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"description":"Legal Notices Autodesk® Smoke® 2013 © 2012 Autodesk, Inc. All rights reserved. Except as otherwise permitted by Autodesk, Inc., this publication, or parts thereof, may not be reproduced in any for",
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{"title":"What\'s New in Autodesk Smoke",
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"description":"Autodesk Smoke 2013 has changed. Everything.",
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{"title":"Getting Started with Smoke",
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{"title":"Viewing and Organizing Media in the Workspace",
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"description":"The workspace is where you accomplish all of your project tasks. The workspace consists of three main panels: The Media panel The Viewing panel The Editing panel",
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{"title":"About the Media Panel",
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"description":"From the Media panel you manage the media in your current project. Any media listed in the Media panel is saved inside the project.",
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"description":"The Viewing panel gives you different visual representations of the clips in the Media panel.",
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"description":"The Editing panel is where you edit your media and settings in the application. From the Editing panel, you access the timeline, import/export settings, conform settings, and Tools settings. The Editing panel is dynamically updated based on the selected tab/task.",
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{"title":"About the Tabs",
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"description":"At the bottom of the user interface is a series of five tabs. Each tab gives you access to different interfaces within the application, while remaining in the same environment.",
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"description":"From the Edit menu, you can access the Undo and Redo options, as well as a list of the last 10 operations that were performed. Selecting an operation from the list undoes all operations performed after the selected operation. The undo / redo operations are specific to each tab. You can set the Undo levels anywhere between 2 and 50, under the General tab in the Preferences. It is set to 10 by default. While in ConnectFX, you have access to all of your undo levels. Once you exit ConnectFX and return to the timeline, all operations performed in ConnectFX are considered one undo level. This means that even if you performed 7 different operations in ConnectFX, when you return to the timeline you can only undo all the ConnectFX operations at once, not each individual operation.",
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{"title":"Displaying the Thumbnail View",
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"description":"You can display clips as thumbnails in the Viewing panel. Use the grid to snap thumbnails into position when moved. You can display the contents of only one folder at a time in the Viewing panel.",
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"description":"By default, basic metadata is displayed on each corner of a thumbnail, such as current timecode, video and audio tracks, duration and clip/sequence name. You can also view detailed metadata for each clip/sequence in the Viewing panel.",
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{"title":"Ganging Clips in the Viewing Panel",
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"description":"You can gang clips and sequences together in the Viewing panel 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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"description":"Once created, a clip is displayed in the timeline, the Media panel and the Viewing panel.",
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"description":"A sequence is an edited clip that can contain multiple sources. When you edit a clip, it becomes a sequence. When you create a new project, an empty sequence is created within the project. You can create new sequences from the Media panel.",
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"description":"You can search for clips in the Media panel using the search field.",
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{"title":"Media Icons and Selection Reference",
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"description":"The Media panel displays icons next to the media thumbnails so you can assess its contents at a glance. The icons also appear on the thumbnails in the Viewing panel.",
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"description":"Projects and users define your working environment in Smoke. Projects define the display environment. Projects provide settings for project resolution, aspect ratio, bit depth, scan mode, etc You typically create a project for each job you work on.",
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"description":"To create a project:To create a project on start-up, click New from the Project panel. To create a project in the middle of a session, from the File menu, select Project And User Settings. The Project",
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"description":"Setups are file-based resources such as effects settings, EDLs, and LUTs and are managed in a set of subdirectories in the project\'s setup directory.",
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{"title":"About the Graphics Rendering Bit Depth",
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"description":"Depending on your system, you can specify the bit depth for images rendered by the graphics card. The bit depth affects the quality of the resulting clip. The images can be rendered with 8-bit or 16-bit FP precision.",
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"description":"Each project has a project configuration file. When you load a project, its project configuration file is read. Information in the project configuration file determines settings such as graphics monitor refresh rate, default timecode, and default frame rate for playback.",
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"description":"Proxies are low-resolution copies of high-resolution images, one for each frame. Using proxies enables you to get a higher level of playback performance and responsiveness, especially when working with large files. Set proxy management options to specify how and when proxies are generated for clips used in the project. The default setting is Proxies Off.",
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"description":"Set the default media format for your project under the Cache and Renders tab.",
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{"title":"Importing File-Based Media",
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"description":"To work in a manner similar to offline editing suites, enable MediaHubGeneral tabCache Source Media. This creates local, transcoded, and managed versions of your media. To work online, disable Cache S",
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"description":"To export a clip:Right-click the clip to export and select Export. In the MediaHub, you can also drag-and-drop the file from the Media panel to a location displayed in the MediaHub browser. Navigate",
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"description":"To publish a sequence as an EDL with transitions but flattened tracks:Right-click the clip to export and select Export. In the MediaHub, you can also drag-and-drop the file from the Media panel to a l",
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"description":"To publish custom EDL without any media:Right-click the sequence to export and select Export. In the MediaHub, you can also drag-and-drop the file from the Media panel to a location displayed in the M",
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{"title":"About the Custom EDL Export WIndow",
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"description":"The EDL file will include explicit notification of hybrid splices as punctuation marks in the record in and out data.",
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{"title":"Media Export Window Overview",
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{"title":"Setting Default Format Presets",
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"description":"The default preset is the one that appears first in the Presets drop-down list, knowing that the list is sorted by category, and then alphabetically within each category. So if you have the following presets available to the File Sequence export:",
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{"title":"H.264 Codec Export Profiles",
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"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.",
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{"title":"Supported Media File Formats",
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"description":"Tables in this topic: Image Sequence Format Extension Import Export Depth Alias .als yes yes 8 bits ARRIRAW .ari yes — 12 bits Always presented as a clip, never as a se",
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"description":"The table below lists the audio codecs supported in .mov files, as audio-video and audio-only files.",
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"description":"Smoke supports both FCP 7 and FCP X file formats. To simplify the conform process, create the FCP XML project on the workstation running Smoke. And when exporting the FCP XML, save the FCP XML to th",
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"description":"Sections in this topic: Supported Data Smoke allows you to import multi-track compositions from Apple Final Cut Pro (FCP). Smoke reads XML exported from FCP (up to ve",
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"description":"Sections in this topic: Supported Data Smoke supports Final Cut Pro X (10.0.6) XML export, including ones referencing directly R3D and MXF files. Due to the limited information w",
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{"title":"Importing an AAF Sequence",
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"description":"To simplify the conform process, create the AAF project on the workstation running Smoke. And when exporting the AAF, save the AAF to the root of the media used in that timeline: the media should eith",
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{"title":"Importing an AAF Sequence: Supported Transitions and Effects",
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"description":"Sections in this topic: Video and Audio Effects The following tables describe how effects are supported in Smoke. Blend Avid Smoke Picture-in-picture Supported Superimpose Translated to Soft Ax",
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{"title":"MediaHub Reference: Browsing for Files",
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"description":"The MediaHub consists of two panels: the browser and the MediaHub tabs. Use the browser to locate the files to import, or the location where to export your clips. Use the MediaHub tabs to set you media and sequence import options.",
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"description":"Smoke includes pre-defined import options for each available file format. While these presets should answer most of your needs, there are times you might want a different debayering settings for .r3d files, or rename a clip on import.",
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{"title":"ARRIRAW Format Settings - Import",
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"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
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"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
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{"title":"AVCHD Format Settings - Import",
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"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
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{"title":"DPX Format Settings - Import",
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"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
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{"title":"Gateway Clip Format Settings - Import",
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{"title":"HDR Format Settings - Import",
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{"title":"Image Sequences Settings - Import",
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"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
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{"title":"MP4 Format Settings - Import",
"href":"./files/GUID-FBD87400-5D84-4803-9746-8491612A8378.htm",
"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"MXF Format Settings - Import",
"href":"./files/GUID-2B9F9E8E-C7BD-4641-9FDD-504998728BFB.htm",
"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"OpenEXR Format Settings - Import",
"href":"./files/GUID-C1DD8D7D-4F2D-4399-A216-3FB972710424.htm",
"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"P2 Format Settings - Import",
"href":"./files/GUID-94D5896E-C1C0-421F-9DD3-F2A6CF7A51C8.htm",
"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Name Activate the Tape Name field so that you can manually enter",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"Photoshop Format Settings - Import",
"href":"./files/GUID-932BB309-FC9D-4E1C-A8E9-329A69F19870.htm",
"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"PNG Format Settings - Import",
"href":"./files/GUID-E30F4207-EF52-4488-B383-ACAA793CBD68.htm",
"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"Precomp Format Settings - Import",
"href":"./files/GUID-5A2ED30E-CC15-4C13-93E3-6706707921BC.htm",
"description":"Precomp clips do not have any available import options.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"QuickTime Format Settings - Import",
"href":"./files/GUID-2F88E0B7-AC32-49B3-A1A7-A93047964056.htm",
"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"R3D Format Settings - Import",
"href":"./files/GUID-368445BF-BA3F-48A8-AF35-C6450AB0BEF2.htm",
"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"SonyMXF Format Settings - Import",
"href":"./files/GUID-B52CB6AA-6D06-49B8-814B-F1386313A68D.htm",
"description":"You can import Sony F65RAW MXF file in Smoke with a default Scene Linear transformation applied to convert the 16-bit media to 16-bit half-float.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"XDCAM Format Settings - Import",
"href":"./files/GUID-B0A6C256-D705-4698-AF43-D67876F929A8.htm",
"description":"Metadata Settings Tape Name box Select an option to determine how the tape name is set for the imported clips. Select: To: Enter Tape Activate the Tape Name field so that you can manually enter the t",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"XDCAM EX Format Settings - Import",
"href":"./files/GUID-6FC870F5-6EF9-47B0-A135-F80FAD35EF24.htm",
"description":"About XDCAM EX Support for Sony XDCam EX media includes support for clips recorded as multiple segments on single SxS card (split clips) or multiple cards (span clips). Smoke imports as a single clip",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"About Pixel Aspect Ratio",
"href":"./files/GUID-EC510426-B73E-44F5-AD31-5E0394DE7AFF.htm",
"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "MediaHub Reference: Browsing for Files","href":"./files/GUID-A306C311-0AC7-4B76-8E0A-B935A296C7ED.htm"}]},
{"title":"Modifying Import Options After Import",
"href":"./files/GUID-8BC1E0E0-4721-4018-9288-18D48CA3FA03.htm",
"description":"Select the Timeline tab. In the timeline, select the segment or clip to edit. In the FX Processing Pipeline, select the thumbnail of the clip and click Edit Pre-Processing.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"}]},
{"title":"Working with Others",
"href":"./files/GUID-80079351-66E1-4656-809D-7A6ECC7A492D.htm",
"description":"Smoke offers you two methods to work in collaboration with other users of Flame or Smoke.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"}]},
{"title":"Sharing Clips Between Users",
"href":"./files/GUID-2DDF7A06-FF6A-449C-8E31-DFD7A9F94589.htm",
"description":"Clips placed in a special folder, called Shared Folder, becomes accessible to remote workstations that connect to the project. Shared folders enable different Creative Finishing workstations to quickly and conveniently share media.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Working with Others","href":"./files/GUID-80079351-66E1-4656-809D-7A6ECC7A492D.htm"}]},
{"title":"Transferring Material Between Projects",
"href":"./files/GUID-B7A08139-49C9-490E-886B-2A8D45316960.htm",
"description":"You can only transfer an item to the same type of location. One exception is Reels, which can be transferred to the Media Library; this makes it easier to transfer media from a Flame to a Smoke, since Smoke does not have Reels.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Working with Others","href":"./files/GUID-80079351-66E1-4656-809D-7A6ECC7A492D.htm"}]},
{"title":"MediaHub Reference: Browsing for Projects",
"href":"./files/GUID-0F9D5142-1C9E-41E6-87CB-9A0CFE77AEA4.htm",
"description":"Exclusive Write Access button Enable to get exclusive write permission to the Workspace you are browsing, preventing others from modifying the contents of that Workspace. Other users can still read a",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Working with Others","href":"./files/GUID-80079351-66E1-4656-809D-7A6ECC7A492D.htm"},{"title": "Transferring Material Between Projects","href":"./files/GUID-B7A08139-49C9-490E-886B-2A8D45316960.htm"}]},
{"title":"Conform Tab Overview",
"href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm",
"description":"Use the Conform tab to troubleshoot imported timelines and to relink segments to sources.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"}]},
{"title":"Adding Sources for Relink",
"href":"./files/GUID-7CE55136-0BB1-41FB-99C0-E7BE8C18224E.htm",
"description":"To use clips from the Workspace or Workspace Library as sources, drag-and-drop them to the Conform Media folder. To locate the directory that contains the sources: In the Conform tab, click Set Search",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"}]},
{"title":"Conforming an EDL",
"href":"./files/GUID-DEA74F4B-5AE9-43E0-9F39-E7027520900F.htm",
"description":"To conform an EDL using file-based media:In the Conform tab, right-click the Event list and select Load new EDL. From the window that appears, locate and select the EDL to import, and then click Load.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"}]},
{"title":"About the Load EDL Menu",
"href":"./files/GUID-0C42DC37-5657-41E3-8EEB-707191FF1290.htm",
"description":"Use the Load EDL menu to set a variety of options when loading EDLs.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"},{"title": "Conforming an EDL","href":"./files/GUID-DEA74F4B-5AE9-43E0-9F39-E7027520900F.htm"}]},
{"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":"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"},{"title": "Conforming an EDL","href":"./files/GUID-DEA74F4B-5AE9-43E0-9F39-E7027520900F.htm"},{"title": "Editing an EDL","href":"./files/GUID-CEC68A4F-AC25-4B8A-836C-4FA4F6BABE46.htm"}]},
{"title":"About EDL Editing Commands",
"href":"./files/GUID-F5CBF9AE-1C52-4398-8D2E-2704FA4D0AF0.htm",
"description":"Events Group 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 to",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"},{"title": "Conforming an EDL","href":"./files/GUID-DEA74F4B-5AE9-43E0-9F39-E7027520900F.htm"},{"title": "Editing an EDL","href":"./files/GUID-CEC68A4F-AC25-4B8A-836C-4FA4F6BABE46.htm"}]},
{"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"},{"title": "Conforming an EDL","href":"./files/GUID-DEA74F4B-5AE9-43E0-9F39-E7027520900F.htm"},{"title": "Editing an EDL","href":"./files/GUID-CEC68A4F-AC25-4B8A-836C-4FA4F6BABE46.htm"}]},
{"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"},{"title": "Conforming an EDL","href":"./files/GUID-DEA74F4B-5AE9-43E0-9F39-E7027520900F.htm"},{"title": "Editing an EDL","href":"./files/GUID-CEC68A4F-AC25-4B8A-836C-4FA4F6BABE46.htm"}]},
{"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"},{"title": "Conforming an EDL","href":"./files/GUID-DEA74F4B-5AE9-43E0-9F39-E7027520900F.htm"},{"title": "Editing an EDL","href":"./files/GUID-CEC68A4F-AC25-4B8A-836C-4FA4F6BABE46.htm"}]},
{"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"},{"title": "Conforming an EDL","href":"./files/GUID-DEA74F4B-5AE9-43E0-9F39-E7027520900F.htm"},{"title": "Editing an EDL","href":"./files/GUID-CEC68A4F-AC25-4B8A-836C-4FA4F6BABE46.htm"}]},
{"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"},{"title": "Conforming an EDL","href":"./files/GUID-DEA74F4B-5AE9-43E0-9F39-E7027520900F.htm"},{"title": "Editing an EDL","href":"./files/GUID-CEC68A4F-AC25-4B8A-836C-4FA4F6BABE46.htm"}]},
{"title":"Conforming an EDL with VTR Recapture",
"href":"./files/GUID-49710F72-FDC3-4F2D-998F-6CF9AFF49098.htm",
"description":"The following requires that the workstation is connected to a VTR. In the Conform tab, right-click the Event list and select Load New EDL. From the window that appears, locate and select the EDL to im",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"},{"title": "Conforming an EDL","href":"./files/GUID-DEA74F4B-5AE9-43E0-9F39-E7027520900F.htm"}]},
{"title":"Conforming an Avid AAF",
"href":"./files/GUID-A9EFEAFF-69CA-4DE1-9FB8-6FDF1B132111.htm",
"description":"In the Conform tab, right-click the Event list and select Load new FCP XML/AAF. Or if you already imported the AAF using the MediaHub, open it on the Timeline and switch to the Conform tab. From the",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"}]},
{"title":"Conforming an Final Cut Pro XML",
"href":"./files/GUID-B5F0332B-1754-4759-BF89-8D3F2EE8E0AD.htm",
"description":"In the Conform tab, right-click the Event list and select Load new FCP XML/AAF. Or if you already imported the XML using the MediaHub, open it on the Timeline and switch to the Conform tab. From the",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Conform Tab Overview","href":"./files/GUID-ED8665AA-F994-4411-8EBD-A5D3D4A00BE6.htm"}]},
{"title":"Clip Input/Output Using a VTR",
"href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm",
"description":"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": "Importing and Exporting Media","href":"./files/topichead_0.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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"}]},
{"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 VTR Input module contains various controls to help you perform operations, such as capturing a single frame, capturing a single clip, capturing and logging multiple clips.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"}]},
{"title":"Accessing the VTR Input Module",
"href":"./files/GUID-5A055B37-08E7-49E1-88B8-27A3274406BF.htm",
"description":"Use the VTR Input module to input clips using a VTR.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Inputting Clips From a VTR","href":"./files/GUID-6621B7EB-D6CC-4D1A-BFCF-8DCFB8CBA77C.htm"}]},
{"title":"Input Clip Menu Options",
"href":"./files/GUID-75315AB3-010C-438D-A015-629F84E98B67.htm",
"description":"The basic Clip Input controls are described as follows.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Inputting Clips From a VTR","href":"./files/GUID-6621B7EB-D6CC-4D1A-BFCF-8DCFB8CBA77C.htm"}]},
{"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": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.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": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Inputting Clips From a VTR","href":"./files/GUID-6621B7EB-D6CC-4D1A-BFCF-8DCFB8CBA77C.htm"}]},
{"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Inputting Clips From a VTR","href":"./files/GUID-6621B7EB-D6CC-4D1A-BFCF-8DCFB8CBA77C.htm"}]},
{"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Inputting Clips From a VTR","href":"./files/GUID-6621B7EB-D6CC-4D1A-BFCF-8DCFB8CBA77C.htm"}]},
{"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Inputting Clips From a VTR","href":"./files/GUID-6621B7EB-D6CC-4D1A-BFCF-8DCFB8CBA77C.htm"}]},
{"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, use the VTR Output module 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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"}]},
{"title":"Accessing the VTR Output Module",
"href":"./files/GUID-344159D1-B255-47E4-8C02-0CE807E371C8.htm",
"description":"Use the VTR Output module to output clips using a VTR.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Outputting Clips To a VTR","href":"./files/GUID-1B3FEF98-10C4-40C3-9E57-5AB5F7982BC3.htm"}]},
{"title":"VTR Output Module Controls",
"href":"./files/GUID-967B14A4-0B95-4F3C-B36D-A4A1DFA6EE69.htm",
"description":"You can view the VTR Output module in large or small format depending on which tab is selected.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Outputting Clips To a VTR","href":"./files/GUID-1B3FEF98-10C4-40C3-9E57-5AB5F7982BC3.htm"}]},
{"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": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Outputting Clips To a VTR","href":"./files/GUID-1B3FEF98-10C4-40C3-9E57-5AB5F7982BC3.htm"}]},
{"title":"Outputting a Single Clip",
"href":"./files/GUID-24580AC0-195E-4856-8A9F-6795149D2D4D.htm",
"description":"To output a clip to a VTR, load a clip into the VTR Output module 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 .",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Outputting Clips To a VTR","href":"./files/GUID-1B3FEF98-10C4-40C3-9E57-5AB5F7982BC3.htm"}]},
{"title":"Outputting Multiple Clips",
"href":"./files/GUID-A8B5F063-435A-4C5D-A9BA-9B8886526396.htm",
"description":"You can output more than one clip to a VTR in a single pass. When you load multiple clips into the VTR Output module, you must define in and out points (and any other output options) for each clip before starting the clip output process.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Outputting Clips To a VTR","href":"./files/GUID-1B3FEF98-10C4-40C3-9E57-5AB5F7982BC3.htm"}]},
{"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. The standing recommendation is blacking one minute at the beginning of the tape.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Outputting Clips To a VTR","href":"./files/GUID-1B3FEF98-10C4-40C3-9E57-5AB5F7982BC3.htm"}]},
{"title":"HDCAM SR Stereo Tape Output",
"href":"./files/GUID-5A54FDAD-9970-4773-ABF5-2924CD2BD577.htm",
"description":"Using an HDCAM SR, you can output 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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Outputting Clips To a VTR","href":"./files/GUID-1B3FEF98-10C4-40C3-9E57-5AB5F7982BC3.htm"}]},
{"title":"Monitoring Video During Clip Output",
"href":"./files/GUID-27C252DC-7091-466C-B583-65908CBCEE90.htm",
"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"}]},
{"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"}]},
{"title":"Inputting and Outputting a Live Video Signal",
"href":"./files/GUID-21E68927-1F95-45BC-8722-1B66B6AC7F43.htm",
"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"}]},
{"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.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"}]},
{"title":"Generating Proxies from VTR Input",
"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": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.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:",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"}]},
{"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 VTR Input and VTR Output modules.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.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": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Controlling a VTR","href":"./files/GUID-114D7FD9-08B5-4961-BE49-803722966753.htm"}]},
{"title":"Audio Gain Adjustment Settings",
"href":"./files/GUID-3E619B0F-5C3C-4D5D-A65E-FDE8789D10BF.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 VTR Output module.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"}]},
{"title":"Adjusting Audio Gain on Clip Output",
"href":"./files/GUID-5ECC6A07-C936-401D-9CA5-EDA9B52E1B00.htm",
"description":"To adjust the audio gain on output clip:Enable the Fader Lock buttons (so that they are light grey) if you want to apply the identical value to pairs of audio channels. Slide the faders to adjust the",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Audio Gain Adjustment Settings","href":"./files/GUID-3E619B0F-5C3C-4D5D-A65E-FDE8789D10BF.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": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.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": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"}]},
{"title":"Enabling Colour Space Conversion on Clip Input",
"href":"./files/GUID-94D613EE-16DE-4667-B7DB-37947081EB53.htm",
"description":"Although the preceding descriptions relate to capture from SDI to the framestore, the reverse applies when outputting from the framestore to SDI.",
"ancestors":[{"title": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"},{"title": "Inputting and Outputting with Headroom","href":"./files/GUID-D9916C4E-67B3-4DF7-9153-EB6AA06DB6E2.htm"}]},
{"title":"Capturing 60i Material with 2:3 Pulldown Removal",
"href":"./files/GUID-BC35DB64-DFA4-4719-A854-2745DE6A5501.htm",
"description":"Using the VTR Input module, 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": "Importing and Exporting Media","href":"./files/topichead_0.htm"},{"title": "Clip Input/Output Using a VTR","href":"./files/GUID-D718A4D0-4E57-4C59-962B-1EAB06DD3463.htm"}]},
{"title":"Archiving in Smoke",
"href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm",
"description":"Archiving in Smoke saves 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.",
"ancestors":[]},
{"title":"Archiving a Project to a File-based Archive",
"href":"./files/GUID-CD731E5D-6702-4B65-A2FD-FB1B5E52C733.htm",
"description":"Archiving a project to a file archive (as opposed to a VTR tape archive) consists of opening an existing archive file, or creating a new archive file, on storage such as an external hard drive.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"}]},
{"title":"Restoring a Project from a File-based Archive",
"href":"./files/GUID-424DE55D-7DEE-434D-A486-395154D5768F.htm",
"description":"You can only perform the complete project restoration described below if the project to restore does not already exist on the workstation. You can see a list of all the projects in MediaHubProjectsLocal Projects.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"}]},
{"title":"Archiving Clips to a File-based Archive",
"href":"./files/GUID-A8F9A6BE-110C-4D4C-BE89-EF46FB251B39.htm",
"description":"Archiving clips to a file archive (as opposed to a VTR tape archive) consists of opening an existing archive file, or creating a new archive file, on storage such as an external hard drive.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"}]},
{"title":"Restoring Material from a File-based Archive",
"href":"./files/GUID-307D5ED7-6251-4B34-B310-F42494C55138.htm",
"description":"To restore material from an archive:In the MediaHub, enable Browse for Archive. In the Archives list, double-click the archive that contains the material to restore. Drag and drop clips and folders fr",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"}]},
{"title":"Tips for Organizing Archives",
"href":"./files/GUID-C24D9AC4-53BD-4DCD-9ECC-10C06E85F9B8.htm",
"description":"Although the way you organize your archives is a matter of personal preference, the following guidelines may be helpful:",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"}]},
{"title":"About VTR Archives",
"href":"./files/GUID-786BF9E9-653C-462B-BBE5-8A2C3D912044.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 from a VTR archive, your clips FPS, resolution and bit depth need to match your VTR tape device settings.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"}]},
{"title":"Configuring a VTR for Archiving",
"href":"./files/GUID-33F8662D-DA1D-4C70-8D1C-F8ADE48EB213.htm",
"description":"Before you start archiving to a VTR, configure both the hardware and the software.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"},{"title": "About VTR Archives","href":"./files/GUID-786BF9E9-653C-462B-BBE5-8A2C3D912044.htm"}]},
{"title":"About Using an HDCAM SR for Archiving",
"href":"./files/GUID-78E0C2E9-F893-4501-B106-8986B00FE640.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.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"},{"title": "About VTR Archives","href":"./files/GUID-786BF9E9-653C-462B-BBE5-8A2C3D912044.htm"}]},
{"title":"Restoring Material from a VTR Archive",
"href":"./files/GUID-6DDAC596-A864-49A1-BE84-752DC8FE562C.htm",
"description":"Smoke can only read VTR archives. When you open a VTR archive in read/write mode, Smoke performs an auto-test. The auto-test involves checking whether it can write, read, and verify the integrity of t",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"},{"title": "About VTR Archives","href":"./files/GUID-786BF9E9-653C-462B-BBE5-8A2C3D912044.htm"}]},
{"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, Smoke splits the archive across multiple devices of the same type. The splitting of archives is seamless and virtually transparent to the archiving process.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"}]},
{"title":"Opening Multi-Tape Archives",
"href":"./files/GUID-772E35B4-E625-4048-A896-15CE27B8D8DD.htm",
"description":"When creating large archives, you can use multiple volumes 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.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"},{"title": "Archiving to Multiple Volumes","href":"./files/GUID-DE06DA14-CA4F-4E00-8400-4D2B35FBA4F7.htm"}]},
{"title":"Supplementing Archives with System Drive Backups",
"href":"./files/GUID-79BD91EB-700B-4E52-94FA-449267533768.htm",
"description":"The recommended backup strategy for your Smoke workstation is to archive project media and setups to an archive that can be saved to a remote file server or storage device. Do this as often as necessary to protect your media from storage or system failure.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"}]},
{"title":"Browsing an Archive Offline",
"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, two versions of the same table of contents are created: one as an ASCII file, and another as an HTML one. Created by default in /usr/discreet/archive, and displayed in the list of Archives in MediaHubBrowse for Archives, they can be used in cases where the header information becomes corrupted.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"},{"title": "Supplementing Archives with System Drive Backups","href":"./files/GUID-79BD91EB-700B-4E52-94FA-449267533768.htm"}]},
{"title":"Online Tables of Contents",
"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.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"},{"title": "Supplementing Archives with System Drive Backups","href":"./files/GUID-79BD91EB-700B-4E52-94FA-449267533768.htm"},{"title": "Browsing an Archive Offline","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.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"},{"title": "Supplementing Archives with System Drive Backups","href":"./files/GUID-79BD91EB-700B-4E52-94FA-449267533768.htm"},{"title": "Browsing an Archive Offline","href":"./files/GUID-2F306E8B-5A1D-433C-A8A0-885988A63EE3.htm"}]},
{"title":"Recovering a Corrupted 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.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"},{"title": "Supplementing Archives with System Drive Backups","href":"./files/GUID-79BD91EB-700B-4E52-94FA-449267533768.htm"}]},
{"title":"Restoring Legacy Archives",
"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.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"}]},
{"title":"Deleting Content from an Archive",
"href":"./files/GUID-D2D6E85B-7EAE-42A2-BEB5-FAE0FF6E20BE.htm",
"description":"To ensure data integrity and prevent archive corruption, you cannot delete entries from an archive.",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"}]},
{"title":"MediaHub Reference: Browsing for Archives",
"href":"./files/GUID-4088A316-C2CD-4AB1-ADDA-670D96F675B6.htm",
"description":"Archives Buttons With No Opened Archive New Archive button Creates a new archive in the location displayed in the file browser. Opens the New Archive Creation dialogue box. View Content button Disp",
"ancestors":[{"title": "Archiving in Smoke","href":"./files/GUID-04A72CE6-EEA7-40EB-9F58-04CE38EA2987.htm"}]},
{"title":"Playing Back Media",
"href":"./files/topichead_1.htm",
"description":"",
"ancestors":[]},
{"title":"Playback",
"href":"./files/topichead_2.htm",
"description":"",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"}]},
{"title":"Playing Back Clips in the Full Screen Player",
"href":"./files/GUID-A8291212-03C3-4317-AA8E-47DFF68E3DCC.htm",
"description":"To play back clips in the full screen player: Click the Timeline tab. Do one of the following to select the Player: Click the Layout button and select Player. If you\'ve enabled Layout Selection Overla",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback","href":"./files/topichead_2.htm"}]},
{"title":"Jogging and Panning a Clip",
"href":"./files/GUID-8D7AC555-9205-4426-9348-65A98E239E42.htm",
"description":"You can pan and zoom in the player, tryptich and source sequence viewport. By selecting the Viewing Mode button you can select the Zoom or Pan pointers.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback","href":"./files/topichead_2.htm"}]},
{"title":"Switching the Playback Focus between the Source and Sequence Clips",
"href":"./files/GUID-9C81E21D-C884-48E9-94D0-5917B032DD31.htm",
"description":"You can switch the focus between the source and sequence viewers by clicking on either of the Source-Sequence viewers, by selecting a track on the timeline, or by selecting the green (source) or red (sequence) tabs above the Player, Source-Sequence, or Triptych viewers.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback","href":"./files/topichead_2.htm"}]},
{"title":"Comparing Three Shots in the Triptych Player",
"href":"./files/GUID-570621AB-CDF9-4D49-B734-3BAA3FF1AEA2.htm",
"description":"The triptych player provides three players, side-by-side, which you can use to simultaneously view the same clip in different contexts. For example, you can set the middle player to play the clip, the left player to show the clip\'s incoming frame of the current element in the timeline, and the right player to show the clip\'s outgoing frame.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback","href":"./files/topichead_2.htm"}]},
{"title":"Play Back Speed Indicators",
"href":"./files/GUID-BEC3B8DA-B7CA-4822-AAD8-6D6CE8C52704.htm",
"description":"As you play clips, the positioner in the image window time bar changes colours if frames are dropped. The colours indicate the following:",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback","href":"./files/topichead_2.htm"}]},
{"title":"Comparing Tracks in Split Screen",
"href":"./files/GUID-975C9537-63AB-4D5A-8064-9F2EE6FDC8D4.htm",
"description":"Use the split screen to compare two tracks, such as an online and offline version. Generally this is used to compare a rough cut to the final assembly. By merging both tracks into a single image, you can compare the two for editing synchronization, color matching, etc.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback","href":"./files/topichead_2.htm"}]},
{"title":"Creating a Subclip in the Player",
"href":"./files/GUID-BF8A7CD9-72FA-4E53-809C-1F9406D4D4B8.htm",
"description":"You can create subclips anywhere that you have access to the source clip (i.e. Thumbnail, Player, Triptych and Source-Sequence viewers).",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback","href":"./files/topichead_2.htm"}]},
{"title":"Accessing Clip Information",
"href":"./files/GUID-63BC2DB5-A85A-45F6-9368-FD0AB3C6C4C8.htm",
"description":"Any viewer contains the following information located at the bottom right corner of the viewer:",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback","href":"./files/topichead_2.htm"}]},
{"title":"Cue Marks",
"href":"./files/topichead_3.htm",
"description":"",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"}]},
{"title":"Adding Cue Marks",
"href":"./files/GUID-15A1AFB6-F103-4BCB-9FBD-174814F82B39.htm",
"description":"To add a cue mark: In the timebar, do one of the following: Drag the yellow positioner to the desired frame, or Click on the desired frame on the time bar. Click the Mark button. A cue mark is",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Cue Marks","href":"./files/topichead_3.htm"}]},
{"title":"Adding In and Out Marks",
"href":"./files/GUID-D83791EA-D25F-4A7B-81B6-ADFCD92B11DF.htm",
"description":"To add in and out marks: In the timebar, do one of the following: Drag the yellow positioner to the desired frame, or Click on the desired frame on the time bar. Click the View Area Task menu.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Cue Marks","href":"./files/topichead_3.htm"}]},
{"title":"Navigating between Marks in the Clip",
"href":"./files/GUID-28FA4B55-082A-468B-94D5-BDB8264EA6BF.htm",
"description":"To navigate between marks in the clip:Click the Timeline tab. Select the View Area Task menu then select Go To Marker. To navigate to an In or Out marker select either the: Go To In Mark, or Go To",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Cue Marks","href":"./files/topichead_3.htm"}]},
{"title":"Deleting Cue Marks",
"href":"./files/GUID-F2116E1E-3092-4209-BA2F-7329389A8736.htm",
"description":"To clear an In or Out mark from the timebar: Click the Timeline tab. Click the View Area Task menu. Select either Clear In, or Clear Out The In (or Out) marker is deleted. You can, as well, sel",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Cue Marks","href":"./files/topichead_3.htm"}]},
{"title":"Changing the Color of Cue Marks in the Clip",
"href":"./files/GUID-57D2B696-B72F-4813-86C0-95D2D97B2B01.htm",
"description":"You can set the color of the current Player cue mark to one of your preference.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Cue Marks","href":"./files/topichead_3.htm"}]},
{"title":"Playback Options",
"href":"./files/topichead_4.htm",
"description":"",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"}]},
{"title":"Setting up the Image Display Viewer in the Tools",
"href":"./files/GUID-186DD650-82A6-4149-B0EF-DD5CEEE96E76.htm",
"description":"To set up the image display viewer in the tools: Click the View button. Modify the display attributes. The viewer updates the display with your changes. To set up the image display viewer in",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback Options","href":"./files/topichead_4.htm"}]},
{"title":"Setting up the Image Display Viewer in the Player",
"href":"./files/GUID-7EA74E19-F66A-4C6E-9CEF-D89A9AE2AED0.htm",
"description":"You can change the display of an image based on the exposure and contrast settings, as well as the type of image data you are working with. By default, all images are displayed in RGB mode with a tr",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback Options","href":"./files/topichead_4.htm"}]},
{"title":"Viewing Image Overlays in the Tools",
"href":"./files/GUID-5AD33F72-2C35-4382-BF07-878FCEC18E5D.htm",
"description":"To view image overlays in the Tools:Click the Grid button. Set your preference for overlay attributes. The new overlay attributes are set.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback Options","href":"./files/topichead_4.htm"}]},
{"title":"Viewing Image Overlays in the Player",
"href":"./files/GUID-7AAFD079-A4AF-41B0-AAC8-14A0A167A838.htm",
"description":"To view image overlays in the player:Click the Timeline tab. Select the Player. In the View Area menu bar, select Options. Select Show Overlays. Set your preference for overlay attributes. The new",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback Options","href":"./files/topichead_4.htm"}]},
{"title":"Modifying Exposure and Contrast in the Image Display",
"href":"./files/GUID-F8B15537-8E8A-454B-B7F7-2CECC73973DF.htm",
"description":"You can modify the overall brightness of images displayed on the workstation or broadcast monitor, as well as the contrast between light and dark colours. Note that these settings affect only the display, and do not modify the underlying colour values of the clips.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback Options","href":"./files/topichead_4.htm"}]},
{"title":"Enabling Aspect Ratio Display in the Player",
"href":"./files/GUID-92FB498F-B6A6-47F3-8F8A-49AE2E05CE86.htm",
"description":"When you work with clips that have a resolution that does not use square pixels, such as NTSC or PAL, you 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.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback Options","href":"./files/topichead_4.htm"}]},
{"title":"Changing Playback Scan Mode Options in the Player",
"href":"./files/GUID-A5359690-833D-4249-9010-143577AE4772.htm",
"description":"Use the playback scan mode option to define how you want the clip to play and display. By default, everything will be automatically set to the correct scan mode.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback Options","href":"./files/topichead_4.htm"}]},
{"title":"Displaying a Clip in the Broadcast Monitor",
"href":"./files/GUID-CB149E32-E0F5-4846-B6EE-B83C1579DC27.htm",
"description":"To set broadcast monitoring preferences: Click the Timeline tab. In the View Area menu bar, select Options. Select Show Viewing Settings. Enter the preferences for the broadcast monitor in the Broad",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Playback Options","href":"./files/topichead_4.htm"}]},
{"title":"Color and Light Levels",
"href":"./files/topichead_5.htm",
"description":"",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"}]},
{"title":"Accessing the Vectorscope",
"href":"./files/GUID-C9E9AF2D-F9FE-43BC-902B-3AEDE327C0AF.htm",
"description":"To access the Vectorscope: Click the Timeline tab. Select the Player. In the View Area menu bar, select Options. Select Show Vectorscope. The Vectorscope is displayed.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Color and Light Levels","href":"./files/topichead_5.htm"}]},
{"title":"Changing the Settings in the Vectorscope",
"href":"./files/GUID-6497C34F-A997-44FB-AED5-62D39017C626.htm",
"description":"To change the settings in the Vectorscope: Click the Timeline tab. Select the Player. In the View Area menu bar, select Options. Select Show Vectorscope. Click the Vectorscope Display button. Select",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Color and Light Levels","href":"./files/topichead_5.htm"}]},
{"title":"Scaling the Vectorscope",
"href":"./files/GUID-2E72479B-EB9E-4850-8E62-350AC37F0006.htm",
"description":"To scale the Vectorscope: Click the Timeline tab. Select the Player. In the View Area menu bar, select Options. Select Show Vectorscope. Click the Vectorscope Display button. Select Vectorscope > Co",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"},{"title": "Color and Light Levels","href":"./files/topichead_5.htm"}]},
{"title":"Preview options",
"href":"./files/GUID-5818A154-76BE-45E2-8AE4-943324F259C0.htm",
"description":"To access the preview options below, select the Options box in the View menu bar.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"}]},
{"title":"Changing Playback Scan Mode Options",
"href":"./files/GUID-788D68BC-E605-4E57-A1EC-20998FDAAC98.htm",
"description":"To set playback mode in the Player:Click the View button. Click on the Scan Mode button. The default choice is the clip\'s native scan mode. Select a scan mode. Click Done. The player displays the c",
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{"title":"Enabling the Aspect Ratio Display",
"href":"./files/GUID-5056B53D-8B05-4CF0-8B68-E0815F1F608B.htm",
"description":"To enable the aspect ratio display:Click the View button. Enable the Use Ratio button. The Use Ratio button is only active if you are viewing a clip with a resolution that does not use square pixels",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"}]},
{"title":"Setting up the Image Display Viewer in the Tools",
"href":"./files/GUID-186DD650-82A6-4149-B0EF-DD5CEEE96E76-1.htm",
"description":"To set up the image display viewer in the tools: Click the View button. Modify the display attributes. The viewer updates the display with your changes. To set up the image display viewer in",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"}]},
{"title":"Common Player Buttons and Playback Controllers",
"href":"./files/GUID-A8600E43-A6CF-47C1-9307-B4D12186EEC8.htm",
"description":"",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"}]},
{"title":"Displaying the Reference Area",
"href":"./files/GUID-EB1521C3-78F7-4BB5-8D26-755E16FFB6D0.htm",
"description":"In the image window of the tools 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 either display one of the current tool\'s working clips (for example, front, back, or matte), or one ofcan display one of the reference frames that you grab on-the-fly.",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"}]},
{"title":"Displaying Multiple Views",
"href":"./files/GUID-33C82085-5546-4D29-AF52-7E0D36A15BB4.htm",
"description":"",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"}]},
{"title":"Player Menu Reference",
"href":"./files/GUID-DE1EA22E-52D7-4FDA-8A43-02B8241111E7.htm",
"description":"Player Menu Reference Colour button Opens the colour picker. Player Menu tabs Click to display menus for the Clip & Setup, AudioDesk, Timeline, or Deliverables options. Player Menu tabs Click to di",
"ancestors":[{"title": "Playing Back Media","href":"./files/topichead_1.htm"}]},
{"title":"Editing Clips and Sequences",
"href":"./files/GUID-DE5DEDDE-4907-4836-B50C-3A580CA2F975.htm",
"description":"Adding Your First Clips to the Timeline The following procedures list a few methods to add clips quickly to a timeline after starting Smoke for the first time. These methods are certainly not the onl",
"ancestors":[]},
{"title":"Navigating the Timeline",
"href":"./files/GUID-5126F333-42A3-4FF0-ACB2-510810653AD7.htm",
"description":"",
"ancestors":[{"title": "Editing Clips and Sequences","href":"./files/GUID-DE5DEDDE-4907-4836-B50C-3A580CA2F975.htm"}]},
{"title":"About Timeline Tracks and Versions",
"href":"./files/GUID-40E929A8-AC88-43D7-AE7E-FE16970AD490.htm",
"description":"Different areas on the timeline form a hierarchy that allows you the flexibility to composite on multiple tracks while maintaining different video streams or versions of your work.",
"ancestors":[{"title": "Editing Clips and Sequences","href":"./files/GUID-DE5DEDDE-4907-4836-B50C-3A580CA2F975.htm"},{"title": "Navigating the Timeline","href":"./files/GUID-5126F333-42A3-4FF0-ACB2-510810653AD7.htm"}]},
{"title":"Track Indicators and Tools",
"href":"./files/GUID-F4F3A44B-C89F-47D8-9769-A49B1F8EACF1.htm",
"description":"On the left side of the timeline, in the Patch Panel area, you can find indicators and other tools for working with tracks and versions.",
"ancestors":[{"title": "Editing Clips and Sequences","href":"./files/GUID-DE5DEDDE-4907-4836-B50C-3A580CA2F975.htm"},{"title": "Navigating the Timeline","href":"./files/GUID-5126F333-42A3-4FF0-ACB2-510810653AD7.htm"},{"title": "About Timeline Tracks and Versions","href":"./files/GUID-40E929A8-AC88-43D7-AE7E-FE16970AD490.htm"}]},
{"title":"Adding Tracks and Versions",
"href":"./files/GUID-8BF382A2-57BC-4D55-9F54-F166EB94D93A.htm",
"description":"To add a new video track:On the timeline, select the version you want to add a track to. On the bottom left of the timeline, click Track+, or from the Timeline Task menu, select NewVideo Track. A new",
"ancestors":[{"title": "Editing Clips and Sequences","href":"./files/GUID-DE5DEDDE-4907-4836-B50C-3A580CA2F975.htm"},{"title": "Navigating the Timeline","href":"./files/GUID-5126F333-42A3-4FF0-ACB2-510810653AD7.htm"},{"title": "About Timeline Tracks and Versions","href":"./files/GUID-40E929A8-AC88-43D7-AE7E-FE16970AD490.htm"}]},
{"title":"Moving, Resizing, and Deleting Tracks",
"href":"./files/GUID-59882F6E-89C1-47C9-84CC-44CD10A4B467.htm",
"description":"To move a track: Select the track or tracks that you want to move. Grab the selected track from the left end of the Patch Panel area, and drag up or down to the desired location. A red message appears",
"ancestors":[{"title": "Editing Clips and Sequences","href":"./files/GUID-DE5DEDDE-4907-4836-B50C-3A580CA2F975.htm"},{"title": "Navigating the Timeline","href":"./files/GUID-5126F333-42A3-4FF0-ACB2-510810653AD7.htm"},{"title": "About Timeline Tracks and Versions","href":"./files/GUID-40E929A8-AC88-43D7-AE7E-FE16970AD490.htm"}]},
{"title":"About Timeline Patching",
"href":"./files/GUID-E78CCBCC-7AE1-4343-9414-57C648D75C53.htm",
"description":"When you record a source clip to a sequence, you must decide what source clip channels you want to use, and to which tracks you want to record them. To connect the source channels to the destination timeline tracks, you use patching. When you select the source clip, green patch identifiers indicate what channels you can record from the source to the timeline.",
"ancestors":[{"title": "Editing Clips and Sequences","href":"./files/GUID-DE5DEDDE-4907-4836-B50C-3A580CA2F975.htm"},{"title": "Navigating the Timeline","href":"./files/GUID-5126F333-42A3-4FF0-ACB2-510810653AD7.htm"}]},
{"title":"Patching on the Timeline",
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"description":"To patch a source channel to a sequence track:Select a source in the workspace. Source track patch identifiers appear in the Patch Panel area for each channel in the source. Create the patch: If the",
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{"title":"Navigating and Searching the Timeline",
"href":"./files/GUID-0B949858-2196-4CD9-A766-5BC2FAFD6713.htm",
"description":"Although you can search for elements by scrolling the timeline and displaying information about each element, the Find and Select in Timeline options make it easier to find specific elements. You can also refine your search when searching specifically on segments. Once your search is complete, or if you have multiple segments selected on the timeline, you can easily navigate through them.",
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{"title":"Using Markers on the Timeline",
"href":"./files/GUID-80BEB0BC-767F-4424-B214-CCE59ECACED5.htm",
"description":"Use cue marks or segment marks to mark frames of interest on a clip. You can then quickly go to the marked frames. These marks are for reference purposes only; they do not affect the clip and are not used in any editing operations. You can add a mark to all tracks (cue mark) or to a single track or version (segment mark) on the timeline. Segment marks move on the timeline as you trim, slip, or slide a clip whereas cue marks stay at the same position on the timeline.",
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{"title":"About Timeline Containers",
"href":"./files/GUID-B6A67454-07B8-45F8-807E-4FB2438C58F4.htm",
"description":"Containers are a convenient way to remove clutter from the timeline by grouping or nesting elements together. The elements, which can come from different tracks or versions, are treated as one unit yet remain individually editable. Containers behave like any other element but they appear in a separate timeline tab when you enter their editor. You can also add containers within a container.",
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{"title":"Creating a Timeline Container",
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"description":"To create a container:Select all the elements on tracks or versions on the timeline that you want to collapse into the same container. The bottom track is always trimmed out so that you can dissolve f",
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{"title":"About Timeline Gaps",
"href":"./files/GUID-4BC53495-FEEA-4265-993B-4F32F6E23C5A.htm",
"description":"Gaps are spaces on a track that do not contain media. You can use gaps to see through one layer to another or to apply effects to the tracks below the gap. If a gap exists on a track, the next track that contains video media is included in the edit as long as it is also below the focus track.",
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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. While you can play your timeline in any of the Viewing panel\'s View modes, if the Player is displayed, you can also use any of the playback controls to move through the timeline. The Player also offers compare modes, where you can set up a split view to play primary and secondary versions or tracks at the same time.",
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{"title":"Timeline Reference",
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"description":"Use these settings to help you navigate and perform tasks on the timeline. You can also right-click anywhere on the timeline to display a contextual menu of relevant operations for the type of element selected.",
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{"title":"Timeline Media Management Options",
"href":"./files/GUID-C9460A6E-3A15-404C-9F5A-1CCEF29166F0.htm",
"description":"The Commit area of the Timeline Task menu offers a number of options to help you clean up your timeline or save space when archiving a project.",
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{"title":"Basic Editing",
"href":"./files/topichead_6.htm",
"description":"",
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{"title":"Inserting a Clip on the Timeline",
"href":"./files/GUID-782846FB-50CC-4AA1-8B40-5A7328D6B55F.htm",
"description":"To insert a clip to the timeline using the Insert button:Move the timeline positioner to the frame that you want to use as the beginning of the insert. From the workspace, select the clip that you wa",
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{"title":"Overwriting a Clip on the Timeline",
"href":"./files/GUID-0F312558-D0D7-49AE-B04E-C4F9ADC67F5A.htm",
"description":"To overwrite a clip to the timeline using the Overwrite button:Move the timeline positioner to the frame that you want to use as the beginning of the overwrite. From the workspace, select the clip th",
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{"title":"Replacing a Clip on the Timeline",
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"description":"To replace a clip on the timeline using the Replace button:Do one of the following: Move the timeline positioner over the clip that you want to replace. Select a clip or multiple clips on the timeline",
"ancestors":[{"title": "Editing Clips and Sequences","href":"./files/GUID-DE5DEDDE-4907-4836-B50C-3A580CA2F975.htm"},{"title": "Basic Editing","href":"./files/topichead_6.htm"}]},
{"title":"Other Editing Operations",
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"description":"While insert, overwrite, and replace are the editing operations you use most often, there are other editing options available. For each of these operations, you select your source clip in the same manner as for an insert, overwrite, or replace edit. Then you select the appropriate editing operation from the Secondary Edit box.",
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{"title":"Timeline Editing Settings",
"href":"./files/GUID-5AEC2E0D-DC86-405B-ABC6-16C554E3E15E.htm",
"description":"The settings you use for editing to and on the timeline can be found to the right and above the timeline. Most of these settings also have a keyboard shortcut associated with them.",
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{"title":"Fine-Tuning Your Edits on the Timeline",
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"description":"",
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{"title":"Cutting Clips on the Timeline",
"href":"./files/GUID-263925B4-2818-47FD-8419-E89C01B2BDB8.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.",
"ancestors":[{"title": "Editing Clips and Sequences","href":"./files/GUID-DE5DEDDE-4907-4836-B50C-3A580CA2F975.htm"},{"title": "Fine-Tuning Your Edits on the Timeline","href":"./files/topichead_7.htm"}]},
{"title":"Swapping Timeline Elements",
"href":"./files/GUID-873FB63D-50BC-4E55-906F-752F7022E93C.htm",
"description":"You can quickly swap elements on the timeline. If segments contain timeline effects, they are swapped as well.",
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{"title":"Removing Elements From the Timeline",
"href":"./files/GUID-2C310766-BCBF-4F33-93AB-8EE814AA2D1D.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.",
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{"title":"Matching Clips with Their Sources",
"href":"./files/GUID-769FD55B-36F0-40B7-8D75-6FA64B961CA1.htm",
"description":"Matched sources are the original, untrimmed clips with their original names and timecode information. There are numerous ways to match clips with their sources:",
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{"title":"Trimming Clips",
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"description":"You can trim video or audio clips (with or without effects), cuts, and transitions on the timeline. You can trim multiple tracks or segments at the same time. 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.",
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{"title":"Grouping and Syncing Elements on the Timeline",
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"description":"You can create editorial groups to preserve the relationship between timeline elements. For example, if you have a video clip with two tracks of audio, you can create a group for them. When you edit one segment that is part of a group, all segments in the group are edited in the same way. If your group becomes out of sync, a visual cue is displayed on the timeline, and tools are available to help you resync the elements.",
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{"title":"Syncing Tracks and Versions",
"href":"./files/GUID-5B997434-D333-4263-AA59-1740F95C8E17.htm",
"description":"You can use the track and version-based sync locks to decide the behaviour of tracks or versions when performing editing operations, such as insert edit. In this case, you do not have to select individual elements on tracks.",
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{"title":"Audio",
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"description":"You can perform many of the same editing operations on audio that you use to edit video, such as cutting, trimming, adding fades, and creating stereo tracks. A comprehensive set of audio effects tools is available in the timeline and Audio Desk for mixing and mastering your audio.",
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{"title":"Accessing the Audio Desk",
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"description":"The Audio Desk components are split into two panels; the patch panel will display to the left of the viewer, while the EQ Desk and the Auxiliary Effects Desk will display to the right of the viewer.",
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{"title":"Importing Audio Files",
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"description":"To import an audio file: Click the MediaHub tab. Enable Browse for: Files. Browse to the location of the audio file. The audio file thumbnail appears in the browser display. Drag and drop the audio",
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{"title":"Adding an Audio Effect on a Segment",
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"description":"To add an audio effect on a segment: Select the audio segment. Right-click on the segment and select Add Effects. Enable one of the audio effects. Adjust the parameters for the audio effect on the E",
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{"title":"Adjusting the Audio Levels on Part of an Audio Segment",
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"description":"To adjust the audio level on part of an audio segment: Select an audio segment. Set the positioner to the relevant part of the segment. Right-click on the segment and select Add Effect. The Effects",
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{"title":"Cross-fading Two Audio Segments Together",
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"description":"To cross-fade two audio segments together: Move the vertical focus point inline with the relevant audio track. Navigate to the cut point of the two audio segments with the positioner. Click the Tran",
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{"title":"Fading Audio Into or Out of a Clip",
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"description":"To fade audio into or out of a clip: Move the vertical focus point inline with the relevant audio track. Navigate to the beginning (or end) of the segment. Click the Transition button. In the Audio",
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{"title":"Scaling the Size of the Waveform",
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"description":"To scale the size of the waveform: Do one of the following: Drag the audio track to increase or decrease the track size, or From the Audio pull down menu in the Timeline Menu Bar, choose Increase W",
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{"title":"Displaying Audio Waveforms",
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"description":"To turn audio waveforms on: From the Timeline Menu Bar at the bottom of the screen, select Audio > Show Waveforms With Effects. The Waveform display for all audio segments is turned on. To turn aud",
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{"title":"Muting Audio Tracks",
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"description":"To mute an audio track in the timeline: Locate the track you want to mute. Click the speaker icon in the track identifier strip. The speaker icon displays as a crossed-out icon to indicate the track",
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{"title":"Mapping Audio Tracks to Audio Desk Input Strips",
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"description":"In the patch panel each audio track has a small square box with a number. That number is the audio input that is matched to the numbers at the bottom of each audio strip at the bottom of the audio desk.",
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{"title":"Converting Stereo Audio to Mono Audio",
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"description":"To convert stereo audio to mono audio: Select the stereo track by clicking on the audio channel strip. From the Timeline Task menu, select Stereo > Split Stereo Track. The stereo channel is converte",
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{"title":"Converting Mono Audio to Stereo Audio",
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"description":"To convert mono audio to stereo audio: Select two mono tracks by control-clicking on the audio channel strips. From the Timeline Task menu, select Stereo > Merge Into Stereo tracks. The two mono tra",
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{"title":"Timeline Transitions",
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"description":"Timeline transitions are effects you apply directly to the transitions between clips. As such, they accelerate the process of creating and modifying effects because you don\'t have to enter the editor to apply them.",
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{"title":"Adding Timeline Transitions",
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"description":"To add Timeline transitions to the timeline: Select a transition in the timeline to enable the Transitions button. A proxy of the last frame of the left-hand segment, and the first frame of the righ",
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{"title":"Copying, Moving and Removing Timeline Transitions",
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"description":"To copy, move or remove Timeline Transitions, follow the steps below. To copy Timeline Transitions: Select a Timeline Transition. Right-click the Timeline Transition and choose Copy or press Ctrl+C.",
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{"title":"Adding Dissolve Timeline Transition",
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"description":"Use the Dissolve Timeline Transition to blend transitions between timeline elements in which the first clip fades out at the same time as the second clip fades in. To create a transition, you must ha",
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{"title":"Adding Wipe Timeline Transition",
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"description":"Wipe Timeline Transitions are non-blending transitions. Use them to enable masks that hide or reveal the outgoing or incoming shots. To create a transition, you must have enough head and tail frames",
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{"title":"Accessing the Wipe Schematic",
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"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, and scaling, for example. Geom nodes contain information abo",
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{"title":"Adjusting Preset SMPTE and Custom Wipes",
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"description":"Templates are included with the preset SMPTE wipes that come with your application. If you modify the start position or increase the duration for a SMPTE wipe, the interpolation for the transition ma",
"ancestors":[{"title": "Timeline Transitions","href":"./files/GUID-41755946-9D66-48D1-8D97-63EB956C6C1A.htm"},{"title": "Adding Wipe Timeline Transition","href":"./files/GUID-1A101977-99DB-4D99-BFC2-71AE21EF8794.htm"}]},
{"title":"Creating Customized Wipes with Masks",
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"description":"Use masks on the incoming clip to create a customized transition that wipes into the outgoing clip.",
"ancestors":[{"title": "Timeline Transitions","href":"./files/GUID-41755946-9D66-48D1-8D97-63EB956C6C1A.htm"},{"title": "Adding Wipe Timeline Transition","href":"./files/GUID-1A101977-99DB-4D99-BFC2-71AE21EF8794.htm"}]},
{"title":"Creating a Mask",
"href":"./files/GUID-1F232CB5-6A58-45B0-8D11-67E6CD34C1F9.htm",
"description":"To create a mask, you must enter the full editor for the Wipe effect.When you create a mask, an Axis node and a Geom node are added to the Wipe schematic. To create a wipe mask: From the Wipe Editor,",
"ancestors":[{"title": "Timeline Transitions","href":"./files/GUID-41755946-9D66-48D1-8D97-63EB956C6C1A.htm"},{"title": "Adding Wipe Timeline Transition","href":"./files/GUID-1A101977-99DB-4D99-BFC2-71AE21EF8794.htm"},{"title": "Creating Customized Wipes with Masks","href":"./files/GUID-B4D2AC2C-728F-4ED5-BF4B-A6BF56919440.htm"}]},
{"title":"Modifying a Mask\'s Shape",
"href":"./files/GUID-5E2F159B-EAA1-4BDF-940A-8C05D6BBE540.htm",
"description":"You can manipulate points on a mask while displaying the incoming or outgoing clip. Select points using the Select option in the Edit Mode box. You can select individual points, individual tangents,",
"ancestors":[{"title": "Timeline Transitions","href":"./files/GUID-41755946-9D66-48D1-8D97-63EB956C6C1A.htm"},{"title": "Adding Wipe Timeline Transition","href":"./files/GUID-1A101977-99DB-4D99-BFC2-71AE21EF8794.htm"},{"title": "Creating Customized Wipes with Masks","href":"./files/GUID-B4D2AC2C-728F-4ED5-BF4B-A6BF56919440.htm"}]},
{"title":"Controlling a Mask\'s Effects",
"href":"./files/GUID-841C5C3D-644F-4602-B5DE-32328FB2607E.htm",
"description":"You can control a mask\'s effect in the Mask menu. The Geom node contains all the information about how a mask affects the final transition. To control a mask\'s effect:Select Matte or Result. Select",
"ancestors":[{"title": "Timeline Transitions","href":"./files/GUID-41755946-9D66-48D1-8D97-63EB956C6C1A.htm"},{"title": "Adding Wipe Timeline Transition","href":"./files/GUID-1A101977-99DB-4D99-BFC2-71AE21EF8794.htm"},{"title": "Creating Customized Wipes with Masks","href":"./files/GUID-B4D2AC2C-728F-4ED5-BF4B-A6BF56919440.htm"}]},
{"title":"Tracking with Masks",
"href":"./files/GUID-AF4D2DFE-CFAA-436A-A295-164CA2397D12.htm",
"description":"You can track a point on your clip and apply that data to the axis of a piece of geometry or a hierarchy of objects. You can also track individual points on the mask. The points in the mask are not a",
"ancestors":[{"title": "Timeline Transitions","href":"./files/GUID-41755946-9D66-48D1-8D97-63EB956C6C1A.htm"},{"title": "Adding Wipe Timeline Transition","href":"./files/GUID-1A101977-99DB-4D99-BFC2-71AE21EF8794.htm"},{"title": "Creating Customized Wipes with Masks","href":"./files/GUID-B4D2AC2C-728F-4ED5-BF4B-A6BF56919440.htm"}]},
{"title":"Adding Axis Timeline Transition",
"href":"./files/GUID-88AAED65-D3E3-40C7-B486-142F0C37E843.htm",
"description":"Use the Axis Timeline Transition to modify the scaling, rotation and position for the axis of one image to create the transition effect. You can quickly swap the incoming and outgoing sources to reve",
"ancestors":[{"title": "Timeline Transitions","href":"./files/GUID-41755946-9D66-48D1-8D97-63EB956C6C1A.htm"}]},
{"title":"Adding Fade Timeline Transition",
"href":"./files/GUID-15DB9AC1-0182-4BDF-8019-3252E4036EC3.htm",
"description":"Use the Fade Timeline Transition to specify the duration of a fade, the interpolation of the fade-in and fade-out, and the rate of the fade. The Fade Timeline Transition is the only transition on the",
"ancestors":[{"title": "Timeline Transitions","href":"./files/GUID-41755946-9D66-48D1-8D97-63EB956C6C1A.htm"}]},
{"title":"Timeline FX",
"href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm",
"description":"Timeline FX are effects you add directly to clips on the timeline. As such, they accelerate the process of creating and modifying effects because you don\'t have to enter the editor to apply them.",
"ancestors":[]},
{"title":"Gaps",
"href":"./files/GUID-9EDB85DB-7307-479D-8A68-EC14F08D6106.htm",
"description":"Gaps are empty spaces between elements in an edit sequence. When you apply Timeline FX to a gap, you create a gap effect,.",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Timeline FX to Gaps",
"href":"./files/GUID-342FD936-F1F4-430B-BF4B-239D51FCA33D.htm",
"description":"To add Timeline FX to a gap: Move the positioner and its focus point over the gap to select the gap, or explicitly select the segment. Click the FX button and select the Timeline FX you wish to appl",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"},{"title": "Gaps","href":"./files/GUID-9EDB85DB-7307-479D-8A68-EC14F08D6106.htm"}]},
{"title":"Modifying Multiple Timeline FX",
"href":"./files/GUID-66B49FB3-C366-4652-9830-594399069D5F.htm",
"description":"You can modify Timeline FX from different clips at the same time by mulit-selecting clip segments. Selecting multiple segments allows you to apply changes to effects in one segment, and have those ch",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Copying Timeline FX",
"href":"./files/GUID-5CCE86A8-5052-40B4-9CAA-0FA6048784E8.htm",
"description":"You can copy Timeline FX from the timeline to the workspace, from the workspace back to the timeline, or from one segment on the timeline to another. Additionally, you can copy multiple Timeline FX t",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Sliding Timeline FX KeyFrames",
"href":"./files/GUID-733C0D5F-95EF-4338-A526-2370003587D8.htm",
"description":"To slide Timeline FX within a clip: Select the Timeline FX that you want to slide by clicking it in the Effects Menu or clicking the effect icon in the clip. If the clip does not already contain ani",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Muting and Deleting Timeline FX",
"href":"./files/GUID-2DD6858A-4AD3-42F3-A086-736A89330C41.htm",
"description":"If you want to temporarily remove Timeline FX from a clip, you can mute it. To mute Timeline FX:From a segment on the timeline, select the Timeline FX you wish to mute. Then from the Effects menu, Cl",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Timewarp Timeline FX",
"href":"./files/GUID-54280AC1-BC9E-4DF0-987E-C80D6C57555A.htm",
"description":"Use the Timewarp Timline FX to speed up or slowdown clips on the timeline. The Timewarp Timeline FX is the first effect on both the Video and Audio Effects menu and in the pipeline. There are two Tim",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Resize Timeline FX",
"href":"./files/GUID-F234CC2F-30EE-45E6-9B18-A849001FD91F.htm",
"description":"Use the Resize Timeline FX to set how the segment adjusts itself to the timeline resolution and change the bit depth directly on the timeline. The Resize Timeline FX is the second effect on the Video",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Text Timeline FX",
"href":"./files/GUID-3177082D-96D8-419C-B61A-C856F7D3C5C1.htm",
"description":"Use the Text Timeline FX to add movement and colour to text over time. The Text Timeline FX is the third effect on the Video Effects menu and in the pipeline. Most Text Timeline FX can be previewed i",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Creating a Text Matte Key",
"href":"./files/GUID-5B2340AD-F633-404F-BA83-9FB47BC482B7.htm",
"description":"A matte key allows you to create a text effect in which the text\'s fill is a background clip. When used with an Axis Timeline FX (or a Sparks effect that takes a matte), it can be used to layer text",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"},{"title": "Adding Text Timeline FX","href":"./files/GUID-3177082D-96D8-419C-B61A-C856F7D3C5C1.htm"}]},
{"title":"Adding Colour Correct Timeline FX",
"href":"./files/GUID-85044800-3D16-45B5-A1E9-BC44E3E900F1.htm",
"description":"Use the Colour Correct Timeline FX to add colour corrections directly on the timeline. You can also colour correct segments on the timeline using the Colour Warper. The Colour Correct Timeline FX is",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Colour Matching on the Timeline",
"href":"./files/GUID-EECC8258-00CD-4674-93CB-954FDA3871F0.htm",
"description":"To colour match using the Triptych player: Click the Layout button and select the Triptych player, or swipe to the side of the Viewing Panel to prompt the Layout Selection Overlay. Move the positioner",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"},{"title": "Adding Colour Correct Timeline FX","href":"./files/GUID-85044800-3D16-45B5-A1E9-BC44E3E900F1.htm"}]},
{"title":"Adding Sparks Timeline FX",
"href":"./files/GUID-B36C94B7-AD61-4DE4-BE1E-A672E44C5DC7.htm",
"description":"Use the Sparks Timeline FX to apply video Sparks to video elements in the timeline. The Sparks Timeline FX is the fifth effect on the Video Effects menu and in the pipeline. Sparks Timeline FX are ap",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Blend Timeline FX",
"href":"./files/GUID-3EC3587A-0612-4E74-9EE0-05E497B66991.htm",
"description":"Use the Blend Timeline FX to adjust the transparency between layers on the timeline. The Blend Timeline FX is the sixth effect on the Video Effects menu and in the pipeline.To apply Blend Timeline FX",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Wipe Timeline FX",
"href":"./files/GUID-9A24DC24-0FAB-4A64-BCC2-C5C88EBFCE22.htm",
"description":"Use the Wipe Timeline FX to create vertical wipes between layers on the timeline. The Wipe Timeline FX is the seventh effect on the Video Effects menu and in the pipeline. To apply Wipe Timeline FX:",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Axis Timeline FX",
"href":"./files/GUID-856B8D62-EC56-4BBE-AD5A-B3B66B0C79AB.htm",
"description":"Use Axis Timeline FX to create a single layer composite directly on the timeline. The Axis Timeline FX is the eighth effect on the Video Effects menu and in the pipeline. Adding an Axis Timeline FX w",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Matte Containers",
"href":"./files/GUID-45E41412-EA37-4B08-B3F0-3D0E248563A4.htm",
"description":"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 t",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"},{"title": "Adding Axis Timeline FX","href":"./files/GUID-856B8D62-EC56-4BBE-AD5A-B3B66B0C79AB.htm"}]},
{"title":"Accessing the Axis Keyer",
"href":"./files/GUID-5102BBD1-7781-4EDE-B27F-6F86289A262C.htm",
"description":"You can create chroma keys directly on the timeline by accessing the Axis Keyer using the Axis Timeline FX. When you enter the Axis Keyer, the clip loaded as the Front is the clip with the Axis soft",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"},{"title": "Adding Axis Timeline FX","href":"./files/GUID-856B8D62-EC56-4BBE-AD5A-B3B66B0C79AB.htm"}]},
{"title":"Adding Gate Timeline FX",
"href":"./files/GUID-BEFA9C05-69DC-4F08-95CF-EEEE7A7EC53D.htm",
"description":"Use the Gate Timeline FX to lower or remove the perceptible level of noise in an audio signal from an audio segment. It does not, however, remove noise from the audio signal. The Gate Timeline FX is",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Compression Timeline FX",
"href":"./files/GUID-5A90C61F-2FA5-4C81-9996-AB479019D128.htm",
"description":"Use the Compression Timeline FX to reduce the dynamic range of an audio signal from an audio segment. The Compression Timeline FX is the third effect on the Audio Effects menu and in the pipeline. Wh",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding EQ Timeline FX",
"href":"./files/GUID-F1070F39-3B5A-4AD3-9A78-5F235F9D5E36.htm",
"description":"Use the EQ Timeline FX to perform precise manipulations of the audio frequency content using the EQ Editor, which is based on the graphical display of EQ settings. The EQ Timeline FX is the third eff",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Gain Timeline FX",
"href":"./files/GUID-1D4CECA9-31DE-46C9-859F-47F96380BB34.htm",
"description":"Use the Gain Timeline FX to adjust the gain for individual segments in an audio track. The Gain Timeline FX is the fourth effect on the Audio Effects menu and in the pipeline. Gain is the measure, in",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Reverb Send Timeline FX",
"href":"./files/GUID-34AD5FD5-8487-4C52-9F25-54C671F2354F.htm",
"description":"Use the Reverb Send Timeline FX to patch audio segments to the Reverb Auxiliary Effects. The Reverb Send Timeline FX is the fifth effect on the Audio Effects menu and in the pipeline. All parameters",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Delay Send Timeline FX",
"href":"./files/GUID-A1B81E08-2A21-43A8-93C7-355BCF3B5C31.htm",
"description":"Use Delay Send Timeline FX to patch audio segments to the Delay Auxiliary Effect. The Delay Send Timeline FX is the sixth effect on the Audio Effects menu and in the pipeline. All parameters for the",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Adding Modulation Send Timeline FX",
"href":"./files/GUID-942B71FF-5017-4AC9-BFC4-EE6944D5AE2A.htm",
"description":"Use the Modulation Send Timeline FX to patch audio segments to the Modulation Auxiliary Effect. The Modulation Send Timeline FX is the seventh effect in the Audio Effects menu and in the pipeline. Al",
"ancestors":[{"title": "Timeline FX","href":"./files/GUID-86E6F7DD-BCF1-45CE-8997-07D61F6C17F5.htm"}]},
{"title":"Creating New Sources Using Tools from the Tools Tab",
"href":"./files/GUID-467FAE8C-4788-4F98-86C1-41BC46749438.htm",
"description":"The Tools tab provides access to numerous effects and tools allowing you to create modified clips that you can then use as sources on the timeline or in ConnectFX. The tools use input clips (or in some cases are generated from scratch) that are then modified through parameters to produce a result directly in the workspace.",
"ancestors":[]},
{"title":"Accessing Tools",
"href":"./files/GUID-2A9FC86E-8F68-4E9C-90D3-E706A8001E53.htm",
"description":"To access specific tools From the Tools tab, find and click the button for the tool you want to use. If needed, use the Input Mode box to select the number of source clips you want to modify (for exam",
"ancestors":[{"title": "Creating New Sources Using Tools from the Tools Tab","href":"./files/GUID-467FAE8C-4788-4F98-86C1-41BC46749438.htm"}]},
{"title":"Procedural Compositing with ConnectFX",
"href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm",
"description":"About ConnectFX ConnectFX provides a flow graph environment where you perform procedural compositing with integrated access to all effects and image-processing commands. An effect you create in Conne",
"ancestors":[]},
{"title":"Creating ConnectFX",
"href":"./files/GUID-47339901-7A9D-405E-9FCE-2F44D6A57358.htm",
"description":"To create a ConnectFX on a timeline segment:Select one or more video segments on the sequence to which you want to apply a ConnectFX. Click the FX button. Click Create ConnectFX to quickly enter the C",
"ancestors":[{"title": "Procedural Compositing with ConnectFX","href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm"}]},
{"title":"About the ConnectFX Process Tree",
"href":"./files/GUID-75C1B6B0-8B15-432C-B8FB-611586F45FA8.htm",
"description":"Use ConnectFX 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 ConnectFX schematic, you are building a process tree from left to right, that processes as many output clips as you want.",
"ancestors":[{"title": "Procedural Compositing with ConnectFX","href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm"}]},
{"title":"Adding Clips to the Process Tree",
"href":"./files/GUID-F307EAC3-7E3C-44D9-9084-A28552D6DF94.htm",
"description":"Even though ConnectFX process trees are pre-populated with clips from the timeline, you can also add more clips from the Workspace Media panel.",
"ancestors":[{"title": "Procedural Compositing with ConnectFX","href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm"}]},
{"title":"Clip Information Reference",
"href":"./files/GUID-DF30B837-71C4-4B5A-B010-8FD352BB9C0B.htm",
"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.",
"ancestors":[{"title": "Procedural Compositing with ConnectFX","href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm"},{"title": "Adding Clips to the Process Tree","href":"./files/GUID-F307EAC3-7E3C-44D9-9084-A28552D6DF94.htm"}]},
{"title":"Importing With the Read File Node",
"href":"./files/GUID-00B71F16-7172-47EC-8C46-6F0FF0230392.htm",
"description":"To import images into ConnectFX using the Read File node:In the I/O node bin, select the Read File node and drag it to the schematic. The Read Files browser appears. Optional: Set General and Format",
"ancestors":[{"title": "Procedural Compositing with ConnectFX","href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm"},{"title": "Adding Clips to the Process Tree","href":"./files/GUID-F307EAC3-7E3C-44D9-9084-A28552D6DF94.htm"}]},
{"title":"About the Read File Node",
"href":"./files/GUID-33F6B19D-1936-44B5-8CBE-59334E01AD9A.htm",
"description":"Why Use a Read File Node? While you can import many types of media files using a Read File node, its primary use is to facilitate integration of Smoke in render pass workflows. In this context, there",
"ancestors":[{"title": "Procedural Compositing with ConnectFX","href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm"},{"title": "Adding Clips to the Process Tree","href":"./files/GUID-F307EAC3-7E3C-44D9-9084-A28552D6DF94.htm"},{"title": "Importing With the Read File Node","href":"./files/GUID-00B71F16-7172-47EC-8C46-6F0FF0230392.htm"}]},
{"title":"Read File Clip Settings",
"href":"./files/GUID-AA3B754A-99A4-4253-BE40-8282163D88D0.htm",
"description":"To access Read File clip settings, double-click a Read File node in the schematic.",
"ancestors":[{"title": "Procedural Compositing with ConnectFX","href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm"},{"title": "Adding Clips to the Process Tree","href":"./files/GUID-F307EAC3-7E3C-44D9-9084-A28552D6DF94.htm"},{"title": "Importing With the Read File Node","href":"./files/GUID-00B71F16-7172-47EC-8C46-6F0FF0230392.htm"}]},
{"title":"Adding and Connecting Nodes to the Process Tree",
"href":"./files/GUID-A3352D17-AA85-41E9-AAFC-7FB28A3143D8.htm",
"description":"To add a node from the node bin to the schematic, double-click a node, or drag a node directly to the schematic. There are several ways of connecting clips or nodes together. You can connect them manually or automatically.",
"ancestors":[{"title": "Procedural Compositing with ConnectFX","href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm"}]},
{"title":"Bypassing Node Inputs",
"href":"./files/GUID-F24A097E-D437-4491-A5E8-1EAB008F90AA.htm",
"description":"You can improve your workflow in ConnectFX by deactivating certain nodes and rendering only the nodes that you want to process right away.",
"ancestors":[{"title": "Procedural Compositing with ConnectFX","href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm"},{"title": "Adding and Connecting Nodes to the Process Tree","href":"./files/GUID-A3352D17-AA85-41E9-AAFC-7FB28A3143D8.htm"}]},
{"title":"Adding Notes to the Schematic",
"href":"./files/GUID-912F6DC6-F946-4884-82FC-F01FC51BDE26.htm",
"description":"You can add notes to the ConnectFX schematic, or to a specific clip, node, or group. 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.",
"ancestors":[{"title": "Procedural Compositing with ConnectFX","href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm"},{"title": "Adding and Connecting Nodes to the Process Tree","href":"./files/GUID-A3352D17-AA85-41E9-AAFC-7FB28A3143D8.htm"}]},
{"title":"Selecting Nodes in the Schematic",
"href":"./files/GUID-DE706797-8274-4064-8131-DAF304F743C4.htm",
"description":"Use the following keyboard shortcuts to help you select and work with nodes in the schematic.",
"ancestors":[{"title": "Procedural Compositing with ConnectFX","href":"./files/GUID-4FE69995-5C85-43A7-9B9C-4A9784F2B89B.htm"}]},
{"title":"Adding Media to an Action Node",
"href":"./files/GUID-9F96B73C-6613-415A-BF90-F78E05B59736.htm",
"description":"To add indirect media to an Action node:In the ConnectFX schematic, double-click the Action node and then click Media in the Action menu. From the Media List box, select New Input. A Media node is add",
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{"title":"About Action in a ConnectFX Workflow",
"href":"./files/GUID-AD7FC88C-68E8-4404-B175-02BB75BE2AD4.htm",
"description":"Action is a multilayer compositing tool for creating complex visual effects, with its own distinct schematic and node bin. The Action node supports direct media and indirect media.",
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{"title":"About Action Node Output Tabs",
"href":"./files/GUID-287EEE95-B3EF-422E-B1A3-1B62C42EFEAA.htm",
"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":"Setting Stereo Startup Mode for Action",
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"description":"When dragging an Action node to the ConnectFX 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":"Viewing Nodes in Context",
"href":"./files/GUID-0E8D1868-EBE9-43D6-A44C-B4B5AD40C8B5.htm",
"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":"About Previewing Results in ConnectFX",
"href":"./files/GUID-22E6D79B-9E17-4858-B5FA-57A5E3B5A32D.htm",
"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 ConnectFX by:",
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{"title":"Working with Audio Contexts",
"href":"./files/GUID-BA6D24A7-E16D-46F3-A0D2-9161EA1E6BD9.htm",
"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 ConnectFX.",
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{"title":"About CFX Output Nodes",
"href":"./files/GUID-0A5EE6EC-1E49-4691-B03C-7D1C26374742.htm",
"description":"A ConnectFX pipeline always terminates with a CFX Output node. This node is created automatically when you enter ConnectFX from the timeline, and can\'t be deleted.",
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{"title":"Output Node Settings",
"href":"./files/GUID-E6A4E771-7F55-454E-9ACA-F863401FD92D.htm",
"description":"Double-click the CFX Output node in the schematic to see its settings.",
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{"title":"About Loading and Saving ConnectFX Setups",
"href":"./files/GUID-AD0258A1-9D72-4AD7-84E9-E81000830449.htm",
"description":"You can save and load ConnectFX setups. When saving a setup, you have the option of saving the complete ConnectFX setup, or only the selected items in the schematic. Use the drop-down list beside the Save button to make a selection before clicking Save. When loading a saved setup, you have the choice of loading (replacing any existing nodes), or load and append.",
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{"title":"Using a Create CFX Clip for Caching or Versioning",
"href":"./files/GUID-D0DF0FE2-B9E2-48E9-9DB5-66FD8BB781BB.htm",
"description":"Use Create CFX within ConnectFX to create a CFX clip that can be useful for disk caching and give you flexibility for re-use or versioning of complex pipelines.",
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{"title":"Using the Timing View to Offset Clips",
"href":"./files/GUID-08731D33-A9D2-495B-9C33-50397B318A8F.htm",
"description":"When you offset a clip, you simultaneously offset all its segments on each track. You can also offset multiple clips simultaneously, including all clips in a group.",
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{"title":"About the Timing View",
"href":"./files/GUID-FF969D2F-8B62-412D-A5D8-04E6DAF7446D.htm",
"description":"The Timing View displays the timeline of all ConnectFX clips in one view. This view is especially useful for edits where you want to see the relative position of all clips in time. For example, offset multiple clips or edit one clip in relation to the others.",
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{"title":"Timing View Settings",
"href":"./files/GUID-8CE8E580-5D07-4B2A-BAE9-E1421A02A7AC.htm",
"description":"Some Timing View settings relating to trimming, slipping, or sliding clips (such as the Ripple and Snap buttons), or to the actual timeline itself (such as the Timeline Options menu) are exactly the same as the main Smoke timeline.",
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{"title":"Grouping Nodes",
"href":"./files/GUID-D481DEDA-81DD-4803-B787-28EE9657CBBD.htm",
"description":"To group nodes: Command -drag to select the nodes you want to group. Selected nodes are outlined in white. Right-click the selection, and select Group. The selected nodes collapse into a Group node.",
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{"title":"About Group Nodes",
"href":"./files/GUID-1E9E6042-04E4-47D0-8602-C2D71711CC2C.htm",
"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.",
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{"title":"Group Settings",
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"description":"Customize the group node using the Group List menu. The Group List menu lists all the nodes and connections contained in a group. You can rename and hide the contents of the group, as well as define which input and output connection sockets are visible and available for connection in the schematic.",
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{"title":"Mimicking, Copying, and Duplicating Nodes",
"href":"./files/GUID-CBD488F2-CB67-4666-81F4-688B3BF0D000.htm",
"description":"When working in the ConnectFX schematic, you have a few options to help you quickly get settings, or even complete nodes, to and from similar nodes. See the procedures below for information on how to access each of these options, but as a quick summary, here are the reasons for using each option: Mimic Link: You can keep two nodes in the schematic in sync by creating a Mimic Link between them. When you change the settings of one node, they are automatically mimicked in the other node. To mimic nodes, the nodes must be of the same type. For example, you can link between Flip nodes but not between a Flip node and a Colour Correct node. Some nodes, such as Action or Modular Keyer do not support the Mimic Link option. In this case, you can see an error message in the message bar. Duplicate: Create another instance of a node or group of nodes within the same ConnectFX schematic. All node information is duplicated as well. Copy: Copy is similar to Duplicate, except that the selected nodes or group of nodes is copied into the clipboard, so you can paste exactly where you want in the schematic. An added bonus of using Copy and Paste instead of Duplicate, is that you can paste a copied node or nodes into a different ConnectFX schematic.",
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{"title":"Customizing the Tools Bin",
"href":"./files/GUID-258964C6-A0C8-4999-AFD3-43A9360D9030.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":"About ConnectFX Node Bins",
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"description":"In ConnectFX, a node is a graphical representation of a function or effect that affects a clip or another node in the process tree. The available nodes are organized in bins that 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":"Creating Custom Nodes",
"href":"./files/GUID-DB1226D8-F38E-4CFE-8977-322F73DCF370.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":"Clip Settings",
"href":"./files/GUID-A3E1B0FC-8D13-455D-B6F3-26C821BE94DC.htm",
"description":"Basic Settings Basic button Opens the Basic menu where you set timeline and timewarp options, control clip locking and slipping, and define how missing media is displayed and rendered. Head Media bo",
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{"title":"ConnectFX Preferences",
"href":"./files/GUID-BCCF4687-5788-49D7-A19C-53417C867C86.htm",
"description":"Click the CFX Prefs button to access settings to customize rendering, preferences, and adaptive degradation in ConnectFX.",
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{"title":"Compositing in 3D Space with Action",
"href":"./files/topichead_8.htm",
"description":"",
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{"title":"About Action",
"href":"./files/GUID-88DD7753-49FA-4E83-BBDE-A2B9DA886684.htm",
"description":"Action 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":"About Using Floating Point Images in Action",
"href":"./files/GUID-4A02109C-7450-4E5E-8EEC-349006C994FA.htm",
"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 Interface Overview",
"href":"./files/GUID-8119860B-A695-4907-B620-6DE029698D4B.htm",
"description":"Action is divided into a number of menus and sections designed to help you quickly create your composites.",
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{"title":"Using the Node Bin",
"href":"./files/GUID-D03FD3B4-FC70-4141-BDA9-90DF53DE822C.htm",
"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",
"href":"./files/GUID-C441801C-D502-4D0E-9FFD-8FCBDE767DF2.htm",
"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":"Action Channel Editor Reference",
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"description":"Some of the Action folders in the Channel Editor are described as follows.",
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{"title":"About the Schematic and Menu Tabs",
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"description":"In Action Schematic view, a node exists for all objects in the scene, for example, shadows, lights, and texture maps.",
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"description":"The right side of Action also includes other settings to help you work with nodes in the schematic.",
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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":"Connecting Action 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":"Mimicking, Copying, and Duplicating Objects",
"href":"./files/GUID-D4C0D2C3-8847-4C56-AD37-72B78F51FA78.htm",
"description":"Similar to working in the ConnectFX schematic, you can mimic, copy, or duplicate objects of the same type in the Action schematic.",
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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":"Grouping or Hiding Objects",
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"description":"You can collapse branches in the schematic into a group to reduce clutter in the schematic. You can also temporarily hide an object or objects in the schematic to see different results, for example.",
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{"title":"Setup and Processing Options",
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"description":"Use the Action Node Prefs 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",
"href":"./files/GUID-4ADAFC73-A7D2-4C14-957F-E1B9DE726900.htm",
"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 in Action",
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"description":"You can save, load, and delete Action setups, and import Photoshop files into Action.",
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{"title":"About Rendering Outputs from Action",
"href":"./files/GUID-B174C8C1-6489-4F95-9FF9-9BBC5469A7CD.htm",
"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 Settings",
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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":"Object Options",
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"description":"All Objects button Enable to output all objects in the Object List. Visibility box Select a visibility option for the selected object. Reset All button Click to set all objects to Visible mode in the",
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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":"Media Menu Settings",
"href":"./files/GUID-0EB3CC73-8F71-4B35-BD11-64C6D7201D63.htm",
"description":"The Media controls are described as follows.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About Media","href":"./files/GUID-4EE2E5C3-B3DA-4356-8D39-589878555CD1.htm"}]},
{"title":"Adding Effects to Media",
"href":"./files/GUID-5A640F71-E9C0-4FAB-95EF-9C98AB0D5C63.htm",
"description":"The Media list allows you to easily add and edit effects to your clips, such as blurs and crops.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About Media","href":"./files/GUID-4EE2E5C3-B3DA-4356-8D39-589878555CD1.htm"}]},
{"title":"About Using 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 ConnectFX. This section describes features specific to using the Modular Keyer in Action.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About Media","href":"./files/GUID-4EE2E5C3-B3DA-4356-8D39-589878555CD1.htm"}]},
{"title":"Accessing the Colour Corrector and the Modular Keyer from Action",
"href":"./files/GUID-05DC879A-BFAB-4646-A057-139E325E79CA.htm",
"description":"By accessing the Modular 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 Action.",
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{"title":"About Axes",
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"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",
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"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":"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 Setting the Camera and Orthographic Views.",
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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).",
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{"title":"Applying Tracking Data to an Axis",
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"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":"Axis Menu Settings",
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"description":"X Position field Displays the position of the X axis. Editable. Y Position field Displays the position of the Y axis. Editable. Z Position field Displays the position of the Z axis. Editable. Motion P",
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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":"To add a surface:In the Media list, select the media containing the front and matte that you want to add to the scene. Do one of the following: Drag an image node from the node bin and place it in the",
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{"title":"Modifying Surfaces",
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"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",
"href":"./files/GUID-0F308869-6F89-49C9-92B7-0FA7836BA048.htm",
"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",
"href":"./files/GUID-3F6DB5A4-69E1-4D56-836B-71721981F684.htm",
"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",
"href":"./files/GUID-3FDAD4CB-4320-4DAF-9501-DA7D5E989B50.htm",
"description":"For bicubic and extended bicubic surfaces, there are extra controls available in the Vertices tab.",
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{"title":"Blending Settings",
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"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",
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"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",
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"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",
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"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",
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"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.",
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{"title":"Reshaping Using the Channel Editor",
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"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.",
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{"title":"Blending Curves",
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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":"Applying Blending Curves per Surface",
"href":"./files/GUID-A2BA9716-AAE4-4377-9B45-7B9FC6159EA8.htm",
"description":"To adjust the blending curve:In the Surface menu, click the Blending tab. The Blending Curve menu appears. (a) Front matte curve  (b) Back matte curve  (c) Matte box  (d) Blend Curves option box (e) ",
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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",
"href":"./files/GUID-E57D4FA7-DCA1-434F-85F3-C6ED35A40315.htm",
"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":"About 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":"Transforming Multiple Points",
"href":"./files/GUID-6E8813A7-E865-4C17-80CE-D1AC442B94FE.htm",
"description":"Setting the Magnet Polarity Use the Magnet Curve Editor to define the weighted polarity from the centre to the edge of the magnet. Points are either attracted or repelled depending on their location",
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{"title":"Adding Drop Shadows",
"href":"./files/GUID-B8A03B63-F5C1-428B-A5C9-DFD2C2FCA09C.htm",
"description":"In Action, drop shadows 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",
"href":"./files/GUID-A310DEDD-2B76-4DCC-B7D5-C52BF90E8274.htm",
"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",
"href":"./files/GUID-29E409D4-37FB-4966-80B3-0C625F6D79D2.htm",
"description":"Adjust shadow colour and transparency in the Shadow menu of the Object menu.",
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{"title":"Using Shadow Mix",
"href":"./files/GUID-8E912180-D937-46A3-A65C-DF1B968FAD18.htm",
"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":"Shadow Menu Settings",
"href":"./files/GUID-8B606FC4-D5CC-4C2B-BAA8-7632709F2AAA.htm",
"description":"Red Shadow field Displays the red shadow value. Editable. Green Shadow field Displays the green shadow value. Editable. Blue Shadow field Displays the blue shadow value. Editable. Shadow colour Pot Di",
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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":"Changing the Drawing Order",
"href":"./files/GUID-36421CD3-4427-4C6C-AB16-F0D81BFD507E.htm",
"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",
"href":"./files/GUID-E8E8E5E2-DCC0-49F1-9F51-8ABFC45CF0AB.htm",
"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",
"href":"./files/GUID-1FF216A5-050D-43F2-904A-1036831241D1.htm",
"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":"Priority Editor Settings",
"href":"./files/GUID-B0528DE0-9E0A-4176-A30E-B2919D5F0FF2.htm",
"description":"See .",
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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",
"href":"./files/GUID-4CEC63F2-355C-4CAB-BCA1-FC483D55AC8F.htm",
"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 Settings",
"href":"./files/GUID-56CC71C6-8CEC-45F4-9D18-32A85AA9E980.htm",
"description":"Stereo Object Axis Settings 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":"About the Perspective Grid",
"href":"./files/GUID-5E61F3C0-DA9A-4E02-8F32-CAC91C9596AB.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":"Aligning an Object with a Perspective Grid",
"href":"./files/GUID-A2B7930C-F5FD-48BD-92AA-DFA1DF99ED58.htm",
"description":"To align an object with a perspective grid: Click Media. In the Media menu, select the media you want to use for the perspective grid (you can change the media later in the Perspective Grid menu). Thi",
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{"title":"Perspective Grid Menu Settings",
"href":"./files/GUID-7D194C0D-30BC-4CF3-93D0-363B037AF690.htm",
"description":"Lock Camera box Select Allow Adjustments to allow adjustments of the Target camera FOV and position. Select Lock Camera to lock camera FOV and position. Perspective Camera box Specify which camera to",
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{"title":"About Lights and Lighting Effects",
"href":"./files/GUID-0C3B9E60-8C8B-4A1F-B9CE-B94EDB47842C.htm",
"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":"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":"Surface Controls Settings",
"href":"./files/GUID-BDA110F5-C165-41AD-98DD-21DA1AAC140D.htm",
"description":"The Surface controls that relate to lights are described as follows.",
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{"title":"About Specular Highlights",
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"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":"Adjusting Specular Highlights",
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"description":"To adjust specular highlights:Add and position a light source in the scene. In the Light menu or the Rendering section of the Action Setup menu, enable Shading. In the Surface menu, use the Specular H",
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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",
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"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",
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"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":"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":"Relighting: Casting Shadows",
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"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":"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":"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":"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":"Presets Browser Settings",
"href":"./files/GUID-5C9F3738-CFE4-42C6-B6A6-8ECFCFF98BA4.htm",
"description":"Preset Type box Select the category of presets to display in the browser. Scale to Action Resolution button Enable to load the preset in the current Action resolution. Z-Buffer button Enable to load t",
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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":"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 ).",
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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 with Texture Components",
"href":"./files/GUID-9F7C2A9E-8AF3-4ED5-9F66-E35B75A659D9.htm",
"description":"Similar to the workflow of the Lens Flare, you can add texture components to a blooming node to enhance the effect. When using blooming in Stamping mode, texture components must be attached to see any result.",
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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":"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.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"}]},
{"title":"Importing 3D Models",
"href":"./files/GUID-CA0A558A-C81B-4F08-90A9-559CDE389C00.htm",
"description":"You can import a 3D model into one or several geometry nodes. You can also import multiple 3D models into a single animated geometry node.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About 3D Geometry","href":"./files/GUID-9157EE39-65F0-4453-83CC-E6B32EF6A25C.htm"}]},
{"title":"Import Settings",
"href":"./files/GUID-0EEB782B-2645-442A-ADAE-DA5E91CE7C4A.htm",
"description":"Geometry Import Settings Depending on the type of import, some of the options differ. Import Type box Select the 3D model type to import. File Extension field Displays the default extension for the",
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{"title":"About 3D Data in the FBX Format",
"href":"./files/GUID-AC49D677-8D38-427E-ABC3-7B808BEE6CFA.htm",
"description":"Smoke supports the import of 3D data saved in the FBX format.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About 3D Geometry","href":"./files/GUID-9157EE39-65F0-4453-83CC-E6B32EF6A25C.htm"},{"title": "Importing 3D Models","href":"./files/GUID-CA0A558A-C81B-4F08-90A9-559CDE389C00.htm"}]},
{"title":"Importing the FBX Format",
"href":"./files/GUID-5E189A75-0D82-4FF3-8600-1CFF04D25BF2.htm",
"description":"To import FBX format data in Action:Do one of the following: Drag the Import node from the node bar and place it in the schematic. Drag the Import node from the node bar and place it where you want it",
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{"title":"FBX Import Settings",
"href":"./files/GUID-90C2B107-4E85-4F30-98D6-00448BDFA9F4.htm",
"description":"Auto Fit In Scene button Enable to scale the imported model to fit into the current frame. When disabled, the imported model maintains the same size in which it was created, or you can use the FBX Uni",
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{"title":"Working with FBX Scenes Linked to the Original Files",
"href":"./files/GUID-49474588-6833-4870-9B1A-B9989D4C446B.htm",
"description":"When importing an FBX file in an Action schematic, setting FBX Import Type to the option Link to Original File does not create a Geom node like Create Local Copy does, but rather creates an FBX Scene node.",
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{"title":"FBX Scene Settings",
"href":"./files/GUID-7F3A77F1-BA89-462F-89F3-0496A66B94EB.htm",
"description":"FBX Scale field Displays the factor by which to scale the FBX scene. Does not scale the camera if it has already been extracted using the Extract Camera button. Editable. Extract Camera button Click t",
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{"title":"3D Geometry Menu Settings",
"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":"UV Map Settings",
"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":"Material Menu Settings",
"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":"Adjusting Normals",
"href":"./files/GUID-36702074-EF7A-4263-8514-88F4C33B68D4.htm",
"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",
"href":"./files/GUID-8CB28017-A202-4117-8B7E-79F62A54CAF3.htm",
"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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{"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":"About 3D Text",
"href":"./files/GUID-A345F537-3F4D-45D5-8311-991C91C7A7A2.htm",
"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",
"href":"./files/GUID-9A91BB77-CC30-4344-858F-09CB549E5242.htm",
"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":"3D Text Presets Usage Tips",
"href":"./files/GUID-21F22006-071F-4F6B-88EB-A5ABEBEB441A.htm",
"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":"Presets Browser Settings",
"href":"./files/GUID-5C9F3738-CFE4-42C6-B6A6-8ECFCFF98BA4-1.htm",
"description":"Preset Type box Select the category of presets to display in the browser. Scale to Action Resolution button Enable to load the preset in the current Action resolution. Z-Buffer button Enable to load t",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About 3D Text","href":"./files/GUID-A345F537-3F4D-45D5-8311-991C91C7A7A2.htm"},{"title": "Using 3D Text Presets","href":"./files/GUID-9A91BB77-CC30-4344-858F-09CB549E5242.htm"}]},
{"title":"3D Text Preset List",
"href":"./files/GUID-7649D9D4-7AAB-406F-B322-A5A9DD13A736.htm",
"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":"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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{"title":"Changing 3D Text Properties",
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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",
"href":"./files/GUID-0343F3C4-B5EF-447D-A837-F3B572D4ACC7.htm",
"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",
"href":"./files/GUID-331C1FD5-5C68-4BB9-ACBF-901145D80BC8.htm",
"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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{"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 Menu Settings",
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"description":"3D Text Tab (a) Text field  (b) Font field  (c) Bevel curve   Text field Displays the current text string. Editable. Font field Displays the current font. Click to open the font library to select a",
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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":"About Shading and Textures",
"href":"./files/GUID-35B86E35-5727-4A28-ABA3-3BBABB4A58D8.htm",
"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",
"href":"./files/GUID-42FC01D6-79F1-4503-B0F6-28AB9705686A.htm",
"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",
"href":"./files/GUID-B02BBB9F-45AD-4D48-89CD-1C3C4086EA75.htm",
"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",
"href":"./files/GUID-0F2427DD-9185-4A8B-938E-32A2CC53078C.htm",
"description":"The Software Displacement menu is divided into two tabbed sections: Controls and Texture.",
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{"title":"Hardware Displacement Menu Settings",
"href":"./files/GUID-CCFC9E89-2C49-4092-A985-0969A390EADC.htm",
"description":"The Hardware Displacement menu is divided into two tabbed sections: Controls and Texture.",
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{"title":"Diffuse Mapping",
"href":"./files/GUID-624238CC-71B2-4990-9EEA-0B237AD2A6C1.htm",
"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",
"href":"./files/GUID-EB66DEE2-8215-4B09-9028-CCA7EA3E5549.htm",
"description":"The Diffuse menu is divided into two tabbed sections: Controls and Texture.",
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{"title":"Reflection Mapping",
"href":"./files/GUID-4980E66F-83D9-4C44-AD8F-900855669478.htm",
"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",
"href":"./files/GUID-6980A1CD-E55E-4630-A035-FB7975661AF9.htm",
"description":"The Reflection menu is divided into two tabbed sections: Controls and Texture.",
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{"title":"About 3D Paths",
"href":"./files/GUID-E154D096-119A-410B-A2F5-631A4A48A029.htm",
"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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{"title":"Adding a 3D Path Node",
"href":"./files/GUID-749991DD-E212-4696-95FA-F92AA6AFA55E.htm",
"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",
"href":"./files/GUID-2FD4A4BD-8AE3-403B-93CE-E7D3C2F5109B.htm",
"description":"You can draw open or closed splines to use as your 3D path.",
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{"title":"Editing Splines",
"href":"./files/GUID-14AA912C-07AA-48BA-BE55-C33A2BCC1A0E.htm",
"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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{"title":"Changing Spline Display Properties",
"href":"./files/GUID-FC308724-7CDC-44F3-A11C-80F60CA5E0AC.htm",
"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",
"href":"./files/GUID-85640FD2-78BA-44D4-AB19-DB17E296470B.htm",
"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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{"title":"Aligning Objects on the Path",
"href":"./files/GUID-0250CBD3-BE55-4235-B12F-FB6437A01AB2.htm",
"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",
"href":"./files/GUID-289F5873-E30A-4FD7-B282-9ABF02050E7E.htm",
"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).",
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{"title":"Using the Banking Curve",
"href":"./files/GUID-ED722A7F-09FA-425E-A6F0-655D4CC02D41.htm",
"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":"About the Camera",
"href":"./files/GUID-5178CBB3-03AD-47DD-BFDE-3BA2DA2AD5C9.htm",
"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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{"title":"Adding a Camera",
"href":"./files/GUID-6E9CB6DF-4B09-4E95-B817-8C5483CDB44E.htm",
"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":"Camera Menu Settings",
"href":"./files/GUID-5EE11AA4-9EBE-430B-82A0-9852CA2307CA.htm",
"description":"See .",
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{"title":"About the Frustum",
"href":"./files/GUID-C82AC45B-DAE1-4F7A-9670-487BFF440BD4.htm",
"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":"Viewing the Camera and Frustum",
"href":"./files/GUID-55CCCC74-BF4C-4D09-B614-5D88AC4AF419.htm",
"description":"To see the camera and frustum:From the View box, select Side. In the image window controls, click to zoom out from the scene. Select Pan in the Edit Mode box and pan around the scene until you see the",
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{"title":"Moving the Clipping Planes",
"href":"./files/GUID-7AEA3961-DAF2-4988-88E6-E33F43D17E74.htm",
"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",
"href":"./files/GUID-42EA1150-512E-47F1-94F9-0C2EFBCF8EE7.htm",
"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":"Camera and Orthographic Views",
"href":"./files/GUID-B627C80C-08B8-4AED-820A-25F1B54B9E27.htm",
"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":"Setting the Camera and Orthographic Views",
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"description":"In addition to Camera and the three orthographic views, you can also select Schematic view, which uses nodes to represent the objects in the scene and arrows to illustrate the relationships between 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":"About 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",
"href":"./files/GUID-8CB96931-74F1-4EA9-BB36-D875923B2BD9.htm",
"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":"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",
"href":"./files/GUID-E5D48282-76C5-4123-A6BC-89DA5AAD277E.htm",
"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":"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":"Near and Far Clipping Planes",
"href":"./files/GUID-1A5DA28C-E6AD-4D88-889A-F54A9859D610.htm",
"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 Near and Far Clipping Planes",
"href":"./files/GUID-08559B2A-8940-460F-9948-302328705388.htm",
"description":"To move the near and far clipping planes:From the View box, select Side or Top, depending on how your camera is positioned. Either of these views profiles the camera so that the near and far clipping",
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{"title":"Moving the FBX Camera",
"href":"./files/GUID-46B98575-50FB-4E0F-8BCC-A14B0956C988.htm",
"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",
"href":"./files/GUID-824BC427-2458-410B-BB31-B2129AED5132.htm",
"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.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About the FBX Camera","href":"./files/GUID-E5D79F07-7F3F-423B-9A5D-4E11745180C9.htm"}]},
{"title":"Adjusting the Angle of View",
"href":"./files/GUID-A988CF62-2D67-48CD-B8BF-B4F8B8510CA6.htm",
"description":"To adjust the angle of view:From the Camera menu, ensure that the Basics tab is active. If you are using degrees for angle of view, enter the value directly in the FOV field. Increasing the FOV value",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About the FBX Camera","href":"./files/GUID-E5D79F07-7F3F-423B-9A5D-4E11745180C9.htm"},{"title": "Adjusting the Field of View","href":"./files/GUID-824BC427-2458-410B-BB31-B2129AED5132.htm"}]},
{"title":"Importing and Exporting FBX Cameras",
"href":"./files/GUID-A50BA0A7-6659-4560-8719-C265A836E028.htm",
"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.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About the FBX Camera","href":"./files/GUID-E5D79F07-7F3F-423B-9A5D-4E11745180C9.htm"}]},
{"title":"Export FBX Cameras Settings",
"href":"./files/GUID-5E932D05-80CB-40F6-9374-F33F19A4D24C.htm",
"description":"Pixels to FBX Units field Displays the scaling factor to apply to the exported FBX file to be used in the 3D application. Use the Units box to select the unit of measurement. Editable. Units box Selec",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About the FBX Camera","href":"./files/GUID-E5D79F07-7F3F-423B-9A5D-4E11745180C9.htm"},{"title": "Importing and Exporting FBX Cameras","href":"./files/GUID-A50BA0A7-6659-4560-8719-C265A836E028.htm"}]},
{"title":"Camera, Working, and Orthographic Views",
"href":"./files/GUID-7243156E-D0FA-4AD5-9D06-B5AE53B5A39F.htm",
"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.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About the FBX Camera","href":"./files/GUID-E5D79F07-7F3F-423B-9A5D-4E11745180C9.htm"}]},
{"title":"Setting Camera, Working, and Orthographic Views",
"href":"./files/GUID-AB67D990-C371-4325-BE49-C81CD9BE2356.htm",
"description":"In addition to Camera, Working, and the three orthographic views, you can also select Schematic view, which uses nodes to represent the objects in the scene and arrows to illustrate the relationships between objects.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About the FBX Camera","href":"./files/GUID-E5D79F07-7F3F-423B-9A5D-4E11745180C9.htm"},{"title": "Camera, Working, and Orthographic Views","href":"./files/GUID-7243156E-D0FA-4AD5-9D06-B5AE53B5A39F.htm"}]},
{"title":"Modifying the Camera",
"href":"./files/GUID-16FDB5F6-3117-4373-838A-B1C8D060DE5D.htm",
"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.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About the FBX Camera","href":"./files/GUID-E5D79F07-7F3F-423B-9A5D-4E11745180C9.htm"}]},
{"title":"Optimizing Attributes of the FBX Camera",
"href":"./files/GUID-25A5513B-90AF-4131-B8BA-3A219DB81708.htm",
"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",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About the FBX Camera","href":"./files/GUID-E5D79F07-7F3F-423B-9A5D-4E11745180C9.htm"}]},
{"title":"About Source Nodes",
"href":"./files/GUID-82739421-9774-43F1-A7E9-E3BAF9EEA2D2.htm",
"description":"Use source nodes in Action to create more advanced techniques such as transforming or replacing a front or matte clip or applying motion blur. 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.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"}]},
{"title":"Creating a Matte or Front Source",
"href":"./files/GUID-0028EE72-4468-4702-A6EA-D25177D407BE.htm",
"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.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About Source Nodes","href":"./files/GUID-82739421-9774-43F1-A7E9-E3BAF9EEA2D2.htm"}]},
{"title":"Parenting and Redrawing Source Nodes",
"href":"./files/GUID-C0E13131-AEB0-47F1-A22E-3419AEAD83E7.htm",
"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.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About Source Nodes","href":"./files/GUID-82739421-9774-43F1-A7E9-E3BAF9EEA2D2.htm"},{"title": "Creating a Matte or Front Source","href":"./files/GUID-0028EE72-4468-4702-A6EA-D25177D407BE.htm"}]},
{"title":"Replacing the Front or Matte Clip",
"href":"./files/GUID-185E2572-18A8-4B63-B674-5EE62ED4B9A1.htm",
"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.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About Source Nodes","href":"./files/GUID-82739421-9774-43F1-A7E9-E3BAF9EEA2D2.htm"}]},
{"title":"Source Settings",
"href":"./files/GUID-25595AF1-31B2-48A1-BAFD-F60E61C89632.htm",
"description":"Source box Select a Front or Matte source. Override button Enable to override a source node selection on the parent source. Source Type box Select a source type. When selecting Custom, you can also de",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About Source Nodes","href":"./files/GUID-82739421-9774-43F1-A7E9-E3BAF9EEA2D2.htm"},{"title": "Replacing the Front or Matte Clip","href":"./files/GUID-185E2572-18A8-4B63-B674-5EE62ED4B9A1.htm"}]},
{"title":"Viewing a Source Node",
"href":"./files/GUID-DEE205FB-9858-46CF-B15A-0DE08F7C576F.htm",
"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.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About Source Nodes","href":"./files/GUID-82739421-9774-43F1-A7E9-E3BAF9EEA2D2.htm"}]},
{"title":"Blurring with Source Nodes",
"href":"./files/GUID-8D8464EC-BE5F-4CBC-B7C0-7214FCED4201.htm",
"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.",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About Source Nodes","href":"./files/GUID-82739421-9774-43F1-A7E9-E3BAF9EEA2D2.htm"}]},
{"title":"Adding Cameras",
"href":"./files/GUID-F25FDAB0-1B33-4C67-821C-E836373D0FE4.htm",
"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).",
"ancestors":[{"title": "Compositing in 3D Space with Action","href":"./files/topichead_8.htm"},{"title": "About Source Nodes","href":"./files/GUID-82739421-9774-43F1-A7E9-E3BAF9EEA2D2.htm"}]},
{"title":"Chroma Keying and Working with Green Screens",
"href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm",
"description":"The Modular Keyer is a schematic environment, like ConnectFX, that is designed specifically keying. Within the Modular Keyer, you can choose different Start Modes or presets, which generate node schematics adapted to the different keys you want to pull, such as 3D keys, chroma keys, etc.",
"ancestors":[]},
{"title":"Setting Up the Nodes and Media to Pull a Key",
"href":"./files/GUID-A540AC33-4720-43D1-B45F-B2478681CB00.htm",
"description":"To pull a key, you must first set up your composite in the Modular Keyer.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"}]},
{"title":"Setting Up Viewports for Keying",
"href":"./files/GUID-7A5E3298-959B-46A7-882A-7491DEB18C8A.htm",
"description":"After you have set up your processing pipeline and your media, you want to set up the viewports for keying.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"}]},
{"title":"Creating and Refining a Key in the Master Keyer",
"href":"./files/GUID-F56C85F4-AE0C-4315-A988-288382E1B995.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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"}]},
{"title":"Generating Mattes",
"href":"./files/GUID-8E45CC0C-1D34-4CBD-B58E-5E1B5A9ED98D.htm",
"description":"Use the Matte controls in the Master Keyer to generate and refine a matte for your chroma key.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating and Refining a Key in the Master Keyer","href":"./files/GUID-F56C85F4-AE0C-4315-A988-288382E1B995.htm"}]},
{"title":"Basic Colour Spill Removal",
"href":"./files/GUID-22786D48-2E49-4ECF-A089-05D234B28C15.htm",
"description":"After you create and refine your matte for the key, you can perform basic colour spill removal by gesturally modifying the Spill parameters.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating and Refining a Key in the Master Keyer","href":"./files/GUID-F56C85F4-AE0C-4315-A988-288382E1B995.htm"}]},
{"title":"Advanced Colour Spill Removal",
"href":"./files/GUID-DEFD9596-36BA-4812-9F48-D118A07124D9.htm",
"description":"If you want to suppress colour spill beyond what was shown in Basic Colour Spill Removal, you can use the Spill controls in the Colour menu to eliminate and disguise the colour spill in the Master Keyer. You can sample the colour you want to remove, and then adjust the Range and Hue fields to suppress the selected colour and shift its adjacent colours.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating and Refining a Key in the Master Keyer","href":"./files/GUID-F56C85F4-AE0C-4315-A988-288382E1B995.htm"},{"title": "Basic Colour Spill Removal","href":"./files/GUID-22786D48-2E49-4ECF-A089-05D234B28C15.htm"}]},
{"title":"Blending Front and Back Clips",
"href":"./files/GUID-97A443CA-FB2C-4347-A1AB-CB0097C4F887.htm",
"description":"After you remove colour spill, you can use the Blend parameters in the Master Keyer 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 Master Keyer\'s Blend parameters to lighten the edge of the key.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating and Refining a Key in the Master Keyer","href":"./files/GUID-F56C85F4-AE0C-4315-A988-288382E1B995.htm"}]},
{"title":"Removing Grain",
"href":"./files/GUID-EDFB6617-3316-48E9-806F-9E6E97CFD39C.htm",
"description":"After you have set your blend parameters for the front and back clips, you may want to remove grain from your clips. 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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating and Refining a Key in the Master Keyer","href":"./files/GUID-F56C85F4-AE0C-4315-A988-288382E1B995.htm"}]},
{"title":"Removing Unwanted Greys",
"href":"./files/GUID-AACF3FDC-3E75-4EC4-A0AF-76E97E435BA3.htm",
"description":"If you have unwanted grey areas in the matte, you can use up to three patches in the Master Keyer to isolate a range of colours to be included in, or excluded from, the key.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating and Refining a Key in the Master Keyer","href":"./files/GUID-F56C85F4-AE0C-4315-A988-288382E1B995.htm"}]},
{"title":"Creating a Key by Extracting a Single Colour with the Channel Keyer",
"href":"./files/GUID-172477CA-91F5-498A-A911-A0FE214C9FBB.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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"}]},
{"title":"Extracting a Primary Colour",
"href":"./files/GUID-4B37FE2A-5848-4253-B56D-FC435173B994.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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating a Key by Extracting a Single Colour with the Channel Keyer","href":"./files/GUID-172477CA-91F5-498A-A911-A0FE214C9FBB.htm"}]},
{"title":"Extracting a Custom Colour",
"href":"./files/GUID-B8DA558C-CBEE-4913-9250-8C00CC218238.htm",
"description":"Use the Custom colour channel option in the Channel Keyer 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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating a Key by Extracting a Single Colour with the Channel Keyer","href":"./files/GUID-172477CA-91F5-498A-A911-A0FE214C9FBB.htm"}]},
{"title":"Creating a Key by Extracting a Range of Colours with the HLS, YUV, RGB and RGBCMYL Keyers",
"href":"./files/GUID-D43B4A9B-181D-4C9C-B503-F4AE503EC923.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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"}]},
{"title":"About the Different Colour Models",
"href":"./files/GUID-03B63364-8D2F-416A-A1F5-9620A782CFCB.htm",
"description":"There are four colour models you can use.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating a Key by Extracting a Range of Colours with the HLS, YUV, RGB and RGBCMYL Keyers","href":"./files/GUID-D43B4A9B-181D-4C9C-B503-F4AE503EC923.htm"}]},
{"title":"Selecting a Colour Model Based Component Keyer",
"href":"./files/GUID-539744EE-7379-4122-AEAE-72F82F1C0CB0.htm",
"description":"To determine which component keyer will give you the best key, try creating a sample matte for each keyer.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating a Key by Extracting a Range of Colours with the HLS, YUV, RGB and RGBCMYL Keyers","href":"./files/GUID-D43B4A9B-181D-4C9C-B503-F4AE503EC923.htm"}]},
{"title":"Setting the Softness Range",
"href":"./files/GUID-4F396C36-30D4-42F2-B3AF-51B898A16C03.htm",
"description":"After you choose a colour model based component keyer 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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating a Key by Extracting a Range of Colours with the HLS, YUV, RGB and RGBCMYL Keyers","href":"./files/GUID-D43B4A9B-181D-4C9C-B503-F4AE503EC923.htm"}]},
{"title":"Setting the Tolerance Range",
"href":"./files/GUID-A3BAA787-422E-4BDF-A04E-EA09AED621F8.htm",
"description":"After you define the softness range in a colour model based component keyer, 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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Creating a Key by Extracting a Range of Colours with the HLS, YUV, RGB and RGBCMYL Keyers","href":"./files/GUID-D43B4A9B-181D-4C9C-B503-F4AE503EC923.htm"}]},
{"title":"Creating a Key by Setting the Luminance",
"href":"./files/GUID-C156BB96-86EE-418E-A35C-44A84F885E80.htm",
"description":"You can create a key using only the Luminance channel. The softness and tolerance values are expressed as percentages.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"}]},
{"title":"Refining Your Key",
"href":"./files/topichead_9.htm",
"description":"",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"}]},
{"title":"Adjusting the Luminance of the Key",
"href":"./files/GUID-65A75AEA-CA9A-4BD5-AAD9-D6990DD8F6A9.htm",
"description":"After creating a key, you can adjust luminance values to fine-tune the result. The 2D Histogram node in the schematic 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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Refining Your Key","href":"./files/topichead_9.htm"}]},
{"title":"Setting the Range of the Luminance Values",
"href":"./files/GUID-A87557A4-E9CC-41DD-AFAC-787DECD3C6B8.htm",
"description":"Use the List and Gain fields with the Input Level controls, in the 2D Histogram node in the schematic, 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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Refining Your Key","href":"./files/topichead_9.htm"},{"title": "Adjusting the Luminance of the Key","href":"./files/GUID-65A75AEA-CA9A-4BD5-AAD9-D6990DD8F6A9.htm"}]},
{"title":"Remapping Black and White",
"href":"./files/GUID-6EF8CFE5-4375-4B11-B478-13ED8F67F866.htm",
"description":"Use the Output levels in the 2D Histogram node in the schematic 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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Refining Your Key","href":"./files/topichead_9.htm"},{"title": "Adjusting the Luminance of the Key","href":"./files/GUID-65A75AEA-CA9A-4BD5-AAD9-D6990DD8F6A9.htm"}]},
{"title":"Boosting the Luminance of the Key Using Gain and Lift",
"href":"./files/GUID-A897C151-F218-4B63-BCF2-907F9AD28880.htm",
"description":"You can remove grey from the key by increasing the gain and lowering the lift values in the 2D Histogram node in the schematic. 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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Refining Your Key","href":"./files/topichead_9.htm"},{"title": "Adjusting the Luminance of the Key","href":"./files/GUID-65A75AEA-CA9A-4BD5-AAD9-D6990DD8F6A9.htm"}]},
{"title":"Using the Luminance Curves",
"href":"./files/GUID-A3D17ADD-4C3E-466D-8C0D-EA1970A0786B.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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Refining Your Key","href":"./files/topichead_9.htm"},{"title": "Adjusting the Luminance of the Key","href":"./files/GUID-65A75AEA-CA9A-4BD5-AAD9-D6990DD8F6A9.htm"}]},
{"title":"Modifying the Edges of the Key",
"href":"./files/GUID-E96E22B3-3CC1-4D2D-BF7B-742D67C87FBA.htm",
"description":"Use the Shrink, Erode, and Blur controls in the Matte Edge node in the schematic, to enhance the edge of the keyed image.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Refining Your Key","href":"./files/topichead_9.htm"}]},
{"title":"Adjusting Spill Controls with the Colour Curves Node",
"href":"./files/GUID-29E07644-0C77-4808-A69E-C6DC7B2E56A6.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. Colour spill suppression in the component keyers is done through the Colour Curves node. The Colour Curves menu lets you sample the colour you want to suppress and then suppress that colour where necessary, using the suppression curve. Adjust the Suppression curve in the Colour Curves node to suppress a selected colour. Adjust the Hue Shift curve in the Colour Curves node to perform a hue shift on a selected colour.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Refining Your Key","href":"./files/topichead_9.htm"}]},
{"title":"Inverting a Matte",
"href":"./files/GUID-08CCC604-729C-4242-8ED9-B404816DAE56.htm",
"description":"Use the Negative node to invert a matte. By inserting the Negative node between the Matte Edge and the GMask nodes in the processing pipeline, the matte is automatically inverted. The Negative node has no settings to configure.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Refining Your Key","href":"./files/topichead_9.htm"}]},
{"title":"Adjusting the Front and Matte Luminance Curves",
"href":"./files/GUID-1F8A70C3-C98D-4695-B32B-896534C4BAC1.htm",
"description":"When you create a matte for the front clip, the Modular 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.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Refining Your Key","href":"./files/topichead_9.htm"}]},
{"title":"Viewing a Key with a Solid Colour Background",
"href":"./files/GUID-EC1882C8-F0C3-48D0-8442-7B6C69CA7EF0.htm",
"description":"The following optional technique can help you create cleaner keys more quickly.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Refining Your Key","href":"./files/topichead_9.htm"}]},
{"title":"Animating Your Key",
"href":"./files/GUID-F9D2A2D1-C21E-4E46-A9C5-EA2C5E00922B.htm",
"description":"The following parameters of a key can be animated:",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"},{"title": "Refining Your Key","href":"./files/topichead_9.htm"}]},
{"title":"Resetting Your Key",
"href":"./files/GUID-301A5287-CC6D-449A-BB52-D378DB8AF0AF.htm",
"description":"You can reset the individual node within the Modular Keyer processing piepline. You can also reset the entire Modular Keyer processing pipeline.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"}]},
{"title":"Rendering Your Key",
"href":"./files/GUID-5E52CDB2-CDBB-4DFF-9ED5-91C10C8CA11D.htm",
"description":"To view your key in the timeline, you must render it. You can render the key inside the ConnectFX view or in the timeline.",
"ancestors":[{"title": "Chroma Keying and Working with Green Screens","href":"./files/GUID-74FEA191-BD00-4A63-BEFC-ACEB74F0884F.htm"}]},
{"title":"Stabilizing and Tracking",
"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",
"ancestors":[]},
{"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 Tools tab, you stabilize with one tracker. When yo",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"}]},
{"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 ref",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"}]},
{"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 Selecting a Stabilizer Method or , and then consult this section when needed.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Working with Trackers","href":"./files/GUID-62F39612-44B8-41A3-A008-4FBC7590F7D4.htm"}]},
{"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:",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Working with Trackers","href":"./files/GUID-62F39612-44B8-41A3-A008-4FBC7590F7D4.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Working with Trackers","href":"./files/GUID-62F39612-44B8-41A3-A008-4FBC7590F7D4.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Working with Trackers","href":"./files/GUID-62F39612-44B8-41A3-A008-4FBC7590F7D4.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Working with Trackers","href":"./files/GUID-62F39612-44B8-41A3-A008-4FBC7590F7D4.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Working with Trackers","href":"./files/GUID-62F39612-44B8-41A3-A008-4FBC7590F7D4.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Working with Trackers","href":"./files/GUID-62F39612-44B8-41A3-A008-4FBC7590F7D4.htm"}]},
{"title":"Manual 3D Tracking",
"href":"./files/GUID-DAF3CBCD-D1AE-4611-B16C-2F71B23FE50B.htm",
"description":"Before you start manual 3D tracking, you should examine the clip closely to determine the points you want to track. The quality of the 2D track has a direct impact on the 3D tracking result, so it is important that you have a strategy for positioning the trackers in the clip sequence. Use the Stabilizer to track and stabilize the clip as accurately as possible. See Selecting a Stabilizer Method.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Working with Trackers","href":"./files/GUID-62F39612-44B8-41A3-A008-4FBC7590F7D4.htm"}]},
{"title":"Selecting a Stabilizer Method",
"href":"./files/GUID-66A4D6CF-4844-4980-B80D-6CA1CEED29B0.htm",
"description":"Use the stabilizer to remove unwanted shaky motion and to smooth the camera motion. It can separately smooth motion with respect to translation, rotation and scaling in an image sequence to produce a stabilized image.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Selecting a Stabilizer Method","href":"./files/GUID-66A4D6CF-4844-4980-B80D-6CA1CEED29B0.htm"}]},
{"title":"Stabilizing Motion, Scaling, and Rotation",
"href":"./files/GUID-72B87F29-887B-4E71-A0A2-2FD83B619FB3.htm",
"description":"To stabilize Motion, Scaling and Rotation using Auto Stabilize:Select ToolsCompositeAuto Stabilize. The cursor changes to Pick Front. Select the front clip. The cursor changes to Render Here. Cli",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Selecting a Stabilizer Method","href":"./files/GUID-66A4D6CF-4844-4980-B80D-6CA1CEED29B0.htm"}]},
{"title":"Stabilizing a Perspective Transformation",
"href":"./files/GUID-484A409E-395D-4219-8516-37BF87A4FAC0.htm",
"description":"To stabilize Motion, Scaling and Rotation using Auto Stabilize:Select ToolsCompositeAuto Stabilize. The cursor changes to Pick Front. Select the front clip. The cursor changes to Render Here. Cli",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Selecting a Stabilizer Method","href":"./files/GUID-66A4D6CF-4844-4980-B80D-6CA1CEED29B0.htm"}]},
{"title":"Manually Stabilizing 2D Motion",
"href":"./files/GUID-C536D7D6-D7EE-4926-95CC-0CD58543584B.htm",
"description":"To manually stabilize 2D motion: Select ToolsCompositeStabilizer The cursor will change to Pick Front. Select the front clip. Your source clip is rendered (if needed). The cursor will change to Re",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Selecting a Stabilizer Method","href":"./files/GUID-66A4D6CF-4844-4980-B80D-6CA1CEED29B0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Selecting a Stabilizer Method","href":"./files/GUID-66A4D6CF-4844-4980-B80D-6CA1CEED29B0.htm"}]},
{"title":"Removing Jitter While Keeping Overall Motion",
"href":"./files/GUID-C854B301-5CA5-47F9-96E2-3EA4AC16C9D6.htm",
"description":"Use the Jitter option to remove the jitter from a clip while retaining the overall motion. The Stabilizer calculates the difference between an average applied to the channel by using the current Over value and the original tracking data. Applying this curve leaves only the jitter values as keyframes. Copying these curves can also be useful if you want to extract the jitter values to apply to another clip.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Selecting a Stabilizer Method","href":"./files/GUID-66A4D6CF-4844-4980-B80D-6CA1CEED29B0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Selecting a Stabilizer Method","href":"./files/GUID-66A4D6CF-4844-4980-B80D-6CA1CEED29B0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"}]},
{"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:",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking","href":"./files/GUID-E5272767-2723-465D-9008-0AEE26220031.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking","href":"./files/GUID-E5272767-2723-465D-9008-0AEE26220031.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking Difficult Shots and Correcting Errors","href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm"}]},
{"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 .",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking Difficult Shots and Correcting Errors","href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking Difficult Shots and Correcting Errors","href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking Difficult Shots and Correcting Errors","href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking Difficult Shots and Correcting Errors","href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking Difficult Shots and Correcting Errors","href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking Difficult Shots and Correcting Errors","href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking Difficult Shots and Correcting Errors","href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking Difficult Shots and Correcting Errors","href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking Difficult Shots and Correcting Errors","href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm"}]},
{"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:",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Tracking Difficult Shots and Correcting Errors","href":"./files/GUID-43508309-7C2C-41FB-A2C8-218B8FAD23E0.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"}]},
{"title":"Changing the Colour of Trackers",
"href":"./files/GUID-A4848417-9DD9-4FF9-8F33-2BBA6C835F28.htm",
"description":"When you add a new tracker, the system automatically assigns it a unique colour so that you can easily distinguish between multiple trackers. You can change the colour of an individual tracker or of all the trackers at once.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Setup Options","href":"./files/GUID-562D8A73-7B1E-4CE9-B69B-BE12D4AF2108.htm"}]},
{"title":"Pretracking a Clip",
"href":"./files/GUID-C674A3DC-E1D0-48F1-8ACE-E9C5EF84D88B.htm",
"description":"Before analysing, you can use the Pretracking option in the Setup menu to preview the motion path for a specified number of frames. You can then adjust the tracker position, if necessary, to find the best reference point. The Pretracking option applies only to the selected tracker, regardless of whether you selected Solo, Selected, or Gang in the Tracker Selection box. If you move or resize a tracker with Pretracking enabled, the next frames are analysed.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"},{"title": "Setup Options","href":"./files/GUID-562D8A73-7B1E-4CE9-B69B-BE12D4AF2108.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"}]},
{"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.",
"ancestors":[{"title": "Stabilizing and Tracking","href":"./files/GUID-9407164F-B54F-4665-AB4F-DFF799DD92EE.htm"}]},
{"title":"Masking and Rotoscoping",
"href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm",
"description":"",
"ancestors":[]},
{"title":"Using Garbage Masks in ConnectFX 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 ConnectFX and the Modular Keyer.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"title":"Accessing the Garbage Mask Menu",
"href":"./files/GUID-191A3B70-EE0B-4105-B9C6-FEF9C0620AC0.htm",
"description":"Access the Garbage Mask menu from the Modular Keyer or the GMask node when you want to use multiple garbage masks or use the Tracer for detailed masks.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"title":"Accessing the Garbage Mask from the ConnectFX",
"href":"./files/GUID-C102FEC4-6C19-48C3-BDC5-095D47CA104E.htm",
"description":"To access the Garbage Mask from the Timeline through ConnectFX;Select Timeline. Select the segment. Click the FX button. Click the Create ConnectFX button. Double-click on, or drag, a GMask node int",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Accessing the Garbage Mask Menu","href":"./files/GUID-191A3B70-EE0B-4105-B9C6-FEF9C0620AC0.htm"}]},
{"title":"Accessing the Garbage Mask from Modular Keyer",
"href":"./files/GUID-B39EE247-4DB4-46E3-8892-20A4D91EE820.htm",
"description":"To access the Garbage Mask from the Modular Keyer;Double-click on, or drag, a GMask node into the schematic from the Modular Keyer editor. The GMask node is now in the schematic. Double-click the GM",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Accessing the Garbage Mask Menu","href":"./files/GUID-191A3B70-EE0B-4105-B9C6-FEF9C0620AC0.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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:",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"title":"About Drawing Options",
"href":"./files/GUID-2CF14887-C3D6-44B5-B0FD-C62DC3A38CF0.htm",
"description":"Use the Mask Setup menu to access mask drawing options.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"title":"Drawing a Mask",
"href":"./files/GUID-3153D859-F97C-4CDF-B4BD-ABA65C326A4D.htm",
"description":"After setting the drawing options, you can draw the mask.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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:",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Manipulating Vertices and Tangents","href":"./files/GUID-252B06BE-0BD2-4084-9C4F-3DFAB79B4502.htm"}]},
{"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 ConnectFX and the Modular Keyer. See .",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Manipulating Vertices and Tangents","href":"./files/GUID-252B06BE-0BD2-4084-9C4F-3DFAB79B4502.htm"}]},
{"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:",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Manipulating Vertices and Tangents","href":"./files/GUID-252B06BE-0BD2-4084-9C4F-3DFAB79B4502.htm"}]},
{"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:",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Manipulating Vertices and Tangents","href":"./files/GUID-252B06BE-0BD2-4084-9C4F-3DFAB79B4502.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Manipulating Vertices and Tangents","href":"./files/GUID-252B06BE-0BD2-4084-9C4F-3DFAB79B4502.htm"}]},
{"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 keyboard shortcut as you move vertices.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Manipulating Vertices and Tangents","href":"./files/GUID-252B06BE-0BD2-4084-9C4F-3DFAB79B4502.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Manipulating Vertices and Tangents","href":"./files/GUID-252B06BE-0BD2-4084-9C4F-3DFAB79B4502.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Animating Garbage Masks","href":"./files/GUID-12AF78D4-EEE8-471F-8DF5-776C7EFF3B22.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Animating Garbage Masks","href":"./files/GUID-12AF78D4-EEE8-471F-8DF5-776C7EFF3B22.htm"}]},
{"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:",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Animating Garbage Masks","href":"./files/GUID-12AF78D4-EEE8-471F-8DF5-776C7EFF3B22.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"title":"Rendering Garbage Masks in Interlaced Mode",
"href":"./files/GUID-17C3B155-1AC7-415F-A763-0D25C147BEAE.htm",
"description":"Using the GMask node, you can render garbage masks in Interlaced mode to accommodate video material.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Refining the Mask","href":"./files/GUID-A5FF7C93-A475-4ED9-940C-2705AA1685B6.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Refining the Mask","href":"./files/GUID-A5FF7C93-A475-4ED9-940C-2705AA1685B6.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Refining the Mask","href":"./files/GUID-A5FF7C93-A475-4ED9-940C-2705AA1685B6.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Refining the Mask","href":"./files/GUID-A5FF7C93-A475-4ED9-940C-2705AA1685B6.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Refining the Mask","href":"./files/GUID-A5FF7C93-A475-4ED9-940C-2705AA1685B6.htm"}]},
{"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 .",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"},{"title": "Refining the Mask","href":"./files/GUID-A5FF7C93-A475-4ED9-940C-2705AA1685B6.htm"}]},
{"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": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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:",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"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:",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"title":"Creating Customized Wipes with Garbage Masks",
"href":"./files/GUID-ABB4EE69-C0D4-424C-8287-2FBDE237AB46.htm",
"description":"Use masks on the incoming clip to create a customized transition that wipes into the outgoing clip.",
"ancestors":[{"title": "Masking and Rotoscoping","href":"./files/GUID-C1C503F2-99C7-4AC7-B4E1-55EDB5116B19.htm"}]},
{"title":"Colour Correcting",
"href":"./files/topichead_10.htm",
"description":"",
"ancestors":[]},
{"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 b",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"}]},
{"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. You can load",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"}]},
{"title":"Accessing the Colour Corrector from the Timeline",
"href":"./files/GUID-4EC74B39-90EC-4E07-A747-E0726E4378D3.htm",
"description":"To access the Colour Corrector from the Timeline: Select Timeline. Right-click on the segment that will be colour corrected. Select Add Effect. The Video Effects ribbon appears. Enable CC (colour cor",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Accessing the Colour Corrector","href":"./files/GUID-E81B5B16-75C8-42A6-8E0B-DC8F0A2E59D9.htm"}]},
{"title":"Accessing the Colour Corrector from Modular Keyer, Action, or Paint",
"href":"./files/GUID-75D81E3C-A7B8-428F-96E8-0A757BD92A10.htm",
"description":"You can colour correct clips loaded into the MOdular Keyer, Action or Paint. Back clips and key-in clips cannot be colour corrected. To access the Colour Corrector from the Modular Keyer:Double-cl",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Accessing the Colour Corrector","href":"./files/GUID-E81B5B16-75C8-42A6-8E0B-DC8F0A2E59D9.htm"}]},
{"title":"Accessing the Colour Correct through ConnectFX",
"href":"./files/GUID-13E6151C-A059-4EE1-B1BC-0DE0EEB6B0AB.htm",
"description":"To access Colour Correct through ConnectFX:Select Timeline. Select the segment. Click the FX button. Click the Create ConnectFX button. Double-click on, or drag, a Colour Correct node into the schema",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Accessing the Colour Corrector","href":"./files/GUID-E81B5B16-75C8-42A6-8E0B-DC8F0A2E59D9.htm"}]},
{"title":"Hiding the Colour Corrector Menu",
"href":"./files/GUID-9A1F1DF6-EBE1-41B4-B04A-DF2E600539C4.htm",
"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 keyboard shortcuts.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Accessing the Colour Corrector","href":"./files/GUID-E81B5B16-75C8-42A6-8E0B-DC8F0A2E59D9.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Accessing the Colour Corrector","href":"./files/GUID-E81B5B16-75C8-42A6-8E0B-DC8F0A2E59D9.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Corrector Settings","href":"./files/GUID-E0D4A02B-E3AE-42A1-8F38-35A04D52FBED.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Corrector Settings","href":"./files/GUID-E0D4A02B-E3AE-42A1-8F38-35A04D52FBED.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Corrector Settings","href":"./files/GUID-E0D4A02B-E3AE-42A1-8F38-35A04D52FBED.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Corrector Settings","href":"./files/GUID-E0D4A02B-E3AE-42A1-8F38-35A04D52FBED.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Corrector Settings","href":"./files/GUID-E0D4A02B-E3AE-42A1-8F38-35A04D52FBED.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Corrector Settings","href":"./files/GUID-E0D4A02B-E3AE-42A1-8F38-35A04D52FBED.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Corrector Settings","href":"./files/GUID-E0D4A02B-E3AE-42A1-8F38-35A04D52FBED.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"}]},
{"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:",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Sampling","href":"./files/GUID-AD70BA9F-E483-4B31-BCCE-BB55F8AF22FA.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"}]},
{"title":"Colour Correcting",
"href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm",
"description":"Use the colour correction controls to perform many operations. You can:",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Correcting","href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Correcting","href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Correcting","href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Correcting","href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Correcting","href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Correcting","href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Correcting","href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Correcting","href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Correcting","href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Colour Correcting","href":"./files/GUID-D72F62C8-DC80-470A-9995-78E06820F43D.htm"}]},
{"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:",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About Colour Correcting","href":"./files/GUID-68EB3779-9B12-4400-A8E0-42E458F92E87.htm"},{"title": "Adjusting the Colour Range","href":"./files/GUID-4D758DF6-FB2F-42B8-BA9F-CE741B37D0A8.htm"}]},
{"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.",
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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":"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 g",
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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",
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{"title":"Accessing Colour Warper from the Timeline",
"href":"./files/GUID-970B95F6-1344-4613-910A-B1AC5F0FE475.htm",
"description":"To access Colour Warper from the Timeline:From the Timeline, right-click on the sequence to which you will apply the Colour Warper. Select Add Effect. The Video Effects ribbon is displayed. Enable C",
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{"title":"Accessing the Colour Warper from Modular Keyer, Action, or Paint",
"href":"./files/GUID-A5ABE68A-0871-4024-9D0A-95279D172E2A.htm",
"description":"To access the Colour Warper from the Modular Keyer:Double-click on, or drag, the Colour Warper node from the node bar to the schematic. Double-click the Colour Warper node. You are in the Colour Warp",
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{"title":"Accessing Colour Warper through ConnectFX",
"href":"./files/GUID-3ADB1D22-FF1D-4FD0-A414-7BBB291CC9A1.htm",
"description":"To access Colour Warper through ConnectFX:Select Timeline. Select the segment. Click the FX button. Click the Create ConnectFX button. Double-click on, or drag, a Colour Warper node into the schemat",
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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.",
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{"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.",
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{"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 ConnectFX schematic to match saturation, whites and blacks, or colours. You can also switch between different references to ensure continuity throughout the project.",
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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. 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",
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"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About the Colour Warper","href":"./files/GUID-260FAB6D-E4B6-456C-B3B2-78103AE05CAC.htm"}]},
{"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, 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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About the Colour Warper","href":"./files/GUID-260FAB6D-E4B6-456C-B3B2-78103AE05CAC.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About the Colour Warper","href":"./files/GUID-260FAB6D-E4B6-456C-B3B2-78103AE05CAC.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About the Colour Warper","href":"./files/GUID-260FAB6D-E4B6-456C-B3B2-78103AE05CAC.htm"},{"title": "Creating Subsetups","href":"./files/GUID-E3EEE9F0-BA33-4F9A-804B-F3AA7CE88C39.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About the Colour Warper","href":"./files/GUID-260FAB6D-E4B6-456C-B3B2-78103AE05CAC.htm"},{"title": "Creating Subsetups","href":"./files/GUID-E3EEE9F0-BA33-4F9A-804B-F3AA7CE88C39.htm"}]},
{"title":"Replacing Subsetups",
"href":"./files/GUID-5999E1FB-CB49-4BA6-9828-69B64B915D27.htm",
"description":"You can replace or override a setup.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About the Colour Warper","href":"./files/GUID-260FAB6D-E4B6-456C-B3B2-78103AE05CAC.htm"},{"title": "Creating Subsetups","href":"./files/GUID-E3EEE9F0-BA33-4F9A-804B-F3AA7CE88C39.htm"}]},
{"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.",
"ancestors":[{"title": "Colour Correcting","href":"./files/topichead_10.htm"},{"title": "About the Colour Warper","href":"./files/GUID-260FAB6D-E4B6-456C-B3B2-78103AE05CAC.htm"},{"title": "Creating Subsetups","href":"./files/GUID-E3EEE9F0-BA33-4F9A-804B-F3AA7CE88C39.htm"}]},
{"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":"Painting",
"href":"./files/topichead_11.htm",
"description":"",
"ancestors":[]},
{"title":"Paint Node",
"href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm",
"description":"Paint Node is a system that provides a scalable matte painting, retouching, or restoration workflow in ConnectFX. Due to its underlying technology, Paint Node automatically scales strokes when chan",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"}]},
{"title":"Accessing Paint Node",
"href":"./files/GUID-55F8E7BF-2AAF-4DCE-B7FC-BE2505EAF8E5.htm",
"description":"Paint Node can be accessed from:",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"}]},
{"title":"Accessing the Paint Node from ConnectFX",
"href":"./files/GUID-4CE58588-4066-4BBF-8717-59A7C4E0A991.htm",
"description":"To access Paint through Connect FX:Select Timeline. Select the segment. Click the FX button. Click the Create Connect FX button. Drag a Paint Node into the schematic. The Paint Node is now in the sc",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Accessing Paint Node","href":"./files/GUID-55F8E7BF-2AAF-4DCE-B7FC-BE2505EAF8E5.htm"}]},
{"title":"Accessing the Paint Node from the Modular Keyer",
"href":"./files/GUID-A40C356B-CDE5-49B7-AC8E-D5AE53DF6CB4.htm",
"description":"To add a Paint Node in the Modular Keyer:Double-click on, or drag, a Paint Node from the node bar and add it to the schematic. Click the Paint Node. You are in the Paint editor.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Accessing Paint Node","href":"./files/GUID-55F8E7BF-2AAF-4DCE-B7FC-BE2505EAF8E5.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Using Sources","href":"./files/GUID-7752D2CF-00B5-4C96-B0DF-13620D7F5EB9.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Using Sources","href":"./files/GUID-7752D2CF-00B5-4C96-B0DF-13620D7F5EB9.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Using Sources","href":"./files/GUID-7752D2CF-00B5-4C96-B0DF-13620D7F5EB9.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Using Sources","href":"./files/GUID-7752D2CF-00B5-4C96-B0DF-13620D7F5EB9.htm"}]},
{"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 .",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Using Sources","href":"./files/GUID-7752D2CF-00B5-4C96-B0DF-13620D7F5EB9.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Using Sources","href":"./files/GUID-7752D2CF-00B5-4C96-B0DF-13620D7F5EB9.htm"}]},
{"title":"Displaying Sources",
"href":"./files/GUID-16DF5D80-2615-4364-B14E-2B5B284793C1.htm",
"description":"Paint Node 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 .",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Using Sources","href":"./files/GUID-7752D2CF-00B5-4C96-B0DF-13620D7F5EB9.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Brush Attributes and Attribute Modes","href":"./files/GUID-71261752-8017-425B-A784-A837C73E03AF.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Brush Attributes and Attribute Modes","href":"./files/GUID-71261752-8017-425B-A784-A837C73E03AF.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"}]},
{"title":"Applying Brush Strokes",
"href":"./files/GUID-F4D0AD57-3A3E-4BD1-AEDB-F9D0E96F5C19.htm",
"description":"You can paint with either a pen or a mouse, and access various pressure settings.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Painting Brush Strokes","href":"./files/GUID-2CF2280E-6AB3-476B-80D9-FEAB11AE7240.htm"}]},
{"title":"Removing Brush Strokes",
"href":"./files/GUID-567C47B9-E39D-4421-9D8F-0EA1909491F1.htm",
"description":"You can undo multiple brush strokes in Paint Node. 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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Painting Brush Strokes","href":"./files/GUID-2CF2280E-6AB3-476B-80D9-FEAB11AE7240.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Painting Brush Strokes","href":"./files/GUID-2CF2280E-6AB3-476B-80D9-FEAB11AE7240.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Painting Brush Strokes","href":"./files/GUID-2CF2280E-6AB3-476B-80D9-FEAB11AE7240.htm"}]},
{"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": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.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": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.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": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.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": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.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": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.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": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.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": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"}]},
{"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": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.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 .",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Using the Canvas","href":"./files/GUID-3D40876A-F472-459E-9326-19F306522878.htm"}]},
{"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.",
"ancestors":[{"title": "Painting","href":"./files/topichead_11.htm"},{"title": "Paint Node","href":"./files/GUID-281A8E2D-6437-4DB5-855E-F2A7D1D90B4C.htm"},{"title": "Using the Canvas","href":"./files/GUID-3D40876A-F472-459E-9326-19F306522878.htm"}]},
{"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":"Paint Node setups are saved as XML files with the .bpaint extension. The procedures for saving and loading Paint Node setups are the same as for other setups.",
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{"title":"Paint Tool",
"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.",
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{"title":"Loading Clips into Paint",
"href":"./files/GUID-C45D5856-C497-4105-AC90-8FE36420417F.htm",
"description":"When accessing the Paint Tool, you first select the clips that you want to use. Any of the following combinations of clips can be used in Paint: A front clip only A front clip and a back clip A fron",
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{"title":"Accessing the Paint menu with a blank canvas",
"href":"./files/GUID-CDFEC2B7-54A6-492D-9591-10334974888B.htm",
"description":"To access the Paint menu with a blank canvas:Select ToolsCompositePaint. The cursor changes to Pick Front. From the Input Mode box, select None. The Resolution Parameters controls appear. The curso",
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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.",
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{"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 Tool",
"href":"./files/GUID-24F4FA96-B848-4D1B-B349-0A484457710D.htm",
"description":"You can access the Player from the Paint Tool. To do so, click Process in the Paint Tool and then click Play once the clip is processed. Each time you access the Player, a clip is created in the Viewing Panel. This clip cannot be removed from the Paint tool. You must delete it from the Viewing Panel 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.",
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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",
"href":"./files/GUID-73CB9678-D81D-454C-9FFC-AE0720BBF845.htm",
"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",
"href":"./files/GUID-FDD3107B-0BA2-4568-8DDD-2996E310A570.htm",
"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",
"href":"./files/GUID-1D58489C-5B1F-4A1D-95CC-616B954F88FA.htm",
"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",
"href":"./files/GUID-EB0351E6-DC0D-4DCB-B258-C23AA03279A8.htm",
"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":"About Canvas Mode",
"href":"./files/GUID-0E083C23-1F61-4890-99E0-2B32847B3D8B.htm",
"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",
"href":"./files/GUID-64C2DF51-CC1A-4153-88CB-45D4F7F718B3.htm",
"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",
"href":"./files/GUID-1C310B34-50F1-4038-BCA7-6E430CE986AC.htm",
"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",
"href":"./files/GUID-4129702A-2206-4DA6-BAB9-2C29B912CE73.htm",
"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",
"href":"./files/GUID-1DC28629-39BE-4CFE-8515-8D9410DF77C1.htm",
"description":"Use the Geometry feature to draw lines, rectangles, circles, and triangles on the canvas.",
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{"title":"Painting Lines",
"href":"./files/GUID-8F920C07-98A8-4A27-B770-56E924A4AC3F.htm",
"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",
"href":"./files/GUID-AEC2C83A-096E-4A3A-BB97-6E7C4855BB52.htm",
"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":"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",
"href":"./files/GUID-27EC92B3-9C62-444F-9701-DA7BEA492C69.htm",
"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 and drag the brush to the right on the canvas. To decrease it, set a value in the Size field 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",
"href":"./files/GUID-937E7963-C712-48A5-AD18-D4C60F0C41EA.htm",
"description":"The Spacing setup preference affects how paint strokes are applied to the canvas.",
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{"title":"Applying Filters",
"href":"./files/GUID-721390EF-4949-494D-8769-29A98134EBEF.htm",
"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",
"href":"./files/GUID-36A0CEFD-6BCA-4419-B6A9-56A53C55C43F.htm",
"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",
"href":"./files/GUID-D2BF924F-E065-4823-96E5-BFCADA24CE64.htm",
"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",
"href":"./files/GUID-04BD55F4-D42D-4D63-94FD-7C76B550CF89.htm",
"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",
"href":"./files/GUID-06DBC39A-4352-43A5-9854-AFF74337974D.htm",
"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",
"href":"./files/GUID-44F4263E-258A-4AFA-9A16-B03E93DD248C.htm",
"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",
"href":"./files/GUID-257FA410-8519-464F-9B3B-5524E6AA4982.htm",
"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",
"href":"./files/GUID-C860F8EE-962D-41CC-B141-D252478C6377.htm",
"description":"Use the Smear medium to smudge portions of the image.",
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{"title":"Using the Stamp Medium",
"href":"./files/GUID-1124E488-EB78-41F9-AC68-F040A10EA6FD.htm",
"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",
"href":"./files/GUID-D67F7BF9-BC96-4C08-A2DF-BB4A964C4550.htm",
"description":"Use the Warp medium to stretch and distort regions of the image.",
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{"title":"Washing and Shading the Image",
"href":"./files/GUID-0D80F4C5-0EF6-4C9A-815E-2CAA53AB317A.htm",
"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":"Wiping an Image",
"href":"./files/GUID-A7492925-5F58-45CD-8610-DC0A08A88D39.htm",
"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",
"href":"./files/GUID-C1DD34F9-76FA-4059-82CB-B6EAC2DAB421.htm",
"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",
"href":"./files/GUID-DAA10296-D9AF-478A-958E-6CA66655EDB2.htm",
"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",
"href":"./files/GUID-FD9EB48F-8778-4CCC-9994-D009899394CD.htm",
"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",
"href":"./files/GUID-85130975-E5D5-4805-BE9F-ACB1B48920FE.htm",
"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",
"href":"./files/GUID-C3C97E95-B77F-460E-8247-91BA9E007B19.htm",
"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",
"href":"./files/GUID-B51C802D-C727-45B6-8506-84DF9F1221BB.htm",
"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",
"href":"./files/GUID-65DAEE46-E65A-4635-8AAB-47ED80900139.htm",
"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",
"href":"./files/GUID-4F5F7508-9C96-4C6D-87F4-8C275F1B8F80.htm",
"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",
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"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",
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"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",
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"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":"About Mattes",
"href":"./files/GUID-721CC186-1F3E-4858-88C3-2CB1465D1CE1.htm",
"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",
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"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",
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"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",
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"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",
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"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",
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"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":"",
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{"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",
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"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",
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"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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"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",
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"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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{"title":"Selecting All Objects",
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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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{"title":"Editing Objects",
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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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"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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"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",
"href":"./files/GUID-8D187FCF-130D-484D-B5BF-DCBDE0F1B5AE.htm",
"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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{"title":"Using the Transformation Controls",
"href":"./files/GUID-21EED124-1729-4C24-AF2C-A54492D12F50.htm",
"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",
"href":"./files/GUID-5A0ED884-DC3A-4F8C-BC4D-37D21AB03D8F.htm",
"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",
"href":"./files/GUID-498ACBE8-4F67-41DA-BA85-0BFCDA8C3A67.htm",
"description":"Change the shape of a polygon or line by changing its number of vertices.",
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{"title":"Editing a Bezier Curve",
"href":"./files/GUID-6CAFE090-ACDC-438C-BC81-213F31801C9D.htm",
"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",
"href":"./files/GUID-297156E5-4F8B-4078-A660-04CE38A2EF41.htm",
"description":"Use the Convert command to convert objects to AutoPaint strokes.",
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{"title":"Animating Graphics",
"href":"./files/GUID-12AD580D-6E5B-4724-BFF8-9D648D269E8A.htm",
"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",
"href":"./files/GUID-57DBA634-9FA4-4489-8F72-3F12F0F6ED44.htm",
"description":"The following parameters can be animated for every object:",
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{"title":"Shape Animation",
"href":"./files/GUID-7BA2D527-37B6-49AC-9928-DBE653DC2FD1.htm",
"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",
"href":"./files/GUID-C1B394E8-21D5-4496-9CA5-464EB89E4025.htm",
"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",
"href":"./files/GUID-D87EBC98-29BA-495B-9B42-00838A7EFB69.htm",
"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",
"href":"./files/GUID-57DA206D-A249-41F0-B412-F595DE389A80.htm",
"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",
"href":"./files/GUID-8EC24297-2F87-4CD3-8F69-EA826FE16CC6.htm",
"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",
"href":"./files/GUID-8CF5623B-DF78-4555-BC97-2A0B58CE75F5.htm",
"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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{"title":"Tacking Down Selected Objects",
"href":"./files/GUID-734F5C02-0C1C-4AFB-918B-64E298DF128C.htm",
"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",
"href":"./files/topichead_13.htm",
"description":"",
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{"title":"Accessing the CutOut Menu",
"href":"./files/GUID-7B80B9EB-E49E-4B61-ACBF-A0F99F94FC53.htm",
"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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{"title":"Creating a Cutout",
"href":"./files/GUID-6ECF0EDF-9BB3-43FD-B33A-5DC7DEA93AE7.htm",
"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",
"href":"./files/GUID-8B44AE9C-DADD-49D4-BAAD-1951C6659169.htm",
"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",
"href":"./files/GUID-E241A063-2BB7-4697-B388-9350B69970CC.htm",
"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",
"href":"./files/GUID-4B62B96E-8295-4323-90FA-F9FE9E8A86ED.htm",
"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",
"href":"./files/GUID-51C5F150-FB84-41D7-BDCE-A27067D92AC4.htm",
"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",
"href":"./files/GUID-0AFF21E3-2C99-42A6-B192-13700628A82B.htm",
"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",
"href":"./files/GUID-49E8A984-D291-422C-8DC4-CEA71E903529.htm",
"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",
"href":"./files/GUID-7C27089F-22CD-48AB-97E4-FDDA9DE87472.htm",
"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",
"href":"./files/GUID-253064A7-D796-4062-96DC-FDF3159192AC.htm",
"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",
"href":"./files/GUID-2D5484E3-EEC1-47CC-BE72-DB7908D48909.htm",
"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",
"href":"./files/GUID-8242F451-3C33-45EA-8FDB-935EC5E83304.htm",
"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",
"href":"./files/GUID-936CB135-6BE7-4039-BE2F-38248D2042DA.htm",
"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":"About Paint Setups",
"href":"./files/GUID-4D97E07E-4556-49E6-9E28-AE8904DBB754.htm",
"description":"A setup is a file that contains a record of all changes you make to a clip in a particular tool. 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 tools",
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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",
"href":"./files/GUID-87AF3B1F-1700-4CA1-8719-034FFCC8A280.htm",
"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",
"href":"./files/GUID-71919815-E074-44A3-9A1F-F69FC17EF087.htm",
"description":"Use the Load button to load any type of Paint setup.",
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{"title":"Deleting Setups",
"href":"./files/GUID-57B8F94D-3940-4AAA-960B-A2932843683C.htm",
"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",
"href":"./files/GUID-077BB022-362A-4ED9-82FA-B52551E7BCE9.htm",
"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",
"href":"./files/GUID-A545F4AA-DC02-4721-90AF-DDB17055C72F.htm",
"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",
"href":"./files/GUID-62C69C7E-8A69-427E-875C-94C00BE1EF6F.htm",
"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",
"href":"./files/GUID-3E6F0F89-8E67-4A3B-B6F9-D151C0BEE1B0.htm",
"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",
"href":"./files/GUID-A08B8523-58D8-46E3-9EA9-C3BA70965F86.htm",
"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",
"href":"./files/GUID-6E88BFA7-D095-4AA1-9923-C883CAE6DB2B.htm",
"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",
"href":"./files/GUID-BFA593B6-EB14-4A03-AA13-F2244F94E3FE.htm",
"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":"Text and Titling",
"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.",
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{"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 tool.",
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{"title":"Accessing the Text Tool",
"href":"./files/GUID-26950766-7E74-4C38-96D9-D57A533C68EA.htm",
"description":"The Text Tool can be accessed from the following locations:",
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{"title":"Accessing the Text Tool from the Timeline",
"href":"./files/GUID-BF1EF5AE-F632-4232-8B29-2F7B6ECD4A70.htm",
"description":"To access the Text Tool from the Timeline: Select Timeline. Right-click on the segment that will be colour corrected. Select Add Effect. The Video Effects ribbon appears. Enable TX (Text). Click Ente",
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{"title":"Accessing the Text Tool from Tools",
"href":"./files/GUID-C1725D2E-B4C6-44BD-AB0D-020FC7E58188.htm",
"description":"When accessing the Text Tool, 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 Tool, 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":"Accessing the Text Tool through ConnectFX",
"href":"./files/GUID-316ACA75-6D03-4F52-AEC9-7B6BA85426C0.htm",
"description":"To access Colour Corrector through ConnectFX:Select Timeline. Select the segment. Click the FX button. Click the Create ConnectFX button. Double-click on, or drag, a Text node into the schematic. Th",
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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": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.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.",
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{"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 tool. 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 Keyboard Shortcuts",
"href":"./files/GUID-9B29CD96-1D7A-4102-ABC4-9BD5CF86EAD0.htm",
"description":"Typical word processing tasks include text selection, cutting, copying, and pasting. The Text tool includes several character manipulation keyboard shortcuts 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 .",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"}]},
{"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 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.",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"}]},
{"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.",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"}]},
{"title":"Animating Paragraph Channels",
"href":"./files/GUID-8A7BD659-C3CE-44E9-9C23-BC1A1447DF80.htm",
"description":"In the Text Tool, 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.",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"},{"title": "Animating Text","href":"./files/GUID-CDE55710-DEA5-4AB3-9179-71281C3EF0DB.htm"}]},
{"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.",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"},{"title": "Animating Text","href":"./files/GUID-CDE55710-DEA5-4AB3-9179-71281C3EF0DB.htm"}]},
{"title":"Defining Styles",
"href":"./files/GUID-5E830CBA-4C78-40BA-90F3-6D79544E5A87.htm",
"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.",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"}]},
{"title":"Saving and Loading Styles",
"href":"./files/GUID-376B65B0-5FCE-4A72-8774-0415D5473781.htm",
"description":"After you create styles, you may want to save one or all of them. You can load any of them in future sessions.",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"},{"title": "Defining Styles","href":"./files/GUID-5E830CBA-4C78-40BA-90F3-6D79544E5A87.htm"}]},
{"title":"Saving Multiple Styles Automatically",
"href":"./files/GUID-B4F2C977-9680-496E-BDA5-9B419C34DF54.htm",
"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 Tool 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.",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"},{"title": "Defining Styles","href":"./files/GUID-5E830CBA-4C78-40BA-90F3-6D79544E5A87.htm"}]},
{"title":"Changing Fonts",
"href":"./files/GUID-4CD688DA-2A98-4873-A1CF-BA4C557A0804.htm",
"description":"When you open the Text tool, 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.",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"}]},
{"title":"Pasting Text from an External Source",
"href":"./files/GUID-434E157F-BC7C-42D9-B728-88EB6671B830.htm",
"description":"You can copy text from another application and paste it directly in a text layer.",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"},{"title": "Changing Fonts","href":"./files/GUID-4CD688DA-2A98-4873-A1CF-BA4C557A0804.htm"}]},
{"title":"Entering Non-Latin Text",
"href":"./files/GUID-FC4FCC88-7E41-4869-BC14-51280253453B.htm",
"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.",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"},{"title": "Changing Fonts","href":"./files/GUID-4CD688DA-2A98-4873-A1CF-BA4C557A0804.htm"}]},
{"title":"Accessing OTF Fonts",
"href":"./files/GUID-7ABC8568-8EA7-48AA-A5E2-B272D4CA4CCA.htm",
"description":"In order to access symbols of the OTF font type, access the on-screen keyboard, enable the Symbols button (in the lower right of the keyboard), then use the arrow keys to browse through the pages of symbols until you find the character set you need.",
"ancestors":[{"title": "Text and Titling","href":"./files/GUID-507A95A7-FE4F-49A6-BBBC-0DA03B1828DF.htm"},{"title": "Changing Fonts","href":"./files/GUID-4CD688DA-2A98-4873-A1CF-BA4C557A0804.htm"}]},
{"title":"Effects and Tools Reference",
"href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm",
"description":"This section provides information about the effects and tools that you can use on your media.",
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{"title":"2D Histogram",
"href":"./files/GUID-F15C3D11-82DC-4C67-BEC4-1E8DFEE87B2E.htm",
"description":"Use the 2D Histogram to display the luminance distribution of the matte.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"2D Histogram Menu Settings",
"href":"./files/GUID-60948677-5C60-4E00-96D9-81E7CE2A185E.htm",
"description":"Lift field Displays the value added to the resulting pixels to create the final matte. Editable. Gain field Displays the value that the resulting pixel values are multiplied by to create the final mat",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "2D Histogram","href":"./files/GUID-F15C3D11-82DC-4C67-BEC4-1E8DFEE87B2E.htm"}]},
{"title":"2D Transform",
"href":"./files/GUID-BCBC380E-B7C1-45B8-97BB-14358B67A747.htm",
"description":"Use 2D Transform to apply basic axis transformations and camera shake effects to clips.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"2D Transform Menu Settings",
"href":"./files/GUID-C30B5B16-C70C-466E-95C1-0D3E97CD8394.htm",
"description":"General Settings Transform Type box Select Perspective to modify all available settings, or Pan & Scan to modify only Position and Scale. In Pan & Scan mode, some Axis and Camera Shake settings are",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "2D Transform","href":"./files/GUID-BCBC380E-B7C1-45B8-97BB-14358B67A747.htm"}]},
{"title":"Auto Matte",
"href":"./files/GUID-D21291E3-8F41-4D8C-B18A-59B8A4043051.htm",
"description":"Use the Auto Matte to generate a high-contrast matte from a clip.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Auto Matte Menu Settings",
"href":"./files/GUID-096A7F12-B61E-4909-BA17-F5990945D2C0.htm",
"description":"General Settings Minimum field Displays the minimum luma value considered to be part of the opaque area of the matte. Editable. Maximum field Displays the maximum luma value considered to be part o",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Auto Matte","href":"./files/GUID-D21291E3-8F41-4D8C-B18A-59B8A4043051.htm"}]},
{"title":"Auto Stabilize",
"href":"./files/GUID-36D41BC3-8131-487F-90AB-AA7D9BD5907E.htm",
"description":"Use the Auto Stabilize 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.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Auto Stabilize Menu Settings",
"href":"./files/GUID-1C108089-9687-4A6C-9E4D-24101A80415F.htm",
"description":"Analysis Settings Analyze button Click to run the stabilization analysis. During analysis, the viewport defaults to the Front view, and the frame advances as the stabilization is calculated. Progre",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Auto Stabilize","href":"./files/GUID-36D41BC3-8131-487F-90AB-AA7D9BD5907E.htm"}]},
{"title":"Average",
"href":"./files/GUID-029F0491-C062-4E87-8D60-B05A8718A955.htm",
"description":"Use Average to simulate the motion blur of a moving object in a clip. An image averaging function is applied to the frames to create the motion blur.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Average Menu Settings",
"href":"./files/GUID-90429D97-D511-4DE9-AB1C-0DFE2E5159B0.htm",
"description":"The Average Node processes frames based on data from preceding and subsequent sample frames. A frame set to No Media with missing media may include a sample.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Average","href":"./files/GUID-029F0491-C062-4E87-8D60-B05A8718A955.htm"}]},
{"title":"Blend & Comp",
"href":"./files/GUID-6E97A10A-2F60-4A9D-8327-D0CC847D1C76.htm",
"description":"Use Blend & Comp to apply basic blending and compositing between two inputs, and their mattes, over a background.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Blend & Comp Menu Settings",
"href":"./files/GUID-96F02E4A-A471-495E-8134-EE75A05DCC54.htm",
"description":"General Settings Blend Type box Select the set of blend mode operations available in the Blend Mode box. Blend Mode box Select a blend operation. Options determined by Blend Type box. Swap Inputs",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Blend & Comp","href":"./files/GUID-6E97A10A-2F60-4A9D-8327-D0CC847D1C76.htm"}]},
{"title":"Blur",
"href":"./files/GUID-D38824FA-2C10-481D-BD91-350B4D27FFEA.htm",
"description":"Use Blur to apply and customize a blur filter to a clip.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Blur Menu Settings",
"href":"./files/GUID-FD2D420B-B0E5-4530-907B-65377B2CF01C.htm",
"description":"General Settings Rendering box Select whether to render in Progressive or Interlaced mode. Regen button Enable to get dynamic updating of the image as you make changes. Setup Settings Clamp Input",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Blur","href":"./files/GUID-D38824FA-2C10-481D-BD91-350B4D27FFEA.htm"}]},
{"title":"Bump Displace",
"href":"./files/GUID-A083C93F-0833-4803-B802-A3CA121B26EF.htm",
"description":"Use the Bump Displace effect to create displacement-like emboss effects using light and surface bumps. You can select Front or Front/ZDepth or Front/ZDepth/Matte from the Input Mode box.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Bump Displace Menu Settings",
"href":"./files/GUID-C59CD923-B3FC-454E-B2CB-58C477CC9432.htm",
"description":"Bump Settings Minimum Bumps field Displays the lower limit of the bump depth. Editable. Maximum Bumps field Displays the upper limit of the bump depth. Editable. Bump Height field Displays the hei",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Bump Displace","href":"./files/GUID-A083C93F-0833-4803-B802-A3CA121B26EF.htm"}]},
{"title":"Burn-In Letterbox",
"href":"./files/GUID-D6BF3296-BACA-41EB-9A40-192B775C06DB.htm",
"description":"Use Burn-In Letterbox to burn a letterbox into a clip.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Burn-In Letterbox Menu Settings",
"href":"./files/GUID-C76A3D43-E052-44F9-9ECC-5030AFC54EF9.htm",
"description":"General Settings Aspect Ratio box Select a preset or custom aspect ratio. Offset field Displays the vertical offset. Drag left or right to apply the letterbox to a lower or higher portion of the im",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Burn-In Letterbox","href":"./files/GUID-D6BF3296-BACA-41EB-9A40-192B775C06DB.htm"}]},
{"title":"Burn-In Timecode",
"href":"./files/GUID-60D66CCB-7A35-4978-9AE4-B307098C6263.htm",
"description":"Use Burn-In Timecode to burn-in clip information.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Burn-In Timecode Menu Settings",
"href":"./files/GUID-70737CC7-04ED-402E-965A-DB171708CA53.htm",
"description":"General Settings Text colour pot Select the current colour of burned-in text. Select to open the colour picker. Shadow button Enable to add a drop shadow to burned-in information. Shadow colour po",
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{"title":"Clamp",
"href":"./files/GUID-01979F9B-B203-41B9-BE3C-3E06DDC165B7.htm",
"description":"Use the Clamp node to clamp 16-bit floating point OpenExr clips.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Clamp Menu Settings",
"href":"./files/GUID-0E45E985-23C7-4D78-9687-1BF5342AAFA1.htm",
"description":"General Settings Out of Range box Select a curve that is constant (clamp) or clamps negative values below 0.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Clamp","href":"./files/GUID-01979F9B-B203-41B9-BE3C-3E06DDC165B7.htm"}]},
{"title":"Color Corrector",
"href":"./files/GUID-8AAEFC34-F787-4B0E-B79B-AF731359E27A.htm",
"description":"About Colour Corrector 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,",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Colour Correct Menu Settings",
"href":"./files/GUID-CF7EB8F3-70C3-4785-95D9-B81D365EEC84.htm",
"description":"Main Menu Crop button Displays a crop box to view colour changes on a limited region of the clip. Setup button Opens the Setup menu where you setup either Colour Correct or Colour Warper options. A",
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{"title":"Colour Curves",
"href":"./files/GUID-F7E4BA1A-525C-4EB7-BD96-1A2E8CD9574F.htm",
"description":"Use Colour Curves to access a clip\'s colour menu, remove colour spill from a front clip, and perform a hue shift.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Colour Curves Menu Settings",
"href":"./files/GUID-C1B0DF0B-F227-4CD2-9490-18381CDEF5BE.htm",
"description":"General Settings Curve Channel button Enable this button to select the colour curve for a specific channel. Only one Curves button can be enabled at a time. Each Curves button is active when you mod",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Colour Curves","href":"./files/GUID-F7E4BA1A-525C-4EB7-BD96-1A2E8CD9574F.htm"}]},
{"title":"Color Warper",
"href":"./files/GUID-E7AA95EF-074A-4E28-A905-541C21978298.htm",
"description":"About the Colour Warper 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 thes",
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{"title":"Color Warper Menu Settings",
"href":"./files/GUID-2BC635EB-55C0-48DD-94CA-276A8DE7A343.htm",
"description":"Colour box Select whether to open the Colour Corrector or the Colour Warper. Basics button Opens the Basics menu where you perform basic colour correction, warping, suppression and saturation of your",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Color Warper","href":"./files/GUID-E7AA95EF-074A-4E28-A905-541C21978298.htm"}]},
{"title":"Coloured Frame",
"href":"./files/GUID-8596D773-4BB0-4D39-803B-F8AED8BF0D49.htm",
"description":"Use Coloured Frame to generate a colour bar, noise, gradient, or colour clip that can be used as the clip for other nodes.",
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{"title":"Coloured Frame Menu Settings",
"href":"./files/GUID-FFF36AB6-C70E-4C67-BC0D-08CB1F5C9C60.htm",
"description":"General Settings Source Type box Select whether to generate frames of solid colour, noise, or colour bars. Resolution Presets box Select a resolution for the new clip. Select Custom to specify a no",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Coloured Frame","href":"./files/GUID-8596D773-4BB0-4D39-803B-F8AED8BF0D49.htm"}]},
{"title":"Combine",
"href":"./files/GUID-BF3727CB-26E4-446A-8B69-F92CB2B43CF7.htm",
"description":"Use Combine to combine the individual color space channels of three different source clips (RGB, YUV, or HSL).",
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{"title":"Combine Menu Settings",
"href":"./files/GUID-81C724EB-4DEB-4FAF-92A8-D5F9AD0D006A.htm",
"description":"General Settings Colour Space Type box Select which type of colour space to combine.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Combine","href":"./files/GUID-BF3727CB-26E4-446A-8B69-F92CB2B43CF7.htm"}]},
{"title":"Compound",
"href":"./files/GUID-D9A26F4B-9DE3-4841-95FB-D3B6AB6F2DCD.htm",
"description":"Use Compound to combine the contents of several frames into a single frame.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Compound Menu Settings",
"href":"./files/GUID-CBB094A5-AFF4-4786-9C5C-A258E0A773F9.htm",
"description":"General Settings First Rendered Frame field Displays the first frame at which output is rendered from the node. Unrendered output does not display any media.Editable. Compound Over field Displays t",
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{"title":"Damage",
"href":"./files/GUID-0E1CA527-C727-4A4A-AA6D-8BD16886B90E.htm",
"description":"Use Damage to apply a large variety of film or video degradation effects to a clip.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Damage Menu Settings",
"href":"./files/GUID-5CABF51E-E779-4B89-B6F7-3680C7279C3D.htm",
"description":"General Settings Damage Type box Select an option for the media type of damage effects to use. Selecting one of the effects groups from the Damage Type box will display a menu of options for this ef",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Damage","href":"./files/GUID-0E1CA527-C727-4A4A-AA6D-8BD16886B90E.htm"}]},
{"title":"Deal",
"href":"./files/GUID-7AC5D004-AAF6-42D8-B8A5-EB08A0E2E71E.htm",
"description":"Use Deal to deal out the frames of a single clip evenly to any number of destination clips.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Deal Menu Settings",
"href":"./files/GUID-BF7B855B-B2C0-4742-88AB-E60B233D43E3.htm",
"description":"General Settings First Rendered Frame field Displays the first frame at which output is rendered from the node. Unrendered output does not display any media.Editable. Clips field Displays the numbe",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Deal","href":"./files/GUID-7AC5D004-AAF6-42D8-B8A5-EB08A0E2E71E.htm"}]},
{"title":"Deform",
"href":"./files/GUID-6F2BEDF3-D2F7-43DE-A8A0-0E9A0CD6A015.htm",
"description":"Use Deform to apply various types of deformation effects to clips.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Deform Menu Settings",
"href":"./files/GUID-D884ADB6-6E80-4E00-89EA-AE8D840E037D.htm",
"description":"General Settings Deform Type button Select the type of deformation you want to create. The available effect parameters change based on the selection. Deform Ripple box (not shown) Select how you wa",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Deform","href":"./files/GUID-6F2BEDF3-D2F7-43DE-A8A0-0E9A0CD6A015.htm"}]},
{"title":"Degrain",
"href":"./files/GUID-9DD64566-F9C7-4A45-AE86-0D56E3D3B084.htm",
"description":"Use Degrain to remove grain from the RGB channels of a selected colour in an image.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Degrain Menu Settings",
"href":"./files/GUID-A55EC688-0DBE-4AEC-A4BA-5FEEC82E12AD.htm",
"description":"General Settings Render Method box Select whether you are removing grain from progressive or interlaced media. Crop box Applies the Degrain to a specific region in the clip. Red Average slider Dis",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Degrain","href":"./files/GUID-9DD64566-F9C7-4A45-AE86-0D56E3D3B084.htm"}]},
{"title":"Deinterlace",
"href":"./files/GUID-2A3DD76E-0423-4A39-96FC-866751435C62.htm",
"description":"Use Deinterlace to separate the odd and even scanlines of a clip.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Deinterlace Menu Settings",
"href":"./files/GUID-CA05182F-8FFF-4F7E-BAC5-695981A0A4A9.htm",
"description":"General Settings First Rendered Frame field Displays the first frame at which output is rendered from the node. Unrendered output does not display any media.Editable. Field Dominance box Select Fie",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Deinterlace","href":"./files/GUID-2A3DD76E-0423-4A39-96FC-866751435C62.htm"}]},
{"title":"Denoise",
"href":"./files/GUID-85165B98-3ACC-4116-A94A-1E71D8DBCA31.htm",
"description":"Use the Denoise effect to reduce or remove noise and grain from your source media.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Denoise Menu Settings",
"href":"./files/GUID-EFA6C2E5-37EF-42CD-BBD6-596A4F76A7C1.htm",
"description":"Setup Settings Image Type box Select the type of image data that is input into the node or tool. This determines the type of transformation applied to the input clip. Export button Click to export",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Denoise","href":"./files/GUID-85165B98-3ACC-4116-A94A-1E71D8DBCA31.htm"}]},
{"title":"Depth of Field",
"href":"./files/GUID-CF133BA0-B271-4C43-ADD6-3F8CC48CF326.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": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Depth of Field Menu Settings",
"href":"./files/GUID-A0872EDA-5DA9-401A-8683-618641777A2F.htm",
"description":"Blur and Blooming Settings Blur Width field Displays the horizontal blur amount in pixels. Editable. Blur Height field Displays the vertical blur amount in pixels. Editable. Blur Proportional bu",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Depth of Field","href":"./files/GUID-CF133BA0-B271-4C43-ADD6-3F8CC48CF326.htm"}]},
{"title":"Difference Matte",
"href":"./files/GUID-0E8EB807-9C80-4880-9CE4-40EBDABB10C4.htm",
"description":"Use the Difference Matte to generate a matte clip from two source clips with the same background but different foreground elements.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Difference Matte Menu Settings",
"href":"./files/GUID-47CEB0E5-6A08-4FE1-A8E0-6BE4AFA475D9.htm",
"description":"General Settings You can enable the RGB or the YUV settings to generate a matte clip. RGB Settings RGB button Enable to use values in the RGB colour space to generate a matte. R button Enable to",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Difference Matte","href":"./files/GUID-0E8EB807-9C80-4880-9CE4-40EBDABB10C4.htm"}]},
{"title":"Edge Detect",
"href":"./files/GUID-C8C74538-D891-4467-AB43-DDA24E08DC8D.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 artistic effects in various colour spaces.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Edge Detect Settings",
"href":"./files/GUID-C8F03C61-5FC6-4D70-8CA9-B9CD0BF28CC7.htm",
"description":"General Settings Colour Type box Select the colour space that you want to use to isolate the edge. Result Output box Select Result to output the composite of the input image, input matte, and the",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Edge Detect","href":"./files/GUID-C8C74538-D891-4467-AB43-DDA24E08DC8D.htm"}]},
{"title":"Field Merge",
"href":"./files/GUID-FD54093A-1E0E-478C-8FD0-EC861A1DD4B7.htm",
"description":"Use Field Merge to remove field jitter by merging the fields of a clip.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Field Merge Menu Settings",
"href":"./files/GUID-C8AD8867-ED5B-48DC-AE69-2168483B6620.htm",
"description":"General Settings Level field Enter the percentage of blending between fields, or drag on the field to modify its value.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Field Merge","href":"./files/GUID-FD54093A-1E0E-478C-8FD0-EC861A1DD4B7.htm"}]},
{"title":"Filter",
"href":"./files/GUID-5ABC22BA-F317-4DE4-93A9-7FAEA5FA7A5F.htm",
"description":"Use Filter to apply different effects to a clip, including textures, blurring, edge detection, embossing, and sharpening.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Filter Menu Settings",
"href":"./files/GUID-056A830F-1B37-4FD0-AB1E-74D7D3957C4D.htm",
"description":"General Settings Filter 1 button Modifies the set of image operations in the first filter element that is applied in the final composite filter. Filter 2 button Modifies the set of image operations",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Filter","href":"./files/GUID-5ABC22BA-F317-4DE4-93A9-7FAEA5FA7A5F.htm"}]},
{"title":"Flip",
"href":"./files/GUID-62A34590-7A8D-4CE7-871B-B79F91063639.htm",
"description":"Use Flip to generate a mirror image of a clip. You can flip frames in a clip horizontally, vertically or both.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Flip Menu Settings",
"href":"./files/GUID-5FF7C760-CC80-41EF-A404-937DEC9E7AD1.htm",
"description":"General Settings Flip Direction box Select to flip the clip horizontally or vertically. Reverse Dominance box Select an option for correcting the field dominance when flipping clips vertically.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Flip","href":"./files/GUID-62A34590-7A8D-4CE7-871B-B79F91063639.htm"}]},
{"title":"Garbage Mask",
"href":"./files/GUID-5324EEBF-5ABC-43C1-BB53-E1D5C14D8146.htm",
"description":"Use the Garbage Mask to isolate particular areas of an image to include with, or exclude from, the opaque area of the matte. To access the Garbage Mask menu, use: Timeline, then use ConnectFX. M",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Garbage Mask Menu Settings",
"href":"./files/GUID-EAE2E4F7-50D3-41D5-A791-76383EB1802F.htm",
"description":"Garbage Mask General Settings Regenerate button Enable to get dynamic updating of your mask as you make changes. X Position field Position the X axis. Y Position field Position the Y axis. Z Posi",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Garbage Mask","href":"./files/GUID-5324EEBF-5ABC-43C1-BB53-E1D5C14D8146.htm"}]},
{"title":"Glow",
"href":"./files/GUID-0109CECA-0992-4259-B33E-3A5FDCE6DCCD.htm",
"description":"Use Glow to create and customize a glow effect on a clip.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Glow Menu Settings",
"href":"./files/GUID-7C48C8D8-2E4D-4526-B5C2-AA1D5620DC16.htm",
"description":"Using Glow Presets 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 poin",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Glow","href":"./files/GUID-0109CECA-0992-4259-B33E-3A5FDCE6DCCD.htm"}]},
{"title":"Gradient",
"href":"./files/GUID-A0D7C5F7-A408-4062-BF21-DB2CDD64EB3B.htm",
"description":"Use the Gradient to create an effect based on colours and patterns of your choosing.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Gradient Menu Settings",
"href":"./files/GUID-74DD6E9C-D1D6-420A-B25C-15EDEA82068F.htm",
"description":"Setup Settings Resolution Presets box Select a resolution for the new clip. Select Custom to specify a non-standard resolution. Width field Displays the custom width resolution of the clip. Editabl",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Gradient","href":"./files/GUID-A0D7C5F7-A408-4062-BF21-DB2CDD64EB3B.htm"}]},
{"title":"Interlace",
"href":"./files/GUID-3B561D72-1E17-4681-A263-65BD75D81F20.htm",
"description":"Use Interlace to connect the odd and even scanlines of a clip.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Interlace Menu Settings",
"href":"./files/GUID-22D19AA0-4906-4882-B9AA-576817C7875F.htm",
"description":"General Settings First Rendered Frame field Displays the first frame at which output is rendered from the node. Unrendered output does not display any media.Editable. Field Dominance box Select Fie",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Interlace","href":"./files/GUID-3B561D72-1E17-4681-A263-65BD75D81F20.htm"}]},
{"title":"Keyer Channel",
"href":"./files/GUID-345E928B-2E20-4B7A-80F3-2E1480674935.htm",
"description":"Use the Keyer Channel to extract a key from a red, green, or blue channel, or from a custom value.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Keyer Channel Menu Settings",
"href":"./files/GUID-1256BF95-578B-406C-8E83-059DA88D4AFE.htm",
"description":"General Settings Image Type box Select the type of image data that is input into the node or tool. This determines the type of transformation applied to the input clip. Channel Mode box Select a pr",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Keyer Channel","href":"./files/GUID-345E928B-2E20-4B7A-80F3-2E1480674935.htm"}]},
{"title":"Keyer HLS",
"href":"./files/GUID-9696BA3C-710C-41F0-94D4-9F7C776A6072.htm",
"description":"Use the Keyer HLS to extract a key by adjusting tolerance and softness using hue, luminance, and saturation ranges.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Keyer HLS Menu Settings",
"href":"./files/GUID-F19ACCDD-3DE1-4B31-B7CE-B61B4CD12803.htm",
"description":"General Menu Settings Image Type box Select the type of image data that is input into the node or tool. This determines the type of transformation applied to the input clip. Regen button Enable to",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Keyer HLS","href":"./files/GUID-9696BA3C-710C-41F0-94D4-9F7C776A6072.htm"}]},
{"title":"Keyer Luma",
"href":"./files/GUID-E3646AC6-4617-49AB-9988-436DEE91AA35.htm",
"description":"Use the Keyer Luma to extract a key from the luminance of a clip.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Keyer Luma Menu Settings",
"href":"./files/GUID-4E2215A7-227D-44F9-B7F3-A1A2F511ACB4.htm",
"description":"General Settings Image Type box Select the type of image data that is input into the node or tool. This determines the type of transformation applied to the input clip. Master Tolerance field Displ",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Keyer Luma","href":"./files/GUID-E3646AC6-4617-49AB-9988-436DEE91AA35.htm"}]},
{"title":"Keyer RGB",
"href":"./files/GUID-706B700E-1C33-4D0F-A4E4-9CB44A70208A.htm",
"description":"Use the Keyer RGB to extract a key by adjusting tolerance and softness using red, green, and blue ranges.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Keyer RGB Menu Settings",
"href":"./files/GUID-3CE0159F-3976-49B1-92AE-4750CB676CC9.htm",
"description":"General Settings Image Type box Select the type of image data that is input into the node or tool. This determines the type of transformation applied to the input clip. Regen button Enable to get d",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Keyer RGB","href":"./files/GUID-706B700E-1C33-4D0F-A4E4-9CB44A70208A.htm"}]},
{"title":"Keyer RGBCMYL",
"href":"./files/GUID-BA77427E-5D2B-4026-BAEC-5CB92E317198.htm",
"description":"Use the Keyer RGBCMYL to extract a key by adjusting tolerance and softness using red, green, blue, cyan, magenta, yellow, and luminance ranges.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Keyer RGBCMYL Menu Settings",
"href":"./files/GUID-9792C681-5B10-42AC-BA9F-1413BB463FA0.htm",
"description":"General Settings Image Type box Select the type of image data that is input into the node or tool. This determines the type of transformation applied to the input clip. Regen button Enable to get d",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Keyer RGBCMYL","href":"./files/GUID-BA77427E-5D2B-4026-BAEC-5CB92E317198.htm"}]},
{"title":"Keyer YUV",
"href":"./files/GUID-6C351A5A-2579-47BE-B966-C80640332FA9.htm",
"description":"Use the Keyer-YUV to extract a key by adjusting tolerance and softness using luma (Y) and video component (U,V) ranges.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Keyer YUV Menu Settings",
"href":"./files/GUID-A70169A7-5165-46B6-B246-6AA9B12A22FD.htm",
"description":"General Settings Image Type box Select the type of image data that is input into the node or tool. This determines the type of transformation applied to the input clip. Regen button Enable to get d",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Keyer YUV","href":"./files/GUID-6C351A5A-2579-47BE-B966-C80640332FA9.htm"}]},
{"title":"Logic Op",
"href":"./files/GUID-F67B5512-D284-4B1B-AAEA-A85D2D896FC6.htm",
"description":"Use Logic Op to process missing media in clips set to No Media, based on the input tab it is connected to.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Logic Op Menu Settings",
"href":"./files/GUID-5D3C5096-3611-406C-BA78-8329CC206E59.htm",
"description":"General Settings Logical Operations box Select the logical operation you want to use to combine the source images. Swap Inputs button Enable to switch the ordering of the front and back inputs. Tr",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Logic Op","href":"./files/GUID-F67B5512-D284-4B1B-AAEA-A85D2D896FC6.htm"}]},
{"title":"LUT Editor",
"href":"./files/GUID-FD6B5E91-9069-4726-8434-4B713105AFDA.htm",
"description":"Use LUT Editor to convert logarithmic images to linear images or linear images to logarithmic images, while maintaining color accuracy.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"LUT Editor Menu Settings",
"href":"./files/GUID-400CCFCB-F5DE-4C49-B2E8-4444E632C5E5.htm",
"description":"General Settings Conversion LUT Type box Select a basic LUT type, EXR Display, PhotoMap, or Gamma correction. Destination box Select an output bit-depth. Export button Opens the Export LUT menu wh",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "LUT Editor","href":"./files/GUID-FD6B5E91-9069-4726-8434-4B713105AFDA.htm"}]},
{"title":"Map Convert",
"href":"./files/GUID-BD0698F8-F441-4C65-AB5F-82B488457E10.htm",
"description":"Use Map Conver to provide conversion transformation for image-based lighting (IBL) and environment maps.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Map Convert Menu Settings",
"href":"./files/GUID-26C43C08-4320-441F-83FE-201083E6A9E4.htm",
"description":"Input and Output Format Settings Input Format box Select the type of image you want to convert. Cubic Type box Select horizontal or vertical to identify the type of cubic image you are inputting. S",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Map Convert","href":"./files/GUID-BD0698F8-F441-4C65-AB5F-82B488457E10.htm"}]},
{"title":"Master Keyer",
"href":"./files/GUID-4D884998-9B8F-4AD3-991F-3885DA1590B9.htm",
"description":"Use the Master Keyer to gesturally pull a key.",
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{"title":"Master Keyer Menu Settings",
"href":"./files/GUID-0652AA65-6E87-4C43-B518-5964E0818749.htm",
"description":"MasterK Settings Primary Sample colour pot Activates a pick cursor. Use to sample an area of the image. Mix field Displays the mix between the primary and secondary sample. Drag right to include mo",
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{"title":"Matchbox",
"href":"./files/GUID-6068A3DC-2BF0-407E-AE8D-98DA97C3EF22.htm",
"description":"Matchbox is an interactive development tool that allows you to run generic OpenGL Shading Language (GLSL) shader code directly in ConnectFX, to add specific functionality, or create custom effects. GLSL is a high-level shading language that is part of the OpenGL specification.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Matchbox Menu Settings",
"href":"./files/GUID-63B4660A-5130-4956-82D0-4E42AEAFE832.htm",
"description":"Most of the Matchbox menu is generated dynamically based on the GLSL (and optional XML) code, but there are a few UI elements that are constant.",
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{"title":"Creating Your Own Matchbox Effects",
"href":"./files/GUID-F0541533-E1C8-402A-84A5-F2974EDC8B79.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 Curves",
"href":"./files/GUID-EEFF845A-F0FE-4765-BEDA-6A9DBECCA404.htm",
"description":"Use Matte Curves to adjust the luminance of input mattes.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Matte Curves Menu Settings",
"href":"./files/GUID-170861F2-A067-40ED-AA3F-74DD06FDD35F.htm",
"description":"General Settings Result box Select the type of clip you want to process. Home button Reverts to the original view. Reset button Select to reset parameters for the current menu or reset all paramet",
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{"title":"Matte Edge",
"href":"./files/GUID-BEDB6FD0-A061-4C44-B2E1-57C72DA675F3.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.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Matte Edge Menu Settings",
"href":"./files/GUID-4EE00FC6-172F-4143-8471-99C784BACEA1.htm",
"description":"General Settings Rendering box Select whether to render in Progressive or Interlaced mode. Regen button Enable to get dynamic updating of the image as you make changes. Edges Settings Edges button",
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{"title":"Mono",
"href":"./files/GUID-3676762B-A52A-4F32-B81D-BCBA996D8CB8.htm",
"description":"Use Mono to generate a monochrome copy of the front clip.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Mono Menu Settings",
"href":"./files/GUID-FAA1B16C-C6DE-4D67-873B-738063B81C63.htm",
"description":"General Settings Luminance box Select the channel you want to use to create the monochrome clip.",
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{"title":"Motif",
"href":"./files/GUID-9E4C783C-C78B-40D6-B839-463E74FC01D8.htm",
"description":"Use the Motif node to create a tiled symmetrical texture.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Motif Menu Settings",
"href":"./files/GUID-98770CAE-7008-4FB0-A48C-2BDD60408710.htm",
"description":"Motif Node The Motif node displays 2D Texture Transform controls that allow you to simultaneously change the position, scaling, rotation, and type of image padding. The Symmetry Mode controls displ",
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{"title":"Motion Analysis",
"href":"./files/GUID-AF118812-E007-4B49-84CF-F3E876A2EEA0.htm",
"description":"Use Motion Analysis to analyse image displacement in a frame with respect to the frame before it.",
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{"title":"Motion Analysis Menu Settings",
"href":"./files/GUID-66CC0E3E-66E2-4361-8BD5-3B2D91073D20.htm",
"description":"General Settings Quality box Select Use Full Resolution to render the image at the current resolution, or an option with decreased motion analysis accuracy and increased rendering speed.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"},{"title": "Motion Analysis","href":"./files/GUID-AF118812-E007-4B49-84CF-F3E876A2EEA0.htm"}]},
{"title":"Motion Blur",
"href":"./files/GUID-D8A23041-9B2D-482B-B6F1-AB22189FF879.htm",
"description":"Use Motion Blur to simulate the blur created by fast moving objects.",
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{"title":"Motion Blur Menu Settings",
"href":"./files/GUID-B57868B5-EFDF-45A4-B190-D30336E5163C.htm",
"description":"Vector Input Type Settings Vector Input Type button Select whether the vector inputs are Absolute or Normalized. Max Dispersion field Displays the level of motion displacement in the image. Set to",
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{"title":"MUX",
"href":"./files/GUID-2DAEFA0C-F784-466D-9D80-8595B1500166.htm",
"description":"Use MUX to make multiple output sockets and to propagate an input to multiple other nodes in the Schematic. You can also use it to clarify both its graphical representation and the connection scheme of nodes within the group.",
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{"title":"MUX Menu Settings",
"href":"./files/GUID-51C64015-3FAE-4E99-9265-BB8264330EF6.htm",
"description":"Hide Links Settings Input button Enable to hide the input link to the MUX node. Output button Enable to hide all output links to the MUX node. Timing Offset Settings Timing Offset field Displays",
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{"title":"Optics",
"href":"./files/GUID-2DB5A55F-3233-4432-A088-D2CD17A2C2AE.htm",
"description":"Use Optics to add a glow effect to the clip in the process tree.",
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{"title":"Optics Menu Settings",
"href":"./files/GUID-02162499-A56F-45C0-B7E1-C08F09694916.htm",
"description":"Optics Node Settings Size field Displays the size of the glow effect. Editable. Intensity field Displays the intensity level of the glow effect. Editable. Noise field Displays the jitter level in",
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{"title":"Optics: Creating Glow Effects",
"href":"./files/GUID-BBC3C1C5-C96C-4EF7-886E-A822DCA77BC3.htm",
"description":"Use Optics to add glow effects around front clips composited over back clips. The shape of the glow is determined by the matte you select when entering Optics.To add a glow effect to a clip:In the Ma",
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{"title":"Paint Node",
"href":"./files/GUID-FAA95DA3-9A6F-4005-A122-0EC8C0C518C5.htm",
"description":"Paint Node can be accessed from:",
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{"title":"Paint Node Menu Settings",
"href":"./files/GUID-AF760648-C452-4193-A1F6-72929E7A7C52.htm",
"description":"Source Controls Displays the front clip, matte clip, and sources. The Sources list manages the sources attached to the current node. A source is composed of a front source and a matte source. See",
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{"title":"Pixel Spread",
"href":"./files/GUID-80F61325-2051-4B56-87DB-67F87DF079F1.htm",
"description":"Use Pixel Spread to create a stretching effect from the image edges delimted 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":"Pixel Spread Menu Settings",
"href":"./files/GUID-6A022E08-9B2A-4B45-9093-067F4E1105BB.htm",
"description":"Type Settings Spread Type box Select the type of pixel spread distortion effect to apply to the clip. Spread Mode box Select whether to have the distortion effect work in expansion mode or contract",
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{"title":"Pulldown",
"href":"./files/GUID-A0617B8B-46F8-4B7D-A8D7-D2C3A890D008.htm",
"description":"Use the Pulldown to remove or add pulldown to a clip.",
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{"title":"Pulldown Menu Settings",
"href":"./files/GUID-1BC072D3-2C0B-4A34-90EF-086E27B5EC22.htm",
"description":"Pulldown Settings When removing a pulldown, you can analyse the clip to automatically detect the type of pulldown and the A frame. If the analysis fails to determine the type of pulldown or the loc",
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{"title":"Quick Composite",
"href":"./files/GUID-66E20427-0096-4545-BAC4-BB680EB92F0C.htm",
"description":"Use Quick Composite for one-step compositing of a front and back clip using a matte clip.",
"ancestors":[{"title": "Effects and Tools Reference","href":"./files/GUID-3A8C78DC-6039-44D8-B7E9-5FC06E4E17B1.htm"}]},
{"title":"Quick Composite Menu Settings",
"href":"./files/GUID-A62E69CF-C2D3-4095-8DBA-4CE14B9405D0.htm",
"description":"Quick Composite Node Settings Blend Mode box Select an option for blending clips in the composite. Select: To: Blend Use subtractive blending. Additive Use additive blending. Select this option if",
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{"title":"Recursive Ops",
"href":"./files/GUID-8E9221BF-1F78-4471-A4A6-6C6DBDFC507E.htm",
"description":"Use Recursive Ops to perform a wide range of recursive, animation-based blending effects. Recursive Ops uses the processed result of the previous frame and blends it with the current frame using a selected blending mode. It features a built-in colour selection, which constrains the accumulation effect within that selection. Additionally, it accepts an external matte input which also conditions the way in which the internal blending occurs.",
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{"title":"Recursive Ops Menu Settings",
"href":"./files/GUID-4A3280FD-B7E9-4279-B135-FC230FE0358E.htm",
"description":"Regen button Enable to dynamically refresh the image as changes are made to the settings. Repeat Mode Settings Repeat Mode options box Select an option to fill the empty portions of the frame. Ran",
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{"title":"Regrain",
"href":"./files/GUID-6C4F673C-3FDC-493F-B6D7-B74E6508E9E4.htm",
"description":"Use Regrain to add grain from the RGB channels of a selected colour in an image.",
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{"title":"Regrain Menu Settings",
"href":"./files/GUID-20DF9F80-C6B7-46D0-A5DE-6805433E71C5.htm",
"description":"General Settings Image Type box Select the type of image data that is input into the node or tool. This determines the type of transformation applied to the input clip. fstop field Displays the rel",
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{"title":"Resize",
"href":"./files/GUID-1ADB2638-702B-489F-B16D-9E1197A7B359.htm",
"description":"Use Resize to change a clip\'s resolution, frame depth, and aspect ratio.",
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{"title":"Resize Menu Settings",
"href":"./files/GUID-0A17AA1A-D730-4DAE-8665-22308B03FC59.htm",
"description":"Source Settings Use the Source settings to set or animate the position and size of the crop box. Position/Scale Settings X Position field Displays the horizontal position from the centre of the",
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{"title":"Sparks",
"href":"./files/GUID-70E68CC2-529A-427F-8863-1187A4310506.htm",
"description":"Sparks are software plug-ins created by Autodesk or third-party developers.",
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{"title":"Using a Sparks Plug-in",
"href":"./files/GUID-66CA7C33-C9F3-4480-BF30-F8D03F173490.htm",
"description":"A Sparks plug-in functions in the same way as other commands or modules. Before using a Sparks plug-in, you will have to load it. After loading the plug-ins, you can replace them if all the Sparks bu",
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{"title":"Using Sparks in ConnectFX",
"href":"./files/GUID-14633AEB-477B-47CF-862E-9FE97CDFF5D2.htm",
"description":"There are two Sparks nodes that you can access from ConnectFX: the Sparks node and the Sparks Load node. The Sparks node allows you to load Sparks Plug-ins by accessing the Sparks file browser. The n",
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{"title":"Stabilizer",
"href":"./files/GUID-18EB5E79-8565-4CC4-936B-EC7526051085.htm",
"description":"Stabilizing and Tracking 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",
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{"title":"Stabilizer Menu Settings",
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"description":"",
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{"title":"Stereo",
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"description":"Use Stereo to process an anaglyph, interlaced or dual image clip containing one video track from either a left and right eye mono clip, or an existing stereo track directly on the desktop.",
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{"title":"Stereo Menu Settings",
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"description":"General Settings Stereo Mode box Select a stereo mode to display the appropriate rendering method options. Different method settings appear based on the type selected. Select: To: Anaglyph Render a",
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{"title":"Stylize",
"href":"./files/GUID-3BA79457-8971-44BB-B908-A8609CF26D9B.htm",
"description":"Use Stylize on an image sequence to create a wide range of visual styles, including painting, printing and sketching. Stylize allows you to build your look by stacking layers with different effects.",
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{"title":"Stylize Menu Settings",
"href":"./files/GUID-541DD366-5E17-4320-B7CF-95878D7A49AD.htm",
"description":"Using Stylize Presets Use the Stylize presets to create a specific look or to create a starting point to build your effect. Presets are available in 4 categories: Comic, Paint, Print, and Sketch. Pr",
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{"title":"Text",
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"description":"Use Text to make text spin, dance, and change colour over time.",
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{"title":"Text Menu Settings",
"href":"./files/GUID-5CB05530-E394-4D36-BBFA-EA11B474C6C0.htm",
"description":"General Settings Preview button Enable to preview the text effect. Preview Options box This box is available when you access the Text Menu settings from the Timeline.Select to enable Preview FX o",
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{"title":"Animating Keyframes",
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"description":"You can build animations simply by editing the values of parameters in any effect editor or menu. When you animate a parameter, you create an animation channel that you can use to control the values of the parameter over time.",
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{"title":"Keyframe Indicator Reference",
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"description":"A number of colours are used in numeric fields to indicate that keyframes are set for a parameter.",
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{"title":"Animating Keyframes in the Animation Channel Editor",
"href":"./files/GUID-D375F5D4-F31E-46D0-BFBA-CFAE265BB481.htm",
"description":"The Animation Channel Editor offers more control over your animation than is offered when editing the values of parameters in an effect or tool editor. Use the Animation Channel Editor to fine-tune changes across all animation channels available for the effect or tool you are working on.",
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{"title":"Panning and Zooming in the Animation Channel Editor",
"href":"./files/GUID-E083AC77-4B3E-44B8-9A71-41B3D2DE08B6.htm",
"description":"To center the Animation Channel Editor on your work, click one of the following:Frame: to center the display on the currently selected channel. Frame All: to center the display on all the animation ch",
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{"title":"Adding Keyframes to Channels in the Animation Channel Editor",
"href":"./files/GUID-CDF9813C-2E3E-488E-86FF-12A77571F0E7.htm",
"description":"To add keyframes automatically: In the Animation Channel Editor, enable Auto Key. Select the channel you want to add keyframes to. Click the value next to the channel name to open the calculator. Ente",
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{"title":"Changing Keyframe Values in the Animation Channel Editor",
"href":"./files/GUID-0EE4DB77-AA2F-4E13-9590-43591F90D89D.htm",
"description":"You can change keyframe values in the Channel or Track View of the Animation Channel Editor.",
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{"title":"Copying and Pasting Channels or Keyframes in the Animation Channel Editor",
"href":"./files/GUID-D8113D0C-B92D-459D-9208-F8AC4ABBB098.htm",
"description":"You can copy and paste animation curves or keyframes between channels.",
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{"title":"Changing the Duration of an Animation in the Animation Channel Editor",
"href":"./files/GUID-53D16A13-1AD7-4D1B-B0BF-FD3923228899.htm",
"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 the Values of Keyframes Proportionally in the Animation Channel Editor",
"href":"./files/GUID-F3F1EA63-D287-479F-AB53-00092E33C986.htm",
"description":"In the Animation Channel Editor, 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.",
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{"title":"Offsetting Select Keyframes or Channels in the Animation Channel Editor",
"href":"./files/GUID-97E8787A-5F4A-4336-BA6A-948F4F61C762.htm",
"description":"You can offset a curve or a group of keyframes on the horizontal or vertical axis.",
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{"title":"Simplifying the Number of Keyframes in the Animation Channel Editor",
"href":"./files/GUID-6646D2F6-9563-4916-9EF5-A112B25BCE70.htm",
"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",
"href":"./files/GUID-12E907A1-E0E9-40B4-A3C4-39872CE05A03.htm",
"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":"Swapping Animation Curves",
"href":"./files/GUID-ADA38D0E-B3AC-4773-9D49-5C9A524270FD.htm",
"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",
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"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":"Modifying Tangents to Reshape the Animation Curve",
"href":"./files/GUID-FCE60625-B7BE-4832-AA95-B334DEB5B421.htm",
"description":"",
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{"title":"Changing the Value of a Tangent Handle by a Specific Amount",
"href":"./files/GUID-12D61387-AC10-4CE7-A0F7-95679CA5E500.htm",
"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":"Setting Display Preferences in the Animation Channel Editor",
"href":"./files/GUID-3E49D5AD-087E-4257-B874-16FAE60CCC78.htm",
"description":"Use the options in the Filter tab to control the display preferences in the Animation Channel Editor. The Animation Channel Editor display preferences can help you focus on the channels you are working on in the editor when many channels are displayed.",
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{"title":"Using Selection Sets to Control the Channels and Folders You Want to Display",
"href":"./files/GUID-6960B873-7242-42AE-A0C3-998D342575E7.htm",
"description":"With a selection set, you can control the channels and folders you want to display in the Animation Channel Editor.",
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{"title":"Generating Keyframes Based on Audio Analysis",
"href":"./files/GUID-A7EB45DE-4686-4968-B418-F0A41BD86B51.htm",
"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",
"href":"./files/GUID-FAF3CC07-2A05-45E4-9D6A-1A8D845945B9.htm",
"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":"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":"Advanced Animation: 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":"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":"Expression Content",
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"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":"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",
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"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",
"href":"./files/GUID-D561F773-7F26-4A4A-A4C9-321C5255A3D1.htm",
"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.",
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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",
"href":"./files/GUID-4115EBC3-95F6-4F7D-BD2C-FB1DB69C66CF.htm",
"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":"Colour Management",
"href":"./files/GUID-E5BD9BB6-1DEB-44C4-9256-59EAEA0B14AE.htm",
"description":"Colour management enables the desired colour values to be represented as accurately as possible throughout the finishing process. It is different from colour correction in that its intention is not t",
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{"title":"Colour Management Workflow",
"href":"./files/GUID-691E5C3A-8294-4261-B08F-2D0E5701DF0B.htm",
"description":"Colour management works by applying colour transforms and other operations at various stages of the pipeline. Typically, you use colour management when: Importing clips. Images from different sources (such as digital cameras, scanned film, 3D renders, and matte paintings) often use different colour spaces and encodings, and they should be converted to a single working colour space. Outputting clips. Different output formats require different encodings depending on the medium and expected viewing conditions.",
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{"title":"Applying Colour Management to Clips",
"href":"./files/GUID-4CAB83A2-220A-4A93-AE2C-B9BA93C5A030.htm",
"description":"Use the LUT Editor to apply colour management to clips. This changes the underlying colour values of the clips\' pixels. You should do this when you want the changes to flow though the pipeline to the final output. If you want to apply colour management to the display only, see instead.",
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{"title":"Accessing the LUT Editor",
"href":"./files/GUID-547E4D74-5DA1-4D97-8D44-FEB1B83FE08C.htm",
"description":"You can access the LUT Editor from ConnectFX, , from the Import menu and from the Export menu.",
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{"title":"Specifying a Colour Management Operator",
"href":"./files/GUID-882EC84C-9D2E-4918-93D5-0DEE92AD530A.htm",
"description":"To apply colour management to a clip, you must first specify the type of operation to perform in the LUT Editor. You can: Apply a preset LUT and then modify its values. Choose an operator type. Depending on the type you choose, you can either import a baked operator or modify its values.",
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{"title":"Building Custom Colour Transforms",
"href":"./files/GUID-5E56D697-7EEC-4F87-B6A1-3DAF868B044B.htm",
"description":"You can build a chain of colour transforms using the Custom mode of the LUT Editor. The transforms are applied in order from beginning to end. For example, you can build a colour transform that first modifies the gamma and then changes the primaries.",
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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 in the LUT Editor, 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 curves in the LUT Editor, 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 using the LUT Editor, 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":"Exporting LUTs and Colour Transforms",
"href":"./files/GUID-1C59F84E-4965-4145-BEFF-F349C7890125.htm",
"description":"Exporting a LUT or colour transform from the LUT Editor is different from saving a setup: PhotoMap, EXR Display, Gamma, Lin to Log, and Log to Lin are exported as baked 1D LUTs (.lut files). When imported, you can modify their curves only with the Advanced settings. A chain of colour transforms is exported as a single .ctf file that losslessly preserves each component operation. When imported, you cannot modify it.",
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{"title":"Applying Colour Management to Displayed Images",
"href":"./files/GUID-E3856846-8979-415E-B33F-BFA53209956C.htm",
"description":"When you apply colour management to displayed images, the colours on the monitor or projector are affected but the underlying colour values of the clips\' pixels are not changed. You should do this when you want to preview images in different colour spaces. For example, if you are working in the ACES colour space, then you might want to apply the ACES_to_graphics-monitor transform to display the images.",
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{"title":"Configuring Smoke to Use LUTs and Colour Transforms for Display",
"href":"./files/GUID-C8DA5B03-7C96-47F3-876A-46E8AB84C424.htm",
"description":"Before you can apply colour management to displayed images, you must add the LUTs and colour transforms that you want to use to your preferences. This makes them available for use in image windows.",
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{"title":"Configuring the Graphics Monitor Alias",
"href":"./files/GUID-61815B6B-D295-4647-80DC-22CB95B3B1ED.htm",
"description":"Some colour transforms include a reference to the graphicsMonitor alias. You can configure the colour transform to use in place of this alias, and then use any transform that references it for display.",
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{"title":"Applying 1D LUTs to the Monitor",
"href":"./files/GUID-239DC87C-C130-4D3C-9A48-6919B7705FCD.htm",
"description":"Applying a Gamma or 1D LUT to the monitor affects all images displayed on the workstation in Smoke. Any 3D LUTs or colour transforms that are being used to display specific viewports become deactivated automatically. The last-used 1D LUT is displayed at the bottom right of the Player or Viewport, and is highlighted when the LUT is in use.",
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{"title":"Applying 3D LUTs and Colour Transforms to Viewports",
"href":"./files/GUID-E6327664-69BD-4ACC-83DA-77380115B20B.htm",
"description":"You can apply 3D LUTs and colour transforms to individual viewports, and use different ones in different viewports. Any 1D LUT that is being used on the monitor becomes deactivated automatically. The file name of the last-used 3D LUT or colour transform is displayed at the bottom right of the viewport, and is highlighted when in use.",
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{"title":"Applying a 3D LUT or Colour Transform to the Projector or Broadcast Monitor",
"href":"./files/GUID-B6AB6AD8-687E-4C1A-BC63-4D8EF326D085.htm",
"description":"You can apply a different 3D LUT or colour transform to the projector or broadcast monitor than the one used for display on the workstation.",
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{"title":"Modifying Exposure and Contrast with Display Transforms",
"href":"./files/GUID-954A9FCE-BD27-4900-B524-0AEC7F634396.htm",
"description":"If you apply a 1D or 3D LUT for display, then you can modify the exposure and contrast in the usual way.",
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{"title":"Autodesk Colour Transform Types",
"href":"./files/GUID-2D488DEA-73DF-404B-922C-A6AA94EB04EB.htm",
"description":"The colour transforms available in the Autodesk location are CTF files based on the Academy/ASC XML colour transform format. They include several categories for different purposes.",
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{"title":"Colour Management Files and Locations",
"href":"./files/GUID-355E5AE8-8834-462D-930F-22521C89CDAC.htm",
"description":"The colour management files consist of 1D LUTs, 3D LUTs, and colour transforms. You can use files created in other applications as long as they are in a compatible format.",
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{"title":"Autodesk Color Management Technical Reference",
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"description":"",
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{"title":"Autodesk CTF File Format",
"href":"./files/GUID-460BA05D-3AB7-4BE2-AD30-01F9D3440CD8.htm",
"description":"There are a wide variety of colour transform (also known as \"LUT\") formats used in the media and entertainment industry. This creates workflow problems since you may receive a LUT which is not supported by one or more of the applications you use. Furthermore, most of these LUT formats are based on out-dated technology and lack the quality, flexibility, and metadata needed to meet today\'s requirements.",
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{"title":"Anatomy of a CTF File",
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"description":"Here is an example:",
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{"title":"CTF Syntax Summary",
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"description":"In the list below, ? means \"0 or 1 occurrence\", * means \"0 or more occurrences\" , and + means \"1 or more occurrences\". If not otherwise marked, a single occurence of an element is required.",
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{"title":"XML Declaration",
"href":"./files/GUID-858C6536-EBB6-427D-92B2-C81FC5277EF8.htm",
"description":"If it is present, the XML declaration must be the first line of the file.",
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{"title":"ProcessList",
"href":"./files/GUID-CBAFCA34-9642-408D-A900-9021EB26D063.htm",
"description":"Contains In order: . Optional, no more than one. . Optional, any number. . Optional, no more than one. . Optional, no more than one. At least one of , , , , , , or in any combi",
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{"title":"Metadata Elements",
"href":"./files/GUID-FD88DC04-0566-4C9F-953B-E2C83A2D0004.htm",
"description":"",
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{"title":"Info",
"href":"./files/GUID-6984FB4C-B9DC-46A6-8B9C-466A88938976.htm",
"description":"It is an Autodesk extension to the Academy/ASC XML color transform format.",
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{"title":"Copyright",
"href":"./files/GUID-81347923-1469-4C61-BF09-0A7A26F243CD.htm",
"description":"It is an Autodesk extension to the Academy/ASC XML color transform format.",
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{"title":"Release",
"href":"./files/GUID-C061CE3B-4E26-445B-A837-991B52C105A2.htm",
"description":"It is an Autodesk extension to the Academy/ASC XML color transform format. You should not add this element to color transforms that you author yourself.",
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{"title":"Description",
"href":"./files/GUID-F4FDBE90-3EC9-44B8-9560-110E5DD3E1E1.htm",
"description":"Contains Text string. Use &gt; for >, &lt; for <, and &amp; for &. Contained By Attributes None. Example <ProcessList id=\"f8d905db-4ab8-4af6-8465-0db81f7e993c\"",
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{"title":"InputDescriptor",
"href":"./files/GUID-63E7CE53-65BC-4E59-A191-DFB95B2693BB.htm",
"description":"Contains Text string. Use &gt; for >, &lt; for <, and &amp; for &. Contained By Attributes None. Example Example <ProcessList id=\"f8d905db-4ab8-4af6-8465-0db81f7e993c\" version=\"1.2\">",
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{"title":"OutputDescriptor",
"href":"./files/GUID-A72CD77E-F382-4902-AB36-BC0903BAD59C.htm",
"description":"Contains Text string. Use &gt; for >, &lt; for <, and &amp; for &. Contained By Attributes None. Example Example <ProcessList id=\"f8d905db-4ab8-4af6-8465-0db81f7e993c\" version=\"1.2\">",
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{"title":"Operator Elements",
"href":"./files/GUID-31B4073F-EBAC-4F94-95A8-57C7A08B9965.htm",
"description":"The inBitDepth attribute of each operator must match the outBitDepth attribute of the previous operator in the chain. See Common Operator Attributes.",
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{"title":"Common Operator Attributes",
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"description":"id A unique identifier for the element. Optional. name A friendly name for the element. Optional. inBitDepth The input color data type expected by the operator. Required. outBitDepth The output color",
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{"title":"LUT1D",
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"description":"Contains In order: . Optional, any number. . Required, one only. The IndexMap element is not supported. The most efficient way to achieve the same result is to precede the operator with another",
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{"title":"Array (LUT1D)",
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"description":"Contains A series of numeric values specifying the output values of the LUT. The corresponding input values are implied by the inBitDepth of the containing element. For integers, the first value corr",
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{"title":"LUT3D",
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"description":"Contains In order: . Optional, any number. . Required, one only. The IndexMap element is not supported. The most efficient way to achieve the same result is to precede the operator with a LUT1D",
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{"title":"Array (LUT3D)",
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"description":"Contains A series of numeric values specifying the output values of the LUT. The corresponding input values are implied by the inBitDepth of the containing element and the number of entries (uniform",
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{"title":"Matrix",
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"description":"Contains In order: . Optional, any number. . Required, one only. Contained By Attributes id, name, inBitDepth, outBitDepth See . Example 3x3 Matrix <ProcessList id=\"af6a6c73-aae9-4b",
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{"title":"Array (Matrix)",
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"description":"Contains A series of numeric values specifying the elements of the matrix. In a Matrix, the values specify the entries of the matrix which are serialized row by row from top to bottom and from left t",
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{"title":"Range",
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"description":"If a minInValue is present, then minOutValue must also be present and the result is clamped at the low end. Similarly, if maxInValue is present, then maxOutValue must also be present and the result is clamped at the high end. If none of minInValue, minOutValue, maxInValue, or maxOutValue are present, then the Range operator performs only bit-depth conversion.",
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{"title":"minInValue",
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"description":"Contains A single numeric value used for all channels. Contained By Attributes None. Example <ProcessList id=\"7f5b1560-fec4-4603-aa8d-c55bf5e22280\" version=\"1.2\"> <Description>10-bit fu",
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{"title":"maxInValue",
"href":"./files/GUID-6F61DCD3-6086-40F0-AFAC-07F2DB0172CA.htm",
"description":"Contains A single numeric value used for all channels. Contained By Attributes None. Example <ProcessList id=\"7f5b1560-fec4-4603-aa8d-c55bf5e22280\" version=\"1.2\"> <Description>10-bit fu",
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{"title":"minOutValue",
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"description":"Contains A single numeric value used for all channels. Contained By Attributes None. Example <ProcessList id=\"7f5b1560-fec4-4603-aa8d-c55bf5e22280\" version=\"1.2\"> <Description>10-bit fu",
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{"title":"maxOutValue",
"href":"./files/GUID-7148931F-B9A9-482C-8B87-37A038B97ABA.htm",
"description":"Contains A single numeric value used for all channels. Contained By Attributes None. Example <ProcessList id=\"7f5b1560-fec4-4603-aa8d-c55bf5e22280\" version=\"1.2\"> <Description>10-bit fu",
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{"title":"Gamma",
"href":"./files/GUID-3D482FE9-D1D4-4671-9AD7-0FF394B34517.htm",
"description":"It is an Autodesk extension to the Academy/ASC XML color transform format.",
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{"title":"GammaParams",
"href":"./files/GUID-008D87BE-68CF-4F7E-863E-42810AD7A6DF.htm",
"description":"It is an Autodesk extension to the Academy/ASC XML color transform format.",
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{"title":"ExposureContrast",
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"description":"It is an Autodesk extension to the Academy/ASC XML color transform format.",
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{"title":"ECParams",
"href":"./files/GUID-539017F9-24BE-4DD6-B65D-5FD656B957BE.htm",
"description":"It is an Autodesk extension to the Academy/ASC XML color transform format.",
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{"title":"DynamicParameter",
"href":"./files/GUID-BB1342BA-1CD9-43FC-BD76-A5BD3A7A1494.htm",
"description":"It is an Autodesk extension to the Academy/ASC XML color transform format.",
"ancestors":[{"title": "Colour Management","href":"./files/GUID-E5BD9BB6-1DEB-44C4-9256-59EAEA0B14AE.htm"},{"title": "Autodesk Color Management Technical Reference","href":"./files/topichead_14.htm"},{"title": "Autodesk CTF File Format","href":"./files/GUID-460BA05D-3AB7-4BE2-AD30-01F9D3440CD8.htm"},{"title": "Operator Elements","href":"./files/GUID-31B4073F-EBAC-4F94-95A8-57C7A08B9965.htm"},{"title": "ExposureContrast","href":"./files/GUID-2D2DEF5A-33B1-4AD1-B9E0-651328EEC3A7.htm"}]},
{"title":"Reference",
"href":"./files/GUID-A548C24B-0C1B-412A-B4B9-9E920BC89969.htm",
"description":"It is an Autodesk extension to the Academy/ASC XML color transform format.",
"ancestors":[{"title": "Colour Management","href":"./files/GUID-E5BD9BB6-1DEB-44C4-9256-59EAEA0B14AE.htm"},{"title": "Autodesk Color Management Technical Reference","href":"./files/topichead_14.htm"},{"title": "Autodesk CTF File Format","href":"./files/GUID-460BA05D-3AB7-4BE2-AD30-01F9D3440CD8.htm"},{"title": "Operator Elements","href":"./files/GUID-31B4073F-EBAC-4F94-95A8-57C7A08B9965.htm"}]},
{"title":"Comments",
"href":"./files/GUID-85B74050-4ECE-4D70-8B4A-39BC2C09358E.htm",
"description":"However if you want the information to appear in the metadata panel of Autodesk applications, you can use elements instead of comments.",
"ancestors":[{"title": "Colour Management","href":"./files/GUID-E5BD9BB6-1DEB-44C4-9256-59EAEA0B14AE.htm"},{"title": "Autodesk Color Management Technical Reference","href":"./files/topichead_14.htm"},{"title": "Autodesk CTF File Format","href":"./files/GUID-460BA05D-3AB7-4BE2-AD30-01F9D3440CD8.htm"}]},
{"title":"SynColor Configuration File",
"href":"./files/GUID-5F28462D-0966-492C-96DC-6330308993F6.htm",
"description":"The SynColor configuration file is an XML file that controls how Autodesk Color Management works for all applications on the same workstation.",
"ancestors":[{"title": "Colour Management","href":"./files/GUID-E5BD9BB6-1DEB-44C4-9256-59EAEA0B14AE.htm"},{"title": "Autodesk Color Management Technical Reference","href":"./files/topichead_14.htm"}]},
{"title":"Anatomy of the SynColor Configuration File",
"href":"./files/GUID-A6850C19-39BC-48F3-9E52-449B43EDE74C.htm",
"description":"<?xml version=\"1.0\" encoding=\"UTF-8\"?> <SynColorConfig version=\"1.0\"> <SharedHome dir=\"/opt/Autodesk/Synergy/SynColor/Shared/transforms\"/> <ReferenceTable> <Ref alias=\"graphicsMonitor\" pat",
"ancestors":[{"title": "Colour Management","href":"./files/GUID-E5BD9BB6-1DEB-44C4-9256-59EAEA0B14AE.htm"},{"title": "Autodesk Color Management Technical Reference","href":"./files/topichead_14.htm"},{"title": "SynColor Configuration File","href":"./files/GUID-5F28462D-0966-492C-96DC-6330308993F6.htm"}]},
{"title":"SynColorConfig",
"href":"./files/GUID-C15564FA-690C-46E9-ABE8-C4B60D743157.htm",
"description":"Contains In any order: . Required, one only. . Required, one only. Contained By no parent Attributes version The version of the SynColor configuration file format. Example <?xml versio",
"ancestors":[{"title": "Colour Management","href":"./files/GUID-E5BD9BB6-1DEB-44C4-9256-59EAEA0B14AE.htm"},{"title": "Autodesk Color Management Technical Reference","href":"./files/topichead_14.htm"},{"title": "SynColor Configuration File","href":"./files/GUID-5F28462D-0966-492C-96DC-6330308993F6.htm"}]},
{"title":"SharedHome",
"href":"./files/GUID-81B6612C-EA08-4247-9900-D14931D97880.htm",
"description":"Some applications allow you to set this value in their preferences.",
"ancestors":[{"title": "Colour Management","href":"./files/GUID-E5BD9BB6-1DEB-44C4-9256-59EAEA0B14AE.htm"},{"title": "Autodesk Color Management Technical Reference","href":"./files/topichead_14.htm"},{"title": "SynColor Configuration File","href":"./files/GUID-5F28462D-0966-492C-96DC-6330308993F6.htm"}]},
{"title":"ReferenceTable",
"href":"./files/GUID-66EDA7CD-2CF9-43C4-9EC8-33BD8210F0DF.htm",
"description":"Contains . Optional, any number. However, if there is no Ref element to define the graphicsMonitor alias, then some Autodesk-supplied transforms will not work. Users can define aliases for other CT",
"ancestors":[{"title": "Colour Management","href":"./files/GUID-E5BD9BB6-1DEB-44C4-9256-59EAEA0B14AE.htm"},{"title": "Autodesk Color Management Technical Reference","href":"./files/topichead_14.htm"},{"title": "SynColor Configuration File","href":"./files/GUID-5F28462D-0966-492C-96DC-6330308993F6.htm"}]},
{"title":"Ref",
"href":"./files/GUID-247E7360-8C46-472D-B787-44757F9F4834.htm",
"description":"Some applications allow users to set certain aliases, like graphicsMonitor, in their preferences.",
"ancestors":[{"title": "Colour Management","href":"./files/GUID-E5BD9BB6-1DEB-44C4-9256-59EAEA0B14AE.htm"},{"title": "Autodesk Color Management Technical Reference","href":"./files/topichead_14.htm"},{"title": "SynColor Configuration File","href":"./files/GUID-5F28462D-0966-492C-96DC-6330308993F6.htm"},{"title": "ReferenceTable","href":"./files/GUID-66EDA7CD-2CF9-43C4-9EC8-33BD8210F0DF.htm"}]},
{"title":"Artist Control Surfaces",
"href":"./files/topichead_15.htm",
"description":"",
"ancestors":[]},
{"title":"Avid Artist Transport Control Surface Layout",
"href":"./files/GUID-EE263911-7D24-496A-92D7-8004F678290A.htm",
"description":"Use the Avid Artist Transport to navigate the clips in the timeline, as well as to mark the clips and the timeline. Use the numeric keypad just like you would a regular keypad.",
"ancestors":[{"title": "Artist Control Surfaces","href":"./files/topichead_15.htm"}]},
{"title":"Wheel Controls",
"href":"./files/GUID-5AC35677-9F3C-481A-B24C-E9E33919AFDD.htm",
"description":"There are two sets of wheel controls. Switch between the sets using the Shift key on the Artist Transport.",
"ancestors":[{"title": "Artist Control Surfaces","href":"./files/topichead_15.htm"},{"title": "Avid Artist Transport Control Surface Layout","href":"./files/GUID-EE263911-7D24-496A-92D7-8004F678290A.htm"}]},
{"title":"Soft Keys Controls",
"href":"./files/GUID-D89CC48F-EAC2-4D85-A1B9-F8478DBA79A9.htm",
"description":"There are two sets of Soft Keys. Switch between sets using the Shift key on the Artist Transport.",
"ancestors":[{"title": "Artist Control Surfaces","href":"./files/topichead_15.htm"},{"title": "Avid Artist Transport Control Surface Layout","href":"./files/GUID-EE263911-7D24-496A-92D7-8004F678290A.htm"}]},
{"title":"Avid Artist Color Control Surface Layout",
"href":"./files/GUID-C5BE51FB-0441-4A10-A6C9-69CB16AAB5E0.htm",
"description":"Use the Avid Artist Color with Smoke on Mac with to navigate or control the timeline, softFXs, or control editors such as the Colour Corrector or the Colour Warper.",
"ancestors":[{"title": "Artist Control Surfaces","href":"./files/topichead_15.htm"}]},
{"title":"Timeline Navigation and TimelineFX",
"href":"./files/GUID-541FD2DC-3872-449E-B651-94B2BC043FE5.htm",
"description":"Use the Artist Color to jog, zoom, and navigate timelines and clips.",
"ancestors":[{"title": "Artist Control Surfaces","href":"./files/topichead_15.htm"},{"title": "Avid Artist Color Control Surface Layout","href":"./files/GUID-C5BE51FB-0441-4A10-A6C9-69CB16AAB5E0.htm"}]},
{"title":"Source/Record Player Navigation",
"href":"./files/GUID-7C576B37-E450-43E7-AAD1-642962DE87B1.htm",
"description":"In the Source/Record Player, use the Artist Color to jog each Player. Use it mark footage from the Source player, and then insert it into the Record player.",
"ancestors":[{"title": "Artist Control Surfaces","href":"./files/topichead_15.htm"},{"title": "Avid Artist Color Control Surface Layout","href":"./files/GUID-C5BE51FB-0441-4A10-A6C9-69CB16AAB5E0.htm"}]},
{"title":"Triptych Player Navigation",
"href":"./files/GUID-88564015-7C27-4F91-86F7-30AC0CFEA35E.htm",
"description":"When in the Triptych Player, use the Artist Color to jog each panel using one of the assigned trackwheels.",
"ancestors":[{"title": "Artist Control Surfaces","href":"./files/topichead_15.htm"},{"title": "Avid Artist Color Control Surface Layout","href":"./files/GUID-C5BE51FB-0441-4A10-A6C9-69CB16AAB5E0.htm"}]},
{"title":"Colour Corrector",
"href":"./files/GUID-59F9A0C2-C4FE-479C-A547-22EE9B0BBA9E.htm",
"description":"From the Colour Warper editor, click Bank1 to access the Colour Corrector editor.",
"ancestors":[{"title": "Artist Control Surfaces","href":"./files/topichead_15.htm"},{"title": "Avid Artist Color Control Surface Layout","href":"./files/GUID-C5BE51FB-0441-4A10-A6C9-69CB16AAB5E0.htm"}]},
{"title":"Colour Warper",
"href":"./files/GUID-33F83E75-B7EA-4781-8FE7-5BCF40CA5E88.htm",
"description":"From the Colour Corrector editor, click Bank2 to access the Colour Warper editor.",
"ancestors":[{"title": "Artist Control Surfaces","href":"./files/topichead_15.htm"},{"title": "Avid Artist Color Control Surface Layout","href":"./files/GUID-C5BE51FB-0441-4A10-A6C9-69CB16AAB5E0.htm"}]},
{"title":"Keyboard Shortcuts",
"href":"./files/GUID-5908A044-87C2-4F2C-9418-BA864D8C112D.htm",
"description":"Following is a selection of the Smoke keyboard shortcuts based on the FCP 7 keyboard shortcut set.",
"ancestors":[]},
{"title":"Determining a Button\'s Current Keyboard Shortcut",
"href":"./files/GUID-F5F8647A-2F90-4B27-9CD0-84734956AB08.htm",
"description":"You can determine the keyboard shortcut assigned to a button from anywhere within Smoke.",
"ancestors":[{"title": "Keyboard Shortcuts","href":"./files/GUID-5908A044-87C2-4F2C-9418-BA864D8C112D.htm"}]},
{"title":"Accessing the Keyboard Shortcut Editor",
"href":"./files/GUID-618319BD-78D5-42DE-96B7-0EBD5C7F9693.htm",
"description":"Use the Keyboard Shortcut Editor to view, modify, and create keyboard shortcuts.",
"ancestors":[{"title": "Keyboard Shortcuts","href":"./files/GUID-5908A044-87C2-4F2C-9418-BA864D8C112D.htm"}]},
{"title":"Keyboard Shortcut Catalogue",
"href":"./files/GUID-E4754318-11C3-4FEE-98F2-96E195E4D90B.htm",
"description":"A catalogue of keyboard shortcuts 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>/keyboard shortcut. If the user profile was created elsewhere, the catalogue is found in <user home directory>/keyboard shortcut. The keyboard shortcuts in the keyboard shortcut catalogue are stored in the following formats:",
"ancestors":[{"title": "Keyboard Shortcuts","href":"./files/GUID-5908A044-87C2-4F2C-9418-BA864D8C112D.htm"},{"title": "Accessing the Keyboard Shortcut Editor","href":"./files/GUID-618319BD-78D5-42DE-96B7-0EBD5C7F9693.htm"}]},
{"title":"Selecting Your Keyboard Type",
"href":"./files/GUID-FC83F674-565B-4500-ADA1-3257DB367FFF.htm",
"description":"In the Keyboard Shortcut Editor you can select the type of keyboard you are using to take advantage of extra keys on certain keyboards.",
"ancestors":[{"title": "Keyboard Shortcuts","href":"./files/GUID-5908A044-87C2-4F2C-9418-BA864D8C112D.htm"},{"title": "Accessing the Keyboard Shortcut Editor","href":"./files/GUID-618319BD-78D5-42DE-96B7-0EBD5C7F9693.htm"}]},
{"title":"Searching the Keyboard Shortcut Catalogue",
"href":"./files/GUID-C9E7B16E-8F0E-4D49-B6E7-A3D8B3D2B254.htm",
"description":"You can search the Keyboard Shortcut catalogue to find keyboard shortcuts whose description match your search criteria.",
"ancestors":[{"title": "Keyboard Shortcuts","href":"./files/GUID-5908A044-87C2-4F2C-9418-BA864D8C112D.htm"}]},
{"title":"Changing Keyboard Shortcuts",
"href":"./files/GUID-BD18ACD0-C96F-418A-9C9B-4ED7A2D3E116.htm",
"description":"The Keyboard Shortcut catalogue shows all keyboard shortcuts for your product. Keyboard shortcuts appear in yellow text or in white text in the list:",
"ancestors":[{"title": "Keyboard Shortcuts","href":"./files/GUID-5908A044-87C2-4F2C-9418-BA864D8C112D.htm"}]},
{"title":"Editing Local Keyboard Shortcuts",
"href":"./files/GUID-045A334B-0B3C-42DF-B0A3-BEAE9999EF09.htm",
"description":"Almost every module has its own catalogue of keyboard shortcuts. The keyboard shortcuts listed in white are local keyboard shortcuts, and can be customized to suit your needs without affecting other modules. Modified keyboard shortcuts are saved as a user preference.",
"ancestors":[{"title": "Keyboard Shortcuts","href":"./files/GUID-5908A044-87C2-4F2C-9418-BA864D8C112D.htm"},{"title": "Changing Keyboard Shortcuts","href":"./files/GUID-BD18ACD0-C96F-418A-9C9B-4ED7A2D3E116.htm"}]},
{"title":"Editing Global and Shared Keyboard Shortcuts",
"href":"./files/GUID-3D795907-09EA-45D9-B0B6-5A719A0AA6E2.htm",
"description":"You can edit global and shared keyboard shortcuts wherever the Keyboard Shortcut Editor is available. When you access the Keyboard Shortcut Editor through the Preferences menu, click Global or Shared to view all current global or shared keyboard shortcuts, respectively. In this menu, the names of these keys appear in yellow.",
"ancestors":[{"title": "Keyboard Shortcuts","href":"./files/GUID-5908A044-87C2-4F2C-9418-BA864D8C112D.htm"},{"title": "Changing Keyboard Shortcuts","href":"./files/GUID-BD18ACD0-C96F-418A-9C9B-4ED7A2D3E116.htm"}]},
{"title":"Mapping a Button to a Keyboard Shortcuts",
"href":"./files/GUID-0F201FFB-1C32-4333-99D9-9353478940DC.htm",
"description":"You can create new map-to-button keyboard shortcut. New keyboard shortcuts are saved as a user preference.",
"ancestors":[{"title": "Keyboard Shortcuts","href":"./files/GUID-5908A044-87C2-4F2C-9418-BA864D8C112D.htm"}]},
{"title":"Keyboard Shortcut Editor Menu Settings",
"href":"./files/GUID-5E43511D-EE54-4F4C-8536-8E4947626231.htm",
"description":"Keyboard Shortcut 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 Keystro",
"ancestors":[{"title": "Keyboard Shortcuts","href":"./files/GUID-5908A044-87C2-4F2C-9418-BA864D8C112D.htm"}]},
{"title":"Preferences",
"href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm",
"description":"Customize your working environment using preferences.",
"ancestors":[]},
{"title":"Audio Preferences",
"href":"./files/GUID-9A5932BE-C825-4274-AE37-320CEBC4A6C3.htm",
"description":"Player Monitor Sync box Indicates which monitor will have audio sync when you play back a clip (the broadcast monitor or the high-resolution monitor). Broadcast Delay field Displays the number of fr",
"ancestors":[{"title": "Preferences","href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm"}]},
{"title":"Backburner Preferences",
"href":"./files/GUID-E7AA7DD1-E3A8-4EF6-9410-A765A90186A5.htm",
"description":"Backburner Manager box The hostname of the Backburner Manager system that handles background jobs submitted by the workstation. Backburner Group box Specifies a server group (a preset group of render",
"ancestors":[{"title": "Preferences","href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm"}]},
{"title":"Broadcast Monitor Preferences",
"href":"./files/GUID-B28A1B5A-0F74-444B-BBCA-5B694A3B207C.htm",
"description":"Broadcast Monitor Preferences Broadcast Selection box Select what you want to preview on your broadcast monitor (can be changed on-the-fly). Broadcast Monitor box Select the output device used by th",
"ancestors":[{"title": "Preferences","href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm"}]},
{"title":"General Preferences",
"href":"./files/GUID-297174BC-C3BD-466E-ACA5-73B705F15D7C.htm",
"description":"Project Information Project Framerate field Displays the framerate that corresponds with the current project\'s default resolution. Non-editable. Incoming Sync Incoming Sync field Displays the timin",
"ancestors":[{"title": "Preferences","href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm"}]},
{"title":"Input Devices Preferences",
"href":"./files/GUID-27FFCB5C-B60B-40B4-9B18-978CF54644AB.htm",
"description":"Pointer Tablet Model field Displays the model of the currently installed tablet. Non-editable. Pointer Reset button Returns all pointer preferences to their default values. Threshold Test button As",
"ancestors":[{"title": "Preferences","href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm"}]},
{"title":"LUT Preferences",
"href":"./files/GUID-582E8AEC-6059-4BE5-8926-996EA99F3213.htm",
"description":"1D LUT/3D LUT and Colour Transform list Displays the list of imported 1D LUTs or 3D LUTs and Colour Transforms in separate tabs. See and . LUT Type box Select whether you want to define a gamma f",
"ancestors":[{"title": "Preferences","href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm"}]},
{"title":"Storage Preferences",
"href":"./files/GUID-2AC95C44-B9F5-49A3-90DE-7C583E0CF624.htm",
"description":"Space Calculation Space Calculation options Choose to display all available frames in the message bar, all available and purgeable frames in the message bar, or to purge frames before making a space",
"ancestors":[{"title": "Preferences","href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm"}]},
{"title":"Support Preferences",
"href":"./files/GUID-F5D04877-A9DA-4BA3-B6BA-EA257281755A.htm",
"description":"Upload Config Info Only button Click to upload only configuration information to Autodesk Customer Support. Use only if instructed by Autodesk Customer Support. Upload Config Info and Logs button Clic",
"ancestors":[{"title": "Preferences","href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm"}]},
{"title":"Timeline Preferences",
"href":"./files/GUID-699C7018-E504-43A1-9698-1753DAB87AF4.htm",
"description":"Editing Default Timecode field Displays the default start timecode value for new items overwritten or inserted into a timeline sequence. Editable. Merge Tracks Mode box Select how a timeline will be",
"ancestors":[{"title": "Preferences","href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm"}]},
{"title":"Timeline FX / ConnectFX Preferences",
"href":"./files/GUID-8DA148D5-C4A0-48AC-A479-3BE2AB5BA486.htm",
"description":"ConnectFX Interactive Max field Displays the number of seconds that the system uses to attempt a render when previewing the effect. Editable. Add Axis On Matte Output button Enable to have an Axis",
"ancestors":[{"title": "Preferences","href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm"}]},
{"title":"User Interface Preferences",
"href":"./files/GUID-6C557A90-47D2-49B9-8C59-A7D688EB4FE1.htm",
"description":"Colour Background field Displays the background brightness value. Editable Brightness field Displays the brightness of interface elements such as buttons and fields. Editable. Contrast field Displa",
"ancestors":[{"title": "Preferences","href":"./files/GUID-62EA02BE-C6B1-42AF-97A0-C287948D1003.htm"}]},
{"title":"Gateway Clip Description",
"href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm",
"description":"The Gateway .clip is an XML structured file that describes at least the following information.",
"ancestors":[]},
{"title":"clip",
"href":"./files/GUID-A302FF5B-B430-4C55-8F06-5E6845F72A4B.htm",
"description":"The <clip> element defines the top-level data structure. The minimum elements required to create a valid <clip> are:",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"comment",
"href":"./files/GUID-2E1133D7-7421-4377-B32D-EBFD0F96C69E.htm",
"description":"The <comment> contains an unparsed string. Use it to store comments.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"creationDate",
"href":"./files/GUID-69C524A7-E722-4DA4-8DEF-34F918237A15.htm",
"description":"The <creationDate> contains an unparsed string. Use it to store the creation date of the version.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"denominator",
"href":"./files/GUID-92090A13-B028-4F6F-81B6-6E1EE005B3E1.htm",
"description":"The <denominator> must be an unsigned integer. It expresses, together with the <numerator> element, a frame rate.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"dropMode",
"href":"./files/GUID-9301653B-A916-4419-BEDE-10BE06AA0778.htm",
"description":"The drop frame mode of the media.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"duration",
"href":"./files/GUID-820D5FAE-BA06-4B84-8BBD-D0D72F9B70FF.htm",
"description":"The <duration> element is the number of samples that make up the media. It is a is a 64-bit integer. A <duration> without a sibling <path> element is the defines the parent <span> as a gap.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"duration",
"href":"./files/GUID-24B21B31-9FB0-40C7-8256-50ECD69E38B9.htm",
"description":"The duration and framerate of the media.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"feed",
"href":"./files/GUID-7098A511-21FE-4713-8B84-DA8718B820F5.htm",
"description":"The <feed> element allows you to manage and reference different qualities and resolutions for the same reference media.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"feeds",
"href":"./files/GUID-887A848F-2FAC-4B3C-B36D-E6BB068D864B.htm",
"description":"The <feeds> element contains the different <feed> elements. In a Gateway .clip, each <feed> can be conceptualized as a version of the media.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"name",
"href":"./files/GUID-4DAC553E-DA8F-402A-89D5-311FD5B5ECDB.htm",
"description":"The <name> element should be interpreted by the client application as the name of the parent element.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"nbTicks",
"href":"./files/GUID-D2F1A4E8-86A4-4343-ADC5-445FF1F0963C.htm",
"description":"The nbTicks element is the number of samples that make up the media. It is a is a 64-bit integer.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"numerator",
"href":"./files/GUID-339E9C52-672B-4569-B70D-93AF570BB83A.htm",
"description":"The <numerator> element must be an insigned integer. It expresses, when divided by the <denominator> element, a frame rate.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"path",
"href":"./files/GUID-25EE5F78-8611-4C19-A25A-BBE3EADB6255.htm",
"description":"The <path> element is the path to the media. The path can be relative or absolute. You can also use range brackets for file sequences.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"paths",
"href":"./files/GUID-4C14074C-D74E-432E-9F58-603A121EADB0.htm",
"description":"The <paths> element contains all the <path> elements which contain the different paths to the media.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"rate",
"href":"./files/GUID-7607DB2C-C678-4713-914B-4B632F37C40C.htm",
"description":"Frame rate of the media. If no frame rate is specified, it is up to the application to decide on the frame rate to use.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"sampleRate",
"href":"./files/GUID-F39D35B6-A93D-4058-9BBF-DA4A71046BD0.htm",
"description":"The <sampleRate> element describes the frames per second rate of the media described by the <feed> element. If no frame rate is specified, it is up to the application to decide on the frame rate to use.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"span",
"href":"./files/GUID-5B9E7718-6F11-4D79-AA6E-FF686719FA79.htm",
"description":"The <span> element contains media that make up all or parts of the <feed>. A <span> element describes its duration and the path to the physical media files. A <feed> made up of multiple <span> elements means that multiple media files/sequences make up that one <feed>. The order in which each <span> element is listed is the order in which they are read to rebuild the sequence.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"spans",
"href":"./files/GUID-248E242C-21F2-434C-8454-6B75BC20E8E3.htm",
"description":"The <spans> element contains all the <span> elements that make up the <feed>.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"storageFormat",
"href":"./files/GUID-368EBD73-FBD1-4304-AC58-98FBAEDE1251.htm",
"description":"The <storageFormat> element explicitly describes the format of the media referenced. This element is populated by the Gateway and does not need to be populated at the creation of the .clip file.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"track",
"href":"./files/GUID-7B2EEFD1-696C-404A-BB66-14B63472B0A2.htm",
"description":"The <tack> elements contains all the information that make up a track in a Gateway clip.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"tracks",
"href":"./files/GUID-2D86CCFE-66D6-4E74-A11E-D59193A006A5.htm",
"description":"The container for all the track elements making up the current .clip file.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"trackType",
"href":"./files/GUID-6C3B16CE-47CE-4266-8256-82483BBF6327.htm",
"description":"The type of media described in the track element. <trackType> must match the type of media later referenced by the feeds elements.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"userData",
"href":"./files/GUID-77E55738-6363-49B2-9566-EC0FC67EB9BB.htm",
"description":"<userData> is dictionary object that stores client-defined elements, passed directly to the client application by the Gateway.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"version",
"href":"./files/GUID-6FD62570-BA6F-4596-B47C-D2248AC48116.htm",
"description":"The <version> element contains metadata for a clip version, and lists an existing version using its uid attribute.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"versions",
"href":"./files/GUID-4D36FC21-98B7-4288-ADC0-EC6B27B1A40C.htm",
"description":"The <versions> element lists two things: the available versions of a clip, and the version currently in use.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
{"title":"Creating a Simple Gateway Clip",
"href":"./files/GUID-B718793C-1227-44D7-ACB1-BBB7702E1CFC.htm",
"description":"A simple Gateway clip contains one video track. It has no versioning and no setup information; it is the simplest case, and is a nice, practical, exercise.",
"ancestors":[{"title": "Gateway Clip Description","href":"./files/GUID-5D8A2C6F-2A96-4AB5-ADBE-06769A66790A.htm"}]},
]);
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