| Select: | To insert the token: | Definition: |
|---|---|---|
| Clip Name | <name> | The clip's name |
| Date | <date> | The current date ( YYYY_MM_DD) |
| Workstation | <workstation> | The name of the workstation, as displayed in the Host Computer field in File Project and User Settings.
|
| Project | <project> | The name of the project, as displayed in File Project and User Settings.
|
| User | <user> | The user name, as displayed in File Project and User Settings.
|
| Clip Height | <height> | The clip's height, after resize if applicable. |
| Clip Width | <width> | The clip's width, after resize if applicable. |
| Tape/Reel/Source | <tape> | The clip's tape name |
| Time | <time> | The time, formatted HH:MM:SS. |
This option saves disk space on export as files that remain unchanged by the export are not duplicated. Unchanged in this context means they were not rendered not resized in anyway. For example, a file sequence of 20 dpx are imported in Smoke. Of those 20, 12 are modified in some fashion. With Link Original Media enabled, of the sequence of 20 dpx, only the modified 12 are actually created at export; the other 8 dpx are just linked to from the export folder.
For example, a frame pad of 6 indicates that each frames's file name has its frame identifier padded with a number of zeroes required to make it a 6-digit number: frame 1 is written as 000001, frame 22 as 000022, frame 55555 as 055555, and so on.
When exporting DPX files, you can choose a DPX Transfer Characteristic. A DPX Transfer Characteristic is information that is stored in the DPX image file header. It identifies the attributes associated with a particular film or video format, such as resolution, frame rate, and colour space.
Setting a Transfer Characteristic in no way changes the image information stored in the DPX file. The Transfer Characteristic simply indicates the attributes of the DPX file to another device or application. Some devices or applications may take advantage of this information to improve workflow. For example, selecting Logarithmic can allow a film recorder to adjust its parameters to print film-originated DPX files with the correct densities.
| Select: | For: |
|---|---|
| Z depth homogeneous, Z depth linear, PAL, NTSC, CCIR 601 (525), CCIR 601 (625), CCIR 709-1, SMPTE 240M | Images that you want to identify as one of these types. Although the SMPTE 268M standard defines these DPX Transfer Characteristics, it does not provide usage specifications for them. As a result, these Transfer Characteristics are not generally used in the industry. |
| Unspecified | Images where the format is not specified. |
| Logarithmic | Negative film scanners recording status M densities. |
| Linear | Video images which have built-in gamma correction. This refers to images having a true linear quantization scheme (such as CG-originated material). |
| Printing Density | Negative film scans which use the SMPTE Printing Density settings. SMPTE Printing Densities use status M density measurements with a higher gain in the red component. |
| Select: | To: |
|---|---|
| Centre/Crop | Fit the source image, centred, over the destination frame. If the source is larger than the destination, it is cropped. If the source is smaller than the destination, it is surrounded by a black border. |
| Crop Edges | Fit one edge of the source into the destination frame without stretching or squashing the frame. Excess parts of the source frame after resizing are cropped. If the source—after the one edge is resized—is wider than the destination, its overhanging left and right edges are cropped. If the source is taller than the destination, the upper and lower edges are cropped. |
| Fill | Fit the source, width, and height, into the destination frame. If the source and destination frames do not have the same aspect ratio, the image can become distorted. |
| Letterbox | Fit the source to the destination frame without squashing or stretching it, and without cropping the source. If the source is wider than the destination, black bars fill the top and bottom of the destination frame. If the source is narrower than the destination, black bars fill the right and left sides of the frame. In all cases, the entire source frame is contained within the destination frame. |
| Select: | To get: |
|---|---|
| Impulse | Quick, low-quality results. |
| Triangle | Moderate results with little processing overhead. |
| Mitchell | Best results when resizing a clip to a higher resolution. |
| Bicubic | Very good results for resizing soft-looking images. Use to sharpen the image. |
| Quadratic | Good results for resizing simple images with straight edges. Similar to Gaussian but with more blurring. Use to soften the image. |
| Gaussian | Excellent results when resizing a clip with no patterns and alot of straight edges to a lower resolution. Useful for softening some detail. |
| Shannon | Excellent results when resizing a clip to a lower resolution. Very similar to Lanczos, but results are a little softer. |
| Lanczos | Best results when resizing a clip containing a variety of patterns and elements to a lower resolution. It is the most complex with the longest processing time. |
For interlaced material, you can specify whether the resize needs to be done from both fields or just from one of the two. In the latter case, the result is a progressive clip made from the same two fields.
| Select: | To resize: |
|---|---|
| From Clip | Using the scan mode of the source clip. |
| Progressive | A frame-based clip to another frame-based clip. |
| Field 1 | A clip by drawing Field 1 followed by Field 2. |
| Field 2 | A clip by drawing Field 2 followed by Field 1. |
| Select: | To mix down: |
|---|---|
| No Mixdown | Nothing |
| Mixdown As Is | With the current output strip assignments. |
| Mixdown To 4 tracks | To four tracks. The output strips are assigned sequentially in fours to the mixed-down channels (where M1 goes to 1, M2 to 2, M3 to 3, M4 to 4, M5 to 1, and so on). |
| Mixdown To Stereo | To one stereo track. The output strips are assigned sequentially in twos to the mixed-down channels (where M1 goes to 1, M2 to 2, M3 to 1, M4 to 2, and so on). |
| Mixdown To Mono | To one mono track. |