C3-4FEE-98F2-96E195E4D90B.htm",
"description":"A catalogue of hotkeys is maintained for every user. If the user profile was created in the default home directory, the catalogue is found in /usr/discreet/user/editing/<user_name>/hotkey. If the user profile was created elsewhere, the catalogue is found in <user home directory>/hotkey. The hotkeys in the hotkey catalogue are stored in the following formats:",
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{"title":"Selecting Your Keyboard Type",
"href":"./files/GUID-FC83F674-565B-4500-ADA1-3257DB367FFF.htm",
"description":"In the Hotkey Editor you can select the type of keyboard you are using to take advantage of extra keys on certain keyboards.",
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{"title":"Searching the Hotkey Catalogue",
"href":"./files/GUID-C9E7B16E-8F0E-4D49-B6E7-A3D8B3D2B254.htm",
"description":"You can search the Hotkey catalogue to find hotkeys whose description match your search criteria.",
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{"title":"Editing Hotkeys",
"href":"./files/GUID-BD18ACD0-C96F-418A-9C9B-4ED7A2D3E116.htm",
"description":"The Hotkey catalogue shows the global, shared, and local hotkeys for the current module.",
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{"title":"Creating New Local Hotkeys",
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"description":"You can create new map-to-button hotkeys only. You cannot create new functional hotkeys. New hotkeys are saved as a user preference.",
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{"title":"Hotkey Editor Menu Settings",
"href":"./files/GUID-5E43511D-EE54-4F4C-8536-8E4947626231.htm",
"description":"Hotkey Manager Area Clear button Clears the contents of the Keystroke field in the Keystroke Editor before you enter a new keystroke sequence. Set button Sets the contents of the Keystroke field. S",
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{"title":"Installing Fonts",
"href":"./files/topichead_d3e41614.htm",
"description":"",
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{"title":"About Fonts in Smoke",
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"description":"A few basic fonts are available the first time you start Smoke. Other fonts must be installed. If you are transferring fonts from a Windows or Macintosh machine, there are special considerations, particularly for Adobe Postscript Type 1 fonts.",
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{"title":"Supported Fonts",
"href":"./files/GUID-A1AF8AFD-D1ED-4417-B039-BBC42EDCE155.htm",
"description":"The following font types are supported:",
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{"title":"Fonts Requiring Additional Work",
"href":"./files/GUID-E8426F77-E18F-4043-81CD-DFB294E5BD22.htm",
"description":"The following font types require additional work before integration into Smoke:",
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{"title":"Font Locations",
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"description":"The following directories are used for fonts.",
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{"title":"Installing Adobe Postscript Type 1 Fonts",
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"description":"When installing Windows and Macintosh Adobe Postscript Type 1 fonts in Smoke, you must first transfer the font files to the Smoke system. Then you convert them into a format recognizable by the software. The converter used depends on the source of the font (Windows or Macintosh).",
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{"title":"Installing Other Supported Fonts",
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"description":"Most TrueType, CID, and OpenType fonts that you use on a Windows or Macintosh system can be copied to the Linux system for use with Smoke.",
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{"title":"Conforming Tape-Based Material",
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"description":"",
"ancestors":[]},
{"title":"Conforming Overview",
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"description":"",
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{"title":"About EDL Files",
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"description":"An EDL (Edit Decision List) file is a digital list of commands used to describe a series of film or video edits. It consists of an ordered list of reel, keycode, and timecode data, which represents the original location (usually video tapes or sequences of images stored on disk) of each media clip used in the edit. These media clips can later be easily obtained in order to conform the final cut. EDLs are the primary method of transferring information about an edit project between offline and online editing systems.",
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{"title":"Supported File Interchange Formats",
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"description":"Smoke supports the Telecine Log, Standard EDL, and Enhanced EDL formats as follows:",
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{"title":"Telecine Log Formats",
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"description":"The following telecine log file types are supported by Smoke:",
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{"title":"Standard EDL Formats",
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"description":"The following Standard EDL formats are supported by Smoke:",
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{"title":"Enhanced EDL Formats",
"href":"./files/GUID-9929AE47-421C-4660-A7EC-6E12317857A8.htm",
"description":"The following enhanced EDL formats are supported by Smoke:",
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{"title":"About DLEDL Files",
"href":"./files/GUID-6D39176A-6035-4F06-BEED-71A7D2285E9B.htm",
"description":"A DLEDL is an EDL file based on the CMX 3600 format supported by most digital nonlinear editing systems. DLEDLS are unique to Autodesk Visual Effects and Finishing applications and contain extra comments that are interpreted by Smoke.",
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{"title":"Working with EDLs",
"href":"./files/GUID-3C1F4637-4742-4C70-931F-1CBC0569D136.htm",
"description":"Typically, when working on media projects, you receive offline EDLs from which you capture, or import, and then assemble your clips for the finishing process. You may also edit an EDL and export it as another format.",
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{"title":"Importing EDLs",
"href":"./files/GUID-D6F9745A-E86F-427A-B521-A27F1CF4A5AA.htm",
"description":"You can import EDLs in any standard format, including telecine logs, standard EDLs, or enhanced EDLs, into Smoke. In many cases, the EDLs point to material that matches your project\'s default resolution. However, because Smoke provides a mixed resolution environment, you can also use EDL tools to capture and assemble clips of any resolution within the same project. You can also use EDL conversion tools to convert EDLs from one video standard to another. For example, you can convert an offline NTSC EDL to an HD 59.97 format and then capture the full-resolution sources for finishing.",
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{"title":"Editing EDLs",
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"description":"You can import EDLs in any standard format and edit them while dynamically seeing your changes. You may include DLEDL flags in the event comments that reference the location and name of file-based media for multiple file import.",
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{"title":"Capturing and Importing Media Using EDLs",
"href":"./files/GUID-826B7ECF-4109-43EF-89E0-15FA6EBEA981.htm",
"description":"You can use an EDL to reconstruct a work session created in an offline editing system. You can use an EDL to capture image or audio media from a VTR into Smoke, or to import (or soft-import) media files from a standard filesystem into Smoke.",
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{"title":"Exporting EDLs",
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"description":"You can also export EDL-based projects in cases where you need to perform some processing in another application, or for the purpose of archiving. In the process of outputting an EDL, you actually output the media used to build a clip to the clip library or to a VTR. This is useful for quickly dumping source clips onto a tape. You can also output an EDL in order to conform a program on another system, for example, to perform the final colour grading.",
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{"title":"Timecode and Keycode",
"href":"./files/GUID-9D76EA04-AF20-463B-8275-4E43EADA658A.htm",
"description":"An integral component of EDLs is timecode and keycode. These are the identification markers by which your media is referenced in an EDL. Timecode and keycode can be imported with the material, assigned, changed, burned-in, or removed.",
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{"title":"Importing EDL Files",
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"description":"",
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{"title":"About Importing EDL Files",
"href":"./files/GUID-7B228804-2AF9-4349-AB7B-37C64779249D.htm",
"description":"Use an EDL to reconstruct a work session created in an offline editing system or to import image sequences from a standard filesystem. Typically, when recreating a project from an interchange file such as an EDL (referred to as conforming an EDL), you import the file, capture the material or import the referenced files, and then assemble the captured or imported material into a clip on a destination library reel.",
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{"title":"About the Import EDL Menu",
"href":"./files/GUID-A5598614-02BB-4C72-A90C-FB73C5A3B924.htm",
"description":"Use the Import EDL menu to create, import, edit, auto-capture, assemble, and save EDLs.",
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{"title":"Operations Group",
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"description":"The Operations group contains the commands that allow you to import an EDL.",
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{"title":"Assembly Options Menu",
"href":"./files/GUID-B1A0A31D-7E7B-4516-AF93-F76899A319EF.htm",
"description":"The Assembly Options menu contains options that you can set that affect EDL assembly.",
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{"title":"Preferences Menu",
"href":"./files/GUID-24E3C0AA-6E7B-431A-B9E5-4BCBCB3F129B.htm",
"description":"Use the options in the Preferences menu to specify your EDL preferences.",
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{"title":"Search Events Menu",
"href":"./files/GUID-08D599A5-8F9C-48FB-A985-B7388D0E9DB7.htm",
"description":"Use the Search Events menu to search entries for text or timecode in an EDL. When you search the EDL, you need to specify the item you want to search, the filter type you want to use, and the criteria for which you want to search.",
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{"title":"Renumber Events Menu",
"href":"./files/GUID-A0CF4FE8-35E8-404E-A0DB-EAE373408436.htm",
"description":"Use the options in the Renumber Events menu to specify the value by which events are renumbered.",
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{"title":"2:3 Pulldown Options Menu",
"href":"./files/GUID-DEAEAB56-8B4F-4063-A28F-11A04C7AB675.htm",
"description":"Use the 2:3 Pulldown Options menu to set the parameters for 2:3 pulldown insertion upon import.",
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{"title":"About the Load EDL Menu",
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"description":"Use the Load EDL menu to set a variety of options when loading EDLs.",
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{"title":"Importing EDLs",
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"description":"You can import as many EDLs as you want simultaneously. However, the EDL module displays only one EDL at a time. When you import an EDL, you have the option of converting the EDL to another frame rate, removing pulldown, and fixing timewarp errors. You can also import EDLs that reference material shot with Varicam. Since you can work in multiple resolutions in Smoke, you also have the option of importing an EDL at a non-native project frame rate.",
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{"title":"Importing EDLs at Non-Native Frame Rates",
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"description":"You can load any EDL into your project, regardless of the frame rate of the imported EDL. Once the EDL is loaded, you can assemble it into a clip. For the system to recognize the media from a non-native frame rate EDL and mark it as captured, the Override Project Resolution button must be enabled before assembling. See .",
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{"title":"Importing EDLs with Varicam Information",
"href":"./files/GUID-8343627B-F239-491F-AF77-4C3AFD4D0260.htm",
"description":"Varicam is a type of camera that can record material to tape at different frame rates, even though the tape always runs at 60p. Frames are recorded to tape in such a way that Smoke can decode them into a supported frame rate on capture.",
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{"title":"Converting EDLs",
"href":"./files/GUID-2D288586-CE99-4E70-8AAE-B02FB66DF1E9.htm",
"description":"Use the EDL conversion utility to convert an EDL from one frame rate to an EDL of another frame rate. The available conversion scripts depend on the frame rate of the original EDL.",
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{"title":"Loading File-based EDLs",
"href":"./files/GUID-DC234766-E42F-4032-8937-920E6C34C00B.htm",
"description":"A file-based EDL is a type of log file that you use to import (or soft import) image sequences from a standard filesystem. File-based EDLs can include image files and audio files. Telecine logs can only include image files.",
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{"title":"Loading ALE Files",
"href":"./files/GUID-167A149D-21B1-481A-B1E1-FF033E11A080.htm",
"description":"You can load Avid Log Exchange (ALE) files into the EDL module. The source information from the ALE file is extracted to create the EDL.",
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{"title":"Loading FLX, ATN, and TLC Files",
"href":"./files/GUID-E82C5A03-BD64-4A95-AB85-C3DEB32C362F.htm",
"description":"You can load FLX, ATN, or TLC telecine files into the EDL module. The source information from the files is extracted to create the EDL.",
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{"title":"Loading EDM Files",
"href":"./files/GUID-75E13FFB-DC79-4ED0-94C3-AB180B2C6035.htm",
"description":"You can import EDLs and setup information into your projects using EDM and AUX files exported from edit 6.0 (or later). You only need to import the EDM file—the AUX files are read automatically during the import of the EDM file. The EDM and AUX files must be located in the same directory.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Importing EDL Files","href":"./files/topichead_d3e42108.htm"},{"title": "Loading File-based EDLs","href":"./files/GUID-DC234766-E42F-4032-8937-920E6C34C00B.htm"}]},
{"title":"Searching EDLs",
"href":"./files/GUID-59E7F7A0-C037-4970-9D45-295579BBF267.htm",
"description":"Use the Search Events menu to search entries for text or timecode in an EDL. When you search the EDL, you need to specify the item that you want to search, the filter type you want to use, and the criteria for which you want to search.",
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{"title":"Closing EDLs",
"href":"./files/GUID-ABE0B3E7-3560-4E04-AB53-2A11BB35E5CC.htm",
"description":"Once you open an EDL in the Import EDL menu, it remains open until you close it. You can close one or all open EDLs.",
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{"title":"Reopening EDLs",
"href":"./files/GUID-4881D73A-E2D2-4C09-90C5-6920DB6CCF0B.htm",
"description":"After you close an EDL you can reopen it by selecting it in the History list. The History list appears when you hold down the Load button. The last four opened EDLs appear in the History list.",
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{"title":"Creating and Editing EDL Files",
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"description":"",
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{"title":"About EDL Editing Commands",
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"description":"There are a large variety of EDL editing commands available in the Import EDL menu. These are categorized into the following eight groups:",
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{"title":"Events Group",
"href":"./files/GUID-3BDB2A63-5525-4DE8-8BD9-608CFBE8D68B.htm",
"description":"Use the commands in the Events group to cut or copy single or multiple events and paste them to a new location in any open EDL. You can also use special paste functions and selection tools for events.",
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{"title":"Transitions Group",
"href":"./files/GUID-578E0CCF-9A82-4D9E-947B-5E284D92DDC6.htm",
"description":"Use the commands in the Transitions group to change any transition to a cut, dissolve, or standard SMPTE wipe.",
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{"title":"Titles Group",
"href":"./files/GUID-AC3FD1C9-F248-4F9C-8C93-8D4E9D0DB61F.htm",
"description":"You can add or delete a title from an EDL using commands in the Titles group of the Import EDL menu.",
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{"title":"Comments Group",
"href":"./files/GUID-F1B6BDBD-735F-47F5-A6B3-B09413D2FC95.htm",
"description":"You can add or delete comments from events using the commands in the Comments group of the EDL menu. Comments can contain up to 256 alphanumeric characters. You can also toggle comments on or off.",
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{"title":"Capture Group",
"href":"./files/GUID-BFDC07D1-825C-4E8B-A597-DA25A1863E17.htm",
"description":"You can mark events for capture or select only the uncaptured ones for recapture.",
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{"title":"EDL Group",
"href":"./files/GUID-78ED8D37-B2C5-48DC-AC85-633A5FF7941A.htm",
"description":"You can use any of these options in the EDL group when using EDLs to capture media.",
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{"title":"Editing Group",
"href":"./files/GUID-FB97854C-89BE-4721-B7EF-DA2E3D723EED.htm",
"description":"When you modify an entry in an EDL, several options control how other entries are affected. Make sure these options are either enabled or disabled, depending on how you want to edit the EDL.",
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{"title":"Display Group",
"href":"./files/GUID-F013F59A-1BCF-44BD-91E1-5F2D488179EB.htm",
"description":"The Display group contains options for modifying the display of events in the EDL list.",
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{"title":"EDL View",
"href":"./files/GUID-CCDAF359-C58C-4B41-97DE-B9294DB5BD73.htm",
"description":"An EDL contains events, edits, and entries. An event is a complete element in the EDL such as a shot, dissolve, or wipe. An edit is an individual component that makes up an event, such as an outgoing shot or an incoming shot. An entry is an individual value for any variable in the edit, such as dissolve length, Source In, or Speed.",
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{"title":"Undo List View",
"href":"./files/GUID-0768D776-83F4-4C0F-854C-2378EA60F3BB.htm",
"description":"Use the Undo List to view all modifications (up to the number of undo levels specified in the Preferences menu)that you made in the current session and undo a single or series of commands.",
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{"title":"Tape List View",
"href":"./files/GUID-30E932D3-AB10-49DB-B4E3-23E6BAF97001.htm",
"description":"Use Tape List view to see all the tapes needed to assemble the current EDL or all currently open EDLs. In a regular EDL, you can see how raw source footage should be captured into an edited record timeline using timecode. Generally, the source footage is listed in an EDL based on its chronological order in the timeline.",
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{"title":"Creating an EDL",
"href":"./files/GUID-6A63963D-8180-4C20-8170-6E4EDA57A516.htm",
"description":"You can create an EDL in the Import EDL module. This is useful when you have an EDL printed on paper (but no electronic file) and you need to capture the material. With the EDL module, you can manually recreate the EDL with all the information needed so that you can automatically recapture.",
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{"title":"Editing an EDL",
"href":"./files/GUID-CEC68A4F-AC25-4B8A-836C-4FA4F6BABE46.htm",
"description":"Once you import an EDL, you can edit any value except the event number. This includes:",
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{"title":"Editing a Tape Name",
"href":"./files/GUID-71917C70-F690-45F0-9B3D-EB3B0E16C205.htm",
"description":"You can change a single event\'s tape name, or the tape name for all events on the same tape. This is useful if the events you want to capture are on a different tape than that listed in the EDL.",
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{"title":"Audio Patching",
"href":"./files/GUID-6A801ADA-3FFD-4DA1-A2C9-FAAF8CEFEF38.htm",
"description":"If you want to capture audio from a different track than that specified in the EDL, you can change the audio patching for a single event, selected events, or all events on the same tape. For example, if an edit specifies the audio tracks as 1 and 2, but you want to capture the audio from tracks 3 and 4, use the Audio Patching menu to reroute the audio during auto-capture.",
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{"title":"Editing Tracks",
"href":"./files/GUID-4FFEC981-DA55-4D8E-BCE6-FC29A1EC2789.htm",
"description":"You can edit the tracks of an event in the EDL. Editing tracks is useful if you want to modify the tracks captured when you auto-capture or assemble the EDL.",
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{"title":"Editing Transitions in EDLs",
"href":"./files/GUID-00CF8B68-ADF7-40CE-8C38-93B00EDA6BF7.htm",
"description":"You can change any transition to a cut, dissolve, or SMPTE wipe. If the effect of an event is a dissolve, you can edit its duration (Transition Duration). If the effect of an event is a wipe, you can also select the type of wipe in the SMPTE Wipe library.",
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{"title":"Editing Timecode",
"href":"./files/GUID-42FB5BD6-B214-432F-98FC-133D7F30015B.htm",
"description":"If you want to capture different material than what appears in the EDL, you can slip or trim the edits to specify the correct material for your final assembly. You can change any source or record timecode in the EDL.",
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{"title":"Editing and Creating Timewarps",
"href":"./files/GUID-8F9323E5-2AB3-443E-A5DA-D7DCCE1A365A.htm",
"description":"You can edit an existing timewarp or create a timewarp in your EDL. When you edit a timecode entry of an event with the Lock Speed option disabled, no other entries are affected. This results in a speed change because the source duration differs from the record duration.",
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{"title":"Creating and Editing DLEDLs",
"href":"./files/GUID-277D96F0-E9E2-4F69-A3EA-E1AE654F424D.htm",
"description":"DLEDLs can be used in a workflow where you need to import multiple media files in a single pass. They consist of comments that are used to enhance basic EDLs.",
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{"title":"DLEDL Structure",
"href":"./files/GUID-7F2F470C-9629-49D9-9A63-7469CAC3B709.htm",
"description":"The DLEDL is an EDL file based on the CMX 3600 format supported by most digital non-linear editing systems. The following table lists the DLEDL flags used in creating an EDL file. It describes the comments used in creating DLEDLs and provides examples of basic EDLs that you can use in your projects.",
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{"title":"Using DLEDLs Examples",
"href":"./files/GUID-FEC2F926-5320-47DC-8B7B-B2B888DD038C.htm",
"description":"The following examples are given to facilitate the creation of edit decision lists for the automatic import of multiple media files into a project. You can simply copy and paste the suitable example into a text editor, modify it accordingly, save the file with an .edl extension, and import the resulting file into your application.",
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{"title":"Video-only EDL",
"href":"./files/GUID-44F93086-423B-434A-912E-38BC6FFB1772.htm",
"description":"TITLE: SIMPLE EDL VIDEO ONLY",
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{"title":"Simple Video and Audio (2 Tracks) EDL",
"href":"./files/GUID-AC92CA85-09CA-4BBC-8433-D6055EC2C69B.htm",
"description":"TITLE: SIMPLE EDL WITH VIDEO AND 2 AUDIO TRACKS (1 TRACK PER FILE)",
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{"title":"Simple Video and Audio (4 Tracks) EDL",
"href":"./files/GUID-5071AF06-59FE-4C68-848B-CEDC2440310F.htm",
"description":"TITLE: SIMPLE EDL WITH VIDEO AND 4 AUDIO TRACKS (1 TRACK PER FILE)",
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{"title":"Simple Video and Audio (2 Tracks - Stereo) EDL",
"href":"./files/GUID-A8D1FA0E-78CB-4C97-AAD7-725239F36851.htm",
"description":"TITLE: SIMPLE EDL WITH VIDEO AND 2 AUDIO TRACKS (2 TRACKS PER FILE)",
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{"title":"Simple Video and Audio (4 Tracks - Stereo) EDL",
"href":"./files/GUID-C4BD8708-9B40-4B1B-9A4E-5DB1AA4908AC.htm",
"description":"TITLE: SIMPLE EDL WITH VIDEO AND 4 AUDIO TRACKS (2 TRACKS PER FILE)",
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{"title":"Saving EDLs and Tape Lists",
"href":"./files/GUID-04FA4B66-F538-489D-A95C-EE91B77F210B.htm",
"description":"You can save an EDL after you have made modifications to it. You can also save a tape list using the Save EDL menu. When you save a tape list, a tab-delimited ASCII file is created.",
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{"title":"Capturing and Importing Media Using EDLs",
"href":"./files/topichead_d3e45573.htm",
"description":"",
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{"title":"About Capturing and Importing Media Using EDL Files",
"href":"./files/GUID-CF27DFFF-87EC-44FF-A867-D7602B6F8D2E.htm",
"description":"Use an EDL to reconstruct a work session created in an offline editing system or to import image sequences from a standard filesystem.",
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{"title":"About the Auto-Capture Menu",
"href":"./files/GUID-4DB82762-B63C-4910-96BD-7E4EC93CF910.htm",
"description":"This is the Auto-Capture menu.",
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{"title":"Capturing Clips Using an EDL",
"href":"./files/GUID-F241FEDC-09D4-4112-B4EB-86EC525E49F1.htm",
"description":"Use the Auto-Capture menu to load clips specified in an EDL. You can also use the multi-capture option to capture material from multiple EDLs.",
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{"title":"Auto-Capturing an EDL",
"href":"./files/GUID-4120BEAA-6DDC-45A1-9DAB-35E4F13F16FE.htm",
"description":"Before you auto-capture an EDL, make sure all the preferences are set correctly. Once you set the auto-capture options, you can capture the EDL.",
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{"title":"Defining Audio Tracks to be Captured",
"href":"./files/GUID-B2437EDF-02C1-4FE9-B5A2-360E31B53CD6.htm",
"description":"You can define the number of audio tracks to be captured for all sources that have audio. By default, audio is captured for each event only as specified in the EDL. Using the All Audio option, you can capture more audio than is defined in the EDL. This is useful for EDLs that may have missing audio. If an event was mislabelled (on the audio side), you can modify the EDL to assemble other source track audio.",
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{"title":"Audio Track Patching",
"href":"./files/GUID-383BB01A-4B31-4E69-8102-029C9D1525EA.htm",
"description":"You can adjust the audio track patching for the capture session using the audio patch controls in the Engineering menu. Each audio channel has a separate control that contains the source channel and its mapped record channel. You can adjust the patching for up to eight audio channels. By default, audio channels A1-A8 on the source tapes map to audio channels A1-A8 in the captured clips.",
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{"title":"Importing Files Using an EDL",
"href":"./files/GUID-D88AF007-92F1-47A3-8876-C1DB13AD056B.htm",
"description":"Use a file-based EDL to import (or soft import) files from a standard filesystem into Smoke. These are usually OMF files, or EDLs that contain DLEDL flags in the event comments that reference the location and name of the files to import.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Capturing and Importing Media Using EDLs","href":"./files/topichead_d3e45573.htm"}]},
{"title":"Assembling EDLs",
"href":"./files/GUID-A3569BAC-A585-4548-813E-92C7E4FA3EC8.htm",
"description":"Before assembling an EDL, make sure that you have auto-captured or imported the clips you want to use from the EDL. If you are assembling clips that have not been captured, they are replaced with either black frame elements or Unlink Media elements. See .",
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{"title":"Assembling a Single EDL",
"href":"./files/GUID-75312CF2-D6D6-4E9D-8264-F6D9AAFAECBB.htm",
"description":"Once all the media is available on the system (for instance, after completing an auto-capture session and importing files) and the Assembly Options are set, you can assemble your EDL.",
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{"title":"Assembling Multiple EDLs",
"href":"./files/GUID-EE181107-2D95-4EA4-8204-7B367375CCB8.htm",
"description":"If you have multiple EDLs, you can use Multi-assemble mode to combine all the EDLs into a multitrack. You can also use Multi-assemble mode to create a multilayer clip for vertical editing. When you multi-assemble EDLs, you select the EDLs in the order in which you want them to appear in the multitrack.",
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{"title":"Capturing and Assembling Multiple EDLs into Acts",
"href":"./files/GUID-BD3D3E00-2A1E-4370-BA35-DF675E466A6A.htm",
"description":"You can assemble more than one EDL onto the same video layer to create acts. For instance, if you have a show that you have edited in three separate blocks (with three different EDLs), you can assemble these EDLs back into one clip. If the EDLs have overlapping timecode, you have to manually adjust the timecode; otherwise, when you assemble the EDLs, there will be missing material in the assembled clip.",
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{"title":"Viewing Captured and Assembled Material",
"href":"./files/GUID-66FFC2E0-BF9E-44BA-94CD-B6F12F40A30B.htm",
"description":"Use the EDL Player to view source clips of a captured and assembled EDL. You can assemble all or part of the clip with the EDL Player. You can also make a record clip and view the final material in the EDL Player. You can then modify the EDL, make a new record clip, and view your changes in the EDL Player without having to exit the EDL module.",
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{"title":"Unlinking and Relinking Media and Clips",
"href":"./files/topichead_d3e46211.htm",
"description":"",
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{"title":"About Unlinking and Relinking Media and Clips",
"href":"./files/GUID-595D1033-1A05-4DDB-B327-5FA632A89C34.htm",
"description":"The clip library contains a suite of tools for making different versions of a project— Unlink, Relink, Reformat, and Recapture. These tools allow you to separate the media of a clip from its metadata, optionally reformat the metadata of an unlinked clip to another resolution, recapture the associated media, and then relink the metadata to the newly captured media.",
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{"title":"Unlinking Media from Clips in the Clip Library",
"href":"./files/GUID-167714E5-C898-4A4C-B4C4-A41A5EC58A9C.htm",
"description":"You can break the link between the media and the metadata of a clip using the Unlink tool. You can unlink the video media, the audio media, or both. When you unlink a clip\'s media from the metadata, all the metadata is retained. This includes tracks, layers, containers, timecodes, the tape name, dissolves, wipes, cuts, and soft effects.",
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{"title":"Unlinking Media from Selected Timeline Segments",
"href":"./files/GUID-E325F698-B225-4E31-A07C-013C8C3089D8.htm",
"description":"You can unlink selected segments of a timeline using the Unlink tool. This is useful for replacing selected segments with a recaptured shot. For example, if a set of shots has been colour corrected outside of Smoke since they were originally captured, you can unlink the segment on the timeline, save the timeline to the clip library, capture the colour-corrected shots using the Recapture tool in the Tools menu, and relink them automatically into the timeline clip.",
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{"title":"Reformatting Clips",
"href":"./files/GUID-420430C0-BFE0-483B-B167-5DFA77977C6E.htm",
"description":"Whether you want to create final masters of your project in different resolutions or simply increase your speed of interactivity by working in a resolution lower than that of the final version, the Reformat tool can facilitate your work by simplifying the steps involved.",
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{"title":"Handling Clips with Processed Effects",
"href":"./files/GUID-4008DE45-E3D9-456C-848E-DB21FC1C038F.htm",
"description":"Media processed in modules cannot be recaptured and relinked to an unlinked clip. If your timeline contains segments comprised of processed clips, and your project workflow involves unlinking, reformatting, and, later, recapturing media, you will need to manually convert the processed shots to the required resolution. Use one of the following suggested workflows to convert these shots.",
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{"title":"Reformatting Unlinked Clips for Recapture",
"href":"./files/GUID-45E74FF8-318F-4E8E-867C-1FBC19B26295.htm",
"description":"Reformat the metadata of unlinked clips using the Reformat tool.",
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{"title":"Copying Formats between Clips and Timelines",
"href":"./files/GUID-91FEA3DC-A75B-46CD-8A91-FBF606C1259B.htm",
"description":"You can copy the format of a selected clip or timeline to other clips or timelines. This is useful in cases where, for example, you want to reformat a timeline to match the formatting of the source media after working with proxies.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Unlinking and Relinking Media and Clips","href":"./files/topichead_d3e46211.htm"},{"title": "Reformatting Clips","href":"./files/GUID-420430C0-BFE0-483B-B167-5DFA77977C6E.htm"}]},
{"title":"Reformatting Examples",
"href":"./files/GUID-07EE7910-1BB8-4A10-A70A-437EA571C258.htm",
"description":"The following are suggested procedures for reformatting a project to a different resolution upon its completion.",
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{"title":"Recapturing Media",
"href":"./files/GUID-99D56FFB-2178-4700-B375-47AC52E5AF28.htm",
"description":"You can recapture unlinked media that originates from VTR sources, image files, audio files, and film scanners. The media can be of the same resolution as the originally captured media or of a different resolution. If you are recapturing media of a different resolution, you must first reformat the unlinked clip to the new resolution. See .",
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{"title":"Recapturing Media from a VTR",
"href":"./files/GUID-F584808B-C96D-4FF5-A90B-FF54D60A7D57.htm",
"description":"Recapture video-based media associated with unlinked clips using the Recapture tool.",
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{"title":"Reloading Imported Files",
"href":"./files/GUID-E2E79AEA-69DD-46A9-A5E6-71574610D9C1.htm",
"description":"Reload tape-based media associated with unlinked clips using the Recapture menu.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Unlinking and Relinking Media and Clips","href":"./files/topichead_d3e46211.htm"},{"title": "Recapturing Media","href":"./files/GUID-99D56FFB-2178-4700-B375-47AC52E5AF28.htm"}]},
{"title":"Loading Image Files into Video-Based Sources",
"href":"./files/GUID-DE210CBD-DB84-425D-AC57-13F70738F7D6.htm",
"description":"When recapturing unlinked media, you can substitute files such as DPX images files for sources on a timeline that originated as video. This is useful when you want to conform an SD clip that was captured from video tapes to film scanned material. The requirements to accomplish this are as follows:",
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{"title":"Relinking Media to Clips",
"href":"./files/GUID-21DA6F01-EBE7-470D-9688-BB61FAEF69A5.htm",
"description":"After you recapture media for an unlinked clip, you must link it to that clip to associate it with the clip metadata. You can relink recaptured image file imports, audio file imports and VTR-captured clips. Module-processed clips are tagged as un-reloadable, and cannot be recaptured or relinked.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Unlinking and Relinking Media and Clips","href":"./files/topichead_d3e46211.htm"}]},
{"title":"Exporting EDLs",
"href":"./files/topichead_d3e47720.htm",
"description":"",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"}]},
{"title":"About Generating and Outputting EDLs",
"href":"./files/GUID-A19C6BC9-7CE3-4FC9-9705-170C6501CF35.htm",
"description":"Use the Export EDL menu to save an EDL for any clips that you select in the clip library. When you save an EDL, you can use one of the following methods:",
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{"title":"About the Export EDL Menu",
"href":"./files/GUID-DA463615-8625-4392-9A67-30AE1173ADB0.htm",
"description":"Use the Export EDL menu to save and export a clip as an EDL file or output a generated EDL to a VTR or clip library.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Exporting EDLs","href":"./files/topichead_d3e47720.htm"}]},
{"title":"Track Table",
"href":"./files/GUID-A9BA096A-2D82-4FB1-90A1-5EFC5DC66278.htm",
"description":"The Track table shows the video and audio tracks that the EDL will be based on. The table is divided into five columns.",
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{"title":"EDL Save Options Group",
"href":"./files/GUID-7E5942F1-2F83-41AE-A01A-C4BC6D801602.htm",
"description":"When you generate an EDL, you can change the EDL format, how matching events are combined, and the default tape number. You set the appropriate options in the EDL Save Options area of the Export EDL menu.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Exporting EDLs","href":"./files/topichead_d3e47720.htm"},{"title": "About the Export EDL Menu","href":"./files/GUID-DA463615-8625-4392-9A67-30AE1173ADB0.htm"}]},
{"title":"Output Options Group",
"href":"./files/GUID-BADAE418-7CF3-450D-8B9E-E093EE4B5C69.htm",
"description":"Before outputting an EDL, select the material that is output, the length of handles (if any), the method of exporting timewarps, the output tape ID, and the starting timecode.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Exporting EDLs","href":"./files/topichead_d3e47720.htm"},{"title": "About the Export EDL Menu","href":"./files/GUID-DA463615-8625-4392-9A67-30AE1173ADB0.htm"}]},
{"title":"Generating EDLs",
"href":"./files/GUID-1E29E5D8-E737-4A07-9842-8A0BFB75E4D6.htm",
"description":"You can generate an industry-standard EDL containing the metadata needed to recreate a clip that consists of one video track and up to eight audio tracks (depending on the EDL format). For clips that contain more than one video track or eight audio tracks, you must generate multiple EDLs.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Exporting EDLs","href":"./files/topichead_d3e47720.htm"}]},
{"title":"Outputting EDLs",
"href":"./files/GUID-60E743D8-040A-40A1-862B-F7CA0437C06A.htm",
"description":"You can output an EDL as a clip in the clip library or to a VTR. This is an alternate method of archiving a project that, along with an EDL, provides a backup mechanism for restoring both project metadata and media.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Exporting EDLs","href":"./files/topichead_d3e47720.htm"}]},
{"title":"Timecode and Keycode",
"href":"./files/topichead_d3e48264.htm",
"description":"",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"}]},
{"title":"About Timecode and Keycode",
"href":"./files/GUID-05227897-F672-417C-9CC6-B0D80278DE97.htm",
"description":"Timecode and keycode are essential tools for working with EDLs, or for conform and recapture. They are the identification markers by which your media is referenced in an EDL. Timecode and keycode can be imported with the media, assigned, changed, burned-in, or removed.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"}]},
{"title":"Ways that Timecode and Keycode is Preserved or Destroyed",
"href":"./files/GUID-0641E6F8-AD00-4349-9CA8-AE3893350B9D.htm",
"description":"Depending on how you work with a clip, the timecode and keycode it contains can be either preserved or destroyed.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"},{"title": "About Timecode and Keycode","href":"./files/GUID-05227897-F672-417C-9CC6-B0D80278DE97.htm"}]},
{"title":"Displaying Timecode and Keycode",
"href":"./files/GUID-CAFC5A0E-D50C-4D44-A63B-5A6CB57576CA.htm",
"description":"Timecode and keycode can be displayed and monitored in the following user interface areas:",
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{"title":"Displaying Timecode and Keycode on Clip Proxies",
"href":"./files/GUID-8EDCF086-6E78-4FDA-9445-656193C09E49.htm",
"description":"Keycode can be displayed on clip proxies in the Source Area and in the clip library.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"},{"title": "Displaying Timecode and Keycode","href":"./files/GUID-CAFC5A0E-D50C-4D44-A63B-5A6CB57576CA.htm"}]},
{"title":"Displaying Timecode and Keycode in the Player",
"href":"./files/GUID-38E79594-368E-4B90-AC79-D988B0AF6DDE.htm",
"description":"You can see the keycode and timecode of a source clip in the Player.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"},{"title": "Displaying Timecode and Keycode","href":"./files/GUID-CAFC5A0E-D50C-4D44-A63B-5A6CB57576CA.htm"}]},
{"title":"Displaying Timecode and Keycode in the Clip Information Overlay",
"href":"./files/GUID-D592BBDA-A2F5-4261-8F0E-964E1D62BEE8.htm",
"description":"You can see the timecode and keycode of a source clip by ALT-clicking it on the EditDesk.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"},{"title": "Displaying Timecode and Keycode","href":"./files/GUID-CAFC5A0E-D50C-4D44-A63B-5A6CB57576CA.htm"}]},
{"title":"Displaying Timecode and Keycode in the Timeline",
"href":"./files/GUID-30212E5C-6B0A-465C-83D8-F760363C41E1.htm",
"description":"To display the timecode and keycode data for each timeline segment of a clip, expand the timeline segment.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"},{"title": "Displaying Timecode and Keycode","href":"./files/GUID-CAFC5A0E-D50C-4D44-A63B-5A6CB57576CA.htm"}]},
{"title":"Displaying Timecode and Keycode in the List View",
"href":"./files/GUID-E25243A4-93E8-45AC-86A7-6AAE59D3E405.htm",
"description":"Timecode and keycode data can be viewed in the List View in the Record Area.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"},{"title": "Displaying Timecode and Keycode","href":"./files/GUID-CAFC5A0E-D50C-4D44-A63B-5A6CB57576CA.htm"}]},
{"title":"About the Timecode Calculator",
"href":"./files/GUID-F210F61F-722B-4E4B-9A42-5CE64DC8DFB9.htm",
"description":"You can use the numeric keypad to work with timecode. When you click a timecode field, the numeric keypad appears with the full timecode.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"}]},
{"title":"About the Keycode Calculator",
"href":"./files/GUID-C67AE1AF-D58A-4F38-97DE-566A1AC0D34F.htm",
"description":"When typing keycode values directly into the Keycode field, you use the keycode calculator.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"}]},
{"title":"Keycode Syntax",
"href":"./files/GUID-32CC651D-D471-4E41-A0E8-31F10BF9863F.htm",
"description":"Keycode in Autodesk Visual Effects and Finishing applications uses the following syntax:",
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{"title":"Supported Film Emulsions",
"href":"./files/GUID-94C42B8E-6992-4172-9653-400F942378C2.htm",
"description":"The available film emulsions are supported in keycode in Autodesk Visual Effects and Finishing applications as follows.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"},{"title": "About the Keycode Calculator","href":"./files/GUID-C67AE1AF-D58A-4F38-97DE-566A1AC0D34F.htm"}]},
{"title":"Supported Film Gauges",
"href":"./files/GUID-2AC3AE6D-3288-454D-8ECD-80F0510CD4A5.htm",
"description":"The following film gauges are supported in keycode for Autodesk Visual Effects and Finishing applications:",
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{"title":"About the Change TC/KC/Rate Tools",
"href":"./files/GUID-9E7B2514-5483-42AA-8785-D4CBC1830FC7.htm",
"description":"The tools used to change timecode, keycode, or frame code mode are accessible in a number of ways from your Autodesk Visual Effects and Finishing application for your convenience. For this reason, the menus may look slightly different, but the functionality remains the same.",
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{"title":"The Change Timecode Tool",
"href":"./files/GUID-7F8150E6-2466-4577-899C-803770D97FE9.htm",
"description":"The Change Timecode tool can be accessed as follows:",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"},{"title": "About the Change TC/KC/Rate Tools","href":"./files/GUID-9E7B2514-5483-42AA-8785-D4CBC1830FC7.htm"}]},
{"title":"The Change Keycode Tool",
"href":"./files/GUID-7BCE402E-F2BB-4E16-9D96-CBF8DB21C6FC.htm",
"description":"The Change Keycode tool can be accessed as follows:",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"},{"title": "About the Change TC/KC/Rate Tools","href":"./files/GUID-9E7B2514-5483-42AA-8785-D4CBC1830FC7.htm"}]},
{"title":"The Change Frame Code Mode Tool",
"href":"./files/GUID-0823BFC5-9DC9-4799-9530-997F937DC5F2.htm",
"description":"The Change Frame Code Mode tool allows you to change the framerate and drop frame mode of a clip, but also deletes any Deliverable attached to it. The Change Frame Code Mode tool can be accessed as follows:",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"},{"title": "About the Change TC/KC/Rate Tools","href":"./files/GUID-9E7B2514-5483-42AA-8785-D4CBC1830FC7.htm"}]},
{"title":"Changing Timecode",
"href":"./files/GUID-F23D5362-2873-4AAA-82FD-F3A0E7A6D4E4.htm",
"description":"You can change the start timecode of a clip for the record timecode, source timecode, or both.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"}]},
{"title":"Changing Keycode",
"href":"./files/GUID-0AE78419-18AB-4D21-8AAF-5EAB28139331.htm",
"description":"You can change or add keycode to a sequence. You might do this, for example, if the keycode data was corrupted when written by the telecine, or if you entered wrong keycode values when using a third-party application to write keycode to an exported sequence.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"}]},
{"title":"Changing Frame Code Mode",
"href":"./files/GUID-6EE7F4D4-C241-42C5-AC4A-7952C604CF88.htm",
"description":"The Frame Code Mode tool allows you to select the framerate and drop frame mode for your clip. You can convert the framerate and drop frame mode on the video and the audio clip. However, when you convert a clip\'s rate, it\'s playback speed can be affected (both video and audio). And changing the framerate of a clip deletes every associated Deliverable.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"}]},
{"title":"Manually Assigning Timecode and Keycode on Import",
"href":"./files/GUID-6A1C3CEF-1791-4A38-B791-9E93F9893D38.htm",
"description":"When importing sequences composed of any type of image file format, you can manually set the timecode, keycode, and frame code mode for the resulting clip. By setting keycode you also set the film gauge used for the clip. The film gauge defines how the keycode data is calculated.",
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{"title":"About the Burn In Menu",
"href":"./files/GUID-2760CFB0-47EB-4F74-AA7F-427614D17EA9.htm",
"description":"Use the Burn In menu to burn in clip information such as keycode, timecode, date, and frame numbers.",
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{"title":"Burning-in Clip Information",
"href":"./files/GUID-C6A4975B-C07C-46D3-BDE3-4BF94E015EE1.htm",
"description":"Use the Burn In tools to burn-in clip information such as timecode, keycode, and frame numbers. The information appears as text on your clip for your reference.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Timecode and Keycode","href":"./files/topichead_d3e48264.htm"}]},
{"title":"Importing Final Cut Pro XML",
"href":"./files/topichead_d3e50058.htm",
"description":"",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"}]},
{"title":"About Importing XML from Final Cut Pro",
"href":"./files/GUID-03781C37-3721-4C12-A497-7C650C222D56.htm",
"description":"Smoke allows you to import multi-track compositions from Apple Final Cut Pro (FCP). Smoke reads XML exported from FCP (up to version 5.x of FCP, exported as XML version 2.0) and assembles a timeline accordingly. Newer effects created with later version of FCP and XML exporters are not supported.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Importing Final Cut Pro XML","href":"./files/topichead_d3e50058.htm"}]},
{"title":"FCP XML Conform Workflow",
"href":"./files/GUID-DE7E58A2-2CB2-4CB0-A3F9-24DA3D3F694B.htm",
"description":"To provide a smooth transition when importing FCP XML files into Smoke, follow these steps.Ensure that there is only one timecode track used in each of the selected files. See .Prepare the sequences i",
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{"title":"Setting One Timecode Track in Final Cut Pro",
"href":"./files/GUID-ADFD6FE3-11E2-4E5D-AAC8-68E4AB133901.htm",
"description":"Final Cut Pro allows you to modify the timecode of source clips or to add auxiliary timecode tracks, specifically Aux 1 and Aux 2. This is useful for multi-camera editing.",
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{"title":"Logging and Capturing from Tape in Final Cut Pro",
"href":"./files/GUID-2B8F8CBA-89A6-442C-AE15-FCBCC49B0981.htm",
"description":"If you are working from tapes, log and capture to FCP in a manner that allows the online editor to easily recapture media in Smoke. You can also edit in FCP using file-based media. You can use both tape-based and file-based media in the same FCP project, and the media can be recaptured and relinked later in Smoke.",
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{"title":"Exporting Sequences from Final Cut Pro",
"href":"./files/GUID-650368B0-6F49-4BD9-A75F-EBF5A8871EA0.htm",
"description":"When you are ready to export projects from FCP, you must export each sequence separately as an XML file, since Smoke does not support Bins or Batch lists.",
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{"title":"Importing Final Cut Pro XML",
"href":"./files/GUID-E7427C08-1A79-4D63-AFF1-18B7423FEF06.htm",
"description":"Each XML file corresponds to an FCP sequence, including video, audio, and select transitions and effects, that can be opened in the timeline. Some unsupported effects are marked with comments indicating what you have to rebuild in Smoke based on the original offline edit.",
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{"title":"Relinking to File-based Media",
"href":"./files/GUID-888D573F-48F6-4977-955B-6A6E828ACD6F.htm",
"description":"After having edited sequences in Final Cut Pro using file-based media, such as QuickTime movies, you can relink the exported XML to these files in Smoke.",
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{"title":"Recapturing Media From Tape",
"href":"./files/GUID-CE98E7EF-E1CD-4FBA-A7EA-21F93D9F1046.htm",
"description":"After importing an XML file, you recapture the source material from the original tapes using the Recapture tool.",
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{"title":"Optimizing the Recapture of Footage Referenced in XML Files",
"href":"./files/GUID-045DE35A-E240-4496-BAD0-A9D8579AD128.htm",
"description":"There are two methods that can help you achieve a more efficient workflow as you import projects from FCP via XML. You can consolidate clips before recapturing to reduce the amount of extra footage, or you can relink clips to already captured media if multiple XML files use the same footage.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Importing Final Cut Pro XML","href":"./files/topichead_d3e50058.htm"}]},
{"title":"Consolidating Clips",
"href":"./files/GUID-EFBA9B3B-00C2-47A1-BD6D-19380F66BAC6.htm",
"description":"After importing an XML file and prior to recapturing it, it is strongly recommended that you consolidate your clip in Smoke. This ensures that you do not capture all the extra media that was likely captured during the offline edit. This step should be performed even if a similar process was performed in FCP.",
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{"title":"Relinking to Already Captured Material",
"href":"./files/GUID-7E5A8D91-B60C-4D9A-A966-0F20F0CD7421.htm",
"description":"If you import multiple XML files that reference the same footage, you do not have to recapture the footage each time. Instead, you can relink the clip to media on the same reel.",
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{"title":"Final Cut Pro 7: Supported Transitions and Effects",
"href":"./files/GUID-209687C7-8402-42E3-B3C9-CC73F03218B5.htm",
"description":"The information in this section indicates how Final Cut Pro 7 data and effects map to Smoke data, transitions, and Batch FX. Unsupported transitions and effects are indicated as not supported.",
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{"title":"FCP to Smoke: Data",
"href":"./files/GUID-B43EF6EF-2474-478C-A4F4-21EAFF1BDAE6.htm",
"description":"The following tables describe the data that is output from FCP and input into Smoke.",
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{"title":"FCP to Smoke: Animation",
"href":"./files/GUID-826F4307-4B86-4012-9CB7-6BC82B4B70F4.htm",
"description":"The following table describes how animation from FCP is mapped to Smoke animation.",
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{"title":"FCP to Smoke: Motion",
"href":"./files/GUID-CABF23A1-2754-43BA-9702-ED7D06202269.htm",
"description":"The following table describes how motion from FCP is mapped to Smoke Axis soft effect parameters.",
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{"title":"FCP to Smoke: Video Transitions",
"href":"./files/GUID-8EA429BA-D19C-4B8F-8D6D-855ED84E651A.htm",
"description":"The names of FCP transitions are preserved in Smoke and are visible in the timeline.",
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{"title":"FCP to Smoke: Video Filters",
"href":"./files/GUID-94B84D1B-13A6-4499-8A29-6A86D411F218.htm",
"description":"Blur The following tables describe how video filter effects from FCP are mapped to Smoke. Final Cut Pro Smoke Gaussian BlurAxis Surface + Axis (partially supported)Radial BlurNot supportedWind BlurNo",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Importing Final Cut Pro XML","href":"./files/topichead_d3e50058.htm"},{"title": "Final Cut Pro 7: Supported Transitions and Effects","href":"./files/GUID-209687C7-8402-42E3-B3C9-CC73F03218B5.htm"}]},
{"title":"FCP to Smoke: Video Generator",
"href":"./files/GUID-FE93F88B-D1E6-4068-B448-19F40330EF7B.htm",
"description":"The following tables describe generated effects that are translated into equivalent effects in Smoke.",
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{"title":"FCP to Smoke: Audio",
"href":"./files/GUID-CAA5D9E8-6515-47C4-9119-8108D7D011D2.htm",
"description":"Some FCP audio elements are mapped to Smoke equivalents.",
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{"title":"FCP to Smoke: Composite Mode",
"href":"./files/GUID-10E0329D-E508-4CAA-8153-64EA0B27DB4B.htm",
"description":"Some FCP composite modes are mapped to Smoke Axis surface blend modes.",
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{"title":"Final Cut Pro X: Supported Transitions and Effects",
"href":"./files/GUID-53CC95B9-B6E0-4CD1-8CD8-526B215C3A08.htm",
"description":"The information in this section indicates how Final Cut Pro X (10.0.3) data and effects map to Smoke data and effects. Unsupported transitions and effects are indicated as not supported.",
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{"title":"Importing Subtitle XML",
"href":"./files/topichead_d3e53523.htm",
"description":"",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"}]},
{"title":"About Subtitle XML",
"href":"./files/GUID-46CE2DFC-728A-48B7-99F8-8AEABFC2A705.htm",
"description":"Subtitle XML allows you to easily add subtitles to a timeline. Subtitle XML can contain multiple versions of the text, for example, in different languages. Subtitle XML files are human-readable text files that can be edited in any text editor.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Importing Subtitle XML","href":"./files/topichead_d3e53523.htm"}]},
{"title":"Subtitle XML Workflow",
"href":"./files/GUID-B56E2866-B6D3-479C-98C8-13C2F2E3719C.htm",
"description":"To use Subtitle XML, you need to import it and then add it to your timeline.",
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{"title":"Importing Subtitle XML Files",
"href":"./files/GUID-B66FB0B6-BD28-420B-BA9A-F78DE6BC01D1.htm",
"description":"You can import Subtitle XML files from the Interchange menu.",
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{"title":"Adding Subtitle XML Files to the Timeline",
"href":"./files/GUID-4F6D2357-46DD-41CD-8991-CD6C642569D7.htm",
"description":"Add the Subtitle XML clip to a timeline. Text soft effects appear (applied to gaps) on the layer at intervals as indicated in the Subtitle XML clip.",
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{"title":"Working with Multiple Subtitle XML Files for Clip Versioning",
"href":"./files/GUID-9B0D4945-4175-4696-8A23-CEDAB1F4C163.htm",
"description":"You can add multiple Subtitle XML clips to a timeline, then mute all but the layer you want to process. With this method you can quickly version a clip.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Importing Subtitle XML","href":"./files/topichead_d3e53523.htm"},{"title": "Adding Subtitle XML Files to the Timeline","href":"./files/GUID-4F6D2357-46DD-41CD-8991-CD6C642569D7.htm"}]},
{"title":"Using Text Setup Files",
"href":"./files/GUID-67B7A877-E31B-4BCB-A89C-0D8120ECB02A.htm",
"description":"A text setup file can be referenced in the Subtitle XML file. The text setup file overrides the font style and position parameters indicated in the current <title> element.",
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{"title":"Editing Subtitle XML Files",
"href":"./files/GUID-A9D59D97-9F80-461B-BCAA-9FDE57BDF514.htm",
"description":"You can edit Subtitle XML files in any text editor. This is especially convenient for making multiple versions of the text, for example, in different languages, and not having to do so on the Smoke workstation.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Importing Subtitle XML","href":"./files/topichead_d3e53523.htm"}]},
{"title":"Subtitle XML Syntax",
"href":"./files/GUID-1C8C25DF-B5EA-472D-B164-FC383573F840.htm",
"description":"Subtitle XML files are human-readable, editable text files. Use the following syntax to work with Subtitle XML files external to the Smoke workstation.",
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{"title":"Basic Elements",
"href":"./files/GUID-C453CEEB-851D-4036-8A88-E6DD41C9185F.htm",
"description":"The basic elements define the name, timecode, and body (as indicated by the <video> element) of the Subtitle XML file.",
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{"title":"Title Elements",
"href":"./files/GUID-94397246-0E49-4B32-9D7A-FAFA4C71492C.htm",
"description":"Each <title></title> element defines a single subtitle which will appear as a Text soft effect applied to a gap once imported into Smoke, and added to a timeline.",
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{"title":"Sample Code",
"href":"./files/GUID-CFC1790F-F454-4446-8D6C-BE94D370A1C1.htm",
"description":"The following is an example of Subtitle XML which creates three Text soft effects applied to gaps at these timecodes:",
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{"title":"Importing AAF Files",
"href":"./files/topichead_d3e54650.htm",
"description":"",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"}]},
{"title":"About Importing Advanced Authoring Format Files",
"href":"./files/GUID-7833BCE8-D192-4EBF-8A4C-53C34107F8A9.htm",
"description":"The Advanced Authoring Format (AAF) is a file format that represents a multi-layered timeline complete with transitions, as well as video and audio effects.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Importing AAF Files","href":"./files/topichead_d3e54650.htm"}]},
{"title":"AAF Conform Workflow",
"href":"./files/GUID-A9569951-BA04-405A-B851-814551D75F8D.htm",
"description":"First, prepare the sequences in your Avid application that will be exported as AAF. These sequences are then imported into Smoke to be worked on in a timeline.",
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{"title":"Preparing Sequences Cut in Avid for AAF Import",
"href":"./files/GUID-7277E64D-942F-449A-85AE-ECCB63EBECF4.htm",
"description":"Prepare sequences in your Avid application before exporting them as AAF files. If you are working from tapes, digitize to Avid in a manner that will allow the online editor to easily recapture media in Smoke. You should also be able to edit in Avid using file-based media.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Importing AAF Files","href":"./files/topichead_d3e54650.htm"}]},
{"title":"Logging and Capturing from Tape in Avid",
"href":"./files/GUID-076104F1-3AC5-4894-BFCE-065C11341ACE.htm",
"description":"When capturing clips for offline edit sessions in Avid applications, you enter the tape name in the Tape Name field of the Capture Tool box. After importing the AAF in Smoke, you recapture all the media from tape. It is this tape name, as entered in the Tape Name in Avid, that will indicate which tapes to use.",
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{"title":"Exporting Sequences from Avid",
"href":"./files/GUID-4950049D-1277-45AF-A87A-F8FE8694E413.htm",
"description":"When you are ready to export projects from the Avid application, you must export each sequence separately as an AAF file, since Smoke does not support Bins or Batch lists.",
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{"title":"Importing AAF Files",
"href":"./files/GUID-88810CB9-7D12-4A0D-BEAE-045E95B2053B.htm",
"description":"Import AAF sequences from Avid in the same way that you import an EDL. Each AAF file corresponds to a sequence that can be opened in the timeline, including video and audio layers, and select transitions and effects. Some unsupported effects are marked with comments indicating what you have to rebuild in Smoke based on the original offline edit.",
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{"title":"Relinking to File-based Media",
"href":"./files/GUID-EC62D1CD-D536-4B24-91AF-536BA5D79670.htm",
"description":"After having edited sequences in your Avid application using file-based media, such as MXF files or QuickTime movies, you can relink the exported AAF to these files in Smoke.",
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{"title":"Recapturing Media From Tape",
"href":"./files/GUID-EB167939-061B-4C38-A500-51B5E4E8010B.htm",
"description":"After importing an AAF file, you recapture the source material from the original tapes using the Recapture tool.",
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{"title":"Optimizing the Recapture of Footage Referenced in AAF Files",
"href":"./files/GUID-D6A432E6-6EFA-49C5-BB50-F7F1B9CD858C.htm",
"description":"There are two methods that can help you achieve a more efficient workflow as you import projects from third parties via AAF. You can consolidate clips before recapturing to reduce the amount of extra footage, or you can relink clips to already captured media if multiple AAF files use the same footage.",
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{"title":"Consolidating Clips",
"href":"./files/GUID-D937C1F4-9903-4A44-AF3A-0579E3239ACF.htm",
"description":"After importing an AAF file and prior to recapturing it, it is strongly recommended that you consolidate your clip in Smoke. This ensures that you do not capture all the extra media that was likely captured during the offline edit. This step should be performed even if a similar process was performed in the Avid application.",
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{"title":"Relinking to Already Captured Material",
"href":"./files/GUID-5EA0D37E-1849-498A-86F9-B30AABF37492.htm",
"description":"If you import multiple AAF files that reference the same footage, you do not have to recapture the footage each time. Instead, you can relink the clip to media on the same reel.",
"ancestors":[{"title": "Conforming Tape-Based Material","href":"./files/topichead_d3e41894.htm"},{"title": "Importing AAF Files","href":"./files/topichead_d3e54650.htm"},{"title": "Optimizing the Recapture of Footage Referenced in AAF Files","href":"./files/GUID-D6A432E6-6EFA-49C5-BB50-F7F1B9CD858C.htm"}]},
{"title":"AAF: Supported Transitions and Effects",
"href":"./files/GUID-35C1E667-C5A6-4A9C-A95D-D1D61707E76B.htm",
"description":"The information in this section indicates how Media Composer 6 AAF data, transitions, and effects map to Smoke data, transitions, and effects.",
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{"title":"General",
"href":"./files/GUID-68CC1510-D9EE-446F-A5E3-E4814F3CF9F2.htm",
"description":"The following tables describe how metadata and media are supported in Smoke.",
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{"title":"AAF: Video and Audio Transitions",
"href":"./files/GUID-989EBF2C-37BF-4D07-8991-14B98D72908B.htm",
"description":"The following tables describe how AAF transitions are supported in Smoke.",
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{"title":"AAF: Video and Audio Effects",
"href":"./files/GUID-F4ADBBA3-6C89-4337-A1E6-FAA37A287D39.htm",
"description":"The following tables describe how effects are supported in Smoke.",
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{"title":"Importing and Exporting OMF Files",
"href":"./files/topichead_d3e56414.htm",
"description":"",
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{"title":"About OMF Files",
"href":"./files/GUID-DF7E66EC-BF62-4379-B976-37C2ED8749FF.htm",
"description":"Open Media Framework (OMF) Interchange files make it possible to move projects with multiple video and audio tracks between systems. You can even include embedded audio media in the OMF file to facilitate the process of restoring a project on another system.",
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{"title":"OMF Project Workflow",
"href":"./files/GUID-D2393DA2-7C34-40BE-BC5C-3DF5F264C0A3.htm",
"description":"The following typical workflow illustrates how OMF files are used to move timeline metadata and audio media between systems at various stages in the post-production process.",
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{"title":"Importing OMF Files",
"href":"./files/GUID-6FC34F77-DAEB-4270-BF70-2F70101EAA78.htm",
"description":"You can import an OMF file to the EditDesk to recreate the original video and audio track structure. Audio files embedded in the OMF file are imported into Smoke as clips. The audio does not need to be recaptured.",
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{"title":"Exporting OMF Files",
"href":"./files/GUID-52DAC886-985E-4BC4-8EB4-D05D1B5AB818.htm",
"description":"When you export a clip as an OMF file, the file is saved in a directory in the filesystem. You can load an OMF file from the directory into another application, or transfer it to another platform.",
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{"title":"Supported and Unsupported Transitions and Effects",
"href":"./files/GUID-4427A559-DEB3-46E7-BF50-D58A16E02B1B.htm",
"description":"The following sections describe how Smoke translates the video contents of an imported OMF file into clips.",
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{"title":"Supported Decisions and Transitions",
"href":"./files/GUID-F13B657D-2869-42A2-A072-5411A0E57F52.htm",
"description":"The OMF Converter Utility translates the following information:",
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{"title":"Transitions Translation",
"href":"./files/GUID-9E8132B9-FD4B-4547-9F8A-1AABEFDCDEED.htm",
"description":"Avid transitions are translated as follows when importing an OMF file into Smoke.",
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{"title":"Effects Translation",
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"description":"Smoke does not support Timewarp effects in OMF files. These effects are converted to a linear Timewarp. The resulting timeline will have the correct duration with the correct Source In/Out timecode, but the speed will be incorrect. You will need to manually replicate the animation Timewarp effect.",
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{"title":"Editing",
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{"title":"Editing Essentials",
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{"title":"Introduction",
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"description":"This chapter introduces a typical editing workflow and points you to the chapters that explain the various editing operations. Basic editing concepts used in Smoke are described, as are some editing interface elements and instructions for using tools that will come in handy during the editing process.",
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{"title":"Editing Workflow",
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"description":"The following table outlines one way of editing. You may perform the steps in a different order, or you may not even need to use all the steps in your project.",
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{"title":"Basic Editing Concepts",
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"description":"This section describes some concepts that apply when editing in Smoke.",
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{"title":"Gestural Editing",
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"description":"Editing operations in Smoke are done through the combination of hotkeys and pen/mouse gestures. Gestures include dragging and dropping, clicking buttons, and selecting items. In many cases, gestural edits are enhanced when combined with keyboard entries.",
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{"title":"Soft Edits",
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"description":"The edits you make in Smoke are known as soft edits because you can modify them later. A soft edit “remembers” the source clips and processes you used. This way, you can modify your edit easily, without having to start from scratch. The insert, overwrite, ripple replace, and replace edits all generate soft edits.",
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{"title":"Transitions",
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"description":"The place where an edit takes place in an edit sequence is called a transition. Transitions are the junctions between clips and are composed of an outgoing shot and an incoming shot. In a dissolve, the outgoing shot is the shot that fades out, and the incoming shot is the shot that fades in. The outgoing shot, incoming shot, and the blending transition are all elements of the edit sequence.",
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{"title":"Timecode",
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"description":"The timecode for the source clip is used in a soft edit. A source clip is loaded from a VTR, is an imported file, or is created in Smoke. Source clips loaded from a VTR start with the timecode from the VTR cassette.",
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{"title":"Keycode",
"href":"./files/GUID-11A7D871-2D4E-4A8D-A480-CC16D420EC76.htm",
"description":"Keycode contains reference numbers printed on the negative film at regular intervals by the manufacturer. It indicates the manufacturer name and film emulsion type. It identifies each frame by means of frame, footage, and unique reel number. Keycode can be used to track frames of film as it is digitized and moves through the post-production pipeline—including through other Autodesk Visual Effects and Finishing products.",
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{"title":"Virtual Sources",
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"description":"A virtual source is a clip consisting of a single frame that behaves as if it were repeated indefinitely. When edited into the timeline, it can be trimmed, slipped, or slid to any extent—the virtual source automatically generates new frames on an as-needed basis. Head and tail frame counts are usually numeric, but because virtual sources have unlimited heads and tails, these are indicated by an asterisk (“*”).",
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{"title":"Record Area View Modes",
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"description":"There are many ways to view material on the work reel in the Record Area. Some views are particularly well suited for certain types of editing. Timeline view, for example, is the main view for editing and is used for roughing out organizational edit sequences, for vertical editing, and for creating soft effects. Head/Tail and Trim views are both suited for trimming. Storyboard view is best for basic splicing.",
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{"title":"Head/Tail View",
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"description":"In Head/Tail view, the first and last frames of each clip are displayed. If the work reel contains a sequence of clips, the head and tail frames of each clip in the sequence are displayed. Shuttle through the sequence by dragging the cursor across the bottom of any frame.",
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{"title":"Storyboard View",
"href":"./files/GUID-3A0D0EC4-957B-420D-BB62-A69A2CAA27BC.htm",
"description":"In Storyboard view, only the first frame of each clip in the edit sequence is displayed. Shuttle through the sequence by dragging the cursor across the bottom of any frame.",
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{"title":"Collapsed View",
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"description":"In Collapsed view, only the current frame of each edit sequence is displayed. The edit sequence appears in the form of a stack. Shuttle through the sequence by dragging the cursor across the bottom of the frame. When you release the cursor, the frame that is displayed becomes the current frame and remains in view. This helps give you a reference image for the clip when all other frames are collapsed.",
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{"title":"Frames View",
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"description":"In Frames view, every frame in the edit sequence is displayed. Although you cannot edit in this mode, it is useful for viewing your entire edit.",
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{"title":"Timeline View",
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"description":"Timeline view organizes video and audio tracks into a timeline format with a positioner at the location of the current frame. You can view a timeline for a source or record clip although you can only edit a record clip timeline. You can view the regular timeline simultaneously with the Player, or you can use Large Timeline view to see more video and audio tracks at the same time.",
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{"title":"Containers View",
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"description":"In Record Timeline view, you can remove clutter from the timeline by grouping elements together into containers. You can work with the elements in a container as one unit and as separate elements. You can view the container timeline at the same time as the master timeline. See .",
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{"title":"Trim View",
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"description":"When trimming, it can be useful to view the edit sequence simultaneously in Head/Tail view and Timeline view. With Trim view, the Timeline view is displayed in its normal location, and the Head/Tail view appears above it, in what is normally the Source Area.",
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{"title":"Record Area Clip List View",
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"description":"Clip List view mode displays a list of objects that make up the timeline. For example, the list gives information about each track, layer, element, cut, gap, container, and cue mark. You can see element names, whether the elements contain soft effects, when they start and end (using timecode), and how long they last.",
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{"title":"History View",
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"description":"Clip history presents a schematic or list representation of the majority of operations performed on a clip or timeline element. Clip history makes it possible to easily return to a module and tweak settings. It also simplifies collaboration: multiple users working on a single clip can use the clip history to navigate the changes made to it. Clip history is a convenient access point for modifying clips, since you can immediately jump to the module effect or soft effect of interest without disturbing any of the other effects.",
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{"title":"BFX View",
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"description":"If you applied Batch setups to timeline segments, use BFX View to navigate to any setup quickly. BFX View displays a schematic hierarchy of all levels of nested Batch setups and their sources relative to the EditDesk record timeline.",
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{"title":"Editing Cursors",
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"description":"When you drag a clip over an edit point in the Record Area in Storyboard or Collapsed view, one of the following cursors appears. The cursor indicates what type of edit will occur (insert or overwrite), and how the Ripple mode will affect the edit.",
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{"title":"Navigating the Timeline",
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"description":"",
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{"title":"About Timelines",
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"description":"The timeline environment enhances the editing process by providing tools that allow you to work with all the video and audio elements of your sequence.",
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{"title":"Accessing Timelines",
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"description":"You can access the timeline of any source or record clip. If your Source or Record Area contains more than one clip, you must make a clip the current clip before you can display its timeline.",
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{"title":"Timeline Interface",
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"description":"Timelines can contain multiple video and audio tracks. An edit sequence on a track is made of segments and transitions. Video and audio segments appear as a series of rectangles on their associated tracks. Transitions appear as cuts or icons between segments.",
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{"title":"Manipulating the Timeline",
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"description":"As the complexity of your timeline increases, you can control the area displayed by panning, zooming, and scrolling. As well, you can display an enlarged view of the timeline.",
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{"title":"Moving the Timeline Display",
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"description":"Move to a particular area of the timeline by panning or scrolling.",
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{"title":"Zooming the Timeline",
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"description":"Zoom in or out of the timeline to control the level of detail displayed.",
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{"title":"Displaying a Large Timeline View",
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"description":"More tracks or layers can be displayed simultaneously with this view.",
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{"title":"Playing the Timeline",
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"description":"You can control how the timeline plays back. For example, frame-step through a shot to isolate a frame or jump to the start of an element to play a specific shot. The image window updates as the positioner moves on the timeline.",
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{"title":"Scrubbing the Timeline",
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"description":"Use the scrub area to move quickly to any location on the timeline.",
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{"title":"Jumping to a Particular Location",
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"description":"If you want to go to a particular timecode or frame, you can have the positioner jump to that location on the timeline.",
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{"title":"Frame-Stepping the Timeline",
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"description":"To isolate a specific frame, move the positioner frame by frame through the timeline.",
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{"title":"Replaying the Timeline",
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"description":"You can replay a shot with a specified number of preroll and postroll frames. You can also view a shot in context with the outgoing and incoming shots.",
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{"title":"Track Basics",
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"description":"The timeline supports multiple video and audio tracks. Having multiple video tracks on the same timeline is useful for quick access to different versions of your work.",
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{"title":"Adding Tracks",
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"description":"You can add as many audio and video tracks to a timeline as you want.",
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{"title":"Activating a Track\'s Output",
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"description":"You can add as many audio and video tracks as you want. However, only one video track can have an active output channel. Up to 32 audio tracks can be mapped to input strips on the AudioDesk.",
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{"title":"Changing the Current Track",
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"description":"Editing operations are performed on the current track. In Timeline view, the current track is indicated by the positioner\'s focus point and by patch identifiers.",
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{"title":"Selecting Tracks",
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"description":"You can select one track at a time, multiple tracks, or all tracks. Selected tracks are yellow and their associated Selector icon appears recessed.",
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{"title":"Locking Tracks",
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"description":"Lock tracks to prevent further editing operations from being performed on them.",
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{"title":"Resizing Tracks",
"href":"./files/GUID-537C9102-3813-4AA2-92DA-B4AA985E0CEA.htm",
"description":"Resize tracks to display additional information about its elements.",
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{"title":"Element Basics",
"href":"./files/GUID-54E0A7D0-B9A4-42C2-A0C6-10D05CF061DC.htm",
"description":"Video segments, audio segments, and transitions all make up the elements of a timeline sequence. You can easily control how you work with any of these elements.",
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{"title":"Selecting Elements",
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"description":"You can select a single element or any number of elements.",
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{"title":"Naming Elements",
"href":"./files/GUID-36F4DACE-717D-4218-B836-FDCFF79C879C.htm",
"description":"You can name video elements, audio elements, as well as transitions, cue marks and track marks.",
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{"title":"Adding Comments to Elements",
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"description":"You can add comments to the individual elements that make up a clip.",
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{"title":"Displaying Element Information",
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"description":"You can display information about elements on the timeline by resizing tracks in any Timeline view. You can also display a clip information overlay in most Record Area views.",
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{"title":"Deleting Elements from the Timeline",
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"description":"You can remove elements from the timeline without removing their track.",
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{"title":"Searching for Timeline Elements",
"href":"./files/GUID-260540BC-0E45-4DAF-A51A-2C9A57E7315D.htm",
"description":"Although you can search for elements by scrolling the timeline and displaying information about each element, Filter Select options make it easier to find specific elements. You can also refine your search when searching specifically on segments.",
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{"title":"Maintaining Sync between Elements",
"href":"./files/GUID-B09EB282-1C32-41DC-BC3B-F8C82B4A5F94.htm",
"description":"Create edit sync groups to preserve the relationship between video and audio elements. For example, if you have a video clip with two tracks of audio, you can create an edit sync group for all tracks. When you edit one segment that is part of an edit sync group, all segments in the group are edited in the same way.",
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{"title":"Resetting Edit Sync Groups",
"href":"./files/GUID-2A54849F-FA47-4675-AD3F-832CBD489DBE.htm",
"description":"If an editing operation removes the sync for a track in an edit sync group, a red plus (+) or minus (-) symbol appears in the element and the Sync offset appears on the element.",
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{"title":"Creating Edit Sync Groups for Multiple Video Tracks",
"href":"./files/GUID-CD760198-CE52-424E-AC0A-D2E4E225C72A.htm",
"description":"You can include elements from multiple video tracks in an edit sync group. The following illustration shows a multitrack that includes front and matte elements for two layers and a background. Create an edit sync group for both layers so that any edit you perform to a front, for example, does not throw off the timing of the corresponding matte. By creating an edit sync group for V1, V2, V3, and V4, you maintain the timing for the front and matte layers while working on the timeline.",
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{"title":"Using Edit Sync for Insert and Overwrite Edits",
"href":"./files/GUID-227D73F0-F19E-4126-B3BE-4FD413E57BC1.htm",
"description":"Edit sync groups can also maintain video and audio sync while you perform insert and overwrite edits. When the Sync button is enabled, you can perform any insert or overwrite edit without removing the sync for the video and audio tracks. When the Sync button is disabled, insert and overwrite edits remove the sync for video and audio tracks.",
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{"title":"Deleting and Disabling Edit Sync Groups",
"href":"./files/GUID-09D4C14E-6617-4C73-B92C-E9524CFE1222.htm",
"description":"When you delete an edit sync group, the sync is removed from all elements that were part of the edit sync group. You can also temporarily disable an edit sync group.",
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{"title":"Patching on the Timeline",
"href":"./files/GUID-C6F57152-53A9-4278-BC18-077CDA27837B.htm",
"description":"When you record a source clip to a record clip, you must decide what source clip channels you want to use, and to which tracks in the record clip you want to record them. To connect the source channels to the destination timeline tracks, you use patching.",
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{"title":"Keyboard Patching on the Timeline",
"href":"./files/GUID-E4AE9A69-E308-4F7A-A8CC-272484D29C3E.htm",
"description":"You can set up video and audio patching using the keyboard. When patching to a video track with the keyboard, you are always patching to the Primary video track.",
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{"title":"Setting In Points and Out Points",
"href":"./files/GUID-044FF533-0B33-4280-8605-96D9B5F1867D.htm",
"description":"Use in points and out points to determine where and how edits are inserted on the record clip. In and out points also determine what part of a source clip is used when inserting or overwriting material.",
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{"title":"Marking In and Out Points",
"href":"./files/GUID-B859859C-9442-4CC3-913B-546A076CEFA2.htm",
"description":"Mark in and out points directly on the timeline, or on the clip itself using the cueing controls found in the Player.",
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{"title":"Deleting In Points and Out Points",
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"description":"You can delete in and out points individually or all at the same time.",
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{"title":"Enabling Phantom Marks",
"href":"./files/GUID-EEFEF475-45F9-45BD-B88B-65211CC437D1.htm",
"description":"When explicit in and out points are not set, you can have phantom marks appear either on the source clip or on the timeline.",
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{"title":"Marking Frames of Interest",
"href":"./files/GUID-0D45A73E-745A-4355-B425-D555713DCF8D.htm",
"description":"Use cue marks to mark frames of interest on a clip. You can then quickly go to the marked frames. Cue marks are for reference purposes only; they do not affect the clip and are not used in any editing operations.",
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{"title":"Lifting Cue and Segment Marks",
"href":"./files/GUID-853F29B3-93A2-4E35-9F84-24563EA0A144.htm",
"description":"You can lift segment and cue marks with a clip. To lift cue marks, either select them or have an in or out point in the record clip before you perform the lift operation.",
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{"title":"Adding Comments to Cue and Segment Marks",
"href":"./files/GUID-C26B7C45-3189-4F71-B6A2-27DA756D8EE4.htm",
"description":"You can add comments to cue marks and segment marks to provide yourself or another editor with notes about the clip. For example, add a comment about a shot that you want to insert at a particular frame.",
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{"title":"Setting Cue and Segment Mark Colours",
"href":"./files/GUID-8BAFABA8-6C23-4C1E-B3B0-671F27E5FE0F.htm",
"description":"You can customize the colour of cue and segment marks.",
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{"title":"Creating a Cut",
"href":"./files/GUID-92A1A96B-518B-4C24-BCB1-6C8C2914ED30.htm",
"description":"When you splice clips together, the location at which one clip changes to another is called a cut. A cut is useful when you want to extract part of an element or end a shot at a given frame.",
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{"title":"Swapping Timeline Elements",
"href":"./files/GUID-C2D5A4FD-61BA-45C8-A358-2079B91CF635.htm",
"description":"You can quickly swap elements on a timeline. If segments contain soft effects, they are swapped as well.",
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{"title":"Matching Clips with Their Source Clip",
"href":"./files/GUID-EB315F70-9C47-4346-B658-139F7CC485D8.htm",
"description":"You can match a clip in the Record Area with its source clip. If a match is found, a copy of the clip is put in the Source Area.",
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{"title":"Editing to the Timeline",
"href":"./files/topichead_d3e62121.htm",
"description":"",
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{"title":"About Editing to the Timeline",
"href":"./files/GUID-F800DB03-0A1E-4292-8177-54A93E70C9B4.htm",
"description":"Editing clips to the timeline allows you to stack video vertically to create composite effects and transitions. You can also create audio mixes where similar types of audio are grouped together by track. You can conform to an offline version as well as load clips to and from other Visual Effects and Finishing products with all edits and effects preserved. Editing clips to a BFX timeline allows you to perform these tasks while continuing to work in a procedural environment.",
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{"title":"Stereo Tracks",
"href":"./files/GUID-5DBFD709-50E2-4BFD-B9B0-F64D6AB8BAC2.htm",
"description":"Editorial and effects work on a stereo track is automatically synchronized between the left eye and the right eye layers. Any changes applied to one layer of a stereo track are automatically applied to the other layer.",
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{"title":"Converting a Stereo Track to Video Tracks",
"href":"./files/GUID-F7E2C746-F21A-4C32-993F-E95F3A7D3434.htm",
"description":"You can convert a stereo track to two video tracks. Do this, for example, if you need to do edits that affect the metadata of one of the stereo layers.",
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{"title":"Converting a Video Track to a Stereo Track",
"href":"./files/GUID-85304A3F-29FC-404A-B66B-05ABA55AF852.htm",
"description":"You can create a stereo track from two video layers on the timeline as long as they share the same metadata.",
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{"title":"Removing Stereo Sync",
"href":"./files/GUID-C4845C96-8B4F-4D69-8081-6E72C6CA9546.htm",
"description":"If you are doing work that affects the media of a stereo layer, you can remove the stereo sync from the left and right eye layers and modify only one layer. For example, there may be instances when you need to colour correct only one eye.",
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{"title":"Adding Clips to an Empty Record Area",
"href":"./files/GUID-ECFCEF25-FA7F-4614-A7AE-6D06A49ADE83.htm",
"description":"You can add as many clips to the Record Area as you need. You can then select any clip and edit its timeline as well as switch between timelines to work on multiple versions of clips. When the Record Area is empty, you are automatically in Storyboard view.",
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{"title":"Setting Record and Source Clips",
"href":"./files/GUID-BAE76307-68C4-471D-B70A-848193C0BA02.htm",
"description":"When editing material from one BFX clip to another using keyboard commands, you first need to specify which clip will contain the resulting edit (the record clip) and which clip will provide the source material for the edit (the source clip). You can only specify one record clip and one source clip at any one time, and you must set the record clip before the source clip.",
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{"title":"Setting the Ripple Mode",
"href":"./files/GUID-050F8414-C21D-4196-88E9-6122924DC4DD.htm",
"description":"When you gesturally insert new material into a timeline or overwrite existing material with new material, you determine whether the edit sequence changes duration with the Ripple mode.",
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{"title":"Setting Snap Options",
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"description":"To properly align gestural edits on the timeline, select a Snap option.",
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{"title":"Dragging Clips to the Timeline",
"href":"./files/GUID-94BAB7F5-E5B2-48E8-B7E1-0F6714AC05E4.htm",
"description":"When you drag a source clip to the timeline, the clip is placed on the track directly beneath the cursor. If you drag a clip below the last track on the timeline, a new track is created.",
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{"title":"Previewing the Placement of Shots on the Timeline",
"href":"./files/GUID-44B8D38B-9CF8-4B50-A648-0BE3EC1DE588.htm",
"description":"When you drag a source clip to an existing track or drag a segment to another location on an existing track, you can preview where it will be placed by displaying a phantom segment. The phantom segment appears in all Snap modes including when Snap is off.",
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{"title":"Navigating Edit Sequences",
"href":"./files/GUID-5A7DAB88-5885-435F-83A1-9080A7FF550E.htm",
"description":"You can easily navigate through a clip’s edit sequence directly on the EditDesk and have the Player or EditDesk proxy automatically update as you change location. You can navigate between cuts and transitions on all layers and tracks. You can also navigate between tracks and layers and change the clip’s focus.",
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{"title":"Identifying Cuts and Transitions",
"href":"./files/GUID-615238A8-3E98-4B80-9562-D7C008B0C9ED.htm",
"description":"As you navigate an edit sequence, visual markers can help you identify the location where one element ends and another begins.",
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{"title":"Inserting Clips into an Edit Sequence",
"href":"./files/GUID-FC521B56-DEB3-4C6C-8A78-934406D60A22.htm",
"description":"When you insert material between existing material in a record clip, the overall length of the record clip may be modified. The result of the insert depends on how you perform the edit. In the following illustration, New Clip is inserted gesturally at the transition between Clip A and Clip B. Everything after the transition is moved ahead in order to make room for New Clip.",
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{"title":"Overwriting Clips in an Edit Sequence",
"href":"./files/GUID-451F2ABA-B098-46C0-A417-CBB30B41F4B1.htm",
"description":"When you overwrite existing material in the record clip with new material, the overall length of the record clip does not change. The result of the overwrite edit depends on how you perform the edit. In the following illustration, New Clip is edited gesturally at the transition between Clip A and Clip B. Clip B is overwritten. Clip A and Clip C are unaffected.",
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{"title":"Inserting or Overwriting on Dissolves and Wipes",
"href":"./files/GUID-3F8AF5F9-4D9E-4E7F-813B-68496253CD6C.htm",
"description":"When an edit is made on a cut, there is no difference between an “Insert/Overwrite Before Transition” edit and an “Insert/Overwrite After Transition” edit.",
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{"title":"Replacing Shots",
"href":"./files/GUID-CAF77B99-490C-4441-B9D9-E805FD2DD803.htm",
"description":"When you replace shots on the timeline, you decide whether the edit sequence changes duration if the shot being replaced is of a different duration than the shot replacing it. If the clip you are replacing contains soft effects, you can choose to keep the soft effects with the new clip.",
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{"title":"Ripple Replace Edits",
"href":"./files/GUID-113E793A-EB52-4A43-911B-D48C17A373AB.htm",
"description":"A ripple replace is an insert edit in which an element that lies between two transitions is “swapped” for the incoming source clip. As the name implies, ripple replace edits ripple, meaning the edit sequence changes duration if the source clip is of a different length than the element it replaces.",
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{"title":"Replace Edits",
"href":"./files/GUID-9F71579A-10BA-42D3-A34B-3DB036FC5127.htm",
"description":"Replace is an overwrite edit where the edit sequence does not ripple. You can do a replace edit so that if the source clip is a different length than the element it replaces, the source clip is shortened or lengthened proportionally to fit the duration of the replaced element. This creates a timewarp effect with a mix value of 0.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Editing to the Timeline","href":"./files/topichead_d3e62121.htm"},{"title": "Replacing Shots","href":"./files/GUID-CAF77B99-490C-4441-B9D9-E805FD2DD803.htm"}]},
{"title":"Source-Only Replace Edits",
"href":"./files/GUID-3C70E969-7A4D-486D-9C09-0A638F8A4B96.htm",
"description":"You can replace only the source to the timeline without removing soft effects from the replaced shot. The soft effects are reapplied to the new source on the timeline.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Editing to the Timeline","href":"./files/topichead_d3e62121.htm"},{"title": "Replacing Shots","href":"./files/GUID-CAF77B99-490C-4441-B9D9-E805FD2DD803.htm"}]},
{"title":"Performing a Three-Point Edit",
"href":"./files/GUID-4BA91BF7-A419-4CFF-9057-8BAF04790B54.htm",
"description":"A three-point edit is one in which a source clip is marked with both in and out points and a record clip is marked with either an in or out point. The points on the source clip mark the shot that is to be brought into the record clip, and the point on the record clip marks where it will go. The remaining material in the source clip is entered into the record clip as head and tail frames.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Editing to the Timeline","href":"./files/topichead_d3e62121.htm"}]},
{"title":"Performing a Four-Point Edit",
"href":"./files/GUID-90390801-5FE6-4393-A447-AF2C2209999B.htm",
"description":"In a four-point edit, in and out points are marked on both the source clip and record clips. The in and out points on the source clip mark the material that will be used for the edit. The in and out points on the record clip mark where the source material will go.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Editing to the Timeline","href":"./files/topichead_d3e62121.htm"}]},
{"title":"Removing Elements from an Edit Sequence",
"href":"./files/GUID-0FFDD15C-4276-4C8A-82A0-066FFF87725E.htm",
"description":"When you remove an element from an edit sequence gesturally, the effect depends on whether Ripple is on or off. When Ripple is off, you lift an element, leaving a gap in place of the lifted element.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Editing to the Timeline","href":"./files/topichead_d3e62121.htm"}]},
{"title":"Removing an Element That Is Part of a Dissolve or Wipe",
"href":"./files/GUID-B1B6B061-185F-4488-942C-01B108B2FB10.htm",
"description":"When you lift or extract an element that is part of a dissolve or wipe, the dissolve or wipe either stays attached to the lifted or extracted element or remains attached to the record element depending on your preferences. In the Transitions section of the Preferences menu:",
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{"title":"Vertical Editing",
"href":"./files/topichead_d3e63916.htm",
"description":"",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"}]},
{"title":"About Vertical Editing",
"href":"./files/GUID-C40D4C3F-63D5-40E0-8130-3BA18E680575.htm",
"description":"A vertically arranged multilayer video track provides the framework for timeline compositing in Smoke or colour grading in Lustre. With vertical editing, you combine multiple stacked layers of one timeline track into a single output. With vertical editing, you combine multiple stacked layers of one timeline track into a single output. You can create complex effects using vertical transitions and soft effects.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Vertical Editing","href":"./files/topichead_d3e63916.htm"}]},
{"title":"Vertical Editing Interface",
"href":"./files/GUID-436C5741-80A1-48CD-92C0-D504E5B8C3B5.htm",
"description":"The following timeline interface components are specific to working with layers for vertical editing. In the example, a clip is made up of three layers with various effects applied. All layers are on track V1.",
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{"title":"Controlling the Transparency of Gaps",
"href":"./files/GUID-BBE022CD-9F5C-4677-8934-48858D500FB0.htm",
"description":"Gaps are spaces in a layer that do not contain media. Create gaps to see through one layer to another or to apply soft effects to the layers below the gap. If a gap exists in a layer, the next layer that contains video media is included in the edit as long as it is also below the focus layer.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Vertical Editing","href":"./files/topichead_d3e63916.htm"}]},
{"title":"Working with Containers",
"href":"./files/GUID-EB143523-6695-4A26-9753-6AF4FF0865AD.htm",
"description":"Containers are a convenient way to remove clutter from the timeline by grouping elements together. The elements, which can come from different layers or tracks, are treated as one unit yet remain individually editable. Containers behave like any other element but they appear on a separate timeline when you enter their editor. You can add an unlimited number of containers to a container.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Vertical Editing","href":"./files/topichead_d3e63916.htm"}]},
{"title":"In-Context Editing",
"href":"./files/GUID-340904BB-AC9A-4D7E-A169-976F89032E4C.htm",
"description":"You can work in a container and see the results in context of the record timeline.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Vertical Editing","href":"./files/topichead_d3e63916.htm"},{"title": "Working with Containers","href":"./files/GUID-EB143523-6695-4A26-9753-6AF4FF0865AD.htm"}]},
{"title":"Previewing Vertical Edits",
"href":"./files/GUID-2190F64B-C235-425E-B1E4-8CFAF3A9A077.htm",
"description":"As you create vertical edits, you can monitor your results in the Player. Due to hardware limitations, complex vertical edits may not play back in real time. If the system is unable to play results in real time, some frames may be dropped during playback in order to maintain sync. For information on the preview modes you can use in the Player, see .",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Vertical Editing","href":"./files/topichead_d3e63916.htm"}]},
{"title":"Using the Triptych Player with Vertical Editing",
"href":"./files/GUID-C4902B5C-9A14-4A4C-9A30-1AD4E997ABFC.htm",
"description":"The Triptych Player displays three windows simultaneously. It is useful for monitoring and editing several layers of a vertical edit. For example, you may be working with a multi-camera setup and need to monitor three different cameras at the same timecode to decide your cuts. You can view each layer in a different Triptych Player window. You can then move the focus points to different layers and perform editing operations to any layer by making a different Triptych Player window active.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Vertical Editing","href":"./files/topichead_d3e63916.htm"}]},
{"title":"Using the Triptych Player for Multi-camera Edits",
"href":"./files/GUID-907CDB15-E4F6-4391-B637-7DEAD0C6F4FA.htm",
"description":"If your timeline contains a multi-camera setup, use the Triptych Player to monitor three layers simultaneously to make your vertical edits. For example, if you have three layers, use the Triptych Player to monitor each camera in a different Player window to make your edit decisions.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Vertical Editing","href":"./files/topichead_d3e63916.htm"},{"title": "Using the Triptych Player with Vertical Editing","href":"./files/GUID-C4902B5C-9A14-4A4C-9A30-1AD4E997ABFC.htm"}]},
{"title":"Monitoring Multiple Elements Simultaneously",
"href":"./files/GUID-B16B74E5-A967-41FE-97CF-1CC079B61339.htm",
"description":"You can use the Triptych Player to monitor multiple elements simultaneously by locking all Triptych positioners together. For example, you can view the outgoing, current, and incoming shots simultaneously to see each shot in context. By locking the positioners, you can scrub through the timeline while each Triptych Player window updates. This is useful for seeing the results of edits to the current shot. For example, you may have dissolves at the head and the tail of the shot and want to see the result of slipping the current shot.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Vertical Editing","href":"./files/topichead_d3e63916.htm"},{"title": "Using the Triptych Player with Vertical Editing","href":"./files/GUID-C4902B5C-9A14-4A4C-9A30-1AD4E997ABFC.htm"}]},
{"title":"Using the Triptych Player for Colour Matching",
"href":"./files/GUID-7C828D89-15A1-4100-8EF9-621E9EC0B44D.htm",
"description":"The Triptych Player is useful for colour matching when you use the Colour Correction soft effect. You can view the source and the current shot at the same time and see the shots dynamically update as you make changes.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Vertical Editing","href":"./files/topichead_d3e63916.htm"},{"title": "Using the Triptych Player with Vertical Editing","href":"./files/GUID-C4902B5C-9A14-4A4C-9A30-1AD4E997ABFC.htm"}]},
{"title":"Trimming",
"href":"./files/topichead_d3e64454.htm",
"description":"",
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{"title":"About Trimming",
"href":"./files/GUID-3864B83F-B087-4A48-B949-5E1AC08B8812.htm",
"description":"Trim a clip to add frames to, or remove frames from, a clip\'s head or tail. Slide a clip to trim the clips before and after it without changing the frames used in it. Slip a clip to offset the frames in a clip without trimming the clips before or after it. Smoke keeps track of the source material that goes into trimmed shots, so you can go back and reintroduce material you had previously trimmed out.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Trimming","href":"./files/topichead_d3e64454.htm"}]},
{"title":"Trimming Examples in this Chapter",
"href":"./files/GUID-D1624C29-FE9F-449E-BF58-9310AD925A79.htm",
"description":"This chapter contains illustrations that demonstrate the effects of various five-frame trim operations. The numbers in the illustrations refer to the number of frames in the clip\'s head and tail. Before trimming, the clips in the edit sequences are numbered “H:10 - T:10,” indicating that each clip has a 10-frame head and a 10-frame tail. Changes to the head and tail count are underlined in the illustrations for emphasis. The visual indicators are for illustration purposes only.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Trimming","href":"./files/topichead_d3e64454.htm"},{"title": "About Trimming","href":"./files/GUID-3864B83F-B087-4A48-B949-5E1AC08B8812.htm"}]},
{"title":"Viewing Head, Tail, and Offset Information",
"href":"./files/GUID-785C1820-E90A-4974-9B71-5D2298D269A0.htm",
"description":"Head, tail, and offset information is part of the clip information provided in Timeline, Trim, and Head/Tail views.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Trimming","href":"./files/topichead_d3e64454.htm"}]},
{"title":"Using the Trim Cursors",
"href":"./files/GUID-7C117452-797A-4A00-AB76-054E8CD7BECF.htm",
"description":"You can trim using trim cursors in Timeline view, Head/Tail view, and Trim view. For a specific trim cursor to appear, it must be in the appropriate area for the trimming operation you want to perform.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Trimming","href":"./files/topichead_d3e64454.htm"}]},
{"title":"Locking Clips While Trimming",
"href":"./files/GUID-49D649B4-0103-482B-A7F0-9E4D0DA7C721.htm",
"description":"Enable Lock to lock the clip or transition under the cursor to the cursor. Locking clips controls whether the head or tail frames are affected during trimming. This is useful if you want to trim without affecting transitions such as dissolves.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Trimming","href":"./files/topichead_d3e64454.htm"}]},
{"title":"Viewing Frames While Trimming",
"href":"./files/GUID-C796D4FB-3D70-449A-8C21-12ED209953A9.htm",
"description":"You can view frames while trimming.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Trimming","href":"./files/topichead_d3e64454.htm"}]},
{"title":"Linking Transitions and Cuts",
"href":"./files/GUID-EF31FFDC-50D1-47D0-8A28-3038FA335190.htm",
"description":"Use the Link Transition and Link Cut buttons to affect how transitions (dissolves and wipes) and cuts behave during slide and trim operations.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Trimming","href":"./files/topichead_d3e64454.htm"}]},
{"title":"Hotkey Trimming",
"href":"./files/GUID-2183A04E-D314-4258-92F6-BC3C98DFD941.htm",
"description":"You can do most trimming operations with hotkeys (including trimming video, transitions, and audio). Hotkey trimming applies to the current element. When trimming with hotkeys:",
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{"title":"Trimming and Sliding to Marks",
"href":"./files/GUID-23176FC0-B6BF-40FF-97AB-C13C7672D858.htm",
"description":"You can use hotkeys to trim or slide a clip to an in point, an out point, or to the positioner. It is trimmed or slid only if the element has enough handles.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Trimming","href":"./files/topichead_d3e64454.htm"},{"title": "Hotkey Trimming","href":"./files/GUID-2183A04E-D314-4258-92F6-BC3C98DFD941.htm"}]},
{"title":"Trimming Symmetrically",
"href":"./files/GUID-1889546F-C07F-4C73-8BF6-0582D7BAE040.htm",
"description":"When trimming with hotkeys, you can trim both the head and tail of a transition at the same time.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Trimming","href":"./files/topichead_d3e64454.htm"},{"title": "Hotkey Trimming","href":"./files/GUID-2183A04E-D314-4258-92F6-BC3C98DFD941.htm"}]},
{"title":"Trimming Clips Gesturally",
"href":"./files/GUID-35546C1A-B949-4A14-9189-013B66C18AAD.htm",
"description":"The following section describes how to use the Trim Tail and Trim Head cursors for gestural trimming, both when Lock is on and when Lock is off. Gestural trim operations are the same in Timeline view, Head/Tail view, and Trim view.",
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{"title":"Trimming Dissolves and Wipes",
"href":"./files/GUID-4593512A-73DB-4EB7-A5D5-0E80253753F1.htm",
"description":"You can trim transitions such as dissolves and wipes in Trim, Timeline or Head/Tail view.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Trimming","href":"./files/topichead_d3e64454.htm"},{"title": "Trimming Clips Gesturally","href":"./files/GUID-35546C1A-B949-4A14-9189-013B66C18AAD.htm"}]},
{"title":"Trimming Audio Tracks",
"href":"./files/GUID-0F6DE1EB-6080-4547-9636-29E50B76AF50.htm",
"description":"Audio tracks are divided into sub-frames. There are 100 sub-frames of audio for every frame of video. When trimming audio tracks, you can trim on a sub-frame level by holding down the Shift key while you trim.",
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{"title":"Sliding a Clip Gesturally",
"href":"./files/GUID-1A8C4F75-EAD0-4966-859B-1B445D7AC333.htm",
"description":"Sliding changes a clip\'s position in the edit sequence. It simultaneously slides the clip under the cursor and trims the head and tail of the surrounding clips. With Lock off, the head and tail of the slid clip are trimmed. With Lock on, the head and tail of the slid clip are not trimmed.",
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{"title":"Sliding a Splice or Transition Gesturally",
"href":"./files/GUID-616A1454-8E72-45E3-BE75-A907A7F09058.htm",
"description":"When you slide a splice or transition in Head/Tail view, the slide operation affects that splice or transition only, not the splices and transitions at either end of the clip.",
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{"title":"Sliding Audio",
"href":"./files/GUID-43A3BB2F-618A-47B8-AE39-1EBE362BE9E5.htm",
"description":"You can slide audio elements on the timeline on a sub-frame basis by holding down the spacebar while sliding.",
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{"title":"Slipping a Clip Gesturally",
"href":"./files/GUID-09836805-0650-4D41-95F3-0EA5F6C354DF.htm",
"description":"Slipping simultaneously trims the head and tail of the clip without changing its position in the edit sequence. The duration of the clip is not altered. Other clips in the edit sequence are not affected and the total duration of the sequence does not change.",
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{"title":"Trimming Animated Soft Effects",
"href":"./files/GUID-33612F00-7712-4A91-99BA-877B651F9E86.htm",
"description":"When you trim, slip, or slide an element that has animated soft effects, you specify how the animation channel is affected. You can choose to resize the animation channels, link them to the original frame numbers, or unlink them during the trim operation.",
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{"title":"Trim Cursor Review",
"href":"./files/GUID-47C9B644-371F-4404-973E-4E1A141884FC.htm",
"description":"The following table illustrates the various cursors that appear with gestural trimming. If they do not appear, make sure the Trim button is enabled.",
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{"title":"Dissolves and Wipes",
"href":"./files/topichead_d3e65644.htm",
"description":"",
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{"title":"About Dissolves and Wipes",
"href":"./files/GUID-6A91CD4B-116A-4C50-ACCD-EDB6DC410DEB.htm",
"description":"Dissolves are blending transitions between timeline elements in which the first clip fades out at the same time as the second clip fades in. Wipes are non-blending transitions that use masks to hide or reveal the outgoing and incoming shots.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e58392.htm"},{"title": "Dissolves and Wipes","href":"./files/topichead_d3e65644.htm"}]},
{"title":"Transitions Workflow",
"href":"./files/GUID-6220970C-02BF-48CA-9D08-6BC1D096C303.htm",
"description":"Using hotkeys, you can create transitions in any Record Area view. To create a transition gesturally, you must be in Timeline view. The following is the basic workflow for creating transitions.",
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{"title":"Selecting a Cut",
"href":"./files/GUID-D3AF0C3F-32CD-4177-8888-C765FA99A689.htm",
"description":"To change a cut into a transition, you first must select the cut.",
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{"title":"Selecting the Transition Type",
"href":"./files/GUID-D87F6C13-71AF-453D-A873-955E50094DD1.htm",
"description":"After you select a cut or transition on the timeline, select the type of transition you want to create.",
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{"title":"Selecting the Alignment",
"href":"./files/GUID-68416746-AAC5-4182-A984-D23841ABC597.htm",
"description":"Determine how a transition aligns with the cut, which is the focus point of the transition. Select the alignment from the Transition Alignment box.",
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{"title":"Entering a Transition Duration",
"href":"./files/GUID-8DCD6194-3527-4774-A4EB-30F7121EA76E.htm",
"description":"Define the number of frames over which a transition occurs. You set the number of frames in the Duration field. You cannot use a negative transition duration.",
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{"title":"Creating Dissolves",
"href":"./files/GUID-83731C9B-5F4A-40BD-A2C2-793F4FE16396.htm",
"description":"When adding a dissolve using the keyboard, the dissolve alignment depends on the location of the transition.",
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{"title":"Fading to Black or Fading from Black",
"href":"./files/GUID-31A0BCC3-4BB3-4217-AF04-3893C078260D.htm",
"description":"You can create a fade to black (fade-out) by adding a dissolve at the end of the last segment or at the end of a segment followed by a gap.",
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{"title":"Dissolving to or from a Colour",
"href":"./files/GUID-635364AA-AC9C-4333-8974-07EA0696B359.htm",
"description":"Instead of fading to or from black, you can specify a custom colour for the dissolve. You can use a custom colour for fade-ins, fade-outs, and crossfades.",
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{"title":"Editing Dissolves",
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"description":"Use the Dissolve Editor to animate the blending effect of a dissolve over time. Curves in the Dissolve Editor are Bézier or Linear—as set in the Transitions section of the Preferences menu. The Dissolve Editor is only available for video dissolves.",
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{"title":"Creating a Custom Transition",
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"description":"In a conventional wipe, the incoming clip appears as if it was keyed in from a background clip. In a custom transition, new outgoing and incoming clips are created and added to the Source Area. These new “dummy” sources can then be modified in any module. For example, use the Paint module to create a transition where the outgoing clip is erased by brush strokes to reveal the incoming clip.",
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{"title":"Swapping Transitions from the Source Area to the Timeline",
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"description":"You can swap sources from the Source Area to a transition on the timeline.",
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{"title":"Adding a SMPTE Wipe",
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"description":"Smoke contains a number of predefined SMPTE wipe patterns. When creating a wipe, you can choose a wipe pattern from the file browser or enter the SMPTE pattern number in the Pattern Number field.",
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{"title":"Adjusting the Global Axis of SMPTE Wipes",
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"description":"After adding a wipe to the timeline, you can modify its position, rotation, scaling, and softness in its quick menu.",
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{"title":"Editing Wipes",
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"description":"If the preset SMPTE wipes do not offer enough flexibility, you can create customized wipes with the Wipe Editor. Starting from one or multiple garbage masks of any shape, create wipes that, for example, follow on-screen motion or mimic the shape of an object in a clip.",
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{"title":"Creating Customized Wipes with Garbage Masks",
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"description":"Use masks on the incoming clip to create a customized transition that wipes into the outgoing clip. Depending on the type of wipe you are creating, perform some or all of the following procedures:",
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{"title":"Creating a Mask",
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"description":"When you create a mask, an Axis node and a Geom node are added to the schematic.",
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{"title":"Altering a Mask\'s Shape",
"href":"./files/GUID-D47D18DF-33D4-4D7C-A87D-90BF67ED66AE.htm",
"description":"You can manipulate points on a mask while displaying the incoming or outgoing clip.",
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{"title":"Controlling a Mask\'s Effect",
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"description":"The Geom node contains all the information about how a mask affects the final transition. You can change this information in the Mask menu.",
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{"title":"Changing a Mask\'s Position, Rotation, and Scaling",
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"description":"An Axis node contains all the rotation, scaling, and position data for the mask. You can change all this information in the Mask menu. The Axis controls are identical to those in the Action Axis menu.",
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{"title":"Animating Masks",
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"description":"You can animate the following mask properties:",
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{"title":"Using the Wipe Schematic",
"href":"./files/GUID-465E7F7F-FC8D-42A0-B487-4483FF21563D.htm",
"description":"Axis and Geom nodes are added to the schematic when you create a garbage mask. Axis nodes are used to control a mask\'s position, rotation, scaling, and shape, for example. Geom nodes contain information about how the mask will affect the image (softness, opacity, alpha, and axis offset).",
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{"title":"Parenting Masks",
"href":"./files/GUID-382EA1A6-EE57-41D9-BD59-87187E452E80.htm",
"description":"You can add an axis to the scene and then make it the parent of another element. Use this method of parenting additional axes to create complex wipes.",
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{"title":"Using Templates for SMPTE Wipes",
"href":"./files/GUID-D834AA4C-F696-4715-9C33-6E792006B646.htm",
"description":"Templates are included with the preset SMPTE wipes that come with your application.",
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{"title":"Adjusting a Preset SMPTE Wipe",
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"description":"If you modify the start position for the wipe, you can adjust the interpolation for the transition.",
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{"title":"Adjusting a Custom Wipe",
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"description":"With custom wipes, you may need to create a template if:",
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{"title":"Creating an Axis Transition",
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"description":"With Axis transitions, you modify the scaling, rotation, and position for the axis of one image to create the transition effect.",
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{"title":"Removing Transitions",
"href":"./files/GUID-CC940D73-1C94-493F-8AEB-A6DAA5F9267A.htm",
"description":"When you remove a transition from the timeline, it is turned into a cut.",
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{"title":"Copying Transitions",
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"description":"As with any element, a transition icon can be lifted off the timeline and dragged to the Source Area. It can then be pasted on other cuts on the timeline. To copy a transition, press F and drag the icon to the Source Area.",
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{"title":"Soft Effects",
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"description":"",
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{"title":"About Soft Effects",
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"description":"Soft effects bring the power of the Smoke effects modules to the timeline. Unlike module effects, soft effects accelerate the creation and tweaking of effects because you apply the effect directly to the timeline. You can create soft effects from both the EditDesk record timeline and the BFX timeline.",
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{"title":"Processing Order of Soft Effects",
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"description":"Soft effects have a fixed pipeline. Regardless of the order in which you create them, they are always processed in the same order, from Text to Axis:",
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{"title":"Creating Soft Effects",
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"description":"",
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{"title":"Editing with Soft Effect Quick Menus",
"href":"./files/GUID-E952CBD8-168D-4253-91FB-29668817D770.htm",
"description":"Access basic setups for a soft effect through its quick menu. If you applied the same soft effect to multiple elements, any changes you make to one element using the quick menu are applied to the other elements as long as the elements are selected.",
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{"title":"Soft Effect Mini Editor — Widescreen Only",
"href":"./files/GUID-3FDF569A-7AAB-4592-9D85-113579758F4E.htm",
"description":"When working in HDTV or film resolution, it is useful to have access to a mini editor for the soft effect to maximize your viewing area, especially to accommodate large formats.",
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{"title":"Accessing the Soft Effect Editors",
"href":"./files/GUID-59A2F611-6E29-4361-A211-98A42263F238.htm",
"description":"Use the editors for greater control of soft effects. Soft effect editors are similar to those found in the full modules. For example, the Axis Editor is similar to Action but allows control of only one layer at a time.",
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{"title":"Navigating in the Soft Effect Editors",
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"description":"When you enter the Timewarp, Blend, or Colour Corrector editors from the EditDesk record timeline, a blue bar appears in the Player indicating the location of the segment in context of the entire timeline. This allows you to shuttle through the entire sequence and quickly return to the element you are currently working on. When the positioner is over the blue bar, you are monitoring the current element.",
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{"title":"Previewing in Soft Effect Editors",
"href":"./files/GUID-688C2C2F-8E37-4854-B828-FC9318378D96.htm",
"description":"Within most soft effect editors, you can immediately see changes to the current frame by previewing your soft effects. Preview FX mode is useful if you have many unrendered soft effects or complex vertical edits that cause frames to be dropped during playback.",
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{"title":"Generating Clip Proxies",
"href":"./files/GUID-942303AC-912F-4255-94E1-A7A0E7942350.htm",
"description":"If proxies are set for your project, you can toggle between Proxies and Full Res mode from the soft effect editors.",
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{"title":"Creating Axis Soft Effects",
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"description":"Use a soft Axis to create a single-layer effect directly on the timeline. For example, scale an element with a soft Axis to reveal an element on another layer.",
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{"title":"Creating Matte Containers",
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"description":"Containers are a convenient way of grouping elements on the timeline. The elements, which can come from different layers, can be edited as a unit and individually. A matte container is a container with the RGB portion of an image on one track and its matte on another. If the matte for a clip exists separately from it, you can add the clip and its matte to the timeline as a single element by creating a matte container for them.",
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{"title":"Accessing the Axis Editor",
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"description":"Use the Axis Editor to create effects that include 3D text, motion tracking, and keyed components. The Axis Editor is similar to Action. However, you can only manipulate a single layer, and you cannot apply textures to 3D text.",
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{"title":"Modifying Axis Soft Effect Layers",
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"description":"Only one layer is available with the Axis soft effect. You can modify the Text axis, the Global axis, or the Surface axis of the layer.",
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{"title":"Hiding Nodes",
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"description":"You can hide the current axis. For example, enter the Axis Editor with a black source and add 3D text. Then hide the black source so that the only element used in the soft effect is the 3D text.",
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{"title":"Accessing the Axis Keyer",
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"description":"You can create chroma keys directly on the timeline using the Axis Keyer. When you enter the Axis Keyer, the clip loaded as the Front is the clip with the Axis soft effect, and the clip loaded as the Back is the next available layer on the timeline.",
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{"title":"Setting Axis Rendering Options",
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"description":"When rendering a soft Axis, you can specify some render options for the image and others for surfaces in the Axis effect such as 3D text elements. You set these options from the Axis quick menu or from the Axis Editor.",
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{"title":"Creating Wipe Soft Effects",
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"description":"Use the Wipe soft effect to create a vertical wipe between layers on the timeline. For more control of the Wipe soft effect, use the Wipe Editor.",
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{"title":"Creating Sparks Soft Effects",
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"description":"Use the Sparks soft effect to apply video Sparks to video elements on the timeline. Sparks soft effects are applied below Axis and Wipe effects. If you want to apply a Sparks effect to an element that contains an Axis or a Wipe effect, you need to contain it first if the result of the Axis or Wipe effect is required by the Sparks. Or, you can apply the Sparks soft effect to a gap above the element containing an Axis or a Wipe effect.",
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{"title":"Preview FX in the Spark Editor",
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"description":"The Preview FX option works the same in the Spark Editor as in every other editor and on the timeline. However, if the element to which you are applying the Sparks also has an Axis or a Wipe effect, you will not see the result of the Axis or Wipe effect in the Sparks module while using Preview FX because these soft effects are upstream of the Sparks effect. If you want to preview all effects, you must exit the Spark Editor and use the Preview FX option in the Player.",
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{"title":"Creating Colour Correction Soft Effects",
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"description":"Use the Colour Correction soft effect to add colour corrections to elements directly on the timeline or use this soft effect with the Triptych Player for colour matching. You can also colour correct segments on the timeline using the Colour Warper tool.2D and 3D vectorscopes are available from the EditDesk to help you match colours accurately.",
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{"title":"Accessing the Colour Correction Editor",
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"description":"If you want more control over the Colour Correction soft effect, use the Colour Correction Editor. The Colour Correction Editor is similar to the standard Colour Corrector; however, it does not accept a matte, background, or reference buffer. Only components specific to the Colour Correction soft effect are explained in this section.",
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{"title":"Colour Matching",
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"description":"Use the Colour Correction soft effect with the Triptych Player for interactive colour matching. You can view up to three different sources in the Triptych Player windows and view the result of the colour match interactively.",
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{"title":"Creating Colour Warper Soft Effects",
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"description":"Use the Colour Warper soft effect to colour correct elements directly on the timeline. You can also use the Colour Warper in combination with the Triptych Player for colour matching.",
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{"title":"Displaying a 2D or 3D Vectorscope",
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"description":"You can display a 2D vectorscope or 3D vectorscope on the EditDesk while you use the Colour Correction soft effect. Use these vectorscopes to match colours, adjust shadows and highlights, view colour distribution, and ensure that broadcast standards are met. Because the vectorscopes appear in the Player, you can access them when you use the Colour Correction quick menu or the Colour Correction Editor.",
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{"title":"Creating Timewarp Soft Effects",
"href":"./files/GUID-DE9C4BD1-A6AE-4268-8CB7-BD8FF0794E07.htm",
"description":"Use the Timewarp soft effect to apply timewarps to elements in the timeline. There is a separate Timewarp soft effect button for video and audio elements.",
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{"title":"Creating Blend Soft Effects",
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"description":"Use Blend soft effects to adjust the transparency between layers on the timeline. Blend soft effects are similar to dissolve transitions except that the Blend soft effect occurs vertically across layers.",
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{"title":"Creating Resize Soft Effects",
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"description":"A Resize soft effect is automatically applied to clips added to the timeline that do not have the same resolution or scan mode as the current clip on the timeline. You can easily perform pan and scans and animate the image position to achieve optimal resizing.",
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{"title":"Soft Resize Editor",
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"description":"The Soft Resize Editor has a two-Player display: source resolution (left) and destination resolution (right). This interface layout is useful for performing pan and scan. Press Ctrl+Alt+M on either Player to lock the view on the broadcast monitor. Using the lock feature can let a client monitor the final framing while you continue working on the source image.",
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{"title":"Creating Text Soft Effects",
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"description":"Text soft effects are an easy, flexible way to add graphics to the timeline. Most Text soft effects can be previewed in real time. You can add several, stacked Text soft effects to a timeline without significantly affecting performance. Text soft effects differ from the regular Text module in a few ways. Soft Text includes:",
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{"title":"Accessing Soft Text Controls",
"href":"./files/GUID-F69A730E-1090-425E-9BD3-EC30564CBF3D.htm",
"description":"Use the Text editor to create text. Use the Text quick menu for making minor changes.",
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{"title":"Creating Text Layers",
"href":"./files/GUID-1770B371-D20D-4277-B2C8-E0F4030EF05D.htm",
"description":"You can create a text layer with or without a matte. A text layer with a matte can be used to place a layer of text on a background. Create text layers with mattes when you are planning to use the text with a soft effect that requires a matte to composite a foreground on a background. You use the composited text as an input for Sparks or when adding an axis.",
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{"title":"Creating a Text Matte Key",
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"description":"A matte key allows you to create a text effect in which the text\'s fill is, in fact, a background clip. When used with an Axis effect (or a Sparks effect that takes a matte), it can be used to layer text made of one background on top of another background.",
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{"title":"Soft Text and Proxy Mode in the Mini Editor",
"href":"./files/GUID-E8B65406-3094-4911-9251-67D161802A62.htm",
"description":"The mini editor is a means for working with soft effects while giving as much screen real estate to the image as possible. When displaying the mini editor for a text soft effect, switching to proxy mode causes the Layer menu to update to show the scale and position in terms of the proxy size, rather than the full-resolution image.",
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{"title":"Creating Colour Sources",
"href":"./files/GUID-CEA3CE3C-AC54-4FCE-B5CA-6EFD6196E82F.htm",
"description":"Use the Colour Source controls to create and alter colour sources, including noise, colour bars and tones.",
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{"title":"Trimming Animated Soft Effects",
"href":"./files/GUID-46B93F90-E913-4FE5-96A7-AFE0D2417D17.htm",
"description":"When you apply animated soft effects to timeline elements, you have three options for how animation channels are affected when trimming. Access these options from the soft effect\'s Channel box. The selected option applies to all soft effects unless they are locked.",
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{"title":"Creating Gap Effects",
"href":"./files/GUID-E420DD7C-A7AC-4BCF-ABFF-892BB3541F8A.htm",
"description":"Gaps are the empty spaces between elements in an edit sequence. They can result from removing a portion of a clip with Ripple set to off. To create a gap effect, apply a soft effect to a gap.",
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{"title":"Creating a Gap Effect over a Transition",
"href":"./files/GUID-AEEA4A78-2B63-4C1E-A3EC-B7712A88B130.htm",
"description":"Creating a gap effect over a transition has three advantages. First, like other gap effects, it keeps the effect separate from the underlying elements. You can modify the transition without interfering with the effect, and vice versa. Second, you apply the effect once rather than to each element separately, greatly simplifying fine-tuning the effect. Finally, you can restrict the effect to just a portion of the underlying elements.",
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{"title":"Adding Soft Text to an Empty Layer",
"href":"./files/GUID-47F060FF-BDC3-4EA9-B100-80EBEAD3633D.htm",
"description":"Soft Text adds text to elements in the timeline. Creating a Soft Text effect as a gap effect adds additional flexibility. Assume you want to add the same text to several clips. With a simple Soft Text effect, you would have to duplicate the effect on each clip. By creating a gap effect, you create the effect once, on an empty layer above the clips.",
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{"title":"Linking Soft Effects",
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"description":"You can link multiple segments in order to apply or edit several soft effects at once. For example, if you apply the same CC soft effect to multiple segments, you can apply changes to the CC soft effect on one segment to the CC soft effect on the linked segments.",
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{"title":"Slipping Soft Effects",
"href":"./files/GUID-518B113E-C763-4879-935A-948396CABBCF.htm",
"description":"When animating a soft effect, you can change its timing directly on the timeline. Slip soft effects by any amount and see the image update as you make changes.",
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{"title":"Copying Soft Effects",
"href":"./files/GUID-37B2D86A-9797-4FA2-8156-0554EB63A817.htm",
"description":"If you want to reuse a soft effect, you can copy it to other timeline segments, to the Source Area, to other clips that use the same media, or to the BFX schematic.",
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{"title":"Copying Soft Effects from the Timeline to the Source Area",
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"description":"You can copy multiple soft effects from the timeline to the Source Area at the same time as long as they are from the same segment. When you want to reapply the soft effect to a segment, you just have to drag the effect on top of the segment.",
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{"title":"Copying Soft Effects between Timeline Segments",
"href":"./files/GUID-70800549-56BD-48B5-9180-6924221529AA.htm",
"description":"Copying soft effects between segments on the same timeline can speed up your work since you do not have to recreate the soft effect for each segment. You can copy a soft effect from a video segment or from a gap.",
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{"title":"Copying Soft Effects between Clips",
"href":"./files/GUID-025930BA-B1D4-4DD6-B957-EA4B08890754.htm",
"description":"You can quickly copy soft effects from one clip to another as long as the sources used to create the soft effects are the same sources to which you want to copy the soft effect. This can speed up your work if you need to reapply soft effects to an updated offline or are working with multiple versions of a timeline since you do not need to copy each effect separately.",
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{"title":"Muting Soft Effects",
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"description":"To remove a soft effect temporarily from the vertical edit, mute it. To put the soft effect back into the vertical edit, simply un-mute it. Muted soft effects are indicated by black LEDs on the soft effect button.",
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{"title":"Deleting Soft Effects",
"href":"./files/GUID-7930F86E-6AE3-4FF9-95C4-7746E64A1BED.htm",
"description":"You can delete any soft effect from the timeline.",
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{"title":"Timewarps",
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"description":"",
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{"title":"About Timewarps",
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"description":"A timewarp is an effect in which the speed of the action taking place appears faster or slower than when it was originally recorded. A freeze-frame effect, in which a single frame is repeated, is another form of a timewarp. Timewarps can have a constant or variable speed.",
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{"title":"Creating Constant Speed Timewarps from the Timeline",
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"description":"When creating constant speed timewarps from the record or BFX timeline, you select a timeline element and then apply a timewarp to it.",
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{"title":"Creating Timewarps in the Player",
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"description":"You can create a timewarp in a source clip using the Player by adjusting the speed of the source clip or the duration of the timewarp. You cannot adjust the speed of the source clip independently from the duration of the timewarp.",
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{"title":"Creating Timewarps Using Fit-to-Fill",
"href":"./files/GUID-CAEC9EDF-5F31-4999-AAF6-633704C27E66.htm",
"description":"A fit-to-fill edit is a convenient means for quickly creating a timewarp that exactly fits a pre-determined space in the timeline. You mark in and out points in both the source clip and the record clip, and edit the clip into the timeline. The timewarp is calculated automatically based on the difference between the source and record durations.",
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{"title":"Constraining Source Clip Timewarp Values",
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"description":"Use the constrain boxes in the Player when creating a timewarp to prevent values from changing when you change other values. For example, if you do not want to change the duration of the timewarp, enable the Constrain button for the Duration field. When you edit the speed value, in point, or out point with the Duration field constrained, the duration of the timewarp does not change.",
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{"title":"Setting Interlace Interpolation Options",
"href":"./files/GUID-EA9488D8-771A-44B4-BA46-83ADE809D5C9.htm",
"description":"When creating timewarps in Interlaced mode, you can choose from five interpolation options. Interpolation helps remove field jitter artefacts that are produced when a reversal of fields occurs during the timewarp.",
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{"title":"Reversing a Clip",
"href":"./files/GUID-23C9D119-213C-4C64-8FB1-BFA14F146EBF.htm",
"description":"Reverse a clip using the Player or the timeline.",
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{"title":"Creating Variable Speed Timewarps",
"href":"./files/GUID-9501E061-1390-4A7C-BE7C-1CE1978261AB.htm",
"description":"Variable speed timewarps contain an animated Speed and Timing channel. You can create custom timewarp effects by adding and modifying keyframes for the timewarp.",
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{"title":"Editing Variable Speed Timewarps",
"href":"./files/GUID-16654296-FE75-4591-B8A1-BD2CF6EFEAAD.htm",
"description":"To edit a timewarp, use the Timewarp Editor.",
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{"title":"Editing Constant Speed Timewarps",
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"description":"When editing a constant timewarp, you can anchor a frame so that its timing is not affected. For example, to modify a timewarp without creating a bad match frame, anchor the in or out frame as you edit the timewarp. Select an anchoring option from the Anchor option box.",
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{"title":"Trimming Timewarps",
"href":"./files/GUID-EFA871BF-9F3D-4FDF-87E9-BC2B3C14D392.htm",
"description":"Trim a timewarp with the Timeline view or Timewarp Editor to change its length. This is useful if you change the speed of a timewarp, thereby changing the duration of the clip. You can then trim either the in or out point to include more or less of the timewarped material.",
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{"title":"Speed Curves Versus Timing Curves",
"href":"./files/GUID-CF520025-870E-4675-9EA0-EB51C82ADB21.htm",
"description":"When you make changes to a clip\'s timing, you are changing the time that it takes for a clip to reach a given frame. Take, for example, a 100-frame clip. You could adjust the timing so that only the 50th source frame is reached by the end of the clip\'s 100 frames. This effectively halves the clip\'s playback rate. A negative playback rate can be achieved by reversing a clip\'s timing curve (by changing the value at the last keyframe to the value of the first keyframe and the other way around).",
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{"title":"Changing the Timing of a Timewarp",
"href":"./files/GUID-C8118B81-E0EE-4BFE-A380-BF43939EB002.htm",
"description":"Edit the timing curve in the Timewarp Editor to adjust the timing of the timewarp. You can adjust the speed of the timewarp independently of its duration. For example, if you are satisfied with the duration of your edit and want to modify the speed of the element without changing the overall duration of your clip, adjust the timing curve without changing the position of the first and last keyframes.",
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{"title":"Blending Timewarped Frames",
"href":"./files/GUID-91453B7E-A950-47F1-ADF5-74C1B8F7E113.htm",
"description":"Blending frames allows you to create a fluid motion in timewarped clips. This is useful when you increase the speed of a clip. By blending frames, you are interpolating motion between frames, taking what may appear to be staggered movement, and creating an appearance of fluidity. You can mix frames together or create a trail effect that either precedes or follows the motion. You can also blend frames using an advanced motion estimation option.",
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{"title":"Blending Frames Using Mix Values",
"href":"./files/GUID-473918C7-50AB-47BE-A15E-B6B9DEF74137.htm",
"description":"Mixing frames takes an equal number of frames from both sides of a given frame and blends them together.",
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{"title":"Blending Frames Using a Pretrail or Posttrail",
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"description":"With trails, you have greater control over how frames are blended. You can add a trail to the image that precedes or follows the object:",
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{"title":"Blending Frames Using Motion Estimation",
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"description":"Motion estimation analyses the pixels in each frame and interpolates the motion in the clip with sub-frame precision. When blending by mix values or trails does not provide the results you want, motion estimation can often deliver better results.",
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{"title":"Adding a Strobe Effect to a Clip",
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"description":"Use the Strobe and Pulldown commands to create a clip that repeats a specified number of frames or fields without changing the duration of the clip. The repeated frames or fields replace the original frames or fields in the clip. When you use these commands, your timewarp curve is automatically modified with new keyframes based on the values you specify for the strobe.",
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{"title":"Removing and Resetting Timewarps",
"href":"./files/GUID-03A36D93-0ABA-4E76-9DE4-D69ED2B3761C.htm",
"description":"You can remove timewarps or reset the speed to 100%.",
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{"title":"Managing Timeline Media",
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"description":"",
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{"title":"About Managing Media on the Timeline",
"href":"./files/GUID-3A2628E1-9444-450B-9091-AE34B2047CDA.htm",
"description":"You can manage timeline media in various ways as you process depending on your needs. For example, to free up space on the framestore, remove unused frames by consolidating timeline elements.",
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{"title":"Identifying the Status of Timeline Elements",
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"description":"When you apply soft effects to timeline elements, colour bars on the elements indicate the process and lock status.",
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{"title":"Auto Rendering When Entering Soft Effect Editors",
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"description":"When entering a soft effect editor, you can have the background layer processed automatically. Or, you can enter the editor without processing the background layer and use the Preview FX or Context option to preview the result.",
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{"title":"Consolidating Elements on the Timeline",
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"description":"If you have video or audio elements on the timeline that have excessive handles, use the Consolidate option to remove head and tail frames. Consolidate your clip before archiving a project to avoid archiving a large number of unused frames. You can keep a specified number of head and tail frames when you consolidate. You can consolidate a single element or a selection of elements.",
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{"title":"Committing Clips on the Timeline",
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"description":"When you commit an edit sequence, it becomes one continuous clip. The soft properties of the sequence such as transitions, head and tail frames, and timewarp data are removed. The visual effects of the transitions and timewarps remain but you cannot edit them.",
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{"title":"Hard Committing Specific Soft Effects",
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"description":"You can selectively commit soft effects. Soft effects are committed in the following order:",
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{"title":"Committing Batch FX",
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"description":"When you output from a Batch FX output node to the timeline, you can commit the RGB results (BFX) or the matte results (BFXa). Any soft effects on the timeline are preserved when you commit the Batch setups.",
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{"title":"Merging Timeline Layers",
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"description":"Merging timeline layers is a quick way to generate a single layer from a multi-layer timeline.",
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{"title":"Unlinking Clips on the Timeline",
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"description":"Use the Unlink option to separate a clip\'s media from its metadata. This option is useful when you need to free up space on the framestore. You can then delete the media if there is no other clip referencing this media. After unlinking, you can use Recapture to get back the media.",
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{"title":"Locking Processed Timeline Elements",
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"description":"You can lock timeline elements so that they will not change even if you modify material on other layers. Locking elements creates a temporary soft clip that retains all material in that effect. The clip is not affected by editing operations you perform on the timeline. You can only lock processed timeline effects.",
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{"title":"Partial Processing of the Timeline",
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"description":"You can process selected frames of a video segment instead of the entire segment. When you later process the timeline, any frames already processed are not processed again.",
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{"title":"Managing Clips in a BFX Level",
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"description":"From a BFX level, you can send a copy of any clip to the EditDesk. If the clip contains soft effects, the soft effects are preserved with the clip.",
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{"title":"Audio",
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"description":"",
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{"title":"About Working with Audio",
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"description":"Smoke contains a number of powerful tools that allow you to edit, mix, and master your audio. You can perform many of the same editing operations that you use to edit video, such as cutting, trimming, adding dissolves, and creating stereo stracks. A comprehensive set of audio effects tools is available in the timeline and AudioDesk for mixing and mastering your audio.",
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{"title":"The Audio Path",
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"description":"In Smoke, you can control the path for an audio signal and adjust audio parameters for the signal at various stages in the path. Along this path the audio signal picks up a few terms and definitions.",
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{"title":"About Working with Dolby E",
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"description":"Dolby E is a professional audio coding system, developed by Dolby Laboratories, that allows you to distribute 8 channels of high-quality digital audio (plus metadata) over existing two-channel audio infrastructures (AES-3 pairs). Post-production facilities are able to provide a variety of sound mixes, including foreign language tracks and discrete 5.1 audio over the same pair.",
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{"title":"What You Can Do with Dolby E",
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"description":"When working with Dolby E encoded audio tracks in Smoke you can do the following:",
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{"title":"Things to Consider When Working with Dolby E",
"href":"./files/GUID-7BBF23C3-7409-44D4-8A1B-4D543789F5CA.htm",
"description":"When working with Dolby E encoded audio tracks in Smoke you must take into account the following considerations:",
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{"title":"Accessing the AudioDesk",
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"description":"To access AudioDesk from the Player: On the EditDesk, with the clip highlighted, tap the swipe bar. The clip appears in the Player. In the Player, select the Audio Desk tab.The AudioDesk appears.",
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{"title":"About the AudioDesk Controls",
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"description":"The AudioDesk includes a comprehensive set of audio tools for mixing and mastering audio. The AudioDesk appears as follows.",
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{"title":"Working with Audio in the Timeline",
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"description":"Once you load audio into the timeline in Smoke, you can perform many of the same editing operations as you use to edit video. You can sync audio with video, cut and trim audio segments, and add fades and crossfades. You can assign audio tracks to input strips in AudioDesk. You can also apply audio soft effects and scrub, mute, and solo individual audio tracks. You can apply these on the fly while the clip is playing.",
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{"title":"Assigning an Audio Track to an AudioDesk Input Strip",
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"description":"Assign an audio track on the timeline to an input strip on the AudioDesk to adjust audio levels and audio parameters as you edit clips on the timeline. You can assign only one track to each AudioDesk input strip.",
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{"title":"Scrubbing Audio in the Timeline",
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"description":"You can scrub audio at any speed between -100% and +100% of real time (locked rate scrub) or do a free form scrub. You can scrub a single audio track or all audio tracks.",
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{"title":"Viewing Audio Waveforms in the Timeline",
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"description":"You can view or hide audio waveforms as you work with audio in the timeline.",
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{"title":"Applying Audio Soft Effects in the Timeline",
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"description":"You can apply audio soft effects to one or more audio segments in an audio track. To hear auxiliary send effects you need to mix down the audio prior to exporting the clip.",
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{"title":"Muting Audio Tracks in the Timeline",
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"description":"You can mute one or more audio tracks in the timeline.",
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{"title":"Soloing Audio Tracks in the Timeline",
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"description":"You can solo one or more audio tracks in the timeline.",
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{"title":"Creating Audio Fades in the Timeline",
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"description":"You can create an audio fade or crossfade in the same way you add a dissolve to video elements. When creating an audio fade, you specify the duration of the fade, the interpolation for the fade-in and fade-out, and the rate of the fade.",
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{"title":"Editing Stereo Audio Tracks",
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"description":"You can import a stereo audio track, or create by mergin two mono tracks. A stereo audio track appears in the timeline as a single track with two layers, or channels, one for each track of stereo audio track.",
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{"title":"Creating and Splitting Stereo Audio Tracks",
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"description":"You can create a stereo audio track from two audio tracks on the timeline, as long as they have the same in and out points.",
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{"title":"Moving Audio Channels",
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"description":"You can drag and drop audio channels in and out of stereo tracks.",
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{"title":"Managing the Synchronization of Stereo Channels",
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"description":"If you are doing work that affects the media of a stereo track, you can disable the stereo sync from the left and right channels and modify only one channel. For example, there may be instances when you need to adjust the gain of one channel. You can remove the stereo sync to do the following to one channel of a stereo track:",
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{"title":"About Audio Soft Effects",
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"description":"Audio Soft Effects are effects that can be applied to audio segments in the timeline. All audio soft effects can be modified during playback and all audio soft effects, except Audio TimeWarp, are processed in real time. Audio soft effects can be animated. See . Audio soft effects can also be searched for in the timeline using the Filter Select function. See .",
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{"title":"Modulation Send",
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"description":"Modulation Send is a soft effect that patches an audio segment to the Modulation Auxiliary Effect. All parameters for the Modulation Auxiliary Effect are set through the Auxiliary Effects panel (see ). You can route any number of audio segments through the Modulation Auxiliary Effect. The Modulation effect applies globally to the entire sound track and is output in stereo to a pair of output channels, combining the effect on all inputted audio segments. You can adjust the amount of modulation that can be applied to an individual segment by using the Mod Amount slider.",
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{"title":"Delay Send",
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"description":"Delay Send is a soft effect that patches an audio segment to the Delay Auxiliary Effect. All parameters for the Delay Auxiliary Effect are set through the Auxiliary Effects panel (see ). You can route any number of audio segments through the Delay Auxiliary Effect but the Delay effect is output in stereo to two separate output channels, combining the effect on all input segments. You can adjust the amount of delay that can be applied to an individual segment using the Delay Amount slider. You can also send the segment levels to the Left and Right Delay Channels independently using the Pan Delay slider.",
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{"title":"Reverb Send",
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"description":"Reverb Send is a soft effect that patches an audio segment to the Reverb Auxiliary Effect. All parameters for the Reverb Auxiliary Effect are set through the Auxiliary Effects panel (see ). You can route any number of audio segments through the Reverb Auxiliary Effect but the Reverb effect is output in stereo to 2 separate output channels, combining the effect on all input segments. You can adjust the amount of reverberation that can be applied to an individual segment using the Reverb Amount slider.",
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{"title":"Gain",
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"description":"Use the Gain soft effect to adjust the gain for individual segments in an audio track. Gain is the measure, in decibels, of how much a circuit amplifies a signal. You can set the segment gain to any value from -96.0 dB to +24.0 dB. The segment gain is combined with the input strip gain in the AudioDesk.",
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{"title":"EQ",
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"description":"EQ is a soft effect that allows you to perform precise manipulation of the audio frequency content using the EQ Editor, which is based on a graphical display of EQ settings. For example, you can improve noisy audio tracks or enhance vocal tracks.",
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{"title":"Compression",
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"description":"Compression is a soft effect that can be used to reduce the dynamic range of an audio signal from an audio segment. When you compress an audio signal, there is less of a difference between the lowest measured gain of the signal and the highest measured gain of the signal. Compression is useful if your audio signal has many different loudness levels that you want to play back at a similar perceived loudness level. For example, when recording voice-overs, you may want to maintain a constant perceived level of loudness in the actor\'s voice.",
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{"title":"Noise Gate",
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"description":"Noise Gate is a soft effect that can be used to lower or remove the perceptible level of noise in an audio signal from an audio segment. A noise gate does not remove noise from the audio signal.",
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{"title":"Audio Timewarp",
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"description":"Audio Timewarp is a soft effect used to timestretch an audio segment. With Audio Timewarp you can change the speed and duration or the pitch of the audio. Audio Timewarp uses the DIRAC Time Stretching and Pitch Shifting Technology developed by DSP Dimension (www.dspdimension.com). Depending on the amount of timestretch applied, this soft effect may degrade the quality of the resulting audio.",
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{"title":"Using Input Strips",
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"description":"Use the AudioDesk to adjust various audio settings of an input strip.",
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{"title":"Adjusting Gain for an Input Strip",
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"description":"Use the gain faders in the AudioDesk to control the gain for an input strip. You can adjust the faders while playback is stopped, or during playback, to get a dynamic update of audio levels. Use the Gain Fader Lock buttons to specify if the faders move individually or in pairs. You can set the input strip gain to any value from - dB to +24.0 dB. If you define a gain level for individual segments in the audio tracks, those levels are combined with the levels defined by the input strip gain level.",
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{"title":"Assigning Audio Input Strips to Output Strips",
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"description":"Use the Output Strip assignment boxes to assign the audio signals from the AudioDesk input strips to different output strips. You can assign a signal from any input strip to any output strip. You can mix all signals from the track faders down to one output strip, or assign the signals to any combination of two output strips.",
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{"title":"Adjusting Pan Settings for an Input Strip",
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"description":"Once you assign the input strips to an output strip pair, you can use the pan faders to pan the input strip audio signal between the paired output strips.",
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{"title":"Muting an Input Strip",
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"description":"You can mute an input strip. When you mute an input strip, it is not heard during playback, but its levels still appear on the pre-fader meters. You can also mute an input strip from the timeline.",
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{"title":"Soloing an Input Strip",
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"description":"You can solo an input strip. When you solo an audio track, all other tracks are muted and only the soloed tracks are played back. You can also solo an input strip from the timeline.",
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{"title":"Phase-shifting an Input Strip",
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"description":"You can phase-shift an input strip. Phase-shifting occurs when an audio waveform becomes displaced over time with other waveforms, causing a partial cancellation to result. If phase errors are introduced between a pair of input strips you can invert the phase for one strip to bring them back in phase.",
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{"title":"About EQ Filter Effects",
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"description":"EQ filter settings are used to precisely manipulate the audio frequency content. For example, use EQ filters to improve noisy audio tracks or to enhance vocal tracks. EQ Filters are accessible either from the EQ Desk to adjust input strips, or from the Audio Soft Effects menu to adjust individual audio segments. There are six available EQ filters: High Shelf, High Cut, Mid Presence, Mid Notch, Low Shelf, and Low Cut. Only the High Shelf, Mid Presence, Mid Notch, and Low Shelf filters area available on the EQ Desk.",
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{"title":"High Shelf Filter",
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"description":"The High Shelf filter works on the high frequencies of the audio signal (1 to 20 kHz). The High Shelf filter is useful for adding crispness to the sound. By specifying a frequency for the high EQ, you set the high shelf frequency. All frequencies above the specified frequency are boosted or attenuated, depending on the gain setting (-24 to +24 dB). The default high shelf frequency setting is 12 kHz with a gain of 0 dB.",
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{"title":"High Cut Filter",
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"description":"The High Cut filter (commonly known as a low-pass filter) works on the high frequencies of the audio signal (1 to 20 kHz). The High Cut filter is most commonly used to reduce noise and hiss, and to eliminate pops. By specifying a frequency for the high EQ, you set the cutoff frequency. Frequencies below the cutoff frequency pass through unaffected. Frequencies above the cutoff frequency are attenuated at a constant rate, depending on the Ratio setting. Adjust the Q curve to determine the range of frequencies affected. The default cutoff frequency setting is 12 kHz with a Q value of 0.71.",
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{"title":"Mid Presence Filter",
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"description":"The Mid Presence filter is a parametric mid filter that can work on any frequency of the audio signal (20 Hz to 20 kHz). There are four available mid filter nodes for you to use. A presence filter is typically used for isolating and boosting or limiting a specific portion of the audio signal, such as a voice or an instrument. It is useful for removing background hiss or to dampen sibilance from poorly recorded vocals. By specifying a frequency for the mid EQ you can set the target frequency. Adjust the Q curve to determine the range of frequencies affected by the gain setting (-24 to +24 dB). For example, by isolating a specific frequency of a voice, you can boost or limit its gain while adjusting the Q value to prevent other portions of the audio signal from being affected. The default Mid Presence filter setting is 1000 Hz with a gain of 0 dB and a Q setting of 2.0.",
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{"title":"Mid Notch Filter",
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"description":"A Mid Notch filter is a parametric mid filter that can work on any frequency of the audio signal (20 Hz to 20 kHz). There are four available mid filter nodes for you to use. A notch filter fully limits the specified frequency range regardless of the gain setting. It is often used to reduce the 50 Hz or 60 Hz hum originating from the power source, while having little noticeable effect on the rest of the frequency spectrum. By specifying a frequency for the mid EQ, you can set the target frequency. Use the Q curve to determine the range of frequencies affected. The default Mid Notch filter setting is 1000 Hz with a Q value of 2.0.",
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{"title":"Low Shelf Filter",
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"description":"The Low Shelf filter works on the low frequencies of the audio signal (20 Hz to 1 kHz). By specifying a frequency for the low EQ, you set the low-shelf frequency. All frequencies below the low-shelf frequency are boosted or attenuated, depending on the gain setting (-24 to +24 dB). The default low-shelf frequency setting is 80 Hz with a gain of 0 dB.",
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{"title":"Low Cut Filter",
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"description":"The Low Cut filter (commonly known as a high-pass filter) works on the lower frequencies of the audio signal (20 Hz to 1 kHz). The Low Cut filter is often used to reduce low frequency noise such as rumble. For example, when recording vocals it is common to use a low cut filter at about 60 to 80 Hz for this purpose. By specifying a frequency for the low EQ, you set a cutoff frequency. Frequencies above the cutoff frequency pass through unaffected. Frequencies below the cutoff frequency are attenuated at a constant rate, depending on the Ratio setting. The default cutoff frequency setting is 80 Hz with a Q value of 0.71.",
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{"title":"Adjusting EQ Settings on the EQ Desk",
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"description":"Use the EQ Desk to adjust the EQ for each audio track. The EQ Desk allows precise manipulation of the audio frequency content, although it is not as extensive as the EQ soft effect. For example, use it to improve noisy audio tracks or to enhance vocal tracks. Each desk strip has three available filters: a High Shelving filter, a Parametric Mid filter, and a Low Shelving filter. Each can provide as much as 24 dB of boost or attenuation.",
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{"title":"Using Parametric Mid Filters",
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"description":"The Notch and Presence Parametric Mid filters can be used to reduce or remove unwanted audio anywhere in the frequency spectrum.",
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{"title":"Resetting EQ Values",
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"description":"You can reset the EQ values to default for a single knob, a range of knobs, or an entire input strip.",
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{"title":"Bypassing EQ Values",
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"description":"You can bypass filter groups or filter rows in the EQ Desk, temporarily removing the effect of the EQ changes you made to isolate a particular filter group and adjust the quality of the audio. You can use this capability to compare the original, unchanged track with the track with EQ changes applied to it. Note that bypassing EQ changes affects both playback and output. Also, if you perform a mixdown on a track with bypassed EQ values, the values are not applied to the processed clip. See .",
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{"title":"Animating AudioDesk Effects",
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"description":"You can create audio animations with real-time playback by animating audio soft effects and input strip effects such as audio levels, pans, and EQ both on the AudioDesk and in the Channel Editor. Your animation can be as simple as gradually raising the volume and then suddenly lowering it. In contrast, you can create a complex audio animation so that specific audio waveforms coincide with video effects and various transitions on the timeline.",
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{"title":"About Auxiliary Effects",
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"description":"Auxiliary Effects are global effects modules that provide modulation (phaser, flanger, and chorus), delay, and reverb audio effects. The outputs of Auxiliary Effects are stereo, and are patched to a single pair of output channels. You can send the audio signals of any number of audio segments to the Auxiliary Effects modules. At the segment level, you can adjust how much of the audio signal is sent to the modules using any of the Modulation Send, Reverb Send, or Delay Send audio soft effects. See . All other parameters for Auxiliary Effects are adjusted using the Auxiliary Effects panel. The parameters for each Auxiliary Effect apply globally to all audio segments patched to it.",
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{"title":"Modulation",
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"description":"The Modulation Auxiliary Effect consists of three audio sub-effects: Phaser, Flanger, and Chorus. You can only apply one of the three Modulation sub-effects for an entire sound mix. If you need to use more than one Modulation sub-effect in your mix, you will have to create a separate mix with that effect, or mixdown a specific segment or segments with that effect and insert it into another sound mix.",
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{"title":"Delay",
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"description":"The Delay effect temporarily stores an audio signal then plays it back after a period of time (Delay). The delayed signal may fed back into the recording again (Feedback), to create the sound of a repeating, decaying echo. It is different from reverb, which creates a “reflected” sound using a different technique. The Delay effect is based on a simple algorithm made of two independent mono delay lines.",
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{"title":"Reverb",
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"description":"The Reverb effect simulates a physical environment, such as a gymnasium, cathedral, or valley, that is different from the physical environment of the original recording. In a physical environment, the way we hear sound is based on the properties of direct sounds and reflected sounds. Direct sounds are the frequencies that reach the ear straight from the audio source. Reflected sounds are frequencies that reach the ear after being reflected from a physical surface, such as a wall or mountain side.",
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{"title":"Adjusting Settings on the Auxiliary Effects Desk",
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"description":"Auxiliary effects such as Modulation, Delay, and Reverb can be applied to any number of audio segments. Settings for Auxiliary effects can be adjusted through the Auxiliary Effects Desk menu.",
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{"title":"Using Output Strips",
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"description":"You can use the output strips to control the gain or limit the peaks of the audio output signals.",
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{"title":"Adjusting Output Strip Gain",
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"description":"Use the output strip faders to control the audio output levels. You can adjust the faders while playback is stopped, or during playback to get a dynamic update of audio levels.",
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{"title":"Using the Limiter",
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"description":"The Limiter provides a form of signal compression. It allows audio signals below a set value to pass unaffected, and clips off the peaks of stronger audio signals that exceed the set value. The audio remains untouched unless the limiter is working, in which case only gain is affected. The built-in auto-release mechanism allows for fast recovery, minimizing distortion and pumping. The Limiter is a stereo effect that applies to a pair of output strips.",
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{"title":"Using the Audio Tools",
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"description":"You can perform additional audio functions using the Audio Effects menus in Smoke. You can create an audio-only clip containing tone or silence, apply an audio timewarp, or mixdown the audio to fewer tracks.",
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{"title":"Creating an Audio Tone Clip",
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"description":"You can create an audio-only clip containing up to eight audio tracks of silence, or audio tone at the frequency and level that you specify. Audio Tone clips appear with waveforms in their proxies in the clip library and on the EditDesk. You can record out the audio tone clip to tape to ensure that the audio levels are adjusted correctly.",
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{"title":"About the Audio Timewarp Options",
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"description":"Use the Audio Timewarp options to customize the timestretch of an audio segment. The Audio Timewarp options appear as follows.",
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{"title":"Applying an Audio Timewarp",
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"description":"Use Audio Timewarp to timestretch an audio segment. With Audio Timewarp you can change the speed and duration or the pitch of the audio. Audio Timewarp uses the DIRAC Time Stretching and Pitch Shifting Technology developed by DSP Dimension (www.dspdimension.com). Depending on the amount of timestretch applied, this soft effect may degrade the quality of the resulting audio.",
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{"title":"Converting Audio between Different Video Standards",
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"description":"When you convert your material between different video standards, your audio falls out of sync due to the change in the video frame rate. To avoid this, use the Preset option to timestretch the audio based on the difference in frame rates of the source and destination video standards.",
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{"title":"Mixing Down Audio",
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"description":"If you applied changes such as EQ, pan, or gain adjustments to audio tracks in the AudioDesk, and you want to export the clip with these changes, you need to mix down the clip prior to exporting it. It is not necessary to mix down audio prior to output to a VTR. However, if your audio tracks contain a lot of edits, and you notice dropped frames on playback, output may be smoother if you first mix down the clip.",
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{"title":"Animating with the Channel Editor",
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"description":"",
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{"title":"Animation",
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"description":"",
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{"title":"About Animation",
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"description":"Animation is based on a principle of human vision. If you view a series of related still images in quick succession, you perceive them as continuous motion. Each individual image is referred to as a frame. In Smoke, animation refers to a value that changes over time. A value can be anything from the position, rotation, scaling, or transparency of an object, to the gamma, gain, or offset in a colour correction.",
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{"title":"Accessing the Channel Editor",
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"description":"You use the Channel Editor to create animations. Almost all Smoke modules link directly to the Channel Editor. Its interface and functionality remain the same across all modules, while the specific animation channels correspond to the module itself as follows:",
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{"title":"Accessing Channel Views from Viewports",
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"description":"Any of the Channel Editor\'s views can also be displayed in a viewport.",
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{"title":"Creating Animations",
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"description":"You can create many forms of animation in Smoke. For instance, your animation can be as simple as a layer gradually floating across the screen or slowly fading out. In contrast, you can create a cartoon animation in Paint, then composite it as media in Action so that it uses motion paths and camera changes to add to the sense of movement.",
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{"title":"Setting Keyframes Automatically",
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"description":"The following procedure illustrates the animation workflow by describing how to set keyframes automatically for the saturation channel in the Colour Corrector. Subsequent procedures illustrate how to create animations in Paint and Action, respectively.",
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{"title":"Setting Keyframes Manually",
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"description":"Set keyframes manually when you want to experiment with animated behaviour, especially for precision animation. Setting keyframes manually using the Set Key button allows for more control than the Auto Key method, since it gives you the chance to try out ideas and discard them quickly without having to undo work. In this way, you only set the keyframes when you are satisfied with the result.",
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{"title":"Inserting Keyframes",
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"description":"Use the Insert Key button and Duration field to insert keyframes with ripple. Ripple occurs when frames are added or removed, thereby increasing or decreasing the length of the animation curve. You can also insert keyframes at the end of an animation curve.",
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{"title":"Changing the Duration between Keyframes",
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"description":"Use the Duration field to change the duration between two or more keyframes. The Abs/Rel box determines whether the value in the Duration field is absolute or relative to the present keyframe value.",
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{"title":"Setting Tangents",
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"description":"The tangents define the modulation of the the animation curve. You set the tangent mode to determine the behaviour of tangents for an entire curve.",
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{"title":"Setting Interpolation",
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"description":"Interpolation defines the shape of an animation curve between keyframes. You set the interpolation mode to determine the smoothness of the transitions for an entire curve or between keyframes. The smoother the transition between each keyframe, the less jitter in your result.",
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{"title":"Setting Extrapolation",
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"description":"Extrapolation defines the shape of an animation curve before the first keyframe and after the last keyframe of the curve. The following table describes the extrapolation modes and illustrates the resulting curves. You can set the default extrapolation mode used when creating animations in the Preferences menu. The default extrapolation is initially set to Constant.",
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{"title":"Keyframe Indicators",
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"description":"A number of colours are used in numeric fields to indicate that keyframes are present in the channels associated with the fields.",
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{"title":"Generating Keyframes Based on Audio Analysis",
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"description":"In the Channel Editor, you can use an audio clip to automatically generate keyframes on any video or audio channel based on the analysis of the audio.",
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{"title":"Audio Keyframe Settings",
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"description":"The animation controls Audio tab has a number of submenus with numerous settings to help you work with your audio clips.",
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{"title":"Displaying Channels",
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"description":"You can set display options in the Channel Editor to show specific information and hide other information. Displaying information can be as simple as expanding and collapsing folders in the channel hierarchy or as detailed as filtering to show only animated channels. All of the Channel Editor\'s filter settings for a module can be saved and loaded back into the module on the EditDesk, or for the same module accessed through Batch.",
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{"title":"Viewing Channels in a Table",
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"description":"Viewing the Channel Editor in a tabular format makes it easy to navigate the channel hierarchy and locate keyframe information. The tabular information can be sorted by channel value, keyframe, and expression.",
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{"title":"Expanding and Collapsing Channels",
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"description":"As you create animations, the Channel Editor can become difficult to navigate when many folders in the channel hierarchy are expanded. For easy viewing, expand only the channels of interest, such as channels that are animated, and collapse the others.",
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{"title":"Showing and Hiding Channels",
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"description":"In the Channel Editor, you can display all channels simultaneously or only the channels you are currently working with. You have the same control over the display of channels regardless of the channel view you are using in the Channel Editor.",
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{"title":"Showing Specific Channel Tangents",
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"description":"You can display the tangents of only the selected channels. This can be useful if the Channel Editor is cluttered and you want to concentrate only on a subset of channels to edit.",
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{"title":"Selecting Channels Automatically",
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"description":"After you alter a numeric field, the corresponding channel can be selected automatically in the Channel Editor with hotkeys, a contextual menu, or the Auto Select button.",
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{"title":"Saving and Loading Filter Preferences",
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"description":"You can save all of the filter preferences in the Filter menu. For example, you can save the filter settings you select when accessing the Channel Editor from the Keyer, then load these back into any other module or soft effects editor. The Channel Editor is then filtered accordingly. You can only have one set of preferences, per user, and another for Batch. The saved preferences are persistent for the user when you restart the application.",
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"description":"You can frame selected channels in the Animation Curve window or the Track Editor so that they completely appear in the channel view, from the first keyframe to the last keyframe. When framing a channel with an expression applied to it, the channel is framed from the minimum to the maximum frames in the sequence.",
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"description":"You determine the filter to apply to the Channel Editor by creating a selection set. A selection set includes all the channels, folders, and folder elements that you want to display as part of a set. By defining a selection set, you can select to show only certain channels, folders, and folder elements and to hide all the others. You can navigate the Channel Editor more easily and isolate groups of channels that you are animating. Define selection sets with the User controls by choosing the channels to appear in the selection set.",
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{"title":"Panning and Zooming Channels",
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"description":"You can pan and zoom in the Animation Curve window and Track Editor as you view channels. Use a rectangular zoom to enlarge a particular region and use ordinary zoom to enlarge or reduce the display. Select an option from the Animation controls.",
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{"title":"Colouring Channels and Folders",
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"description":"Use the Colour option in the Curve Functions box to change the colour of channels or folders. This is useful when you want to differentiate animation curves, or tracks.",
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{"title":"Editing Keyframes",
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"description":"As you create animations and set keyframes for channels, you need to be able to edit keyframe values, delete keyframes, as well as modify animation curves and groups of keyframes.",
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"description":"Use the Copy and Paste buttons to copy and paste animation curves or keyframes between channels. You can copy and paste folders provided the folder to which you are pasting has the same number of channels and folders as the folder you copied. For example, in Action, you can copy the Scale folder from an axis and paste it into the Scale folder of another axis because they have the same channels (X scale, Y scale, for example). Trying to copy and paste the Camera folder to the Scale folder will not work because the two folders do not contain the same number and kinds of channels.",
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{"title":"Adding Keyframes",
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"description":"You can add keyframes to a channel\'s animation curve. Added points are unlocked and appear as square outlines on the curve. Adding a keyframe to the animation curve does not add a vertex to a motion path. See for details about using Add mode with motion paths.",
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{"title":"Deleting Keyframes",
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"description":"You can delete one or more keyframes from an animation curve or track. You can also delete keyframes from more than one channel.",
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{"title":"Moving Keyframes",
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"description":"You can change the position of a keyframe or tangent handle on an animation curve.",
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{"title":"Snapping Keyframes between Frames",
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"description":"Sometimes keyframes fall between frames and need to be snapped back. This may occur when using a function such as XScale, after importing animated material from another application, or when using the Track Editor to change the timing of an animation.",
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{"title":"Selecting Multiple Keyframes and Channels",
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"description":"You can select multiple keyframes or channels to edit them in tandem. Do this, for example, to modify every second keyframe in an animation curve or to apply the same modification to two or more channels from different folders.",
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{"title":"Changing the Timing of an Animation",
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"description":"You can change the duration of an animation by scaling its channel horizontally in the Channel Editor. This allows you to change the number of frames it takes for an animation to play through, without having to move each keyframe manually.",
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{"title":"Changing Keyframe Values Proportionally",
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"description":"You can change the vertical scale of an animation curve or a selection of keyframes and change keyframe values for a channel or a group of keyframes while maintaining each keyframe\'s relative frame position. These functions are performed using the Animation Curve window.",
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{"title":"Changing the Timing or Values of Keyframes",
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"description":"In the Animation Curve window and the Track Editor, you can translate an animation curve, track, or a selection of keyframes horizontally to change the timing of keyframes.",
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"description":"You can offset a curve or a group of keyframes on the horizontal or vertical axis. The offset value is set using the Curve Value field.",
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{"title":"Simplifying the Number of Keyframes",
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"description":"You can change the number of keyframes in your animation curve or in a group of keyframes. Using the Simplify function, the peaks and valleys in the selection are analysed and keyframes are generated with a duration between them as specified in the Curve Value field. A large value such as 20 or 30 decreases the number of keyframes between peaks and valleys, whereas a small value such as 1 or 2 increases the number of keyframes. The ideal simplify value varies between animation curves.",
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{"title":"Baking Keyframes",
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"description":"You can transform a curve or a group of keyframes by using the Bake function. This can be useful if you want to change an extrapolated cycle curve into a normal curve, with keyframes created along the cycle. You can also use the Bake function to remove the dependence of a curve linked to another curve with an expression.",
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{"title":"Breaking Keyframe Tangent Handles",
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"description":"Use Break mode in the Edit Mode box to split a keyframe\'s tangent handles into two independent tangent handles (Bézier curves), or split a keyframe\'s tangent handle into two (Hermite and Natural curves).",
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"description":"You can reset a keyframe after its tangent handle has been moved in the Animation Curve window. You can also reset a split tangent handle.",
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{"title":"Modifying the Shape of an Animation Curve",
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"description":"You can modify the shape of an animation curve by rotating its keyframe tangent handles to control the smoothness and speed of the animation.",
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{"title":"Swapping Animation Curves",
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"description":"You can swap animation curves between two channels. Swap works in conjunction with Copy or Cut. You can also swap single keyframes but not a group of keyframes.",
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{"title":"Flipping Channels and Keyframes",
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"description":"Select Negate in the Curve Functions box to flip a channel or a group of keyframes vertically. Select Reverse to flip a channel or a group of keyframes horizontally. Typically, you reverse or flip keyframes so that you can create symmetry with an animation. For example, use Reverse on an image that is warping from a sphere to a flat plane so that it then goes from a flat plane back to a sphere again. Perform these functions in the Animation Curve window.",
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{"title":"Removing Jitter from an Animation Curve",
"href":"./files/GUID-84090D52-720F-4B58-9F9D-9E041B745DF3.htm",
"description":"Select Jitter in the Curve Functions box to remove jitter from an animation curve or within a group of keyframes. Use the Curve Value field to specify the Over value. As a general rule, start with a large Over value over n frames to remove slow jitter, and a small Over value to remove fast jitter. The Jitter option is typically used on shift data in the Stabilizer to remove jitter while keeping camera movement. See .",
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{"title":"Applying an Average",
"href":"./files/GUID-34BBE2D9-EF20-48D1-8905-0237BDCC1017.htm",
"description":"Select Average in the Curve Functions box to remove jitter from a jittery animation track. While the Jitter option is used for removing jitter caused by trackers in the Stabilizer, the Average option is used to remove jitter from an animation track. Enter the number of keyframes used to calculate the average in the Curve Value field.",
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{"title":"Controlling the Speed of Objects",
"href":"./files/GUID-13A06127-8E65-45D4-B82A-278DA71DA160.htm",
"description":"You can control the speed of an object along its motion path with the Speed channel. The speed adjustments do not affect the motion path itself. For objects where you control position explicitly, such as the position of media in Action, you can still control speed by manipulating position keyframe tangent handles on the animation curves in the Channel Editor.",
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{"title":"Creating a Motion Path",
"href":"./files/GUID-8EA19A77-78DD-4405-8DFB-05D85913F54B.htm",
"description":"With motion path animation, object positions follow a spline (curved line) that you create in the image window. By creating a motion path, you have a visual reference for the object\'s position. Use motion paths to animate the position of any of the following:",
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{"title":"Modifying Motion Path Speed",
"href":"./files/GUID-922B443D-0BA2-4041-84ED-274A6F3886E7.htm",
"description":"You control the speed of an object on a motion path by modifying the spline. Modify the spline by moving a vertex to a different location. To slow down an object, break a vertex\'s tangent handles so that you can reshape the spline and redirect the object. To speed up the object, delete a vertex or two from the spline to make it smoother.",
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{"title":"Moving a Vertex on a Motion Path",
"href":"./files/GUID-B88A0F49-75C8-4F9D-8159-F88A96D32562.htm",
"description":"Since you create a motion path in the scene and not in the Channel Editor, you do not have to be positioned at a specific keyframe to move the vertices of a motion path. You can move vertices and tangent handles for any keyframe in the animation.",
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{"title":"Working with Motion Path Tangent Handles",
"href":"./files/GUID-740FB34E-AE3F-488F-A67C-ACE134A5A707.htm",
"description":"You can also change the speed of an animation by moving the tangent handles of any keyframe on the speed curve. The steeper the slope of the curve, the faster the animation. You can break a tangent handle into two handles and then move each independently to fine-tune the slope of the curve.",
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{"title":"Creating Animation Sequences Across Nodes in Batch",
"href":"./files/GUID-10B24426-957E-4D10-B97D-6D6552031AED.htm",
"description":"The Universal Channel Editor is available exclusively through Batch. The channels include most nodes present in the Batch schematic, allowing you to create animations simultaneously for a variety of nodes. You can create animations for multiple nodes without entering and exiting various modules. Using the Universal Channel Editor, you can create animations between nodes so that, for instance, the animation of a garbage mask is synchronized with the animation of a colour correction.",
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{"title":"Animation Menu Settings",
"href":"./files/GUID-15A25B88-8D2E-4EFE-9271-1B9F1F670852.htm",
"description":"The Animation menu has some common settings, and a number of settings specific to certain operations, organized in submenus. For specific Audio submenu settings, see Audio Keyframe Settings.",
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{"title":"Expressions",
"href":"./files/topichead_d3e78268.htm",
"description":"",
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{"title":"About Expressions",
"href":"./files/GUID-B46DECA1-CE8D-4201-8D90-C8A8634097D5.htm",
"description":"Use expressions to apply animation dynamically to one or more channels. For example, use expressions to easily simulate real-world forces such as gravity, momentum, and centrifugal force. Expressions save time since you can animate one channel, and then refer other channels to the first channel so that the other channels automatically behave in relation to the first one. You can use arithmetic operators, such as addition and multiplication, as well as predefined functions to precisely control the behaviour of an animation.",
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{"title":"Expression Content",
"href":"./files/GUID-065E1886-3F8C-4A23-ABF8-BD929C9A6C2E.htm",
"description":"An expression is composed of numeric values, constants, channel references, or combinations of these used with arithmetic operators. Expressions are calculated from left to right, according to a specific order defined in .",
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{"title":"Vectors",
"href":"./files/GUID-C42A2696-DB0D-4F69-BE47-719E38FCD1CB.htm",
"description":"Certain channels such as Position, Rotation, Scale, and Shear are vector based since they represent 3D space and include X-, Y-, and Z-axes. A vector contains three elements that represent the individual components of the channel. Vectors are written using the convention (x, y, z) where x, y, and z represent separate scalar values.",
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{"title":"Functions",
"href":"./files/GUID-FBFF3CE9-B743-4DB6-8469-3840D65BD5F1.htm",
"description":"Smoke includes many predefined functions that can be used to perform calculations in an expression. You pass function-specific values, called arguments, and they return another value back to the expression that called it. A function call in an expression begins with the function name, followed by an opening parenthesis, the arguments for the function separated by commas, and finally a closing parenthesis.",
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{"title":"Keywords and Constants",
"href":"./files/GUID-2CEFCB50-3B7C-468E-8844-7FF63A52E1CD.htm",
"description":"Use the keyword frame in an expression to get the value of the current frame number in your animation. This allows you to create an animation by specifying how a value changes over a sequence of frames.",
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{"title":"Simplified Expressions",
"href":"./files/GUID-11A78667-8E2D-483F-A7D3-D157A52712C6.htm",
"description":"A reference to another channel does not have to be fully qualified when it is at the same hierarchical level as the channel to which the expression is being applied. For example, the following simplified expressions are valid when applied to the specified channel. The fully qualified versions of the expressions are also provided.",
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{"title":"Working with Expressions in the Channel Editor",
"href":"./files/GUID-9C970F55-9808-4DC2-BDFD-0ADB5EF42256.htm",
"description":"You can apply, modify and view expressions using the Channel Editor. You can use the copy and link functionality to quickly apply basic expressions to multiple channels.",
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{"title":"Linking Channels",
"href":"./files/GUID-D8603DC9-9074-4552-9F21-12056483C7F0.htm",
"description":"You can create an expression by linking the behaviour of one channel to another using Copy and Link. You can link different types of channels together. For example, make the scaling of a layer affect the rotation of another layer, or blur a layer by linking it to the position of an axis. Any change that occurs in the position of the axis is reflected dynamically in the layer blur.",
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{"title":"Copying Nodes with Expressions",
"href":"./files/GUID-4CD1C496-4470-4427-9C1D-AF13C24B276E.htm",
"description":"When working in Action, Keyer or Garbage Masks, if you copy a branch in Schematic view, or append to a setup by loading a second setup, any nodes with the same name as existing ones are renamed with unique names. Likewise, if expressions are associated with those nodes, the expressions are replicated and the associated channels are renamed to correspond with the new node names. This preserves the integrity of the expression within the copied branch or appended setup.",
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{"title":"Cascading Expressions",
"href":"./files/GUID-FF040482-765B-412F-BDC6-CF861F492BF1.htm",
"description":"You can copy a single expression to multiple channels that build on the result in the previous channel using the SelectionOrder and CascadeChannel keywords. These keywords increment the channel number or name as follows:",
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{"title":"Operator Reference",
"href":"./files/GUID-DEB94610-A28A-4207-B547-662CE100F615.htm",
"description":"Operators specify a mathematical or logical calculation to be performed between various elements of an expression.",
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{"title":"Arithmetic Operators",
"href":"./files/GUID-B91BB2AA-FF42-4F7F-88A8-7C2382FCB353.htm",
"description":"Use the following arithmetic operators to perform basic mathematical operations.",
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{"title":"Comparison Operators",
"href":"./files/GUID-9BBD13C6-110D-47D3-9119-96051F4C16E2.htm",
"description":"Use the following operators to compare two values with each other. When two values are compared using these operators, the result is 1 if the comparison is true and 0 if the comparison is false.",
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{"title":"Operator Precedence",
"href":"./files/GUID-268AE28C-16F4-40C7-BCCF-21F2CF306444.htm",
"description":"When you combine several operators in a single expression, the operations are performed in the following order.",
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{"title":"Function Reference",
"href":"./files/GUID-32B3872F-8E30-4CAA-BA12-298322E0DF46.htm",
"description":"You can easily create very complex expressions by using the available functions. This function reference provides detailed information about each function. Function arguments in square brackets are optional. However, if you give a value to an optional argument, you must also give a value to every optional argument before that one.",
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{"title":"Animation Functions",
"href":"./files/GUID-501CE8FF-12F2-457B-B2FE-858E8EBBDCAD.htm",
"description":"Use the following functions to animate channels in a general way.",
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{"title":"Slip Functions",
"href":"./files/GUID-7FC50424-528C-49CB-BA9F-53B73C874457.htm",
"description":"Use the following functions to slip the starting frame of a clip backwards or forwards using the slip channel. In effect, the displayed frame in a layer\'s clip will be the animation\'s current frame number plus the slip value. For example, a slip value of -15 holds the clip at the first frame and repeats it 15 times before the clip begins. In this way, you can create a freeze frame effect with one layer while animating another layer. A slip value of 10 begins the clip at frame 11. See .",
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{"title":"Simple Mathematical Functions",
"href":"./files/GUID-27DAB51F-1876-4C8E-939C-5F743F5F9A56.htm",
"description":"The following functions are useful for performing various simple mathematical calculations.",
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{"title":"Random Number Functions",
"href":"./files/GUID-98200360-E359-428A-92DA-4F778769692F.htm",
"description":"Use the following functions to create curves based on random values.",
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{"title":"Rounding Functions",
"href":"./files/GUID-515AD1E0-ECE2-4F7A-85BB-A026C032B68B.htm",
"description":"The following functions are useful for performing various rounding calculations.",
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{"title":"Trigonometric Functions",
"href":"./files/GUID-957852E1-3B31-4160-B597-10F519480A99.htm",
"description":"The following functions are useful for working with angles and performing various trigonometric calculations.",
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{"title":"Vector Functions",
"href":"./files/GUID-CE5533DD-4AAD-4450-8E47-4AFA331832E5.htm",
"description":"Use the following functions for performing various vector-related operations.",
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{"title":"Logarithmic Functions",
"href":"./files/GUID-0C1756F6-D205-4315-98CC-A660C574A789.htm",
"description":"Use the following functions for performing various logarithmic calculations.",
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{"title":"Defining Your Own Functions",
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"description":"Smoke allows you to define your own functions and use them like any other predefined function. By defining functions in terms of existing functions, you can simplify the creation of complex expressions in your animations.",
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{"title":"The Functions File",
"href":"./files/GUID-87238146-6795-4021-A4A6-5E39DE868F17.htm",
"description":"There are two text files in which you can enter user-defined functions:",
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{"title":"Defining a Function",
"href":"./files/GUID-A8392681-4229-443D-8AB3-FE91423D58DF.htm",
"description":"A function is composed of a function name, with the list of arguments, and the expression that forms its definition. You start a function by its name, followed by an opening parenthesis, the arguments for the function separated by commas, and finally a closing parenthesis. The following rules apply for function and argument names:",
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{"title":"Comments",
"href":"./files/GUID-A1C2AF4F-7796-42A4-BBB0-34138D11FE9B.htm",
"description":"You can include comments in the functions file by starting the line with a number sign ( # ). The comments extend through the end of the line on which they appear and are ignored by Smoke when the user-defined functions file is interpreted. Comments are useful for describing the purpose of a function and adding any notes you feel are pertinent. They can be introduced anywhere in the file, except for inside of function definitions that span several lines.",
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{"title":"Sample Function Definitions",
"href":"./files/GUID-C440F18E-B42D-4516-8F1C-B3710C523B6C.htm",
"description":"The following sample functions are found in the functions file that is installed with Smoke.",
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{"title":"Sample Expression Setups",
"href":"./files/GUID-323E581A-A400-4B8B-A683-FBD1B338E011.htm",
"description":"A few Action setups with sample expressions are provided in the directory /usr/discreet/<product_name>/examples/action. To load one of the setup files, open Action with front, back, and matte clips and then load one of the setup files. You may add or change clips according to the effect that you want to produce. See .",
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{"title":"Animated Text",
"href":"./files/GUID-04623CDD-A069-40B8-BAC8-BB4719585FC4.htm",
"description":"To see this example, load the example setup named expressions_text into Action. This example involves multiple text objects that move along a path, with each letter following slightly behind the last.",
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{"title":"Spinning Dagger",
"href":"./files/GUID-80773DF1-F559-470F-A8F3-E5FDB1CC2E60.htm",
"description":"To see this example, load the setup named expressions_spinning_dagger into Action. This example features a dagger moving in an arc. The dagger\'s Y-axis is aligned with the direction of its movement and the rest of the dagger spins around its axis.",
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{"title":"Dagger, Apple, and Cherry",
"href":"./files/GUID-3941A167-706D-4446-ACAF-F2E8BD92C501.htm",
"description":"To see this example, load the setup named expressions_dagger_apple_cherries into Action. This animation points a dagger at either a moving apple or moving cherries, whichever is closer in position at the time.",
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{"title":"Dampened Pendulum",
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"description":"To see this example, load the setup named expressions_dampened_pendulum into Action. This examples involves a pendulum (a ball attached to a rope) that swings freely back and forth under the force of gravity until it comes to a stop.",
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{"title":"Procedural Compositing with Batch",
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"description":"",
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{"title":"Batch Overview",
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"description":"",
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{"title":"About Batch",
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"description":"The Batch module is designed to facilitate inter-module workflow and quicken interactivity as you create effects. Batch provides a flow graph environment where you perform procedural compositing with integrated access to almost all Smoke modules and image-processing commands. An effect you create in Batch FX is a setup applied directly to one or more timeline segments.",
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{"title":"Batch Concepts: Clips",
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"description":"Clips are a sequence of images or frames loaded from an external device such as a VTR and stored in digital format. They are loaded into Batch from the clip library, the EditDesk, the Import Image module, or a Gateway Library. Clips form the root element of a process tree.",
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{"title":"Batch Concepts: Nodes",
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"description":"A node is a graphical representation of a function or module that affects a clip or another node in the process tree. Nodes have one or more input points (also called tabs) used for connecting to clips. For example, a Colour Correct node can accept a Front, Matte and Back connection, whereas an Auto Matte node accepts a Front input.",
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{"title":"Batch Concepts: Process Tree",
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"description":"A process tree is the structure of clips and nodes that ultimately creates an effect. Clips are connected to nodes, and in turn, nodes can be connected to more clips or other nodes. A process tree ends with a BFX Output node.",
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{"title":"Batch Concepts: Group Nodes",
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"description":"A group node is a selection of nodes and clips that are collapsed into one node icon. Each node icon displays the group’s contents, inputs, and outputs. You can create groups for different branches of your process tree and work on each separately. Groups are useful for simplifying cluttered schematics. See .",
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{"title":"Batch Concepts: Rendering",
"href":"./files/GUID-3EA5EB6B-EDEB-4E7D-A160-5A8CA409CC5D.htm",
"description":"Rendering is the process of generating the final clip or an intermediate result. The process tree connected to the BFX Output node is processed, and effects are applied to the segment. A new clip is generated and the record timeline is updated.",
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{"title":"Batch Workflow",
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"description":"The following table outlines a typical Batch workflow from selecting clips to rendering.",
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{"title":"Accessing Batch",
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"description":"The BatchFX module is made up of a schematic where you assemble a process tree, bins where you select the nodes for your process tree, multiple viewports for viewing changes in-context, and various sets of controls for performing BatchFX operations on clips and nodes.",
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{"title":"Batch Node Bins",
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"description":"The node bins contain all nodes required for building a process tree. The nodes are divided into the following three groups, classified by tabs:",
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{"title":"I/O Bin",
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"description":"Use the nodes in the I/O bin to load and import source clips.",
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{"title":"Tools Bin",
"href":"./files/GUID-5F619A19-26E4-409B-89AB-95846E70A196.htm",
"description":"The Tools bin contains nodes classified by tabs. The All Nodes tab contains all Batch nodes except the nodes found in the I/O bin. The other tabs in the Tools bin allow you to create and customize bins.",
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{"title":"User/Project Bin",
"href":"./files/GUID-352B80CC-2221-4936-B250-4ACA3BFF02D2.htm",
"description":"The User/Project bin contains custom nodes classified by a User tab and a Project tab. Use this bin to save custom setups per user or project. See .",
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{"title":"Customizing the Tools Bin",
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"description":"Create custom bins and populate them with your most commonly used nodes to optimize your workflow. As well, change the order of the tabs along the top of the bin and rename them to reflect the contents of a bin.",
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{"title":"Batch Controls",
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"description":"Use the following Batch controls to load and save setups as well as to access setup options. You can also select a specific representation of how you want your work displayed.",
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{"title":"Clip Edit Controls",
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"description":"You can modify a clip anywhere in the process tree with the following Clip Edit controls.",
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{"title":"Process Tree Controls",
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"description":"Use the following Process Tree controls to manipulate nodes in the schematic.",
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{"title":"Displaying Clip Information",
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"description":"You can display detailed information about clips in the schematic such as resolution, frame rate, and size. As well, visual cues such as symbols and letters identify clips as having had a specific type of operation applied.",
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{"title":"Adding Notes to the Schematic",
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"description":"You can add notes to a node or group in the Batch schematic. Notes are useful when collaborating on an effect or project with other users. Notes are saved with the setup so they are visible to all. You can copy and paste content between notes.",
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{"title":"Navigating in the Schematic",
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"description":"You can enable a schematic navigator that provides an overview of all the nodes in the work area. The navigator appears as a mini-map of all nodes.",
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{"title":"Multiple Viewports",
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"description":"You can display up to four viewports at a time in the image window, including a view of the Universal Channel Editor and the Batch schematic. Multiple viewports are convenient for setting channel values, working in Schematic view, and previewing your results all at the same time without having to switch views. See .",
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{"title":"Accessing Modules from Batch",
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"description":"You can access the menu of any module integrated into Batch through its corresponding node. In addition, you can access a specific module\'s Setup menu for the following nodes:",
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{"title":"Working in Action",
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"description":"You can access all Action functionality from Batch. Import clips, create media, and add effects using the Action node in the Batch process tree. You need not leave the Batch environment to accomplish any Action-related task.",
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{"title":"Creating Animations with the Batch Universal Editor",
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"description":"Use the Batch Universal Channel Editor to create animations for each node, You can also synchronize the timing of animations across colour correction, keying, compositing, and other nodes in Batch. Channels in the Universal Channel Editor include most nodes present in the Batch schematic. See .",
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{"title":"Timing View",
"href":"./files/GUID-34E43952-A2AB-4026-8009-19392DA84915.htm",
"description":"The Timing View displays the timelines of all clips at the current level in one view. This view is especially useful for edits where you want to see the relative position of all Batch clips in time. For example, offset multiple clips or edit one clip in relation to the others.",
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{"title":"Selecting Clips and Segments",
"href":"./files/GUID-C7F8CC59-D6A6-4BA8-A083-B659CAC224C6.htm",
"description":"You can select entire clips as well as individual segments in the Timing View. You can also make simultaneous selections, for example, select both a clip and a segment belonging to another clip.",
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{"title":"Offsetting Clips",
"href":"./files/GUID-186B29D5-0405-46E6-9953-D2D09C9C152E.htm",
"description":"Timing View allows you to remain in Batch to adjust the timing of clips rather than exiting to the record timeline. Timing View displays the timing of all clips in the current Batch schematic even if they are not on the current record timeline.",
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{"title":"Setting Batch Preferences",
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"description":"Click the Setup button to access the Batch Setup menu to customize rendering, preferences, and adaptive degradation settings.",
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{"title":"Batch Processing",
"href":"./files/topichead_d3e83687.htm",
"description":"",
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{"title":"Assembling a Process Tree",
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"description":"Use Batch to assemble a series of tasks using nodes. Each node represents a specific Smoke function. You connect clips with nodes and use the result of one node as the source for the next node. As you assemble this arrangement in the Batch schematic, you are building a process tree that processes as many output clips as you want. Intermediate clips can be processed as well.",
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{"title":"Adding Clips to the Schematic",
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"description":"You can add clips to the Batch schematic in the following ways:",
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{"title":"Modifying Clips in Batch",
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"description":"You can modify a clip at any stage while building your effects. Changes are updated and reflected automatically throughout the process tree.",
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{"title":"Adding Nodes to the Schematic",
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"description":"You can add as many nodes as you need to create complex effects. Since Batch is designed to match your workflow, you add nodes in a similar order as you would by going from module to module.",
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{"title":"Connecting Nodes",
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"description":"As you add nodes, you connect them to the process tree by linking the result from one node and using it as a source (front, matte, or back) for the next node in the process tree. You can also connect by linking backward from the source of one node to the output of another (to reuse a node’s output). The only exception is the BFX Output node: you cannot link from its result.",
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{"title":"Working with Multiple Connections",
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"description":"When connecting clips and results, you can have single or multiple connections. This means that you can connect a clip to many nodes. You can also connect a node\'s Result tab to more than one node if you want to reuse a node\'s output elsewhere.",
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{"title":"Duplicating Batch Nodes",
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"description":"You can keep two nodes in the schematic in sync by creating a Duplicate link between them. When you change the settings of one node, they are automatically duplicated on the other node.",
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{"title":"Bypassing Node Inputs",
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"description":"You can improve your workflow in Batch by deactivating certain nodes and rendering only the nodes that you want to process right away.",
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{"title":"Grouping Nodes",
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"description":"Group nodes to simplify cluttered schematics. A group is represented by a single dynamic node that displays the group’s contents, inputs, and outputs. You can use a group node as a parent to, or child of, other clips and nodes.",
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{"title":"Loading a Node\'s Setup",
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"description":"When you load a Batch setup, clips are searched for on the EditDesk and in the clip libraries. On the EditDesk, clips are searched for first by name, and then by clip ID. In clip libraries, clips are searched for by clip ID only—they are not searched for by name. If you delete a clip from the clip libraries that is used in a Batch setup file, you cannot replace it by giving another clip the same name. However, if you delete a clip on the EditDesk, you can replace it with another clip on the EditDesk that has the same resolution and name.",
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{"title":"Undoing and Redoing Operations",
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"description":"Use the Undo and Redo buttons to undo or redo operations performed in both the Batch schematic and individual modules.",
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{"title":"Creating Custom Nodes",
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"description":"Create custom nodes of specific setups that you often use. A custom node can consist of a single node with specific settings or multiple nodes that create a particular effect.",
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{"title":"Previewing Results",
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"description":"While creating your process tree, you can preview results at any time. If you do not like the result of one operation, you can modify or delete it without affecting the other operations in the sequence. You can preview your results in Batch by:",
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{"title":"Viewing Nodes in Context",
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"description":"View a node in context with another node to compare intermediate results throughout the process tree. By working with context points, you can modify nodes in the process tree and immediately view the impact those changes have on the nodes further along in the process tree. You can set two context points in a process tree.",
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{"title":"Working with Audio Contexts",
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"description":"While working on one clip or branch of the process tree, you can listen to the audio of another clip. Audio contexts work in much the same way as video contexts. You can set up to two audio contexts in Batch.",
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{"title":"Caching Frames",
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"description":"You can avoid reprocessing the same nodes and clips as you navigate in the timebar by specifying which nodes and clips should be cached. Cached frames are stored on the system framestore, increasing system performance and efficiency. Stored cache clips are contained in a _Cache_ library and correspond to the clip IDs in the setups. These cache library files are named according to setup and project name.",
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{"title":"Sampling LUTs",
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"description":"When you use the colour patches in the LUT Editor menu in Batch to sample image channel values, sample the image before you resize it. When you try to sample resized images, you sample the original front image, not the resized image. See .",
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{"title":"Using the Scan Format as a Rendering Parameter",
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"description":"When using the Burn-in Timecode, GMask, and Text nodes, you can use the import scan format of a clip as the rendering format. To do this, choose As Front from the Scan Format box.",
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{"title":"Saving Sources and Setups",
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"description":"When saving setups, you can also save the sources used by the setup. You do this by taking a snapshot of the sources. When you take a snapshot, all source clips, including all BFX clips used by the current setup, are saved to a working library. Sources contained in BFX clips, however, do not appear. They are part of the BFX clip.",
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{"title":"Processing Batch Results",
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"description":"",
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{"title":"Working with Audio",
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"description":"You can assign audio to a rendered clip as well as scrub audio in a clip or play it in real time. You can set where the audio starts on the clip by editing the original clip\'s audio. The audio will be in sync according to the starting point assigned. You can specify whether to play back native or context audio sources.",
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{"title":"Importing LUTs",
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"description":"When you save the Import node in Batch, two LUT files are saved—one for the RGB channels and one for the matte. The files are named as follows:",
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{"title":"Batch: Node Reference",
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"description":"",
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{"title":"2D Histogram Node",
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"description":"Use the 2D Histogram node to display the luminance distribution of the matte.",
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{"title":"Action Node",
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"description":"Action nodes provide in-context access to a fully functional Action module. The Action node supports direct media and indirect media.",
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{"title":"Adding Indirect Media to an Action Node",
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"description":"Media nodes contain indirect media and are connected to an Action node. Media nodes have the following properties:",
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{"title":"Adding Direct Media to an Action Node",
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"description":"To add direct media to an Action node, you use the Media list.",
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{"title":"Missing Media",
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"description":"If a clip set to No Media is attached to an Action node and is missing media, the node\'s output is based on the tab to which the clip is connected, and the status of the node\'s other inputs.",
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{"title":"Output Tabs",
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"description":"The Action node’s output tab changes depending on the number and type of outputs it has, as shown in the following example.",
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{"title":"Expanding an Action Node",
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"description":"An Action node is collapsed by default. When you connect to its output tab, it expands temporarily. If the node contains multiple outputs, you can then connect to any output.",
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{"title":"Setting Stereo Startup Mode",
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"description":"When dragging an Action node to the schematic, you can automatically set the node to stereo startup mode. If you change any of the stereo startup settings, you can revert back to the default stereo startup settings. You can also change the settings of an existing Action mono node to the stereo startup settings.",
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{"title":"Auto Matte Node",
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"description":"The Auto Matte node accepts a front clip as input, which it uses to generate a high-contrast matte. The Auto Matte node menu is similar to the Auto Matte command in the Fx menu.",
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{"title":"Average Node",
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"description":"The Average node makes it possible to simulate motion blur in Batch. An image averaging function is applied to the frames to create the motion blur. Attach a front clip to the Average node. See .",
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{"title":"BFX Output Node",
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"description":"Each BFX level contains a BFX Output node. Use the BFX Output node to output a Batch setup applied to a timeline segment or to a contiguous selection of segments.",
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{"title":"Burn-In Letterbox Node",
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"description":"Use the Burn-In Letterbox node to burn a letterbox into a clip.",
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{"title":"Burn-in Timecode Node",
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"description":"The Burn-in Timecode node has a Front input tab. If you are mixing clips that originate from formats that use different timecode, you may want to burn in information on a clip to keep a timecode reference clip.",
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{"title":"Colour Correct Node",
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"description":"The Colour Correct node accepts a front, back, or matte clip as input. The results of a colour correction operation depend on which clip or combination of clips are linked to the Colour Correct source tabs.",
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{"title":"Colour Curves Node",
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"description":"Use the Colour Curves node to access a clip\'s Colour menu, where you can remove colour spill from the front clip and perform a hue shift. You can save and load Colour Curves setups directly in Batch.",
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{"title":"Coloured Frame Node",
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"description":"The Coloured Frame node generates a colour bar, noise, gradient, or colour clip that can be used as the clip for other nodes. You can specify the frame\'s resolution and bit depth. The Coloured Frames node menu is similar to the Colour Source command in the Video menu.",
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{"title":"Colour Warper Node",
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"description":"The Colour Warper node accepts a front, back and matte clip as input. Use the Colour Warper node to access the Colour Warper module. In Batch, enable Result to display the image and the vectorscope in the image window.",
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{"title":"Combine Node",
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"description":"The Combine node combines individual colour space channels of three different source clips (RGB, YUV, or HSL). For example, to generate a new clip, the Combine node can merge the red, green, and blue channels from three clips into one.",
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{"title":"Compound Node",
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"description":"The Compound node makes it possible to combine the contents of several frames into a single frame. The value you enter in the Compound Over field determines exactly how the frames are combined. This is similar to Average, but the resulting clip is shorter, according to the original length/value in the Compound Over field. See .",
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{"title":"Deal Node",
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"description":"The Deal node deals out the frames of a single clip evenly to any number of destination clips. The Clip field defines the number of times the clip is split; the Frame determines which of the dealt clips is output. See and .",
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{"title":"Degrain and Regrain Nodes",
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"description":"Use the Degrain and Regrain nodes to add and remove grain from the RGB channels of a selected colour in an image. The Degrain and Regrain nodes are the same as the Degrain and Regrain commands in the Film menu.",
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{"title":"DeInterlace and Interlace Nodes",
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"description":"The DeInterlace node separates the odd and even scanlines of a clip. For each frame of the clip, the result clip contains one frame with odd scanlines (Field 1) and one frame with even scanlines (Field 2). The DeInterlace node accepts a front clip as input.",
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{"title":"Desk Node",
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"description":"Use the Desk node to access the EditDesk, where you can load clips from the Source Area into Batch.",
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{"title":"Difference Matte Node",
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"description":"The Difference Matte node generates a matte clip from a source clip and a background. This allows you to remove an image from one context and add it to another. The matte is created using the Tolerance and Softness values that you specify. See .",
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{"title":"Field Merge Node",
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"description":"The Field Merge node accepts a front clip. Use the Field Merge node to remove field jitter by merging the fields of a clip. Enter the percentage of blending between fields in the Level field. A value of 100% replicates the average pixel on both the even and odd lines.",
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{"title":"Filter Node",
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"description":"The Filter node applies different effects to a clip, including textures, blurring, edge detection, embossing, sharpening, as well as a combination of effects.",
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{"title":"Flip Node",
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"description":"The Flip node accepts a front clip as input. Use the Flip node to generate a mirror image of a clip. Select how you want to flip the clip from the Flip Type box. You can flip the frames in a clip horizontally, vertically, or both.",
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{"title":"Gateway Import Node",
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"description":"To import images into Batch using the Gateway Import node:In the node bin, select the Gateway Import node and drag it to the schematic. The Gateway Clip library appears. Optional: Create Import Rule",
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{"title":"Gateway Import Node Settings",
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"description":"Clip Versions Available in the Basic and Extended menus of the Gateway Import node. The Clip Versions section is available when either a Gateway clip or a Maya .precomp file is selected. Clip Vers",
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{"title":"Using the Gateway Import Node",
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"description":"Why Use a Gateway Import Node? While you can import all sorts of media files using a Gateway Import node, its primary use is to facilitate integration of Smoke in render pass workflows. In this conte",
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{"title":"About Gateway Clip Files",
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"description":"First, some disambiguation as there are two types of clips using the Gateway denomination:",
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{"title":"Gateway Clip Example",
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"description":"Use the Gateway Clip XML Reference guide to navigate the .clip format.",
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{"title":"GMask Node",
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"description":"The GMask node accesses the Garbage Mask menu and includes the Tracer and Region of Interest (ROI) functions, which are also found in the Modular Keyer. The GMask node accepts a front and a matte clip as input.",
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{"title":"Import Node",
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"description":"Use the Import node to access the Import Image module, where you can import images and clips directly into Batch. Once imported, the item\'s start and end frames can be set.",
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{"title":"Keyer Node",
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"description":"The Keyer node accepts front, back, and matte clips as input. Select an output type from the Select Output box.",
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{"title":"Keyer-Channel Node",
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"description":"Use the Keyer-Channel node to extract a key from a red, green, or blue channel, or from a custom value.",
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{"title":"Keyer-HLS Node",
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"description":"Use the Keyer-HLS node to extract a key by adjusting tolerance and softness using hue, luminance, and saturation ranges. See .",
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{"title":"Keyer-Luma Node",
"href":"./files/GUID-1C8A7832-1946-4D0F-AA2B-3B80D6E8F178.htm",
"description":"Use the Keyer-Luma node to extract a key from the luminance of a clip. A front clip can be connected to the Keyer-Luma node and will process a result clip that can be used as a matte.",
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{"title":"Keyer-RGB Node",
"href":"./files/GUID-7FDA81C1-B1FA-4D8D-B931-F9405A6CB545.htm",
"description":"Use the Keyer-RGB node to extract a key by adjusting tolerance and softness using red, green, and blue ranges. See .",
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{"title":"Keyer-RGBCMYL Node",
"href":"./files/GUID-BA111A65-D85E-4D2C-AD07-A004E8B8E104.htm",
"description":"Use the Keyer-RGBCMYL node to extract a key by adjusting tolerance and softness using red, green, blue, cyan, magenta, yellow, and luminance ranges. See .",
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{"title":"Keyer-YUV Node",
"href":"./files/GUID-5F5A42DC-2ECA-493C-B677-BCD04590A03F.htm",
"description":"Use the Keyer-YUV node to extract a key by adjusting tolerance and softness using luma (Y) and video component (U, V) ranges. See .",
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{"title":"Library Node",
"href":"./files/GUID-BEE8FF6D-2B98-4906-BF4B-3A6AC14AA279.htm",
"description":"Use the Library node to load clips into Batch from the clip library.",
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{"title":"Logic Op Node",
"href":"./files/GUID-F3ABC864-59E0-496C-8A62-C704E2F08369.htm",
"description":"The Logic Op node accepts a front, back, and matte clip.",
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{"title":"LUT Editor Node",
"href":"./files/GUID-C8C75C33-0B0A-4FA5-9DD3-C8821A56B541.htm",
"description":"A LUT converts logarithmic images to linear images or linear images to logarithmic images, while maintaining colour accuracy. The LUT Editor node can also be used to apply a conversion to 16-bit floating-point image in the OpenEXR file format.",
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{"title":"Applying a Conversion to an OpenEXR Image",
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"description":"You can use a LUT Editor node to apply a conversion to an OpenEXR-formatted clip. If a clip is stored at 16 bits, and you want to connect it to a node that does not support floating-point data, attach it to a LUT Editor node to apply a linear conversion to the clip.",
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{"title":"Master Keyer Node",
"href":"./files/GUID-08524BB3-5069-4455-A18B-259E539E435D.htm",
"description":"Use the Master Keyer node to gesturally pull a key. Add a Master Keyer node to the Batch pipeline when you need to create an accurate key of a clip. Use the Master Keyer node to automatically suppress colour spill, to colour correct, and to remove noise or grain. See .",
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{"title":"Matte Curves Node",
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"description":"Use the Matte Curves node to access the Matte Curves menu, where you can adjust the luminance of input mattes. The Matte Curves node is the same as the Modular Keyer Matte Curves node. See .",
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{"title":"Modular Keyer Node",
"href":"./files/GUID-A182476D-F57E-41DD-80AD-AD77C3BF81E3.htm",
"description":"The Modular Keyer node accepts front, back, and matte clips as input. You use the key-in clip, which is generally the same as the front clip, to create a matte for the front clip.",
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{"title":"Mono Node",
"href":"./files/GUID-C0CC8C41-A739-4311-ABD6-0DAC16E09CBE.htm",
"description":"The Monochrome node generates a monochrome copy of the front clip. Use the Luminance box to select the monochrome channel for the clip.",
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{"title":"MUX Node",
"href":"./files/GUID-C1C5590D-0B16-49D2-85B0-F98F5712F572.htm",
"description":"The MUX (multiplexer) node allows you to make multiple output sockets. Use this node to propagate an input to multiple other nodes through the schematic and to clarify its graphical representation. Additionally, use the MUX node to clarify the connection scheme of nodes within a group.",
"ancestors":[{"title": "Procedural Compositing with Batch","href":"./files/topichead_d3e81487.htm"},{"title": "Batch: Node Reference","href":"./files/topichead_d3e86250.htm"}]},
{"title":"Negative Node",
"href":"./files/GUID-1FD5B73E-B4F4-47F1-A4CD-DFF7F89B9CEB.htm",
"description":"The Negative node generates a negative copy of the front clip. The Negative node does not have a node menu. See .",
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{"title":"Notes Node",
"href":"./files/GUID-258093AA-30B1-4FB7-B54D-65398214C3E0.htm",
"description":"A Notes node creates notes or annotations in the Batch schematic. Notes can be collapsed, moved, resized, or expanded. See .",
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{"title":"Optics Node",
"href":"./files/GUID-6D627625-5B64-45CE-9D08-B0BA7C7DA9F9.htm",
"description":"The Optics node accepts front, back, and matte clips as input. Use the Optics node to add a glow effect to the clip in the process tree. See .",
"ancestors":[{"title": "Procedural Compositing with Batch","href":"./files/topichead_d3e81487.htm"},{"title": "Batch: Node Reference","href":"./files/topichead_d3e86250.htm"}]},
{"title":"Paint Node",
"href":"./files/GUID-B9F936F8-9A75-4731-9E18-DFFCC42AC626.htm",
"description":"Batch Paint is a system that provides a scalable matte painting, retouching, or restoration workflow in Batch. Due to its underlying technology, Batch Paint automatically scales strokes when changing the resolution, ratio, or bit depth of input clips, or when switching from Full Resolution to Proxy mode. Batch Paint supports \"clipless\" setups, which can be applied to any image input while accurately reproducing the sequence of painted strokes.",
"ancestors":[{"title": "Procedural Compositing with Batch","href":"./files/topichead_d3e81487.htm"},{"title": "Batch: Node Reference","href":"./files/topichead_d3e86250.htm"}]},
{"title":"Posterise Node",
"href":"./files/GUID-ABB81F73-4668-4775-9B44-2CA02CE8BDBC.htm",
"description":"The Posterise node accepts a front clip and produces a posterised result by reducing the number of luminance or chrominance levels in the clip. The Posterise node menu is similar to the Posterise command in the Fx menu. See .",
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{"title":"Pulldown Node",
"href":"./files/GUID-01C01156-F215-49B1-8AC3-3F570D16CE4C.htm",
"description":"Use the Pulldown node to remove or add pulldown to a clip.",
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{"title":"Quick Composite Node",
"href":"./files/GUID-5D69844C-3C46-409A-A84F-62001062E14B.htm",
"description":"Use the Quick Composite node to composite a front clip and a back clip using a matte clip.",
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{"title":"Resize Node",
"href":"./files/GUID-1E579814-159B-4ABB-82E2-E3B3416AC702.htm",
"description":"Use the Resize node to change a clip\'s resolution, frame depth, and aspect ratio. You can also pan and scan the destination image relative to the source. You can then select and animate the portion of the source clip that appears as the destination clip, and process to create the result image.",
"ancestors":[{"title": "Procedural Compositing with Batch","href":"./files/topichead_d3e81487.htm"},{"title": "Batch: Node Reference","href":"./files/topichead_d3e86250.htm"}]},
{"title":"Render-only Nodes",
"href":"./files/GUID-8EA97482-50B9-4E6E-A485-9469A263C13D.htm",
"description":"When a Batch setup contains a node for a feature that is not supported, a render-only node is created. Although you cannot edit these nodes, you can change their input clips and output connections. Render-only nodes are processed in the final clip result.",
"ancestors":[{"title": "Procedural Compositing with Batch","href":"./files/topichead_d3e81487.htm"},{"title": "Batch: Node Reference","href":"./files/topichead_d3e86250.htm"}]},
{"title":"Sparks Node",
"href":"./files/GUID-312186E1-A86A-43FF-ABE5-6D1CBADFD0A8.htm",
"description":"Use the Spark node to access the file browser, where you can add Sparks plug-ins to the process tree. The number of inputs and bit depth that a Spark node accepts depends on the Sparks plug-in. A Spark node has light grey source tabs, since each Sparks plug-in varies in the type of clips it uses. When editing a Spark, you can display information on its type by toggling the F1 and F4 function keys.",
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{"title":"Sparks Load Node",
"href":"./files/GUID-3AE0D572-DBCC-4B84-802D-6767DF21360B.htm",
"description":"Use the Sparks Load node to populate multiple Sparks nodes at the same time into a destination bin. Populating a bin with predefined Sparks nodes saves you time since you do not have to access the Sparks browser each time you want to use one of the preloaded Sparks.",
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{"title":"Stereo Node",
"href":"./files/GUID-B0BB4D09-94C4-48D3-A543-98CB67C9EA76.htm",
"description":"With the Stereo node, you can take a left eye mono clip and a right eye mono clip and output an anaglyph, interlaced or dual image clip containing one video track.",
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{"title":"Text Node",
"href":"./files/GUID-AA4C48E6-A079-4316-82FA-516ABE527B19.htm",
"description":"Text is comprised of layers, paragraphs, and characters. You can use the Text node in the same way as you use the Text module to make text spin, dance, and change colour over time.",
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{"title":"Batch FX",
"href":"./files/topichead_d3e89573.htm",
"description":"",
"ancestors":[{"title": "Procedural Compositing with Batch","href":"./files/topichead_d3e81487.htm"}]},
{"title":"About Batch FX",
"href":"./files/GUID-5B9987E4-E687-4171-9FF8-B2D36D556FC5.htm",
"description":"A Batch effect (FX) is a setup applied directly to one or more segments on the Batch timeline. Batch FX include effects of any module accessed from the Batch node bin. Creating a Batch FX allows you to take a selection of timeline segments into a Batch flow graph environment for procedural compositing. When you create a Batch FX, you perform procedural compositing yet remain in a timeline-based environment. You can edit and reorder any Batch FX node without affecting anything else in your pipeline.",
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{"title":"Creating Batch FX",
"href":"./files/GUID-7B89D489-FFBA-4F68-80D7-0874E5A175E6.htm",
"description":"A Batch FX is created by bringing a selection of timeline segments into a BFX level. You enter a BFX level from the EditDesk record timeline or from the timeline of the clip in the current BFX level. You can bring segments with their soft effects into a BFX level. A Batch FX is applied on top of the segments and their soft effects. Or, you can enter a BFX level with a single segment\'s source, leaving its soft effects intact on the timeline one level up. A Batch FX is applied to the source before anything else affects it.",
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{"title":"Entering a BFX Level with Stereo Segments",
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"description":"You can bring stereo segments into a BFX level using the Pre or Post option. To bring in only stereo sources, use the Pre option. To bring in stereo sources and their soft effects, use the Post option.",
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{"title":"Creating One Clip Per Timeline Layer",
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"description":"If you bring multiple timeline layers into a BFX setup and want to apply a separate flow graph to each layer, you can split the layers and create one clip per layer. Soft effects and transitions from the original timeline layers are kept with each clip.",
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{"title":"Creating One Clip Per Video Track Layer",
"href":"./files/GUID-B12C8A29-A31F-49AB-8466-8BFCE2C67FCF.htm",
"description":"If you want to work with the clips in an Action setup, and they are not affected by vertical compositing from the original timeline, you can have each split layer automatically converted to an indirect layer of an Action node.",
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{"title":"Creating One Clip Per Stereo Track Layer",
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"description":"When you create a clip from each layer of a stereo track, the layers are converted into mono clips.",
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{"title":"Converting Soft Effects to Batch Nodes",
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"description":"You may have begun compositing in the context of a timeline but would like to continue the work in the modular pipeline environment of Batch. You can extract or copy the soft effect setups from the timeline to the schematic.",
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{"title":"Examples of Soft Effects Converted to Nodes",
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"description":"When you extract a soft effect, segments or other soft effects may also get extracted so that vertical editing from the timeline is maintained. Some of these scenarios are illustrated in the following examples.",
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{"title":"Copying Soft Effects to a BFX Setup",
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"description":"To apply the setups of a soft effect to another BFX clip, copy the soft effect from a BFX segment to the Batch schematic. Only the soft effect is converted to the corresponding node. The original segment and soft effect remain unchanged on the timeline.",
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{"title":"Viewing Batch FX in Context",
"href":"./files/GUID-0D10D0BE-1F8E-4913-885D-323F498D59E7.htm",
"description":"View the current Batch FX in context of other setups applied to the clip. You can display the result of the current Batch FX in context of the vertical editing one level up in the pipeline. You can also display the result of the current Batch FX in context of your final output.",
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{"title":"BFX Timecode and Clip Frame Length",
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"description":"When you load a clip into a BFX level, its timecode automatically keeps the timecode of the EditDesk record timeline. Head frames are loaded as negative frames. You can use these extra frames to offset the starting frame of a clip. All subsequent clips brought into the same BFX level are loaded with head and tail frames intact.",
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{"title":"Outputting from a BFX Output Node to the Timeline",
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"description":"Generate both alpha and RGB results from a BFX output node to the timeline. Use the alpha output with Axis or Sparks soft effects for vertical compositing.",
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{"title":"Outputting an Alpha to the Timeline",
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"description":"Output alpha results in addition to the RGB result from a BFX output node. You connect the RGB result to the front input of the BFX output node, and the alpha result to the matte input of the BFX output node. Both results are fed directly to the timeline. To enable the alpha, you apply an Axis or a Sparks soft effect to the segment.",
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{"title":"Example: Outputting an RGBA Clip to the Timeline",
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"description":"The following example illustrates how you can work with both a front clip and matte clip at the same time in a BFX level.",
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{"title":"Generating an Alpha from a Clip Node",
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"description":"You can generate an alpha from a clip inside a BFX level. When you output the alpha result, the clip node appears with an explicit alpha channel. You can then work with both the RGB and alpha outputs directly from Batch FX. You can also generate an alpha for the left eye and right eye from a clip containing a stereo track.",
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{"title":"Editing Batch FX",
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"description":"You can edit any Batch FX until it is committed by accessing its setup. Access setups in the following ways:",
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{"title":"Navigating Batch Setups",
"href":"./files/GUID-82A994DC-621E-4074-9AD6-83E139794BB7.htm",
"description":"Batch FX supports nesting of BFX levels. When you create a Batch FX, you can be in any nested BFX level. The BFX View provides an overview of the source clips and different levels of Batch FX applied to a segment, allowing for quick access to any Batch setup.",
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{"title":"Matching and Copying Sources from BFX View",
"href":"./files/GUID-03FA37A4-E082-40BA-90A7-0AB9359E9D7B.htm",
"description":"In the BFX View, you can match sources used in any BFX level without navigating to the actual Batch FX setup. You can also quickly copy sources used in one BFX level to any other level.",
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{"title":"Expanding Batch FX",
"href":"./files/GUID-DF46B238-CC3F-4A9F-B26F-1C6ACF085D28.htm",
"description":"Expand Batch FX to bring setups nested in a clip to the current level. Having setups at the same level allows for quick access to any setup. You no longer have to keep track of multiple nested setups.",
"ancestors":[{"title": "Procedural Compositing with Batch","href":"./files/topichead_d3e81487.htm"},{"title": "Batch FX","href":"./files/topichead_d3e89573.htm"}]},
{"title":"Copying Batch FX",
"href":"./files/GUID-3A1A2998-9227-4F8E-89E1-ADFFCCCBC0CD.htm",
"description":"If you want to reuse a Batch FX, you can copy it as follows:",
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{"title":"Deleting Batch FX",
"href":"./files/GUID-E91B67C7-B762-4768-81A0-6A6A02D09250.htm",
"description":"You can gesturally delete Batch FX created with the Pre option from the timeline. You cannot delete Batch FX created with the Post option from the timeline.",
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{"title":"Previewing Batch FX",
"href":"./files/GUID-52BEE2B3-CEF6-44D4-A553-E515EE936F5F.htm",
"description":"You can preview unrendered Batch FX outside of a BFX level. While you scrub the timeline, you can trigger a Batch FX render at pen-up. Batch setups are loaded and rendered at pen-up based on a timing preference you set. This preference determines how long the software will attempt the render before displaying an “Unrendered Frame” message.",
"ancestors":[{"title": "Procedural Compositing with Batch","href":"./files/topichead_d3e81487.htm"},{"title": "Batch FX","href":"./files/topichead_d3e89573.htm"}]},
{"title":"Processing and Formatting Effects",
"href":"./files/topichead_d3e91424.htm",
"description":"",
"ancestors":[]},
{"title":"Resize",
"href":"./files/topichead_d3e91428.htm",
"description":"",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"}]},
{"title":"Accessing Resize and Resize Settings",
"href":"./files/GUID-C6ED4CF3-5114-44B6-A18D-8208433A30EE.htm",
"description":"Smoke provides clip resize settings in many locations to suit the mixed resolution workflow needs of your project. You can access resize settings from the following locations:",
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{"title":"Resizing Clips on Import, Export, or in a Clip Library",
"href":"./files/GUID-AD3BA7A1-0A0D-4865-9BE9-B3C935F5262B.htm",
"description":"You can resize clips when you load them from a clip library or when you input them from the Import Image menu. In this case, you cannot preview the resized result.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Resizing Clips in the EditDesk Resize Menu",
"href":"./files/GUID-F2F47815-38B9-479F-8702-DE948B61A175.htm",
"description":"Use the Resize menu in the A/V Tools to change the resolution, aspect ratio, scan mode, framerate or format of a clip as well as its frame bit depth.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Resizing Clips in the Player",
"href":"./files/GUID-8BCEF766-64B6-4ACD-844D-249D2042146D.htm",
"description":"Clips displayed in the Player can be resized in real time, from the Real Time Deliverables menu.",
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{"title":"Resizing in Batch",
"href":"./files/GUID-2D4B90C6-B248-4371-A183-B0B728AD2792.htm",
"description":"Resizing in Batch is advantageous because you only commit the resize on output. You can resize clips in Batch in the following ways:",
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{"title":"Resizing a Clip in Batch",
"href":"./files/GUID-CE7800C1-D152-427B-92EE-576911518E8B.htm",
"description":"When you add clips to the Batch schematic, the clip\'s menu includes resize settings. Using the clip menu\'s resize settings:",
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{"title":"Resizing from a Resize Node",
"href":"./files/GUID-C3D6BFA7-6E90-4986-ABFA-DE8515E60FFA.htm",
"description":"If you want to perform some processes on a clip at full resolution and resize the output of those processes further down the processing pipeline, use the Resize node. Using the Resize node\'s settings:",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"},{"title": "Resizing in Batch","href":"./files/GUID-2D4B90C6-B248-4371-A183-B0B728AD2792.htm"}]},
{"title":"Resizing from a Batch FX Output Node",
"href":"./files/GUID-7B23739C-2B04-4402-80DE-9E5B58E4E306.htm",
"description":"You can change the resolution of intermediate clips in a Batch FX pipeline. However, the final clip that is output by the Batch FX pipeline must have the same resolution as the timeline.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"},{"title": "Resizing in Batch","href":"./files/GUID-2D4B90C6-B248-4371-A183-B0B728AD2792.htm"}]},
{"title":"Resizing Clips on the Timeline",
"href":"./files/GUID-FBF9E196-0483-4597-9EA5-2AD7E4F04F48.htm",
"description":"Use the Resize soft effect to change an element\'s resolution and bit depth directly on the timeline. This is especially useful when you want to, for example, resize a PAL clip to fit with your NTSC project. This soft effect is automatically applied to clips added to the timeline that do not have the same resolution or scan mode as the current clip.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Applying a Soft Resize",
"href":"./files/GUID-2822D819-4B02-471B-99C2-ACD206739749.htm",
"description":"All clips on the timeline can be resized using a soft Resize. Smoke automatically adds or removes a soft Resize when performing mixed-resolution editing. For example, if you created an NTSC clip containing HDTV sources and, later, take the NTSC montage and insert it in an HDTV clip, the HDTV material will no longer have a soft Resize, but the NTSC version will.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"},{"title": "Resizing Clips on the Timeline","href":"./files/GUID-FBF9E196-0483-4597-9EA5-2AD7E4F04F48.htm"}]},
{"title":"Resize Settings",
"href":"./files/GUID-CE60D60B-4FA7-435E-8197-FC39E7DAE11D.htm",
"description":"The following sections show the resize source and destination settings available in the Resize menu or in functions that support Resize.",
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{"title":"Source Settings",
"href":"./files/GUID-C4700D8D-EACF-4FA9-A580-13807BB4E1FA.htm",
"description":"Use the Source settings to set or animate the position and size of the crop box.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"},{"title": "Resize Settings","href":"./files/GUID-CE60D60B-4FA7-435E-8197-FC39E7DAE11D.htm"}]},
{"title":"Source Pre-Processing",
"href":"./files/GUID-1C9B0E59-7477-470A-BA89-80DA9C6E293F.htm",
"description":"Use the Source Pre-Processing settings to determine whether resize is performed on full progressive frames, or on either (or both) of the interlaced fields.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"},{"title": "Resize Settings","href":"./files/GUID-CE60D60B-4FA7-435E-8197-FC39E7DAE11D.htm"},{"title": "Source Settings","href":"./files/GUID-C4700D8D-EACF-4FA9-A580-13807BB4E1FA.htm"}]},
{"title":"Resizing Settings",
"href":"./files/GUID-3127719C-6738-4130-8E71-E858177CF93A.htm",
"description":"The following Resizing settings appear in Batch, soft effects, and the Resize menu.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"},{"title": "Resize Settings","href":"./files/GUID-CE60D60B-4FA7-435E-8197-FC39E7DAE11D.htm"}]},
{"title":"Destination Settings",
"href":"./files/GUID-F3B022BA-3485-42E4-9C3F-025D6ED4960B.htm",
"description":"The Destination settings define the format of the resized clip.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"},{"title": "Resize Settings","href":"./files/GUID-CE60D60B-4FA7-435E-8197-FC39E7DAE11D.htm"}]},
{"title":"Changing Views in Resize",
"href":"./files/GUID-B6A32378-4BAA-4174-8159-B12F13F1AD6F.htm",
"description":"When accessed from the A/V Tools or from soft effects, Resize includes a crop box that you use to define the region of the source clip from which the resize sample is taken.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Getting Dynamic Feedback in Result View",
"href":"./files/GUID-44BD8CEC-D889-40C8-A212-55288F9D0AB3.htm",
"description":"You can view the effects of resize settings dynamically in Result view. This option is available only in the Resize menu accessed from the A/V Tools and soft effects.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"},{"title": "Changing Views in Resize","href":"./files/GUID-B6A32378-4BAA-4174-8159-B12F13F1AD6F.htm"}]},
{"title":"Resizing from Source Using the Crop Box",
"href":"./files/GUID-28A07864-F522-4C3A-9312-4334AF32E597.htm",
"description":"Using the more complete resize settings in Resize, Resize nodes in Batch, or in the Resize soft effect, you can set or animate the position and size of the crop box and have a dynamic preview from which to view results while setting the resize settings.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Resizing to Destination Using the Crop Box",
"href":"./files/GUID-478E04EC-18B1-40F9-9F7D-C9B205086170.htm",
"description":"Using the more complete resize settings in Resize, or the Resize nodes in Batch, you have a dynamic preview from which to view results while setting the resize settings.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Animating Resize Settings",
"href":"./files/GUID-95B7B0F7-7876-4AC0-A82A-6A0EEF9FE165.htm",
"description":"You can animate the position of the crop box to pan and scan a 16:9 clip to a 4:3 format. Pan and scan is a technique widely used for resizing 16:9 clips to a 4:3 resolution when the area of interest in the shots is to one side of the 16:9 frame. You can follow the area of interest in the shot by animating the crop box along the X-axis.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Saving and Loading Resize Setups",
"href":"./files/GUID-879E9025-1BA5-43F4-9940-4ED24150C23F.htm",
"description":"If you are working in Resize, Resize nodes in Batch, or with the soft Resize settings, you can save resize setups and load them for use with other clips.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Processing Clip Handles When Working with Soft Clips",
"href":"./files/GUID-C70461B5-93C9-41D1-8AD1-B515B20884AA.htm",
"description":"When you resize clips on the EditDesk that have soft edits such as dissolves, you can process all frames that are part of the dissolve and keep the soft edits intact. That way, if you want to change the dissolve, resized handle frames are available.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Resetting All Resize Settings to Default Values",
"href":"./files/GUID-B0C77502-6DC3-44B7-A285-39273326DB72.htm",
"description":"You can reset resize settings to their default values in Resize and the Resize nodes in Batch.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Changing the Appearance of the Crop Box",
"href":"./files/GUID-CC30D1BA-EFF7-41B3-B755-1109118A8330.htm",
"description":"By default, the crop box is green. If there is a lot of green in the clip you are resizing, you may want to change the colour of the crop box to see it better. You can also change the line type with which the crop box is drawn.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Changing the Padding Colour",
"href":"./files/GUID-90645E7A-6383-4C98-B7A7-5AB39867D604.htm",
"description":"The default padding colour when centre-cropping, cropping edges, or letterboxing, is black. You can set the padding to any other colour.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Setting Default Image Resolution Characteristics on Import",
"href":"./files/GUID-EAFDBD24-6EB0-49C5-873C-110EE4DF551D.htm",
"description":"You can force a common aspect ratio, scan mode, and frame rate for all images selected for import.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"}]},
{"title":"Default Resolutions List",
"href":"./files/GUID-E83F081B-45E1-4380-9164-11DA3A861A16.htm",
"description":"The Default Resolutions list determines the aspect ratio, scan mode, and frame rate to apply to an image with a specific width and height. It is consulted during import when you select Default in the Aspect Ratio box of the Import Image menu.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Resize","href":"./files/topichead_d3e91428.htm"},{"title": "Setting Default Image Resolution Characteristics on Import","href":"./files/GUID-EAFDBD24-6EB0-49C5-873C-110EE4DF551D.htm"}]},
{"title":"Pulldown",
"href":"./files/topichead_d3e93179.htm",
"description":"",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"}]},
{"title":"About Pulldown",
"href":"./files/GUID-77CF8B64-7A3B-426D-B449-E7A74AA77B45.htm",
"description":"Pulldown is a synchronisation technique that is used to approximate compatibility between two dissimilar formats (usually between film to video), by creating new frames.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Pulldown","href":"./files/topichead_d3e93179.htm"}]},
{"title":"Pulldown Tools",
"href":"./files/GUID-5B418500-C47F-4219-9E34-84A195EC3F22.htm",
"description":"Smoke includes pulldown tools and features, the extent of which depend on the pulldown used.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Pulldown","href":"./files/topichead_d3e93179.htm"},{"title": "About Pulldown","href":"./files/GUID-77CF8B64-7A3B-426D-B449-E7A74AA77B45.htm"}]},
{"title":"Capturing Film-Based Media with 2:3 Pulldown Removal",
"href":"./files/GUID-433DB495-A5D2-4E55-A564-87FA02EAD4A0.htm",
"description":"Using the Input Clip menu, you can capture 30 fps film-based material and convert it to 24 fps material in real time as you capture. The procedure for enabling automatic 2:3 removal differs depending on whether your tape uses non-drop or drop 60i timecode.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Pulldown","href":"./files/topichead_d3e93179.htm"}]},
{"title":"Capturing Material from Tapes with Inconsistent 2:3 Pulldown",
"href":"./files/GUID-5CC01167-A4EA-4CBA-9EEC-B906F4C3D79A.htm",
"description":"If a 60i tape contains film-based material that was transferred to the tape in different sessions, it is possible that the 2:3 pulldown from one session to the next is not consistent. If your 30 fps EDL refers to material across different sections of the tape with different 2:3 pulldown, you will be unable to capture with automatic 2:3 removal configured for the entire tape. Setting a reference frame for the tape would properly capture the section you referenced, but not others. Instead, you can capture the clips as is, then remove the pulldown on the EditDesk. See . You can also change the reference frame at each capture, and capture multiple times.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Pulldown","href":"./files/topichead_d3e93179.htm"},{"title": "Capturing Film-Based Media with 2:3 Pulldown Removal","href":"./files/GUID-433DB495-A5D2-4E55-A564-87FA02EAD4A0.htm"}]},
{"title":"Capturing Film-Based Media with 2:3 Pulldown Using EDLs",
"href":"./files/GUID-12F511D1-2CF2-48EC-860C-2324B7AFBD80.htm",
"description":"Most offline editing of film-based material transferred to 60i tape results in a 30 fps EDL. You can set up an auto-capture session using the 30 fps EDLs, applying 2:3 pulldown removal to both the EDLs and the captured clips.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Pulldown","href":"./files/topichead_d3e93179.htm"}]},
{"title":"Importing EDLs With 2:3 Pulldown",
"href":"./files/GUID-B612A608-CC83-45EE-8B2C-249E822B1B96.htm",
"description":"Before you begin importing EDLs with 2:3 pulldown, you should put all the EDLs that you want to import into a single directory on the filesystem accessible from Smoke.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Pulldown","href":"./files/topichead_d3e93179.htm"},{"title": "Capturing Film-Based Media with 2:3 Pulldown Using EDLs","href":"./files/GUID-12F511D1-2CF2-48EC-860C-2324B7AFBD80.htm"}]},
{"title":"Setting Default 2:3 Pulldown Configuration Options",
"href":"./files/GUID-C75084C9-6BF2-47E9-ABF0-0C975B9495DF.htm",
"description":"You can set default 2:3 pulldown sequence reference frames for all tapes and record clips. In cases where you frequently receive tapes that require 2:3 removal, it is a good idea to communicate with your client so 2:3 sequence is inserted consistently for all tapes. That way, your default settings configure an accurate 2:3 removal process without you having to manually enter reference frames tape-to-tape.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Pulldown","href":"./files/topichead_d3e93179.htm"},{"title": "Capturing Film-Based Media with 2:3 Pulldown Using EDLs","href":"./files/GUID-12F511D1-2CF2-48EC-860C-2324B7AFBD80.htm"}]},
{"title":"Overriding Default 2:3 Pulldown Configuration Tape-to-Tape",
"href":"./files/GUID-0D68D1FA-8EC7-41AF-A067-E5D0E25B1BCF.htm",
"description":"You can override default 2:3 pulldown configuration options on a tape-to-tape basis. Do so when you are provided with tapes that have a 2:3 pulldown sequence that does not match the default settings, or to disable 2:3 removal for tapes that contain native 30 fps material.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Pulldown","href":"./files/topichead_d3e93179.htm"},{"title": "Capturing Film-Based Media with 2:3 Pulldown Using EDLs","href":"./files/GUID-12F511D1-2CF2-48EC-860C-2324B7AFBD80.htm"}]},
{"title":"Saving and Loading the Tape List",
"href":"./files/GUID-1B9D1A20-B46A-4A7E-B25D-4884765515F8.htm",
"description":"In cases where you may want to recapture or reassemble clips from EDLs more than once, it is a good idea to save the tape list (which stores the 2:3 pulldown configuration for each tape) so you can load it later. You can also use an R23 file to keep track of the key frames for all start frames of all the tapes referenced in an EDL. R23 files are accessible via the Import and Export EDL menus.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Pulldown","href":"./files/topichead_d3e93179.htm"},{"title": "Capturing Film-Based Media with 2:3 Pulldown Using EDLs","href":"./files/GUID-12F511D1-2CF2-48EC-860C-2324B7AFBD80.htm"}]},
{"title":"Removing and Inserting Pulldown on the EditDesk",
"href":"./files/GUID-31F66B40-4D0A-4473-8310-8FB86F9BCCF4.htm",
"description":"You can remove 2:3 or 3:2 pulldown during the capture process, but PAL and Advanced pulldowns are removed using the tools available on the EditDesk.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Pulldown","href":"./files/topichead_d3e93179.htm"}]},
{"title":"Monitoring Dual Timecodes and Pulldown",
"href":"./files/GUID-136B612B-450E-4AD0-B53A-1EF7923F99FD.htm",
"description":"When you load 24p clips into the Player, the dual timecode and 2:3 pulldown monitoring options are enabled. To view dual timecodes, you must:",
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{"title":"Tracking Hybrid Splices and Transitions",
"href":"./files/GUID-10D621E0-2CC3-4442-B25C-604025972ABE.htm",
"description":"While working in a 24p project, you can use the timeline to monitor which transitions fall on jitter frames. It is useful to be aware of the actual video fields that are being used in a transition, particularly if the project will be modified after being output to tape.",
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{"title":"Outputting a Clip to Tape with 2:3 or PAL Pulldown",
"href":"./files/GUID-C1516B69-5242-42C3-A96F-577AF9E4D63D.htm",
"description":"You can add 2:3 pulldown to a 24p master on output. You can also add PAL-pulldown to a 24p master, but this requires using the real-time deliverable feature.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Pulldown","href":"./files/topichead_d3e93179.htm"}]},
{"title":"Exporting EDLs with 2:3 Pulldown Insertion",
"href":"./files/GUID-1EB71F5A-F5BF-4E5E-B670-51EFEEFA81F1.htm",
"description":"You can export an EDL for a 24p clip that converts the 23.97 fps information to 29.97 fps information and maintains 2:3 pulldown information for all in and out points (including cuts, wipes, dissolves and timewarps). 2:3 pulldown information is important when master tapes are to be sent out for hardware-based tape-to-tape colour correction.",
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{"title":"Video Field Management",
"href":"./files/topichead_d3e94256.htm",
"description":"",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"}]},
{"title":"About Interlaced Video",
"href":"./files/GUID-F43AB096-03D3-47A9-8E22-FF0B7693CA8F.htm",
"description":"Interlaced video formats divide frames into two line-based fields. One field consists of the first and subsequent odd lines in the frame, and the other field consists of the second and subsequent even lines in the frame. During the recording process, the two fields are recorded at slightly different moments. For example, when recording NTSC using field 1 dominance, field 1 is recorded 1/60th of a second before field 2.",
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{"title":"Accessing the Video Menu",
"href":"./files/GUID-3C7D651E-358D-469F-B05D-F13EFBA3CB72.htm",
"description":"Most video field management tools are located in the A/V Tools Video menu.",
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{"title":"Managing Field Dominance",
"href":"./files/GUID-8488FAA7-2AD0-4BDC-8BC2-DD94FE423190.htm",
"description":"Other than a few non-standard exceptions, all interlaced video formats are field 1 dominant. This means that for a given frame, field 1 (F1) is recorded earlier in time, and therefore should be displayed first during broadcast. Field 2 (F2) is recorded after F1 and is therefore displayed after F1 during broadcast.",
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{"title":"Changing the Scan Mode of a Project",
"href":"./files/GUID-7E68A33E-E7AA-4E71-A4F5-CF1E4EFF49EB.htm",
"description":"The project scan mode dictates how interlaced video formats are captured from tape, sent to the broadcast monitor in-session, and output to tape. The project scan mode also determines field-based processing.",
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{"title":"Reversing Field Dominance",
"href":"./files/GUID-0E86990D-F60E-4B59-A22D-472F6C0FEC49.htm",
"description":"When working in a project that uses clips originating from different interlaced video formats, you may have to reverse the field dominance of clips that do not correspond with the project\'s interlacing properties.",
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{"title":"Changing the Scan Mode Metadata Tag of a Clip",
"href":"./files/GUID-DCBFD8AA-37F7-4776-B96F-2CB53E4BF529.htm",
"description":"When material is brought into Smoke, it is assigned a particular scan mode that becomes part of the clip metadata. When you view clip information, the scan mode displayed is from the clip metadata tag. The scan mode metadata tag for a clip may be wrong, for example, if you specified the scan mode as being field 1 when importing it, and it was actually field 2.",
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{"title":"Deinterlacing and Interlacing Clips",
"href":"./files/GUID-E529BA9E-3A12-483C-B2A7-FF6AA60942E4.htm",
"description":"Deinterlacing and interlacing are used primarily to aid in the rotoscoping of field-based material, or in the application of filters to field-based material. Deinterlacing and interlacing are not necessary for processes that support field-based rendering.",
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{"title":"Deinterlacing Clips",
"href":"./files/GUID-C2EFBF2A-94C5-4BC4-AF2C-1D4BA262B3AE.htm",
"description":"Deinterlace clips to separate each field to its own frame. The result clip is twice as long as the original.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Video Field Management","href":"./files/topichead_d3e94256.htm"},{"title": "Deinterlacing and Interlacing Clips","href":"./files/GUID-E529BA9E-3A12-483C-B2A7-FF6AA60942E4.htm"}]},
{"title":"Interlacing Clips",
"href":"./files/GUID-EB43DC24-194F-450E-A501-C4A9227A19FC.htm",
"description":"Interlace clips to restore deinterlaced fields to interlaced frames. The result clip is half as long as the original.",
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{"title":"Merging Fields",
"href":"./files/GUID-5D3A9963-190C-42CA-B445-EB71AED1FC58.htm",
"description":"Merging fields blends pixels in neighbouring field lines to reduce artefacts caused by motion jitter. Merge fields when you have interlaced material that you want to output to a progressive scan format.",
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{"title":"Colour Management",
"href":"./files/topichead_d3e94632.htm",
"description":"",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"}]},
{"title":"About Colour Management",
"href":"./files/GUID-33D07C28-EE7A-407B-B8BD-4F1924C8D27B.htm",
"description":"Digitized film images originating from a datacine conversion process are high-resolution scans that preserve much of a film\'s resolution and colour depth. In Smoke, a lookup table (LUT) is the primary colour management tool available to deal with different colour spaces. A LUT is an ASCII file used to map pixels or pixel components from one colour to another. To display logarithmic film scans properly, such as Cineon files in the linear colour space native to Smoke, you can work with monitor, display, and image conversion LUTs. You can use one of two kinds of LUTs: 1D LUTs and 3D LUTs.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Colour Management","href":"./files/topichead_d3e94632.htm"}]},
{"title":"1D LUTs",
"href":"./files/GUID-A5A129AE-700A-464C-AD24-DC74DC4C9DB9.htm",
"description":"A 1D LUT is generated from one measure of gamma (white, grey, and black) or a series of progressive measures for each colour channel. 1D LUTs are created and edited in Smoke and other applications. They are used as image conversion LUTs when you import and export clips and as monitor LUTs. Monitor LUTs ensure the image seen on the monitor resembles the final output without modifying the image data. Image conversion LUTs are typically used to convert between the logarithmic data contained in film scans and the linear data used in Smoke. The procedures in this chapter describe how to use image conversion LUTs.",
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{"title":"3D LUTs",
"href":"./files/GUID-3381CB77-7173-40D8-B642-0D992C1E57FF.htm",
"description":"3D LUTs are used for advanced film colour management in Smoke and provide a superior alternative to 1D LUTs. 3D LUTs are primarily used for display purposes and are the most accurate means of displaying logarithmic film scans on a graphics monitor. Since 3D LUTs often set up the proper display environment for your film clips, they are only applied to the Player or one or more viewers, rather than the entire monitor.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Colour Management","href":"./files/topichead_d3e94632.htm"},{"title": "About Colour Management","href":"./files/GUID-33D07C28-EE7A-407B-B8BD-4F1924C8D27B.htm"}]},
{"title":"General Workflow for LUTs",
"href":"./files/GUID-2693E508-C7B2-4D40-A545-460E5E21209A.htm",
"description":"The following table shows the workflow when working with a LUT that has already been created, whether it is a 1D or 3D LUT.",
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{"title":"Workflow for Custom 1D LUTs",
"href":"./files/GUID-A730D8C4-90A5-475E-A072-8994D5D8F093.htm",
"description":"The following table shows the workflow for creating a custom LUT.",
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{"title":"Configuring Smoke to Use LUTs",
"href":"./files/GUID-C8DA5B03-7C96-47F3-876A-46E8AB84C424.htm",
"description":"Although Smoke provides a LUT Editor for creating 1D LUTs interactively, you can use 1D LUTs created outside the Smoke environment. You can also use 3D LUTs, which are always created outside Smoke.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Colour Management","href":"./files/topichead_d3e94632.htm"}]},
{"title":"Formatting 1D LUTs",
"href":"./files/GUID-478EC5BC-5BD3-4CD0-9083-390B534CAC35.htm",
"description":"Although Smoke provides a LUT Editor for creating 1D LUTs interactively, you can use 1D LUTs created outside the Smoke environment.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Colour Management","href":"./files/topichead_d3e94632.htm"}]},
{"title":"Formatting 3D LUTs",
"href":"./files/GUID-D3C989CC-E438-4822-801C-6C542A3169C5.htm",
"description":"3D LUTs are always created outside Smoke. After you perform basic monitor calibration and take calibration measurements using the appropriate calibration device, you can work with your film lab to generate a 3D LUT file to account for both the characteristics of the monitor and the characteristics of the film stock you are using. Ideally, 3D LUTs should be developed for a particular monitor and a particular film stock.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Colour Management","href":"./files/topichead_d3e94632.htm"}]},
{"title":"Applying 1D LUTs to the Monitor",
"href":"./files/GUID-239DC87C-C130-4D3C-9A48-6919B7705FCD.htm",
"description":"Gamma and 1D LUTs configured in the Preferences can be applied to the monitor. See . They can also be applied from the View menu.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Colour Management","href":"./files/topichead_d3e94632.htm"}]},
{"title":"Viewing Clips with 3D LUTs",
"href":"./files/GUID-51EE6ADF-D251-4424-981F-C21E55F8919B.htm",
"description":"You can use 3D LUTs to accurately display film clips on the graphics monitor. 3D LUTs are applied to the Player and image window, rather than to the entire monitor. 1D LUT display mode is disabled when 3D LUT display mode is activated.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Colour Management","href":"./files/topichead_d3e94632.htm"}]},
{"title":"Applying 3D LUTs to the Player",
"href":"./files/GUID-0A3D3D98-70B6-4959-A810-B101B34F3689.htm",
"description":"On the EditDesk, using the Player controls you can switch to 3D LUT display mode, and then select the 3D LUT you want to use to accurately display film clips.",
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{"title":"Applying 3D LUTs to the Image Window",
"href":"./files/GUID-E6327664-69BD-4ACC-83DA-77380115B20B.htm",
"description":"To accurately display film clips, you can apply 3D LUTs to the image window, including the reference area and the reference overlay.",
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{"title":"Applying 3D LUTs During Real-Time Operations",
"href":"./files/GUID-AFA59A65-D7EF-49F4-9BB3-863146D997CB.htm",
"description":"You can import a 3D LUT that can be applied in real-time during the output of a clip.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Colour Management","href":"./files/topichead_d3e94632.htm"},{"title": "Viewing Clips with 3D LUTs","href":"./files/GUID-51EE6ADF-D251-4424-981F-C21E55F8919B.htm"}]},
{"title":"Applying 3D LUTs to the Broadcast Monitor",
"href":"./files/GUID-869EB486-229D-461D-B4D1-3A971A8A1BFE.htm",
"description":"You can apply a different 3D LUT to the broadcast monitor from the application monitor 3D LUT. See .",
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{"title":"Processing Clips with 3D LUTs",
"href":"./files/GUID-4BF0A92C-C4A6-49E3-840F-7957F85D0DF1.htm",
"description":"You can process clips with a 3D LUT to commit the colour conversion to the clip. There is no way to restore logarithmic data once you have processed a clip with a 3D LUT. Typically, you do this to release a film clip for review on video, or to guarantee real-time playback which may not be possible in 3D LUT display mode.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Colour Management","href":"./files/topichead_d3e94632.htm"}]},
{"title":"Applying a LUT on Import or Export",
"href":"./files/GUID-14FEDDA2-99DD-400B-A8D0-8740760A961C.htm",
"description":"Applying a LUT to a film clip on import or export converts the clip\'s images according to the contents of the LUT.",
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{"title":"Accessing the LUT Editor",
"href":"./files/GUID-2B955586-33C1-43A9-8398-CCAFCA897522.htm",
"description":"Access the LUT Editor to create custom 1D LUTs or tailor existing ones.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Colour Management","href":"./files/topichead_d3e94632.htm"}]},
{"title":"Accessing the LUT Editor from the Import Image Menu",
"href":"./files/GUID-7BFBD1B7-AFC7-4AD1-B071-33F8CF330B9A.htm",
"description":"Access the LUT Editor from the Import Image menu to edit 1D LUTs. When you have modified the LUT, you must export it upon exiting the editor to return to the Import Image menu.",
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{"title":"Accessing the LUT Editor in Batch",
"href":"./files/GUID-880E8A0C-0E2E-47D3-8522-F547C0FA732E.htm",
"description":"You can drag a LUT Editor node to the Batch EditDesk.",
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{"title":"Accessing the LUT Editor in the Deliverables Menu",
"href":"./files/GUID-698A2A62-E83F-4AE7-9B67-B34F213EF570.htm",
"description":"Access the LUT Editor in the Deliverables menu to import and create custom 1D LUTs that can be applied in real-time during the output of a clip.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Colour Management","href":"./files/topichead_d3e94632.htm"},{"title": "Accessing the LUT Editor","href":"./files/GUID-2B955586-33C1-43A9-8398-CCAFCA897522.htm"}]},
{"title":"Creating Custom 1D LUTs",
"href":"./files/GUID-BDD84CC7-783F-4F67-A652-042D1E2D9CDC.htm",
"description":"Because film prints vary greatly according to film stock, the sample 1D LUTs provided in Smoke might not suit all needs. Similarly, because shooting can occur under many conditions, the LUT you create to import one shot might not serve another, even within the same shoot or stock. With the LUT Editor, however, you can create a custom LUT.",
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{"title":"Viewing Clips in the LUT Editor",
"href":"./files/GUID-F851EB59-5B52-427E-B375-C7204E6BBC56.htm",
"description":"Your view options depend on the location from which you access the LUT Editor. When accessed from the Import Image menu, you can view the current result and compare it with a reference clip.",
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{"title":"Defining a Basic LUT Type",
"href":"./files/GUID-882EC84C-9D2E-4918-93D5-0DEE92AD530A.htm",
"description":"One way to begin creating a custom LUT using the LUT Editor is by defining the type of LUT you want to use. You can choose the conversion LUT type for converting logarithmic data to linear data, linear to logarithmic, or for creating a LUT to manipulate images that are already linear. Each of these selections sets up the appropriate conversion curve. It also includes selecting a bit-depth for the output. Alternatively, you can also choose a predetermined selection set or import a LUT as a starting point. Each of these techniques is discussed in this section.",
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{"title":"Modifying Basic Conversion LUT Curves",
"href":"./files/GUID-693C7FD7-6765-4DFC-8237-A5846CFACCDA.htm",
"description":"Once you define a basic LUT type, you can modify:",
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{"title":"Advanced Editing of the Conversion LUT Curve",
"href":"./files/GUID-62FF228B-E4D6-4197-976B-93178B80B7EE.htm",
"description":"After you modify the basic conversion LUT curves, you may want to further refine the final result. To do so, you can use advanced editing tools. With advanced editing, you modify additional curves for the red, green, and blue channels to fine-tune the final conversion LUT and bring out or hide detail in specific areas. These curves have editable points, adding flexibility in how they affect each channel in the final conversion LUT.",
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{"title":"Comparing Colour Values Using Colour Patches",
"href":"./files/GUID-0CC2CF9B-7B64-41F4-A720-15AF28A1A4AC.htm",
"description":"While creating the LUT, you may want to sample image channel values in the source, result, and reference clips to compare values of similar colours, or even corresponding pixels. The colour patches appear to the right of the LUT Editor graph.",
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{"title":"Saving LUT Editor Setups",
"href":"./files/GUID-1C59F84E-4965-4145-BEFF-F349C7890125.htm",
"description":"If you will be importing a series of clips from the same shoot or stock, consider using a LUT Editor setup. LUT setups retain all menu settings for the basic conversion LUT curve as well as those created when performing advanced editing. Because a LUT setup preserves the distinction between settings in the LUT Editor menu and adjustments made with the advanced editing curves, it is easier to fine-tune the LUT for specific clips. When importing multiple clips from the same shoot or film stock, later clips may require fine-tuning using the advanced editing curves, but much of the initial work will have been done in the menu.",
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{"title":"Loading LUT Editor Setups",
"href":"./files/GUID-DE37365C-D30D-4126-AEA8-D7943CEF1ED9.htm",
"description":"Loading a LUT Editor setup gives you access to the menu properties and advanced editing curves used to create the LUT.",
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{"title":"Exporting LUTs",
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"description":"Once you complete your custom LUT, you can use it to convert images. To do so, you must first save or export it. Saving a LUT preserves its menu settings and automatically creates an invert LUT. A LUT\'s menu settings include values for its basic curves, as well as its advanced editing curves. Exporting combines the basic curves and the advanced editing curves into a single set of curves. However, exporting provides the opportunity to change the bit depth of the LUT. Both saved and exported LUTs are applied to an image sequence or a clip in Batch in the same manner.",
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{"title":"Tone Mapping in the LUT Editor",
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"description":"From the Desktop, you can use the LUT Editor to apply tone mapping to an image high dynamic range image.",
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{"title":"Converting an OpenEXR Image in the LUT Editor",
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"description":"You can convert the output of an OpenEXR image by accessing EXR Display controls in the LUT Editor.",
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{"title":"Adjusting Algorithms Based on Image Data Type",
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"description":"When working with certain nodes and modules (such as the keyers), you can adjust the behaviour of the algorithm to be optimized for the Image Data Type of your media.",
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{"title":"Controlling Image Display using Exposure and Image Data Type",
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"description":"When you are working in the Player or a module that supports multiple viewports, you can change the display of an image based on the type of image data you are working with. By default, an image is displayed in RGB mode with a transformation for a video image. You can apply transformations to the image to display an optimal view of logarithmic and linear images.",
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{"title":"Controlling Image Display Gesturally",
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"description":"You can adjust exposure and black level settings directly in the image window of the Player or a module viewport. You can adjust the image data type in a module viewport. The lower left corner of the image in the Player and each viewport display these settings. The Player only displays these settings as you make changes.",
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{"title":"Adding and Removing Film Grain",
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"description":"",
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{"title":"About Film Grain",
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"description":"Grain is a basic characteristic of film that is derived from the individual silver halide crystals randomly distributed across an image. The random distribution of these crystals creates the visual impression of graininess, which adds a distinctive look to film. In addition, different film stocks have different grain signatures.",
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{"title":"Removing Grain from a Clip",
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"description":"Use the DeGrain command to remove grain from a clip. DeGrain applies a noise reduction algorithm that consists of two filters:",
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{"title":"Adding Grain to a Clip",
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"description":"Use the ReGrain command to restore the film grain on a clip that had been degrained, or to add grain to a clip originating on video or CG so as to make it look like film.",
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{"title":"Adding Grain Using a Preset Grain Signature",
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"description":"The easiest way to add grain to a clip is to select a preset grain signature, add and fine-tune the grain, and then adjust the radius until you get the result you are looking for.",
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{"title":"Adding Monochrome Grain",
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"description":"Using the preset B/W grain signature option, you can also add grain generated by a monochrome noise filter. This option is useful if you are adding grain to monochrome clips.",
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{"title":"Adding Grain Using a Custom or Monochrome Grain Signature",
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"description":"Use the Custom option to define Red, Green, and Blue Gain curves that are used to generate the grain signature.",
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{"title":"Matching Grain between Clips",
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"description":"If you removed grain from a clip, for example, to perform rotoscoping, and you want to restore the original film grain, you can do so by analysing the grain signature of the original clip and applying it to the retouched clip.",
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{"title":"Analysing the Grain in the Back Clip",
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"description":"Select the Custom option to analyse grain in the back clip.",
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{"title":"Modifying the Results of the Analysis",
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"description":"Once you generate a match using the analysis technique, you can modify the result curve using the editing tools in the RGB Gain graph. See .",
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{"title":"Adjusting the Grain Size",
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"description":"You can adjust the grain size if the grain match is not quite what you want. When you adjust the grain size, especially when trying to match grain, look at an area of intermediate brightness. The grain in dark areas sometimes appears larger than in bright areas because it is more difficult to distinguish between dark pixels.",
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{"title":"Adding Grain with a Matte",
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"description":"You can add grain using a matte, in which case grain is added to the clip only through the white or black areas of the matte, depending on which Matte option you select.",
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{"title":"Defining the DeGrain and ReGrain Area",
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"description":"You can use a crop box to apply DeGrain and ReGrain processes to a specific region of the front clip rather than the entire clip. Because grain management is typically performed when you work with high-resolution film clips, using the crop box can greatly increase interactivity while setting DeGrain and ReGrain parameters.",
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{"title":"Saving and Loading Grain Management Setups",
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"description":"If you have a series of clips originating from the same shoot from which you want to remove grain or to which you want to add grain, saving and loading setups greatly accelerates the process. Although the current clip may require particular tweaks from a setup that was created for another clip, loading the initial setup takes care of the preliminary steps and gives you a good starting point.",
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{"title":"A/V Tools",
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"description":"",
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{"title":"About A/V Tools",
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"description":"Use the Audio/Visual (A/V) tools to apply effects and formatting changes to video and audio clips. For example, mix down and timestretch audio, create filter effects, burn in timecode, degrain a clip, and interleave the frames of two clips.",
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{"title":"Accessing the A/V Tools",
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"description":"The A/V tools are grouped into different menus. To access these menus, use the A/V Tools box in the EditDesk menu.",
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{"title":"Keeping a Tool Active",
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"description":"Normally, when you activate and use a tool, the tool becomes inactive and its parameters disappear when you have finished using it. You can also activate a tool such that it stays active, allowing you to use it multiple times without having to re-activate it each time. For example, use this option on the Add Pulldown tool to add pulldown to several clips. You can do this with any A/V tool.",
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{"title":"FX Tools",
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"description":"Use the FX tools to produce a range of effects such as letterbox formatting, difference mattes, compound images, and high-contrast mattes. Each tool is covered in a section in this chapter, with the exception of the Filter tool, which is explained in About Filters.",
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{"title":"Generating a High-Contrast Matte",
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"description":"The Auto Matte command generates a high-contrast matte from a clip.",
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{"title":"Burning in a Letterbox Format",
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"description":"Use the Burn Letterbox tool in the FX menu to burn a letterbox format into a clip. You set the Letterbox options for the clip using the Player Letterbox controls. When you select a clip with letterbox formatting, Burn Letterbox detects the format.",
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{"title":"Combining Channels in a Clip",
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"description":"Use the Combine command to combine individual colour space channels of three source clips (RGB, YUV, or HSL). To generate the new clip, the Combine command uses one channel from each of the clips selected.",
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{"title":"Creating Compound Images",
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"description":"The Compound command takes a specified number of frames from the source clip and combines them into a single frame. This is useful for removing noise from a static image clip.",
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{"title":"Containing Clips",
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"description":"The Container command allows you to quickly create a matte container from the Source Area and simultaneously add an axis to the container.",
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{"title":"Generating a Difference Matte",
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"description":"Use the Difference tool to generate a matte clip from two source clips that have the same background but different foreground elements. This allows you to remove an image from one context to add it to another.",
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"description":"Generate a mirror image of a clip using the Flip tool. You can flip clips horizontally, vertically, or both horizontally and vertically. You select the direction to flip a clip from the Flip Direction box.",
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{"title":"Using Logical Operations",
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"description":"Logical operations are applied separately to each of the red, green, and blue components of images. You can apply Logic Ops commands to combine the RGB channels of corresponding pixels from two source images, described as follows.",
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{"title":"Creating a Monochrome Clip",
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"description":"The Monochrome command quickly generates a monochrome clip.",
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{"title":"Creating a Negative Clip",
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"description":"The Negative command quickly generates the negative of a source clip. The colour values of each pixel in the source image are inverted to produce the negative image.",
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{"title":"Adding Glow Effects with Optics",
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"description":"Use Optics to add glow effects around front clips composited over back clips. The shape of the glow is determined by the matte clip you select fcrbefore accessing the Optics menu.",
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{"title":"Modifying the Luma and Chroma of a Clip",
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"description":"You can specify the number of luma and chroma levels in a source clip with the Posterise command. Each frame in the clip is divided into an equal number of luma and chroma levels, and each pixel of the image is mapped to the closest matching level.",
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{"title":"Separating RGB Channels in a Clip",
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"description":"Use the Separate command to separate the red, green, and blue channels of a clip. A monochrome clip containing the information from only the selected colour channel appears. For example, to generate a clip containing the red channel information of a source clip, select Red.",
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{"title":"Stereo Tools",
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"description":"After you have imported your stereo footage, you may need to combine the left eye and right eye images into one stereo track before doing any stereo editing or stereo compositing work. If you are outputting your stereo results to a format that does not support stereo tracks, you may need to split the stereo track back into left and right eye images before output. Or, you may want to output one RGB clip from your left eye and right eye images in Anaglyph, Interlace or Dual Image mode.",
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{"title":"Creating and Splitting Stereo Tracks",
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"description":"You can create a clip containing a stereo track from two mono clips directly on the EditDesk. The left eye layer of the stereo track is created from one mono clip, and the right eye layer is created from the other mono clip. The mono clips can contain more than one video layer as long as the number of layers is the same. If the clips contain multiple layers, the layers will be merged when the stereo track is created.",
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{"title":"Processing in Stereo Mode",
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"description":"You can use the Stereo tools to process an anaglyph, interlaced or dual image clip containing one video track from either a left eye mono clip and a right eye mono clip or an existing stereo track directly on the EditDesk.",
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{"title":"Video Tools",
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"description":"Use the Video tools to apply format changes and effects to video clips and to create source clips. For example, create colour sources and SMPTE colour bars. Manage clips by removing unused handles or dividing one clip into several smaller ones. You can also separate and recombine the fields of a source clip, change the scan mode, and repeat frames.",
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{"title":"Averaging Clips",
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"description":"You can use the Average tool to simulate the motion blur of a moving object in a clip. Smoke creates the motion blur by applying an image averaging function to each frame in the source clip. For each frame, partially transparent copies of the images are superimposed in the surrounding frames on top of the image in the current frame. Since the moving object is in a different position in each successive frame, the superimposed images in one frame will also show the object in different positions, creating the blur effect.",
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{"title":"Creating Colour Sources",
"href":"./files/GUID-1B8D15AA-1066-4F4C-8895-2FA26F38CF94.htm",
"description":"The Colour Source tool generates a virtual source that contains one or more identical frames of a solid colour, a gradient of two or four colours, or SMPTE or PAL colour bars at 75% or 100% luminance. When you use the Colour Source tool to create a custom colour source, you can save that colour in the colour palettes. You can also use this tool to create frames composed of video noise. Noise clips are not virtual sources — each frame in the clip is unique.",
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{"title":"Consolidating a Clip",
"href":"./files/GUID-66027B03-5259-45E7-A0AA-6871696BCC9B.htm",
"description":"Use the Consolidate tool to create a new clip from an existing clip burdened with excessively long heads and tails (handles). The consolidated clip retains handles only at the specified maximum number of frames.",
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{"title":"Dealing Clips",
"href":"./files/GUID-903B3F5E-180B-433A-99CF-F37ED43FBBCA.htm",
"description":"Use the Deal tool to divide a clip equally into smaller clips. Frames are dealt sequentially to each new clip until all frames are distributed. Use the Clip field to specify the number of clips you want to create. The following shows dealing a nine-frame clip with a clip value of three.",
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{"title":"Interleaving Clips",
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"description":"Use the Interleave tool to interleave the frames of two source clips. You specify how to interleave the two clips in the Spacing field. For example, a spacing value of two mixes two frames of the second source clip after every frame of the first source clip.",
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{"title":"Repeating Frames and Clips",
"href":"./files/GUID-891CAFD6-22B3-478F-B327-F1A0F654FC8F.htm",
"description":"Use the Repeat tool to repeat individual frames, clips, or all frames in clips.",
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{"title":"Strobing a Clip",
"href":"./files/GUID-80140C90-0FE4-44FB-8F62-CC0D9A1E0DE0.htm",
"description":"Use the Strobe tool to create a clip that repeats a specified number of frames or fields without changing the duration of the clip. The repeated frames or fields replace the original frames or fields in the clip.",
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{"title":"Flame FX",
"href":"./files/topichead_d3e100019.htm",
"description":"",
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{"title":"2D Transform",
"href":"./files/GUID-04067C1A-F137-4F1F-8B56-2F8F3E007F0C.htm",
"description":"Use 2D Transform to apply basic axis tranformations and camera shake effects to clips.",
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{"title":"General Settings",
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"description":"Transform Type boxSelect a transformation type. In Pan & Scan mode, some Axis and Camera Shake settings are unavailable.Camera Shake buttonEnable to simulate camera shake in the image. Show Icons butt",
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{"title":"Axis Settings",
"href":"./files/GUID-88BB9DF9-515A-4C94-A8DD-07807884C394.htm",
"description":"Position fieldsDisplays the applicable axis offset applied to the clip.Rotation fieldsDisplays the applicable axis degree of rotation applied to the clip.Scale fieldsDisplays the applicable axis scali",
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{"title":"Camera Shake Settings",
"href":"./files/GUID-770EB5E1-6D50-442C-B457-B57D49124629.htm",
"description":"Translate X Amount fieldDisplays the amount of horizontal movement applied to the clip.Translate Y Amount fieldDisplays the amount of vertical movement applied to the clip.Rotation Z Amount fieldDispl",
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{"title":"Perspective and Random Seed Settings",
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"description":"Perspective fieldDisplays the field of view. Available when Transform Type is set to Perspective.Random Seed fieldDisplays the random seed value of the camera shake.",
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{"title":"Texture Settings",
"href":"./files/GUID-CEC9B042-5FA0-4E79-BDA8-A841BC34511F.htm",
"description":"Filter boxDisplays available filters to control the quality of resize operations. The list of filters changes when you switch between Perspective and Pan & Scan Transform Types.Precision fieldDisplays",
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{"title":"Anti-Aliasing Settings",
"href":"./files/GUID-CE8794C0-2744-4AF0-8629-FEE5271BEC4F.htm",
"description":"Anti-Aliasing buttonEnable to activate sampling and softness.Sampling boxSelect the number of samples to use in the anti-aliasing process.Softness fieldDisplays the level of softness of the samples.An",
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{"title":"Motion Blur Settings",
"href":"./files/GUID-5F00A3EF-019F-467A-8B9E-698FA86CB69E.htm",
"description":"Motion Blur buttonEnable to apply a motion blur to the selected clip.Samples fieldDisplays the number of frames to sample when creating the blur. The samples include the current frame, and an equal di",
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{"title":"Result Output Settings",
"href":"./files/GUID-7EAFD46D-9712-4CC1-AA63-896CE35A255D.htm",
"description":"Result Output boxSelect an output option. Select Premultiplied to output alpha values in the colour channels of the result.",
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{"title":"Canvas Resolution Settings",
"href":"./files/GUID-1A63CCC3-2C3F-4123-B8FC-81A795FE6227.htm",
"description":"Resize Fit Mode boxSelect whether to resize the clip with custom width and height values.Width fieldDisplays the width of the image.Height fieldDisplays the height of the image.",
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{"title":"Auto Stabilize",
"href":"./files/GUID-BA7F3579-1E54-4E78-9B52-160CCBC63029.htm",
"description":"Use the Auto Stabilize effect to analyse the movement in a clip and remove camera instability. For example, you can remove camera jitter or lock an object’s position over a sequence of frames to make it appear motionless.",
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{"title":"Analysis Settings",
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"description":"Analyze buttonClick to run the stabilization analysis. During analysis, the viewport defaults to the Front view, and the frame advances as the stabilization is calculated. Progress can be monitored by",
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{"title":"Stabilization Settings",
"href":"./files/GUID-2F36B244-A3C2-4845-A2DA-D2E96D449B2D.htm",
"description":"Effect field Displays the percentage of smoothness used in the final stabilization output. Editable. Smoothness field Displays the level of smoothness of the stabilization curves generated by the anal",
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{"title":"Reference and Tracker Settings",
"href":"./files/GUID-443EC63F-0E73-4458-8B8A-ED49BC8E078C.htm",
"description":"Set Frame button Click to set the current frame as the reference frame for the stabilization. Reference Frame field Displays the current reference frame. Non-editable. Display Size field Displays the",
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{"title":"Offsets Settings",
"href":"./files/GUID-9E30607D-792F-47E5-8204-84C84C79D7C4.htm",
"description":"2D Transform Section Position X field Displays the X-axis offset applied to the clip. Editable. Position Y field Displays the Y-axis offset applied to the clip. Editable. Rotation field Displays th",
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{"title":"Rendering Settings",
"href":"./files/GUID-FFC1953E-25FF-44D5-AD24-7172D9221510.htm",
"description":"Repeat Mode box Select an option to fill the empty portions of the frame. Resize Fit Mode box Select whether to resize the clip with width and height values. Width field Displays the width of the imag",
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{"title":"Blend & Comp",
"href":"./files/GUID-67E898BF-F95C-4685-8EE9-40D65A5882BC.htm",
"description":"Use Blend & Comp to apply basic blending and compositing between two inputs (and their mattes) over a background.",
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{"title":"General Settings",
"href":"./files/GUID-32FBC9F9-B433-4CD1-9F29-9BE565CD5237.htm",
"description":"Blend Type boxSelect the set of blend mode operations available in the Blend Mode box.Blend Mode boxSelect a blend operation. Options determined by Blend Type box.Swap Inputs buttonEnable to switch th",
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{"title":"Input Settings",
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"description":"Input 1 and Input 2 settings are identical. Activate and use based on the inputs selected for Blend & Comp.",
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{"title":"Matte Blending Settings",
"href":"./files/GUID-785D313B-D823-4870-9B63-0DCABB5522CF.htm",
"description":"Composition boxSelect how the input mattes are combined.Correlation boxSelect whether the mattes are related to each other. For example, select Adjacent if the mattes are from different, but continuou",
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{"title":"Result Output Settings",
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"description":"Blend With boxSelect whether you want to blend the inputs with the second input clip, the background clip, or a colour.Blend Colour pot (not shown)Displays the blend colour. Available if Colour is sel",
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{"title":"Blur",
"href":"./files/GUID-62FF744E-4F2A-4C0B-BB6F-0E2E3AAAF01F.htm",
"description":"Use Blur to apply and customize a blur filter to a clip.",
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{"title":"General Settings",
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"description":"Rendering boxSelect whether to render in Progressive or Interlaced mode.Regen buttonEnable to update the image as you change blur settings.",
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{"title":"Setup Settings",
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"description":"Available in the Blur Setup menu.",
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{"title":"Blur Type Settings",
"href":"./files/GUID-7EB45FC3-9C6A-4476-A9E6-079EE8FDB803.htm",
"description":"Blur Type for Gaussian Blur Type for Radial Blur Type boxSelect the type or shape of blur filter to apply to the clip. For example, a Box blur has rectangular edges. Depending on the blur type, some",
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{"title":"Colour Space Settings",
"href":"./files/GUID-31E82F36-0087-4C2A-B12A-D4F7C71307D9.htm",
"description":"Colour Space boxSelect whether to blur in RGB or YUV space. The Channels settings change to reflect this setting.",
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{"title":"Centre Settings (Radial only)",
"href":"./files/GUID-D3566552-7D0D-4580-B339-076A91917890.htm",
"description":"Stabilizer buttonOpens the Stabilizer menu to track the centre of the blur from the source clip. See for more information.Centre X fieldDisplays the X position of the centre of the radial blur.Cent",
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{"title":"Front Settings",
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"description":"Depending on blur type selected, different Front settings appear. The following example is the Front settings for a Gaussian or Box blur.",
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{"title":"Blooming Settings (Defocus only)",
"href":"./files/GUID-CC5C0192-92AB-41C3-AC37-8DA388A6BD8E.htm",
"description":"Blooming boxSwitch between basic and additive blooming. The basic blooming mode displays the gain applied to highlights in non-HDR images, to allow the creation of bokeh patterns without affecting col",
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{"title":"Matte Settings",
"href":"./files/GUID-C830DF6C-D327-4BE5-8232-4E6934E54CCE.htm",
"description":"Matte Settings for Gaussian, Defocus, or Box Matte Settings for Radial or Radial Stamp Matte Settings for Directional Matte Width fieldDisplays the width of the blur for the matte.Matte Height fiel",
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{"title":"Channels Settings",
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"description":"RGB Channels YUV Channels Weight fieldsDisplays the weighted value of the blurred channel.Position X fieldsDisplays the horizontal offset of the blurred channel.Position Y fieldsDisplays the vertica",
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{"title":"Blending Settings",
"href":"./files/GUID-456BB542-96D4-4564-8943-F4D8ED9FDF29.htm",
"description":"Screen option boxSelect a logical operation that can be used to blend the front clip and the result clip.Transparency fieldDisplays the percentage of blending when the result is composited on the fron",
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{"title":"Kernel Settings (Defocus only)",
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"description":"The kernel is the defocus blur shape. The shape of the kernel is determined by its number of sides, its rotation, and the shape of its S-curve. This curve represents the shape of the pattern, from its centre to the outside. The default S-curve defines the softness of the blur. You can change the curve by manipulating the two points that define the curve, or you can add points to the curve. Use the Edit Mode box to add and delete points on the curve.",
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{"title":"Bump Displace",
"href":"./files/GUID-D545B4BD-FD9C-4A77-9A17-B084667C3E66.htm",
"description":"Use the Bump Displace effect to create displacement-like emboss effects using a light and surface bumps.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"}]},
{"title":"Bumps Settings",
"href":"./files/GUID-E779588E-858A-4890-B648-F206EA5FE87B.htm",
"description":"Channel option boxSelect a red, green, blue or luminance channel from the incoming displacement input in order to extract the bump.Minimum Bumps fieldDisplays the lower limit of the bump depth.Maximum",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Bump Displace","href":"./files/GUID-D545B4BD-FD9C-4A77-9A17-B084667C3E66.htm"}]},
{"title":"Light Settings",
"href":"./files/GUID-D49A4F99-7ABE-4953-8067-B0C9F1A3DBBC.htm",
"description":"Light X Position fieldDisplays the horizontal position of the light.Light Y Position fieldDisplays the vertical position of the light.Light Z Position fieldDisplays the depth of the light.You can also",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Bump Displace","href":"./files/GUID-D545B4BD-FD9C-4A77-9A17-B084667C3E66.htm"}]},
{"title":"Texture Settings",
"href":"./files/GUID-B642485E-44D1-4D40-AE1E-DDE274D6A281.htm",
"description":"Diffuse Gain fieldDisplays the contrast in the image. Use to increase or decrease the intensity of highlights and shadows in surface features.Shininess fieldDisplays the amount of shine in the image.S",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Bump Displace","href":"./files/GUID-D545B4BD-FD9C-4A77-9A17-B084667C3E66.htm"}]},
{"title":"RGB Distortion Settings",
"href":"./files/GUID-6AE3EE3B-F9CF-457A-B65C-515D5AF4E503.htm",
"description":"Red Distortion fieldDisplays the amount of distortion in the red channel.Green Distortion fieldDisplays the amount of distortion in the green channel.Blue Distortion fieldDisplays the amount of distor",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Bump Displace","href":"./files/GUID-D545B4BD-FD9C-4A77-9A17-B084667C3E66.htm"}]},
{"title":"Repeat Mode Settings",
"href":"./files/GUID-F0C05CAA-8BE6-49AC-85E9-4B6EE472CCD5.htm",
"description":"Repeat Mode boxSelect an option to fill the empty portions of the frame.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Bump Displace","href":"./files/GUID-D545B4BD-FD9C-4A77-9A17-B084667C3E66.htm"}]},
{"title":"Anti-Aliasing Settings",
"href":"./files/GUID-22A6D469-ECD9-417C-82D1-96CE136797D2.htm",
"description":"Anti-Aliasing buttonEnable this button to activate sampling and softness.Sampling boxSelect the number of samples to use in the anti-aliasing process.Softness fieldThis field displays the level of sof",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Bump Displace","href":"./files/GUID-D545B4BD-FD9C-4A77-9A17-B084667C3E66.htm"}]},
{"title":"Damage",
"href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm",
"description":"Use Damage to apply a large variety of film or video degradation effects to a clip.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"}]},
{"title":"Film Damage Effects",
"href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm",
"description":"Use the Film Damage effects to apply a large variety of film degradation effects to a clip.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"}]},
{"title":"Blotches Settings",
"href":"./files/GUID-3F3E69F5-D6CD-4EE4-AAF6-3DFB2F626C46.htm",
"description":"Use this effect to simulate blotches on old film.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Film Damage Effects","href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm"}]},
{"title":"Colour Settings",
"href":"./files/GUID-2DAD1028-BC38-4DAC-B395-03E5221ADA74.htm",
"description":"Use this effect to simulate colour fading and variation on old film.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Film Damage Effects","href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm"}]},
{"title":"Dust Settings",
"href":"./files/GUID-E12491D7-8796-4C45-B5BC-3855CEE52AC5.htm",
"description":"Use this effect to simulate dust particles on old film.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Film Damage Effects","href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm"}]},
{"title":"Grain Settings",
"href":"./files/GUID-9FA31A9B-76E5-416F-9A69-24320B2FE36B.htm",
"description":"Use this effect to simulate grain on old film.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Film Damage Effects","href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm"}]},
{"title":"Scratches Settings",
"href":"./files/GUID-35C34BFB-22A4-432B-99DC-B8DBDE17B809.htm",
"description":"Use this effect to simulate scratches on old film.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Film Damage Effects","href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm"}]},
{"title":"Splices Settings",
"href":"./files/GUID-A9C288C1-8F8C-45EF-9EC0-62868933B96D.htm",
"description":"Use this effect to simulate splices on old film.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Film Damage Effects","href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm"}]},
{"title":"Defocus Settings",
"href":"./files/GUID-BBB5A087-A493-433D-A4E1-BA4D01CC57AA.htm",
"description":"Use this effect to simulate projection defocus on old film.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Film Damage Effects","href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm"}]},
{"title":"Flicker Settings",
"href":"./files/GUID-4424691D-D249-44B1-9CB2-4D997EBD1587.htm",
"description":"Use this effect to simulate frame flicker on old film.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Film Damage Effects","href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm"}]},
{"title":"Hairs Settings",
"href":"./files/GUID-777BF7E5-3DCD-414C-9548-ED3F429B4015.htm",
"description":"Use this effect to simulate hairs on old film.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Film Damage Effects","href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm"}]},
{"title":"Jitter Settings",
"href":"./files/GUID-55C45468-656A-4DC4-9ECC-4D9C14A20202.htm",
"description":"Use this effect to simulate projection jitter on old film.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Film Damage Effects","href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm"}]},
{"title":"Vignette Settings",
"href":"./files/GUID-0B289E87-8B90-464E-B76F-721CEBD5BB9B.htm",
"description":"Use this effect to simulate vignetting on old film.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Film Damage Effects","href":"./files/GUID-1E95B63C-5D1B-4EFD-A8B2-4C82B2A39909.htm"}]},
{"title":"Analog Video Damage Effects",
"href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm",
"description":"Use the Analog Video Damage effects to apply a large variety of analog video degradation effects to a clip.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"}]},
{"title":"Analog Drops Settings",
"href":"./files/GUID-A818B195-5CCB-458C-949E-C8B7A416D49D.htm",
"description":"Use this effect to simulate analog drops causing noise or shash when playing back old tapes on VTRs.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"Distortion Settings",
"href":"./files/GUID-D7E6DA4C-DBCF-4B5C-A858-6E4E653AE7D3.htm",
"description":"Use this effect to simulate edge distortion when playing back old tapes on VTRs.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"Interference Settings",
"href":"./files/GUID-25AD9CCE-3F26-4016-9D22-E1787F5B40B7.htm",
"description":"Use this effect to simulate electromagnetic Interference when playing back old tapes on VTRs.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"Lines Settings",
"href":"./files/GUID-F8CB3F7B-CFBE-4660-8035-166780AEA37A.htm",
"description":"Use this effect to simulate lines caused by noise artifacts when playing back old tapes on VTRs.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"Play Effects Settings",
"href":"./files/GUID-91CF2BF7-C553-4EF4-9C11-5C48FBB517B0.htm",
"description":"Use this effect to simulate play effects caused by misaligned or dirty tape heads when playing back old tapes on VTRs.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"Vertical Offset Settings",
"href":"./files/GUID-67E7029D-1309-45F9-A3EB-0484D91996D1.htm",
"description":"Use this effect to simulate vertical rolls when playing back old tapes on VTRs.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"Blur Settings",
"href":"./files/GUID-5C8706E1-DC17-4AB2-9CCC-692E4123441D.htm",
"description":"Use this effect to simulate blur from poor signal reception.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"Colour Settings",
"href":"./files/GUID-AE16E55A-3D98-4BC8-8214-70FEBA4744D1.htm",
"description":"Use this effect to simulate analog colour degradation, shift and variations from poor signal reception.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"Ghosting Settings",
"href":"./files/GUID-4E5F66D4-2160-4F09-A69C-E26AFE291860.htm",
"description":"Use this effect to simulate ghosting from poor signal reception.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"Scanlines Settings",
"href":"./files/GUID-DF46F180-1CB9-44EE-865D-449DAF0905C2.htm",
"description":"Use this effect to simulate scanlines from poor signal reception.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"Snow Settings",
"href":"./files/GUID-B418686E-822E-44AA-BB27-36B1EA8DDE71.htm",
"description":"Use this effect to simulate snow from poor signal reception.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"TV Distort Settings",
"href":"./files/GUID-2B2D5D34-84F6-4432-8583-10DA7AF51FDA.htm",
"description":"Use this effect to simulate TV lens distortion from a poor video camera.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Analog Video Damage Effects","href":"./files/GUID-2C5BC140-C800-4094-B721-EAE19B54BE4F.htm"}]},
{"title":"Digital Video Damage Effects",
"href":"./files/GUID-EE14D3C8-EBC6-4D85-9762-D0E69C783363.htm",
"description":"Use the Digital Video Damage effects to apply a large variety of digital video degradation effects to a clip.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"}]},
{"title":"Chroma Errors Settings",
"href":"./files/GUID-F30F4489-6610-4550-B1D7-76ABC3AC735F.htm",
"description":"Use this effect to simulate chroma errors in badly encoded digital video transmissions.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Digital Video Damage Effects","href":"./files/GUID-EE14D3C8-EBC6-4D85-9762-D0E69C783363.htm"}]},
{"title":"Colour Artifacts Settings",
"href":"./files/GUID-FA5D1527-0AA4-4AA9-B41E-C4F194766DC1.htm",
"description":"Use this effect to simulate digital colour artifacts and degradation appearing in badly encoded digital video transmissions.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Digital Video Damage Effects","href":"./files/GUID-EE14D3C8-EBC6-4D85-9762-D0E69C783363.htm"}]},
{"title":"Compression Settings",
"href":"./files/GUID-8CB5AC75-AE3C-4BEA-B1AF-3EB5708C4AB7.htm",
"description":"Use this effect to simulate digital compression errors in badly encoded digital video transmissions.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Digital Video Damage Effects","href":"./files/GUID-EE14D3C8-EBC6-4D85-9762-D0E69C783363.htm"}]},
{"title":"Digital Drops Settings",
"href":"./files/GUID-AB9EBA85-0AAF-4BE9-ADDD-466D921FF981.htm",
"description":"Use this effect to simulate digital drop errors in badly encoded digital video transmissions.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Digital Video Damage Effects","href":"./files/GUID-EE14D3C8-EBC6-4D85-9762-D0E69C783363.htm"}]},
{"title":"Play Effects Settings",
"href":"./files/GUID-3501825A-0B31-4854-A0B9-BF0DCB5CDF2C.htm",
"description":"Use this effect to simulate digital play effects in badly encoded digital video transmissions.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Digital Video Damage Effects","href":"./files/GUID-EE14D3C8-EBC6-4D85-9762-D0E69C783363.htm"}]},
{"title":"Pixelation Settings",
"href":"./files/GUID-56DB9D7C-10E8-4C58-8235-C5038B90AC99.htm",
"description":"Use this effect to simulate reduced resolution and digital pixelation errors in badly encoded digital video transmissions.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Damage","href":"./files/GUID-E1E7A8FD-8D29-4FCB-A36E-0B51B5B782F5.htm"},{"title": "Digital Video Damage Effects","href":"./files/GUID-EE14D3C8-EBC6-4D85-9762-D0E69C783363.htm"}]},
{"title":"Deform",
"href":"./files/GUID-5D7A6E96-7189-41DA-8E94-352DEFCD00D6.htm",
"description":"Use various types to apply deformation effects to clips.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"}]},
{"title":"General Settings",
"href":"./files/GUID-C56AF0B2-14B2-43E6-9DE3-5950C1C90A64.htm",
"description":"Deform Type buttonSelect the type of deformation you want to create. The available Effect Parameters change based on the selection. Deform Ripple box (not shown)Available when Ripple is selected as th",
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{"title":"Effect Parameters",
"href":"./files/GUID-DFC88661-D818-490B-8F95-FF7060382127.htm",
"description":"Depending on what is selected in the Deform Type box, different effect parameters appear, helping you to set up your Deform effect.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Deform","href":"./files/GUID-5D7A6E96-7189-41DA-8E94-352DEFCD00D6.htm"}]},
{"title":"Transform Settings",
"href":"./files/GUID-F68C0BC9-6170-438C-AE57-84AB7BCDFFB3.htm",
"description":"Transform settings for Input, Deform, and Output are identical.",
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{"title":"Anti-Aliasing Settings",
"href":"./files/GUID-CE8794C0-2744-4AF0-8629-FEE5271BEC4F-1.htm",
"description":"Anti-Aliasing buttonEnable to activate sampling and softness.Sampling boxSelect the number of samples to use in the anti-aliasing process.Softness fieldDisplays the level of softness of the samples.An",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Deform","href":"./files/GUID-5D7A6E96-7189-41DA-8E94-352DEFCD00D6.htm"}]},
{"title":"Denoise",
"href":"./files/GUID-5D97C80B-70A2-4FD7-A2D3-D0A4088E5BFB.htm",
"description":"Use the Denoise effect to reduce or remove noise and grain from your source media.",
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{"title":"Setup Settings",
"href":"./files/GUID-71C5985B-00DE-4F5D-B1C4-45870408B4D5.htm",
"description":"Image Type boxSelect an option to adjust the algorithm based on the Image Data Type of your media. See Adjusting Algorithms Based on Image Data Type.Export buttonClick to export a Denoise setup to be",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Denoise","href":"./files/GUID-5D97C80B-70A2-4FD7-A2D3-D0A4088E5BFB.htm"}]},
{"title":"Grain Analysis Settings",
"href":"./files/GUID-E92CDAD2-65DA-4E68-9F85-430BEFA66AB8.htm",
"description":"Add Bounding Box buttonAdds a new sub-region. Click and drag the bounding box in the image window to set the location.Remove Bounding Box boxSelect an option to remove the currently selected bounding",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Denoise","href":"./files/GUID-5D97C80B-70A2-4FD7-A2D3-D0A4088E5BFB.htm"}]},
{"title":"Denoise Settings",
"href":"./files/GUID-8219172E-5A1C-472C-B47F-E69C8F2C2CD5.htm",
"description":"Use the Denoise settings to make fine-tuning adjustments after you have analysed the grain profile.",
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{"title":"Histogram Settings",
"href":"./files/GUID-9A909229-D4CC-4970-92D3-5BA776026172.htm",
"description":"Histogram boxSelect to display the red, green, blue, or luminance histogram in the graph. Select Current Curve to display the histogram for the currently selected Curves Channel.Curves Channel boxSele",
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{"title":"Median Filtering Settings",
"href":"./files/GUID-B27746D5-F2CF-4914-BBF5-C1D9A3E5582E.htm",
"description":"Median Filtering buttonEnable to use the median filter: an edge-preserving smoothing filter that works particularly well for removing impulse noise.Type boxSelect the filtering mode.Criteria boxSelect",
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{"title":"Depth Of Field",
"href":"./files/GUID-D3E08B87-813A-473A-8C73-8AE0388F8033.htm",
"description":"Use Depth Of Field to create a blur that is applied to out-of-focus points of light to simulate a shallow focus.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"}]},
{"title":"Blur and Blooming Settings",
"href":"./files/GUID-85BBB7E1-0E3E-4400-A3B4-A18C2ADA0D4B.htm",
"description":"Width fieldEnter the horizontal blur amount in pixels.Height fieldEnter the vertical blur amount in pixels.Proportional buttonEnable to constrain blur amount proportions.Bokeh Blur fieldDisplays the a",
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{"title":"Bokeh Settings",
"href":"./files/GUID-677A53BF-C710-4EC1-B578-DD34BC95E157.htm",
"description":"Sides fieldDisplays the number of sides in the kernel shape. Rotation fieldDisplays the angle of rotation of the kernel shape.Bokeh Type boxSelect whether to use a round or angle bokeh curve to define",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Depth Of Field","href":"./files/GUID-D3E08B87-813A-473A-8C73-8AE0388F8033.htm"}]},
{"title":"Slices and Edge Artifacts Settings",
"href":"./files/GUID-BFD5944E-3AE8-4B1B-B33D-97720864B917.htm",
"description":"Slices Number fieldDisplays the number of slices to blend to determine the Z-depth interpolation of a depth-of-field focus blur. You can see the slices in the depth-o-gram to allow a better understand",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Depth Of Field","href":"./files/GUID-D3E08B87-813A-473A-8C73-8AE0388F8033.htm"}]},
{"title":"Z-Depth Settings",
"href":"./files/GUID-4DE1CDD2-670F-4464-BEC2-A0940C29AB96.htm",
"description":"Z Offset fieldDisplays the value which should be considered as 0 when you slide the histogram information to within the [0,1] range.Z Range fieldDisplays the 0 value defined within the Z offset positi",
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{"title":"Depth-O-Gram Settings",
"href":"./files/GUID-6023769B-FA22-4BB6-9311-A9AADD38067C.htm",
"description":"Use the Depth-O-Gram settings to refine focus values.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Depth Of Field","href":"./files/GUID-D3E08B87-813A-473A-8C73-8AE0388F8033.htm"}]},
{"title":"Modifying Depth of Field Gesturally",
"href":"./files/GUID-5E1DC20E-CF35-40AD-B2BF-2FB3CAC2A5FD.htm",
"description":"Depth blur effects can be modified gesturally by dragging the focus, near offset, and far offset planes in the graphic representation of the depth of field. As you drag these elements, the planes are also displayed in the Result view as a preview of the areas that will be in focus. Use the depth control fields to change the gamma and gain, and to change the focus range while keeping the focus plane constant. These parameters are updated in the depth of field display automatically.",
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{"title":"Bokeh Profile Settings",
"href":"./files/GUID-4B37A6CB-FB4B-4ECA-8DD3-E2BAC363C290.htm",
"description":"Use the Bokeh Profile tab to edit the blur kernel pattern.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Depth Of Field","href":"./files/GUID-D3E08B87-813A-473A-8C73-8AE0388F8033.htm"}]},
{"title":"Edge Detect",
"href":"./files/GUID-03B9309D-BB76-403E-932E-E20F0DF5FBC9.htm",
"description":"Use Edge Detect to trace the edges in a clip based on colour. This data can then be used to create a range of artisitc effects in various colour spaces.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"}]},
{"title":"General Settings",
"href":"./files/GUID-B38E5C1E-3474-4FCB-AAF6-ADA3D5940DE8.htm",
"description":"Colour Type boxSelect the colour space that you want to use to isolate the edge. Result Output boxSelect Result to output the composite of the input image, input matte, and the matte generated by the",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Edge Detect","href":"./files/GUID-03B9309D-BB76-403E-932E-E20F0DF5FBC9.htm"}]},
{"title":"Edge Detection Settings",
"href":"./files/GUID-B06D5467-0718-459D-9647-C0E3AA1E1A28.htm",
"description":"Red Weight fieldEnter a value for the relative intensity of red used to detect edges. This value is scaling factor, not the color value of the channel itself.Green Weight fieldEnter a value for the re",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Edge Detect","href":"./files/GUID-03B9309D-BB76-403E-932E-E20F0DF5FBC9.htm"}]},
{"title":"Edge Effects Settings",
"href":"./files/GUID-D810752F-D2FB-426F-BD16-59432EF7E342.htm",
"description":"Double Edge buttonEnable to do a second edge detection pass and create twice as many edges.Minimum Edge Detection Threshold fieldEnter the lower limit for edge detection.Maximum Edge Detection Thresho",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Edge Detect","href":"./files/GUID-03B9309D-BB76-403E-932E-E20F0DF5FBC9.htm"}]},
{"title":"Colour Correction Settings",
"href":"./files/GUID-68E7F94D-A80E-4E45-BDDA-C48287B1EAEA.htm",
"description":"Saturation fieldEnter the level of colour purity in the image.Gamma fieldEnter the gamma level.Offset fieldEnter a value that modifies all of the colour parameters.Red Gain fieldSet the percentage of",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Edge Detect","href":"./files/GUID-03B9309D-BB76-403E-932E-E20F0DF5FBC9.htm"}]},
{"title":"Blending Settings",
"href":"./files/GUID-E783F4BE-83F7-4191-8537-CB072887CE89.htm",
"description":"Blend Mode option boxSelect an operation to blend the input image with the matte created by the edge detection, and the input matte (if the Use Matte button is enabled).Edge Transparency fieldEnter a",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Edge Detect","href":"./files/GUID-03B9309D-BB76-403E-932E-E20F0DF5FBC9.htm"}]},
{"title":"Glow",
"href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm",
"description":"Use Glow to create and customize a glow effect on a clip.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"}]},
{"title":"Using Glow Presets",
"href":"./files/GUID-F1EF8EB8-2DDF-4EA9-B5A0-8C37D166F8DF.htm",
"description":"A number of Glow presets are included, such as a basic glow effect or edge boost effect. These presets can help you learn how the glow effect works, or provide a good starting point to change settings to create better glow effects.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Glow","href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm"}]},
{"title":"General Settings",
"href":"./files/GUID-50825AD0-58D2-44BF-9969-F23D4D82A1DE.htm",
"description":"Rendering boxSelect whether to render in Progressive or Interlaced mode.Regen buttonEnable to update the image as you change glow settings.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Glow","href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm"}]},
{"title":"Setup Settings",
"href":"./files/GUID-9DB47BDE-3496-4820-8FA7-8C75E78800BD.htm",
"description":"Available in the Glow Setup menu.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Glow","href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm"}]},
{"title":"Glow Type Settings",
"href":"./files/GUID-C622ED25-D1AA-4A79-A7F6-8FCBE6C3E8A0.htm",
"description":"Glow Type for Gaussian Glow Type for Radial Glow Type boxSelect the type or shape of blur filter to apply to the clip. For example, a Box blur has rectangular edges. Depending on the glow type, some",
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{"title":"Centre Settings (Radial only)",
"href":"./files/GUID-282FEF7E-DF8A-4BA0-89D0-0CFA8C94DC84.htm",
"description":"Stabilizer buttonOpens the Stabilizer menu to track the centre of the glow from the source clip. See for more information.Centre X fieldDisplays the X position of the centre of the radial glow.Cent",
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{"title":"Input Settings",
"href":"./files/GUID-0CAF26D2-24CF-4B38-8580-8241FE81A601.htm",
"description":"Hue fieldDisplays the colour range in the image before the glow effect is applied.Saturation fieldDisplays the colour purity level in the image before the glow effect is applied.Contrast fieldDisplays",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Glow","href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm"}]},
{"title":"Front Settings",
"href":"./files/GUID-73F3C39B-8F98-497F-B843-2B112A7389FD.htm",
"description":"Front Settings for Gaussian or Box Front Settings for Radial Front Settings for Directional Width fieldDisplays the width of the blur. Increasing the blur increases the processing time.Height field",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Glow","href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm"}]},
{"title":"Matte Settings",
"href":"./files/GUID-648EF72E-F572-46B6-AE50-2E10BAB01307.htm",
"description":"Matte Settings for Gaussian or Box Matte Settings for Radial Matte Settings for Directional Matte Width fieldDisplays the width of the blur for the matte.Matte Height fieldDisplays the height of th",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Glow","href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm"}]},
{"title":"Colour Settings",
"href":"./files/GUID-973EDF8E-ECE7-4963-8EA5-210B43603111.htm",
"description":"Colour 1 boxEnable to be able to define the first colour used for the glow.Colour 1 Colour potDisplays the hue and saturation colour of the first glow colour. Click to open the colour picker to select",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Glow","href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm"}]},
{"title":"Channels Settings",
"href":"./files/GUID-A49CAD23-1F32-41DD-B88D-D0E42E5C8267.htm",
"description":"Weight fieldsDisplays the weighted value of the blurred channel.Position X fieldsDisplays the horizontal offset of the blurred channel.Position Y fieldsDisplays the vertical offset of the blurred chan",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Glow","href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm"}]},
{"title":"Blending Settings",
"href":"./files/GUID-C9133D09-11CA-4878-AE0C-AD1F165579FE.htm",
"description":"Screen option boxSelect a logical operation that can be used to blend the front clip and the result clip.Transparency fieldDisplays the percentage of blending when the result is composited on the fron",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Glow","href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm"}]},
{"title":"Result Settings",
"href":"./files/GUID-2B2DB7FB-AE5F-4299-AD6F-041F56389195.htm",
"description":"Result Type boxSelect whether to output the combined result (with blending), or only the glow effect itself.",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Glow","href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm"}]},
{"title":"Matte Output Settings",
"href":"./files/GUID-2D6B1DE2-9B80-4677-BD74-54CC0DA7CCE5.htm",
"description":"Matte Output boxSwitch between blend matte and glow luma. Blend matte allows you to output the matte used internally to perform the blending of the glow effect over the input image. Glow luma allows y",
"ancestors":[{"title": "Processing and Formatting Effects","href":"./files/topichead_d3e91424.htm"},{"title": "Flame FX","href":"./files/topichead_d3e100019.htm"},{"title": "Glow","href":"./files/GUID-93D62D75-8D1A-4801-AC63-5011A09894F2.htm"}]},
{"title":"Gradient",
"href":"./files/GUID-D592FE4B-3051-4FE4-BA4B-5E0ACFFF388F.htm",
"description":"Use the Gradient to create an effect based on colours and patterns of your choosing.",
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{"title":"Setup Settings",
"href":"./files/GUID-26C7E73F-56F9-4695-A749-C223D3D70D64.htm",
"description":"Available in the Gradient Setup menu.",
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{"title":"Type Settings",
"href":"./files/GUID-DF7E9587-A97B-432A-BF22-E519FF25E3A3.htm",
"description":"For each gradient type, you can gesturally create your gradients in the image window with various widgets, such as splines and vertices. Make sure that Show Widgets is enabled in the Gradient Setup menu.",
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{"title":"Orientation Settings",
"href":"./files/GUID-FC17EB22-B789-4A2D-A0D7-3EBD2348163C.htm",
"description":"Swap UV buttonEnable to change the direction of the gradient.",
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{"title":"Gradient Controls Settings",
"href":"./files/GUID-5A02B0C6-2C63-4307-A859-7868321183A9.htm",
"description":"You can further alter the shape of a radial gradient with the Shape settings.",
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{"title":"Ramps Settings",
"href":"./files/GUID-A8641FBE-EE78-4BAD-B6FF-161F461B6D30.htm",
"description":"The Colour and Alpha ramps are available for Directional, Radial, and Spline gradients.",
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{"title":"Radial Shape Settings",
"href":"./files/GUID-F8112D87-6B55-4F31-9746-0D16C6B4A75C.htm",
"description":"You can further affect the shape of a radial gradient.",
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{"title":"Spline Shape Settings",
"href":"./files/GUID-776B010D-2EB4-4D33-BD30-15420A5D1C1B.htm",
"description":"You can further affect the shape of a spline gradient. All of the these settings have gestural equivalents in the image window (make sure that Show Widgets is enabled in the Gradient Setup menu).",
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{"title":"Points Settings",
"href":"./files/GUID-65A7148B-257A-40A5-B18D-D5BF43C43F2A.htm",
"description":"The Points list is available for Point gradients.",
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{"title":"Blending Settings",
"href":"./files/GUID-4A98F447-1B16-4D8D-BAB5-9F5C43750F01.htm",
"description":"Screen option boxSelect a logical operation that can be used to blend the front clip and the result clip.Transparency fieldDisplays the percentage of blending when the result is composited on the fron",
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{"title":"Result Output Settings",
"href":"./files/GUID-69B98AFC-6303-4587-B4B1-4473F3C2E767.htm",
"description":"Result Output Mode boxSelect whether to output the combined result (with blending), or only the gradient effect itself.",
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{"title":"Alpha Output Settings",
"href":"./files/GUID-5117E5D3-E26A-456A-B1EB-A16E80AB1D97.htm",
"description":"",
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{"title":"Map Convert",
"href":"./files/GUID-19B26C78-6EAC-4E3F-95F4-EEA2A351AB6A.htm",
"description":"The Map Convert effect provides conversion transformation for image-based lighting (IBL) and environment maps.",
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{"title":"Input and Output Format Settings",
"href":"./files/GUID-3A852643-B1CE-435A-8ECD-1834353C7D59.htm",
"description":"The Map Convert effect accepts the following format types:",
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{"title":"Transform Settings",
"href":"./files/GUID-715C0036-09B6-4834-873C-BADD477F2074.htm",
"description":"Depending on the input format chosen, different settings are available to help you position the map.",
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{"title":"Output Size Settings",
"href":"./files/GUID-2EB1FD65-DFBB-495C-865D-05458C8DB740.htm",
"description":"Output Size boxSelect whether to output the map at the size of the input image (Automatic), or select Custom to change the size of the output image.Width fieldDisplays the width of the output image.He",
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{"title":"Matchbox",
"href":"./files/GUID-685A495B-C961-4550-BBBA-302829C7477D.htm",
"description":"Matchbox is an interactive development tool that allows you to run generic OpenGL Shading Language (GLSL) shader code directly in Batch or through the desktop module, to add specific functionality, or create custom effects. GLSL is a high-level shading language that is part of the OpenGL specification.",
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{"title":"Creating Your Own Matchbox Effects",
"href":"./files/GUID-C1AEE787-B85D-41D3-8103-EAFB16412F42.htm",
"description":"A great benefit of working with the Matchbox tool is being able to create your own effects, depending on your particular needs. Creating a Matchbox shader can be as simple as copying and pasting GLSL code snippets, or can be complex multipass effects with multiple inputs and dozens of UI elements. For example, here is the contents of a simple Add effect:",
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{"title":"Matte Edge",
"href":"./files/GUID-B1CDCCE2-A968-4046-955C-81CB1C226122.htm",
"description":"Use the Matte Edge effect to create an image based on the detected edges, or use it to modify the edges of a matte to help in creating a key.",
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{"title":"General Settings",
"href":"./files/GUID-BA7A85A8-1389-45CB-B1DF-F18D541401D8.htm",
"description":"Rendering boxSelect whether to render in Progressive or Interlaced mode.Regen buttonEnable to update the image as you change settings.",
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{"title":"Edges Settings",
"href":"./files/GUID-CDDBC63D-087A-4192-8119-E2B88E12F03E.htm",
"description":"Edges buttonEnable to create an image composed of the edges in an image.Matte Edge Mode boxSelect whether to use the Basic or Advanced edge-detection algorithm. Certain settings change based on this s",
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{"title":"Basic Settings",
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"description":"Width fieldDisplays the value that affects how the basic edge-detection algorithm determines whether each pixel forms part of the edge.Minimum Input fieldDisplays the lower limit of the luminance valu",
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{"title":"Advanced Settings",
"href":"./files/GUID-B8C279DE-8263-4296-91FD-CA701D99F198.htm",
"description":"Minimum Input fieldDisplays the lower limit of the luminance values. Pixels with lower values are mapped to black.Maximum Input fieldDisplays the upper limit of the luminance values. Pixels with highe",
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{"title":"Shrink Settings",
"href":"./files/GUID-05F374B4-A8DB-46F7-83E8-C5B50840A52E.htm",
"description":"Shrink buttonEnable to remove pixels from the edge of the matte.Shrink Mode boxSelect whether to use shrink in a single pass or iterative mode. Single Pass mode allows you to control edge softness.Shr",
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{"title":"Erode Settings",
"href":"./files/GUID-383B030C-1BAB-4EAA-8543-188D657E82B9.htm",
"description":"Erode buttonEnable to blend the light and dark edges of the matte.Erode Width fieldDisplays the width of the matte border to soften.",
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{"title":"Blur Settings",
"href":"./files/GUID-20792C29-5890-40AB-B44E-6377F08E20B5.htm",
"description":"Blur buttonEnable to apply a softening Gaussian blur filter to the edge of the matte.Blur Width fieldDisplays the width of the blur applied to the edge of the matte.Blur Height fieldDisplays the heigh",
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{"title":"Matte Luminance Curve Settings",
"href":"./files/GUID-0B8F7821-9B7A-4F2E-A0BB-5EFB0DFA596D.htm",
"description":"Matte Luminance CurveControls the blending of the edges. You can add keyframes to the curve using Add mode, move keyframes with Move mode, and modify the curve’s shape using tangent handles.Reset butt",
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{"title":"Noise Settings",
"href":"./files/GUID-E7EF4955-6EF9-4982-A1F7-7C498C36B8BA.htm",
"description":"Noise buttonEnable to add noise to the transparent areas of the matte.Noise Mode boxSelect the mode of noise to apply throughout the length of the image.Select:To add noise:StaticAs a still frame. You",
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{"title":"Motion Blur",
"href":"./files/GUID-9E865056-80D5-478A-A417-75A901473BFB.htm",
"description":"Use Motion Blur to simulate the blur created by fast-moving objects.",
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{"title":"Pixel Spread",
"href":"./files/GUID-975C9B37-81D8-4B48-AD6B-57AC9D1D80E5.htm",
"description":"Use Pixel Spread to create a stretching effect from image edges delimited by a matte. This can be useful to solve keying problems resulting from dark edges around the area to be keyed, for example.",
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{"title":"Type Settings",
"href":"./files/GUID-346444A1-3D07-4A81-A7BD-226480FE27DA.htm",
"description":"Spread Type box Select the type of pixel spread distortion effect to apply to the clip. Different Spread Settings appear based on the type selected.Spread Mode boxSelect whether to have the distortion",
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{"title":"Spread Settings",
"href":"./files/GUID-22826557-4FB7-4FFA-881F-03A005ADDFFA.htm",
"description":"Depending on the Spread Type selected, you have different options for modifying the effect.",
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{"title":"Output Settings",
"href":"./files/GUID-4E6EFEC2-3DE7-43B9-8786-CC881E999B84.htm",
"description":"Result Output boxSelect whether to output a combined result or the pixel spread effect only.Alpha Output boxSelect Input to output the input matte or Spread Matte to output the matte generated by the",
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{"title":"Recursive Ops",
"href":"./files/GUID-CD83D6C7-EFA6-4D52-9225-7DC8C48FA6A2.htm",
"description":"Use Recursive Ops to perform a wide range of recursive, animation-based blending effects.",
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{"title":"Stylize",
"href":"./files/GUID-AD090162-3F7B-4D4A-9A62-E07E40D378D6.htm",
"description":"Use Stylize to create a wide range of visual styles, including painting, printing and sketching on an image sequence.",
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{"title":"Creative Effects",
"href":"./files/GUID-95516A3F-2A71-414E-BAD2-8C09D2212ACF.htm",
"description":"",
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{"title":"Colour Corrector",
"href":"./files/topichead_d3e108627.htm",
"description":"",
"ancestors":[{"title": "Creative Effects","href":"./files/GUID-95516A3F-2A71-414E-BAD2-8C09D2212ACF.htm"}]},
{"title":"About Colour Correcting",
"href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm",
"description":"The Colour Corrector includes tools that provide precise control over colour values. You can modify luma ranges in a clip (shadows, midtones, and highlights), sample colours, and adjust the colour balance. You can rewire colour channels and suppress colours, as well as animate a colour correction by manipulating the animation curve in the Channel Editor.",
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{"title":"Accessing the Colour Corrector",
"href":"./files/GUID-E81B5B16-75C8-42A6-8E0B-DC8F0A2E59D9.htm",
"description":"To access the Colour Corrector, you must load clips of the same resolution. If the clips you want to load have different resolutions, resize them so that they have the same resolution.",
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{"title":"Accessing the Colour Corrector from Other Modules",
"href":"./files/GUID-F0E318E6-75D8-4D67-AEEE-E1D0F6AEA489.htm",
"description":"You can colour correct clips loaded into Action, Paint , or the Keyer. You can also use the Colour Corrector in Batch and the Modular Keyer.",
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{"title":"Hiding the Colour Corrector Menu",
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"description":"You can hide the Colour Corrector menu while adjusting an image if you find the menu distracting. With the menu hidden you can modify numeric fields, use the colour wheel, or access buttons via their corresponding hotkeys.",
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{"title":"Overlay User Interface",
"href":"./files/GUID-83DF3452-1450-4008-8487-0CE16132C22C.htm",
"description":"The Overlay user interface is specific to the Colour Corrector and Colour Warper. Its controls are identical to those on the regular user interface except that they are transparent and appear on top of the image. This allows you a greater viewing area when working with large or zoomed-in images.",
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{"title":"Viewing Clips",
"href":"./files/GUID-D814EA80-CED1-48A6-A961-C547E94BCCCF.htm",
"description":"You can view a front, back, matte, or result clip in the image window. The front, back, and matte clips show the source clips used. The result clip shows your colour corrections as you apply them.",
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{"title":"Colour Corrector Settings",
"href":"./files/GUID-E0D4A02B-E3AE-42A1-8F38-35A04D52FBED.htm",
"description":"In the Colour Corrector Setup menu, you can change matte clip settings, the way that colour changes are updated, background brightness, and cropping. You can also reset colour corrections made from the Colour Corrector, Colour Warper, or both.",
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{"title":"Inverting the Matte",
"href":"./files/GUID-F963594C-02B3-4692-B08F-8171F24778A7.htm",
"description":"You can invert the matte clip. Inverting the matte swaps the transparent and opaque areas of the matte and redefines the area of the front image that can be colour corrected, as well as the area of the back image that is shown.",
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{"title":"Changing the Background Brightness",
"href":"./files/GUID-E5D84937-6569-4F23-8D96-715CFC0BB2E0.htm",
"description":"You can adjust the brightness of your work area background. Changing the background brightness is a global setting. Changing the brightness through the Colour Corrector menu has the same effect as changing it through the Smoke Preferences menu.",
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{"title":"Creating a Crop Box",
"href":"./files/GUID-931B569C-8794-41DD-A4BE-7037D2F8CF0B.htm",
"description":"Use a crop box to view the colour changes to a limited region of the front clip. Colour changes only appear in the area within the crop box. This feature speeds up processing and lets you see the difference between the source clip and the result clip.",
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{"title":"Dynamic Updating",
"href":"./files/GUID-2570ACEF-4707-4DFD-B6A6-C2C318F1BED0.htm",
"description":"Use the Regen button to enable dynamic updating of changes you make in the Colour Corrector. When Regen is enabled, you see the changes interactively as you adjust the values in the various displays. When Regen is disabled, you do not see changes until values are entered after releasing the cursor, or by clicking the Enter key in the calculator.",
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{"title":"Viewing Reference Clips",
"href":"./files/GUID-8226D42E-5CB6-47DA-AA74-B567A823ECF1.htm",
"description":"You can use the split bar to view and sample a reference clip while you work. Reference clips are particularly useful when you want to match colours or compare colour corrections.",
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{"title":"Resetting Colour Corrections",
"href":"./files/GUID-D4FD2141-6B34-460E-95FF-24223EA72B8F.htm",
"description":"You can reset colour corrections created with the Colour Corrector, the Colour Warper, or both. You can also reset the corrections you make inside the Colour Corrector using the Reset Basics button, or by using the Range, Histogram, or Curve graphs.",
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{"title":"Saving Colour Correction Setups and Preferences",
"href":"./files/GUID-D522A875-12D5-455A-8AB0-175B9E475A7D.htm",
"description":"You can save or load colour correction setups using the Save or Load button. Any setup can be loaded from the file browser for use with another set of clips. You can also save or load colour correction preferences using the Load or Save button.",
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{"title":"Colour Sampling",
"href":"./files/GUID-AD70BA9F-E483-4B31-BCCE-BB55F8AF22FA.htm",
"description":"You can sample colours from the front and back clips, and instantly see how the front clip will be affected by the colour correction.",
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{"title":"Colour Sampling and Processing Order",
"href":"./files/GUID-6FBC526B-B17B-4975-A4BF-FA4B8A1491B4.htm",
"description":"You can use any combination of colour correction commands to modify the front clip. The commands are processed in the following order:",
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{"title":"Matching Colours",
"href":"./files/GUID-A3F45E5E-E342-4F86-A15F-CE61A81CA9D9.htm",
"description":"You can match and colour correct the colours of the front clip using the back clip as a reference. To perform a match operation, sample colours from the front and back clip and then use the Match button in the Curves menu.",
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{"title":"Colour Correcting",
"href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm",
"description":"Use the colour correction controls to perform many operations. You can:",
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{"title":"Colour Correcting Shadows, Midtones, and Highlights",
"href":"./files/GUID-80B497FD-8C7C-4893-97D2-7058EE30D40D.htm",
"description":"When you modify Saturation, Gamma, Gain, Offset, and Contrast, you can colour correct the shadows, midtones, and highlights ranges in the image individually or all together.",
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{"title":"Adjusting the Hue",
"href":"./files/GUID-3EF4F85F-FB0C-4018-A7C3-9BF5840D5B04.htm",
"description":"Hue is the main attribute that distinguishes one colour from another. When you adjust the hue, you also change the colours in the image.",
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{"title":"Adjusting the Saturation",
"href":"./files/GUID-0A27411D-741E-4D14-B3F8-D08313FBF11A.htm",
"description":"You can adjust the purity of colour in an image by adjusting the saturation level. Increasing the level of saturation decreases the amount of grey and produces purer colours. Decreasing the level of saturation increases the amount of grey and reduces the purity of colours.",
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{"title":"Adjusting the Pivot",
"href":"./files/GUID-3A3A5157-DC65-4641-A2BA-56254E813827.htm",
"description":"Adjust the point at which contrast pixel value is equal to that of the pivot value. Colour values darker than the pivot are further darkened and colours that brighter than the pivot are further brightened.",
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{"title":"Rewiring the RGB Channels",
"href":"./files/GUID-D02E4ED0-A559-41E5-B64E-CF21286CD209.htm",
"description":"Use the Red, Green, and Blue Channel Rewiring fields to rewire the red, green, and blue channels of an image. Use the Rewire option box to create a monochrome or negative image.",
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{"title":"Adjusting the Gamma",
"href":"./files/GUID-1E4BB44F-C699-4CAD-BAB4-F60220FD5854.htm",
"description":"You can adjust the grey values of an image by adjusting the gamma. This allows you to brighten or darken an image without greatly affecting the shadows or highlights.",
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{"title":"Adjusting the Gain and Offset",
"href":"./files/GUID-4396E931-E0D3-4A2C-B557-A11536144FDC.htm",
"description":"You can boost the colours in an image by increasing the Gain and Offset values. The Colour Corrector multiplies the pixel colour values by the Gain and then adds the Offset value. The resulting colour values are clipped at the maximum value of 255 in 8-bit mode, or 4095 in 12-bit mode.",
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{"title":"Adjusting the Contrast",
"href":"./files/GUID-4F71FAEF-62DA-4FEC-9E8F-59B06DEB2409.htm",
"description":"You can control the gradations between the light and dark areas of an image by adjusting the contrast. The pivot value affects the contrast behaviour. See Adjusting the Pivot.",
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{"title":"Suppressing Colours",
"href":"./files/GUID-41666FDC-B62D-4A96-A726-5AC10BCE1654.htm",
"description":"You can suppress the RGB or CMYw colours in an image. Chroma suppression is useful for removing blue spill from a blue-screen composite.",
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{"title":"Adjusting the Colour Balance",
"href":"./files/GUID-C4C51DE4-C94F-44E9-BE77-9E41FD425E99.htm",
"description":"You can adjust the colour balance in an image using the colour wheel or the Balance Tools Hue and Gain fields. The value of Hue determines the colour to add and the value of Gain specifies the amount of colour to use.",
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{"title":"Adjusting the Colour Range",
"href":"./files/GUID-4D758DF6-FB2F-42B8-BA9F-CE741B37D0A8.htm",
"description":"You can use the Histogram menu to adjust the range of values used for the red, green, blue, or luminance channels of an image. The histogram shows the colour distribution of pixels in the front and result image for the selected channel. The horizontal axis represents the values of pixels, from black at the left to white at the right. The vertical axis represents the number of pixels with these colour values.",
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{"title":"Increasing Image Contrast",
"href":"./files/GUID-1F428DAC-123D-4DA9-8CEF-8EB962853535.htm",
"description":"The slider controls directly below the histogram are the Input Level controls. These controls are used to set the range of colour values used in the image:",
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{"title":"Reducing Image Contrast",
"href":"./files/GUID-AB9C81CB-38CA-4519-8B20-3A6BB33F9AEF.htm",
"description":"The slider controls on the gradient bar below the histogram are the Output Level controls. These controls are used to set the range of colours used in the image:",
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{"title":"Defining Luma Ranges",
"href":"./files/GUID-9AA8ADE3-481F-4DFC-A2E2-D704E3924418.htm",
"description":"Use the histogram in the Ranges menu to modify the shadow, midtone, or highlight ranges.",
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{"title":"Remapping Colour Values",
"href":"./files/GUID-22CC6CB2-31DC-4E30-BB1E-8AA32D605CAD.htm",
"description":"Like the Histogram menu, the Curves menu allows you to remap the colour values for the individual red, green, blue, and luminance channels of the image. However, instead of adjusting the colour values by resetting just the maximum and minimum values for the colour range, the Curves menu allows you to remap any value in the colour range precisely.",
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{"title":"Animating a Colour Correction",
"href":"./files/GUID-36DF712E-098A-48D1-B185-F31C44893C13.htm",
"description":"Use the Animation controls to animate a colour correction that has been applied to a clip. You can animate any value in the Colour Corrector. See .",
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{"title":"Processing Colour Changes",
"href":"./files/GUID-21E3729A-AD5E-4DC0-92A1-0E4C7482385D.htm",
"description":"After you adjust the colours to your satisfaction, you are ready to process the clip. The destination resolution is the same resolution as the source clip.",
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{"title":"Colour Warper",
"href":"./files/topichead_d3e110582.htm",
"description":"",
"ancestors":[{"title": "Creative Effects","href":"./files/GUID-95516A3F-2A71-414E-BAD2-8C09D2212ACF.htm"}]},
{"title":"About the Colour Warper",
"href":"./files/GUID-260FAB6D-E4B6-456C-B3B2-78103AE05CAC.htm",
"description":"When you colour correct an image or clip, use the Colour Warper to perform advanced colour corrections and create artistic colour effects. The way in which you approach these tasks depends on your goal, the number of clips you are using, and the type of clips being used.",
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{"title":"Accessing the Colour Warper",
"href":"./files/GUID-A5F3E7E2-CB7C-4481-B17C-B4CA688FF26A.htm",
"description":"Use the Colour Warper to modify the colour content in your clips. You can manipulate colour content with intuitive controls that provide precise colour correction, and view histograms that help you visualize your image\'s colours. You can also output a matte corresponding to selected colours.",
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{"title":"Setting Up Your Work Environment",
"href":"./files/GUID-E131F7B3-9456-4F33-8066-3C044C4EC7AA.htm",
"description":"Set up your work environment to streamline the colour correction process. Use the tools provided to examine the clip or image and efficiently perform advanced colour corrections. As your work progresses, you can modify the Colour Warper environment to suit the task at hand.",
"ancestors":[{"title": "Creative Effects","href":"./files/GUID-95516A3F-2A71-414E-BAD2-8C09D2212ACF.htm"},{"title": "Colour Warper","href":"./files/topichead_d3e110582.htm"}]},
{"title":"Multiple Viewports",
"href":"./files/GUID-336D6588-35B0-4BB5-84C3-F020DAACE908.htm",
"description":"When working in the Colour Warper, you can display up to four viewports at a time in the image window, including a view of the Channel Editor. Multiple viewports are convenient when you want to modify colour values, create mattes, and compare your result with other images in different viewports simultaneously. See .",
"ancestors":[{"title": "Creative Effects","href":"./files/GUID-95516A3F-2A71-414E-BAD2-8C09D2212ACF.htm"},{"title": "Colour Warper","href":"./files/topichead_d3e110582.htm"},{"title": "Setting Up Your Work Environment","href":"./files/GUID-E131F7B3-9456-4F33-8066-3C044C4EC7AA.htm"}]},
{"title":"Reference Clips",
"href":"./files/GUID-F7E8C2F1-D02A-4F7D-8248-BA34803E38D9.htm",
"description":"You can use the split bar to view a reference clip while you work. Reference clips are useful when you want to match one clip to another. Carefully selecting a suitable reference clip will help you make your colour corrections quickly and efficiently. For example, you can use a reference clip from the Batch schematic to match saturation, whites and blacks, or colours. You can also switch between different references to ensure continuity throughout the project. See .",
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{"title":"Viewing Colour Information with a Vectorscope",
"href":"./files/GUID-5ABE825B-326F-4267-A3DA-74EB5802F57A.htm",
"description":"In the Colour Warper, you can use a 2D or 3D vectorscope to help match colours, adjust shadows and highlights, view colour distribution, and ensure that broadcast standards are met. The vectorscopes show the changes you make to colour content in a clip or image.",
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{"title":"Viewing Luma Information with the 2D Luma Histogram",
"href":"./files/GUID-B950C05A-9327-41BF-BDE9-89B6CE377302.htm",
"description":"The 2D luma histogram shows the changes you make to luma content in a clip. Use the 2D luma histogram when you want to adjust the lightness of a sample. The 2D luma histogram is displayed in the Basics menu of the Colour Warper.",
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{"title":"Colour Correcting All or Part of an Image",
"href":"./files/GUID-DB9FCA05-9661-415B-9BF4-B5BF88828189.htm",
"description":"Use the options in the Work On box to apply colour corrections to all or part of an image. You can select an option from the Work On box at any time to further modify the image. Use Master to apply colour corrections to the entire image and use a selective to generate a matte and perform selective colour correction—apply the colour correction to a selected range of colour. The Work On box is available in every menu of the Colour Warper.",
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{"title":"Cropping the Colour Correction Area",
"href":"./files/GUID-149D1937-2531-40F1-8D19-49082C3F5CCC.htm",
"description":"When you access the Colour Warper from the Colour Corrector, you can create a crop box to limit the area where the colour correction is applied.",
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{"title":"Inverting the Matte",
"href":"./files/GUID-A540B113-5D30-432B-9C73-A1D8D0B7C8A1.htm",
"description":"When you access the Colour Warper from the Colour Corrector and you input a front, back, and matte clip, you can invert the matte to colour correct the region outside the area defined by the matte. Inverting the matte swaps the transparent and opaque areas of the matte and redefines the area of the front image that can be colour corrected, as well as the area of the back image that is shown. To invert a matte, enable the Invert Matte button in the Setup menu.",
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{"title":"Resetting Colour Corrections",
"href":"./files/GUID-DD178869-9C6A-47D4-8BD3-C778F2F3A3DC.htm",
"description":"When you access the Colour Warper from the Colour Corrector, you can reset colour corrections created with the Colour Warper, the Colour Corrector, or both.",
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{"title":"Resetting and Clearing Values",
"href":"./files/GUID-70299ECF-BC53-4DA5-993E-C4DF90F06EF0.htm",
"description":"You can clear or reset several Colour Warper values in the Basics menu using individual C/R boxes. C resets the value for the current frame by setting a keyframe. R resets the value for the entire animation curve.",
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{"title":"Saving Colour Correction Setups and Preferences",
"href":"./files/GUID-88A4F070-0F02-43D2-8ED4-55A54181E069.htm",
"description":"You can save or load colour correction setups using the Save or Load button. Any setup can be loaded from the file browser for use with another set of clips. You can also save or load colour correction preferences using the Load or Save button.",
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{"title":"Using Undo and Redo",
"href":"./files/GUID-64173EA4-FD79-4D50-A139-7D4D22B359CF.htm",
"description":"Use the Undo and Redo boxes to remove or redo colour modifications. To undo or redo a modification, click a box and select an option from the list. Set the number of undo levels in the Setup menu.",
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{"title":"Sampling Clips in the Image Window",
"href":"./files/GUID-DE73F225-437F-42D8-84F8-E7421AB05FC6.htm",
"description":"When you generate mattes, modify clips, or match colours between clips, you can sample colours in both the result clip and a reference clip. Use Plot to sample a colour from the result clip and Ref to sample one from a reference clip. The Plot and Ref buttons appear on every menu in the Colour Warper.",
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{"title":"Selecting Colour Ranges for Colour Correction",
"href":"./files/GUID-DD33E4ED-8F56-472E-9BF7-18C6DC4F5659.htm",
"description":"With some images or clips, you may need to perform selective colour correction—where you modify a range of colour, as opposed to the entire clip or image. Use the tools in the Selective menu to create selectives. Selectives are generated mattes used to isolate colour ranges for selective colour correction.",
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{"title":"Generating Mattes",
"href":"./files/GUID-3E5D01FA-1A93-4E67-A54E-F7E663BEFA9A.htm",
"description":"Mattes can be used for several purposes. For instance, use a matte to remove colour spill, hue shift an object in an image for artistic effect, or match colours in a specific range. You can also output a matte for use in other modules such as Action or the Keyer. Use mattes to define the range of colour you want to modify in the result clip.",
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{"title":"Clearing and Deleting Mattes and Colour Corrections",
"href":"./files/GUID-A493765D-C8B9-4787-B8D0-AB4DD4A89A40.htm",
"description":"Use the C/R boxes next to the Work On box and Selective View box to reset a matte or a colour correction. C deletes the matte or colour correction at the current frame by setting a keyframe. R deletes the matte or colour correction for the entire animation curve.",
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{"title":"Correcting Colour Imbalances",
"href":"./files/GUID-DB0E5CD6-7014-41D0-9DAD-D40C202C4C78.htm",
"description":"During production, differences in lighting and equipment often create colour imbalances in and between clips. When you work on these clips in the Colour Warper, you should perform a basic colour correction to colour balance them. You can balance colours using the tools in the Basics menu. Perform your tasks in the following order:",
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{"title":"Setting Black and White Levels",
"href":"./files/GUID-4AF1AE46-8C31-4534-9774-61C6AFFEA30F.htm",
"description":"When you balance the colours in a clip, you should always start with the darkest and lightest parts of the image. You may, for example, need to establish parameters for the black and white (luma) content to ensure that the intensity of the image is in accordance with established broadcast parameters. These parameters are known as black points and white points. You use the Black and White fields to establish black and white points.",
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{"title":"Removing Unwanted Colour",
"href":"./files/GUID-67546D0C-086E-4EF2-9FA6-B04B5448DEC2.htm",
"description":"Unwanted colour can be caused by factors such as inconsistent lighting conditions during a shoot or incongruities between the white levels set on a video camera and the given lighting conditions. Factors such as these can result in clips or images that contain unnatural looking colours or one predominant colour, which gives the image an unwanted colour cast. After setting black and white points, you can remove the unwanted colour without affecting the black and white levels. You can:",
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{"title":"Improving Contrast",
"href":"./files/GUID-443E2D88-EC0A-498E-A6AB-EADB4C83BB2C.htm",
"description":"Poor image contrast can be caused by various factors. For example, when you remove a colour cast from a clip, it may become washed out. Washed out clips usually occur when the image contrast and saturation levels are too low. To complete the task of balancing the colours in the clip, use the tools in the Basics menu to correct the poor contrast. To improve contrast and the overall look of the clip, you can:",
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{"title":"Adjusting Shadows and Highlights to Improve Contrast",
"href":"./files/GUID-763B1712-57E1-4191-BDF9-40610E4352DE.htm",
"description":"When there is not enough, or too much, black or white in a clip, it will lack contrast. If you want to improve the contrast by changing both the chroma and luma content, including the black and white points, use the controls in the Basics menu to adjust the shadows and highlights in the image.",
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{"title":"Increasing Saturation",
"href":"./files/GUID-B4A0E5CA-3CAF-4C04-B0D6-02B762C7F2C3.htm",
"description":"When an image is desaturated, the colours can appear washed out. To improve contrast, you can increase the colour saturation globally, saturate specific hues, or do both. Increasing saturation levels increases the colour intensity and causes minor changes to the hue. The luma content is virtually unaffected when you modify saturation.",
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{"title":"Improving Contrast Using Gamma",
"href":"./files/GUID-5254F715-1C25-44DD-9555-D2C32E90B5A5.htm",
"description":"When you want to improve contrast by modifying both the chroma and luma content simultaneously without changing the black and white points, use the Gamma controls. You only need to make small adjustments to the RGB gamma curves to improve the contrast.",
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{"title":"Matching Colours in Clips",
"href":"./files/GUID-3820B197-CC89-4EFB-B472-4B052DCDB9EC.htm",
"description":"You can match a sample from the result clip to one from a reference clip. Matching clips can improve continuity between clips. You can:",
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{"title":"Matching Specific Colours",
"href":"./files/GUID-F73C1EB9-14B9-4287-9AD0-076F042E18EA.htm",
"description":"You can match plot samples to reference samples using the trackballs and by aligning the colours in the vectorscope. For example, you may want to match a red in one image to a different shade of red in another clip. For information on using Plot and Ref controls, see .",
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{"title":"Matching Shadows, Highlights, or Overall Saturation",
"href":"./files/GUID-307DAC6D-258B-41EB-8919-2C0CC8796B24.htm",
"description":"Use the Match feature to match a range of colours in the result clip to a range of colours in a reference clip. You can match highlights, shadows, or the overall saturation of an image.",
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{"title":"Performing Hue Shifts",
"href":"./files/GUID-409149A1-04D9-48A9-A089-09E457FBB0D5.htm",
"description":"You can use the Hue field in the Basics menu to perform hue shifts on the entire image or a range in the image defined by a selective\'s matte. Perform hue shifts when you want to change the colour of an object or create other artistic effects. Hue shifts do not affect the luma.",
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{"title":"Creating Colour Casts",
"href":"./files/GUID-56A08303-3E6A-4792-8CD4-AD3A6B122664.htm",
"description":"You can use the Midtones trackball to create a colour cast that affects the chroma in the entire image without affecting the luma. Create a colour cast when you want to emphasize a colour range to create an artistic effect or when you want to refine an existing cast. For example, create or refine a bluish cast to convey a cooler atmosphere.",
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{"title":"Readjusting Colour After a Colour Correction",
"href":"./files/GUID-13E8AFD0-C56E-42E8-9A88-C52E8CF52857.htm",
"description":"When colour correcting clips, colours that you do not want to alter may be modified in the colour correction process. Use the Warp trackball in the Basics menu to readjust a specific range of colour.",
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{"title":"Removing Colour Spill",
"href":"./files/GUID-040E4A80-9D57-418D-A995-3448BC4D8FAC.htm",
"description":"When you key clips in the Modular Keyer or Keyer, there can be colour spill. You can refine the key by suppressing colour spill in the Colour Warper. Use the Saturate and Suppress trackballs in the Basics menu. Use the Suppress trackball to suppress the colour spill and the Saturate trackball to correct any unwanted colour suppression. When you use these trackballs to modify colour in the image or clip, a range of colour is affected.",
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{"title":"Creating Subsetups",
"href":"./files/GUID-E3EEE9F0-BA33-4F9A-804B-F3AA7CE88C39.htm",
"description":"Subsetups are Colour Warper setups selected at a specific moment at a specific frame. Subsetups are for the current frame only and do not include entire animations. You can select up to ten subsetups and compare colour corrections in other subsetups. You can save and load a group of subsetups.",
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{"title":"Storing and Retrieving Subsetups",
"href":"./files/GUID-C61B9C3E-1BA5-47E3-A4DF-AE222BCD489C.htm",
"description":"You can store and retrieve subsetups using the Subsetup buttons.",
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{"title":"Naming Subsetups",
"href":"./files/GUID-BDA4F792-7347-4935-BCA4-EAD524B4EDBA.htm",
"description":"You can name your subsetups. This allows you to store setups and later compare them to your current setup, or to apply the same correction to different frames in a clip.",
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{"title":"Replacing Subsetups",
"href":"./files/GUID-5999E1FB-CB49-4BA6-9828-69B64B915D27.htm",
"description":"You can replace or override a setup.",
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{"title":"Comparing Subsetups",
"href":"./files/GUID-0B7125FB-989B-4B59-954D-341262D22786.htm",
"description":"The current setup is accessed with the Current button and contains the most recently committed setup. Compare any of your subsetups to each other or to the contents of the current setup.",
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{"title":"Saving and Loading Subsetups",
"href":"./files/GUID-3C530BAC-DA4E-4DA2-8C7F-45514C88D725.htm",
"description":"Use the Save button in the Subsetups menu to save a group of subsetups. Then use the Load button in a later session to reload the same group of subsetups.",
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{"title":"Image Filters",
"href":"./files/topichead_d3e112785.htm",
"description":"",
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{"title":"About Filters",
"href":"./files/GUID-CEC245B5-DE28-4BBB-82DC-C949E219DCAE.htm",
"description":"You can use the default filters or create customized filters. Any filter that you create can be saved in the filter library and later loaded in another work session. You can also combine filters to produce complex effects such as pixel turbulence.",
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{"title":"Accessing the Filter Menu",
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"description":"Use the Filter menu to apply a filter across each frame in the source clip.",
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{"title":"Applying a Filter to a Clip",
"href":"./files/GUID-BF1BE8B3-9676-4C12-83FE-589657328A24.htm",
"description":"When you apply a filter to a clip, you can control the level of filtering applied. Decreasing the value reduces the filtering effect, while increasing the value magnifies the filtering effect. You select a filter from the filter library.",
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{"title":"Filter Library",
"href":"./files/GUID-A450E045-A1D6-4BC8-9AB7-828C500388FD.htm",
"description":"The supplied filters are stored in the filter library. Additional filters you create can also be stored there. To open the filter library, click Load or Save in the Filter menu.",
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{"title":"Customizing Filters",
"href":"./files/GUID-54067FB9-F1D4-4BCD-86AB-3D1416F4B5D2.htm",
"description":"Although the filter library contains a number of special effects filters, you may need custom filters for specialized applications.",
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{"title":"Using Matrix Filter Elements",
"href":"./files/GUID-BD7C7033-CBF0-448C-8104-75E52AC17DE8.htm",
"description":"A matrix specifies the relative influence of each pixel\'s colour value in the filter calculation. Each matrix consists of a grid of fields. The field at the centre of the grid represents the pixel currently being evaluated (the current pixel). The remaining fields represent the pixels surrounding the current pixel. The value you set in each field determines the relative influence of the corresponding pixel in the filter calculations. A pixel with a higher value is more influential in the calculations than a pixel with a lower value.",
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{"title":"Using Procedural Filters",
"href":"./files/GUID-18C022BC-095E-49DA-BDBE-700AEB275B69.htm",
"description":"You can combine up to five matrix or procedural filter elements into a custom filter. Procedural filters use a predefined procedure instead of matrix calculations to alter the image.",
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{"title":"Saving Custom Filters",
"href":"./files/GUID-473C5DFA-A381-4EA8-B599-8F48185DC567.htm",
"description":"You can save custom filters in the filter library.",
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{"title":"Keyer",
"href":"./files/topichead_d3e113273.htm",
"description":"",
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{"title":"About the Keyer",
"href":"./files/GUID-3338E91B-A979-40B7-BF8A-C1D2368820ED.htm",
"description":"Use the Keyer to make parts of an image transparent by selecting and isolating regions of colour. This process creates an alpha-channel matte, which is then used to composite the image over a new background.",
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{"title":"Accessing the Keyer",
"href":"./files/GUID-4744D0FE-C281-487E-9B5A-863EAB048AD8.htm",
"description":"You load three clips into the Keyer to create a composite: a front clip, a back clip, and a key-in clip. The key-in clip, which is usually the same as the front clip, is used to create the matte for the front clip.",
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{"title":"Storing Colours in Reference Colour Pots",
"href":"./files/GUID-81D60396-252A-44CF-8210-1D29D7C48213.htm",
"description":"You can use the Reference colour pots, accessible anywhere in the Keyer, to sample colours. These do not affect any parameter in the key, but are convenient to store colours as you work.",
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{"title":"Creating and Refining a Key",
"href":"./files/GUID-1852E0B8-1079-4C9C-A78B-EBD8A1440BD0.htm",
"description":"Use the Master Keyer method to create a complete key—extract colours to generate a matte and then refine the result—using only the Master Keyer menu. The Master Keyer uses an algorithm that quickly isolates a colour and is very good for chroma keying.",
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{"title":"Generating Mattes",
"href":"./files/GUID-F03BEB3C-D553-45E3-A9C3-8A876FB51AC5.htm",
"description":"Use the Matte controls to generate and refine a matte for your chroma key.",
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{"title":"Removing Colour Spill",
"href":"./files/GUID-D60CBA99-E5E5-4476-B99E-ACBFAA9C77A1.htm",
"description":"After you create and refine a matte for the key, you can remove colour spill by gesturally modifying the Spill parameters. You can also remove colour spill by using the Spill controls in the Range or Colour menu. For instructions on using Spill controls, see .",
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{"title":"Blending Front and Back Clips",
"href":"./files/GUID-D6708CB6-47FD-4F6B-A7DC-CED182B2DCE2.htm",
"description":"After you remove colour spill, you can use the Blend parameters to gesturally modify the luminance at the edge of the key so that it blends with the luminance in the background clip. For example, when the front clip is darker than the back clip, you can use the Blend parameters to lighten the edge of the key. You can also use the Blend controls in the Keyer or Colour menu. For instructions on using Blend controls, see .",
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{"title":"Removing Grain",
"href":"./files/GUID-394CD4D9-92D2-4853-B00D-38E843815909.htm",
"description":"Graininess can make it difficult to pull a clean and effective key. Use the Degrain tools in the Master Keyer to remove grain from clips.",
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{"title":"Removing Unwanted Greys",
"href":"./files/GUID-AD3829B1-2642-4C16-BE43-05F3463BB1AF.htm",
"description":"If you have unwanted grey areas in the matte, you can use up to three patches to isolate a range of colours to be included in, or excluded from, the key.",
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{"title":"Creating a Key by Extracting a Single Colour",
"href":"./files/GUID-4C5C4797-9F61-488F-8FD8-61BED8C8579C.htm",
"description":"You can extract one of the three primary colours (red, green, or blue), or a custom colour from the key-in clip. This method is useful for clips containing transparencies such as glass or smoke.",
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{"title":"Extracting a Primary Colour",
"href":"./files/GUID-8910E139-3E29-43EA-9917-8BB6308569E0.htm",
"description":"Extract one of the three primary colours from the key-in clip when you have a front clip shot in front of a blue, red, or green screen.",
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{"title":"Extracting a Custom Colour",
"href":"./files/GUID-7ED0B48A-4262-45BC-9F9D-3CAC969490B6.htm",
"description":"Use the Custom colour channel option to select the colour to be extracted from the key-in clip. This option can give good results when keying transparencies, particularly by experimenting with the Softness and Colour Spread values.",
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{"title":"Creating a Key by Extracting a Range of Colours",
"href":"./files/GUID-D4AA8D34-1E4D-4A57-BDAD-DA578C40FE5D.htm",
"description":"Another technique for creating a key is to extract a range of colours from the key-in clip. Use this technique for clips where the colour you are extracting contains impurities.",
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{"title":"Selecting a Colour Model",
"href":"./files/GUID-08CDA143-059E-414F-A304-D534295F2589.htm",
"description":"There are four colour models you can use.",
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{"title":"Trying Out Different Colour Models",
"href":"./files/GUID-0D04C8ED-D5ED-4C67-B2B7-B2E7DFCA4308.htm",
"description":"To determine which colour model will give you the best key, try creating a sample matte for each model. Each model operates independently. When you switch from one model to another, the values you set are retained, so you can easily compare the results.",
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{"title":"Setting the Softness Range",
"href":"./files/GUID-5B2210B0-BCB2-45A1-B161-0B2DFD8C80FA.htm",
"description":"After you choose a colour model and set the average colour, adjust the softness range. The softness at the edges of the matte increases as you increase the softness range. To set the softness, you can use the colour picker, the numeric fields, or the Master Softness field.",
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{"title":"Setting the Tolerance Range",
"href":"./files/GUID-812AF883-88B9-43EB-AC6A-329DB1E70B86.htm",
"description":"Once you define the softness range, you can set the tolerance range to remove the greys outside the key shape. The maximum and minimum tolerance values define the range of colours to be keyed out in the key-in clip. To set the tolerance, you can use the colour picker, the numeric fields, or the Master Tolerance field.",
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{"title":"Plotting Colour Values When Adjusting Tolerance or Softness",
"href":"./files/GUID-54FAA742-20B3-42E2-8F69-41E96A6B2670.htm",
"description":"Display the colour value for any pixel in the key-in clip using the Plot tool. You can then adjust the tolerance or softness range so the pixel falls within one of the ranges. For example, plot pixels at the edges of the matte to check for softness, or plot pixels in the background to check for tolerance.",
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{"title":"Creating a Key by Setting the Luminance",
"href":"./files/GUID-F4773B36-4CE7-4C37-9F9E-09BA467EB510.htm",
"description":"You can create a key using only the Luminance channel. The softness and tolerance values are expressed as percentages.",
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{"title":"Adjusting the Luminance of the Key",
"href":"./files/GUID-587B3EAC-96BD-4476-AEDB-411FBF43B361.htm",
"description":"After creating a key, you can adjust luminance values to fine-tune the result. The histogram displays the distribution of luminance values within the matte. The horizontal axis of the histogram represents the range of luminance values in the matte and spans from 0 (black) to 255 (white). The vertical axis shows the number of pixels at each luminance value.",
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{"title":"Setting the Range of Luminance Values",
"href":"./files/GUID-9E4212DE-477B-4514-A22D-BC680C06705F.htm",
"description":"Use the Input Level controls to set the range of luminance values in the matte. You can darken black areas of the matte or remove grey from white areas of the matte.",
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{"title":"Remapping Black and White",
"href":"./files/GUID-F2843964-F5EE-4D7E-8103-9C6A15895B07.htm",
"description":"Use the Output levels to remap the luminance values for black (0) and white (255). You can brighten the dark areas of the matte or darken the white areas.",
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{"title":"Boosting the Key\'s Luminance Using Gain and Lift",
"href":"./files/GUID-52B840CA-4A81-4948-AF7A-03A790A117C4.htm",
"description":"You can remove grey from the key by increasing the gain and lowering the lift values in the Matte menu. Increase the gain to eliminate the light greys that may be in the white area of the matte, and decrease the lift to eliminate dark greys in the black area of the matte.",
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{"title":"Using the Luminance Curves",
"href":"./files/GUID-FF28777F-D023-4583-B3C5-A8FD6265A4D9.htm",
"description":"When you create a matte for the front clip, the Keyer automatically creates a matte for the back clip to specify which part of the back clip is used for the composite. By default, the back matte is the inverse of the front matte.",
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{"title":"Refining the Key",
"href":"./files/GUID-DB9C5299-1B13-4C42-B56D-1AED17D4FE20.htm",
"description":"After creating the key and adjusting the luminance, you can modify the edges of the key by blurring the key-in clip or the edge of the matte, applying filters to the edge of the matte, or inverting and then adjusting the matte. You can also suppress colour spill and blend the front and back clip.",
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{"title":"Modifying the Edges of the Key",
"href":"./files/GUID-FAB5A451-9AE0-4ED2-8BCE-40061147CA12.htm",
"description":"Use the Shrink, Erode, and Blur controls in the Matte menu to enhance the edge of the keyed image.",
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{"title":"Blurring Grainy Clips",
"href":"./files/GUID-4848D49B-F204-4F99-997C-423973E06069.htm",
"description":"Graininess can make it difficult to pull a clean and effective key. In the Setup menu, you can use the Degrain and KeyIn Filter controls to remove film grain:",
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{"title":"Inverting the Matte",
"href":"./files/GUID-6C79971A-BED4-4159-ADB0-7E9CEF431676.htm",
"description":"Use the Matte menu to invert the matte. Any Gain and Lift level adjustments made to the matte are not inverted when you invert the matte. You must therefore invert the matte before adjusting the Gain and Lift levels.",
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{"title":"Suppressing Colour Spill",
"href":"./files/GUID-745A5778-65CF-4EC6-9631-36AA8F66A30F.htm",
"description":"After you create a key and key out any trouble areas, some of the background colour may have spilled over at the edge of the key. In the Keyer, you can use the colour suppression tools to suppress or disguise colour spill in the front clip. You can:",
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{"title":"Blending the Front and Back Clip",
"href":"./files/GUID-5597FD8E-5949-4BBE-B96B-6D1CB20874FF.htm",
"description":"Use the Blend controls in the Keyer or Colour menu to blend the front and back clip in any key you create except a luminance key. The Blend controls change the blending that occurs at the edges of the key but should not greatly affect the black and white areas of the key. You can sample the colour you want to remove, and then adjust the Edge Balance trackball and Blend controls to emphasize the front or back clip at the edges of the key.",
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{"title":"Colour Correcting the Key",
"href":"./files/GUID-73282EC5-758A-4CBD-93D6-87A02FC4E6CB.htm",
"description":"Use these procedures when you have to colour correct your clip before processing the matte.",
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{"title":"Colour Correcting the Result Clip",
"href":"./files/GUID-A8F8CCE5-1AD7-45F5-AB2D-CA72BE0B73C3.htm",
"description":"Use the colour channel curves in the Colour menu to colour correct the result composite. By default, these colour corrections affect the keyed front clip after it is blended with the back clip.",
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{"title":"Colour Correcting the Front Clip",
"href":"./files/GUID-435A82BA-12E8-4C7C-8ED7-3B4F4D65378D.htm",
"description":"You can use the Colour Corrector to correct the front clip and improve the look of the key.",
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{"title":"Animating Your Key",
"href":"./files/GUID-34DCEB1F-432E-4976-B6C2-22237D7E71D4.htm",
"description":"The following parameters of a key can be animated:",
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{"title":"Motion Update",
"href":"./files/GUID-4CA36982-E533-4045-BDC5-8591E2925111.htm",
"description":"When you play or scroll the clip in the image window, the image is updated to reflect any animation of the properties of the key. You can disable this default by disabling the Motion Update button in the Setup menu. When disabled, the image window is not updated to reflect keyed parameters.",
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{"title":"Additional Keying Techniques",
"href":"./files/GUID-1EF506FE-196A-43A5-A03B-22928B8EEAF7.htm",
"description":"The following optional techniques can help with the creation of keys and speed up processing time.",
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{"title":"Viewing a Key with a Solid Colour Background",
"href":"./files/GUID-DF431B14-E471-4D5E-92A9-53092191189A.htm",
"description":"While creating the key, you can view the composite using a solid colour for the background in place of the back clip. This can help you see details in the image, such as colour spill, that you may otherwise miss. You can use the default colour (black) or select a colour using the colour picker.",
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{"title":"Cropping the Key Area",
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"description":"You can limit the keyed area by drawing a crop box on the image.Typically, this feature is enabled before starting the key to avoid unnecessary processing while working at high resolution.",
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{"title":"Resetting Keys",
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"description":"You can reset the entire Keyer. You can also reset the current Keyer menu.",
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{"title":"Processing Clips",
"href":"./files/GUID-F7994F4D-4909-4785-A54D-292D963BD746.htm",
"description":"Once you finish creating your composites, process the clips to the Smoke. You can generate either a composite clip or a matte clip.",
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{"title":"Processing Options",
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"description":"Use the following options in the Setup menu to improve the output and reduce processing time.",
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{"title":"Modular Keyer",
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"description":"",
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{"title":"About the Modular Keyer",
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"description":"Use the Modular Keyer to pull a key and selectively colour correct a clip. The processing pipeline provides an environment in which you can select and arrange the keying tools. You can select from an array of tools to create your key:",
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{"title":"Accessing the Modular Keyer",
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"description":"As with the traditional Keyer, you load three clips into the Modular Keyer to create a key: a front clip, a back clip, and a key-in clip. You use the key-in clip, which is usually the same as the front clip, to create the matte for the front clip.",
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{"title":"Modular Keyer Node Bins",
"href":"./files/GUID-466D40CA-96CF-4D27-ABBC-69E10A78C18A.htm",
"description":"The node bins contain all the nodes needed to build a process tree. The nodes are divided into the following three groups, classified by tabs:",
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{"title":"Customizing the Modular Keyer Bin",
"href":"./files/GUID-1D11D13B-4423-4901-84E6-62FA31CA933C.htm",
"description":"Create custom bins and populate them with your most commonly used nodes to optimize your workflow. As well, change the order of the tabs along the top of the bin and rename them to reflect the contents of a bin.",
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{"title":"Creating Custom Nodes",
"href":"./files/GUID-0A1A0259-ABE7-49F2-A79F-31903A32D3FB.htm",
"description":"Create custom nodes of specific setups that you often use. A custom node can consist of a single node with specific settings or multiple nodes that create a particular effect.",
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{"title":"Viewing Clips in the Image Window",
"href":"./files/GUID-33DCFCCD-F296-4406-814F-F3394DDBEA3B.htm",
"description":"The Modular Keyer menu provides the commands you need to change the image displayed in the image window.",
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{"title":"Setting Up the Processing Pipeline",
"href":"./files/GUID-ACF841BA-6291-425F-B3C8-9897664DADEE.htm",
"description":"To build your key, you can use the tools provided on the default processing pipeline as well as set up the pipeline to best suit your needs. Each tool is represented by a process node that you can click to access the node\'s menu.",
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{"title":"Selecting a Default Processing Pipeline",
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"description":"You can display a new processing pipeline by replacing the default Master Keyer node on the Matte branch with one of the following nodes:",
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{"title":"Types of Processing Nodes",
"href":"./files/GUID-0569D178-5473-430E-AD59-7ACDE0F9D845.htm",
"description":"There are three types of processing nodes you can use on the pipeline:",
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{"title":"Adding Nodes to the Pipeline",
"href":"./files/GUID-87A1193D-2D6C-4F27-80A2-003844A4FA61.htm",
"description":"You can add nodes to the pipeline to use while building your key. For example, you can place several garbage mask nodes on the pipeline.",
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{"title":"Moving Nodes to the Pipeline",
"href":"./files/GUID-6E7FCB23-4E52-4878-8AE1-5036E93E19A8.htm",
"description":"You can move a node from one part of the pipeline to another. For example, move a garbage mask to the beginning of a branch on the pipeline.",
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{"title":"Updating Nodes",
"href":"./files/GUID-95C827BB-01B7-4182-9CD1-A1B87A3D3B7C.htm",
"description":"All the nodes in the pipeline are not updated or processed when a change is made to the pipeline. This is to save time if processing is not needed. For example, when you make a change in one node, that node and all previous nodes in the branch are updated immediately, but not the subsequent nodes.",
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{"title":"Displaying Node Menus",
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"description":"You can access the menu of most nodes directly from the schematic.",
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{"title":"Adding Clips to the Pipeline",
"href":"./files/GUID-B2548426-B494-4968-865C-35D8A6F29317.htm",
"description":"You can add clips to the pipeline to use with nodes that require extra clips. For example, the Difference Matte node requires two clips.",
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{"title":"Offsetting a Clip",
"href":"./files/GUID-856F7DDF-B011-4874-BD45-F309053DB9AE.htm",
"description":"You can make a clip begin at a certain frame by using the offset function. This applies to clips loaded into the Modular Keyer via the Desk or Library node. When you link a clip loaded via the Desk or Library node into the Modular Keyer pipeline, it retains its clip controls.",
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{"title":"Setting a Context Point",
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"description":"As you work with different nodes to create your key, it is often useful to see the effect of your changes on the image at a later part of the pipeline. You do this using context points. You set a context point on a particular node, then view that context point from the node you are working in. For example, you could place a Degrain node at the beginning of the Matte branch and set a context point on the MasterK node. You could then degrain the clip while viewing the context point, in this case, the Current Result of the Master Keyer.",
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{"title":"Comparing Colours on Different Images",
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"description":"Use the colour pots in the Modular Keyer menu to compare colours from two different images, or from the same image as it appears in different parts of the pipeline. To do this, you pick the colours from each image and apply them to the two colour pots.",
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{"title":"Cropping the Key Area",
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"description":"You can create a crop box to limit the area where the key setup is applied.",
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{"title":"Key Setups",
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"description":"You can back up key setups as well as save entire setups or individual nodes.",
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{"title":"Backing Up the Key Setup",
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"description":"Enable the Backup button in the Setup menu to automatically back up your key setup. When this button is enabled, a backup copy of current key settings is saved in the _session.Bak file in the modularKeyer directory.",
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{"title":"Saving the Key Setup",
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"description":"You can save a key setup that includes the settings in all nodes used to create the key. You can save part of a setup and reload it, or load and save nodes separately.",
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{"title":"Saving Individual Nodes",
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"description":"You can save and reload certain individual nodes, as well as view menus for them. This applies to Colour Warper, Colour Correct, LUT Editor, Regrain, Degrain, and GMask nodes.",
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{"title":"Modular Keyer Node Reference",
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"description":"This section describes the nodes you can use to enhance your key, with the following exceptions.",
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{"title":"2D Histogram Node",
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"description":"Use the 2D histogram node to display the luminance of the matte. You can add this node to any part of the pipeline except the Front pipe of the CBlend node.",
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{"title":"Colour Correct Node",
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"description":"Use this node to apply colour corrections to the front, back, or key-in clip using the Colour Corrector.",
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{"title":"Colour Curves Node",
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"description":"Use the Colour Curves node to adjust the colour in the front, back, or key-in clip. For example, increase or decrease a colour in an image by plotting the colour and adjusting the curve. When you move the first or last keyframe, the other keyframes move by the same amount so that curves are continued from beginning to end.",
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{"title":"Colour Warper Node",
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"description":"The Colour Warper node accepts a front, back, and key-in clip as input. Use the Colour Warper node to access the Colour Warper module for colour correcting clips and refining mattes. See About the Colour Warper.",
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{"title":"Difference Matte Node",
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"description":"Use the Difference Matte node to create a matte based on the differences between two clips. You can generate a matte from two clips with the same background but different foreground elements. For example, the first clip could be the blue or green screen shot you want to key, and the second clip could be a “clean plate”—a shot of the blue or green screen with no foreground subject.",
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{"title":"Degrain and Regrain Nodes",
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"description":"You can use the Degrain node to remove grain from any clip in the pipeline. For example, degrain the KeyIn clip by using a Degrain node at the beginning of the Matte branch to make it easier to extract the matte. Similarly, add the Regrain node to the pipeline to add grain to an image. Keep in mind the following when working with Degrain and Regrain nodes:",
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{"title":"Logic Op Node",
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"description":"Use the Logic Op node to generate a clip whose luma (brightness) values are calculated according to the luma values of two source clips. For example, you can add, subtract, or multiply the luma values of corresponding pixels on two clips to create the result clip.",
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{"title":"LUT Editor Node",
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"description":"A LUT converts logarithmic images to linear images, or linear images to logarithmic images, while maintaining colour accuracy.",
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{"title":"Master Keyer Node",
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"description":"Use the MasterK node to access the Master Keyer in order to create a complete key. First extract colours to generate a matte, and then refine the result. The MasterK node can be added anywhere in the Modular Keyer pipeline.",
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{"title":"Matte Curves Node",
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"description":"The Matte Curves node displays the same menu that is displayed when you select the Result node—the Matte Curves menu. Use this menu to adjust the luminance of the front and back mattes:",
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{"title":"Monochrome Node",
"href":"./files/GUID-049B1B5B-2422-469A-B17F-646655DB854D.htm",
"description":"The Monochrome node generates a monochrome copy of the front clip. Use the Channel box to select the monochrome channel for the clip.",
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{"title":"MUX Node",
"href":"./files/GUID-E8026E35-7CE0-4C34-AE8D-77D7ACDF7916.htm",
"description":"The MUX (multiplexer) node allows you to make multiple output sockets. Use this node to propagate an input to multiple other nodes through the schematic and to clarify its graphical representation. Use the MUX node to clarify the connection scheme of nodes within a group.",
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{"title":"Negative Node",
"href":"./files/GUID-376B3AAF-6076-4AC9-8886-9F99A9A88A0A.htm",
"description":"The Negative node generates the negative of a source image. The colour values of each pixel in the source image are inverted to produce the negative image. In the Modular Keyer, this is mainly used to invert the matte.",
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{"title":"Resize Node",
"href":"./files/GUID-5D4DADBC-B9CC-4DB6-BDB6-8800ED02A5BD.htm",
"description":"The Resize node changes a clip\'s resolution, frame depth, and aspect ratio. You can then select and animate the portion of the source clip that appears as the destination clip to create the result image.",
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{"title":"Result Node",
"href":"./files/GUID-EC9C31C0-F67A-4203-8613-0A0D34C92ADA.htm",
"description":"The Result node is the last node in the pipeline—you cannot connect other nodes to its Output tab. Use the Result node to:",
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{"title":"Using Blend Nodes",
"href":"./files/GUID-DED5AD93-9419-4B42-99C7-334BE4027F71.htm",
"description":"Blend nodes include the Colour Blend (CBlend) and Matte Blend (MBlend) nodes.",
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{"title":"Colour Blend Node",
"href":"./files/GUID-BEACFC90-2370-4512-A9B5-612CB779014B.htm",
"description":"Use Colour Blend (CBlend) nodes to set up the colour operations you want to perform on a clip. You can:",
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{"title":"Matte Blend Node",
"href":"./files/GUID-DEA8DC99-2CCD-4403-BA19-0184EDCC0057.htm",
"description":"Use the MBlend node to set up the matte operations you want to perform on a clip.",
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{"title":"Adding a Matte to a Blend Node",
"href":"./files/GUID-EEBD43FA-C286-428A-9225-76BC0752BF60.htm",
"description":"Add a matte to the Matte pipe of the CBlend and MBlend nodes to limit the area on the image where the colour correction or matte will be applied.",
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{"title":"Blending the Front and Back Images of a Layer",
"href":"./files/GUID-B4774E0D-1340-4106-B560-273F30633B74.htm",
"description":"There are two different methods you can use to blend the front and back images of a layer: Basic Blend and Curves Blend.",
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{"title":"Using Several Layers in a Blend Node",
"href":"./files/GUID-FC005ED6-343A-4ADC-B12A-5C58C2C5DA39.htm",
"description":"You can use up to four layers in blend nodes to create the composite. Using layers, you can avoid doing multiple passes on the same composite.",
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{"title":"Bypassing Pipes",
"href":"./files/GUID-73269430-5A61-4CC9-9B14-A0BDF45EA350.htm",
"description":"On blend nodes, you have the option of inputting a source image from another node on the pipeline, effectively bypassing the pipes. For example, suppose you want to use the key-in clip matte in a colour correction in the Matte pipe of the CBlend node. Instead of copying all the nodes in the Front pipe of the MBlend node, you could just add a branch from the end of the MBlend Front pipe to the blue box on the CBlend node.",
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{"title":"Animation in the Modular Keyer",
"href":"./files/GUID-14CCBCDB-7C7B-42EC-9FD3-838F8BBEC817.htm",
"description":"In the Modular Keyer, you typically create animations for garbage masks, key elements, and blue screen colour:",
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{"title":"Nodes Placement Table",
"href":"./files/GUID-A7DC333F-812C-4CAA-8BD7-9E274D00AFC3.htm",
"description":"Most nodes can be placed anywhere on the pipeline. There are a few exceptions when it comes to the pipes of blend nodes. The function of a particular node is not possible on some pipes because of the way the pipes operate. See .",
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{"title":"Garbage Masks",
"href":"./files/topichead_d3e118857.htm",
"description":"",
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{"title":"About Garbage Masks",
"href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm",
"description":"",
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{"title":"Using Garbage Masks in Batch and the Modular Keyer",
"href":"./files/GUID-B4A37513-7CF4-417E-B1E8-4185F2ADA35C.htm",
"description":"Certain garbage mask features are supported only in the GMask node in Batch and the Modular Keyer.",
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{"title":"Accessing the Garbage Mask Menu",
"href":"./files/GUID-191A3B70-EE0B-4105-B9C6-FEF9C0620AC0.htm",
"description":"Access the Garbage Mask menu from the Keyer when you have keyed a clip, and you want to define additional areas to include with, or remove from, the key using garbage masks.",
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{"title":"About Garbage Mask Options",
"href":"./files/GUID-F55B2BCC-E8B2-43DB-8245-51EFD5EF876D.htm",
"description":"You can customize a mask\'s properties in the Garbage Mask menu.",
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{"title":"Setting Mask Options",
"href":"./files/GUID-6DE5EEF7-7D6B-4886-95FA-0C066CFCDD9D.htm",
"description":"You can control how a mask affects the matte. For example:",
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{"title":"About Drawing Options",
"href":"./files/GUID-2CF14887-C3D6-44B5-B0FD-C62DC3A38CF0.htm",
"description":"Use the Mask Setup menu to access mask drawing options. In Batch and the Modular Keyer, these options are available in the Node Setup menu.",
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{"title":"Drawing a Mask",
"href":"./files/GUID-3153D859-F97C-4CDF-B4BD-ABA65C326A4D.htm",
"description":"After setting the drawing options, you can draw the mask.",
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{"title":"Adjusting the Number of Points in Freehand Segments",
"href":"./files/GUID-42760527-0BA6-49BE-A5B2-5E0A454B9ACC.htm",
"description":"You can increase or decrease the number of points in freehand segments of a mask by adjusting the Lasso Fit value. An entire garbage mask can consist of freehand segments, in which case the Lasso Fit value affects the whole garbage mask. Otherwise, the Lasso Fit value only affects the part of the mask drawn freehand.",
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{"title":"Garbage Mask Nodes",
"href":"./files/GUID-6EF9A846-6EAC-4449-93CF-6F7D7DDB54E3.htm",
"description":"When you create a garbage mask, an Axis node and a Geom node are added to the schematic. The Axis node contains rotation, position and scaling data. The Geom node contains information about how the mask will affect the image.",
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{"title":"Changing the Priority Order of Masks",
"href":"./files/GUID-63FCFCBD-6E14-4402-B7D1-FC82FBBEAB5A.htm",
"description":"When you create several garbage masks on an image, you can change the order in which they are drawn, or layered in the scene. This affects the resulting image because a mask with a higher priority has precedence over one with a lower priority. You can use the priority order to create complex effects involving multiple garbage masks.",
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{"title":"Transforming the Mask",
"href":"./files/GUID-93611C39-BBAE-49D5-90D8-EF095F4D6256.htm",
"description":"You can apply transformations such as translation, rotation, scaling, shearing, and centre changes to a garbage mask. The transformation data for the mask is stored in its Axis node. You apply transformations to the mask using the Axis controls.",
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{"title":"Manipulating Vertices and Tangents",
"href":"./files/GUID-252B06BE-0BD2-4084-9C4F-3DFAB79B4502.htm",
"description":"Use the options in the Edit Mode box to manipulate the vertices on the mask. You can edit the mask most easily in Front, Key-In, or Matte view.",
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{"title":"Selecting Vertices and Tangents",
"href":"./files/GUID-8E203A0F-8A34-438F-B8C7-B19E043E3684.htm",
"description":"You can select vertices and tangent handles when Select, Move, or Scale is selected in the Edit Mode box:",
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{"title":"Selecting Pickers and Softness Vertices",
"href":"./files/GUID-53F8A9EE-07CD-4FCD-9E43-1AC38FB3EEF4.htm",
"description":"You can select pickers or softness vertices using the following techniques. Pickers are an element of the Tracer tool, which is only available in the GMask node in Batch and the Modular Keyer. See .",
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{"title":"Moving Vertices and Tangents",
"href":"./files/GUID-E70EA9AD-767F-4FE7-B0CF-959C02898218.htm",
"description":"You can move vertices and tangents using the Move and Scale options of the Edit Mode box:",
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{"title":"Breaking Tangents",
"href":"./files/GUID-995E185E-79D5-491E-BF60-A4BBBC8982DB.htm",
"description":"You can separate two tangent handles (“break” the tangent) and move them separately using the Break option from the Edit Mode box:",
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{"title":"Removing and Adding Tangents",
"href":"./files/GUID-93C47812-1485-4697-B5B2-68EF1B965583.htm",
"description":"You can also use the Break option to remove tangents from vertices by clicking the vertex while in Break mode. When you remove a tangent, the curve defined by the tangent is removed.",
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{"title":"Automatically Adjusting Tangent Handles of Adjacent Vertices",
"href":"./files/GUID-D3E47E31-25A3-459D-B904-DD200900AF38.htm",
"description":"When you move vertices, the tangent handles of the two adjacent vertices remain fixed in their current position. You can make them automatically adjust to create smooth curves between the vertices by pressing the G hotkey as you move vertices.",
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{"title":"Creating Right-Angled Vertices",
"href":"./files/GUID-63B102E9-8E9E-4E05-903C-DE456EBF6079.htm",
"description":"You can create right-angled vertices using the following technique.",
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{"title":"Animating Garbage Masks",
"href":"./files/GUID-12AF78D4-EEE8-471F-8DF5-776C7EFF3B22.htm",
"description":"You can animate a garbage mask using the Shape channel in the Channel Editor or using spline keyframing, which animates individual Vertex channels. Vertex channels correspond to the vertices—or handles—that appear along the perimeter of the garbage mask. The Vertex channel names are contained in the Spline folder in the Channel Editor.",
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{"title":"Animating Masks Using the Shape Channel",
"href":"./files/GUID-EAA5620C-A4E8-47FE-82E0-B3C8B24AA6D8.htm",
"description":"The Shape channel shows when the shape of the garbage mask changes during the animation.",
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{"title":"Animating Masks Using Spline Keyframing",
"href":"./files/GUID-0186FB38-E8CA-4045-82E2-3F366DC070EA.htm",
"description":"You can animate the shape of a mask by moving the vertices of a garbage mask spline at different frames throughout the clip. Each vertex has its own X, Y and Z position channels in the Channel Editor, as well as several other parameters, as shown in the following table.",
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{"title":"Animating Masks Using Tracking",
"href":"./files/GUID-FB4F45CC-290E-41AC-9C2F-A0286E554382.htm",
"description":"You can animate a mask by applying tracking data to it. This is useful when you want a garbage mask to follow a moving element in a clip. To do this, you can either:",
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{"title":"Applying Motion Blur to Garbage Masks",
"href":"./files/GUID-594E6340-3CA2-45BF-BF02-0D4204FB8F5A.htm",
"description":"Use motion blur on a garbage mask to compensate for the movement of an object in a clip. Motion blur is created according to the animated movement of a mask\'s vertices. The amount of blurring is affected by the speed of the mask\'s movement.",
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{"title":"Blurring a Stationary Garbage Mask",
"href":"./files/GUID-C5F5209B-9132-455D-9EDB-4BE83D7A4E44.htm",
"description":"You can create a motion blur effect for a garbage mask without having the mask actually change position. This could be useful, for example, if you would like to simulate movement in a stationary image.",
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{"title":"Rendering Garbage Masks in Interlaced Mode",
"href":"./files/GUID-17C3B155-1AC7-415F-A763-0D25C147BEAE.htm",
"description":"Using the GMask node in Batch or the Modular Keyer, you can render garbage masks in Interlaced mode to accommodate video material.",
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{"title":"Using Multiple Garbage Masks",
"href":"./files/GUID-1D164D36-E0ED-4787-B89F-B1F3B52ECCBD.htm",
"description":"Use the Region of Interest feature on clips containing multiple garbage masks that each hide a portion of the matte. Region of Interest ensures that multiple overlapping or non-overlapping garbage masks all respect the areas defined by one another. Furthermore, you can individually modify the opacity of each mask.",
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{"title":"Refining the Mask",
"href":"./files/GUID-A5FF7C93-A475-4ED9-940C-2705AA1685B6.htm",
"description":"You can adjust the softness gradient of a mask to smoothen its edges. You can smoothen the gradient towards the inside edge, the outside edge, as well as the area where the inside and outside adjustments have an effect. You can create a uniform gradient around the edge of the mask, or use an advanced gradient to control the shape of the gradient at different parts of the mask.",
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{"title":"Applying Softness Using a Uniform Gradient",
"href":"./files/GUID-014FBAE6-3D43-4D8C-87F5-2B0E7DA162CE.htm",
"description":"Use the Softness fields to apply a constant range of softness to the edge of the mask. The Alpha and Offset fields define the fade-out of the softness gradient from the edge of the mask.",
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{"title":"Applying Softness Using Pickers",
"href":"./files/GUID-82E437B0-65F3-4EF6-844B-73495AB818DF.htm",
"description":"You can change the default mode of the Tracer from advanced gradient to pickers, allowing you to sample colours inside and outside the garbage mask spline, to apply softness according to the colour transition in the clip. Individual vertices can be set to either of these modes.",
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{"title":"Mixing Advanced Gradient and Pickers",
"href":"./files/GUID-489A6659-A952-4B1F-B2B5-0B98230EFB35.htm",
"description":"When the subject has a mixture of fine, wispy edges and hard, clean edges, use a mix of localized keys and advanced gradients. Pickers are better for the fine edge areas and advanced gradient is sometimes better for the hard edge areas. You can set the state of each vertex to advanced gradient (pickers off) or localized key (pickers on) mode.",
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{"title":"Applying Softness Using the Tracer",
"href":"./files/GUID-A985FC40-4469-4124-AAEF-1394B42973CD.htm",
"description":"Drawing a Tracer-aided matte entails four basic steps.",
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{"title":"Animating a Tracer Mask",
"href":"./files/GUID-CE231369-1425-4411-9A40-79FB1067BDDD.htm",
"description":"When using the Tracer, you can animate the basic vertex parameters, as well as the following additional parameters.",
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{"title":"Tracking with the Tracer",
"href":"./files/GUID-2470AB4A-C9B1-442D-803E-B3B7B47374A7.htm",
"description":"Tracking with the Tracer is done using the same method as with regular garbage masks. See .",
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{"title":"Troubleshooting the Tracer",
"href":"./files/GUID-B426AD26-7FA2-4357-8171-29E43C479542.htm",
"description":"Every clip has its own challenges and requires a certain amount of tweaking and fine-tuning to achieve the best results.",
"ancestors":[{"title": "Creative Effects","href":"./files/GUID-95516A3F-2A71-414E-BAD2-8C09D2212ACF.htm"},{"title": "Garbage Masks","href":"./files/topichead_d3e118857.htm"},{"title": "Refining the Mask","href":"./files/GUID-A5FF7C93-A475-4ED9-940C-2705AA1685B6.htm"}]},
{"title":"Saving Garbage Mask Setups",
"href":"./files/GUID-68755A09-83BF-4C71-806D-0A418517AD16.htm",
"description":"Garbage masks can be saved and loaded as setup files, with all vertex and animation information preserved.",
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{"title":"Loading Garbage Mask Setups",
"href":"./files/GUID-DB898796-8951-48E0-A1C8-5E812384FDE6.htm",
"description":"In the file browser, when loading garbage mask setups, you can quickly navigate to either the default gmask directory or a custom directory for the current project.",
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{"title":"Preset Garbage Mask Setups",
"href":"./files/GUID-2272505B-EEC8-45B7-B1C3-95805BC98F66.htm",
"description":"A library of preset garbage mask setups is available. To load a preset garbage mask, navigate to the /usr/discreet/<product home>/gmask directory and select one of the following:",
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{"title":"Importing and Exporting Raw Setup Files",
"href":"./files/GUID-57D0F225-662E-4156-9853-A434950134FB.htm",
"description":"You can import and export raw setup files for animated garbage masks. A garbage mask exported as a raw setup file includes the following information:",
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{"title":"Tracking and Stabilizing",
"href":"./files/topichead_d3e121665.htm",
"description":"",
"ancestors":[{"title": "Creative Effects","href":"./files/GUID-95516A3F-2A71-414E-BAD2-8C09D2212ACF.htm"}]},
{"title":"About Tracking and Stabilizing",
"href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm",
"description":"Use the Stabilizer to remove camera instability and motion jitter, and to track reference points in your clips. You can also use the Stabilizer to produce 2D motion or lock a bilinear surface to the clip\'s background. With tracking, a point or points on the clip are tracked as they move through the scene. You can then apply the resulting motion path to an object on another layer so that it follows the same path as the object you tracked.",
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{"title":"Accessing the Stabilizer",
"href":"./files/GUID-B4DAB1C9-9093-4ACC-A965-5042FB34B62D.htm",
"description":"You access the Stabilizer differently, depending on how you want to track or stabilize a clip. For example, when you access the Stabilizer from the EditDesk, you stabilize with one tracker. When you access from Action, you have the option to use two trackers. You need two trackers when the clip you want to stabilize has a camera roll or zoom—the second tracker enables you to track the rotation and zoom of the camera.",
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{"title":"How the Stabilizer Works",
"href":"./files/GUID-C9D95F41-E0BC-4288-AB16-FBC2C275380E.htm",
"description":"The Stabilizer uses trackers to generate tracking data. Each tracker consists of a solid box, called the reference box, and a dashed box, called the tracker box. The reference box establishes the reference point (the feature to track or stabilize) in any frame of the sequence. The tracker box indicates to the Stabilizer where to locate the reference point. The tracker box follows the frame-to-frame movement of the reference point.",
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{"title":"Working with Trackers",
"href":"./files/GUID-62F39612-44B8-41A3-A008-4FBC7590F7D4.htm",
"description":"This section provides information that is common to many procedures. It is recommended that you first read the procedure you want to perform in or , and then consult this section when needed.",
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{"title":"Selecting a Reference Point",
"href":"./files/GUID-C085FB07-BACA-4233-A9D8-5273414447F7.htm",
"description":"A good reference point is a high-contrast pattern that has good definition both vertically and horizontally, which allows for perfect registration in both directions.",
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{"title":"Selecting a Tracker",
"href":"./files/GUID-FE61CE9D-DC5D-497D-9BA1-398505584610.htm",
"description":"You can use any of the following methods to select a tracker:",
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{"title":"Positioning the Reference and Tracker Boxes",
"href":"./files/GUID-1D55A5FD-7521-43B4-A5A9-703B06DFD1AE.htm",
"description":"When you position the reference box, the tracker box automatically follows. You can leave the boxes together if you place the reference box in the first or last frame of the clip. However, if you start the analysis on a different frame from where you position the reference box, you should position the tracker box in the first frame of the clip on the pattern you want to track. This way, the Stabilizer knows where to look for the pattern to track when you analyse the clip.",
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{"title":"Moving the Reference",
"href":"./files/GUID-AD3B9AE0-7428-48B0-8B0B-F56435AFA5B0.htm",
"description":"When you select the reference box in the image window, the timeline automatically goes to the frame where you set the reference. For example, if you move to frame 1 and select the reference box, if the reference is set in frame 10, frame 10 appears automatically in the image window.",
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{"title":"Resetting the Reference and Tracker Boxes",
"href":"./files/GUID-8F2F8C71-92C0-43BA-BDE7-BD669C3A92BC.htm",
"description":"By default, the tracker box moves with the reference box. If you move the tracker box by clicking in the area outside the reference box, it no longer follows the reference box. The new position is recorded in the Track X and Track Y channels in the Channel Editor and has precedence over the Shift value when the tracker box appears. If you want the tracker box to follow the reference box, you can delete the new keyframe. You can also use the Reset box to reset the reference and tracker boxes to their default position and size.",
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{"title":"Resizing the Reference and Tracker Boxes",
"href":"./files/GUID-540A482F-C0EE-4D21-88BB-9FC9D8B01B99.htm",
"description":"Resize the reference box to make it surround the feature you chose to track more closely. By only including the recognizable feature in the box with no other details that may change throughout the clip, you minimize the possibility of the tracker losing the reference point.",
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{"title":"Working with Multiple Trackers",
"href":"./files/GUID-FA091F73-412C-4FBC-9234-D3D9549D18B6.htm",
"description":"You can change a parameter for all active trackers at once. For example, you can change the dimensions of the tracker box for all trackers or set Fixed to off for all trackers. It can be useful to hide all but a selected tracker if you want to edit its tracking path.",
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{"title":"Stabilizing",
"href":"./files/GUID-7F9E1F3E-9659-4D94-8401-61430FCEDBEB.htm",
"description":"There are several methods you can use to stabilize a clip.",
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{"title":"Simple Stabilization",
"href":"./files/GUID-A3D9E2FD-B74E-4F3B-B3E2-FF471A7DDFBE.htm",
"description":"Use simple stabilization to stabilize a clip where there is no pan or tilt.",
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{"title":"Stabilizing a Clip from Action",
"href":"./files/GUID-C17B7B5A-7F77-4FEB-AF5B-A57D47FEE12F.htm",
"description":"You can import stabilizing data to lock the position of an axis in relation to a reference point on the front clip. This means that any movement in the front clip is matched by the axis. You can enter the Stabilizer from Action to stabilize an image so that the axis changes to keep the reference point fixed against the background.",
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{"title":"Removing Jitter with Fixed X and Fixed Y",
"href":"./files/GUID-533CA977-C6B5-496A-B975-A335BE129D88.htm",
"description":"The Fixed X and Fixed Y buttons remove motion in one direction only. Enable the Fixed X button to remove vertical jitter only. Movement on the horizontal (X) axis, such as a camera pan, is not affected. Enable the Fixed Y button to remove horizontal jitter. Movement on the vertical (Y) axis is not affected.",
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{"title":"Smoothing Out Camera Motion",
"href":"./files/GUID-47AD31A4-985A-429E-8C5F-17C37D0D77B3.htm",
"description":"Use the Average options to smooth out uneven camera motion. For example, if the camera moves at a certain rate and suddenly drops or increases in speed, the Average option can stabilize the camera motion.",
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{"title":"Tracking",
"href":"./files/GUID-E5272767-2723-465D-9008-0AEE26220031.htm",
"description":"You can use the Stabilizer to make a clip or part of a clip track an object in another clip. For example, you can paste a logo to the side of a moving car. You can track a clip using one, two, or four reference points:",
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{"title":"One-Point and Two-Point Tracking",
"href":"./files/GUID-08CD2419-19D9-4049-8828-1AF3E0AA1B00.htm",
"description":"In both one-point and two-point tracking, you select the object that follows the pattern on the back clip by assigning the tracking data to its axis in Action.",
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{"title":"Four-Point Tracking",
"href":"./files/GUID-6FAA280A-E906-4A2F-A3BA-50380DE32FD4.htm",
"description":"With four-point tracking, you use four trackers in the Stabilizer to generate tracking data for anchoring the four corners of a bilinear surface to the background clip. The bilinear surface then tracks the horizontal and vertical translation of the reference points on the background clip.",
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{"title":"Tracking Difficult Shots and Correcting Errors",
"href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm",
"description":"If the tracker box strays from the reference point that it is supposed to be tracking, incorrect shift keyframes result. If such an error occurs, you can stop the analysis, correct it, and restart it at any frame.",
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{"title":"Resetting the Shift Data",
"href":"./files/GUID-7494C298-4705-49C3-BE37-40FEBEFE3146.htm",
"description":"Although it is not necessary, you can erase old keyframes before redoing the analysis.",
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{"title":"Adjusting the Size of the Tracker Box",
"href":"./files/GUID-E3604072-E6DC-446A-9BB8-387574793F99.htm",
"description":"If the Stabilizer cannot find the reference point within the boundaries of the tracker box during analysis, the tracker box will stray from the reference point and produce incorrect keyframes. Although you can manually correct these keyframes, it is easier to make the tracker box large enough to accommodate the movement of the reference point. Note that processing time increases as the size of the tracker box increases. See .",
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{"title":"Positioning the Tracker Box Manually",
"href":"./files/GUID-61495662-46E7-4C11-9534-92C7FC6EEA1E.htm",
"description":"When the reference point is temporarily covered by another object, position the tracker box manually.",
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{"title":"Locking Keyframes in Place",
"href":"./files/GUID-B07C00A7-4FB0-41CD-AF73-6DF296D18C09.htm",
"description":"You can lock Shift keyframes so that they stay in place even if you try to move them manually or perform an analysis. This is useful, for example, when you set keyframes manually and want to prevent Smoke from overwriting them when you redo the analysis.",
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{"title":"Changing the Reference Point",
"href":"./files/GUID-397EB8A9-0D7E-467E-8BD4-170B3D74BEF5.htm",
"description":"Change the reference point to another feature if the feature you have been tracking moves out of the frame, or alters such that it is no longer trackable. You should do this before the original reference point moves out of the frame. This allows the Stabilizer to calculate the offset between the two reference points and predict the position of the original reference point. If the Path button in the Setup menu is enabled, you will see the extrapolated path of the original reference point.",
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{"title":"Finding the Best Tolerance Value",
"href":"./files/GUID-02B59C4F-CA09-4100-A163-FA3F7BDE84D6.htm",
"description":"The Tolerance value determines how much discrimination the Stabilizer uses in matching the reference point from frame to frame and in setting a keyframe for that frame. At 100% tolerance (no discrimination), almost anything is considered as a match and a keyframe is set. At 0% tolerance (complete discrimination), only a perfect match is accepted.",
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{"title":"Analysing Backward",
"href":"./files/GUID-373222A9-F9AA-4D18-BB50-ED7B6F8CF941.htm",
"description":"Analyse the clip backward when the pattern you want to track grows larger or when it is off screen at the beginning of the clip.",
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{"title":"Tracking Manually",
"href":"./files/GUID-7D5A3E3D-957E-488C-897B-3C88FE238456.htm",
"description":"Track manually when the pattern you are tracking disappears behind an object for several frames, moves out of the frame, or is extremely difficult to track.",
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{"title":"Analysing One Frame at a Time",
"href":"./files/GUID-24D61370-36D1-4F4E-A54B-C5E0FE4CDA4B.htm",
"description":"Analysing one frame at a time is useful for difficult shots because you can adjust the position of the tracker after each frame. Click the Step button to analyse a single frame and advance to the next frame.",
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{"title":"Editing the Stabilizer Channels on the Image",
"href":"./files/GUID-DFC3B7A6-7A07-45E7-9BC3-F291A8032299.htm",
"description":"You can edit the tracker channels directly on the image instead of editing them in the Channel Editor. Note that the curve on the image shows the X and Y components together and not separately like in the Channel Editor. The tracking path on the image shows the actual displacement of the tracker box.",
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{"title":"Tracking a Degraded Copy of the Clip",
"href":"./files/GUID-98B6EC0E-05F6-4480-A0E2-79CAEA7D7BB1.htm",
"description":"If other options do not work, you can try degrading a copy of the image until the contrast of the pattern to track is high enough. You then generate tracking data from this copy, save the setup, and apply it to the original clip. Try the following methods for degrading the clip:",
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{"title":"Setup Options",
"href":"./files/GUID-562D8A73-7B1E-4CE9-B69B-BE12D4AF2108.htm",
"description":"Use the options in the Stabilizer menu to specify preferences for tracking and the user interface. Use the options in the Setup menu to specify general and rendering preferences.",
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{"title":"Rendering Options",
"href":"./files/GUID-2352F662-FDF9-4FCF-9285-80EE8B93A2EA.htm",
"description":"Use Pretracking to preview the motion path before processing, and Oversampling to use high-quality subpixel image adjustment.",
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{"title":"Tracker Options",
"href":"./files/GUID-30488B79-6957-46C5-A5E4-9A468DA69585.htm",
"description":"Use the Tracker options to help you work with trackers in the image window.",
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{"title":"Display Options",
"href":"./files/GUID-0E0976A6-2CAC-4658-833E-2F935FA79DA4.htm",
"description":"Use the display options to enable or disable the motion path and icons in the image window.",
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{"title":"Other Tracking Options",
"href":"./files/GUID-60B8F0A5-154E-4C94-A2F1-6A6932A7C30C.htm",
"description":"Use these options in the Stabilizer menu to determine whether to scale or shift a stabilized image, to track in frame or field mode, and to fix the reference box.",
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{"title":"Copying Shift Channels",
"href":"./files/GUID-AE7A100E-AA01-4E2A-9933-4517AD5CBBE7.htm",
"description":"Using the Channel Editor, you can copy a tracker\'s Shift channel values and paste them into any other channel in any module. For example, you can copy jitter values to the X and Y position channels of an axis to add realism to a static scene, or to a channel to add noise.",
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{"title":"Importing and Exporting Data",
"href":"./files/GUID-F21D740B-D2A2-4D63-A4FC-9C9FBDD541CD.htm",
"description":"Import and export tracking and shift data values to an ASCII file using the Import and Export buttons located in the Track and Shift areas of the Stabilizer menu.",
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{"title":"Text",
"href":"./files/topichead_d3e123162.htm",
"description":"",
"ancestors":[{"title": "Creative Effects","href":"./files/GUID-95516A3F-2A71-414E-BAD2-8C09D2212ACF.htm"}]},
{"title":"About Text",
"href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm",
"description":"Text is comprised of layers, paragraphs, and characters. You can make text spin, dance, and change colour over time. You can also create effects such as a text roll of credits, text crawls, bumpers, and text that moves on a motion path. You can use logo images in a text roll so that the logo of a sponsor appears in the credits list.",
"ancestors":[{"title": "Creative Effects","href":"./files/GUID-95516A3F-2A71-414E-BAD2-8C09D2212ACF.htm"},{"title": "Text","href":"./files/topichead_d3e123162.htm"}]},
{"title":"Text Workflow",
"href":"./files/GUID-4BCA91AD-6312-479B-B301-5837C75D4386.htm",
"description":"The following table shows the recommended workflow for creating text in the Text module.",
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{"title":"Accessing the Text Module",
"href":"./files/GUID-C1725D2E-B4C6-44BD-AB0D-020FC7E58188.htm",
"description":"When accessing the Text module, you first select whether to add text to a source clip, a coloured frame, or a black background. The first time you open the Text module, the frame contains a clip image, but no text. The next time you open it, the text and settings from the previous Text session appear.",
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{"title":"Setup and Processing Options",
"href":"./files/GUID-4CD820B7-54FC-49A3-9D65-3F84D88B65E3.htm",
"description":"Before processing a text clip and rendering text effects, you must set crop settings for the text layer, blur settings, text animation, softness, and whether or not you want to use prerendering. The prerendering feature accelerates the rendering process for a text layer.",
"ancestors":[{"title": "Creative Effects","href":"./files/GUID-95516A3F-2A71-414E-BAD2-8C09D2212ACF.htm"},{"title": "Text","href":"./files/topichead_d3e123162.htm"}]},
{"title":"Processing Text Clips",
"href":"./files/GUID-7C9CD592-38F3-42ED-8229-E2EF80442106.htm",
"description":"You can process clips in progressive or interlaced rendering. Interlaced rendering produces a better result, especially if you use keyframes that are far apart, but it takes longer to process. You should preview the quality of the image and the text before you process the final clip.",
"ancestors":[{"title": "Creative Effects","href":"./files/GUID-95516A3F-2A71-414E-BAD2-8C09D2212ACF.htm"},{"title": "Text","href":"./files/topichead_d3e123162.htm"},{"title": "Setup and Processing Options","href":"./files/GUID-4CD820B7-54FC-49A3-9D65-3F84D88B65E3.htm"}]},
{"title":"Processing Considerations",
"href":"./files/GUID-416B0705-2650-4B6B-B68C-36CBF6893F87.htm",
"description":"Processing is contingent upon PreRender, Blur, and Animation settings. Depending on which options you choose, you can increase the processing speed:",
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{"title":"Saving and Loading Files",
"href":"./files/GUID-A4525DB9-0ADD-49FD-84FB-C2CA8BD3058D.htm",
"description":"You can save, load, and import text files, text setups, and images for specific use with the Text module. You can save text, text effects, text preferences, layers and new default text settings.",
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{"title":"Saving Text Files",
"href":"./files/GUID-8EB5720F-E21D-4B39-A07B-128EC3B4825D.htm",
"description":"When saving files, you can save text setups, preferences, and default settings.",
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{"title":"Loading Text Files",
"href":"./files/GUID-D1BC5357-156A-4145-A4EB-0ECE7F6DC3CD.htm",
"description":"You can load text files, preferences, and ASCII files. You can also reset the Text menu settings with its factory defaults.",
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{"title":"Adding Text to Clips",
"href":"./files/GUID-F6FBC9F5-E1EF-44B8-AB87-724AAF3066A6.htm",
"description":"You add text to a clip by first creating a layer for entering the text, setting the layer attributes, and then typing the text. You can create several layers of text that overlap each other.",
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{"title":"Creating a Layer",
"href":"./files/GUID-00E3F3E7-7845-426A-A31A-456E12670EEA.htm",
"description":"Text is contained in a layer called a text layer. When you create a text layer, a coloured border called the crop border appears in the image window indicating the region the text will occupy.",
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{"title":"Entering Text",
"href":"./files/GUID-84986849-40C1-4757-9E98-C174A82FA183.htm",
"description":"The text you type may be as short as one letter or word or as long as several paragraphs. If the text is long or exists in a word processor, you can load the text file into the current layer.",
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{"title":"Word Processing Hotkeys",
"href":"./files/GUID-9B29CD96-1D7A-4102-ABC4-9BD5CF86EAD0.htm",
"description":"Typical word processing tasks include text selection, cutting, copying, and pasting. The Text module includes several character manipulation hotkeys for these tasks.",
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{"title":"Creating Text Effects",
"href":"./files/GUID-B6C6690D-ECE9-4C3F-9E4E-55434C71F67A.htm",
"description":"Use the Attributes controls to change the appearance of individual characters, paragraphs, and layers. You set similar properties for both layers and characters. You can also load a logo in a paragraph and then format it using the Attributes menu. See . If you create text formats that you plan to reuse, save them using the Styles menu. See .",
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{"title":"Modifying Layer and Character Properties",
"href":"./files/GUID-1E56B3B6-9942-4AB8-828F-E19B5ED57692.htm",
"description":"Use the Layer controls in the Axis menu to rotate, translate, scale, or shear a selected layer and to apply an effect uniformly to all characters.",
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{"title":"Copying and Pasting Character Channels",
"href":"./files/GUID-242050A5-9023-468D-9174-F42672D6DFEF.htm",
"description":"You can copy character attributes, transformations, or both, from one character and paste them onto a selection of others.",
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{"title":"Grouping Text Layers",
"href":"./files/GUID-B48ACBEF-DBCC-4CBE-8C90-37EA36D4BFBE.htm",
"description":"You can group two or more layers together to create a montage of text and move text layers together. Grouped layers can be saved and loaded as one unit. You can add more text layers to an existing group, resulting in a new single group.",
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{"title":"Loading Logos",
"href":"./files/GUID-B3E52D08-EDC4-43C7-84D3-40BF2EBB5CAB.htm",
"description":"You load logos from the EditDesk. You can use a logo so that it appears on every frame in a clip. Also, you can use logos in text rolls to credit sponsors, contributors, and products. Place a logo directly in a paragraph and then set text formatting properties for the logo.",
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{"title":"Tabulating Text",
"href":"./files/GUID-FD7E989B-8EC7-422A-9E8F-205DC5CAA689.htm",
"description":"You can organize text into columns by setting tabs in the Tabulation menu. In a text layer, you can also set tab stops to align text at specific locations in a paragraph.",
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{"title":"Spell Checking",
"href":"./files/GUID-E7182111-A1F2-48BB-A666-A6F520F924F1.htm",
"description":"In the Spell Check menu, you can check the spelling of the text in a text layer. When spelling errors are encountered, a red line is drawn through words not in its dictionary. By default, the spell checker uses the language and dictionary installed with the operating system to verify the spelling of words. You can also create your own custom dictionary.",
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{"title":"Creating Text Rolls and Text Crawls",
"href":"./files/GUID-01AFEA65-E8A6-4D3A-BBD9-A6F7A60E24DE.htm",
"description":"You can create text rolls, which are commonly used for credit rolls. A text roll is a layer of text that rolls from the bottom to the top of a clip for a series of frames. In a text roll, you can use special fonts as well as coloured, animated, and tabulated text.",
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{"title":"Animating Text",
"href":"./files/GUID-CDE55710-DEA5-4AB3-9179-71281C3EF0DB.htm",
"description":"You can animate text properties including colour, softness, size, shadow, and transformation effects such as rotation, scale, and shear. For example, you can animate text channels to create an effect where the text appears gradually over time and then disappears from view.",
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{"title":"Animating Paragraph Channels",
"href":"./files/GUID-8A7BD659-C3CE-44E9-9C23-BC1A1447DF80.htm",
"description":"In the Text module, the Animation controls include a Paragraph Channel View for viewing text channels in the Channel Editor. Use the attributes and transformation channels to animate paragraphs and characters and fine-tune animations created using the Attributes menu.",
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{"title":"Animating Text on a Motion Path",
"href":"./files/GUID-45555F65-F4F8-4CE0-99A7-5CEC8AB13287.htm",
"description":"You can create a text layer on a spline and animate it over time. In this way, you create marquee text that twists and turns over an image or in time with other objects in the scene. The spline is fully editable; you can add control points and manipulate their tangent handles. In the Channel Editor, the Path group contains a Shape channel for the path and an Offset channel for the offset value.",
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{"title":"Defining Styles",
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"description":"Styles are sets of text attributes and specifications that can be replicated when you need to use the same format again. You create and modify styles, and save and load them from the file browser using the Styles menu. The following character attributes are saved with the style: font, colour, outline, shadow, blur, scaling, rotation and shear. In addition, the layer\'s background colour and opacity are saved as well.",
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{"title":"Saving and Loading Styles",
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"description":"After you create styles, you may want to save one or all of them. You can load any of them in future sessions.",
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{"title":"Saving Multiple Styles Automatically",
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"description":"If you create a section of text with multiple sets of attributes, you can assign each set as a separate style with a shortcut and then save them. The Text module automatically detects the different sets of attributes used in the section and assigns each set to a Style button. You can then use shortcuts to apply them.",
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{"title":"Changing Fonts",
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"description":"When you open the Text module, the default font is loaded and ready to use. When you choose a different font, it becomes the current font and all text you type appears in the current font. If you edit text that has a different font, the current font is replaced by the font of the text at the cursor position. For example, if you are working with Carta font and you edit text that uses Helvetica, Helvetica becomes the current font and all subsequent text you type appears in Helvetica.",
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{"title":"Pasting Text from an External Source",
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"description":"You can copy text from a Linux terminal or another application and paste it directly in a text layer.",
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{"title":"Entering Non-Latin Text",
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"description":"When entering non-Latin text characters, consult your system documentation to make sure the required input method packages are installed. For example, to enter Chinese characters, you can use the chinput package.",
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{"title":"Sparks",
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"description":"",
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{"title":"About Sparks",
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"description":"Sparks are software plug-ins created by Autodesk or third-party developers.",
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{"title":"Loading a Sparks Plug-in",
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"description":"You can load up to eight Sparks at one time.",
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{"title":"Replacing a Sparks Plug-in",
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"description":"If you want to load a new Sparks plug-in but all the Sparks buttons are already in use, you can replace an existing Sparks plug-in with the new one.",
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{"title":"Using a Sparks Plug-in",
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"description":"A Sparks plug-in functions in the same way as other commands or modules. Some Sparks are designed to be used on the EditDesk or as a module.",
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{"title":"Developing Sparks",
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"description":"The Autodesk SparksAPI Reference Guide is available in PDF format. If you are interested in marketing or selling your Sparks, you must apply to the system Sparks program. To request an application, send an e-mail message to sparks-manager@autodesk.com .",
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{"title":"3D Compositing with Action",
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{"title":"Action: Basics",
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{"title":"About Action",
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"description":"The Action module is a multilayer compositing tool for creating complex visual effects. Use Action to animate clips in 3D and add camera, lighting, and shadow effects.",
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{"title":"Action Concepts",
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"description":"The following concepts are used throughout the Action chapters to describe the workflow and user interface.",
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{"title":"Accessing the Action Module",
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"description":"When you access the Action module, you load the front and matte clip for the first media and the back clip used for the background. You load these clips in the order front, back, then matte.",
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{"title":"Automatically Creating Image Nodes",
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"description":"When accessing the Action module, you have the choice of whether you want to automatically add objects to the schematic.",
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{"title":"Loading from a Multitrack Clip",
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"description":"When you load from a multitrack clip, the tracks from the selected multitrack clip are loaded from the bottom track to the top track. The last track is loaded as the background and subsequent tracks are loaded as matte and front pairs. This means that the last track is loaded as the common back clip, the second to last track is loaded as the matte clip of media 1, the third to last track is loaded as the front clip of media 1, the fourth to last track is the matte clip of media 2, and so on.",
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{"title":"Loading from a Multitrack Clip with Selfkey or Self Gaps",
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"description":"When you load from a multitrack clip with Selfkey or Self Gaps, the tracks from the selected multitrack clip are loaded from the bottom track to the top track. The last track is the background or back clip and subsequent tracks are loaded as front clips for each media. The matte of each media is generated from the front clip. This means that the last track is loaded as the common back clip, the second to last track is loaded as the front clip of media 1, the third to last track is loaded as the front clip of media 2, and so on.",
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{"title":"Accessing Action through Batch",
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"description":"While working in the Batch module, you can access the full Action module by clicking any Action node in your process tree. See .",
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{"title":"Resetting Values",
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"description":"When beginning a new project, you can reset just the parameters, or reset and delete nodes and remove media. Resetting can also be used to remove all effects and edits created during an Action session. The Reset All button is located in the Action Setup menu.",
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{"title":"Using Floating Point Images",
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"description":"You can use 16-bit floating point OpenEXR clips in Action. You can use clips of different resolutions on separate media, but you cannot specify clips of different resolutions to act as the front and matte clip of a specific media. Here are some things to keep in mind when working with 16-bit floating point clips:",
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{"title":"Action Module Overview",
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"description":"The Action module is divided into a number of menus and sections designed to help you quickly create your composites.",
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{"title":"Changing Views",
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"description":"You can change the orientation to view a scene from many angles. This can help you set up motion paths, light sources, and camera angles more easily.",
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{"title":"Accessing Action Menus",
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"description":"The left side of the Action menu houses a number of buttons that allow you to switch between the various Action sections and menus. Clicking any of these buttons opens the specific Action section, such as the Node Bin or Output menu.",
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{"title":"Using the Node Bin",
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"description":"The Action node bin contains nodes classified by tabs. The All Nodes tab contains all Action nodes. The other tabs in the node bin allow you to create and customize bins. The node bin also contains an image proxy that displays a proxy of the currently selected media, as well as a mini Media list.",
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{"title":"Animating with the Channel Editor",
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"description":"Use the Channel Editor to animate the media, axis, surface, light, camera, and other properties of every object in the scene.",
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{"title":"Using the Schematic and Menu Tabs",
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"description":"In Schematic view, a node exists for all objects in the scene, for example, shadows, lights, and texture maps.",
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{"title":"Populating Menu Tabs of Selected Objects",
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"description":"Depending on what type of object is selected in the schematic, the tabs in the Object menu are populated based on different rules, as illustrated in the following examples.",
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{"title":"Using the Object Menu for Multiple Selections",
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"description":"You can select multiple nodes to change some of the settings in the Object menu for all objects of the same type.",
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{"title":"Parenting Nodes",
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"description":"In Action, you can create complex animations where movements applied to one node are passed down to all connecting nodes.",
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{"title":"Duplicating Objects",
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"description":"You can duplicate objects of the same type so that any settings applied to the first object are also applied to the duplicated object or objects.",
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{"title":"Soloing Objects",
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"description":"Use the Solo button to hide all other objects except the selected object. Using Solo is useful for identifying an object in a scene with many objects, without having to hide all of the other objects.",
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{"title":"Collapsing Branches",
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"description":"You can collapse branches in the schematic into a group to reduce clutter in the schematic.",
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{"title":"Setup and Processing Options",
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"description":"Use the Action Setup menu to customize your Action display and to access tools and guides.",
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{"title":"Rendering Tab",
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"description":"Resolution Settings You can set the rendering resolution of clips that are output in Action. For example, if you are working in an NTSC 8-bit project, the default output is NTSC 8 bits. However, if",
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{"title":"Preferences Tab",
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"description":"Surfaces Settings Default Resolution field Displays the default geometry resolution (number of polygons) of surfaces. You can also change the geometry resolution of specific surfaces in the Surface",
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{"title":"Adaptive Degradation Tab",
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"description":"Use these settings to temporarily deactivate taxing operations during interactive manipulations. These settings do not affect the final renders.",
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{"title":"Saving, Loading, and Importing",
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"description":"You can save, load, and delete Action setups, and import Photoshop files into Action.",
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{"title":"Importing Photoshop Files into Action",
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"description":"You can import Adobe Photoshop format files into Action without having to convert them into a TIFF or other format. Once imported, the PSD file keeps its inherent layer structure, which can be used or modified within Smoke.",
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{"title":"Processing Outputs from Action",
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"description":"Use the multi-pass rendering capabilities of Action\'s Output menu to manage your outputs. Options are available to help you set up and prepare many different types of outputs, much as you would with render passes in a 3D application. You can process multiple outputs at once, from your complete Action scene, to specific Shadow or Z-Depth outputs, for example.",
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{"title":"Outputs List",
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"description":"Use the Outputs List to organize the outputs you want to process. You must have at least one output in the Outputs List. By default, a complete_scene[Comp] output exists, which is set to process the entire comp and result camera.",
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{"title":"Output Options",
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"description":"For each output in the Outputs List, you can refine the output parameters.",
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{"title":"Render Options",
"href":"./files/GUID-4A3BCABF-ACF5-4363-91D8-575FB9910D65.htm",
"description":"Use the Render Options to further refine your output. Different options are available or greyed out depending on the output type you choose in Output Options.",
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{"title":"Selecting Objects to Output",
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"description":"You can select objects to include in your output by using the Object Options and Object List, or the Edit Output mode. Objects that are part of an output are displayed in the Object List. For each selected object, you can decide if you want it to be visible in the final render or not. Non-renderable objects, such as cameras, are always included in outputs.",
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{"title":"Action: Media",
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"description":"",
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{"title":"About Media",
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"description":"You should have a working understanding of Action media and the relationship between media and surfaces to be successful in using Action. Media has the following characteristics:",
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{"title":"Working With Media in the Media Menu",
"href":"./files/GUID-501F553C-B885-49CE-92AE-46E54B60C4D9.htm",
"description":"When you open Action, you load the front and matte clips for the first media. You can then load any additional media.",
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{"title":"Media Menu Shortcuts",
"href":"./files/GUID-CF189B72-F6A9-4D17-9366-E0B3270D8FEA.htm",
"description":"Use hotkeys and shortcuts when working with clips and media in the Media menu.",
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{"title":"Adding Media",
"href":"./files/GUID-B2F538CE-0D84-417B-91C8-CF81B5F6B759.htm",
"description":"As the complexity of your effects grows, so will the amount of media you use. You can add unlimited media; media is added to the Media list as they are created. If Auto Image is selected in the Action Setup menu, an image node and axis are also created in the schematic when new media is added.",
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{"title":"Adding Effects to Media",
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"description":"The Media list allows you to easily add and edit effects to your clips, such as blurs and crops.",
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{"title":"Blurring a Clip",
"href":"./files/GUID-07B0CD4E-EC6A-4A4F-B1B9-A794BE5ED38E.htm",
"description":"To blur the front, matte clip, or back clip for the selected media, use the Xblur and Yblur fields. The Xblur field controls the amount of blurring on the horizontal (X) axis, and the Yblur field controls the amount of blurring on the vertical (Y) axis.",
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{"title":"Cropping a Clip",
"href":"./files/GUID-43F882CD-2470-4D3E-9FC5-5DD06EFB2C4A.htm",
"description":"When you crop media, the front and matte clips are cropped together. You cannot crop the back clip. If you applied the media to more than one surface, all the surfaces are cropped.",
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{"title":"Eliminating Unwanted Black in Areas of Media Transparency",
"href":"./files/GUID-4F969273-FB05-42F7-A462-66F8508739B7.htm",
"description":"When compositing with images generated by rendering 3D objects over a black background, unwanted black often appears on translucent or anti-aliased areas of the media. Use the Divide tool to divide the front media by its associated matte media, which eliminates the black edges in the composite.",
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{"title":"Slipping Media",
"href":"./files/GUID-59E8CA6C-2F4E-4866-A657-308A43EA0E79.htm",
"description":"You can animate the Slip value of a media\'s front, matte or background clip. Do this to begin a clip at a specified frame number, or to produce a freeze frame effect where the first frame is held for a specified number of frames. In addition, Slip values are animatable for all types of clips.",
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{"title":"Accessing the Colour Corrector and the Keyer from Action",
"href":"./files/GUID-05DC879A-BFAB-4646-A057-139E325E79CA.htm",
"description":"By accessing the Keyer and the Colour Corrector directly from Action, you can key any media or colour correct any front, matte, or back clip without having to exit to the EditDesk.",
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{"title":"Muting Media Effects",
"href":"./files/GUID-33D4D535-1419-4002-96FF-754A10DEC5A5.htm",
"description":"You can mute Keyer and Colour Corrector media effects in the Action Media menu. Muting effect media can be helpful when you want to see what your Action setup looks like without the Keyer or Colour Corrector settings, but not lose any of the settings of the muted media effect.",
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{"title":"Accessing the Modular Keyer from Action",
"href":"./files/GUID-06F155BF-2F70-4BE9-91F4-EE7282AD8337.htm",
"description":"There are some minor differences when you access the Modular Keyer from Action instead of from the EditDesk. This section describes features specific to using the Modular Keyer in Action. For complete information on using the Modular Keyer, see About the Modular Keyer.",
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{"title":"Action: Axis",
"href":"./files/topichead_d3e130492.htm",
"description":"",
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{"title":"About Axes",
"href":"./files/GUID-18DB5101-DE13-4BCB-B2E5-04DBC94EC8F7.htm",
"description":"An axis is the element of an object or media that can be manipulated to determine the object\'s 2D or 3D space, position, and movement.",
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{"title":"Manipulating an Object\'s Axis",
"href":"./files/GUID-786B936C-87F9-4B55-8629-083443F507DF.htm",
"description":"When you add certain objects to the scene, such as models or images, they are added with their own axes. Each axis is used to place its respective object in the scene. An axis is represented by the following icon.",
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{"title":"Action Views",
"href":"./files/GUID-71E16828-AA36-4D37-A3D0-3AE9F9FB423B.htm",
"description":"Front, top, and side view are orthographic views used to position an object\'s axis in the scene. These views are useful for viewing the scene from another angle than the camera\'s. See .",
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{"title":"Accessing the Axis Menu",
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"description":"You use the Axis menu to position, rotate, scale, and shear an axis. The Object menu provides tabs so that you can see or modify the parameters of the selected axis. For information about selecting objects and navigating the schematic, see .",
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{"title":"Selecting an Axis",
"href":"./files/GUID-49C42196-9C52-41F8-A5F2-90241694E8F2.htm",
"description":"You can select an axis in any of the following ways:",
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{"title":"Moving and Rotating Axes in the Scene",
"href":"./files/GUID-F39EDDEC-6919-41F3-B780-776FD6962BAE.htm",
"description":"You can move and rotate an axis directly in the scene. You can do this when viewing the scene in Camera, Top, Side, or Front view. See .",
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{"title":"Changing the Plane",
"href":"./files/GUID-07DA767F-F57F-4737-8D59-7B041DB58F2C.htm",
"description":"When you move an object in the scene, the object moves on a 2D plane. By default, an axis is moved gesturally on all three planes. You can change the orientation of the plane by selecting an option in the Plane box.",
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{"title":"Applying an Axis Look-at Connection",
"href":"./files/GUID-809D8EF4-74F8-4377-BB3C-EA83716A193E.htm",
"description":"You can attach a look-at connection between the axis and another object in your scene. The axis then rotates to face the look-at object, no matter where it is positioned. You attach a look-at connection in the schematic between the Axis node and any object with axis characteristics (Axis, Camera, Light, and DVE Object).",
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{"title":"Applying Tracking Data to an Axis",
"href":"./files/GUID-DC51D862-69E9-4E3F-90EC-9F07E66BEC73.htm",
"description":"To remove jitter, or track the movement of a feature in the back clip, you can apply tracking data to an axis using the Stabilizer. You can access the Stabilizer directly from the Axis menu in Action.",
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{"title":"Stabilizing an Axis",
"href":"./files/GUID-71018935-B6D5-4CDF-9DFC-346C63F9CED1.htm",
"description":"You can import stabilizing data from the Stabilizer to lock the position of the selected axis to a reference point on the front clip in Action. Any movement in the front clip is matched by the axis. See .",
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{"title":"Tracking a Feature in the Back Clip",
"href":"./files/GUID-50836C76-7E73-4CBF-8EF2-05C2DBF78073.htm",
"description":"You can track the movement of a feature in the back clip and apply the tracking data to the selected axis in Action. The axis follows the movement of the feature in the back clip. You can also track the rotation or change in size of the feature. See .",
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{"title":"Perspective Grid",
"href":"./files/GUID-A2B7930C-F5FD-48BD-92AA-DFA1DF99ED58.htm",
"description":"Use the Perspective Grid node to help you with perspective alignments in your Action scene. The perspective grid creates a rectangle on a plane within the perspective of the clip. The accuracy of the plane determines whether any adjustments are properly scaled and oriented in your clip. Objects can be placed anywhere on this plane. Aligning objects to the perspective grid has multiple benefits: You can perform a 4-corner pin with a surface or geometry that respects the perspective. Aligning the grid establishes the orientation of the plane in 3D space and the Field of View (FOV) of the camera that shot the scene. Because the Perspective Grid node has an axis-like behaviour, objects attached to it inherit the grid\'s 3D transformations.",
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{"title":"Action: Surfaces",
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"description":"",
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{"title":"About Surfaces",
"href":"./files/GUID-2F789613-260A-4D4B-BC65-D799116CD8CA.htm",
"description":"You use surfaces to display media in the scene and then composite front and matte clips with a common back clip.",
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{"title":"Adding Surfaces",
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"description":"The first time you open Action during a session, an image surface is added to the scene using the first media (if Auto Image is enabled in the Action Setup menu). You must add a surface for each additional media before its clips can be used in the scene. You can then add textures and lighting effects, or change the surface\'s properties such as its shape, transparency, and specular highlight. Once added, the media appears in the Media list.",
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{"title":"Modifying Surfaces",
"href":"./files/GUID-F881BD6C-5F0B-4FFA-B43F-429EAB84A64C.htm",
"description":"The Surface menu includes properties common to all surfaces, and specific controls for bilinear and bicubic surfaces. You can change a surface\'s shape, position, and transparency, as well as apply lighting effects. You can also apply four-point tracking data to a bilinear surface.",
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{"title":"Surface Settings",
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"description":"The Surface tab is available at all times, and is divided into a number of sections.",
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{"title":"Vertices Settings for Bilinear Surfaces",
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"description":"For bilinear surfaces, there are extra controls available in the Vertices tab.",
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{"title":"Vertices Settings for Bicubic and Extended Bicubic Surfaces",
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"description":"For bicubic and extended bicubic surfaces, there are extra controls available in the Vertices tab.",
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{"title":"Blending Settings",
"href":"./files/GUID-F68FDEE3-1217-4B42-BC76-9D352E981233.htm",
"description":"Use the settings in the Blending tab to adjust blending curve for each surface.",
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{"title":"Lens Distort Settings",
"href":"./files/GUID-CCEE95EF-BF77-4E99-B70E-2AA6133483E3.htm",
"description":"Differences in camera lenses or perspective irregularities cause lens distortion that results in skewed angles. Use the settings in the Lens Distort tab to rectify or simulate these types of distortions in your images.",
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{"title":"Sources Settings",
"href":"./files/GUID-D94D8A21-8E83-4C5D-9400-AB25CE4D2AD2.htm",
"description":"If a source node is parented above a surface node in the schematic, the Source tab is available. These settings allow you to change source settings on a per surface basis, independent of the source type set in the Source menu for the parent source node or nodes. See .",
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{"title":"Changing the Shape of a Surface",
"href":"./files/GUID-C8CAF8B1-B6DE-41B0-BBC4-AFA22F92A4B5.htm",
"description":"When you first activate media or access Action, the media\'s surface is set to Flat by default. In Action, you can also represent a clip using custom bilinear or bicubic surfaces.",
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{"title":"Surface Blending Modes",
"href":"./files/GUID-90733BC9-A21F-4EE0-94D7-8AA47483F46F.htm",
"description":"Use the Blend Mode box to select how the front and matte clips or the front and back clips are combined. For example, use Screen for blending a fire or a lightning bolt shot on black that you want to composite with a different background.",
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{"title":"Offsetting a Surface",
"href":"./files/GUID-48621EAC-B087-4769-A5F8-31EDDAD7C78B.htm",
"description":"By default, a surface\'s axis is at the centre of the surface. Use the Surface Offset X and Y fields to offset a surface along the X-axis or Y-axis. All rotations, scaling, and shearing applied to a surface are applied about its axis. The location of the axis is indicated by the axis icon in the scene. See .",
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{"title":"Reshaping Using the Channel Editor",
"href":"./files/GUID-26AFD63B-93D7-4F7C-8593-B3549E149D75.htm",
"description":"You can select whether you want to create an animation for bilinear, bicubic or extended bicubic surfaces using the Shape channel or individual Vertex channels in the Channel Editor. The Shape channel shows when the shape of the surface changes during the animation. Each time you move a surface handle, a shape key is added at the current frame, provided Auto Key is enabled in the Setup menu. See for more information.",
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{"title":"Applying Blending Curves per Surface",
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"description":"You can adjust the blending curves of each surface separately. The blending curve is similar to the Keyer luminance blending curve, but you can adjust it per surface.",
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{"title":"Editing Tracker Offsets of a Bilinear Surface",
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"description":"Enable the Edit Offsets button to change the way the image is applied to a bilinear surface. For example, when you enable this button, an offset point appears for each of the surface\'s four corners (if Media Front is selected in the View box), then you use the Offsets controls to edit the offsets to match the corners of your square. View the result by disabling Edit Offsets.",
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{"title":"Warping an Extended Bicubic Surface",
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"description":"Use an extended bicubic surface to warp specific areas of a surface. An extended bicubic surface can be subdivided into many sections, which are controlled by vertices. The vertices allow you to bend and contort the surface. The vertices are joined using bicubic interpolation—curved lines.",
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{"title":"Subdividing an Extended Bicubic",
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"description":"Subdivide the bicubic surface up to eight times to increase the number of vertices and tangents. Then translate the vertices for a smaller region of the image for more precision. You should warp the surface with a small number of subdivisions to obtain the best results. After applying some deformations to a large portion of the surface, subdivide the surface further and perform deformations on a more localized region of the surface.",
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{"title":"Transforming Multiple Points",
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"description":"Use the magnet to transform a range of extended bicubic points. Use the magnet when there are many surface points as a result of more than one subdivision. In the Extended Bicubic menu, the magnet controls include the Magnet button, the Magnet Transformation box, and the Magnet Curve Editor.",
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{"title":"Adding Drop Shadows",
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"description":"In Action, drop shadows are are cutouts based on a surface\'s matte. A drop shadow can be fully opaque or slightly transparent to simulate a real shadow.",
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{"title":"Adjusting Shadow Softness",
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"description":"You can adjust the softness of a shadow using the Shadow field in the Media menu. Use a value of 0.00 to have a distinct shadow. Increase the value to soften the shadow.",
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{"title":"Adjusting Shadow Colour and Transparency",
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"description":"Adjust shadow colour and transparency in the Shadow menu of the Object menu.",
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{"title":"Moving a Shadow",
"href":"./files/GUID-B7A97F86-4169-4539-8800-EDAB78BD4EDC.htm",
"description":"A shadow has its own parent axis. It can be moved, rotated, scaled, and sheared independently of its parent surface. Because a shadow is also the child of the surface, moving the surface axis also moves the shadow.",
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{"title":"Using Shadow Mix",
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"description":"Use Shadow Mix to render shadows and surfaces according to their order in the Priority Editor, independently of their position in Z-space. This option makes it possible to have the shadow of one media on top of the shadow of another media. Shadow Mix is an option in the Z-Buffer box in the Rendering section of the Setup menu.",
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{"title":"Reordering Surfaces",
"href":"./files/GUID-8C1D008A-5928-465E-8DFB-2CA29F3A7292.htm",
"description":"When you add a surface (flat image, bilinear, or bicubic) or geometry (3D text or model), the surface or geometry appears in front of all other objects in the scene. These overlapping objects create a stack and an order of priority as one object is drawn in front of the other.",
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{"title":"Accessing the Priority Editor",
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"description":"Each entry in the Priority Editor indicates the object\'s name, the order of the object in the stack, and the location of the object in its branch. There is also a proxy showing what the object looks like in Schematic view.",
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{"title":"Changing the Drawing Order",
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"description":"The objects in the scene are shown according to z-depth, while still being drawn in the order of their priority: highest priority at the top of the list to the lowest priority at the bottom. The lowest level object is drawn first, the second to lowest level object is drawn next, and so on, until the top of the list.",
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{"title":"Grouping Media",
"href":"./files/GUID-0F6F441C-7078-4BE9-B44B-E427C00E94E2.htm",
"description":"Select objects in the Priority Editor and group them to edit or affect several media at once. You can analyse or Z-Sort groups as you would single media.",
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{"title":"Analyze, Z-Sort, and the Z-Buffer",
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"description":"When you use Analyze or Z-Sort, the objects in the scene are compared using their position in the scene and not the individual pixels of a shape or model. The Priority Editor uses distance between the camera and the nearest and farthest points on the objects in the scene to determine the sorting order.",
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{"title":"Creating Keyframes Using the Priority Editor",
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"description":"When you edit media priorities in the Priority Editor, keyframes are not created by default. To create keyframes from the Priority Editor, the Auto Key button must be enabled. By default, the Auto Key button is set to off so as not to create keyframes when reordering media.",
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{"title":"Action: DVE Layer Objects",
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"description":"",
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{"title":"About DVE Layer Objects",
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"description":"DVE Layer Objects emulate the axis and surface structure of DVE clip layers from earlier versions of Smoke and Fire. When you add a DVE Layer Object, a single object node is added to the scene comprised of five axes, as well as front and matte sources, and image and shadow surfaces. You can work with the DVE Layer Object as a grouped object in Action. For greater flexibility, you can ungroup the DVE Layer Object to allow for separate manipulation of each axis and surface in the Action schematic.",
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{"title":"Adding a DVE Layer Object",
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"description":"You can add DVE Layer Objects automatically when you open Action during a session, or when adding new media, by selecting Auto DVE in the Auto Image option box in the Action Setup menu. You can also add a DVE Layer Object manually from the Action node bin.",
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{"title":"Navigating with DVE Layer Objects",
"href":"./files/GUID-2B2D1675-69F6-499A-9ACC-E950DE2ECB79.htm",
"description":"The Action menus help you navigate to the various components of DVE Layer Objects, allowing you to quickly make changes to the objects.",
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{"title":"DVE Layers Bar",
"href":"./files/GUID-8E06E115-E791-40C1-9FB6-3FAEB018EB5E.htm",
"description":"To help you navigate among multiple DVE Layer Objects, there is a DVE layers bar above the Player controls that contains the list of all the created DVE layers. Each layer has its own tab that you use to select the layer before performing an operation. To select multiple DVE Layer Objects from the layers bar, press Ctrl and click the tabs.",
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{"title":"Object Tab Navigation",
"href":"./files/GUID-C51C3E62-AF6F-47B8-AF8C-66455835948C.htm",
"description":"When a DVE Layer Object is selected in the schematic, the tabs in the Object menu are populated with the Main, Offset, Front, Matte, and Shadow Axis menus on the left side, and the image and shadow menus on the right side. These menus allow you to control the various components of the DVE Layer Object.",
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{"title":"Resetting Objects",
"href":"./files/GUID-DFCBD868-8144-4303-B076-C23A258A964C.htm",
"description":"DVE Layer Objects comprise multiple axes and surfaces. You can reset each menu individually, if needed, so that you do not have to reset the complete DVE Layer Object, and potentially lose settings that you want to keep.",
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{"title":"Modifying DVE Layer Objects",
"href":"./files/GUID-BD9579EB-4DE7-4622-93A8-3FF5EA0A3730.htm",
"description":"When you add a DVE Layer Object to the scene, you can add axes above it, copy it, and perform displacement mapping. You can also expand a DVE Layer Object to reveal its components.",
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{"title":"Instancing DVE Layer Objects",
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"description":"You can add multiple axes above a DVE Layer Object. Each axis is a parent of the DVE Layer Object, and the DVE layer is represented in the scene for each axis. You can then use the Axis menu for each axis to manipulate the instance of each DVE Layer Object. In the Object menu, tab names that appear in light blue signify that multiple objects are connected down to it.",
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{"title":"Copying DVE Layer Objects",
"href":"./files/GUID-5BDD33BF-1D39-4C9C-AABB-8BEBD66F1A22.htm",
"description":"Use the Copy button to copy a DVE Layer Object to the next available media in the Media list.",
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{"title":"Displacing DVE Layer Objects",
"href":"./files/GUID-F8665E9D-CC35-4558-A39E-C36408BFD548.htm",
"description":"Use displacement mapping to create a 3D model from a 2D surface. Since a DVE Layer Object is comprised of a single object node, displacement mapping is applied differently than with regular objects.",
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{"title":"Animating DVE Layer Objects with the Channel Editor",
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"description":"You can animate DVE Layer Objects using the Channel Editor. Click the Animation button to display the Channel Editor.",
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{"title":"Expanding a DVE Layer Object",
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"description":"You can expand DVE Layer Objects in the schematic. When expanded, the elements that comprise the DVE Layer Object display as Action nodes in the scene. You can work with these nodes as you would any other Action node.",
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{"title":"Replacing a DVE Layer Object\'s Clip with Another",
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"description":"From an expanded DVE Layer Object, you can use Action source nodes to replace a front or matte clip. Instead of expanding a DVE Layer Object, you can use layer re-entry to replace or combine a DVE Layer Object\'s front and matte clips with the front, matte, or a combination of the front and matte clips from other DVE Layer Objects. Re-entry uses duplicate links internally to maintain the links between re-entered DVE Layer Objects. See .",
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{"title":"Expanding DVE Layer Objects with Re-entry",
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"description":"After you link DVE Layer Objects using re-entry to replace front clips, matte clips, or both, you can expand the linked DVE Layer Objects to reveal all of their components (including front and matte source nodes).",
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{"title":"Reordering Surfaces with Re-entry",
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"description":"You can change the drawing order of the re-entered sources of DVE Layer Objects or nodes parented under re-entered objects using the Action Layers Selection box in the Priority Editor.",
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{"title":"Limitations of Re-entry with DVE Layer Objects",
"href":"./files/GUID-C5128B39-D676-4737-B391-52F21CCC6F5E.htm",
"description":"You cannot add 3D Geometry or 3D Text objects to DVE Layer Objects with re-entry. Use Action\'s source nodes instead.",
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{"title":"Action: Stereo",
"href":"./files/topichead_d3e134238.htm",
"description":"",
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{"title":"About Stereoscopic Workflow in Action",
"href":"./files/GUID-51020986-456C-4D4F-A97A-9632E0A33391.htm",
"description":"A stereoscopic workflow in Action allows you to create stereo composites using 3D and stereo elements. With the stereo camera rig (the FBX camera), you can access stereo rigs and monoscopic cameras. With support for multiple outputs, you can experiment with any number of passes, including left and right scene output, as well as Z-Depth, matte, media matte, and composition outputs.",
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{"title":"Starting a Stereoscopic Session",
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"description":"You can start a stereoscopic session in Action by loading stereo clips and using the Stereo Startup mode. This creates a stereo camera. The output is set to the stereo camera, a stereo object is created for visualizing the scene, and the clips are placed on separate lines in the Media list.",
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{"title":"Working with the Stereo Scene",
"href":"./files/GUID-A11C18E7-E56F-40A0-8B67-55FFC13F75E1.htm",
"description":"When working in a stereoscopic workflow, the stereo object lets you visualize the scene. The stereo object lets you composite stereo sources in Action, ensuring the stereo effect of the stereo source is preserved during the compositing process. You can combine stereo objects with 3D geometry, such as 3D text or FBX models within the same scene.",
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{"title":"Stereo Object Axis Settings",
"href":"./files/GUID-4E6B3C7F-EFD2-414F-8E70-F264D74373E8.htm",
"description":"Use the Axis tab of the Stereo Object menu to position, rotate, scale, and shear an axis, as well as adjust the convergence, parenting, and autoscaling of stereo objects.",
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{"title":"Stereo Object Correction Settings",
"href":"./files/GUID-557D13D2-A8FA-4254-B8D2-A64225B0EA3F.htm",
"description":"Use the Correction tab of the Stereo Object menu to indicate how the footage was shot, and make interaxial offset and FOV offset adjustments to the left/right images.",
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{"title":"Stereo Object Surface Settings",
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"description":"Use the Surface tab of the Stereo Object menu to adjust surface and shading properties of the stereo object.",
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{"title":"Stereo Object Texture Settings",
"href":"./files/GUID-8D9C3C6E-FF00-4842-AFE8-98E1775527B1.htm",
"description":"Use the Texture tab of the Stereo Object menu to set the built-in diffuse maps (as well as any added texture maps) of a stereo object.",
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{"title":"Stereo Object Blending Settings",
"href":"./files/GUID-F478C5CF-1F45-4B19-AAA2-70164140E569.htm",
"description":"Use the Blending tab of the Stereo Object menu to adjust the blending curves of each stereo surface separately. The blending curve is similar to the Keyer luminance blending curve, but you can adjust it per eye.",
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{"title":"Strereo Object Lens Distort Settings",
"href":"./files/GUID-5A0861AE-67F7-4360-B2CC-6DA879CADA78.htm",
"description":"Differences in camera lenses or perspective irregularities cause lens distortion that results in skewed angles. Use the settings in the Lens Distort tab to rectify or simulate these types of distortions in your stereo images.",
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{"title":"Action: Lights",
"href":"./files/topichead_d3e134929.htm",
"description":"",
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{"title":"About Lights",
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"description":"Objects are lit up in the scene according to the number, position, direction, and colour of light sources, as well as the rotation and spread of each light source.",
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{"title":"Adding a Light Source",
"href":"./files/GUID-B0307730-8A48-4DEA-9BAE-A53D94BB8FC8.htm",
"description":"When you add a light to a scene, it is applied to all objects. Before adding another light, you may want to position the light and modify its attributes. In the Lights menu, you can set lighting properties such as position, orientation, spread, falloff, and colour.",
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{"title":"Selecting a Light Source",
"href":"./files/GUID-A8CB1C06-BA2E-4A46-B345-B5A65EBEEDE3.htm",
"description":"You can select a light source in the following ways:",
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{"title":"Importing Lights",
"href":"./files/GUID-8E104ED3-2D23-4327-AC04-1913A8ED8054.htm",
"description":"In Action, you can import 3D data saved in the FBX format. FBX files may have lights and their data included, and you can use these same lights in Action. Supported light types from FBX files are Area, Directional, Ambient, Point, or Spot. See Importing the FBX Format.",
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{"title":"Light Menu Settings",
"href":"./files/GUID-AD7A6BE4-FAC1-45EF-910C-281A37878969.htm",
"description":"The Light menu settings are described as follows.",
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{"title":"Using the Light Bevel Curve",
"href":"./files/GUID-554AD4A7-F61B-4DED-ADF1-23F38F2F18B5.htm",
"description":"The bevel curve allows you to create unique lighting effects in conjuntion with the Spread field in the Light Basics tab. Since a spread value of 90 or less creates a spotlight, you can then create a bevel curve to act as a multiplier of the spotlight intensity.",
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{"title":"Applying Selective Lighting",
"href":"./files/GUID-45A74FCE-9B65-4884-9EC1-AA84BB1B724D.htm",
"description":"When you add a light source to a scene, the light is applied to all surfaces. You may want a light source to only illuminate an individual or specific group of surfaces, or prevent a light source from illuminating an individual or specific group of surfaces.",
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{"title":"Modifying Surface Lighting",
"href":"./files/GUID-F583B952-B998-4962-882E-74296F9201E7.htm",
"description":"After you set the parent-to-child relationships between lights and surfaces, you can set specific surface lighting properties. You control a surface\'s lighting and adjust the surface\'s specular highlight in the Surface menu. To access the Surface menu, double-click the selected surface in the schematic, or follow the tab population rules for the Object menu (see ).",
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{"title":"Adjusting Specular Highlights",
"href":"./files/GUID-1CBF5A4C-E769-4D77-9090-61DC0200EAE5.htm",
"description":"A specular highlight is a reflection of a light source. The position of the specular highlight depends on the position and number of light sources surrounding a surface and the angle of the camera.",
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{"title":"Applying Incidental Light Reflection",
"href":"./files/GUID-9F9F2BF1-04CE-4770-BF8C-9837B55B57EC.htm",
"description":"Set how a surface reflects incidental light by applying ambient or diffuse lighting. The actual colour of the reflection depends on both the colour value of each pixel and the colour of the incidental light. The intensity of the reflection depends on the orientation of the light source relative to the surface; it is greatest where the incident light strikes the object perpendicular to its surface. The intensity of the reflection is independent of the camera eye position.",
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{"title":"Converting to Wireframe",
"href":"./files/GUID-F1646C50-9D5B-4986-ACC9-64173E513E43.htm",
"description":"You can remove some lighting effects for a selected surface by converting surfaces to a wireframe depiction of the surface. When Wireframe is enabled, specular values and any applied textures are replaced with a wireframe view of the surface. When used on an image, the surface will adopt a screen-like look.",
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{"title":"Flipping a Surface\'s Normals",
"href":"./files/GUID-01BBC357-7CBB-4EED-AC89-0F3F8D9256EF.htm",
"description":"When you flip a surface\'s normals, light is applied to the opposite side of a surface. Use this feature to create a two-sided shaded surface.",
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{"title":"Relighting: Casting Shadows",
"href":"./files/GUID-BAB188E0-2CB9-4AAC-B70D-1F313D7BD12D.htm",
"description":"You can create realistic 2D and 3D shadows in your Action scene by using lights to cast and receive shadows, as well as self-shadow (an object can cast a shadow on itself).",
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{"title":"Adding a Shadow Cast to a Light",
"href":"./files/GUID-25C115BA-FFB4-4B47-A42E-406B1F69B7FA.htm",
"description":"Lights in the scene are able to cast shadows. You can parent a Shadow Cast object to multiple lights at once. This allows you to control the overall attributes of the shadow (for example, colour, softness, and transparency).",
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{"title":"Shadow Cast Menu Settings",
"href":"./files/GUID-0456A20D-D597-4E15-8C07-7695E666B990.htm",
"description":"The Shadow Cast menu settings are described as follows. Shadow types are dependant on your graphics card, so you may not see all of these settings.",
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{"title":"Surface and Geometry Shadow Casters",
"href":"./files/GUID-183DAE48-D0DF-4562-BB30-DA5EC9A8A212.htm",
"description":"By default, all objects in the scene cast and receive shadows from a light attached to a Shadow Cast object. You can control this on a per object basis in the Object Surface or Geometry menu.",
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{"title":"Relighting: Lens Flares",
"href":"./files/GUID-4CE47936-0075-4272-B217-D5282B123A6B.htm",
"description":"Use lights in your scene to generate procedural lens flares with built-in 3D occlusions.",
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{"title":"Using Lens Flare Presets",
"href":"./files/GUID-64798C83-73ED-4B73-9284-2FA7996E47DD.htm",
"description":"A number of lens flare presets are included in Action, simulating the light refraction of certain camera lenses, as well as some creative flare effects, such as car lights. These presets can help you add complex lighting effects with just a few clicks.",
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{"title":"Adding a Lens Flare to a Light",
"href":"./files/GUID-9EA9F162-6A7E-480D-89D7-DA2A397D125C.htm",
"description":"In Action, a lens flare is a child of a light. Multiple lights can be parented to the same Lens Flare object.",
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{"title":"Using Texture Components With Lens Flares",
"href":"./files/GUID-5BAB05CD-14F4-424F-8038-9F31AB9E243F.htm",
"description":"You must add texture components to the Border FX object of a lens flare to see a result. These components are textures that are attached to a Lens Flare Border FX object (or optionally, directly to a Rays or Blooming object). The Lens Flare Object menu has global settings for the complete lens flare, but each component texture has its own menu to control settings particular to it.",
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{"title":"Lens Flare Menu Settings",
"href":"./files/GUID-8D32271E-31FB-4865-BD7C-3A5F696A8BAF.htm",
"description":"The Lens Flare Object menu lets you control settings for the complete lens flare effect. The Border FX object and each attached component texture also have their own specific menus.",
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{"title":"Border FX Menu Settings",
"href":"./files/GUID-72369A1F-E756-4F67-9E00-1D01C5D8183C.htm",
"description":"Use the Border FX settings to control how the lens flare behaves when it reaches the borders of your image. A visual representation of the inner and outer borders, as well as the pivot area is displayed in the menu.",
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{"title":"Component Menu Settings",
"href":"./files/GUID-CFEA1F30-DA01-4CF9-94A8-4FF9FB17106C.htm",
"description":"Each flare component has its own menu to control settings particular to the component. Some of these settings are common among the different component types, while some are specific to the component type.",
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{"title":"Relighting: Rays",
"href":"./files/GUID-9CC53D1A-D12B-4AAD-BAB1-673433A8B0BD.htm",
"description":"Use rays to simulate volumetric effects. You can attach a Rays object to a light in Action.",
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{"title":"Adding a Rays Object to a Light",
"href":"./files/GUID-8DDFB866-5109-4881-97D1-91E3168B69DF.htm",
"description":"In Action, a ray is a child of a light. Multiple lights can be parented to the same Rays object.",
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{"title":"Rays Menu Settings",
"href":"./files/GUID-38CEE87B-2D3A-4F50-B376-2336F0F3E76A.htm",
"description":"The Rays Object menu lets you control settings for the complete rays effect. If you have added component textures to the Rays effect, each component texture also has its own menu that is specific to the component (see Component Menu Settings).",
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{"title":"Relighting: Blooming",
"href":"./files/GUID-D68001A5-2817-47FD-B836-F64141D56C84.htm",
"description":"Attach a Blooming node to a light in the scene to help define highlight areas that generate a glowing effect. You can add textures to stamp a blooming node with particular patterns, such as streaks and glints.",
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{"title":"Adding a Blooming Object to a Light",
"href":"./files/GUID-5CE713DF-CCF9-4C65-8248-76F31C33FEF8.htm",
"description":"In Action, a blooming node is a child of a light. Multiple lights can be parented to the same Blooming object.",
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{"title":"Blooming Menu Settings",
"href":"./files/GUID-19FA84C9-5C3D-4B6B-823C-A18C7334F70B.htm",
"description":"The Blooming menu is divided into two tabs, each with its own type of blooming effect, which can work independantly, or in combination with each other.",
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{"title":"Action: 3D Geometry",
"href":"./files/topichead_d3e137584.htm",
"description":"",
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{"title":"About 3D Geometry",
"href":"./files/GUID-9157EE39-65F0-4453-83CC-E6B32EF6A25C.htm",
"description":"A powerful feature of Action is its ability to import 3D models created in other applications and combine them with existing clips. Compositing 3D models and characters with other media or a background can be done quickly and with a finite level of control.",
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{"title":"Importing 3D Models",
"href":"./files/GUID-644B6B0A-EAAD-4B3D-828B-1FA5180DF0EA.htm",
"description":"You can import 3D polygon objects such as 3ds Max files, FBX files, Alembic files, Wavefront files, Inventor files, and Paint geometry. 3ds Max files contain object data, specifically, texture and materials. The FBX format acts as the intermediary between different file types. Files can be exported from another product to the FBX or ABC format and then imported into Smoke.",
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{"title":"Importing the FBX Format",
"href":"./files/GUID-9A29A2E3-3E1D-406A-B9F4-74A753C35D89.htm",
"description":"Smoke supports the import of 3D data saved in the FBX format.",
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{"title":"Working with 3D Geometry",
"href":"./files/GUID-97C5980A-0C6C-45B0-AF80-3E94D2A7CE3F.htm",
"description":"You can change and animate parameters such as the colour, specular highlight, shine, and transparency of 3D models. You set these parameters using the Geometry menu. To access this menu, double-click a Geometry node in the schematic, or follow the tab population rules for the Object menu (see ).",
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{"title":"Using Materials",
"href":"./files/GUID-311C4B33-41F7-41EF-97BA-6A4BE10DEA76.htm",
"description":"If you import a 3ds Max model or an FBX file that has a texture applied to it, that texture map and its parent Axis node is attached to the geometry through a Material node.",
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{"title":"Using UV Mapping",
"href":"./files/GUID-641D3BA4-E9EA-453C-B196-147EDC6B0BFA.htm",
"description":"Use the UV Mapping settings to select how the UV coordinates of an attached displace or diffuse node are mapped to the 3D model. You can also apply axis transformations to the UV map. These transformations are different from the settings of the parent axis in that they transform the axes of the actual UV map coordinates.",
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{"title":"Creating a Specular Highlight on a Model",
"href":"./files/GUID-B021D2B5-18FC-4851-BCB3-6DA5F7C62581.htm",
"description":"Change the specular colour by entering values in the Specular red, green, and blue channel fields or using the colour picker. For example, if the specular colour is red and the light source is white, the specular highlight is also red. If the specular colour is yellow and the light source is red, the highlight is orange.",
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{"title":"Adjusting Normals",
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"description":"When using transparency with 3D models, you may sometimes see the back polygons, giving the model a shattered or broken look. This happens when the drawing priority of the normals is not sorted properly. Enable Sort and select an option from the Sort Order box to sort the drawing priority back to front or front to back.",
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{"title":"Subdividing a Model",
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"description":"The Subdivide feature is useful for creating precise highlights and spotlights. The polygons in the 3D model are subdivided at the time of render according to the value you specify, resulting in smoother rendered surfaces.",
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"description":"You can create and manipulate 3D text strings in your Action scenes. With 3D text, you specify typical text properties such as font, font size, kerning, and italics. Since 3D text strings created in Action are also 3D geometries, you can extrude text, offset your text from a path, and apply other geometry settings.",
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{"title":"Using 3D Text Presets",
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"description":"A number of 3d text presets are included in Action, such as rotating or fading text to add to your scene. These presets can help you add complex text effects with just a few clicks.",
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{"title":"Adding a 3D Text Node",
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"description":"When you add a 3D Text node to your Action schematic, a special geometry node with an axis is added.",
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"description":"When you add a 3D Text node to your scene, the default text string “Text” appears. You can easily change this text string.",
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{"title":"Creating Bevelled Text",
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"description":"Use the Bevel curve to add a bevelled edge to your 3D text. Use the options in the Edit Mode box to add, select, delete, or move keyframes on the Bevel curve. The Bevel curve behaves in much the same way as an animation curve in the Channel Editor. Experiment with different curves to create different effects.",
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{"title":"Separating Text",
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"description":"Rather than create a separate pivot point for each letter, you can separate words or sentences so that each letter can be individually manipulated by its own axis in the schematic.",
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"description":"Click the Geometry and UV Map tabs to apply any of the other geometry settings to your 3D text.",
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{"title":"Changing Character Axis Properties",
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"description":"You can change the axis properties of your 3D text string characters. This can be useful in offsetting your text from a 3D path.",
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{"title":"Changing Tessellation Properties",
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"description":"Tessellation is the process of tiling the curves\' shapes with polygons. Smoke offers three different tessellation methods:",
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{"title":"Animating 3D Text",
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"description":"You can animate the 3D text property and geometry channels in the Channel Editor. However, you cannot animate the text string or its bevel curve. The 3D text channels are contained in the text folder.",
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{"title":"3D Text Presets",
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"description":"",
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{"title":"Introduction",
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"description":"A number of 3D text presets are included in Action, such as fading or spinning 3D text effects to add to your scene. The presets are easily added to your scene from the Action node bar. For more information on the 3D Text node and its menu, see About 3D Text.",
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{"title":"3D Text Presets Usage Tips",
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"description":"The 3D Text presets are designed for ease-of-use, so you should be able to easily identify the various schematic nodes and their corresponding menus. For example, the nodes in the schematic for each preset are renamed to give you an indication of the functionality of the node. Many of the presets include a transition_ctrl Axis node, that you can use to modify the timing of the text effect, as follows:",
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{"title":"3D Text Preset List",
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"description":"Use the following table to get a quick overview of the 3D text presets available in this release, along with particular comments, if applicable.",
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{"title":"Action: Textures",
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{"title":"About Shading and Textures",
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"description":"Action uses shaders to compute the colour, lighting, shadows, and other attributes of each pixel or vertex of objects in the scene.",
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{"title":"Material Node",
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"description":"The Material node creates a central hub to control the specular, ambient, diffuse, transparency, and shininess of a geometry\'s children maps and substances.",
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{"title":"Displacement Mapping",
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"description":"Use displacement mapping to create a 3D model from a 2D surface. The values of a selected colour channel in the displacement source clip are used to create a displacement map. Displacement mapping uses the media’s matte clip, so you can turn the matte on or off to get the desired effect.",
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{"title":"Software Displacement Menu Settings",
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"description":"The Software Displacement menu is divided into two tabbed sections: Controls and Texture.",
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{"title":"Hardware Displacement Menu Settings",
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"description":"The Hardware Displacement menu is divided into two tabbed sections: Controls and Texture.",
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{"title":"Diffuse Mapping",
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"description":"Use a diffuse map to define the diffuse reflection and main colour of a surface, 3D model, or 3D text. Since the diffuse map and its axis are parented by the surface or geometry node, animating the parent’s axis also animates the diffuse map, which has the effect of keeping the map properly in place on the model. A diffuse map uses the specular highlight, diffuse colour, and shine set by its parent.",
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{"title":"Diffuse Menu Settings",
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"description":"The Diffuse menu is divided into two tabbed sections: Controls and Texture.",
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{"title":"Reflection Mapping",
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"description":"Reflection mapping simulates a mirrored surface by using the specular reflection values in the map. You have the option of combining the result of a reflection map to a diffuse map.",
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{"title":"Reflection Menu Settings",
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"description":"The Reflection menu is divided into two tabbed sections: Controls and Texture.",
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{"title":"Action: 3D Paths",
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"description":"A 3D path is an animatable 3D spline that you attach to other Action objects, such as surfaces, geometries, 3d text, cameras, or lights. The attached objects then follow the spline based on the path normals, allowing you to create effects, such as a 3D roller coaster.",
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"description":"When you add a 3D Path node to your Action schematic, the node is added with an axis.",
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{"title":"Creating Splines",
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"description":"You can draw open or closed splines to use as your 3D path.",
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"description":"Use the settings in the 3D Path tab to work with the spline you created. You edit splines in the same way as you edit garbage masks, working with their vertices and tangents. See .",
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"description":"You can change spline display properties in the Display tab. For example, you can change the colour of tangents on the splines you draw. This is useful to better contrast the spline’s tangents from the clip so that they are easier to work with.",
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{"title":"Positioning Objects on the Path",
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"description":"Use the Position On Path settings in the 3D Path or Banking tabs to offset the position of attached objects along the path and beyond. For open paths, if you offset past the first or last points on the path, the position is extrapolated accordingly. For closed paths, if you offset past the first or last points on the path, the attached object continues on the path with a tangent interpolated from the first and last normals.",
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"description":"Use the Alignment to Path section of the 3D Path tab to set orientation behaviour.",
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{"title":"Applying a Look-At Connection",
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"description":"You can create interesting 3D path effects by attaching a look-at connection between the path and another object in your scene. The attached object on the path then rotates to face the look-at object, no matter where it is positioned. You attach a look-at connection in the schematic between the 3D Path node and any object with axis characteristics (Axis, Camera, Light, and DVE Object).",
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{"title":"Using the Banking Curve",
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"description":"When Align to Path or Look At is selected in the Alignment option box, the Banking tab becomes available. Banking uses the normals of the path to orient objects attached to it. Use the banking curve and settings to control the torsion effect of the object as it travels along the 3D path.",
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{"title":"Action: Camera",
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{"title":"About the Camera",
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"description":"The scene is what you see through the camera lens. Typically, you work with the camera to frame and animate the view to achieve the effect you want. In Action, you have the choice of using the automatic camera or the manual camera, whose F-Stop, film size, and focal length you can set yourself. You can also animate specific camera properties.",
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"description":"By default, a camera exists in the Action scene (you may need to pan in the schematic to see the camera node). You can add multiple cameras in order to change point of view or depth of field from one camera to another. Add and animate multiple cameras when creating compositions. You can also switch from one camera to another at any point.",
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{"title":"Working with the Frustum",
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"description":"The volume of space viewed by the camera eye is called the frustum. The frustum is in effect a viewing pyramid. The camera eye is located at the apex of the pyramid, and the far clipping plane forms the base. The pyramid may be truncated by the near clipping plane.",
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{"title":"Moving the Clipping Planes",
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"description":"The camera frustum is determined by six clipping planes: the left, right, top, bottom, near, and far clipping planes. The depth of the frustum is affected by the near and far clipping planes. The values for these channels are expressed in units relative to the position of the camera eye.",
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{"title":"Moving the Camera Eye and Point of Interest",
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"description":"Objects in the scene can be recorded from an arbitrary position as determined by the orientation of the camera eye in world space.",
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{"title":"Importing and Exporting Cameras",
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"description":"You can either import a camera you created and edited in Action, or import one from another 3D application. Once a camera is imported, you can edit its parameters, change its animation, and then export it back to the application it came from.",
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{"title":"FBX Cameras",
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"description":"Smoke supports the import and export of 3D data saved in the Alias FBX 3D format. The FBX standard format provides a means for exchanging 3D data for scene compositions—such as cameras—between tools and packages developed by different manufacturers.",
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{"title":"3ds Max Cameras",
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"description":"An alternative to animating a camera\'s position is to import a camera animation from 3ds Max. 3ds Max camera animation can be saved as a . 3DS or .ase (ASCII Scene Export) file in your scene. While the .ase format contains only a camera\'s positional data, the .3DS format contains the camera\'s position, point of interest, roll and field of view values.",
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{"title":"Setting Camera Views",
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"description":"You can view the scene from various angles and display multiple views of these angles simultaneously. This is helpful in setting motion paths, light sources, camera angles, and animation keyframes more accurately.",
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{"title":"Camera and Orthographic Views",
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"description":"You can view the scene from Camera view and three orthographic views. In Camera view, an object becomes smaller as it moves farther away from the camera. In orthographic view, an object remains the same size, regardless of its distance from the camera. Orthographic views are more helpful for aligning objects.",
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{"title":"Modifying the Camera",
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"description":"You can gesturally modify the camera directly in the scene using options in the Edit Mode box. A mode remains in effect until you select a different mode.",
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{"title":"Zooming In and Out",
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"description":"Use the Zoom option to move the camera eye toward or away from the point of interest. While viewing the scene in Camera view, zoom in or out from the point of interest to move the camera eye closer to or farther from the point of interest. In Top, Side, or Front view, you can enlarge or reduce the scene in the image window without affecting the camera. Zooming has no effect in Schematic view.",
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{"title":"Applying Motion Blur",
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"description":"Use the Motion Blur tool to simulate the blur created by fast-moving objects. You can apply motion blur globally (to the entire scene) and then exclude objects in the scene from its effect.",
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{"title":"Blurring a Single Object",
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"description":"You can apply motion blur to an object rather than to the entire scene. To use the per object motion blur, you must apply Motion Blur globally, and then disable motion blur per object.",
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{"title":"Creating Custom Motion Blurs",
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"description":"The motion blur curve controls the sample weight over the scope of the motion blur. The point on the left is the weight of the first sample and the point on the right is the weight of the last sample. By changing the curve, you can create custom motion blur effects such as a Gaussian blur.",
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{"title":"Simulating Motion Blur on a Still Object",
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"description":"You can add motion blur to an object that has no axis movement, by adding a second axis to simulate the motion.",
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{"title":"Action: FBX Camera",
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"description":"",
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{"title":"About the FBX Camera",
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"description":"The FBX camera is a full-featured animatable camera in Action that allows you to build 3D compositing scenes, mixing 3D objects and stereo objects.",
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{"title":"Adding an FBX Camera",
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"description":"By default, an FBX camera exists in the Action scene when using stereo clips, or when Action has been set up to work in stereo (you may need to pan in the schematic to see the camera node). You can add multiple FBX cameras in order to change point-of-view or depth-of-field from one camera to another. You can add and animate multiple cameras when creating compositions. You can also switch from one camera to another at any point.",
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{"title":"FBX Camera Parameters",
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"description":"The FBX camera contains a rich set of parameters that can be altered to set specific features, such as standard camera configurations, frustum customization, and stereoscopic attributes.",
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{"title":"Basics Tab",
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"description":"The Basics tab contains the options to select the camera type and to adjust camera position and scaling.",
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{"title":"Aim/Up Tab",
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"description":"When Camera Type is set to Aim or Aim and Up, the available options are enabled in the Aim/Up tab.",
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{"title":"Stereo Tab",
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"description":"The Stereo tab contains the options for the stereoscopic camera, including Stereo Adjustments and Stereo Widgets.",
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{"title":"Film Back Tab",
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"description":"The Film Back options control the basic properties of a camera (for example, the camera\'s film format: 16mm, 35mm, 70mm).",
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{"title":"Working with the Frustum",
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"description":"The volume of space viewed by the camera is called the frustum. The frustum is, in effect, a viewing pyramid. The camera is located at the apex of the pyramid, and the far clipping plane forms the base. The pyramid may be truncated by the near clipping plane. The point of interest, or aim, is the target at the center of the camera’s view.",
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{"title":"Moving the Near and Far Clipping Planes",
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"description":"The camera frustum is determined by six clipping planes: the left, right, top, bottom, near, and far clipping planes. The depth of the frustum is affected by the near and far. The values for these channels are expressed in pixels relative to the position of the camera.",
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{"title":"Moving the FBX Camera",
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"description":"Objects in the scene can be recorded from an arbitrary position as determined by the orientation of the camera in world space. The position of the camera can be moved left or right, up or down, or closer or farther from the central point of interest. The values for camera position are expressed in pixels relative to the aiming target.",
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{"title":"Adjusting the Aim of the FBX Camera",
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"description":"The aiming target is the point in world space at which the camera is directed. The aiming target is always at the centre of the camera\'s frustum. Changing the position of the camera’s aim causes the orientation of the frustum to change. You can take advantage of the relationship between the aim and the frustum to make the camera follow a moving object. To do this, animate the aim while keeping the camera in a fixed position. You can adjust the aim only with an Aim, or Aim and Up camera.",
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{"title":"Adjusting the Field of View",
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"description":"For every shot, you can decide how big an object appears in the frame, for example, whether a shot includes an entire character or just its head and shoulders. This is directly controlled by adjusting the field of view.",
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{"title":"About the Angle of View",
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"description":"The angle of view, or more accurately, the angular field of view, is the amount of a scene (measurable in terms of an angle in degrees, originating at the camera position) that can be viewed by the camera. The angle of view is not affected by changes in the distance between camera and subject. It can be modified directly, in the FOV field, or indirectly, via the Focal Length field.",
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{"title":"Focal Length",
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"description":"The focal length of a lens is the distance from the center of the lens to the film plane. The shorter the focal length, the closer the focal plane is to the back of the lens. Focal length is usually expressed in millimeters.",
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{"title":"Adjusting the Angle of View",
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"description":"Playing with the relationship between distance and angle of view affects the focus and perspective of objects in the scene that can be used to creative advantage.",
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{"title":"Importing and Exporting FBX Cameras",
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"description":"Smoke supports the import and export of 3D data saved in the Alias FBX 3D format. The FBX standard format provides a means for exchanging 3D data for scene compositions—such as cameras—between tools and packages developed by different manufacturers.",
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{"title":"Setting Camera Views",
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"description":"You can view the scene from various angles and display multiple views of these angles simultaneously. This is helpful in setting light sources, camera angles, stereo parameters, and animation keyframes more accurately.",
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{"title":"Camera, Working, and Orthographic Views",
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"description":"You can view the scene from Camera view, the Working view, and three orthographic views. In Camera view, an object becomes smaller as it moves farther away from the camera. Working view is very similar to Camera view, except that no camera settings are affected. Working view is useful for trying out different settings and positions without actually making changes that can affect your cameras. In Orthographic view, an object remains the same size, regardless of its distance from the camera. Orthographic views are more helpful for aligning objects.",
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{"title":"Modifying the Camera",
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"description":"You can gesturally modify the camera directly in the scene using options in the Edit Mode box. A mode remains in effect until you select a different mode.",
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{"title":"Zooming In and Out",
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"description":"Use the Zoom option to move the camera eye toward or away from the point of interest. While viewing the scene in Camera view, zoom in or out from the point of interest to move the camera eye closer to or farther from the point of interest. In Top, Side, or Front view, you can enlarge or reduce the scene in the image window without affecting the camera. Zooming has no effect in Schematic view.",
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{"title":"Optimizing Attributes of the FBX Camera",
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"description":"Here are some general guidelines for tweaking the stereo attributes of the FBX camera: Many parameters are relative to each other, and can be scaled and changed upon import using the FBX Unit to Pixel",
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{"title":"Action: Sources",
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"description":"",
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{"title":"About Source Nodes",
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"description":"Source nodes can be used to separate front and matte clips in media and then apply separate transformations to each clip. For example, if you apply media to a surface and you want to create an effect where the matte moves into the scene, add a source that isolates the matte clip. A matte source lets you animate the matte\'s position separately from the front. You can also use source nodes to apply several matte clips to a single front clip.",
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{"title":"Creating a Matte or Front Source",
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"description":"When you create a matte or front source, a new branch appears in the schematic showing the matte or front clip is separated from its media, ultimately replacing the matte or front with itself. This method of using source nodes lets you animate the media\'s matte or front separately.",
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{"title":"Accessing the Source Menu",
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"description":"Once you added source nodes to your scene, you can access the Source menu to apply various settings.",
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{"title":"Parenting and Redrawing Source Nodes",
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"description":"A source cannot be parented by other objects in the schematic. If you attempt to parent a source, the connection is refused. You can, however, parent objects inside a source node and they appear in your scene based on the Source Type settings in the Object Image menu.",
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{"title":"Applying Effects with Source Nodes",
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"description":"When applying colour corrector, blur, and crop effects with source nodes, you can apply the effects to the result of the source or to the input clip of the media.",
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{"title":"Replacing the Front or Matte Clip",
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"description":"When working with source nodes, you can replace the media\'s front and matte clips with the front, matte, or a combination of the front and matte clips from other media. These changes can be made in the Source menu, or from the Sources tab in the Object Image menu of the image attached to the source node.",
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{"title":"Viewing a Source Node",
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"description":"There are different ways to view a source node while working in Action. For example, a 2-up view with Schematic and Source views allows you to view the complete scene and the interactive result of your source node.",
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{"title":"Blurring with Source Nodes",
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"description":"Motion blur and anti-aliasing can be set for either the front or matte clip of the media. Motion blur simulates the blur created by fast-moving objects by blurring the motion of the front or matte media.",
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{"title":"Adding Cameras",
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"description":"You can add multiple cameras under a parent source node to change the point of view (by orbiting to a different orientation, for example). Camera 0 is always the default camera in a scene (you may need to pan in the schematic to see this camera).",
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{"title":"Paint",
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{"title":"Batch Paint",
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"description":"",
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{"title":"About Batch Paint",
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"description":"Batch Paint is a system that provides a scalable matte painting, retouching, or restoration workflow in Batch. Due to its underlying technology, Batch Paint automatically scales strokes when changing the resolution, ratio, or bit depth of input clips, or when switching from Full Resolution to Proxy mode. Batch Paint supports “clipless” setups, which can be applied to any image input, while accurately reproducing the sequence of painted strokes.",
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{"title":"Accessing Batch Paint",
"href":"./files/GUID-55F8E7BF-2AAF-4DCE-B7FC-BE2505EAF8E5.htm",
"description":"Paint is accessed from the Batch module.",
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{"title":"Using Sources",
"href":"./files/GUID-7752D2CF-00B5-4C96-B0DF-13620D7F5EB9.htm",
"description":"Sources are additional image data that can be used in Reveal paint operations and displayed as an overlay on the result or output matte. You can scale, rotate, and offset a source. Any transformations applied to a source will be displayed in Reveal paint strokes.",
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{"title":"Adding a Source",
"href":"./files/GUID-8FB460CB-C337-4BF6-8DD9-AAC7848D63E7.htm",
"description":"When you add source, it includes both source front and source matte input. When you add a source front only, a black matte will automatically be created.",
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{"title":"Removing a Source",
"href":"./files/GUID-91377110-2698-4B30-82AA-351C2F52DC33.htm",
"description":"You can remove a source clip from the Sources list. If you disconnected a source clip from the source node, the entry exists in the Sources list, but the clip name and proxy no longer appear. Because the stroke information is stored in the node, you can reconnect the same clip or a different clip to the source node, and the stroke information is preserved. All strokes in the canvas using the source are repainted using the new source clip.",
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{"title":"Clearing Strokes on a Source",
"href":"./files/GUID-34B8529C-A933-478F-90E3-7005F63EBAFA.htm",
"description":"You can clear strokes from the canvas that were created using a source front or source matte.",
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{"title":"Hiding Strokes",
"href":"./files/GUID-31BDFC4E-1433-4C46-9CBA-48D053FFB621.htm",
"description":"You can hide a group of strokes that were created from the same source clip.",
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{"title":"Restricting Strokes with the Source Matte",
"href":"./files/GUID-1D8501B3-06B3-4A77-BE26-1CBE514DD4E6.htm",
"description":"You can limit the sections of the source that are painted onto the canvas using the source\'s matte. To limit painting on the canvas using the matte. See .",
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{"title":"Locking Sources",
"href":"./files/GUID-DAEE5D6E-4EAE-47DC-BFE2-EA566E003259.htm",
"description":"Lock a source to a specific frame. For the duration of the clip, only the source front and source matte at the selected frame is used.",
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{"title":"Displaying Sources",
"href":"./files/GUID-16DF5D80-2615-4364-B14E-2B5B284793C1.htm",
"description":"Batch Paint offers an intuitive way of previewing the effects of a Reveal operation. In this view, the selected source is superimposed over the result, and the Transparency field is activated to allow for transparency adjustments. This feature allows you to see exactly what your brush strokes will reveal. See .",
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{"title":"Brush Attributes and Attribute Modes",
"href":"./files/GUID-71261752-8017-425B-A784-A837C73E03AF.htm",
"description":"You can set various brush attributes and attribute modes to determine how paint is applied to the image.",
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{"title":"Setting Brush Attributes",
"href":"./files/GUID-47466253-770C-4D6E-A274-40E6F4A8D190.htm",
"description":"The Brush Attribute fields set the size of the brush, the distribution of the paint, and the rate and direction of the paint application.",
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{"title":"Setting Brush Attribute Modes",
"href":"./files/GUID-25D74B3B-839F-49C5-B060-330EE9028BE8.htm",
"description":"The value of a brush attribute depends on the selected attribute.",
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{"title":"Painting Brush Strokes",
"href":"./files/GUID-2CF2280E-6AB3-476B-80D9-FEAB11AE7240.htm",
"description":"You can paint on the canvas using a variety of brush types and colours. Once you select a brush type, you can modify brush attributes to further refine your strokes. A stroke can be applied to a single frame, or simultaneously to multiple frames. You can paint on the result or output matte, or you can use matte paint mode controls to paint on the result and output matte at the same time.",
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{"title":"Applying Brush Strokes",
"href":"./files/GUID-F4D0AD57-3A3E-4BD1-AEDB-F9D0E96F5C19.htm",
"description":"As in the Paint module on the Smoke, you can paint with either a pen or a mouse, and access various pressure settings.",
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{"title":"Removing Brush Strokes",
"href":"./files/GUID-567C47B9-E39D-4421-9D8F-0EA1909491F1.htm",
"description":"You can undo multiple brush strokes in Batch Paint. You can use the Undo button to remove brush stroke operations, beginning with the most recent strokes. Set Undo level operations in the Preferences menu.",
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{"title":"Restricting Brush Strokes",
"href":"./files/GUID-3361229C-0D85-4A4E-9320-414F4926B14B.htm",
"description":"You can limit the area where brush strokes are applied on the canvas. Use the matte paint mode controls to limit painting on the canvas to the matte. You can also invert the matte to limit paint to only the areas outside the original matte.",
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{"title":"Scaling Brush Strokes",
"href":"./files/GUID-83A16749-6E66-4465-B6E0-13E5C9D43C5D.htm",
"description":"You can set scaling options for brush strokes associated with the Paint node. By specifying the previous resolution of an input clip before it was resized, the brush strokes applied to the clip can also be scaled based on these settings.",
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{"title":"Using Paint Modes",
"href":"./files/GUID-07F4F2FA-0B86-47DA-9DAA-85BB300EC428.htm",
"description":"You can select the type of special effects you want to apply to the brush from the Paint Modes box. Strokes applied with these brushes are processed by the graphics hardware, improving interactive performance. To paint sources onto images, see .",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"},{"title": "Batch Paint","href":"./files/topichead_d3e145749.htm"}]},
{"title":"Blur",
"href":"./files/GUID-A22DBCFB-0570-47BB-A034-E0005C3C2669.htm",
"description":"Apply a blur filter to the image with each stroke.",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"},{"title": "Batch Paint","href":"./files/topichead_d3e145749.htm"},{"title": "Using Paint Modes","href":"./files/GUID-07F4F2FA-0B86-47DA-9DAA-85BB300EC428.htm"}]},
{"title":"Impression",
"href":"./files/GUID-E4E58B3F-AE28-466C-8129-F44EF9345F64.htm",
"description":"Paint on colours from a reference clip. When you click on the canvas, the colour at the center of the brush is used to fill the entire brush stroke.",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"},{"title": "Batch Paint","href":"./files/topichead_d3e145749.htm"},{"title": "Using Paint Modes","href":"./files/GUID-07F4F2FA-0B86-47DA-9DAA-85BB300EC428.htm"}]},
{"title":"Smear",
"href":"./files/GUID-AF7C09C1-3EDD-4828-B55A-679097EEE3EB.htm",
"description":"The Smear brush smudges areas of the image, creating a fingerpainting effect.",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"},{"title": "Batch Paint","href":"./files/topichead_d3e145749.htm"},{"title": "Using Paint Modes","href":"./files/GUID-07F4F2FA-0B86-47DA-9DAA-85BB300EC428.htm"}]},
{"title":"Clone",
"href":"./files/GUID-61E40F10-7019-4651-A7C0-D200E6D9E7BA.htm",
"description":"Use the Clone tool to paint a copy of the result image to any position on the result image. The Clone tool can also be applied to an output matte image. For example, if the result image has a tree that you would like to copy to another position on the image, you can offset a copy of it to a different position and then paint it onto the result.",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"},{"title": "Batch Paint","href":"./files/topichead_d3e145749.htm"},{"title": "Using Paint Modes","href":"./files/GUID-07F4F2FA-0B86-47DA-9DAA-85BB300EC428.htm"}]},
{"title":"Recursive Clone",
"href":"./files/GUID-4317DC71-4AA8-404A-9097-A9F987546787.htm",
"description":"Use the Recursive Clone brush to paint the contents of the result image to another position on the result. Unlike the Clone tool, when brush strokes created while using the Recursive Clone tool are used as a reference when the tool is applied elsewhere, the updated image data will be used.",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"},{"title": "Batch Paint","href":"./files/topichead_d3e145749.htm"},{"title": "Using Paint Modes","href":"./files/GUID-07F4F2FA-0B86-47DA-9DAA-85BB300EC428.htm"}]},
{"title":"Revealing Sources",
"href":"./files/GUID-B3FAEA21-7BB1-4F57-BB84-34D4A73537E4.htm",
"description":"The Reveal tool allows you to paint the contents of one or more source front images directly onto the result. You can also use the Reveal tool to copy source matte images onto the output matte. For example, if one source has a tree that you would like to include on the canvas, you can select the source with the tree and then paint it onto the result.",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"},{"title": "Batch Paint","href":"./files/topichead_d3e145749.htm"}]},
{"title":"Using Blending Modes",
"href":"./files/GUID-A0681B19-2303-4FF2-88C9-3C0BA1216E4B.htm",
"description":"Blending modes are Boolean operations that can be applied to the brush\'s colour components. A mode is applied separately to each of the red, green, and blue components of images. You can apply blending modes to combine the RGB channels of corresponding pixels from a stroke, described as follows.",
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{"title":"Using the Canvas",
"href":"./files/GUID-3D40876A-F472-459E-9326-19F306522878.htm",
"description":"Use the canvas controls to control clearing and wiping of the image.",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"},{"title": "Batch Paint","href":"./files/topichead_d3e145749.htm"}]},
{"title":"Clearing the Canvas",
"href":"./files/GUID-C8CC3072-0F02-4AD3-B17B-14AC66FA27D0.htm",
"description":"You can clear all strokes from the result image and output matte at the current frame or all frames. To limit the operation to a source, see .",
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{"title":"Wiping the Canvas",
"href":"./files/GUID-CD5CA652-1971-4955-864C-D9C13E67C511.htm",
"description":"You can wipe the result image when you want to apply a uniform colour at the current frame in a single brush stroke. Alternatively, you can use a source, to wipe over an image.",
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{"title":"Rotating the Canvas",
"href":"./files/GUID-4975B1AE-BFC5-47E5-A941-5AC8B5385F65.htm",
"description":"During the painting process, you can rotate the canvas, making it easier to paint on any part of your image.",
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{"title":"Previewing a Reveal Operation Using a Reference Image",
"href":"./files/GUID-041F996E-E9C2-48C0-BA4F-BD5C0766F2B2.htm",
"description":"Overlaying a reference image on the result offers an intuitive way of previewing paint operations.",
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{"title":"Slipping a Reference Image",
"href":"./files/GUID-DC932840-F0FF-48A9-88AD-5C884BA7DAA6.htm",
"description":"A reference image that is offset in time can be overlaid on the canvas. You can slip a front, matte, result, output matte, source front, and source matte clips. In the Sources list, use the Slip field to indicate the offset amount.",
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{"title":"Saving Setups and Preferences",
"href":"./files/GUID-6DD769F5-8583-4E71-A046-D583F83F5504.htm",
"description":"Batch Paint setups are saved as XML files with the .bpaint extension. The procedures for saving and loading Batch Paint setups are the same as for other setups. See .",
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{"title":"Paint: Basics",
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"description":"",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"}]},
{"title":"About Paint",
"href":"./files/GUID-2FD159EA-A898-4789-94D5-46FEAD603470.htm",
"description":"Use the Paint tools to create graphics, paint on images, and retouch clips. Use a matte to protect areas of the front clip during painting. Record, animate, and apply a series of brush strokes to a clip. Use the Graphic and Cut/Paste tools to create rotoscoped sequences and shape animations.",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"},{"title": "Paint: Basics","href":"./files/topichead_d3e148006.htm"}]},
{"title":"Loading Clips into Paint",
"href":"./files/GUID-C45D5856-C497-4105-AC90-8FE36420417F.htm",
"description":"When accessing Paint, you first select the clips that you want to use. Any of the following combinations of clips can be used in Paint:",
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{"title":"Locking and Unlocking the Duration of a Clip",
"href":"./files/GUID-D6D5AB0E-B28B-41AD-B398-9ECAEA218230.htm",
"description":"You can determine whether or not frames are added to the end of a clip.",
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{"title":"Using the Mouse",
"href":"./files/GUID-F81B21A2-1466-42DA-AECB-DD4C2B0EE79A.htm",
"description":"You can use either the mouse or the tablet and pen to paint. Press and hold the right mouse button to apply paint at 80% pressure, the middle button to paint at 40% pressure, and the left button to paint at 20% pressure.",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"},{"title": "Paint: Basics","href":"./files/topichead_d3e148006.htm"}]},
{"title":"Displaying a Reference Image",
"href":"./files/GUID-FF5F8519-B2EA-4EA9-8A4F-4401EE211E0B.htm",
"description":"You can display a reference image in the background of the result image to use as a guide for rotoscoping.",
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{"title":"Using Grids and Guides",
"href":"./files/GUID-83BA751B-4B98-4C94-8516-E8ABEF6372B7.htm",
"description":"Use the Grid/Guides button to set up reference points when painting and to accurately place strokes on the image.",
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{"title":"Grid Controls",
"href":"./files/GUID-27A78FCB-E546-48E5-81AF-783988DB42BC.htm",
"description":"You can set the behaviour of the grid so that paint strokes snap or lock to points on the grid. Use the Grid controls to configure the appearance and behaviour of the grid.",
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{"title":"Resetting the Grid and Guides",
"href":"./files/GUID-DF806CAA-8BA5-4C07-BBDB-978E8A06E095.htm",
"description":"Use the Reset All button in the lower-right corner to reset the grid and all guides to their default values.",
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{"title":"Using the Player in the Paint Module",
"href":"./files/GUID-24F4FA96-B848-4D1B-B349-0A484457710D.htm",
"description":"You can access the Player from the Paint module. To do so, click Process in the Paint module and then click Play once the clip is processed. Each time you access the Player, a clip is created on the EditDesk. This clip cannot be removed from the Paint module. You must delete it from the EditDesk instead.",
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{"title":"Selecting Colours",
"href":"./files/GUID-21F6FE67-F892-415D-923B-E4F108196520.htm",
"description":"In Paint, you select colours using the colour picker. You store colours in the colour palette, mix or try out colours on the scratch pad, and create colour or greyscale gradients using the colour gradient.",
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{"title":"Using the Current Colour",
"href":"./files/GUID-DFD5A75D-45C4-45B6-8EA9-512DB5427C46.htm",
"description":"The current colour is used when you paint. It is also used to set the colour for the wipe function and the matte colour. Select the current colour from the colour palette, scratch pad, or colour gradient. Or, click the Current Colour pot to use the colour picker. See .",
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{"title":"Using the Colour Palette",
"href":"./files/GUID-9831D52D-3C1E-46E9-8C8A-12001DD42A3F.htm",
"description":"The colour palette appears in the Paint, Graphics, and CutOut menus. It contains the scratch pad and colour gradient. A series of colours are stored in the colour palette in colour pots. To select the current colour in the colour palette, click a colour pot. To set the current colour, press and hold a colour pot.",
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{"title":"Previewing an Animation",
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"description":"Use the Flipbook command to preview an animation by playing a sequence of either five or nine frames.",
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{"title":"Painting on Full-Resolution Film Images",
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"description":"Use the Zoom Mode box to paint on a film resolution image at full resolution from a zoomed out perspective. With this feature, you can perform complex operations like full-frame rotoscoping without having to constantly zoom in and out from the image on which you are painting.",
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{"title":"Saving and Restoring the Image",
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"description":"You can save the current frame on the canvas. If you want to reverse a paint application, you can restore the image without having to recreate it.",
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{"title":"Exiting Paint",
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"description":"When exiting Paint, you may keep or discard the changes you have made to the front clip. Click Exit and select an option.",
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{"title":"Painting on the Canvas",
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"description":"",
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{"title":"About Canvas Mode",
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"description":"When you first open Paint, you are in Canvas mode. In Canvas mode, you can use brushes to modify your images. Brushes apply colour, filters, and Special Effects media to the image on the canvas. The brush cursor appears as a green cross surrounded by a circle when placed over the canvas. Canvas mode features are not available from multiple menus, such Canvas, Geometry, Fill, and Roll.",
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{"title":"Selecting a Brush",
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"description":"A number of predefined brush types are available in Paint including round, square, and elliptical brushes of various sizes and edge softness. The cursor has the same appearance regardless of which brush type you use. Each brush has its own icon in the Brushes window. The white portions of the brush icon indicate where the paint will be applied on the image.",
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{"title":"Using the Large Canvas",
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"description":"In Large Canvas mode, almost the entire image window is available for painting, but not all Paint options are available. You can still change the brush characteristics, medium, and show options. You can also save, restore, and wipe the canvas.",
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{"title":"Rolling the Image",
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"description":"Use the Roll menu to reposition the current frame on the canvas to paint its edges.",
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{"title":"Painting with Geometry",
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"description":"Use the Geometry feature to draw lines, rectangles, circles, and triangles on the canvas.",
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{"title":"Painting Lines",
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"description":"Use the Line option to paint straight lines. Paint single lines one at a time, or draw connected multiple lines. You can constrain the lines to vertical or horizontal paths or specific angles.",
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{"title":"Painting Rectangles",
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"description":"Use the Rectangle option to draw rectangles or squares.",
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{"title":"Painting Circles",
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"description":"Use the Circle option to draw circles of any size.",
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{"title":"Painting Triangles",
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"description":"Use the Triangle option to draw equilateral or asymmetric triangles.",
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{"title":"Setting Brush Attributes and Modes",
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"description":"",
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{"title":"About Brush Attributes and Modes",
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"description":"You can set various brush attributes and attribute modes that determine how paint is applied to the image. Each brush attribute has a corresponding Attribute Mode control. You use the Preferences menu to affect the way paint is applied to the image.",
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{"title":"Brush Attributes",
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"description":"The Brush Attribute fields set the size of the brush, the distribution of the paint, and the rate and direction of the paint application. Brush attributes are listed as follows:",
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{"title":"Brush Opacity",
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"description":"The brush opacity affects the transparency of the brush. A value of 100% applies a fully opaque colour. Use a lower value to apply a more transparent colour. Enter a value in the Opacity field.",
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{"title":"Brush Size",
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"description":"The brush size is indicated by the diameter of the green dashed circle surrounding the cursor brush. To increase the brush size, set a value in the Size field, or press Q and drag the brush to the right on the canvas. To decrease it, press Q and drag to the left.",
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{"title":"Brush Rate",
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"description":"The brush rate is the rate at which brush strokes are applied to the canvas. Use a high value to produce a smooth continuous stroke, or a low value to produce a less continuous stroke with larger gaps between brush images.",
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{"title":"Brush Pressure",
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"description":"The brush pressure affects the transparency of the paint applied to the image. To apply opaque paint, use a high percentage value. For more transparent paint, use a low value.",
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{"title":"Brush Jitter",
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"description":"The Jitter attribute randomizes the brush strokes applied to the image. A high value produces a greater dispersion of paint, while a low value produces a greater concentration.",
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{"title":"Brush Direction",
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"description":"The Direction attribute causes the brush to rotate around the Z-axis and can be used to produce a calligraphy effect. The effect of the Direction attribute is most noticeable when used with one of the elliptical or star brushes. The value of the Direction attribute causes the brush strokes to rotate by 90 degrees for each increment of 25 percent.",
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{"title":"Brush Roll",
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"description":"The Roll attribute rolls the brush around the X-axis. The effect of the roll is most noticeable when used with one of the non-symmetrical brushes. For each increment of 25 percent, the Roll attribute value creates a rolled brush stroke of 90 degrees.",
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{"title":"Brush Attribute Modes",
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"description":"The value of a brush attribute depends on the selected attribute mode. You can choose Constant, Off, Front, Back, Result, Saved, Pressure, or Direction.",
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{"title":"Using Reference Images",
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"description":"The Front, Back, Result, and Saved modes use the red channel in reference images to set the brush attribute values. Front mode uses the front clip as the reference, Back mode uses the back clip, Result mode uses the result clip, and Saved mode uses the image in the Save buffer.",
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{"title":"Direction of the Brush",
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"description":"The Direction mode uses the direction of the brush stroke as the reference.",
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{"title":"Pressure Exerted on the Pen",
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"description":"The Pressure mode uses the pressure exerted on the pen as the reference value. The harder you press on the pen, the greater the brush attribute value. The softer you press, the lower the brush attribute value.",
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{"title":"Preferences Affecting Brushes",
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"description":"The Spacing setup preference affects how paint strokes are applied to the canvas.",
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{"title":"Using Filters and Special Effects Media",
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"description":"",
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{"title":"Applying Filters",
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"description":"When applying filters, it is important to try different brush types and change the brush attributes to create different effects.",
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{"title":"Using Special Effects Media",
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"description":"Special Effects media can be brushed onto the image in Canvas mode. You can also apply the Wash, Shade, and Reveal media to the entire image using the Wipe command. See . Only one media type can be used at a time.",
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{"title":"Blurring the Image",
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"description":"Use the Blur medium to blur portions of the image.",
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{"title":"Cloning the Image",
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"description":"Use the Clone medium to copy a region of the image and paint it on a destination point. The result image is used as the source for the Clone medium. The offset between the origin point and the destination point is set in the Offset fields.",
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{"title":"Dragging the Image",
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"description":"Use the Drag medium to drag a selected area of the image across the canvas. The selected area is painted on the canvas as you drag the brush, creating an image trail.",
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{"title":"Using the Impressionist Medium",
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"description":"Use the Impressionist medium to brush on colours from a reference clip. The brush opacity determines how much colour is taken from the reference clip. When the opacity value is set to 100%, all the colour is taken from the reference image. At 50%, the colour applied is a 50/50 blend of the reference colour and the result image.",
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{"title":"Revealing a Reference Image",
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"description":"Use the Reveal medium to reveal portions of an image or an entire reference image. You can reveal specific areas using the brush or the entire image using the Wipe command. The opacity of the brush determines how much of the reference image is revealed on the image. When the opacity is set to 100%, the reference image applied is completely opaque. At 50%, the reference image applied is a 50/50 blend of the reference image and the result clip.",
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{"title":"Using the Recursive Clone Medium",
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"description":"Use the Recursive Clone medium to make multiple copies of an area of an image. The result image and the paint applied to it is used as the source. Each copy is a degraded version of its predecessor. The offset between the origin point and the destination point is set in the Offset fields.",
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{"title":"Smearing the Image",
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"description":"Use the Smear medium to smudge portions of the image.",
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{"title":"Using the Stamp Medium",
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"description":"Use the Stamp medium to capture a portion of the image and apply it to the canvas.",
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{"title":"Warping the Image",
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"description":"Use the Warp medium to stretch and distort regions of the image.",
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{"title":"Washing and Shading the Image",
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"description":"Use the Wash medium to apply a transparent wash of the current colour to the image. Use the Shade medium to darken or lighten the image. You can wash or shade specific areas using the brush or the entire image using the Wipe command.",
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{"title":"Using Wipe, Fill, and AutoPaint",
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"description":"",
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{"title":"Wiping an Image",
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"description":"Use the Wipe command to apply colours, filters, and Special Effects media to the entire result image in a single stroke.",
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{"title":"Wiping Using a Colour",
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"description":"Use the Paint medium to wipe the image with a selected colour. The colour used is set in the Wipe colour pot.",
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{"title":"Wiping Using Special Effects Media and Filters",
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"description":"You can use a filter, or the Reveal, Clone, Wash, and Shade Special Effects media.",
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{"title":"Using the Wipe Command in Graphics",
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"description":"You can also use the Wipe command in the Graphics menu. The Wipe command wipes over any objects tacked down on the image. Objects not tacked down are not part of the image and are not wiped over.",
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{"title":"Filling an Image",
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"description":"Use the Fill command to fill areas of an image with similar colour values or areas delimited by a colour. These areas can be filled with either a solid colour or a reference image. You can choose how far the filled area extends by specifying how similar the pixels must be in order to be filled. This enables you to fill only the dark areas of an image, or include slightly lighter areas.",
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{"title":"Defining the Range for the Fill",
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"description":"When you use the Fill command, you specify a range for the colour comparison. The Fill command compares the colour values of adjacent pixels to determine if the values are within the specified colour range. Adjacent pixels within the range are filled.",
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{"title":"Selecting Colour Channels",
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"description":"You can use either the RGB or YUV model. Within each colour space, you can work with any combination of colour channels. For example, if you select the R, G, and B channels in the RGB colour model, the Fill command considers the red, green, and blue values. Adjacent pixels with red, green, and blue values within the specified range are filled.",
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{"title":"Adjusting the Softness",
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"description":"The softness value for the fill determines the amount of colour diffusion applied at the edges of the fill. This value can be adjusted to modify the transition between the filled and unfilled areas. A softness value of 100% produces the greatest amount of diffusion. A softness value of 0% produces a filled area with well-defined edges.",
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{"title":"Filling a Region with a Colour",
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"description":"You can choose to fill an image with the current colour.",
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{"title":"Filling a Region with an Image",
"href":"./files/GUID-22D7DD55-43A0-4E6F-8553-AE2872FED6FD.htm",
"description":"You can fill a region of an image with a reference image instead of a colour. The front, back, or result image can be used as the reference image. The Wash, Shade, Clone, or Reveal media can also be used to perform the fill.",
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{"title":"Filling a Boundary",
"href":"./files/GUID-05CA7067-98E7-4FA7-84E9-08EF30C75F31.htm",
"description":"Use the Boundary option to fill an area of the canvas delimited by another colour.",
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{"title":"Using AutoPaint",
"href":"./files/GUID-CE95349E-2F7D-4C0A-8DBA-75E011377B9F.htm",
"description":"Use the AutoPaint controls to apply paint strokes to each frame in the result clip, a range of frames, or the current frame.",
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{"title":"Wiping the Canvas in AutoPaint",
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"description":"Use Wipe mode to automatically apply paint strokes from left to right, top to bottom, or diagonally across the entire canvas. You can use a filter or any of the Special Effects media except Warp, Drag, and Smear. The size of the brush determines the number of strokes applied. Use a small brush to apply several strokes or a large brush to apply fewer strokes.",
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{"title":"Applying Random Strokes",
"href":"./files/GUID-E9A77B71-4805-4FEC-B9CE-9B1FBEAD5966.htm",
"description":"Use Random mode to automatically generate a number of paint strokes with random orientation on the image. Use the Samples field to specify the number of random strokes you want to generate. You can use any Special Effects media in Random mode except Warp and Drag.",
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{"title":"Recording Brush Strokes",
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"description":"Use User mode to record and play back a series of paint strokes. Only the positions of the brush strokes are recorded. This means that you cannot change the brush type, current colour, or brush attributes while recording the strokes. You can, however, change or animate these parameters after you finish recording and before you play back the strokes.",
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{"title":"Tracking with AutoPaint",
"href":"./files/GUID-581525F8-909F-412E-B55E-D27B52EA2CC6.htm",
"description":"You can apply tracking data to the painted strokes.",
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{"title":"Playing Recorded Brush Strokes",
"href":"./files/GUID-2DC7C0EF-0597-45E8-8DCB-84063A5FA2F0.htm",
"description":"After recording brush strokes, you can apply them to the front clip using the Play option, which is activated automatically when you finish recording the paint strokes.",
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{"title":"Using Mattes in Paint",
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"description":"",
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{"title":"About Mattes",
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"description":"Mattes protect specific areas of the image when you apply paint, filters, or Special Effects media to the canvas. You can also use mattes to limit the area of a cutout.",
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{"title":"Using Mattes with Cutouts",
"href":"./files/GUID-FD6B7FF6-8110-49F9-AF65-2D3C43431777.htm",
"description":"If you enable your matte when creating a cutout, the cutout is limited by the matte. Only objects outside the matte will show up in the cutout. See .",
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{"title":"Viewing Mattes",
"href":"./files/GUID-2E8E7D52-C046-40DA-9EE2-13CECEC23005.htm",
"description":"You can view the matte as you use it.",
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{"title":"Changing the Matte Colour",
"href":"./files/GUID-6CA26700-63D2-4857-B85E-19DC3D79CA70.htm",
"description":"If the colour used to display the matte blends with the image, you can change its colour.",
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{"title":"Changing the Matte Display Transparency",
"href":"./files/GUID-35332E7F-18C2-4CE4-9B71-4A6BA7C3C6FA.htm",
"description":"When viewing the matte, use the Transparency field to vary the matte display transparency from 0% (completely transparent) to 100% (fully opaque). Press Alt+T or click Transparency in the Setup menu to toggle between the last set value and 100%.",
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{"title":"Inverting the Matte Clip",
"href":"./files/GUID-30FBBA77-E2A6-4A10-ADF4-6C0548DC32AD.htm",
"description":"Click Invert to invert the matte in the current frame. Enable Invert Lock in the Setup menu to invert the matte in every frame of the clip.",
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{"title":"Creating or Modifying Mattes",
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"description":"You can create or modify a matte by painting directly on the matte using any brush, Special Effects media, or graphic tool. For information on using graphic and cutout tools to create mattes, see .",
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{"title":"Painting on the Matte and Image",
"href":"./files/GUID-63E598E6-D4AE-4A4A-9EED-8F8C7B8D5EAC.htm",
"description":"When applying paint strokes or graphics to the image, enable Both to paint the image and the matte simultaneously.",
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{"title":"Resetting the Matte",
"href":"./files/GUID-43687DF2-2D3E-40E9-BB92-B75D3B93958F.htm",
"description":"If you do not load a matte, Paint displays the last matte that was loaded.",
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{"title":"Creating a Gradient Matte",
"href":"./files/GUID-C777B40B-2DF8-4F0E-95DC-1C7B71D7E7CB.htm",
"description":"You can use graphics that contain gradients to create a matte that blends from one level of the matte colour to another level. A gradient matte is useful for blending paint strokes or creating soft edges.",
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{"title":"Creating High-Contrast Mattes",
"href":"./files/GUID-BFDB264D-0302-4251-98F4-60958D834409.htm",
"description":"Use the Auto command to create a high-contrast matte. The minimum and maximum luminance values for the matte are set using the two colour pots in the AutoMatte menu. Any pixel with a luminance value below the minimum is set to black, and any pixel with a luminance value above the maximum is set to white.",
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{"title":"Using Graphics in Paint",
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"description":"",
"ancestors":[{"title": "Paint","href":"./files/topichead_d3e145745.htm"}]},
{"title":"Accessing the Graphics Menu",
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"description":"To access the Graphics menu, click the Graphics button in the Paint menu. Some options may be hidden if the colour palette is open. Swipe the cursor across the bars at the bottom of the screen to hide the colour palette.",
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{"title":"Creating Graphics",
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"description":"Graphics can be used to create cutouts or mattes, or to apply geometrical shapes, text, and fills to the result clip.",
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{"title":"Auto Edit After Add",
"href":"./files/GUID-07DC9A8C-2B91-4FE6-BFBD-11D558E0DD91.htm",
"description":"After you add an object to the image, Paint automatically switches from Add mode to Edit mode. You can turn off this default setting by disabling the Auto Edit After Add button in the Setup menu. You can then add objects one after another without interruption.",
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{"title":"Using the Object Tools",
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"description":"A number of predefined graphic tools are available in Paint. The cursor looks the same for all graphic types. When you move the cursor onto an image, it appears as a small green cross with crosshairs that extend the width and height of the canvas. The crosshairs help align objects on the image.",
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{"title":"Drawing a Line",
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"description":"Use the Line object tool to draw a single straight line or a multi-line object (a series of lines joined end-to-end).",
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{"title":"Drawing a Rectangle",
"href":"./files/GUID-AF57BC15-B843-4508-B5D3-A730E4E09077.htm",
"description":"Use the Rectangle object tool to draw a rectangle or square in one of two ways:",
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{"title":"Drawing a Triangle",
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"description":"Use the Triangle object tool to draw a triangle or equilateral triangle. The vertices are located at the three corners of the triangle.",
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{"title":"Drawing an Ellipse",
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"description":"Use the Ellipse object tool to draw an ellipse defined by three vertices. The first vertex determines the centre of the ellipse. The second vertex determines the horizontal radius of the ellipse. The third vertex determines the vertical radius.",
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{"title":"Drawing a Circle",
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"description":"Use the Circle object tool to draw a circle in one of two ways:",
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{"title":"Drawing a Polygon",
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"description":"Use the Polygon object tool to create a series of connected lines that form a closed or open object. You can specify how the vertices of the polygon should be connected by selecting one of the options from the Polygon Mode box.",
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{"title":"Drawing a Fill Object",
"href":"./files/GUID-033FDB71-F237-471B-884C-A0777BD2DCD1.htm",
"description":"Use the Fill object tool to fill areas of an image with colour. While this is similar to using the Fill command in the Paint menu, you can only use this tool with colour, Shade, and Wash, and not to fill areas with a reference image. However, you can edit fill objects after you draw them.",
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{"title":"Drawing a Text Object",
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"description":"Use the Text object tool to add text to the image. You can change the size, kerning, and inclination of the text string.",
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{"title":"Selecting Objects",
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"description":"You must select an object before you can edit it. In Edit mode, you can select objects in three ways:",
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{"title":"Using the Selected Field",
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"description":"As you add objects to the image, they are numbered sequentially, starting at 1. You can select an object by specifying the number of the object in the Selected field.",
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{"title":"Selecting More than One Object",
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"description":"To select an additional object, hold down Shift and click another object. Repeat this step for each object you want to select.",
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{"title":"Deselecting Objects",
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"description":"To deselect an object or objects, select a different object or click the Add button.",
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"description":"To select all the objects, click the All button. All is shown in the Selected field. Click it again to deselect them.",
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"description":"Use the object controls to copy, delete, hide, or layer objects.",
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{"title":"Copying Objects",
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"description":"Use the Copy command to create multiple copies of an object. Once a copy is created, it can be selected and edited like any other object.",
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{"title":"Deleting Objects",
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"description":"Use the Delete command to remove one or more objects from the image.",
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"description":"Use the Hide/Unhide commands to hide or unhide objects before they are tacked onto the image.",
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{"title":"Changing the Order of Overlapping Objects",
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"description":"Objects can be drawn so they overlap other objects to produce a stack of objects.",
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{"title":"Setting the Object Resolution and Display",
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"description":"Use the Object Resolution box to set the resolution while drawing or editing objects. The objects are regenerated at high resolution once you release the cursor at the end of each editing operation. Use the options in the Setup menu to affect the display of the graphics before they are tacked down onto the image.",
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{"title":"Wireframe Display Options",
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"description":"The Thick Line and Solid Line buttons in the Setup menu determine the thickness and continuity of the wireframe.",
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{"title":"Increasing Editing Speed",
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"description":"To speed up editing, disable the Graphic Regen button in the Setup menu. Instead of waiting for the graphics objects to be regenerated at the end of an editing operation, the objects appear at the display resolution. This can be a useful time-saving feature.",
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{"title":"Hiding the Object Vertices",
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"description":"Each object is defined by two or more vertices. These vertices, or tangent handles, appear while you are drawing or editing the object.",
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{"title":"Displaying Anamorphic Geometry",
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"description":"Select Use Aspect Ratio in the Rendering area of the Setup menu to draw and display anamorphic geometry. For normal display, click Use Aspect Ratio and switch to Use Square Pixels.",
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{"title":"Anti-Aliasing for Objects",
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"description":"The jagged edges that can occur along diagonal and curved lines in geometry are caused by aliasing, or insufficient spatial sampling of the image. The process of minimizing jagged edges by increasing the sampling rate is called anti-aliasing.",
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{"title":"Setting the Object Attribute",
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"description":"Use the Object Attribute box to set the display mode for the object you add to the image.",
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{"title":"Changing the Object\'s Appearance",
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"description":"You can change the appearance of an object by changing any of the following display attributes:",
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{"title":"Setting Brush Attributes and Modes",
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"description":"In the Graphics menu, you can only change brush attributes and modes when using the Outline or Fuzzy attribute. See .",
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{"title":"Using Filters and Special Effects Media with Graphics",
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"description":"Any filter can be used with objects. Only the Paint, Clone, Reveal, Wash, and Shade Special Effects media can be used. See .",
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{"title":"Changing the Object Gradient",
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"description":"All objects, except the fill object, can have a gradient. You can edit a gradient or apply a gradient to an object that does not have one. A selected object with a gradient displays a gradient control bar that you can use to edit the orientation of the gradient.",
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{"title":"Changing the Size or Position of an Object",
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"description":"Use the transformation box, or the transformation controls in the Axis Transformation menu, to change the size or position of an object. You can use the transformation box and controls to modify the object in the following ways:",
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{"title":"Using the Transformation Box",
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"description":"To display the transformation box, click the Edit button in the Graphics menu and click the object you want to edit.",
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"description":"Use the transformation controls to translate, rotate, and resize a selected object. To display the transformation controls, select an object and click the Transform button.",
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{"title":"Changing the Shape of an Object",
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"description":"To change the shape of an object, such as a polygon or a line, you must add, delete, or move a vertex on the object.",
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{"title":"Adding and Deleting Vertices on a Polygon or Line",
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"description":"Change the shape of a polygon or line by changing its number of vertices.",
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{"title":"Editing a Bezier Curve",
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"description":"When you use the Bezier option to draw a polygon, each vertex of the polygon has two tangents. Each tangent ends with a handle.",
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{"title":"Converting Graphics to AutoPaint Strokes",
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"description":"Use the Convert command to convert objects to AutoPaint strokes.",
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{"title":"Animating Graphics",
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"description":"Use the Channel Editor and Shape Animation controls to animate Paint graphics. You can animate the position, display, and shape of a graphic. To display the Channel Editor, click the Animation button and swipe the cursor across the bottom of the screen.",
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{"title":"Animation Parameters",
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"description":"The following parameters can be animated for every object:",
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{"title":"Shape Animation",
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"description":"To animate the shape of an object, you must create keyframes with the Shape Animation controls. Each shape you define becomes a keyframe in the Shape channel of the Channel Editor. The difference between the keyframes is interpolated and the shape animation is created.",
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{"title":"Gradient Animation",
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"description":"Use the Channel Editor to animate the colours, orientation, and direction of a colour gradient. The Gradient folder includes Start and End folders for the two colours in the gradient. The Start and End folders each contain channels for the X and Y position of the colour, as well as the R, G, B, and alpha values.",
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{"title":"Processing the Animation",
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"description":"To process the animation, click Process in the Graphics menu. Make sure you are at the first frame of the animation since the clip will be processed from the currently displayed frame until the end of the clip.",
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{"title":"Saving and Restoring Objects",
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"description":"Use the Store and Recall commands to save and restore objects to the image. Use the Library menu to save or load graphics from the graphics library.",
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{"title":"The Store and Recall Commands",
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"description":"To save the selected graphic in the buffer, click Store in the Graphics menu. The current object replaces the graphic saved in the buffer.",
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{"title":"Tacking Down Objects",
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"description":"An object can be selected, deleted, edited, and transformed until it is tacked down on the image. As soon as it is tacked down, the object becomes part of the image and can no longer be manipulated.",
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{"title":"Tack Modes",
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"description":"The Tack mode is selected with the Tack Mode box in the Rendering Setup menu.",
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"description":"When the Tack mode is set to Vector, objects must be explicitly tacked down on the image using the Tack button.",
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{"title":"Cutting and Pasting in Paint",
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"description":"",
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{"title":"Accessing the CutOut Menu",
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"description":"To access the CutOut menu, click the CutOut button in the Paint menu. Some options may be hidden if the colour palette is open. Swipe the cursor across the bar at the bottom of the screen to hide the colour palette.",
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"description":"Creating a cutout is similar to creating a graphic. In the CutOut menu, you use the same controls as you would in the Graphics menu to select, copy, hide, move, rotate, resize, delete, store, recall, push, and tack cutouts.",
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{"title":"Keep Cut On",
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"description":"Once you add a cutout to the image, the default setting automatically switches from Cut mode to Edit mode. To prevent the switch to Edit mode, enable Keep Cut On in the Setup menu.",
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{"title":"Using the Cutout Commands",
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"description":"Four commands are used to create cutouts: FrameCut, RectCut, PolyCut, and GeoCut. FrameCut, RectCut, and PolyCut create cutouts using shapes you define in the CutOut menu. Geocut creates cutouts using objects you select in the Graphics menu.",
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{"title":"The FrameCut Command",
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"description":"Use the FrameCut command to make a cutout of the entire frame.",
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{"title":"The RectCut Command",
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"description":"Use the RectCut command to cut and paste a single rectangular area of the image.",
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{"title":"The PolyCut Command",
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"description":"Use the PolyCut command to cut and paste a single polygonal area of the image.",
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{"title":"The GeoCut Command",
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"description":"Use the GeoCut command to create a cutout with objects you selected in the Graphics menu.",
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{"title":"Increasing Editing Speed",
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"description":"To streamline cut and paste functionality, use Graphic Regen and Texture Cut/Paste in the Setup menu, and Texture in the CutOut menu.",
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{"title":"The Graphic Regen Button",
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"description":"Disable Graphic Regen (regeneration) in the Setup menu to ensure the cutout always appears at the display resolution.",
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{"title":"Texture Cut/Paste and Texture Button",
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"description":"Enable Texture Cut/Paste in the Setup menu or Texture in the CutOut menu to speed up cut and paste operations. These preferences are designed for platforms that support fast texture mapping.",
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{"title":"Pasting Cutouts",
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"description":"Four options in the Shadow Type box are available for pasting a cutout onto the image.",
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{"title":"The Emboss Option",
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"description":"The Emboss option makes the cutout appear etched into the image. Shadows and highlights are added to simulate the effect of light shining on a raised object. Three layers are used to produce this effect:",
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{"title":"The Extrude Option",
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"description":"The Extrude option makes the cutout appear to pop out of the image by redrawing the cutout one layer on top of another. Each layer in the stack is offset slightly from the one below so only the edges of the layer are visible.",
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{"title":"The Blend Options",
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"description":"The Blend options use the RGB values of the cutout and those of the result image. Select a blend option from the Blend Mode box.",
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{"title":"The Drop Shadow Option",
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"description":"You can add a drop shadow to a cutout by selecting the Drop option from the Paste Mode box. The drop shadow\'s colour is taken from the Current Colour pot.",
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{"title":"Colour Correcting Cutouts",
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"description":"Apply colour correction to cutouts using the Colour Correction field and CC in the CutOut menu. Click the Colour Correction field to load a setup directly from the colour correction library. Click CC to load the cutout into the Colour Corrector.",
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{"title":"Animating Cutouts",
"href":"./files/GUID-5C761D97-82B9-419C-93D9-47AACBFA802B.htm",
"description":"Use the Channel Editor to animate cutouts. To display the Channel Editor, click Animation and swipe the cursor across the bottom of the screen.",
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{"title":"Loading and Saving Cutouts",
"href":"./files/GUID-5768647E-ABB0-409C-A50C-D9A730A39C20.htm",
"description":"Use the Cutout Library to load and save cutouts.",
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{"title":"Preserving Paint Cutouts",
"href":"./files/GUID-9ACCBE6F-3C46-4728-9B66-DE50D045CE28.htm",
"description":"Paint cutouts are saved in the Lost_+_Found library on the Paint reel rather than in memory in order to conserve memory. During a session, you must not delete the Paint reel or its cutouts because they will be used when you return to Paint. However, you can safely delete the cutouts once you exit and restart the application because the Paint reel in the Lost_+_Found library is not searched in subsequent sessions.",
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{"title":"Paint: Setups",
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"description":"",
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{"title":"About Paint Setups",
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"description":"A setup is a file that contains a record of all changes you make to a clip in a particular module. This record includes references to clips used. Setups let you save your work separately from the clips, so you can load and work on them any time, or apply the setup to other clips. Both the procedure and the interface involved in saving Paint setups and preferences differ slightly from those involved in saving setups in most other modules.",
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{"title":"Saving Setups",
"href":"./files/GUID-60189528-615E-4838-A048-7CF8015A3E7D.htm",
"description":"You can save pictures, preferences, mattes, palettes, brush groups, brushes, and stamps. You can also save cutouts, cut sequences, recorded strokes in AutoPaint, as well as geometry created in the Graphics menu.",
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{"title":"Cropping a Setup",
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"description":"Use the crop box to limit the area of the picture, matte, cutout, or paint graphics to be saved in the setups directory.",
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{"title":"Loading Setups",
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"description":"Use the Load button to load any type of Paint setup.",
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{"title":"Deleting Setups",
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"description":"Use the Delete button to remove setups from the setup directory.",
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{"title":"Creating and Saving Brush Setups",
"href":"./files/GUID-1249C057-37F8-4812-B2DC-4A41CEFB81D5.htm",
"description":"Within a given brush set, there are five individual brushes. You can create and save five brush setups using the buttons numbered 1 to 5 in the Paint menu. Each brush setup saves the brush type, attribute values and modes, Special Effects medium, filter, fill parameters, and colour correction setups.",
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{"title":"Copying Brush Setups",
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"description":"You can copy brush setups using the setup buttons.",
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{"title":"Creating a Custom Brush",
"href":"./files/GUID-07970C81-5069-4C27-AEF9-0146A99BEA8E.htm",
"description":"With Paint, you can create your own custom brushes for specialized applications. You can modify an existing brush, draw your own brush shape, or grab a part of the image to use as a custom brush.",
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{"title":"Changing the Brush Profile",
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"description":"The brush profile describes the size and edge softness of the custom brush. The default S-curve defines a circular airbrush. You can change the curve by manipulating the two points that define the curve, or you can add points to the curve.",
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{"title":"Changing the Curve",
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"description":"By default, there are two points that define the brush profile. For the following table and examples, these points will be named A and B as shown in the preceding illustration. To move the points that define the curve, select the Move option from the Profile box.",
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{"title":"Drawing and Updating a Brush Shape",
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"description":"You can draw a new brush shape or update the current brush shape in the editing panel. The new shape is drawn using the brush that you selected to open the Custom Brush menu.",
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{"title":"Selecting an Area of the Image",
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"description":"You can select an area of the image to use as the custom brush. The brush created from the selected area will be a square monochrome brush.",
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{"title":"Updating an Existing Brush",
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"description":"To update an existing brush, click the Update button. The changes are applied to the brush icon that you selected to open the Custom Brush menu.",
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{"title":"Customizing the Pressure Profile",
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"description":"Adjust the pressure profile to change the amount of pressure needed to paint with a given brush. The slope of the curve indicates how quickly paint is applied as you press on the tablet. If the curve is steep, a small amount of pressure applies full paint to the canvas. If the curve is soft and rounded, you must press harder and longer to apply full paint.",
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{"title":"Using Colour Correction Setups",
"href":"./files/GUID-6418413D-9D55-4870-A088-F95606ADF214.htm",
"description":"Use the Colour Correction Setup menu to apply colour correction setups to the clip loaded into Paint. You can bring the clip into the Colour Corrector or you can load a setup from the Colour Correction setups directory into Paint.",
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{"title":"Wiretap Central",
"href":"./files/topichead_d3e154389.htm",
"description":"",
"ancestors":[]},
{"title":"System architecture",
"href":"./files/GUID-2F813C02-8217-4D55-88FA-06C9539FEDFA.htm",
"description":"To install this software you should be able to administer as root a Linux system. If you plan to reconfigure your workstation or your storage, knowledge of computer hardware, storage and networking in a professional video/film production environment is recommended. The default root account password on an Autodesk workstation is password.",
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{"title":"Using Wiretap Central",
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"description":"",
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{"title":"Overview",
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"description":"WiretapCentral presents a Wiretap network as a hierarchy of hosts, volumes, projects, libraries, reels and clips. When you first point a web browser to the WiretapCentral server, the network tree lists all hosts detected on the network. Clicking on a host (which is the top-level data node) reveals its volumes, and so on down the hierarchy, to clips.",
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{"title":"WiretapCentral User Interface",
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"description":"The user interface consists of three main areas, as shown in the following diagram.",
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{"title":"Network Tree",
"href":"./files/GUID-F9F92732-770A-4B26-96CD-28266D8B4AB3.htm",
"description":"The network tree displays the contents of the Wiretap network in a tree hierarchy. Initially, it lists all the hosts discovered. Expanding a host displays its volumes, and the projects and clip libraries within.",
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{"title":"Main View Area",
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"description":"The main view area occupies a central portion of the UI. It presents clip thumbnails, the list view, and the player. Switch between these display modes using the View menu, or double-click a thumbnail to open the player immediately.",
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{"title":"Details Area",
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"description":"When you browse, the information for the node that you are currently on, whether server, volume, project, library, or clip, is presented in the Details areas. This information persists until you select another node.",
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{"title":"Changing the Layout",
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"description":"To change the layout of the user interface, select an option from the Layout menu.",
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{"title":"Browsing using the Network Tree",
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"description":"The network tree is an interactive tool for browsing the network and volume hierarchy. It works in conjunction with the main view area to show clips as thumbnails or in a list view.",
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{"title":"Using Bookmarks",
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"description":"Create and use bookmarks to keep track of frequently used locations by selecting an option from the Bookmarks menu. You can choose to add a bookmark for the currently shown location, or to go to a previously saved bookmark. You can also remove an unused bookmark.",
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{"title":"Managing Libraries and Reels",
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"description":"You can create new libraries and reels in a project, on an accessible volume, by choosing the appropriate option from the Tools menu. You can also add/remove directories on a Wiretap Gateway server. You can also remove any clip, and some nodes, by using the Delete option.",
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{"title":"Browsing using Thumbnails",
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"description":"By default, the main view area presents the Wiretap network and volume content as icons and thumbnails. For example, if a library is selected in the network tree, the main view area displays icons for the reels it contains. When you select a library or reel, thumbnails are generated for their clips. Once you have selected a host in the network tree, you can do all of your downward browsing using icons and thumbnails.",
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{"title":"Playing Thumbnail Previews",
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"description":"Icons and thumbnails in the main view area provide an intuitive means to navigate the network and volumes. More importantly, the thumbnails provide you with:",
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{"title":"Browsing Using the List View",
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"description":"By default, the main view area displays the contents of the current library or reel as clip thumbnails. The list view presents an alternative view, presenting clips in table format, with sortable, repositionable columns.",
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{"title":"Browsing and Viewing Clips in the List View",
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"description":"The list view presents clip metadata in a sortable table with repositionable columns.",
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{"title":"Using the Player",
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"description":"Thumbnails are convenient for previewing clips, but the player is larger and offers considerably more playback options. It presents clips at a width of 720 pixels, and usually at 100% JPEG quality. In addition, the player has controls for stepping through the action, looping, and playing backward.",
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{"title":"Loading a Clip into the Player",
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"description":"To load a clip into the player:Navigate to the clip of interest.Double-click on the clip to open the player and load the clip. You can double-click a thumbnail or a row in the list view.The player app",
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{"title":"Playing a Clip",
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"description":"You can play a clip using the player controls, as shown in the following diagrams.",
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{"title":"Panning and Zooming a Clip",
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"description":"You can pan the clip across the canvas and zoom in and out, even while the clip is playing.",
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{"title":"Decoding RED Media",
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"description":"",
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{"title":"About Importing RED Media",
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"description":"RED digital cameras record RAW media that is compressed using a proprietary codec known as REDCODE, which is saved as an R3D file. R3D files contain very high-resolution digital images (2K, 4K, or even higher). These files require a computational-intensive debayering process to transcode to a file format that can be read by Autodesk Visual Effects and Finishing applications.",
"ancestors":[{"title": "Wiretap Central","href":"./files/topichead_d3e154389.htm"},{"title": "Decoding RED Media","href":"./files/topichead_d3e155013.htm"}]},
{"title":"Importing RED R3D Media Files",
"href":"./files/GUID-7F60BF1E-7609-4952-87BE-7713CEC75F9D.htm",
"description":"RED media can be imported as individual R3D files.",
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{"title":"Importing FCP XML Containing RED Media Files",
"href":"./files/GUID-60CADBE1-6F9C-4719-9BEF-C5FED3C31F99.htm",
"description":"If you are importing an FCP XML pointing to RED media, then you must make sure to take the right steps in Final Cut Pro.",
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{"title":"Working in Final Cut Pro",
"href":"./files/GUID-C7E9C928-7897-4DD7-8182-45DB4C92D3B7.htm",
"description":"For interoperability with FCP, there are a minimal number of steps that must be performed before importing into WiretapCentral.",
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{"title":"Avoiding the Log&Transfer Tool",
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"description":"If you use the Log&Transfer tool to ingest R3D files, the Reel name of the imported clips has a directory name. You will then have to manually rename each Reel to their 16-character RED filename.",
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{"title":"Using the xml_adsk_tapename Script",
"href":"./files/GUID-EA856B4B-A958-457C-B8CC-0F617A31EA1E.htm",
"description":"The QuickTime files created in REDCINE have tape names that match the first four characters of the R3D filenames, such as A001. But WiretapCentral requires the full 16-character tape names. If you edit in FCP and export an XML with those QuickTime files, you need to convert the tape names back to 16-character format. Use the Python script installed by WiretapCentral to perform this conversion.",
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{"title":"Importing FCP XML",
"href":"./files/GUID-8256731C-EABC-4D45-8A3F-CDCA8A000AF9.htm",
"description":"RED media can be imported as FCP XML pointing to R3D files.",
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{"title":"Importing an EDL Containing RED Media Files",
"href":"./files/GUID-08D103B5-5A27-403C-B0B5-5F39D70BF6CE.htm",
"description":"If you are importing an EDL file pointing to RED media, then you must make sure to take the right steps in your editing application.",
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{"title":"Working in Avid",
"href":"./files/GUID-3F72A425-A61F-4377-89C2-7424555342CC.htm",
"description":"If you are editing in your Avid application, you will need to export EDL sequences, since WiretapCentral does not support AAF.",
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{"title":"Using the edl_adsk_tapename Script",
"href":"./files/GUID-AF645A55-6352-4674-A01E-7EEEA6619BE1.htm",
"description":"The Avid RED16 EDL Manager template has the EDL source table and the tape name of each event which uses the full 16-character tape name. But the EDL parsing mechanism in WiretapCentral reads standard CMX events with tape names containing 8 characters or less. It also reads the tape source table.",
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{"title":"Importing the EDL",
"href":"./files/GUID-6556AE12-4D3C-4041-9AAC-F16EDA177F08.htm",
"description":"RED media can be imported as generic EDLs containing R3D files. The workflow goes as follows.",
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{"title":"Adjusting the Settings",
"href":"./files/GUID-CB78F76B-B63E-4536-9A87-841327C9774E.htm",
"description":"The Settings tab contains a number of parameters that can be set for the clips in your RED decoding session. These are divided under the Format and the Color tabs. The settings under these tabs are the staging area for the RED settings, and are not applied until you click the Apply button.",
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{"title":"Preview Panel",
"href":"./files/GUID-B691B75D-9E62-41AA-A1F6-5BE83A0BA76A.htm",
"description":"Use the Preview panel to monitor the changes to the Format and Color settings. You can also use the Preview panel to set In and Out markers. These markers define the actual clip to import. They are disabled when importing clips using an FCP XML or an EDL.",
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{"title":"Format Tab",
"href":"./files/GUID-90A139F1-26DC-437F-BB2E-DD2328CCEFCD.htm",
"description":"Use the Format Settings options to set:",
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{"title":"Color Tab",
"href":"./files/GUID-8994BAB0-F319-4AEB-BCAC-C066E2AED905.htm",
"description":"WiretapCentral supports most color options available in RED applications, such as RED Alert!.",
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{"title":"Defining the Output Destination",
"href":"./files/GUID-802D950F-6BF6-4A1A-B5E8-2336C1899653.htm",
"description":"Use the Output tab to change how timecode is used in the clip, to use handles, and to set one or more output destinations for your import RED job. A job can be sent to multiple destinations. The decoding is done once and streamed simultaneously to each location.",
"ancestors":[{"title": "Wiretap Central","href":"./files/topichead_d3e154389.htm"},{"title": "Decoding RED Media","href":"./files/topichead_d3e155013.htm"}]},
{"title":"Submitting the Job",
"href":"./files/GUID-32D1A87F-2E0E-407B-88F9-0353A8133C02.htm",
"description":"Use the Submit tab to set your processing options and execute your job.",
"ancestors":[{"title": "Wiretap Central","href":"./files/topichead_d3e154389.htm"},{"title": "Decoding RED Media","href":"./files/topichead_d3e155013.htm"}]},
{"title":"Monitoring the Job",
"href":"./files/GUID-C191A7DC-5BDF-4690-A5D0-892F29F0147E.htm",
"description":"Use the Job Monitor tab to follow the progress of all your submitted jobs.",
"ancestors":[{"title": "Wiretap Central","href":"./files/topichead_d3e154389.htm"},{"title": "Decoding RED Media","href":"./files/topichead_d3e155013.htm"}]},
{"title":"Decoding OpenEXR Media",
"href":"./files/topichead_d3e156040.htm",
"description":"",
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{"title":"About Importing OpenEXR Media",
"href":"./files/GUID-FFB4CF7B-CF99-405D-BBDC-2DFD7C50E98C.htm",
"description":"OpenEXR files are designed to support multiple resolutions and additional channels, making them appealing for compositing. Since OpenEXR can store arbitrary channels (such as specular, diffuse, alpha, RGB, normals, etc) in one file, it takes away the need to store this information in separate files. However, to support all these arbitrary OpenEXR channels in Autodesk Visual Effects andFinishing applications, they need to be converted to separate sets of RGB clips upon import. These RGB files can then be modified and combined, for example in Action, to reconstitute the final clip.",
"ancestors":[{"title": "Wiretap Central","href":"./files/topichead_d3e154389.htm"},{"title": "Decoding OpenEXR Media","href":"./files/topichead_d3e156040.htm"}]},
{"title":"Importing OpenEXR Media Files",
"href":"./files/GUID-B289E824-C501-4FDE-83FA-4DAF5862764E.htm",
"description":"OpenEXR media can be imported as individual multichannel files. The workflow goes as follows.",
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{"title":"Adjusting the Settings",
"href":"./files/GUID-3EECA120-A084-49A8-AD66-20D5AA4FB496.htm",
"description":"The Settings tab contains a number of parameters that can be set for the clips in your OpenEXR decoding session. These settings appear under the Format tab, and are the staging area for the OpenEXR settings. You can additively load presets, or change the settings manually. The settings are not applied until you click the Apply button.",
"ancestors":[{"title": "Wiretap Central","href":"./files/topichead_d3e154389.htm"},{"title": "Decoding OpenEXR Media","href":"./files/topichead_d3e156040.htm"}]},
{"title":"Format Tab",
"href":"./files/GUID-3F2DE951-63DA-4A09-8997-2F87C36DD97D.htm",
"description":"Use the Format Settings options to perform any resizing, including resize filter options.",
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{"title":"Defining the Output Destination",
"href":"./files/GUID-E8B3647C-546B-4E49-AB93-46918DC302F2.htm",
"description":"Use the Output tab to set one or more output destinations for your import OpenEXR job. A job can be sent to multiple destinations. The decoding is done once and streamed simultaneously to each location.",
"ancestors":[{"title": "Wiretap Central","href":"./files/topichead_d3e154389.htm"},{"title": "Decoding OpenEXR Media","href":"./files/topichead_d3e156040.htm"}]},
{"title":"Submitting the Job",
"href":"./files/GUID-981F78FB-9D81-4AC7-AB6F-D3706BE39D47.htm",
"description":"Use the Submit tab to set your processing options and execute your job.",
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{"title":"Monitoring the Job",
"href":"./files/GUID-2FAA2D84-9782-43B1-8DC8-10C525830D69.htm",
"description":"Use the Job Monitor tab to follow the progress of all your submitted jobs.",
"ancestors":[{"title": "Wiretap Central","href":"./files/topichead_d3e154389.htm"},{"title": "Decoding OpenEXR Media","href":"./files/topichead_d3e156040.htm"}]},
{"title":"Monitoring the Decoding Jobs",
"href":"./files/topichead_d3e156351.htm",
"description":"",
"ancestors":[{"title": "Wiretap Central","href":"./files/topichead_d3e154389.htm"}]},
{"title":"Overview",
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"description":"The monitor provided in the media import workflow is suitable for monitoring and controlling your own recently submitted R3D and OpenEXR jobs. WiretapCentral also provides a more comprehensive monitor, available directly from the Tools menu. It has all the features of the monitor embedded in the media import workflow, plus additional tabs, for managing servers and server groups associated with the currently selected Backburner Manager, and for modifying the job-handling behaviour of the Backburner Manager itself.",
"ancestors":[{"title": "Wiretap Central","href":"./files/topichead_d3e154389.htm"},{"title": "Monitoring the Decoding Jobs","href":"./files/topichead_d3e156351.htm"}]},
{"title":"User Access Control",
"href":"./files/GUID-13A76F37-5A05-46FE-AC51-3B3F3C1E9DEF.htm",
"description":"By default, no user name or password is needed to use WiretapCentral, and all jobs submitted from WiretapCentral to Backburner are owned by user “apache”. As a result, you can easily perform operations on all WiretapCentral jobs on the Backburner network, including suspending, activating, and deleting jobs submitted by other users. In addition, by default the user “apache” has administrator privileges over all other Backburner jobs, too, such as Burn jobs submitted by an Autodesk Visual Effects and Finishing application. For information on setting up user access control, see the WiretapCentral and Wiretap Gateway Installation and Configuration Guide.",
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{"title":"Understanding the Monitor User Interface",
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"description":"The standalone monitor user interface features four tabs for viewing job, server, server group and manager information respectively. This section describes each of these tabs.",
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{"title":"Jobs Tab",
"href":"./files/GUID-EE906E5F-4EE5-451A-8E50-18CF6C2A43D7.htm",
"description":"The Jobs tab presents information relating to all jobs associated with the selected Backburner Manager. Use it to view and control the decoding jobs submitted from WiretapCentral, as well as to view jobs submitted to Backburner by other Autodesk Visual Effects and Finishing applications.",
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{"title":"Servers Tab",
"href":"./files/GUID-9637894C-A094-4C4F-8B39-82E6C4938461.htm",
"description":"The following table presents the information found on the Servers tab.",
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{"title":"Server Groups Tab",
"href":"./files/GUID-ECE72A69-43FE-45C5-BA91-2C8EC43E61CC.htm",
"description":"A server group is a collection of render nodes grouped together for the purpose of organizing a render farm. It acts as a shortcut to multiple render nodes. By default, the Backburner Manager sends a job to all the render nodes equipped with a suitable processing engine. When you submit a job to a server group, it is sent to the render nodes within the group only, leaving those outside the group free for other uses.",
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{"title":"Manager Tab",
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"description":"Use the Manager tab to set options related to the Backburner network, such logs, server assignments criteria, job retries, and tasks performed when a job finishes.",
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{"title":"Viewing Job Details and Job Tasks",
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"description":"Double-clicking on a job name opens the Job Details window where you can view additional information about a job, including its associated tasks, where they have been sent for processing, and their status. The top of the window displays the following information.",
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{"title":"General Info Tab",
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"description":"The following table describes the information found in the General Info tab.",
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{"title":"Tasks Tab",
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"description":"The following table describes the information found in the Tasks tab.",
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{"title":"Server Assignment Tab",
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"description":"The Server Assignment tab allows you to view the servers assigned to the selected job. It also allows you to assign new servers or server groups to currently active jobs. A filtering mechanism allows you to limit the list of servers to those capable of handling the current job type only.",
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{"title":"Advanced Info Tab",
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"description":"Some applications submit Backburner jobs with extended instructions for the processing engine. Use the Advanced Info tab to view and modify these extended instructions.",
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{"title":"Encoding Clips",
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"description":"",
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{"title":"About Encoding Clips",
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"description":"Encoding clips is a three-step process that is done within the Export window: you select the input clip, set the processing options, and submit the job. Once the clip is encoded, you have the option of creating a package (containing all the clips you created), to upload to a web server.",
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{"title":"Supported Export Codecs",
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"description":"WiretapCentral can export clips in the following formats.",
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{"title":"Encoding Clips",
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"description":"Encode clips using the following procedure.",
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{"title":"Customizing Encoding Presets",
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"description":"When you submit an encoding job in the WiretapCentral UI, the WiretapCentralffmpeg encoder is called with a series of command-line parameters, depending on the codec preset and quality level selected in the Export window.",
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{"title":"Configuration Files",
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{"title":"Overview",
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"description":"Configuration files are ASCII text files that define the working environment for your application. Keywords in the configuration files define certain global and project-specific parameters such as I/O devices, workstation display settings, project environment directory paths, framerate, timecode, and colour space. You can open a configuration file using any text editor, such as kedit.",
"ancestors":[{"title": "Configuration Files","href":"./files/topichead_d3e157444.htm"}]},
{"title":"About the Software Initialisation Configuration File",
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"description":"The software initialisation configuration file (by default, /usr/discreet/<product_home>/cfg/init.cfg) is parsed when you launch the software.",
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{"title":"Sample Software Initialisation Configuration Files",
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"description":"The Visual Effects and Finishing application installation packages come with sample software initialisation configuration files for the usual needs of working with NTSC, PAL, HDTV, or film material.",
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{"title":"Modifying a Software Initialisation Configuration File",
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"description":"Software initialisation configuration files have open read/write permissions, and anyone can modify them. In some cases, you may want to restrict access to the files using the chmod command.",
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{"title":"Updating the Software Initialisation Configuration File",
"href":"./files/GUID-2272C539-FC11-4E72-8D9D-F6FEBCC0D4AB.htm",
"description":"The xxdiff utility is normally used during software installation to transfer facility-specific modifications in a customized software initialization configuration file from an earlier application version to the current one.",
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{"title":"About Project Configuration Files",
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"description":"A project configuration file is a text file that is parsed when you select a project in the application. A project configuration file uses the same name as the project, but with a .cfg extension. For example, the project configuration file for a project called “my_project” uses a project configuration file called my_project.cfg.",
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{"title":"Project Configuration File Templates",
"href":"./files/GUID-C3A8964B-8262-41F1-92BC-F71969921761.htm",
"description":"When you create a project, you select a template from which your project\'s configuration file is generated. These templates are based on a resolution and framerate, and define the display environment. Project templates do not prevent you from working with clips of other resolutions and frame rates. However, some functions, such as display on a broadcast monitor, may not be supported.",
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{"title":"Supported HD Formats in Project Templates",
"href":"./files/GUID-75A4817E-A404-45D5-ACA0-154C577BB06A.htm",
"description":"The names of project templates for HD formats contain a string that identifies the format\'s resolution, framerate, and scan mode.",
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{"title":"Modifying Project Configuration Files",
"href":"./files/GUID-3B08CE2B-A5E1-4C9C-A6DB-DD8F1E180F55.htm",
"description":"Project configuration files have open read/write permissions and anyone can modify them. In some cases, you may want to restrict access to them using the chmod command.",
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{"title":"Software Initialisation File Keywords",
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"description":"This section describes each keyword in the software initialisation configuration file /usr/discreet/<product_home>/cfg/init.cfg.",
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{"title":"DiskHealthNotify",
"href":"./files/GUID-CFC8C151-3EF5-4783-9BEA-C4813A73EF14.htm",
"description":"The DiskHealthNotify keyword defines an e-mail address to which a message is sent if any framestore disk health problems occur. Only one address can be listed. The mailer daemon for the workstation must also be properly configured for notification e-mails to be sent.",
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{"title":"MemoryApplication",
"href":"./files/GUID-3F50E58B-A25A-46AF-98F7-710A0C033783.htm",
"description":"The MemoryApplication keyword allocates memory for frame buffers. A frame buffer is a chunk of memory set aside to store image data in RAM for the fastest possible display of frames while working in the application.",
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{"title":"Working with 4K 12-bit Film",
"href":"./files/GUID-F78A71B6-4326-472E-BCDB-FE4ED0CE7F37.htm",
"description":"Even with the recommended amount of RAM, working with 4K 12-bit film puts great demands on memory management. Set the RAM allocated for buffering frames to between 2000 and 4000.",
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{"title":"Cannot Allocate Memory Buffer Messages",
"href":"./files/GUID-F334AB23-F636-41CD-962A-C06132BB4600.htm",
"description":"“Cannot allocate memory buffer” messages indicate a shortage of memory allocated to frame buffering, so uncommenting the MemoryApplication keyword and defining an amount of memory for frame buffers can resolve this problem. The amount to set in this case depends on how much RAM your system has: start with 400 MB for Finishing applications or 700 MB for Visual Effects applications. Allocate more memory to frame buffers in increments of 50 MB as required.",
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{"title":"Memory Panic",
"href":"./files/GUID-58C38491-5C34-492C-83CD-CA76530CC74A.htm",
"description":"A memory panic indicates the system is running out of heap memory. Heap memory is memory allocated for use by applications and the operating system. Make sure no other applications are running. If memory panic still occurs, lower the amount of memory allocated to frame buffers.",
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{"title":"Video",
"href":"./files/GUID-C8B4931C-3F2E-408E-9F69-1CCDDAD0F856.htm",
"description":"The Video keyword initialises the video device and specifies the video input type.",
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{"title":"DviRamp",
"href":"./files/GUID-A11B0813-9478-41AC-A4D8-6503B3306F5D.htm",
"description":"The DviRamp keyword enables control of the Miranda DVI-Ramp external device. The DVI-Ramp outputs a standard definition serial digital video signal (SMPTE-259M-C) or a high-definition serial digital video signal (SMPTE-292M).",
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{"title":"VideoPreviewDevice",
"href":"./files/GUID-9BFE2248-6D2D-433F-95B0-82824AB1B12E.htm",
"description":"The VideoPreviewDevice keyword specifies the device used for the graphics-to-video display.",
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{"title":"Configuring Readback Mode",
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"description":"On systems without a DVIramp or a NVIDIA SDI card, you must enable the following lines to ensure video preview using the readback mode:",
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{"title":"TabletDriver",
"href":"./files/GUID-08C32273-F9EA-44F2-9EAA-BF858C32B5BC.htm",
"description":"The TabletDriver keyword identifies the tablet driver. Only Wacom Intuos-series USB tablets are currently supported.",
"ancestors":[{"title": "Configuration Files","href":"./files/topichead_d3e157444.htm"},{"title": "Software Initialisation File Keywords","href":"./files/GUID-63F27217-4375-4CA4-949D-B5444B2A542F.htm"}]},
{"title":"MidiDevice",
"href":"./files/GUID-DC590EA2-2F31-4544-8F44-F207CBCF37DC.htm",
"description":"The MidiDevice keyword identifies MIDI devices that are used with Autodesk Visual Effects and Finishing systems. Only one device is recognized at a time.",
"ancestors":[{"title": "Configuration Files","href":"./files/topichead_d3e157444.htm"},{"title": "Software Initialisation File Keywords","href":"./files/GUID-63F27217-4375-4CA4-949D-B5444B2A542F.htm"}]},
{"title":"Vtr",
"href":"./files/GUID-F3F19711-0379-42E2-9259-10C52E465CC4.htm",
"description":"The Vtr keyword identifies video tape recorders that can be used for clip I/O. You can uncomment VTRs of different video formats. Any enabled VTR can be selected for a project, regardless of the project\'s video I/O timings.",
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{"title":"Configuring Colourspace Conversion for Device I/O",
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"description":"When you set the input or output format for a device in the Vtr keyword, you should also specify its colourspace conversion method using the <colorspace mode> parameter. The supported conversion methods depend on whether a single-link or dual-link connection is used for I/O with the device. The following table shows the colourspace conversion methods that are available for single-link and for dual-link I/O connections.",
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{"title":"Emulator",
"href":"./files/GUID-AEDA9AC8-69F1-4542-976C-1A83CA5E86C0.htm",
"description":"Use the Emulator keyword to enable the VTR Emulation feature and configure your workstation to emulate a Sony VTR that is controllable via the RS-422 serial port. For help configuring the hardware for VTR emulation, see the hardware setup guide for your workstation.",
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{"title":"Audiodevice",
"href":"./files/GUID-020E08C6-C654-4A8B-BA89-9991DAC522C6.htm",
"description":"The Audiodevice keyword initialises the specified audio device.",
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{"title":"ClipMgtDevice",
"href":"./files/GUID-8309440E-835F-4CEB-9A2D-E99ADA677D78.htm",
"description":"The ClipMgtDevice keyword defines the devices used for archiving.",
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{"title":"ClipMgtDevice Vtr",
"href":"./files/GUID-735C47D5-96B1-4BD9-B0B3-17CE3D8A5B3E.htm",
"description":"You can specify only one VTR for a VTR clip management device. The ClipMgtDevice Vtr keyword contains an optional start timecode parameter:",
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{"title":"ClipMgtDevice HDCAM",
"href":"./files/GUID-D399A7AD-95E9-4EB2-A4F0-53CA8D0DAB91.htm",
"description":"To archive to a Sony HDCAM VTR, you must use the ClipMgtDevice HDCAM keyword and not the ClipMgtDevice Vtr keyword. The ClipMgtDevice HDCAM keyword adjusts the metadata encoding mechanism to account for the compression method used by the HDCAM VTR.",
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{"title":"ClipMgtDevice Tape",
"href":"./files/GUID-B5A0F1F9-E005-41E6-BC7A-D601EA1E6517.htm",
"description":"You can specify several tape devices for clip management. SCSI tape archiving devices are not supported. Use only fibre channel archiving devices, specifically, SAIT and DTF2 devices.",
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{"title":"ClipMgtDevice File",
"href":"./files/GUID-D0E74E1C-C1C8-42C9-97BF-D8417D801A52.htm",
"description":"You can define a portion of your system disk or another volume as the destination for archives created using the application.",
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{"title":"MaxLibrarySize",
"href":"./files/GUID-74585ED7-1FBB-4F94-A7DF-75D4FA4A4ADB.htm",
"description":"The MaxLibrarySize keyword indicates the maximum size for any single clip library, in megabytes. The higher the value, the more memory the application uses. Using a larger value reduces memory fragmentation, which optimizes memory use. However, the value should not be so high as to compromise system performance.",
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{"title":"ArchiveLibrary",
"href":"./files/GUID-16A9805F-544F-4D5D-B3F7-BA5D560D76B9.htm",
"description":"The ArchiveLibrary keyword identifies the directory to which online HTML and ASCII tables of contents are saved when archiving. Its default value is usr/discreet/archive.",
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{"title":"SetupArchiveTape",
"href":"./files/GUID-B80CF727-C0A5-4EBC-8FE7-FCA234110C00.htm",
"description":"The SetupArchiveTape keyword identifies the device to which setup information for an archived project is saved. A project\'s setups are saved as a .tar format archive, creating a single file that can be extracted, preserving the original directory structure.",
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{"title":"Environment Directory Pathnames",
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"description":"The three keywords in the Environment Directory Pathnames section specify the paths to directories for resources shared by all projects. These directory paths should not be modified.",
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{"title":"Menu",
"href":"./files/GUID-F294B99F-9AE0-4868-9A57-B802AF083C3C.htm",
"description":"The Menu keyword specifies where application menu files are stored.",
"ancestors":[{"title": "Configuration Files","href":"./files/topichead_d3e157444.htm"},{"title": "Software Initialisation File Keywords","href":"./files/GUID-63F27217-4375-4CA4-949D-B5444B2A542F.htm"},{"title": "Environment Directory Pathnames","href":"./files/GUID-C247ECA5-9D7B-4979-A18F-E0A1ABEFD909.htm"}]},
{"title":"Model",
"href":"./files/GUID-CE199802-112A-4BB3-B837-041ED27FFEFD.htm",
"description":"The Model keyword specifies where 3D models used by Action are stored.",
"ancestors":[{"title": "Configuration Files","href":"./files/topichead_d3e157444.htm"},{"title": "Software Initialisation File Keywords","href":"./files/GUID-63F27217-4375-4CA4-949D-B5444B2A542F.htm"},{"title": "Environment Directory Pathnames","href":"./files/GUID-C247ECA5-9D7B-4979-A18F-E0A1ABEFD909.htm"}]},
{"title":"HtmlTemplates",
"href":"./files/GUID-D60BB288-6259-404D-A158-3F786619BC44.htm",
"description":"The HtmlTemplates keyword specifies where HTML templates used for archive online tables of contents are stored.",
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{"title":"HtmlLog",
"href":"./files/GUID-A2C76FF6-29FA-4026-8BB8-4D53EBA2DB0A.htm",
"description":"The HtmlLog keyword allows you to specify a directory in which to write the Batch module HTML status and log.",
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{"title":"TextDefaultFont",
"href":"./files/GUID-88BDAAFF-74EA-422F-99B2-715F4529FD96.htm",
"description":"The TextDefaultFont keyword sets the default font for the Text, Paint, and Action modules.",
"ancestors":[{"title": "Configuration Files","href":"./files/topichead_d3e157444.htm"},{"title": "Software Initialisation File Keywords","href":"./files/GUID-63F27217-4375-4CA4-949D-B5444B2A542F.htm"}]},
{"title":"FontDPSBase",
"href":"./files/GUID-02213BBF-1668-451E-917E-C6B3CDA2F808.htm",
"description":"The FontDPSBase keyword identifies the directory in which PostScript fonts are stored. At initialisation, the application creates links in the /usr/discreet/font directory that point to fonts in the directory identified by this keyword.",
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{"title":"FontDPSAFM",
"href":"./files/GUID-FA34D30A-06DE-4E30-8439-45FACCFF091A.htm",
"description":"The FontDPSAFM keyword identifies the directory in which font metrics are stored. Font metrics provide information about each font that improves kerning. At initialisation, the application creates links in the directory /usr/discreet/font that point to font metric files in the directory identified by this keyword.",
"ancestors":[{"title": "Configuration Files","href":"./files/topichead_d3e157444.htm"},{"title": "Software Initialisation File Keywords","href":"./files/GUID-63F27217-4375-4CA4-949D-B5444B2A542F.htm"}]},
{"title":"FontProxyLowString",
"href":"./files/GUID-B9589330-BCB4-42CA-9A09-174BA73A6BC1.htm",
"description":"The FontProxyLowString keyword, along with the FontProxyHighString keword, specifies which characters to draw in font proxies. By default, the proxy string is “Aa”. You can override the default string for non-extended character sets by uncommenting and editing the FontProxyLowString keyword option.",
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{"title":"FontProxyHighString",
"href":"./files/GUID-879AF72E-9BB0-4824-AF85-BEB522AE52B8.htm",
"description":"The FontProxyHighString keyword, along with the FontProxyLowString keword, specifies which characters to draw in font proxies. By default, the proxy string is “Aa”. If a font includes glyph definitions for extended character sets (such as Asian character sets), you can set a proxy string by uncommenting and editing the FontProxyHighString keyword.",
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{"title":"TextFileEncoding",
"href":"./files/GUID-37CC3604-88C6-4267-BF33-98FA904F8FB3.htm",
"description":"The TextFileEncoding keyword is the list of file encodings that will be supported for importing text files. The encoding must be supported for “iconv”. To get the list of supported encodings, type iconv -l in a terminal.",
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{"title":"Image File Extensions",
"href":"./files/GUID-18BB5628-C1A4-4A7D-B56C-7DF9B6D2AD27.htm",
"description":"This list defines the supported image and movie file formats that the application can input or output. These extensions are used to filter files of the corresponding format when you use the file browser. This list may be edited to suit your particular needs.",
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{"title":"Audio File Extensions",
"href":"./files/GUID-3A501812-58E6-4828-BB6F-1DF553CFDE17.htm",
"description":"This list defines the supported audio file formats that the application can input or output. The extensions are used to filter files of the corresponding format when you use the file browser. This list may be edited to suit your particular needs.",
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{"title":"DefaultWebBrowser",
"href":"./files/GUID-1D341F5F-4D18-4DD8-9658-B8EDD6461097.htm",
"description":"The DefaultWebBrowser keyword identifies the Web browser used by the application to browse the Help and view HTML tables of contents for archives.",
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{"title":"BackburnerManagerHostname",
"href":"./files/GUID-1DB3E330-6917-4AB8-8D7E-554A82628A6E.htm",
"description":"The BackburnerManagerHostname keyword serves two functions:",
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{"title":"BackburnerManagerPriority",
"href":"./files/GUID-7238734A-9765-4B0A-9568-0D411FA73F5D.htm",
"description":"The BackburnerManagerPriority keyword sets the priority for jobs created on your application for Backburner Manager on your rendering network. Enable this keyword if you are running an Autodesk Backburner background processing network in your facility or will be using Cleaner XL to encode jobs exported from the application. All four BackburnerManager keywords must be set correctly for jobs to be sent to the rendering network.",
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{"title":"BackburnerManagerGroup",
"href":"./files/GUID-E5E384C1-73AA-4C5E-A1DD-60C54E8C15BF.htm",
"description":"The BackburnerManagerGroup keyword defines the group of machines to which jobs created in your software application will be submitted. Enable this keyword if you are running an Autodesk Backburner background processing network in your facility or will be using Cleaner XL to encode jobs exported from the application. All four BackburnerManager keywords must be set correctly for jobs to be sent to the rendering network.",
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{"title":"BackburnerManagerGroupCapability",
"href":"./files/GUID-18B03567-5F68-4FC7-B952-08FF781FF69A.htm",
"description":"The BackburnerManagerGroupCapability keyword specifies whether the nodes in your rendering network are equipped with GPU-accelerated graphics cards or not. Based on the value of this keyword, the Visual Effects and Finishing application enables or disables the submission of jobs that require a GPU (such as floating point jobs) to the rendering network.",
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{"title":"CleanerDestinationPath",
"href":"./files/GUID-EBF2A202-E809-4484-A022-12F5DDB2B1EF.htm",
"description":"The CleanerDestinationPath keyword sets the default path on a Windows workstation where clips are saved after encoding by Cleaner XL.",
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{"title":"LogDailyReports",
"href":"./files/GUID-AF4BBA53-EAFA-45CF-8AFB-A5D5C7F298BF.htm",
"description":"The LogDailyReports keyword specifies the number of application log files that are kept. When the number of application log files on the workstation exceeds this value, the oldest log is deleted to preserve space.",
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{"title":"NetworkPanelDisplay",
"href":"./files/GUID-E37A8015-B14E-4C26-8D6F-C39C522E9678.htm",
"description":"The NetworkPanelDisplay keyword filters the list of framestores in the Network panel to show framestores that are either available on the network and mounted, or available on the network but with undetermined mount status.",
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{"title":"Project Configuration File Keywords",
"href":"./files/GUID-8B99ABCF-FCE0-43BA-AED8-C17F1FC44962.htm",
"description":"This section describes the keywords used in project configuration files.",
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{"title":"Project Configuration File Keywords",
"href":"./files/GUID-070FBDD8-B660-4B4B-AB05-FDB5DC7872FD.htm",
"description":"Framerate The Framerate keyword sets the default framerate for the project work session. The Framerate keyword uses the following syntax Framerate <frame_rate> where <frame_rate> is 23.976, 24,",
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{"title":"Timecode",
"href":"./files/GUID-0FC5CD32-E255-47CC-9A6C-7B4784A8E9E5.htm",
"description":"The Timecode keyword sets the default timecode format used by the project.",
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{"title":"ColourSpace",
"href":"./files/GUID-1D50332E-15B9-4150-A6EE-4DB221E442B6.htm",
"description":"The ColourSpace keyword defines how RGB/YUV conversions are handled. By default, for NTSC or PAL projects, the ITU-R BT.601-5 colour space is used. For DTV projects, the ITU-R BT.709-3 colour space is used.",
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{"title":"Hires",
"href":"./files/GUID-0619FC12-5298-4EA8-B5D8-C900D25676C6.htm",
"description":"The Hires keyword sets the refresh rate of the graphics monitor. Note the following when setting the refresh rate:",
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{"title":"VideoPreviewWindow",
"href":"./files/GUID-2EF32B27-AFF5-4267-B202-05CCA94B072B.htm",
"description":"The VideoPreviewWindow keyword is used when using a Miranda DVI-Ramp device. It locates a preview device that has a matching size and refresh rate in the VideoPreviewDevice list specified in the init.cfg configuration file. When you start the application or switch to another project from the application, the graphics-to-video display is mapped to the appropriate device according to the width, height, and refresh rate specified with this keyword.",
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{"title":"ArchiveLibrary",
"href":"./files/GUID-379B6991-02C2-4A23-A8FD-5988BFFC1822.htm",
"description":"Online HTML and ASCII tables of contents will be saved to the filesystem. You can specify the destination directory by setting this keyword. Its default value is /usr/discreet/archive. You can make the target directory relative to the project directory by prefixing the path with a tilde (e.g. ~/archive).",
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{"title":"Environment Directory",
"href":"./files/GUID-3D222BD1-0F51-4C56-924E-A4CCABF15CD2.htm",
"description":"Environment directory keywords specify the paths to directories containing resources for all projects. For example, the LUTs that Autodesk provides are located in the directory /usr/discreet/<product_home>/lut. You can place resource files in these directories that you want to be able to share between projects more easily.",
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